I made love a new pair of summer hose, in really thin wool twill. The hose got some though love during the summer and come autumn the soles looked like this:
Not much left. When your soles are this worn, it is easier to just change them for a new pair. This round, I choose a thicker and more sturdy wool twill, hoping they would last more than one summer. I ripped the old soles out, and traced around them on a new piece of pre-washed fabric.
Heh, see what I did there? Pattens- step to step, as you can step with them and this is also a guide and…
Yeah. Sorry, let us step to the actual content.
I had been trying to get myself a really good pair of wooden pattens for a couple of years, only to discover that they didn’t fit very well. So I got my hands on a new pair of wooden soles, and this time I made the straps and fitted them myself. It is a little more work than ready-made, but Wow did this make all the difference!
This project was started over 3 years ago and along the way, I lost photos from the handcrafting process. This means that this tutorial is far from the best one I have made, but I decided to finish and publish it since some friends were asking for tips for making pattens.
If you want to know more about historical pattens, check out this blog post.
Tools for this project:
Materials you need:
Wooden soles:
You need a pair of wooden soles first, and your medieval shoes. Measure your foot with your shoes on, so you know how long the wooden sole needs to be. I didn’t make my wooden soles so I won’t walk you through (hehe, walk…) how to do it, but if you have patience and a few woodworking tools just draw your foot on a piece of wood, and carve out something that looks like the historical pattens or my sole above. The joint is not a must but I find it really comfortable.
When you have a pair of wooden soles, it is time to connect the pieces with a joint of sturdy leather and nails.
After I made the reinforced pieces, I attached the buckle by sewing it in place, and made a hole in the other side for closing.
That’s it! Give them some leather oil and then you are ready to go out adventuring.
This is a fun garment since it is both practical and in my opinion, also cute. But it took me several years of studying medieval manuscripts and art before I got interested in this type of garment. It seems so modern? But once I noticed it, I found more examples in different places and even a contemporary pattern diagram in Drei Schnittbucher dated from the 16th century. Most sources I have saved originate in central Europe, mainly today’s Germany.
The jacket or short coat can be seen in both late 15thc entury and 16th century artworks, but all examples I have seen are worn by working women, from farmers to ladies’ servants. One source in Drei Schnittbucher mentions a short jacket owned by a burgher class member, which indicates that it might have been a fashionable item and not only something worn for “survival”.
The jacket above is similar to the pattern diagram I found, though it has cuffs. The front closure is hidden but might be hooks and eyes, and the sleeves are S-sleeves put into a shaped armhole. The skirt part hangs in soft folds, probably a circle shape.
In the left corner, the lady wears a green jacket over a dress. She might be a maid or retainer of some kind, based on her dress and position in the picture. The jacket is fitted with a narrow sleeve and a fashionable neckline. The skirt part hangs in soft folds.
The blue jacket is fitted but the sleeve is a bit looser than the green one, and the neckline higher and rounded. I decided to base my jacket silhouette mainly on this picture (late 15th century).
Based on contemporary sources the jacket seems to be a practical garment to keep you warm while still allowing you to go on your daily chores (and keeping that fashionable silhouette!) I have found several sources from the middle of the 16th century onwards, often with the skirt part shortened like the jacket above. The black jacket has a short skirt, straight narrow sleeves and a collar of some kind. The collars seem to belong to the 16th century.
Differences between the 15th century and the 16th century styles:
Late 15th century jackets seen in art are all colourful, with straight sleeves narrow or loose, longer skirts (the lenght of the skirt and the length of the upper body seem to be similar) and with simple, rounded necklines.
16th century jackets transform from this softer style to a more shaped and fitted garment with details to accentuate the tailoring such as collars or sleeves starting farther down the shoulder.
This time I decided to make a jacket to be worn with my 15th century wardrobe. Some years ago, I tried out this pattern by making a black jacket to be worn with my 16th century working woman’s outfit, but I sold it and wanted to try some variations. The blue jacket above became my inspiration, and I used the pattern diagram from the 16th century source to draft the jacket. The side seam is adjusted towards the back on that pattern, but in retrospective I think that is a bit too modern for the late 15th century style, but I got curious to try it out.
I decided on a straight S-sleeve to get good movement even when wearing dresses under the jacket, a longer skirt and a rounded neckline. The front closes with hooks and eyes. The original tailoring book states the lining needed for the jacket which is roughly half of the amount needed for the jacket. The fabric widths could be different since the pattern mention different amount of lining for different skirt lengths, or the skirt was not lined. I decided to put lining into the skirt too, to see how it would turn out as well as to make it more wind resistant.
The best way to create a skirt with even, soft folds, like the longer versions seen in the sources, is to use a circular cut on the skirt, rather than straight panels and gores. The contemporary pattern also suggests this style, so I went with that option.
The length of the skirt in 15th century sources seems to be around the same lenght as the torso, around 40-50 cm long perhaps. I decided to go with that. The tailoring pattern suggests a skirt lenght between 39 cm to 52 cm, which can be seen in the woodcut by Beham above.
To draft the correct size for the skirt pieces, measure around your waist and use that measure to calculate the inner circle diameter of the half moon, and draft the piece from there.
Example: Measurement around waist: 80 cm = circumference of the inner circle. That makes the diameter approx 26 cm, and the radius 13 cm. The length of the skirt = 40 cm. Mark 40 cm + 26 cm + 40 cm on a straight line = diameter on the skirt pattern piece (the straight side of the half moon). To draft the rest of the skirt, start with drafting the half-circle waist hole (measure from the middle of the line and draw a half-circle 13 cm from this point all around). Use this line to draw out the bigger half moon shape, by measuring 40 cm outwards all around the curve. Make 2 pieces for the skirt.
The upper body pieces are based on my toile/mock-up I already have (check out my Patreon for a video on how to make a mock-up yourself). To move the side seams I cut off a bit from the back piece and taped this side to side with the front piece instead. After that, I added seam allowance and some extra movement in the sides, shoulder and front to make the garment suited to wear over other clothing.
The sleeves are based on my existing S-sleeve pattern, cut in two. I added new seam allowance and made the sleeves a bit wider than my dress sleeves to get more movement.
Differences between the pattern from Drei Schnittbucher and mine: The waist seam got rounded to create a soft fall and looser fit, and the shoulder seams were shortened to make the sleeve fit the anatomical arm, creating a softer look more suitable to the late 15th century style. I removed the collar piece on the back and decided to make the back piece as one, instead of having a seam in the middle back. Both options are represented in tailoring from late 15th century art sources, I just didn’t need the back seam to achieve a good fit. The last alteration I did was to piece the skirt parts to save on fabric. In the tailoring book, the sleeves are made in two pieces, probably to save on fabric, and I wanted to do the same to be able to cut them out from the scraps left over after cutting body and skirt pieces.
My jacket needed around 1,5 meters of fabric with 1,5 meters width for both outer fabric and lining, but I would recommend at least 2 meters of both if you have, if you are not smaller than I am!
Fabric: I decided on a medium thick wool twill for the jacket to keep me warm, with a soft muted madder tone. The lining is made in thin unbleached linen. I aimed to make the jacket a working garment and not too fancy, but neither coarse nor homemade.
When I have made all pieces (back, front *2, sleeves *2, skirt *2) I like to cut these out in a mock-up fabric (like an old sheet) bast them together and try the garment on over the dress, to ensure I have enough space for movement. Adjust if needed, and then I use the mock-up as my pattern and draft the pieces on the wool fabric and lining.
I like basting- here are some more benefits:
I prefer to sew one seam completely finished before the next, which is faster and more ergonomic than first assembling the garment, and then reaching all the seams for felling the seam allowances.
Sewing thread: unbleached linen 35/2 for most seams, paired with a sewing wool yarn for felling seams and create softer seam allowances. These are the materials I work with fastest. You can also use linen thread for the whole jacket, which would be a bit more historical as far as I have researched.
For me, the most important thing when hand-sewing is to make easy, fast seams without adding unnecessary strain to my fingers. The lining is put in at the same time as I sew the pieces together, in seams that need more sturdiness like shoulders and sides. In the skirt, the lining is fastened in the seam allowance when felling this down. The sleeves are made as 4 separate sleeves, and then the lining is put in. This minimizes the bulkiness in the sleeve seams.
Notes: linen thread if nothing else is stated. Sa= seam allowance.
This is my sewing order for hand-sewing the entire garment:
Start by joining the sleeve linings into whole sleeves with running stitches. Press the sa and whipstitch down to one side or leave them unfinished. Join the wool sleeves with back stitches. Fold down the sa, whipstitch down to one side and repeat with the back seam to get 2 complete wool sleeves.
Sew the shoulder seams with backstitches, wool + lining at the same time. Press down sa to either side, whipstitch down. I leave the basting in while sewing, and place my seam 1 mm to the side to avoid sewing into the basting thread. This makes it easier to remove the basting thread once I am done.
Backstitch the side seams together in the same way. I like to leave these open to adjust the fit if my weight changes, so I just whipstitch the sa but leave it loose from the main body. Then I put the sleeves in the armholes and sew them with backstitching. Cut down the sa and fell it towards the body with whipstitching.
I sewed the wool skirt parts together with back stitching and pressed the sa to either side. After that, I put the lining into the skirt pieces by folding the sa down to either side and whipstitched the lining in place.
Attach the skirt to the body with backstitches. Try on the jacket and mark out the hemlines; check the length of sleeves and skirt hem.
The skirt is finished by cutting down the lining a bit to avoid a bulky seam, and then the wool hem is double folded over the lining and whipstitched in place.
The front got a reinforcement strip in wool on the inside before the closure was added. I use running stitches and sew it front to front, then fold it over, press it to a good shape and whip stitch the loose part to the lining. A row of stitching along the edge makes it neat and durable (shown in the assembly photo).
The sleeve wool fabric is folded over the lining by the wrists and whip stitched in place. The neckline is also folded down twice and whipstitched. After that, I like to press it and then add a row of stitching around the opening to make it even neater!
Last, I added hooks and eyes to the front to be able to close the jacket.
This was a really fun project to do, and I have used the jacket a lot this season. It is easy to work in and doesn’t get as heavy as my coat does. Useful for medieval adventures!
Hi there!
If you know me, you know I am travelling and living my medieval/viking adventure life right now, and both blog and social media conversations are running low. If you are new- welcome here! I will not leave you bored in the middle of the event season, but have prepared some interesting posts for you to check out.
The best way to reach me right now is by email. I also try to keep Instagram updated, but rarely use Facebook since it doesn’t work great on the phone. https://linktr.ee/handcraftedhistory for more ways to reach me!
If you are attending Medeltidsveckan in Visby, you can find me at Kapitelhusgården from Sunday to Sunday. The shop is open, and I also have workshops in pattern drafting and tablet weaving. These are currently fully booked, but you can check out the full schedule here: https://medeltidsveckan.se/programme/
Are you attending one of my workshops and have questions? Send me an email! The info at the program states if you need anything special (like a modern t-shirt or similar clothes on your body for the pattern making) othervise you can just stroll in with a snack and a ticket- I will bring everything else!
If you want to check out more about Medeltidsveckan I have written about past adventures here; https://handcraftedhistory.blog/?s=visby where you also find the old guide and the packing list in Swedish.
If you are planning your packing, this blog post is new and improved:
https://handcraftedhistory.blog/2022/05/15/the-ultimate-packing-list/
In my shop you will find lots of straw hats and felted wool hats- but be sure to come by early in the week to secure the colour/size you want. Last year they sold out. For you readers interested in straw and wool hats but not attending Medeltidsveckan- I will open up my Etsy store and start accepting commissions when I am back home and can start packing and shipping regularly again. Thank you for your patience! (Yes- I remember you who have emailed/pm/contacted me)
New blog posts, patterns and research articles will be coming again this autumn- I look forward to share new and interesting stuff with you! With that said, I will continue with my packing/working/panic sewing days. Yes, I also have late projects. Yes, I will also sew on the ferry over… It is tradition, is it not?
I could call myself somewhat of a pro at living in historical tents, or more accurately, sleeping bad and freezing in historical tents… Therefore, I present to you a guide on how to choose your tent and live comfortable in that!
(This turned out to be a really long blog post- I have apparently missed talking to you. I marked all my personal thoughts and anecdotes with cursive, for easier reading)
Which period?
Different models are based on finds from different periods, so if you are going on viking adventures the Geteld or A-frame models are most often used. For medieval adventures, Getelds and Pavilions are good choices. Small shelters called “Soldier’s tents” are also often used.
When looking at websites selling tents, many will show you models that are not based on finds or pictures but called “historical” anyway. The openings could be placed in new ways, the seams made to save fabric widths or moved to be able to sew on a machine. The poles and ropes holding the tent up might be done in different ways that can not be seen in manuscripts and so on… These tents may still be good tents, but it is always good to know what you buy, and what it is based on for the future. If you are unsure about a model, ask!
What says finds and historical pictures?
Viking type tents are based on ship burials which have included a tent with a wooden frame and canvas. We don’t really know if people actually slept in these on land as well, and they probably did not bring them to different markets all summer… But what to do, when you are a modern person wanting some comfortable living?
Medieval type tents are seen in numerous manuscripts and paintings, both used by nobility and commoners. Brightly painted, large tents are used for festivities, tournaments and for avoiding that pesky sun, while small sleeping tents and shelters can be seen in military settings. A quick search gave me this board.
Where are you going?
Many events have lists or recommendations about what tent models are allowed on their events. Mostly, you can bring Getelds and A-frames to viking events, as well as small canvas pieces as simple roofs. To medieval events, Getelds are often allowed, as well as square, round and oval-shaped Pavilions. Materials may also be advised to be linen or wool.
The event organizer will want to have as pretty a camp as possible, but at the same time, they know tents are really expensive and that guests will stay at home if their living investment is not allowed. The same is true with market tents; most of them are not strictly historical since a modern seller will need light loads to carry and transport, as well as a big enough tent to be able to bring enough products to earn a living. Not everyone can sell jewellery and candy, so some will need big, bright and roomy tents.
Other things to consider are the campgrounds; is it rocky and hard to put down tent pegs? Then an A-frame tent might be good. Is it often stormy and windy, then perhaps a smaller tent with a sturdy frame and long tent pegs is a good choice. Have you ever seen a jumping A-frame tent in a storm? I have, they can really get quite far…
Cotton, linen or wool?
Cotton is by far the most common tent canvas today since it is cheaper, lighter and easy to come by in the right thickness and waterproofing. I use cotton in my Pavilion to be able to lift the canvas pieces myself and to have a tent that is bright enough for customers to see my products, even if it is rainy outside. But oooh, my old linen pavilion was prettier!
Linen is heavier but more resistant to mold, and unbleached linen will keep your tent cooler and darker. Perfect for sleeping in, not so good if you are a market vendor selling fabrics. Linen gets bleached over time in the sun, giving the canvas a really good look.
Wool is mostly used in A-frames and a good, felted wool fabric will keep you dry, cool and comfortable in all kinds of weather. May be waterproofed with modern products, or with lanolin (wool fat) which is more historical.
Consider this when choosing your model:
I have always been partial towards Geteld models since they are often economical, easy to transport and fast to put up and down.
With that said, after living for weeks in this model you will get really tired of the sloping walls, giving you almost no space to hang clothes for drying (except in the middle). Storing all your things around the base of the tent will save lots of space to allow you to walk around in the middle, but it will also mean you crawling around on your knees looking for things every day.
A-frame tents also seem very practical and I am slightly jealous of my friends when we are putting up camp at rocky, hard grounds. While I am sweating and swearing trying to put down the tent pegs in the ground, they simply fold their tent in place, secure the canvas by the frame and move in. I usually get my revenge when the carrying distance between car and camp is long since I can carry my poles in one go…
A-frame tents are practical, economical and if you have the storage and packing space for the frame it is a good choice. It is also considered the easiest tent to make yourself.
Pavilions often have a roof with separate walls, allowing you to open up different sections of the tent if you want the breeze to get in, or want a nice display area. Straighter walls with poles or wooden wheels mean you can place furniture along the walls, and hang clothing from the wooden frame, which is both practical and pretty. More sloping walls on the other hand might ride out storms better.
Round and square pavilions may be sensitive to hard winds and storms; during the Medieval Week in Visby you may see knocked down tents of these models, or tents laid down by choice before a storm. If the round pavilion has a sturdy roof frame, you can remove the middle pole, fold the walls and secure the roof down to the ground covering all your furniture and belongings while you wait for the storm to pass. You might not fit inside, but your tent will survive…
If you only want a sleeping place, tents called “soldier’s tent” or one-man tents might be the right choice for you. I would advise you to get a tent big enough to fit a bed inside, then you will always have a dry space, and can store your things under the bed.
Will I get wet?
A good tent will keep you dry even in heavy rains, as long as you can stay of the ground (in a folded camp bed or wooden bed for example). Also, never put clothes or bedding up close to the canvas, ideally, nothing should touch the canvas walls except the framework.
Our oval pavilions have kept out heavy rains on several occasions, with the single drop or two from a slacking corner joint between roof and wall. During one event, the rain was so heavy that small runlets formed and travelled through the tent. Everything above ground kept dry, but a turn shoe almost floated away…
Look for a tent construction that has sloping roof/walls, and a canvas that is thick, sturdy and treated with a waterproofing agent. Even so, after some years out and about the canvas may need to get additional waterproofing.
How to care for a historical tent:
Let’s start at the beginning; oil all your wooden poles upon arrival, and once a year after that (or when needed). When you put up your tent; find the right way to do so without adding unnecessary tension to the pole, canvas or ropes. The same goes for taking down the tent; do so slowly and controlled, and get some friends to help you in the beginning. Always mend loose ropes, or broken seams at once. Make sure the tent canvas is really dry before folding it away in the storage, and that it is reasonably clean since rotting mud, grass and insects may cause damage to the canvas over time. Brushing away loose bits before folding the tent is good. I also brush off the dirt from the tent pegs and ropes. The canvas should be stored in a dry space, outdoor sheds are not ideally. I can give you several examples of people having their tents destroyed by mold and rats during winter…
More tips to be comfortable in the tent:
Things to ask (or look for) when buying a tent:
Pricing?
Historical tents are expensive. Or at least, there is lots of money involved. The cheapest way is often to make one yourself if you have the time, space and skill. The second-hand market is also a really good choice, when people get tired of their small, practical tents and want to level up, they will often sell them for a good price. But try to inspect the tent yourself before you pay for it (ideally put up) to avoid bad canvas, mold, rips or a cracked frame.
A short sneek view over the camping ground at Double Wars; here you can see many different kinds of tents!
Welcome! Today I’ll show you some of my favourites from my historical wardrobe and give you my best advise on what to choose for your own outfit. Let’s start with veils.
My current favourite is the semicircle veil in different sizes. It is easy to drape and style, and the semicircle cut gives it a smooth and flowing drape. Here are some examples:
The measures on my different veils:
small: diameter 85 cm (the straight front edge) length 55 cm (from front head to the back).
medium: diameter 100 cm, lenght 58 cm.
large: diameter 140 cm, lenght 60 cm.
This is a larger semicircle veil in wool muslin fabric, worn over braids, cap and wimple. Pinned in place by the temples and in the back of the neck:
To make one: Use a thin tabby linen (90-120 gram/m2) with an even weave. Presoak and wash before sewing to avoid shrinking in the future. I draw the measures directly on the fabric; a semicircle shape following the measures above. The reason for not making a mathematical semicircle is more a matter of taste; how long you want the front edge to be and how much fabric you want in the back. Try it out and see what you like!
I make small double folded edges and whip stitch them with silk sewing thread or 60/2 thin linen thread, vaxed before sewing.
The rectangular veil is a very useful veil that can be worn in several ways. It has a straighter fall than the semicircle, but is ideal for wrapping or draping around the neck, like this:
If you make the rectangular veil longer it becomes what I call a Great veil:
The great veil above measures 55*250 cm and is great for creating turban styles seen in the 15th century.
The measures of some of my veils:
Simple rectangular veil: 55*150 cm
Veil with a decorative edge in linen: 50*150 cm
Great veil: 50*250 to 55*350 cm
Use the same quality linen fabric as above, and the same seams.
When sewing veils for wrapping, I find it easier to use them if they are not to wide. 50-55 cm is enough.
Square veils are the hardest to style in my opinion. This model was the first I tried out, but we never made a great team. I do have one left though; my silk veil with freshwater pearls. Silk veils are high status veils, and look great. They are also very light, so you barely feel them on your head.
If you want to make a silk veil for yourself, use a fabric with a heavy drape and thin enough to be a little transparent. Sew the edges double folded with running stitches or even better; make a rolled hem with invisible stitches. (Or buy one ready-made from me with an email/pm).
Measures for a square veil: 80*80 cm or bigger (the silk one above is around 90*90 cm.)
This style is actually two or three different pieces: a cap with a folded strip of fabric pinned on, and a great veil on top. It is a simplification of the large head dress the fashionable woman wore during a preiod of the 15th century. Painting shows headwear with many folds or layers, held in place with pins, basting (or some kind of magic). But since I live in a tent during summer events (and not a comfortable house with a maid) I need simplified ways to dress myself. This was one option that came out nicely, it is both easy to pack and manage during medieval camping, and easy to dress myself in. It should be more tightly pulled in the neck though- contemporary pictures shows no such fabric volume in the neck.
This is another way to style the Great veil, for that “I am hard working but yet fashionable” look. The veil is pinned directly around the head without any shaping braids, padding or cap, and wrapped around the head a couple of times. It is then pinned down to the layers below, and the end left hanging.
To avoid bulky fabric in the neck, I have found that it is better to pin all models of veils in place instead of tying them.
Veil measures: 55*250 cm, thin linen with double folded edges.
Buying fabrics for veils?
Thin linen 90-120 g/m2 with an even weave, a semitransparent and drapey silk, or a fine wool muslin fabric are the materials used above. There’s no find of wool veils, but I use the fabric when I need to stay warm, and for its beautiful colour tone and drape. It is hard to find linen good enough for veils today.
Threads: I use 60/2 thin linen thread for linen veils, and silk sewing thread for wool and silk veils.
Type of stitch: Hand stitching is a good choice for veils since they are very visible, and the drape will look very different with a machine seam. I always fold the hem twice, as narrow as I can before sewing. Whipstitching is always a good choice, but running stitching will do the work faster and create a more discreet seam. Perfect if you have a very thin fabric, or are in a hurry. Silk fabric edges I like to roll and sew with an invisble seam.
You can vary your veils in many different styles to fit different periods, fashion and status. Above is the rectangular veil with a decorative edge, folded twice and pinned onto a birgitta cap.
The best way to find your styles is to look at contemporary paintings and portraits and try to replicate the look in front of the mirror. When satisfied- take some photos to remember how you did it. I always end up in early spring wondering what veil style I should wear for which outfit…
In this tutorial, a gore is a triangular-shaped piece of fabric sewn into the garment. A gusset is a square piece of fabric, sewn into the armpit to add movability and space, used on shifts and shirts to take a few examples.
How do they work?
A gore inserted in your sleeve will add space and freedom of movement. Depending on the placement of the gore in the sleeve, it will add space to different effects, like moving your arm up and forward or adjusting your sleeve to larger muscles in your arms.
Why do you want to use gores in sleeves?
Gores might have several reasons to be where they are:
To save fabric while cutting out your fabric pieces.
To add movability by cutting the gore on another grain than the rest of the sleeve.
To mend a broken sleeve or seam.
To enlargen a sleeve being to narrow.
Gores might be inserted while making your garment, but also afterwards if you feel a need to adjust the fit. This guide shows you how to put in a gore in a cut slit at the front of the sleeve, but you can also add gores to the seam on an S-shaped sleeve. The principle is the same; fitting the sleeve into the armhole and then adding as much gore as you need to make the sleeve ”whole”.
An example of how this method was used during the medieval period is the Moy Bog dress, which has a similar gore. Maybe an adjustment to add space to a new wearer that had more mass over arms and shoulders?
The easiest way to make well-fitted sleeve gores is to cut out a piece of fabric, pin/baste it on the inside of the assembled garment, and sew it in place. Here is a step to step guide on how I do:
This dress has a tight fit, and I decided on a small gore in the sleeve front to add a bit more flexibility and movement.
I started with inserting the sleeve in the armhole and then cutting up a slit in the front to make the sleeve fit all around (this means you will have to make a sleeve that has a slightly smaller measure than the armhole if you make a new dress.) When I am satisfied with the inserted sleeve and slit, I press the seam allowance to the inside and start with the pattern for the gore.
Put a piece of paper on the inside of the dress, and smooth the fabric on top of this. Draw a paper draft for the gore by tracing the ”hole” on your paper. Very easy!
Add seam allowance around the draft, and cut out.
Put the paper pattern onto fabric and draw + cut two gores, one for each sleeve. Remember to mirror the pattern and mark the gore with up/down and front/back.
Fit the fabric gores into the sleeve slits, and pin in place (here I worked on the inside, but if you find it easier you can work from the outside of the garment).
This is what it looks like from the right side of the dress:
With pins in place, baste or sew the gore into your garment. Here I used small whip stitching, not bothering with basting. But if you are unsure or want to test the fit before sewing, basting is a great way to do that. Fastening the gore from the right side of the garment makes it easy to get a good result, since you can see the result while sewing.
When I have inserted the gore, the seam allowance is most often pressed to either side (down to the sleeve) and whip stitched down. I always press the s.a towards the bigger fabric piece. For example, sewing it down onto the sleeve and/or body piece. After that, it is all done!
The new blue gown also has a gore in the front of the sleeve, barely visible but great for movement!
You know when you are browsing fabrics, looking for something practical and discreet to make a working garment with? Yeah, that didn’t go as planned here…
I fell in love with this silk brocade and bought several meters of it during Double Wars. I had no plan at the moment, but it was lovely and the pattern a replica from the 15th century, so I figured I would find it useful. However, it took a couple of years to come around to cutting the fabric and making it into this gown:
Research:
I collected some examples of dresses that I liked that would fit the time period, social status and use for this fabric. This one is a favourite, painted by Pedro Berruguete around 1485, but I already made a tight fitted one when I made my velvet overgrown for the wedding, so I opted for a looser style now.
The weave, material and pattern of the fabric place this project at the top of the social structure in 15th century Europe, something to be worn by royalty. Brocades are most often seen as outer garments, with wide panels and a loose fit (the better to be taken apart and remade for the next wearer?) Here’s my pinterest board with examples. This fits my fabric well, since it is quite stiff, with a dramatic drape.
The model is best described as an overdress or houppelande, with narrow S-sleeves. The panels starts to get wider below the armhole, and adds as much volume as possible to the hem. The neckline is cut in a V-shape and slightly rounded in the back. I made the back panels longer to get a train and cut the middle front straight and floor-length to be able to walk in it without tripping over the hem.
Working with brocade fabric:
When making silk brocade garments for yourself, remember that you need more seam allowance than you use when sewing in wool or linen. First, the fabric will often shred and loose threads everywhere, and second, the brocade is often stiff and does not give any flexibility when worn. I calculated 1 cm extra seam allowance (2,5 cm instead of 1,5 cm) and another 2-4 % of the total measure for movement (if your pattern is 100 cm around the bust, the total will be 102-104 cm + seam allowance).
I do not wash silk brocades before sewing, instead, I steam them with an iron. This will lose the weaving tension without altering the fabric appearance overly much.
When drafting the pattern pieces, remember to adjust them to the fabrics pattern and right/wrong side. This means that if you want to use your fabric wisely, half the dress will have the pattern running in the ”wrong” direction. On my dress, the pattern is ”upside down” on the back panels, and the right way in the front. The fronts are not matched pattern-wise but cut out to maximize the use of the fabric. To the modern eye, this might feel wrong, but never mind modern ideals! Also, piecing in the skirt or sleeves does not have to follow the pattern direction, just use what scraps you have.
After cutting your fabric pieces, I recommend zigzagging or overlocking the edges on your sewing machine, even if you are about to hand sew your garment and will have to rip away the threads while you work. This will prevent the seam allowance to disappear before you have even finished sewing the pieces together.
For hand sewing, silk thread and running stitches or backstitching will do fine. Try pinning only in the seam allowances to avoid damage to the fabric, or use small clamps instead of pins. I also like to bast; here is the sleeve sewn into the armhole with a linen basting thread, before backstitching it with silk thread.
If you prefer to sew your garment on a machine, use a silk thread and a little longer stitches than normal, to allow for a good looking seam. You might want to adjust the thread tension a bit- try on some scraps first!
I press all my seams while working (with steam and a cloth), to make them tidy and easier to sew down. If you don’t want to fell the seams, leave a zigzag or overlock on the inside. If you prefer to fell the seams, use silk thread and try to press and fold the seam allowance as tight as possible for a nice finish. The hem is also pressed and folded over twice before I whip stitch it in place.
The gown, before the finishing pressing with steam. Notice that the sleeves pulls a bit toward the back? The seam is a bit on the tight side, I should have used looser stitches when closing the sleeve. Now I had to adjust it with a good steam and press to reset the shape. Never underestimate steam!
I have yet to wear the dress to an event, and I am really looking forward to it. This type of dress needs to be paired with nerdy headwear, sparkly jewellery and a great party!
Update summer 2022: I finally took the gown out during Skellefteå Medeltidsdagar! I actually packed it early in the season, but the weather was so rainy and muddy I didn’t want to wear (and ruin) the dress until July. It really turned out great, and was really comfortable to wear during the party.
At the end of each historical adventure-season I try to clean, mend and grease all our shoes. Outdoors in the autumn sun is of course the most enjoyable, but as long as you get it done it is fine. (Ideally, one would do this after each event to keep the shoes in top condition. But I am lazy…)
After each adventure:
Treat your shoes with some grease after each event/market/adventure and also during longer trips. If the shoes get wet, dry them in room temperature or outdoors (never put them by the fire). You may fill them with paper to get them to dry quicker.
How to deep-clean your shoes before putting them away for the winter:
Before the next adventure, take out your shoes and grease them again before use!
Mend your shoes as soon as you discover they are broken! A ripped seam or a loose strap needs to be sewn (you can use vaxed linen thread) and a loose rubber sole needs to be glued in place. If you are unsure how to mend the shoe, the shoemaker you bought them from should be able to help you or give you advise. A modern shoemaker/cobbler could also be of help.
Store your shoes:
Shoes should be kept in a dry space, and can be filled with paper to better hold their shape. Wardrobes, airy shelves or paper boxes are good. Shoes might get moldy if kept damp or squashed together.
How to use your shoes:
Leather turn shoes (with a leather sole) wears out quickly if you walk with them on gravel and asphalt. If you are walking a lot on those grounds, consider to bring a pair of pattens (wooden soles with straps) to protect your shoes. Or change to modern shoes if walking longer distances. I do that during Medieval week in Visby to spare both shoes and knees.
Mud is equally bad for your shoes; try to avoid it, wear pattens, or brush your shoes clean as fast as you can after a muddy experience.
When walking, remember to not drag you feet against the ground, but properly lift your feet to spare the sole. Avoiding glass and sharp stones is also good. If the shoes get a bit large, use an inner sole, a pair of extra socks or leather straps to keep the shoe firmly on your foot. A shoe that moves on your foot will get uncomfortable and wear out faster.
Buying or making historical shoes can be expensive, but with the right use and treatment they will last a long time. I use mine approximately 30 days a year, and they are several years old now!
(Want to make your own shoes? I have a weekend workshop in shoemaking planned for 13-14 November 2021 in Sundsvall, Sweden. Send me an email if you want to know more and join us!)
You really like your straw hat, but it´s starting to look a little worse for wear? Here is how I mended love’s hat!
The poor hat looks alright on the head, but take a closer look and you will find several holes and broken straw. The thread around the head was put in to be able to adjust the size of the hat to the head and make it fit snugly. It was a great idea, but have also put some strain on the straw around the head, causing it to break at several points. Time to put in some reinforcements so it will last longer! (Note that this particular material is not the one I am selling, the grass straw I use is a bit different. This hat is several years old by now)
A straw hat doesn’t need any fancy materials, it is after all mainly a working hat. I used unbleached linen, linen thread (waxed) and a little glue. When working with your hat; be gentle if the straw is thin/dry and sensitive. I will make a hatband around the outside to support and protect this area, then glue broken parts together. Lastly, I will put a ribbon inside the hat to make it more comfortable, since the broken straw tends to poke inside.
I started with measuring around the hat and cutting out a strap of fabric 4 cm longer than the circumference and 6 cm wide. This will give me a fabric piece of 60*6 cm.
Fold in the seam allowance (1 cm) and press it down on the inside of the strip, and then pin it around the hat.
Be sure to stretch the fabric carefully and evenly, to keep the size of the hat as it was before. Fold the end of the strip inside to finish it off, and then stitch it into place with linen thread. Use a thin, sharp needle and pull gently on the stitches so you don’t damage the straw while working.
You need two rows of stitches, at each edge of the fabric. Start with the one at the base of the hat.
If the straw is very broken, try to find some whole pieces to sew the fabric onto. Here you can see the seam on the inside of the hat, and me trying to find something to sew the fabric onto.
Add the second row of stitching, and sew the fold down onto the fabric for a nice finish. These steps you may use for decorating or reinforce your new hat if you like, using for example linen or black wool fabric. If the hat is a bit big, pulling the fabric around the hat will make it fit better. Remember to try it on after the initial pinning or first row of stitches so the fit is good.
Fabric strip done! Both decorative and supportive, and great if you want to pin or fasten straps or a badge to your hat!
Let’s move on to the next step! Here I use modern glue to mend rips and broken sections in the brim. Braid the straw together over the broken parts or just gently push the edges together, apply a thin coat of glue and let it sit and dry. Pick a glue that is transparent when dry, and a bit flexible (trying it out on a small piece of the hat is always a good idea). A glue that gets rock hard when drying will only put stress on the straw on the side of the mended hole, causing more damage in the future.
Here is another good method for adding support to your hat; a thin ribbon on the inside. This is loosely glued around the base, covering broken pieces and adding a softer base for the head. After the glue has dried, baste or sew the ribbon to the other fabric layer (not all the way through, use the seam allowance) and you´re done!
If the hat is a bit loose, you could use this ribbon the same way as the fabric on the outside; putting it in with a bit of strain to adjust the size of the hat.
And done! Now the hat is ready for some more adventures. Remember to always take good care of your hats so they may accompany you to many adventures in the future, clean them when necessary and store them in a flat and dry space. Good luck!
