HANDCRAFTED HISTORY


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From a winter event + dress warm

This weekend we traveled north to visit friends at our old hometown Umeå. The local SCA group had an event, se we had a great weekend with a mix of old and new friends, medieval archery, feasts and a bit of work, since I brought my small shop with me.

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Thank you everyone who came by to shop; thanks to your support we get to visit all lovely events!

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During Saturday we were outside practicing archery, it was a little below freezing, with a cold wind blowing. I though I brought enough clothing, with a thin woolen dress, a wool jacket, and my brown wool coat, but the wind managed to sneak inside the layers of clothing and I soon became chilled.

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This really got me thinking, since I plan to go to medieval Christmas in Visby in the middle of December. Maybe I need to make a warmer coat with a lining and closure at the front? I am also going to bring my hood, better socks, and a woolen layer of underclothing. And woolen veils. Yeah, that will probably do the trick!

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Are you going to a medieval or historical event during the winter season too? Here is some tips I have for keeping warm (they were published 4 years ago in a Swedish version then) I also wrote this post in Swedish about keeping warm.

  • Layers are really nice, and loose layers will create isolation thanks to the air between them.
  • The choice of materials; silk and wool will warm you even if wet, while cotton and linen will cool you. Wear you wool dress or tunic against your skin, or add a thin modern layer of wool underclothing.
  • Fur is very warm, even a trim will keep the warm air inside the garments and warm you.
  • Leather is not warm at all (don’t trust the fantasy movies) but protects against wind if worn over woolen layers.
  • Do not let the weather chill your skin, protect hands, face and head. You lose lots of warmth from the head, chest and shoulder area, so a hood can make quite the difference! Use it as a way to adjust your temperature; take of when indoors, put on if cold.
  • Isolate your feet from the ground. Cold ground or wet feet will make you cold. Use woolen socks, and if you have medieval shoes a pair of pattens (wooden soles) will protect you. I often wear modern shoes to winter events to be sure I will stay warm enough.
  • If standing still in a market something on the ground will help you keep warm; straw, a woolen blanket, a sheepskin, a wooden board. Anything is better than nothing!
  • Wind chills you down; if it is windy or rainy another layer will help you keep warm, like a thick cloak, coat, shawl or a wool blanket.
  • As a woman it is the right time to be fashionable; headwear like veils and wimples will keep you warm. Even silk and linen veils will warm you and protect you from winds.
  • Eat and drink lots to get energy to warm yourself. Tea, hot chocolate, snacks; whatever you fancy!
  • When going indoors; remove some layers of clothing to get warm, but not too warm. To go in and out without undressing will only chill you further.
  • Already cold? Go on a brisk walk to make the movement warm you, do a little dance, or just jump up and down. Movement and energy intake (snacks!) makes your body produce heat.

Thats it- with some more planning I think I will do great during this winter!

 


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Tutorial; the simple medieval & viking dress

This is my tutorial with a very detailed step-to-step instruction, and I will base other tutorials on this one and simply state “do as in the simple dress tutorial but…” so this is a go-to for many different garments. I call it the simple dress since it is so versatile, the base for so many other garments! The translation was done in 2018, and the original tutorial is from 2015/16. Some things differ, and the changes I made is for a beginner to be able to make the dress as easy as possible. If you feel more secure; feel free to experiment!

It is also suitable to make mens kirtle, tunics and coats, just adjust measures and fitting to a male body. Most garments are more difficult to make for women’s bodies since the measures differs more, and therefore you will find more tutorials on my page for women’s clothing.

This is the dress we are going to make. Note that a regular S-sleeve does not have two seams, only one at the back. The reason my dress have two seams in the sleeves are 1. you will learn have to make that for doublet, jackets and 2. I saved fabric

Good tips:

If sewing on a sewing machine, pin from right to left, over the seam to make it easy to remove the pins while sewing. If sewing by hand, pin the seams along the seamline so as not to get the pins in your hand, or baste the seams.

When pinning; always lay your pieces on a flat surface and work on that while pinning. Pick a table or the floor, not some furniture with a fabric surface. If you work on a somewhat slippery surface the pieces will lay better and wont stretch in uneven ways.

Basting seams are an easy way to try the fit, size, movement and drape of skirts while sewing. basting the armhole before sewing make that seam easier to finish nicely. When you pin/baste together long seams, such as a diagonal cut gore with a straight panel, put the gore (the diagonally cut stretchy part) under the other one, when sewing on a machine the gore will not stretch and the seam will be nicer.

Dont be afraid to cut out your armhole according to your body. The sleeve should cover your arm, the arm joint, but fit snugly under your arm. To shallow an armhole will make your sleeve hang, but to wide will make movement hard. Experiment on scrap fabric first.

How many gores? Two are enough for undergarments and kneelong kirtles, four or more will give you more width, a smoother and more even fall of fabric and more movement when walking.Regular seam allowance is now 1,5 cm. For hems 2 cm. You can pick whatever measure you want between 1 cm-3 cm, just remember what you chose. Seam allowance is mentioned as s.a in this post.

Wash and iron your fabric before sewing. The fabric is prepped with heavy amounts of chemicals to avoid mold or bugs during shipping and selling process, and could be stretched uneven after the weaving. It will also most likely shrink a little, so this makes you able to wash your clothes after using them.

Start with your measures:

  • Around your upper body widest part (over the bust).
  • Length of garment; from shoulder to hem.
  • Length of arm; from shoulder-elbow while bent 90 degrees-to wrist.
  • Around your wrist (for tight buttoned sleeves) or around your hand to be able to take on and off the garment)
  • Around your armhole (if you find this hard; try to measure around a loose shirt or blouse. The armhole should be a bit loose without hanging).
  • length from shoulder to natural waist (for women) to hip (for men). This is where I attach the gores.

Draft the pieces you need on a bit of paper. Calculate the measures you need:

Around your upper body widest part: Divide in 2. Add seam allowance: 3 cm/piece. Add some extra for movement: around 6%. Example: around bust: 100 cm. Divide in 2= 50 cm. Add s.a = 53 cm/piece. Add movement = 53 + 6% = around 56 cm. Each piece is now 56 cm wide.

Length of garment; from shoulder to hem. Add seam allowance: 2 cm = hem + 1,5 cm for shoulders. Example: dress should be 140 cm when finished. Length of piece: 143,5 cm.

Length of arm; from shoulder-elbow while bent 90 degrees-to wrist: Example: 64 cm. This is a good measure for your sleeve, including s.a but not hem. So sleeve pieces should be 64 + 2 cm= 66 cm. Try on before hemming to adjust the length to your taste.

Around your wrist (for tight buttoned sleeves) or around your hand to be able to take on and off the garment): The narrow part of the sleeve. Check so you can put it on/off. Shape the sleeve to your taste so it fits comfortable around your arm while sewing the sleeve. This is just the starting measure.

Around your armhole (if you find this hard; try to measure around a loose shirt or blouse. The armhole should be a bit loose without hanging). The measure you got is divided in 2, for measure of armholes on front and back piece. Example: around my armhole I have 56 cm. 56/2=28 cm. Each armhole on the pieces should be no more than 28 cm measured (yes, measure the curve). The sleeve should be 2-4 cm longer than the complete armhole. 56 cm + 2-4 cm= 58-60 cm (measure around the S curve of the arm)

Length from shoulder to natural waist (for women) to hip (for men). This is where I attach the gores. Example: my measure is 38 cm. From the shoulder I measure 38 cm and make a line, here is where the gores should be attached on front and back pieces. For gores in the back and front, cut a straight line to 1 cm below this measure (39 cm from shoulder).

Length of gores: length of dress – length from shoulder – waist/hip + 3,5 cm s.a. Example: 143,5 cm -38 cm = 105,5 cm + 3,5 cm = 109 cm. Width depends on what kind of dress you would like to do, your over all size and how much fabric you have. I recommend a measure between 50-80 cm for each gore.

When calculating all these measures, draft them out on your pattern pieces.

Then, draft all the pieces on your fabric with a fabric marker and ruler. Control that you made all the pieces with the right measurements and that all fitted on your fabric. Mark them with front/back/sleeve/gore and so on.

Cut them out. If I work with linen, silk or brocade that will fray, I will now zigzag around all the pieces.

Sew the pieces together in this order:

  • Sleeves (to make tubes)
  • Gores to dress front, back, sides
  • Front and back shoulder seams
  • Front to back side seams/side gores
  • Sleeves in armholes
  • Hemming

Some notes: This work order goes for both sewing machine and handsewing. When I make a seam I finish it of before starting the next one. That means;

  1. pinning/basting
  2. sewing the pieces together front to front
  3. pressing down the seam allowance on the wrong side (the inside)
  4. cut down the seam allowance on one side
  5. press again, the wider over the cut one
  6. whip stitch the seam allowance down (can also be done when the dress is ready if you want to try the fit during sewing)

The reason to press the seams before sewing another one is that you will have flat and nice looking seams, and it will be easier to make the next on crossing the first. I really advise to at least press the seam allowance once, it makes such a difference!

A detailed step-to-step for sewing the dress.

Sleeves:

Pin the seam on the S-sleeve (the back seams if you have a sleeve in two pieces.

Sew the seam with running stitches or sewing machine. Remember to fasten/lock all seams at start and finish. Here 1 cm s.a is shown. I prefer 1,5 cm to easy fell the seam and whip stitch it down.

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Press the seams with an iron. If you use a fine wool or silk, a damp pressing cloth (cotton cloth) can be used between iron and garment pieces to avoid pressing marks. On the photos below you can see the difference between a pressed and a new seam. Totally worth the effort!

When pressing: press the s.a to both sides. Let it cool. Cut down one of the sides to half the width. Press the other s.a over the cut one, pin down if necessary. This will create a sturdy seam if sewn down, saves you time and looks neat on the right side.

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Pin and sew the other sleeve seam (if any). Press it the same way as the first seam. This is easiest with a sleeve ironing board, but if you don’t have any; press the seam with the sleeve laying flat on the bord. Try to avoid the folds in the sleeve with the iron.

 

 

These photos show the technique with and without a sleeve ironing board

Gores:

This dress use 4 gores, one at the middle front, one back, and one in each side seam. The gores give you movement and a good drape to the skirt. On female garments I want the gores to start by the natural waist (were you are slimmest) to accentuate the curve of hip and belly. On men along with the hips to give movement but no feminine curves.

Oh, right! I always forget to mention this; when drafting your gores, do not make them into straight triangles, but make them slightly curved at the base. Like in this example: the gore should be 100 cm long, and as you can see the rectangle is just that, so the gore will be exact 100 cm at the middle, but at the sides you need to measure from the top and down, 100 cm, and that will be a bit shorter than to the line.

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Why? To get the right measures, and a good shape at the bottom hem, as described in this picture:
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The gores are cut at a diagonal/bias on the fabric. This means they tend to stretch more than the front and back pieces when pinning and sewing. To avoid this, work on a smooth surface and pin + sew the seams with the gore under the front/back piece. This is mainly a problem on a sewing machine with too much pressure on the presser, but also a good tip for hand sewing.121sykil

One gore has a seam in the middle to save fabric. Pin, sew and press this seam first. I like to place this gore in the back so it wont show, and to create symmetry in the dress. Then, cut the front and back center to be able to attach gores there. Make the cut line about two cm shorter than the gores; like this:

Start with the side gores, pinning them to the front. Sew them in place, and press both seams the same way you did with the sleeves.

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Pin the front and back gores to the front/back pieces, right side to right side, one seam at a time. Sew it but leave the last 6-8 cm at the top. Repeat with the other seam, so you will have two gores with the tip loose. I prefer to make the tip by hand, from the right side of the garment.

3 different ways to insert gores:

Press the seams you made, and press the s.a on the front and back to either side of the slit, like if it was already done, from the wrong side. When reaching the end of the slit, the s.a will become narrower, and then disappear. Turn the piece and work from the right side. Pin the gore in the slit, so it lays flatly under the already pressed s.a of the front/back. Then sew it in place with a small whip stitch. With this method you can check the gore to be sure it fits nicely, and it does not matter if it turns out a little bit to big; it will look perfect!

Another method is to sew the whole gore with this technic, if you sew your garment by hand. This is also historically accurate. Start with pressing down the s.a on the front and back slits, and then pin the gore along each side, and sew it from the right side using whip stitches. Press the s.a on the wrong side, and sew this down with whip stitches on the wrong side to, like when felling the seams in the sleeves.

If you only want to use the sewing machine, work from the wrong side of the garment, and continue with your sewing machine seam to the top of the gore, making the s.a narrower as you go along the last 4-6 cm. If it is hard to see, fasten the seam, turn the gore up and sew it from this side (still on the wrong side, you just flip the garment from front/back to gore side). This might take a few tries before you get it right, just go slow and be prepared to rip the seam and try again if not satisfied.

When the gores in front and back are finished, sew the side seams; the side gores to the back piece and then the side seams (leave a hole for your arms for now. When all the gores are finished, remember to press all the seams!

Neckline:

I like to draft the neckline by hand for each garment, to be able to adjust it to each look I want. The secret is to try it on often, and just cut away a little at a time. You can choose between pinning, basting or sewing the shoulder seams before this. Make them the same way you did the other seams, but don’t press them yet.

Start with drafting neckline, and arm holes. Put the front and back on top of each other, mark the middle and draft a small neckhole. Mine is 18 cm across, 9 on each side of the middle. Make it shallow, about 4 cm, just in order to try it on. You can then draft the shape and size of your neckline directly on your body in the shape you want (just put the dress on, wrong side out and draft in front of a mirror. Copy the side you liked best to the other side, left or right. The neck will probably just be cut down with some cm, depending on your size, while the front will be deeper. Remember to leave 1-1,5 cm s.a; when you hem the neckline it will be a bit bigger than before.

Arm holes:

Making arm holes is much easier if you already got a toile/mock up to copy, but you can try this to. Put the dress on, wrong side out, and draft the arm holes where your shoulder joint start, follow the curve at the front. Mark where the holes should meet at the side, as tight under the arm as possible. Magically do this at the back/ask a friend/ take the dress of and draft on a flat surface.

Now you should have a drafted line at front and back. Measure these ones, and compare with the measure you took for your arm hole in the beginning. Redo if necessary, the armhole should be a bit narrower than the sleeves (about 2-4 cm) in order to make a good fitted sleeve. The front curve is deeper, and the back more shallow, but they should start and finish at the same place on the shoulder seam and side seam. It does not matter if one line is a bit longer (front/back) than the other, as long as the circumference is correct.

This is the difference on the front and back sides on my dress. Note that I also cut down the shoulder seams to become a bit sloping. This is optional for you, if you have very sloping shoulders it will help you with the fit. If needed, to this before the shoulder seams are finished. Then sew the shoulder seams and press them.

Attaching the sleeves

The next step is to attach the sleeves, and I will be honest with you; it can be a bit tricky at first, so don’t give up if you have to rip the seam a couple of times before you get satisfied. The most important thing is to take the time to pin/baste the sleeve to the body and check it out. Don’t hurry!

You will have two sleeves, sewn together to tubes. Baste the sleeve cap (top curve of the sleeve) with loose running stitches.

If you want to check out how the over all fit is, put on the dress and (make a friend) baste the sleeves around the armholes so they fit you nicely. Not the dress/armhole; but you. Move around, stretch. Then check if they seem to be by the s.a of the armhole. If they are= pro work! If not, just adjust them, maybe the armhole can be adjusted to fit you. Do not bother if the sleeve get a little creased or has small folds, that will be possible to fit inside the armhole, that is what the basting is mainly for. When you think you have something:

Mark out the top of the sleeve (towards shoulder seam) and the bottom (armhole towards side seam) with a marker or pin. Maybe there will be more sleeve on the back of your body, but that is just fine, you use it when reaching in front of you.

Take apart the sleeve and body, take of the dress (if you tried them out) and turn the dress inside out. Turn the sleeves to the right side. Put the sleeves inside the dress, and fit them into the armhole. They should lay right to right side now.

Pin the sleeve marked shoulder – shoulder seam and marked armpit – side seam. Continue to pin the armpit, the part under the arm. Lay the fabrics smooth against each other, no folds.

The sleeve is a bit wider than the hole, so it should make small waves, like in these pictures. This will be solved with the basting thread you sew on the sleeves. Gently pull them to gather the fabric of the sleeve a bit, in order to fit it inside the armhole. As the sleeve follow the arm hole curve better, pin it in place. The fabric should not make folds, but only gentle crinkles or waves. Adjust if you need. The basted and pulled together fabric should only be pinned to the upper half of the sleeve, never in the armpit.

When you have worked your way around the hole with pins and like the result, baste it in place with big running stitches. Make the other sleeve up in the same way, or try to make it the same… When satisfied; flip the dress to the right side, and try it on. Check the fit of the sleeves and your movement. A bit bulkiness around the armhole is ok, but there should not be folds or stretched fabric sections.

If it looks good, turn the dress back inside out, and sew the sleeves following the basting. Then remove all the basting stitches.

To finish of the seams, press them on a sleeve ironing board, or roll a bath towel firmly and put inside the arm if you don’t have one. Press the s.a down on each direction, then finish the seams like the ones before. I press them towards the body and whip stitch them down.

Wow, good job! Almost finished. Try the dress on again to adjust length, hemline, sleeve hems and neckline if needed. The sleeves should be a little to long when the arm is hanging, to fit nicely when you use your arms and bend the elbow. Check, mark any change you want to make, and do the same to the neckline. Ask a friend to check the hemline of the dress so it looks even, pin a new hemline if needed. Remember to check the length with the correct shoes/belt since these can make a different to how long the dress look.When satisfied, cut away any excessive fabric and hem the dress. I prefer to fold the edge twice, and whip stitch it down by hand. Remember that our s.a for hemming was 2 cm. Thick wools only need a single fold before sewing.

Thats it! Now you have made your very own garment! And you can use this tutorial, or parts of it to make other garments as well.


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From a Viking market

Gunnes gårds yearly autumn market is a really cozy place to be, and me and love traveled there to have a viking weekend together. There was a downpour when we arrived on Friday afternoon, but the rest of the weekend offered lovely weather and fun meetings. I hade a really busy time, and didn’t get as many photos as I would have liked, but maybe that is just a sign of having fun?

I brought my work with me, as usual, and we were hanging in our new market tent, meeting new friends and just having a good time. The tent is a market tent for all those viking markets (and for me when I travel alone) since the larger pavilion is medieval style, and also quite heavy to bring by myself. I am happy with the tent, though the large double bed we have is a bit big for it, but hey- it is hard to have it all!

During Saturday and Sunday I held two lectures about viking age clothing from a visitor’s perspective, hoping to lure more people into the interesting world of viking age… Love sat by the tent during that time, to try to help customers with questions. He is not by far as handcrafty or interested in clothing as I am (being more of a brewer/archer/gamer), but he sure looks the part in his outfit =)

Tried out a new hairstyle inspired from a find from pre viking age. It is a french braid from the top of the head going down, and then another regular braid with all the hair, twisted into a bun and pinned into place with the hair pin made of wood. Quite simple, doable without a mirror, but holds in place during the day. I like it, I will definitely try it out again!

I also got to try out my new apron dress. It is made in a very thin blue wool fabric, with a matching veil/thin shawl in the same fabric. Perfect for those warm market days during summer. Under I have a bleached linen shift. The jewels and beads I think you have seen before; it is all old and the glass beads are those I made myself. Here is also the hairstyle from the side, a bit worn since it was afternoon by the time we took the pictures

We also got the most awesome neighbours to hang out with! Two really talented spinners, one of them here with Susanna who runs Viking age clothing. I really recommend her patterns if you want to sew viking clothing for yourself, she is very knowing and talented in viking era clothing!

S, our neighbour, also had a very cool minimalistic camp, with just a small sleeping area, a cooking fire and some personal equipment.

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Now I am back home, and since this was the last market for the season, I am doing some after-season work; washing and mending clothing, taking care of camping equipment, packing everything down, writing lists and such. I am also doing a look over of the wardrobe and camp, and plan to sell of some things that has not been used during the season. Most things will be up shortly on facebook or my Etsy, so be sure to check in there every once in a while!

 


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14th century cotehardie

I have been reading up on 15-16th century medieval Europe, including art and clothing, for some years now and haven’t really been into 14th century for a while; I even sold of my Moy Bog gown and some other dresses. But then my friend J told me she wanted to brick stitch embroider a couple of purses; and I could have one in exchange for a minor handcraft effort (at least I thought so- I’m not really into embroidery…) and then I would need a fitting dress to that… And in almost no time I had this one finished, a hand stitched woolen cotehardie with silk lining, silk lacing at the front and short sleeves.

The dress is for the higher classes, and in pictures from the late 14th century it is worn with a kirtle underneath (a tight-fitting dress often with buttoned sleeves). Then it seems like the dress remain into the beginning of the 15th century, and is worn as a kirtle/middle dress with loose sleeves for a more fashionable look. After that, the dress seems to change a bit into the waist seam dresses (like my blue Weyden dress). This kind of dresses is very common on contemporary art and you can see them in different countries, with long or short sleeves, laced front or a hidden side lacing, and with buttons or lacing at the sleeves.

If you would like to make a dress like this for yourself, search late 14th and early 15th art sources (I have some at my reading tips) or look at my Pinterest bord about cotehardies.

Here’s my best tips for making the dress fit nicely:

  • Fit the sleeves in carefully, they should be snug around the arm for both good movement and the right look.
  • Make the lacing holes 1,5-2 cm from each other, no more, to make sure the lacing will not show the shift underneath.
  • Use a lining inside the dress to make it more supportive for the bust, to add shape and draping to the skirt. If you have a tight fabric budget; just line the upper body.
  • Try the dress on often during your work with it, and make the lacing before hemming and neckline. Also, you may fit in the dress at the end for that perfect look by leaving the side seams open until last. These are also good to leave open (just back stitch them and secure the selvages if necessary by zigzag or whip stitches) for adjusting shape, support or weight loss/gain in an easy and fast way.

On these pictures it is worn with loose silk brocade sleeves, but I’m planning on making a kirtle for it with long sleeves to wear under. On the head I wear my hair in temple braids, and then a silk tablet woven hairband. The veil is pinned down to that, and then I have a woolen hood for warmth. The gloves are modern and just for warmth, it was really chilly to go out with just one dress.

This was the first event trying it out, and after that I have been adjusting the dress a bit. Inside lining; the silk fabric getting snowy outside.

 

Hairband, pins and veil.

Historical accurate? The model is quite common for the late 14th and early 15th century, and the siluette of the period is a rather straith and smooth one, which I have tried to achieve by making the dress a bit loosely fitted around waist and hip area, in order to get the lean look of the time (I am built a bit to curvy for the 14th c ideal). The woolen twill fabric with it´s blue colour is representative for the periods upper class, blue is a common colour in women´s clothing during the medieval period, and the twill weave is fine and good looking. Dresses shown in period art often has a contrasting coloured lining, but it seems that this was most often in wool, linen or a cotton blend, while silk blends seems to be more common during the 16th century. For a more historical dress I would have lined the dress in a very thin wool, or made the whole dress out of silk. The pink, hand woven silk was chosen for it’s cheap price (1/3 of a wool fabric of the same weight), it’s look and the lightness of the fabric, making the dress comfortable and not hot at all.


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From the SCA event Majgreve

This May I went to a small and cozy weekend event outside Stockholm, to watch the Majgreve tournament and meet with new and old friends. It was such a nice event, the weather was perfect and the site beautiful.

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Wow, what a site! Don’t you want to go for a swim?

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During Saturday, everyone hanged outside by the lake, having lunch picknick-style, playing or chatting with each other.

The fighters got hot; so they continued to practice in the lake.

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I also got too hot, and decided for a swim in the lake. It was very cold, but very nice! I didn’t take any bathing photos because of no swimwear, but look at how happy I was afterward!

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I put up my shop on the grass and tempted children with stuffed horses and adults with shiny jewels. Works every time!

The jug sneaked around the bush, going on adventures of its own. Who owned it? Don’t know, but I know that it is based on a find of a medieval clay jug.

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Court in the shade

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Afternoon sun by the lake

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In the evening, tables was set outside by the shore and on the pier, and everyone enjoyed a pot-luck feast together!

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And finally, some photos of fellow SCAdians! I always try to take some photos and/or portraits during events, to let you meet some of all the amazing people I get to meet during my adventures!

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I had an amazing weekend, and really recommend you to visit a SCA event if you haven’t already, or to visit Majgreve next year if you live closer to Sweden and Stockholm!

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Wearing my 16th century trossfrau outfit during the event. If you want to know more about it, read my other blog posts about 16th century clothing, and check out my tutorials on the subject =)


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Tales from Double Wars

We went to the SCA event Double Wars in southern Sweden (Skåne) and traveled from early snowy spring to full summer in a day. Magical event on a beautiful site, and a really large historical camping ground. The drive took about 15 hours, so we divided it in two days and made some small stops and side trips along the way, like visiting historical buildings and eating ice-cream.

I am working on photos from the event, so the following blog post will be about the event, site, camp and lots of inspirational photos for you- hope you enjoy it!

The new red dress, late 14th century, in red wool with pewter buttons and front lacing. Since the event took place in early May, a warmer dress like this was a good choice. Being photographed in the camp site

Out new tent from Tentorium; we are really satisfied with the quality and the rainproof fabric, it kept us dry and comfortable living during the week-long event. Took the photo one morning, getting dressed in the late 15th c green kirtle (I will come back to this outfit later in a separate blog post)

One day we went for a short stroll down to the lake, through magical green forests with woodgarlic and birdsong

Do you remember my green houppelande with rabbit fur? I sold it, and tried out a new  model (how else to learn?) in a green high quality wool, lined with silk and trimmed with the same silk fabric, to imitate a painting I got inspired by. I call it the Weyden outfit; and I will write more about it when I got the time.

Love is feeling very well now, and was spending most of his time hanging around the archery, practicing or just having a good time. He is wearing a 14th century outfit, made of wool.

I also like archery, and discovered that most of my outfits was wearable for shooting and handling the bow. Even the fancy new red dress, with large veil was ok. What I didn’t like? My straw hat and the temple braids; they got in my way.

Here with love, practicing archery

Strolling around the camp groundsMarket day, love is jumping in to help some customers, while I had a snack and talked about clothing with friends.

jagochaleydis

Me and Aleydis by the lake, she was swimming in the cold water, while I was minding the sun…

Do you like what you see? SCA is a big organisation that is active in lots of European countries, USA, as well as other places around the world. Google SCA and your country or city to find out if you have a local group to join- SCA is friendly for beginners and there is lots of help and friends to have if you want to join in and journey with us to long-ago-times!


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My best tips for making a matching outfit

Making that matching outfit doesn’t have to difficult or impossible expensive, but it does take a fair bit of planning: before. Yes, I know it is the most boring part, but thinking before shopping is what makes the thing. So I put together a list of my best tips for making an outfit that makes everyone go “Wow” when they see it.

1. Decide on a colour scheme that you like, and follow it. You should have 2 base colours, with additional tones to match. In my case, orange and warm yellow is my main colours, as you can see on the amber necklace, the woven belt, the shawl and the apron dress. The hair band have a darker orange colour, but it is warm and intense to match the other tones. The red coat and the middle woolen dress brings in the additional colours to make the outfit interesting but have likewise a warm toned base.

2. Add some contrast or mismatch to intensify your matching outfit (yes, it works like that) it could be the opposite colour (red-green or yellow-blue) or a really dark detail to an otherwise light outfit. In my case, the green glass beads does match the yellow tones, but breaks nicely with the red ones. Still, they are in the same warm tone as the rest of the outfit. The uncoloured beige dress is another example; it doesn’t follow the main theme but have a warmer undertone so it works fine with the other  warmer shades.

3. Patterns or texture adds interest and depth to any colour. My apron dress is woven in a herringbone twill, and the coat is a bit uneven in its colour due to different dyes in the fabric, which is barely visible but adds texture and interest to the finished garment.

4. Darker and lighter shades; when choosing your colours make sure you have different shades and not only different colours. For example; yellow-orange-red make for a change in both colour and shade, but a light blue paired with a similar light green makes the outfit a bit flat. Add a darker green or blue-green tone and you will make the outfit more interesting!

5. Layers; plan for all the layers at once, and make sure they have different tones, shades or textures if they follow the same colour theme. In this case, you won’t end up having two orange dresses on top of each other, and can make sure that details will be visible.

6. Details; don’t we all love a well put together outfit? Making details lifts an outfit, and it can be both jewelry, accessories as well as useful tools, a knife, a jug or something like. Match it in colour, tone, shade or shape to your outfit. In my case, I chose to make a tablet weave to reinforce the apron dress, make the straps, and a matching headband. Having the same colour/pattern appear in different places adds interest and makes the outfit look well planned and matching.

7. Consider your own colours; colour schemes and matching is a whole science on its own, and there is plenty to read or check out on YouTube. Matching colours, creating interesting outfits and the like works the same way on historical clothing as on modern outfits or make up. Consider your own colours, if you have a warm or cold undertone in your skin, and consider what you like to wear. Using those kinds of colours will both make you more comfortable and happy during historical events. But also consider the historical finds; if you love to wear black and dark blue maybe that is not the best choise for your farmer viking outfit. But as these are considered as neutral colours in our modern eyes, maybe a dark grey with soft, plant dyed blues will do great for your viking outfit?

Got inspired? Did you find this guide useful? Please let me know by liking my FB page or leaving a comment on the blog!

 


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The Medieval Wedding Dress- the velvet gown

This is the final layer I made for my wedding outfit, it is a silk velvet dress inspired by the late 15th century over dresses. The gown is open at the front to allow for easy undressing, and to show more of the white dress underneath. This can be seen in paintings, though a closed gown would have been more common.

This was one of the most difficult garments I have ever made. The fabric is a silk velvet, sensitive, very thin and extremely flimsy; I so understand why silk velvet has been replaced by synthetic alternatives on the market (and it is not just a matter of price). The gown is fully lined with silk dupioni for support and look, and has linings in black silk taffeta and on the bottom, the same black high quality wool as in my love’s joined hose. I opted for the golden coloured silk because it did so well under the velvet, and made the velvet shine even more. if using a transparent velvet; try out different shades of lining fabric to find the one that gives you the look you want.

The gown closes with a small hook and eye at the waist, and then this belt is added. The bronze buckle and strap end is made after a painting from the period, and can be seen on houppelandes and similar overdresses from the period.

Working with the fabric. Here you can see the silk lining being laid out at the velvet to act as a pattern piece. The velvet was very sensitive, so pinning was only an option in seam allowances.

The fabric being so thin and flimsy, pinning it to the sturdier silk lining was a good help for cutting, basting and sewing. I treated the two layers as if they were one when sewing, making the seam allowances visible on the inside of the dress. Since the velvet is transparent where the pattern is, it was not an option to have the seams between the both fabric layers.

Front and back pieces of the body being laid out. With a patterned fabric, you might want to consider where to put your pieces, and in what direction. I let the two front pieces have the pattern laid out in the same direction, and then turned the back piece upside down, since the skirt would have the pattern visible in the same direction at the back of the gown. The two fronts doesn’t have to be similar in pattern, all contemporary art depicts uneven patterns on the front of dresses.

You may also note that the front lining pieces have the selvage running along the openings, since the velvet was stretchy, and silk stretch when cut on bias, I laid the pieces out diagonally on the silk fabric to have a non stretchy front, and instead add some flexibility across the body. This way, there is some small movement allowed over the rib cage, while the front lays flat against the body.

I sewed the gown together on the overlock machine, this was one of my best choices ever since the seam both helped with protecting the seam allowance and allowed for some stretchiness in the skirt. After the gown was put together, I hang it on my doll to let the skirts fall out. Fabric cut circular like in this case always seems to hang out unevenly…

And yes it did! I ended up cutting away between 10-15 cm in some places, but only 2 in the areas running along the fabric length. I was quite nervous- cutting a little each time and allowing for the fabric to adjust. There was some massive pinning and measuring and swearing going on at this part and frankly, I just forgot to take pictures because I was so frustrated. Here you can see the velvet skirts hanging out, the silk lining behaving all nicely and staying in shape.

After this, I worked with the hems and inside seams by hand. All the seam allowances were folded down, basted to the lining and then covered by a strip of silk fabric, whip stitched down. No ironing though; velvet does not go along with pressing so the seams were just smoothed out by hand. The front opening and the sleeves were lined with black silk taffeta, the same as love’s doublet were edged with.

The bottom needed a little more heavy lining, and I wanted something that could take some more wear than silk so I chose a thin wool tabby weave. Here it is, laying on the floor.

One of the seams, seen from the outside when finished of. The whip stitches securing the strip inside is not visible on the outside velvet, neither is the machine seam that holds it together.

I am very pleased with the dress, I really plan on using it in the future on events. It was not easy to make, but hopefully some of my experience shared with you will make you want to try one for yourself if you wish!

 

 

 


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The Medieval Wedding Dress; the silk dress

I am sooo behind writing about my different projects. I kind of have a bad conscience about it too, and I really try to work through all of my drafts, notes and old photos. I guess it has been quite the autumn and winter here, I really never post about those parts of life, but I like everyone else have tough periods in life. Life, dead and bills happens to everyone, as the saying goes. I am not going to talk about that today; I am going to show you my wedding dresses!

I made three different layers for the wedding outfit. A linen shift, a cream-white silk dress and the velvet silk over dress. The linen shift is made tight fitted, with thin shoulder straps and a supportive body, and then a loose skirt. Over that I also wore a linen petticoat with a strengthened hemline. It never shows, but it adds important stability to the cream silk dress so the skirt drapes the correct way.

Over these I have the silk dress, cream-white and lined on the inside with a really thin wool muslin fabric. The silk fabric is a taffeta, and even if that quality is a lot sturdier than other silks, it still needed to be lined for a better draping skirt and a smoother upper body. Here you can see some of the effect the petticoat has; making the dress skirt stand out a bit instead of hanging down. The taffeta also helps a lot.

The sleeves are unlined, instead I have the thin silk sleeves that is shown underneath. I didn’t want another layer underneath the silk dress, so the thin silk sleeves are just lose sleeves, attached by the arm hole on the dress. The lacing is made with silk thread, the same as I did the lacing holes with, and also the white freshwaterpearl belt. Around the wrist small pearls are fastened, kind of like a bracelet but easier to wear.

For these dresses I made full mockups in cotton fabric to get a feeling for the pattern drafting and models. Usually I like to improvise a bit, but now I somehow was patience herself while drafting… The skirts in both dresses are based on a full circle of fabric, that is what gives the dresses that magical drape and the deep folds in the fabrics. The mock-up was then taken apart and used as a pattern, here is half the skirt on the cream silk. Yeah, I actually cut out my fancy white silk dress on the floor, with heaps of fabrics laying everywhere. Creativity, you know…

More fabric, this is the other half of the skirt.

To prevent the silk fabric from fraying I sew all edges with a overlock. You can use a zigzag as well, but it is good to prep them in some way. I would have liked to sew all our garments by hand, but neither time nor my fingers allowed for it, so edges and some inside seams were made with sewing machines. The overlock really was my best friend when it came to the fraying silk fabrics.

I also reinforced the hemline of the dress with a thin fabric strip. This was pinned around the hem, and then sewn with a machine stitch. After that the lining was added so the strip was hidden on the inside between outer and inner fabrics.

Here is a nice close up on the silk lucet cords, the lacing holes and the matching silk belt with freshwater pearls. I really liked how the cream-colored fabric, the silk thread and the pearls matched each other

   

The dress has a waist seam, so it really is a circular skirt, a regular body with side seams/side lacing and set in sleeves, all in all a simple dress. Here you can see the waist line, the seam done by hand to get a good drape of the skirt and because the different layers of fabrics really liked to slip against each other.

A good view of the laced up sleeves from the side

And a view from the back, while walking in to get married.

This actually became quite the long blog post, so I’ll get back to you with the velvet over dress in a post of its own!

 


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Houppelande in velvet and silk

This was a very spontaneous project with no customer commissioning it, and not for my own wardrobe either. I just wanted to try out how the velvet would work in a full circular houppelande (late medieval over dress) and experiment a bit with pattern construction, seam techniques and silk fabric. I am actually very satisfied with the result; for a cotton velvet the fabric is in a nice quality and with a good drape, the pattern turned out very well, and the silk lining in the sleeves add that extra touch I wanted.

The materials in the dress is cotton velvet (black) viscose/rayon velvet (moss-green) and silk (sleeve lining) with a total of about ten meters for the whole dress. The cotton velvet is really affordable comparing to silk velvet, and is very easily maintained; I actually just put it in a washing machine, air dried it and it came out as new; no shrinkage, no creasing and no sad silk velvet after water washing… If you want to learn more about velvet fabrics, I have a guide about the subject under “tutorials”.

I finished the dress during our brewer’s guild meeting in early December, and would usually iron the silk lining first before wearing it, but it was such a good opportunity to take good photos in gear so the sleeve lining is a bit bulky still. But soon to be fixed!

The skirts are really full; the pattern is based on a circle and the houppelande is also called a full circular houppelande. Lots and lots of fabric.

I have some tutorials about making your own houppelande if you are interested (and also makes them on order by your measures). To make them dramatic, historical and with this massive draping of skirts, it does take more meters of fabric and patience than difficult sewing techniques…

I fell in love with the colour combo of black, moss-green and bright grass-green in the dress. Under is my late 14th century dress, going historical there shouldn’t be a visible lacing underneath this kind of over dress. The gloves are also modern, but was so very nice to avoid freezing my fingers of.