HANDCRAFTED HISTORY


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Comfortable and easy outfit for the 15th C

I wanted to tell you about my blue 15th century dress. It is made in a thin twill wool fabric and super comfortable and easy to wear!

This is one of the dresses I wear most when it is hot outside, but made in a thicker wool it will give you a really cozy overdress for colder weather too. I have used lots of 15th century pictures as a start for the pattern drafting and over all look, and you can find some sources + more info at the end of the post. Also, there is lots of posts about 15th century garments and fashion here so click the tags for getting to know more. I made this one as a pattern experiment, and it turned out so nice that I am tempted to make another one…

The pattern is basically the same as the one I used for my coat. The skirts are longer, and closed in the front with the opening reaching to the waist (easy to get in and out of) and the sleeves are S-sleeves (the seams are in the back) with an option to save on the fabric by inserting a gore in the back of the sleeve. This is the pattern outlay from the coat; if you want to make it to a dress just give the skirts more length, and redraft the sleeves to S-sleeves if you want.

The measures you need:

  • Lenght of garment (from shoulder to floor for example)
  • Armhole (or use a toile or pattern that fits you, the armholes are made in “the regular way” but will be a little deeper due to the width of the garment starting already from the shoulder. If you use a toile as a start, place the neckhole around 20 cm (size s-m) from the selvage and draft neckhole, shoulder and armhole from the toile before continuing the sides in a straight line.)
  • Sleeve length and wrist circumference (for the sleeves)
  • Shoulder width (around 8-13 cm) from the neck hole to were the sleeve starts.
  • Upper body circumference. Measure your body, and split the measure in 4. Use this as a guide for drafting the start of the pattern; the neckhole, shoulder and armhole.

As a reference, I started the neckhole 20 cm from the selvage/fabric edge and then drafted the pattern from there. To make sure you get the measures right and will fit in the dress; measure the width of the fabric pieces before cutting, especially if you have broad shoulders. Compare with the width needed over your shoulders.

It is easier to start from a corner, with the front piece and front sleeve gore 1.

If you are a beginner in drafting patterns, it really helps to start on a piece of paper with your measurements. Experiment until you feel more secure, and if you like, you can even cut the paper pieces out and tape them together to check the fitting. You dont have to make the pattern a full scale, you can work on a checkered paper with scale 1:10 (1 cm being 10 cm in reality)

The gores for the front and back skirts are just there to give some additional width to the skirt (F1,F2,B1,B2) and they should be half the lenght of the back/front seam. So they will get longer if you draft the skirt longer.

Give the pattern a try! This is one of those outlays that may seem more complicated than it really is.

After you have cut out all the pieces, sew them together:

  1. back seam and gores
  2. shoulder seams
  3. side seams
  4. sleeves
  5. insert the sleeves in the dress
  6. front seam and gores (leave the dress open from the waist or the chest area up)
  7. hemming and 1-3 small clasps at the front (if you like)

When I made the dress I tried different ways to achieve the folds; basting, gathering, and with a strip of fabric on the inside… But I like it best when it is loose and flowing so I removed all the stitching. Everytime I put it on now I arrange the folds after putting on the belt. They may slip around a little but is easy to adjust again to your liking.

Most of the fabric is gathered at the front and back to drape the skirt nice, without adding bulk on the sides. When choosing fabric, a thin but tight weave will give you a good fall and heavy drape to your dress.

There’s lots of pictures of this style of dress, with draped folds, and what appear to be sewn ones. The sleeves can be made rather tight or more loose, and the neckline higher or lower. Check out my pinterest for more inspiration!


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Working kirtle for the 15th century woman

This is a dress I made several years ago, to have as a simple working kirtle. I never got around to take photos and write a proper documentation about it, but now I got some feeling! In these photos the dress have been used for a couple of years and it has seen wear, washing machines and mending. So here’s my first tutorial for the autumn, and thank you for visiting and reading! (Both old friends and newcomers!)

This is a very simple working kirtle or dress, made to be practical as well as historically possible. The fabric is a plain wool weave, dyed to look like walnut dyed fabric. The skirt is partly pleated, partly flat sewn to the waist, and the upper part of the dress is fitted for bust support, side laced and has short sleeves.

I wear it with loose sleeves, pinned to the short sleeves and a gollar for warmth, under another fancier dress, or as it is if I am going to do lots of work or if the weather is warm.

The dress is hand sewn with wool thread in the same colour as the fabric, and it was one of my first garments made with wool thread instead of linen thread. I really recommend it! At first, I was a bit unsure if it was going to be durable enough, but after several years of using it, washing it in the machine (yeah, because lazy and dirty…) and treating it rather rough, it stays together really well, with only some minor mending.

I used running stitches on all long seams, and folded the seam allowances to one side before whip stitching them down. The waist seam and all edges was made with whip stitches, and the sleeves and upper body seams made with back stitches to be a bit more durable than the running stitch is. The running stitch is way more durable than many believe and common in extant finds, but for heavy support I like whip stitch and back stitching better.

The fabric is from Medeltidsmode, and I used around 3 meter for a dress. If you are much longer than me (1,6 m) consider buying another half metre. I did a quick pattern outlay for you, since it is old I’m not sure if I drafted the pattern along the selvage or across the fabric but you will get an idea of what pieces you need to make one for your self.

The dress was made using two front pieces (to have a supportive seam in the front was a good choice since I didn’t have any lining in the dress.) One back piece, two sleeves and the skirt panels. I drafted S-sleeves, but the dress is made with regular sleeves with the seam under the arm. That seems to be the most common in artwork from the time on short sleeves. Your choice!

Some thoughts on skirts:

Do you see that the skirt has way more fabric in the back, while the front is straight? This will give you a nice fall as well as enough width and volume, but if you bend forward to pick up things or work by the fire, this construction will make the skirts remain away from the flames closer to your body, rather than draping forward with your movement. Hard to explain, but try it! It gives you a very practical garment.

The front panels are marked C at the center front. The back piece is “upside down” to use as much of the fabric as possible. You could of course piece the skirt together with more panels if you like. On my dress the front panels lies smooth in the waist, with only a couple of pleats to allow room for hips and stomach, while the back part is pleated around the back.

Other ways of construction would be to make more panels/gores (see my green 15th c kirtle) or pleat the skirt fabric to the waistseam all the way around (like my 16th c trossfrau dress in purple and blue). Or just make a few decorative folds in the back, like on my blue Weyden kirtle. This is simply one possible way of interpreting contemporary art.

A tip on bust support:

This is (I think) my only wool garment so far that has bust support, but no lining whatsoever. This is possible only because of the plain weave, since it is not very flexible across and along the threads in the fabric. A twill weave would not have worked without lining.

The front piece has two arrows marking out small details in the fronts seams. At the center front there is a small bend going in under the bust, and at the side seams there’s another, making the seam run in a bend, and then changing direction after the bust and running straither over the stomach. This way of sewing will make the bust stay better in place, allowing for bust support without lots of sturdy layers. But the bust will have a rounder form and not as much steadyness as a garment with lining.

I did however put in a narrow strip of linen around the neck opening on the inside, to avoid it getting stretched. There is plenty of ways to make hems sturdier, such as a narrow strip of fabric, running or stab stiching or using another layer or quality of fabric on the inside, for example. You can find this in extant finds such as Herjolfnes and finds from 14th c London, as well as in paintings. It is an easy way to finish of your garment, make it last longer while being historically made.

The side lacing is made with sewn holes and a lucet braid in plantdyed wool thread. A wool thread will be a bit stretchy, and wont run as smoothly as silk, which makes it a bit slower to lace, but the cord will stay in place. On this photo you can see the lacing which starts by the sleeve and reaches to the waist seam, a gap were the shift is visible (did I have to much good food this winter?) and also some mending done on the sleeve. After the waist seam I tie the cord (I lace it from sleeve to waist) and the skirts are opened another 15 cm to allow for easy undressing. The skirt is not laced, it stays closed anyway, and by sewing some folds in the sides, the opening will not be very visible.

A note on fitting a dress like this:

I always make a fitting for every single item I make, and that is especially important if it is supposed to be tight fitting. I do have a basic pattern, drafted on my own body (a toile) but after I have basted the pieces together I need to try them on before sewing the garment. Every fabric you work with is slightly different, some more stretchy, some supportive and stiff, and by trying the pieces on you can adjust the garment to your taste.

The method for adjusting and fitting a dress like this is the same as I use while making a supportive upper body toile, and you achieve the support by taking in the upper body in the sides and front, sometimes also by stretching the shoulder seams upwards a bit.

A front laced kirtle is a bit easier to adjust to a bigger bust, but you can make it work with a side lacing as well, just remember to make the same adjustments to the laced side as the sewn together side, and maybe lacing it double one turn just below the bust for greater support.

For a complete outfit; linen shift, wool hose and leather shoes under the kirtle. A simple belt to hang the money purse from (change is very important for todays trader) and a veil on the head. Here I have a simple cap under the Great Veil, to have a base to pin it on. The veil can then be worn in many different ways, depending on how you like to wrap or fold it. 2-3 brass pins secure the veil to the cap under it.

Whoho! Finally documented this dress a bit, so now I don’t have to feel “bad” about forgetting it all the time. As you have noticed, this is not a complete step-to-step tutorial but rather a post with guidiance if you want to make a similar dress.

Many readers ask me to share more sources and such material on the blog, but according to copyright laws I am not free to post all the stuff that inspires me on the internet, and therefore you will often find links, reading tips and pinterest notions where you can find artwork and resources of your own. Hope you understand my take on this!

 


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Medeltidsveckan i Visby 2019

(This will be in Swedish, since I am mostly talking about workshops held in swedish during the Medieval Week)

Vill tipsa om årets kurser under Medeltidsveckan, eftersom jag är superpeppad på Visby och längtar efter en till vecka med massor av härliga människor, medeltid och nya upplevelser!

Jag har mina favoritkurser på Kapitelhusgården som vanligt (boka i förtid- de brukar vara fulla!) med mönsterkonstruktion av tajt sittande plagg (tisdag morgon), ärmar (onsdag morgon) och grundkursen i brickbandsvävning (fredag morgon). Kurser jag älskar att hålla, och som är fulla med kunskap, inspiration och nya vänner!

Nytt för i år är att jag också hänger på marknaden med tältet och har ett litet försäljningsbord i Craft Hives hörna av marknaden. Förutom bra hantverksmaterial och lite smycken kan ni titta in med hantverksfrågor om ni behöver tips i sömnaden, och på måndag + torsdag eftermiddag har jag en inspirationskurs i brickbandsvävning- perfekt för dig som provat eller gått grundkursen men vill komma vidare med vävningen och få ny inspiration.

(Just nu förbereder jag kursen genom att provväva lite band med individuellt vridna brickor, bläddra i ny fantastisk litteratur och packa silkestråd. Jag tänker mig en kurs med kantvävning, svårare mönster, olika tekniker och givetvis ett eget projekt efter deltagarnas intresse)

Visste ni förresten att den hemliga butiken har en egen webbsida nu med kalendarium? Sök på nätet så hittar ni den, och ps- den är jobbvänlig.

Ska du till Medeltidsveckan i Visby? Jag blir superglad av att få träffa bloggläsare, så kom gärna förbi mig och säg hej!


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Summer plans for 2019

It feels like the Summer Season has started now, and I am sewing, planning market tours and writing on new workshops and lectures. Weekends are mostly planned with market visits. Have my hands full, more or less.

As many of you know, Handcrafted History is much more than this blog: it is my business and main living! For me, the summer season is both fun adventures and lots of work. I travel through Sweden and into Finland and Norway too, and I will try to keep you updated with all the fun stuff happening! I might not have lots of time to write blog posts though; so visit my Facebook page HandcraftedHistory and my Instagram with the same name for more updates.

Here is my current schedule with all markets and events I’ve got planned. If you visit one of them- please come by and say Hi! I love meeting blog readers =)

May 11; SCA event V.Ä.V

May 24-26 Oslo Middelalderfestival

May 27-June 2 SCA event Doublewars

June 14-16 Hamar Middelalderfestival

June 28-30 Alnö Medeltidsdagar

July 11-13 Skellefteå Medeltidsdagar

July 15-21 SCA event Cudgelwars

August 2-11 Medeltidsveckan

September 6-8 Gunnes Gård

On SCA events, Skellefteå Medeltidsdagar and Medeltidsveckan I also have workshops planned, if you want to learn viking/medieval pattern construction or tablet weaving. At Gunnes Gård there will be a viking themed workshop, but what is not yet decided. You can also come by during events to have your own personal pattern made by me; but you need to book a time in advance!

 


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15th c clothing for men

Love got some new garments for his 15th c outfit this autumn. Do you remember the wedding outfit he had, with the silk doublet?

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It is a bit fancy for the everyday outdoor event, so now I made him a wool doublet with linen lining. It is based on period artwork, such as this painting by Rogier van der Weyden (St. John Altarpiece ca 1455-1460)

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The doublet has a couple of bronze buttons in the sleeves so he can open them if he needs to pull up the sleeves when doing dishes, and the front is closed with lacing in silk. It is not as tight fitting as the silk doublet, giving him more freedom of movement (or adding some weight in the gym)

He also got a wool coat with linen lining and fur trimming, based on several paintings by van der Weyden, like this one that is a portrait of Nicolas Rolin (Beaune Altarpiece ca 1450)

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The black, fur trimmed coat seems to be one of the most fashionable garments during this period, you can see it on several men in portraits and religious scenes.

The belt is similar to the one in the painting, made in bronze and black leather. It was mostly this detail that made me do the coat, and since the belt set was a wedding gift from our friend H-G it seemed like a good combination.

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In combination with his black pilgrim hat the outfit gets quite striking, but maybe a bit black. A red hat or chaperone perhaps would do the trick? Or red pants?


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Getting dressed in the morning

Follow me on one of my historical adventures and take a look inside our medieval pavilion, to find out what I do in the morning to get ready- medieval style! (Yeah, just like a regular blog person I post getting-ready photos and todays-outfit. I just do it in my way… super serious, promise!)

When the sun rises it gets bright, and during summer it also gets quite warm in the tent, if the sun shines on the roof. Our new tent is a little better; you can easily sleep until 9 if you don’t have to rise early for breakfast duty. We have curtains to create a sleeping area in the tent, and here I sit on the bed, dressed in a linen shift.

Combing out my hair before braiding it. I could say that I get pretty every morning before going out for breakfast and coffee, but the truth is that most often I just put on a simple kirtle or my brown coat over the shift to have my breakfast as soon as possible. But let’s pretend this is a morning with plenty of time…

Then I put on my woolen hose, my medieval shoes, and the garters that holds the hose in place.

After that it is time to put on the dress or kirtle. This is my green woolen 15th c dress, fastened with hooks and eyes at the front. An apron is good to protect the clothes and to finish of the outfit. Under the shift I sometimes wear a lengberg bra, a modern bra or a sports bra to get the support I need. They all work well, but the lengberg bra or a balconette model will give you the 15th c silhouette. If you have smaller breast, going natural works well too!

Then I usually braid my hair, and/or pull a cap and veil over it, or a cap and straw hat if I am working outside in the sun. The hairdo I will post in a separate blog post, with a DIY guide. This photo is from Double wars, being out in the forest in really nice and warm weather.


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Memories from Visby

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Greetings from Visby Medieval Week! Me and love traveled here with our friend Lali, shared an apartment and had a wonderful week with friends, ice-cream, new experiences, shows and music!

I spent most of my time at Kaptielhusgården, holding workshops in tablet weaving and pattern construction. Look at this amazing place! I never get tired being here and enjoy the feeling. During the mornings everything is more calm, but still buzzing with interesting classes and mealpreps in the kitchen.

I didn’t take any photos from my workshops this year, I always get so absorbed with talking and is more likely to forget the time… Also, this year was unbelievable hot and I actually got a heat stroke during one of my workshops. Phew!

The evening was better, and the last day cooler weather came over the sea, rolling in with thunder and rain. We celebrated by going to Kapitelhusgården for a drink (yes, back to work on my one free day)

We went to the marketplace, climbed the city to get the View, walked by the church St. Maria (and took the Stairs twice a day) visited Arkadias great show, and had a Good Time!

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And went for strolls in the botanical gardens, one of our favourite spots! A nice lady took this photo of us, love is wearing his wedding outfit, inspired from 15th c Italy, and I have a German 15th c outfit that is still on the try-sew-retry stage. Not completely happy with the folds and the neckline, but I have a new plan for it…

Last, I wanted to say Thank you! to everyone who stopped to say hi, or had a chat with me- it is so nice to meet readers old and new and make new friends!


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Cudgel wars 2018

This came to be a more personal blog post, so if you want to join one of my adventures from the summer, here we go!

Cudgel Wars is a SCA event in Finland, situated at a lovely site with saunas, beach, small boats for exploring the lake, and all the usual SCA activities like archery, fighting, workshops and more.

I traveled alone for once, and the long journey made me a bit tired even if most hours was spent on the ferry with food, apple juice and lots of sewing.

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Finally on site, I was super tired and needed to put up my camp before it got dark, so I asked some friends for a little help…

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And in no time the whole tent was up, R put together the wooden bed and I was moved in. Think everything was done in under an hour, comparing to Double Wars when our camp took three hours with three persons to finish. Thank you!

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Here is my home during the market season! It is so cozy! The tent is from Tentorium and I am very satisfied with the quality and all details in it, it feels sturdy, well done and is easy to handle even though the wooden poles are heavy to lift. The poles, pegs, ropes and linen canvas all fits in the car along with basic camping gear, clothing and three boxes of shop things, if I put down the back seats in the car.

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Breakfast inside the tent one morning; coffee and chocolate soft cheese on bread. Tired, in need of some alone time but overall happy. Sometimes the best thing is just to hang inside your tent, watching all the fun things happening outside and being able to feel contentment.

My friend B dressing her son in viking clothing for the cooler evening

Parts of the Frostheim group that I lived with, hanging in the kitchen area. Well, actually none of the persons in the photo lives in Frostheim, but having the best group makes for new friends…

In my tent, having some wine and wearing the 15th century outfit with the dress I finished sewing during Hamar, and the necklace I bought there.

20180712_222358And meeting lots of new friends and amazing people in the Purple Dragon household!

Taking some nice photos by the lake in the evening

M in two of her outfits

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The Mörk family

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R by the lake in his viking gear

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The site was situated by the lake, but if you wanted to take a small walk the forest was just above, with pine trees and a nature that felt very close to my own home.

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Trying out my bathing dress in the lake, and it worked well for both swimming, modesty, looking medieval and avoiding some sun. It was harder to get it of after when it was wet…

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The ferry took about 8-9 hours, traveling through beautyful archipelagos with small island, mixed with boats and longer stretches of sea.

All considered, it was a very nice event and I really recommend it to anyone searching for a SCA event that feels like a vacation.


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15th century headwear

There are many looks on headwear during the late 15th century. Everything from maiden hair hanging loose with soft waves, to several layers of linen veils wrapped around the head, with wimples or jewelry worn. There is both visible and hidden hairdos, fake hair pieces, caps, hairbands and circlets, as well as decorations such as pins, jewelry and braids.

In this post, I wanted to show you a few of my favourite looks and how to achieve them in simple ways.

 

This is a great veil, and it is simple a very long veil wrapped in layers about the head. The result gives you a turban, or if you prefer, a layered look with a loose end hanging. To keep the veil in place, add pins.

Fabric: thin linen 52*250 cm (or longer; up to 4 meters would be doable I think)

The short side should reach from forehead to neck, the long side wraps around your head in several layers. Cut out a square piece of fabric, and hem it around all sides with a small double folded or rolled hem. Use vaxed linen thread, and whip stitch or tiny running stitches.

Put the long side over your head, drape the veil around your head and pin it at the neck (do not make anknot, that will be to bulky and doesn’t look right in the end). Wrap the veil several times around your head, and secure it with more dress pins. Alternatives; wear it on top of a cap, headband or hairband. Let the end hang loosely, over one shoulder.

You can also wrap the veil folded, to achieve a more smooth look. The “secret” with making the look hold and look nice? Practice, mostly. I like to wear a base, like a version of the Birgitta cap, and then pin the veil to this one. When I wrap the veil around my head, the layers will go a little different each time, to cover the whole head in a good way.

In this look, the layers are wrapped from behind, and then swiped from the ear, over the forehead and a little back, to achieve the V shape at the forehead. This looks need some more pins at the top of the head to stay in place.

Veil with sewn layers. This veil is an experiment to achieve the look seen on many paintings from the period, in very easy means. A more historically accurate way would probably be to use a very long great veil, or the “strip with sewn folds” with a veil on top. But if you want to look the 15th century part easy and fast; this is it!

Fabric: thin or medium thin linen 64*250 cm

Cut out a square piece of fabric, and hem it around all sides with a small double folded or rolled hem. Use vaxed linen thread, and whip stitching or tiny running stitches. Then measure and mark folds on one short side, as many as you would like (between 6-20 folds). Make the folds by hand, press them down, and sew them with running stitches. At the ends (the long sides of the veil) you can make the folds go together to add some shape to your piece.

Put the veil over your head with the folds at the forehead, and pin it at your neck. The veil should hang over the pin and hide it. Then twist the veil fabric around your head until you have used the whole length. Tuck the end in under some layers, and pin everything in place.

Strip with sewn folds

Fabric: thin linen 64*20 cm (64*30 cm for more folds)

This is made either to pin on a cap, or fasten on your head with pins or ribbons at the neck. On top of it your wear one or more veils. A practical way to style your existing headwear into the 15th century style.

Cut out a square piece of fabric, and hem it around all sides with a small double folded or rolled hem. Use vaxed linen thread, and whip stitching or tiny running stitches. Then measure and mark folds along the long side, as many as you would like and can fit (between 6-20 folds). Make the folds by hand, press them down, and sew them with running stitches. At the ends (the long sides of the veil) you can make the folds go together to add some shape to your piece. At the ends you can make the folds go together to add some shape to your piece. Use two thin strips of linen or silk ribbon to fasten the piece at your neck, if you don’t want to pin it.

Here is the strip, pinned down on a cap, and covered with layers of veils.

I have been experimenting with some other veils too, but I’ll have to come back to them another time when I have put together my experience and drafted some patterns for you.


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The 15th century coat

For the Golden Egg challenge, I made a warm, woolen coat. The purpose with the coat was to make an over garment from sources that would be warm, practical and fitting for the period. After using it for half a year I am very satisfied; it is such an easy garment and yet it looks great, is comfortable and versatile. I use it as part of the outfit, when the weather is cold or wet, as a robe when visiting the bathroom early in the mornings, as a picnic blanket…

I drew you a basic pattern outlay, if you want to try it out for yourself.

The small gores F1 and B1 are just to save fabric, so the main pieces are 2 fronts, 2 backs and 2 sleeves. If you have a toile or mock up that works for you, you can use that as a base and then just draw out the lines from the sleeve/neck as I did on the pattern.

The fabric I used was 310 * 150 cm, if you are taller or need a size large or above, consider adding some extra fabrics for lengths and sleeves. You don’t really need as much width as I have, but it will give you a very nice drape and look.

The cut and pattern are based on paintings and what pattern instructions I have found from the period. I think it is a possible take, though I have seen outer garments with S-sleeves, sleeve gores and more intricate patterns and constructions. The side seams can be found in some pictures, as well as in patterns of outer garments from later periods.

When you have cut out the pieces needed, pin/baste and sew the coat together in the following order:

  1. back seam
  2. shoulder seams
  3. side seams
  4. sleeves
  5. insert the sleeves in the coat
  6. hem the coat
  7. put in a closure at the front neck.

I used unbleached, waxed linen thread and a running stitch, folded the seam allowance to one side and fastened it down with whip stitches. The hems were finished with whip stitching to.

I also trimmed the neck and sleeves with fur, since that seems to be common in contemporary art. To avoid dipping the sleeve hems in food, I made the sleeves wide enough to be able to fold the fur inside the sleeves when working- this turned out very practical!

Materials:

The coat is made in a warm, thick wool twill, with a rich, deep brown colour that would have been quite expensive to dye. Other good colours could have been walnut brown, red or black.

Linen thread for sewing, since this seems to be common in most finds from the period.

Rabbit fur for trims, because that was the only fur I found that was up to my ethical standards about how you should treat animals (eco, small family garden breeding, killed and tanned in the area without chemicals). White fur to match the paintings.

The clasp is based on a find from the period and is made in bronze

You can wear the coat loose, or close it with a belt. I often wear it with the belt, as it is more practical. If you want tips on sewing a fur trim on a garment, check out my tutorial on the subject!

Historical sources and why I did a coat

The outer garment could be a dress as well, as there are lots of warm dresses lined with furs or fabric in sources. I chose the coat as I wanted a practical garment, and know from experience that a second layer of wool dress would not be versatile enough for what I needed. The sources I have used are from the second half of the 15th century, in todays Germany. The Golden Egg outfit is based mainly on the period 1470-1490, but the coat belongs to the end of this period rather than being the “choice of all women”. So now you can decide if you should go for the practical coat or the more common dress when making your outfit!

Sources: if you want to check out some sources on 15th century clothing, I recommend some of this links:

Lots of clothing from Dresden

My pinterest on the project

A portrait

About the black engraving