HANDCRAFTED HISTORY


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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

 

 

 


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Making a 15th c dress with a waist seam

This is my walk-through on how I made my green 15th c kirtle/dress in wool. It is not a complete tutorial with all details, so if you have never sewn before I recommend starting with a shift or other straight garment. If you want more good sewing tip, you will find many problems addressed in my other tutorials.

This is a common late 15th c middle dress for women, it is quite easy to make, practical and is shown in many different pictures from the period. Your choice of colour, neckline, clasps and other details will make it different, and if you choose a thicker wool fabric it will work as an over dress to. The art work I have used is from 1470-1485.

You will need about 3-4 meters of thin wool fabric, I bought mine from Handelsgillet, they have a thin twill fabric that is easy to work with and quite historically accurate for the period. I fell in love with the perfect green colour… And you can see some examples of green kirtles at the bottom of this blog post and in other art works from the period. The shade can be achieved with plant dying but is more expensive than a madder red or yellow, and I think it makes a good option for my outfit; a well of burgher from a city.

I lined my dress with prewashed, unbleached linen, but you only need to line the upper body for some stability, and that will need maximum 1 meter. I sew my dress by hand, with waxed linen thread. Running stitches for the main seams, back stitches in armholes and sides, and whip stitches for the seam allowances and hems is all you need. The dress closes with hooks and eyes, be sure to have lots of them!

This is what the model looks like, it is really simple, and if you have a personal toile/mock up for your upper body you can use that with some small modifications. The front opening should have a slightly curved seam to follow your body, and the closure makes the front pieces lay edge to edge.

Comparing to a supportive kirtle, you need a bit more room now for your bust area, it should be quite loose and lay over your breast, to get the shape of the period. Make a new mock up in fabric and make the front pieces a bit wider, and try it out.

The sleeves are regular S-sleeves or a sleeve with a curved upper edge and seam under your arm. You can see both from the period, though the S-sleeve seems to be more common. The skirt is made up of 4 pieces in my dress. Here is the pieces I used together with my measures (around 36-38/small European size)

The dotted line on one of the skirt panel indicates a gore to save some fabric during cut out, but I wrote out the wrong number of pieces; the left panel is the front and you only need one of that. But this is just one way to create the skirt; you can use more pieces, gores, or just 2 wider parts.

The upper body back piece is whole, you can shape the back in the sides and with the help of the waist seam.

I lost my sketch of the outlay (how to place the pieces on the fabric) but made another one just to show you. Since I am a rather petite person, I can use the width of the fabric for most outlays, but if you are longer than I am (around 160 cm) you my want to lay the skirt panels out the other way. In this picture the panels are a bit wider in the back than that above, so you only need two. The front is straight or almost straight. Note also that I apparently drafted regular sleeves instead of S-sleeves, but you will get the idea…

After I cut out all the pieces, I basted the dress together to try it out. When happy with the fit and measures, I started to sew all the seams by hand. If you keep the correct basting stitches while sewing, you don’t need to pin and can easily work in the sofa, super cozy!

Make the dress in the following order:

Sew the upper body together, front and back pieces, and then sew the sleeves before you insert them in the body.

Sew the skirt panels together, but leave around 20 cm at the top center front, to be able to put the dress on (the slit shown on the first sketch). I hemmed the body and the skirts upper circle separately, and then attached them to one another with whip stitches. This seam will get a lot of wear, so it is nice to make it twice, or use a sturdy thread like the buttonhole silks or a thicker linen thread, like 35/2.

When the whole dress was assembled together, I put it on my doll to hang out for some days, before I cut and hemmed the skirt and sleeves. If you have a doll, it is really good to leave the dress hanging for a couple of days before hemming, this will make the fabric in the skirt stretch out, and you can cut away excess fabric to make the hem even.

The front with its lining is sewn from the right side, first with basting and then with a seam. To make the front opening and the neckline more durable I added a second row of stitches around.

The hooks and eyes are fastened last. This is what it looks like on the inside, note that I have sewn the hooks and eyes not only in the loops but also at the stems/higher up. This will make your opening lay flat and give that characteristic look at the closure you can see on 15th c paintings.

And finally, some of my favourite artworks that I used during my research. As you can se, they are all green kirtles, of the same models, but with some different cuts, necklines, closures and headwear.

Historically accurate? My main aim with making this outfit was practicality, durability and a dress I would feel comfortable in, based on period clothing. With this said, I aimed to make the dress (and outfit) as historically believable as possible from my means.

The fabric is machine vowen and dyed to cut on costs, but the pattern construction, sewing techniques, material and look aims to be close to the dresses from the period. Another modern take is the hooks and eyes, which are machine made instead of handmade.

I rarely work with metal due to some problem with my joints, but I tried to make a couple of hooks and eyes by hand. It is not hard work, they got quite pretty, but I didn’t make enough of them for a dress.

One thing I did give a lot of thought was the lining. My experience is that lining a skirt with a different material that is sewn down in a slim hemline rarely gives a good result. But I was curious, and gave it a try with the method of letting the skirt and skirt lining hang down before cutting and hemming. It worked quite well, but gave me a lot more work than leaving the skirt unlined. In artwork you can often see a lining inside the dresses, and this was a try to make one without adding warmth with another wool layer.

 

 

 

 


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Kirtles and dresses during the 15th century

This post is about my work with 15th c dresses for the Golden Egg challenge I do in the SCA, and it will be something like an overview on dresses. If you want pattern outlays and sewing tutorials, check out my tutorial page!

 

What is really the difference between a kirtle, middle dress, dress, under dress and so on? Not much, except the words. All these can be used for the same garment, depending on the country of origin and the period. A kirtle refers to the main (upper body) garment for both men and women, which should be long (and loose at the hem). A tight-fitting, short garment with the same function is called jacket or doublet. A kirtle can be both a tunic and a dress. So it is more of a language term than a specific garment.

Dresses is basically what you think it is; long garments (for women in this post) worn in different fashions, styles and materials. The medieval women generally wore several layers of garments, so to better talk about these they are given different names.

 

  • The shift, chemise or under dress is your underwear, usually in bleached or unbleached linen, washed frequently as you would do with modern underwear.
  • The supportive shift is a sleeveless, tight underwear to support and shape your bust. You can se it in both pictures and as a find (lengberg). You can wear it on its own, under the middle dress or together with a shift with sleeves.
  • The kirtle or middle dress is the next layer, often in wool, but also in silk, cotton, velvet or mixes of materials. You can wear this in public, and during the 15th c it is often tight fitted. The cotehardie? That is french, meaning basically a kirtle but is referred to as a tight fitted 14th c garment for both men and women, often with buttons or lacing.
  • The dress or overdress is a warm layer worn on top of the first two, during the 15th century it is often loose, with lots of draping fabric. And as expensive as you can afford it. The houppelande? A certain style of overdress, with an opening at the center front, often elaborate sleeves and lots of fabric in the skirts.
  • The coat or cloak is a layer of its own, to protect the wearer from the weather (or for symbolic/religious use) or as a fashionable garment. Women and men both wear them and own them in sources, but they don’t seem to be high fashion during the 15th c, more like a practical choice.

 

 

During the 15th century, fashion seems to change quite fast, and you can also see many different styles of dresses at the same picture or geographical area during the same time. If you want to research different kind of styles yourself, I recommend diving into some artwork for the period. I have two pinterestboards to check out, one about my Golden Egg project here, and another on interesting 15th c clothing here.

I also wrote a post about research and artwork here. I could really go on and on about different models of dresses forever, but to keep it simple I am just going to show you some different examples I have tried to recreate from the 15th c:

For my wardrobe, I opted for the green kirtle, a simple dress with long sleeves, a waist seam and front closure with hooks and eyes. The sleeves can be loose enough to roll up to the elbow, or a tighter version like mine. The front opening continue after the waist for a bit, to make the dress easy to take on and of. Decorative clasps by the front, or lacing seems to be options for this style. It also seems like the kind of dress you can wear as both middle or over layer on your outfit, depending on how you fit it and the material.

But I also got curious and tried out the loose dress model with my dove blue dress, based mainly on a picture from Bohemia. These model can often be seen with a decorative closure at the neck, and is held together by a thin belt by the natural waist. The breast can be seen as two individual shapes; you need a lengberg bra version or a modern balconette bra to achieve this look! (or go natural)

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Before, I tried to recreate this kirtle with short sleeves and a waist seam with a plaited back, based on some artwork of Weyden. The sleeves have a seam under the arm instead of the more common S-sleeve, the middle back has a seam, and there is a strip of fabric around the neckline, as a way of giving support to the shape. The front of the skirts lay smooth to the upper body, but at the back there is plaits to add volume and a nice drape to the dress.

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The houppelande is such an interesting garment, and I have tutorials about the different pattern and outlay. These are some of my different versions I have made. I really am a fan of this green colour as you may have noticed, and my friends use to joke with me if I don’t wear green on events…

 

And here is my pinterestfolder on different houppelandes and overdresses.

This became a quite long post! I will try to keep up with making some more tutorials for the different models if you want to try them out yourself.

 


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How I make my 15th century braids

I took some quick pictures to show you how I make my braids for the 15th century outfit. I do not make them to all events, and they end up looking a bit different each time, but this is the basics for the look! (this is not a historically accurate way, but it is one that really works for me during work and camping events so I wanted to share)

You will need:

Longer hair, or hair extentions.

Brush, comb, hair wax (optional), rubber bands or thread, 2 bobby pins.

First, I divide the hair in two sections, and brush them out. Then I usually add some natural hair wax to get the hair a bit easier to work with. The hair is pulled to the front, and the braid is a regular 3 strand braid that begin over the ear.

Look at the start of the braid, it is really high up and almost at the front of my hairline:

 

Braid both sides, finish them off with a small rubber band or thread. I always use rubber bands, because I am lazy…

After this, it is time to fasten up the two braids in loops. I usually do this by pulling a bobby pin through the rubberband, so the pin hangs in the end of the braid. This is the hair from behind; you don’t have to make it perfect, but try to pull the braids tight from behind to avoid the hair falling down your neck.

After that, grap you bobby pin, fold the braid back and put in the bobby pin at the start of your braid. If you have extentions, you can pin it through one of these for extra firmness. Make sure the pin is secure, give it a small “twist” to secure it inside the braid.

Then it should look something like this. The loose hair ends lies against my head, behind the braids and under any cap or veil I will wear. The bobby pin and rubber band is also hidden. Note the lenght of the braid in different paintings when deciding how long yours should be. I like them to reach the line of my nose, it makes my face look cute.

And from behind

There, all done! I have discovered that the best way to hide the loose hair and the small hairs at the neck is to use a modern, thin hair band in fabric, that I pull over my head and smooth away the hairs with. I didn’t use that this time, and you can use hair spray, wax, bobby pins or whatever you fancy to hold your hair in check.

The result? This is what it looks like when styled with the 15th c great veil.