Handcrafted History

Historical and modern handcraft mixed with adventures


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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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Sewing in velvet- a guide

Today I am sharing my best tips for making garments in velvet!

Velvet has a beautiful shine to it, with highlights rather than shadows. This can be seen in paintings, where the clothing is pictured with highlighted areas rather than darker folds. Like this; (though this may also be woolen cloth, but it goes for illustrating highlights in fabric)

  • The choise of material is important. On the market today, you can find different kinds of velvets, in both high and low quality. The original velvet fabric was made of silk, insanely expensive, and probably also sensitive for wear and washing. To buy a good silk velvet for your project is of course historically accurate, but also very expensive, and you will have a garment that is sensitive. But the look and shine of the fabric will be outstanding.
  • Cheating? For a silk velvet look, you could instead choose velvet made of viscose, rayon or a mix of synthetic fibres. This fabric is a lot cheaper, more durable, and is (depending on the quality and materials) close to how silk velvet looks. Avoid fabrics made of pure polyester, since these will be warm and uncomfortable to wear; a mix based of viscose is often the best. You could also go for cotton or cotton mixed velvet, the look is a bit more matte than silk velvet but black is quite close in appearance. The good thing with cotton velvet is that it is made of natural fibres so it is easy to wash, feels good to wear and is durable and fire safe (it will not melt on your other clothes if you are unlucky) as well as cheap. As an example; my wedding gown made of silk blended velvet costs 4 times more than a medium cotton velvet.
  • Ironing velvet fabric is often unnecessary, instead just hang it out. If you need to press seams or iron out stubborn folds, you need to iron the fabric on its wrong side, with a cotton cloth over and a bath towel underneath. This will protect the fabric, and the towelling (in swedish; frotté) fabric with its pile will act as a soft bottom so the velvet pile doesn’t get flat and pressed down. Iron gently, and always try it out on a spare bit first.
  • Hang it before hemming; to make the skirt hem as even as possible; hang the dress on a doll for a couple of days to let the fabric hang out, then pin/mark the hemline and cut it. The skirt on my velvet over dress is cut in a half circular piece (almost) making the fabric drape nicely, but also hanging out uneven in the hem. Look at this picture- this is the dress skirt before cutting the hem, it differs over 10 cm!
  • The pile is what makes the velvet special, and it is important to take care not to crush or flatten it out. When ironing; do so gently. When machine sewing, choose a foot/presser that is narrower, and loosen the pressure on the machine a bit if possible. Or sew the fabric together on an overlock machine or by hand. When cutting out your pieces, don’t step on or lean on the fabric, as this may crush the pile unevenly.
  • Baste- don’t pin! Silk velvet is quite sensitive, the pins might rip threads from the fabric so basting with loose stitches is a safer way to go. If sewing in other materials, it is still better to baste because the pile of the velvet, when put together with another fabric, tend to “walk” over the surface no matter how much you pin it.

A picture from our wedding day, the velvet dress looking all nice and innocent, not at all like me and the dress really hated each other while making it…


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Houppelande tutorial- part 2

Last tutorial was about how I made my first Houppelande (medieval over dress) that was an early houppelande, with a pattern layout that saved in on the fabric.

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Now we move on to the opposite; a full circular houppelande dress that was the high fashion during the 15th century, and where worn by both men and women (with different lengths and fashion details of course) The construction method for this one is open for discussion; there might have been gores and more pieces according to different fabric widths during the medieval period. This layout is practical and simple if your fabric is 150 cm wide and you want the houppelande to be of as much fabric as possible, the small pieces allowing you to save in on the fabric a little.

The construction idea is from an article I found ages ago (that is now lost on the internet?) And later tailor’s books which shows very full dresses for women and coats for men. The shape, style and drape of this method also looks similar to paintings of houppelandes.

First of, you need a lot of fabric. How much depends on your length, in this example I make a pattern that gives you a dress around 150 cm long; good for the shorter woman or for a man (since houppes for men usually leaves at least the shoes visible) That means you will need 5,2 meters of fabric for the dress itself, and then another 1,5 to 3 meters for the sleeves. Oh, and maybe a full lining to?

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The pattern is basically 4 quarters of a circle; forming a full circle when put together. The small pieces saves you some fabric, but you may cut out the full quarter circles if you prefer. If you go with the pieces, then sew them together with the quarters the first thing when you have cut them out, so you have 4 whole quarters.

Then, sew the shoulder seams together, that is the short straight seams above the arrows. Leave the arm holes (on the pattern they are cut out as half moons) and sew the sides together. To know how wide your arm holes should be; measure yourself loosely around your armpit, or use a previous pattern. Add extra cm for movement; at least 5-6 cm.

The seam length of the shoulder should follow your shoulder; between 10-14 cm depending on how long shoulders you have. The arm holes should be laying on the body, not falling down from the shoulder to your upper arm. Cut away what you don’t need, a little at a time if you are unsure.

When you are satisfied with the shoulder, arm holes and side seams, sew the back and front together with each other, front to front, back to back. In the front you leave an opening big enough so you can dress and undress easily. On paintings some dresses are open almost to the hip. In the back you need to leave an opening big enough for your neck, try it on and you will understand! The open seam will give you the neckline on the back, and can then be cut for a rounder style if you like, or you could add a collar.

So, that was it- quick and easy yes? Now the dress should look something like the sketch above, and you can attach the sleeves to the dress. Sleeves? Well, that is for the next part of the Houppelande tutorial series. Stay tuned!

Spara


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Slashing and cutting fabric- a tutorial

During the 16th century it became high fashion to slash or cut fabrics in a decorative manner, and this was taken up by landsknechts and their women as well. Being a fashion for richer or high-born persons, it was quite the dare for mercenaries to wear, but such a good way to show that you were a high earner with lots of status and gold on your pocket…

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So, I wanted to share with you all my best tips for getting that slashed and cut look that you may want for your outfit!

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But first, some good things to know:

  • The most important thing is the material to work with; wool is by far the easiest. In finds and manuscripts you will also find garments made by linen, silk or a mix of these and wool, but those garments will have very small cuts (also called pinking) made with a knife, and is a whole different story. So; chose a wool fabric. A felted, dense and tightly weaved wool is the best, this will give you a sturdy garment that wont fray easily.
  • The slashing is not hemmed. I know many people do this because they chose a sensitive fabric, they are afraid it will fray and tear, or they have just been told that all raw edges should be hemmed or sewn. Right? While there are examples of special kinds of garments being hemmed at cuts, the standard is to not hem or sew the slashes. They should be raw, made with a very sharp tool, and yes- they will wear out faster than a garment that is not slashed.
  • Yes- slashed and cut garments may not last as long as more sensible ones, or look very pretty after using and washing, that is the point with this fashion! You’ll have to be rich enough to order fine materials, pay a tailor to sew it for you, pay even more for the slashing and cutting, and then don’t mind that you will have to exchange the garment once it looks worn. If you are a more economically laid modern person, pick a wool fabric for your outfit, since this lasts longer than silk or linen.
  • Almost all slashed garments that I have seen have been lined with a second layer of unslashed fabric. This could be a regular lining, or a whole garment that holds together the one laying over, providing stability and fitting. I often use a linen fabric for wool and silk fabrics, but in the case with slashed guards (strips of fabrics) I place the guards on top of the main fabric, to make it visible through the slashing.

Feeling ready for some slashing now?

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The pictures are mainly from my trossfrau dress project, this from a woodcut that I have copied and coloured to get a feeling for the dress to be.

I usually wash my wool fabrics, iron them and then cut out the pieces I want for the garment. Before I sew them together I draw out my slashes on the wrong side with a fabric marker, and then cut them before I put the garment together. If you are not sure about the fitting, it is good to baste the garment together and try it on before this, since it is difficult to adjust fitting after the slashing is made.

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I usually also draw out helplines during this stage; everything that helps you make good sharp lines placed exactly were you want them is good. A ruler, some mathematics and a marker goes a long way. I also like to make a template to use while drawing out the slashes.

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Do not slash all the way to the edges, remember the seam allowance and leave 2-3 cm along the edges to make it easier to sew the pieces together.

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This is a larping outfit (only inspired by historical fashion) as an example of a durable slashed garment. The arms have slashes, but not the armpits or body, and the slashes ends some cm before the seams. Sewn in melton wool from Medeltidsmode.

If you want the garment to be sturdy and hold together, slash less along the armpits, side seams and crotch; all areas were the fabric gets more wear. If you look at historical woodcuts and painting, you may notice that tight fitted pants has no slashes at the backside of the legs near the seams, neither over the butt (there might be exceptions, as always)

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The finished dress, a hot day in Visby a couple of years ago

 


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Fur lined gollar- step by step

Fur can be tricky, so here’s some help on the way if you are going to fur line your garment (like this late 15- early 16th century gollar).

I don’t know how the fur lining were made historically, but I am guessing that you either treated the fur like a garment of your own (sew the fur together to a garment, then attach it to the outer fabric) or as a fabric lining (cut out the pieces of fur and stitch it to the seam allowances of the outer fabric once this is sewed together). A mix of these two might also be the case, due to the different challenge you face when fur lining a garment without it getting bulky.

If you only want a strip of fur on your garment, I find it easiest to cut out the fur pieces, and treat them like fabric lining; cut them straight and clean, join small bits if necessary before sewing them to the outer fabric. In contemporary art the fully fur lined garment seems to be the most common one, it is more like you could interpret some pictures as only having trims in fur. Fur was both fashionable and warm and used in many garments, and I have a fully lined gollar. This one becomes to warm during summer, and also take a lot of space in the bag when packing, so I though this new one would be a good alternative; fashionable, with the fur to warm me against wind, but lighter in both warmth and packing space.

I started with my wool gollar; I cut out the main piece and the collar, and sewed them together with running stitches. The most common thread for the period seems to be uncoloured linen thread, so I used unbleached linen that I waxed to make it more durable while sewing. After the pieces were joined together, I pressed down the seam and cut down the seam allowance on one side, to get a laid down seam. This makes the seam more smooth, and adds durability to the garment.

I tried to lay the gollar out flat, for you to get a good look. Note that it is not a full circle, you want it to lay flat against your back and shoulders in a tight fit. The fit on the gollar you’ll have to try out for yourself; so make one out of scrap fabric if this is your first one.

I then measured the collar and the front where I wanted the fur to be, and cut out strips of fur to match them. I then sewed them into place with linen thread and a small, regular needle. A thinner needle makes it easier to sew in fur, and pinning the fur into place makes sure it doesn’t stretch or slides.

At the corners I just sew the fur to the fabric, and leave the left over fur for later. Note that I treat the fur like fabric; sewing the furry side to the right side of the fabric.

When the fur is sewn onto the fabric, I cut away the left over and trim the edges down.

At the corners I trim away enough fur so when I fold the fur inside the garment it will not get bulky but fit together edge to edge.

At the bottom edge I want the fur to follow the curved front of the gollar, so I mark this with a pen, and then cut it away.

After trimming down the fur, I fold it to the inside of the gollar, and pin it in place. Make sure it lays flat when wearing the garment; fur can be tricky and does not adjust the way fabric do. When you are happy with the fit, sew the fur in place with whip stitches, or attach it to a lining. In the corners the two pieces of fur should barely meet, the hair will hide the seam, so just sew them together loosely.

I chose to have a lining inside my gollar in a thin woolen fabric, to add warmth, make it easier to sew the fur down with no visible stitching, and because a fully lined gollar can be seen in art. For the lining, I cut out another gollar, without collar (because the fur strip for that part covered the inside of my collar) and without the parts that would be covered with fur. When fastening the lining in the gollar, pin it in place and then sew it at the same time as you attach the fur on the inside. Start with the collar, and then the front opening going down.

Sewing in fur is time-consuming and quite tiring for the fingers. Nice company or a movie is good to have!

When the fur (and lining) is attached around the gollar I stitched the lower hem with whip stitches. To make the seam smooth, I cut away some excess lining fabric, as can be seen at the photo. So; adjust the lining, cut of excess seam allowance, pin and whip stitch.

To fasten the gollar you can use dress pins, small fabric strips, ribbons or lucet braided strings, hooks and eyes or do as I did; add a fancy clasp at the throat. At the end of the sewing I didn’t really like that the fur was so visible at the bottom, so I trimmed it down quite hard. Another option would have been to let the fur finish on the inside of the gollar, so it was not so obvious that the gollar was not fur-lined all the way around. Cheating is hard sometimes…

The clasp is a late 15th century find from Sweden, with A standing for “amore”. It added nicely, but for a commoner a hidden fastening would do better.

A note about fur; I recommend you to put some thought and money into the purchase of fur. There are still many fur-fabrics and farms that treat animals like shit, where the animals suffers greatly to become your hobby-based garment. If you buy rabbit skin for 7-9 Euro/skin you probably support these farms, even if not buying directly from them. A better option would be to buy fur from local farms where you can visit the animals, and get to leave the skin at the tanner yourself. You can also find good choices on internet, buy second-hand or choose fake-fur from the fabric store (not the most historical accurate, but I rather go modern than use unethical furs)

Some examples of gollars being worn by 16th century common people during dances. Some of them clearly seems to have a fur line around the hem as being fur-lined, while others could be unlined or lined with fabric.

 


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Loose sleeves with ribbons- a tutorial

More sleeves! If you have checked my “Pin on sleeves” tutorial, you will find some likeness with this garment, but I wanted to share my work and some nice tips. First some inspiration:

I started by drafting the sleeves from the pin-on pattern; the same as I used for my golden sleeves below (laying under them, you can se my original sleeve pattern for comparison)

First, I have tried out two kinds of sleeves that are tied at the arms; my wedding dress and lately, my 15th century Italian silk dress. The difference between these two sleeves is that my wedding dress is just opened at the seam in the arm and then closes with strings, while my green/black sleeves are cut out to make the chemise even more visible. Also, the green sleeves are tied at the shoulders and therefore loose; I can change them for others at any time. The wedding dress is sewn together, the sleeves sewn after the sleeve tutorial (in swedish) I have on my blog.

Here you can see the wedding dress, the sleeves are quite straight, and the chemise is puffing out between the laces. When making these sleeves, you just sew a regular S-sleeve which you leave open above the elbow. Hem the edges, and make lacing holes and sew on laces on the edges. These ends with a pearl decorated cuff, but just a regular sleeve will do fine.

The green sleeves look like this when cut out:

I started with my basic loose sleeve pattern in a scrap fabric, pinned it on my arm and tried out were the gaps with chemise sleeves visible should be, then I just cut away some excess fabric there, and here you can see the result. The sleeves are in pure silk fabric, and I wanted to make them reversible to be able to choose between green or black ones for my dress. So I cut out two identical pieces of fabric for each arm, here you can see the black sides. Remember to make them mirrored, one for each arm.

I then pinned the fabrics together, and marked out where the ties were going to be. Here you can see both layers of fabric.

I decided to sew them on sewing machine, since they are going to be turned inside out afterwards, so the seams would not be visible. But if you like; just follow the steps but sew them with running or back stitches instead.

To make it easier; sew the ribbons at the same time as you sew the sleeves together. I cut out the silk ribbons (40-50 cm each) and then pinned them by the seam allowance around the sleeves, on the inside between the two fabrics.

And sew around the sleeves. Leave an opening for turning them; I left the wrist open. Here you can see the silk ribbons in the seam allowance, just make sure they don’t slip away or get under a seam when sewing.

All done! Trim the edges by cutting away pointy corners and seam allowances at the corners, turn the sleeves inside out and iron them flat. Since I want them to be reversible, I will make sure the two layers of silk fabric lays smooth and even edge to edge around the garment so the black wont be visible when turning the green out, and vice versa.

Right; all ironed. Now it is time for some hand sewing; start by making lacing holes for the ribbons, and then fold the fabric edges at the wrist to the inside of the sleeves, and sew that side closed. If you use fake silk ribbons, you might be able to burn the edges carefully to make them melt and not thread. If using pure silk, you will have to sew the edges, or finish them of in some kind of way. I folded mine twice and sewed them down. This part took the most time on the sleeves, with the making of the sleeves on around two hours and the ribbon edges around 2,5 hours. I failed to photograph this part, apparently there was some movietime in the sofa instead. But this is what it looks like when done:

The silk ribbon has two edges and is pulled through the hole and then knotted. Either a simple knotted loop like this or a regular bow can be seen on art. At the shoulders the sleeve is attached to the dress by similar holes and ribbons, three in each shoulder.

Taking a picture on your outfit by yourself, in the middle of the night is not the best for getting that good light, but I so wanted to show you what it looked like. The raised sleeve is properly put on while the other one is still loose and hangs a bit.

And finally, some good advice when making silk sleeves:

  • Silk often needs to be lined to get that really good look, chose a thin fabric in silk, cotton or linen or a mix of these to get a historical lining which also works great.
  • Silk is not a stretchy material, so make your silk sleeves a bit larger than your woolen ones.
  • Try them on at a regular base while working to be sure you get the look you want.
  • Straight sleeves lay more flatly on your arm, while cut out sleeves gives more volume, pick the model that fits your project.


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Pälskantning till ditt medeltida plagg

This is a post about purchase and care for fur for medieval outfits. It was written some time ago and is therefore in Swedish.

Jag tänkte dela med mig av mina tips kring pälsar- både var du hittar dem och hur du ska hantera dem. Det här inlägget skrevs för länge sedan och är därför på svenska, men jag kom mig aldrig för att publicera det.

Päls?

Om du föredrar att använda fuskpäls, så finns det bra sådana på välsorterade tygaffärer eller på nätet att beställa. Ohlssons tyger har billiga fuskpälsar på metervara, men oftast är de av väldigt enkel kvalité, luddar och ser inte alls ut som naturlig päls. Leta hellre efter fuskpäls till kläder på nätet.

Jag letar ofta på loppisar efter begagnade pälsar som jag monterar isär och skär upp i remsor. Det är mer arbete, men också mer miljövänligt och billigare. Jag köper aldrig farmad päls och jag rekommenderar aldrig det- det finns många djurvänligare alternativ!

Vilka pälsar är medeltida?

Det som verkar vara vanligast i medeltida fynd och på målningar är ekorre, kanin/hare och mårddjur (hermelin, mink, mårdhund mm) men även rovdjur och bäver förekommer. Noppad bäver är en rolig variant där bara den fluffiga underullen sparats och täckhåren avlägsnats. I vikingatida fynd finns också katt, björn, säl mm. På medeltida målningar avbildas päls ofta som små fyrkanter med mörkare hörn i foder, eller fluffiga kanter runt plagg. Titta gärna på den period just du är intresserad av och fundera på vad som är i mode just då!

Det finns inga fynd på fluffiga benvärmare i päls, coola handledsremsor (tänk Conan) fårskinnsfällar som mantlar (Game of Thrones) eller hela djur som hängs upp på ena axeln (också tvserier…) även om det finns målningar på hela djur som accessoarer. Så om du vill satsa på medeltid; tänk kantning eller fodring med pälsbitar, så jämnt, heltäckande, och rakt skuret som du kan få till det.

Hur hittar jag päls?

Loppisar och secondhandaffärer har ofta gamla pälsar till salu för några hundralappar.

Päls och skinnhandlare säljer ofta pälsar, både hela och delar från olika djur. Fråga efter pälsar som inte är farmade, och gärna svensk päls. I Sverige är jakt reglerad av hårda regler och lagar, och du slipper rävpäls med tre tassar (där den sista sitter fast i någon sax…) I Sverige jagas räv och bäver för att hålla nere bestånden, och hare för köttet. Både bäver och hare passar bra till medeltida dräkter, och är betydligt enklare att hitta än ekorre, hermelin och andra medeltida pälsdjur som idag inte jagas för päls.

En ny, fluffig och vacker päls i ett marknadsstånd är mest troligt farmad; fråga och våga välja och välja bort!

Kaninskinn är ofta lätta att få tag på och relativt billiga, men kan komma från tveksamma förhållanden. Det finns däremot flera hobbyuppfödare i Sverige och Norden som håller kaniner hemma för kött och päls, ofta med ekologisk profil och en fin djurhållning. Många har hemsidor med bilder på hur de håller djuren (utomhus på gräs eller i fina inhägnader i flock) och säljer skinnen som ett sätt att få in extrapengar snarare än som sin huvudinkomst.

Fårskinn är fluffiga, fina och relativt billiga och har använts som varma folkdräktsplagg i Sverige. De förekommer i medeltida källor, och verkar tillhöra lägre klasser.

Vilka pälsar ska jag undvika?

Varg är fridlyst och vargpäls får bara säljas med tillstånd som ska följa med pälsen. All annan vargpäls är 1. tjuvjagad eller 2. farmad i små trånga burar.

Andra fridlysta djur i Sverige är lo och björn (läs mer här)

Nya, fina och fluffiga pälsar utan ursprung är ofta farmade. Eller värre, tjuvjagade. En seriös pälshandlare vet var alla pälsar denne köper in kommer ifrån. Läs gärna mer om pälsindustrin här.

Päls från länder som Kina, Indien och andra länder som är kända för dåliga arbetsförhållanden. Om medmänskligheten brister kan du vara säker på att respekten för djuren är värre. Att flå djuren levande, hålla dem i dålig miljö samt använda kemikalier och gifter i garvningen som sedan fäller ut från pälsen under användning är inget som låter jättetrevligt.

Hur hanterar jag pälsen hemma?

Om jag köper en begagnad päls (fårsinn, hel päls eller liknande) så fryser jag alltid in pälsen under några dygn för att bli av med eventuella skadedjur. Sedan vädras pälsen under några dygn.

Slutligen så monterar jag isär den gamla pälskappan, eller skär rent skinnen och gör om dem till remsor (för kantning) eller större stycken (till foder). Använd en brytbladskniv och skär från köttsidan av skinnet genom huden, men undvik att trycka hårt för att inte skära av själva hårstråna. Jag brukar ha en skärbräda under, men sedan lyfta pälsen några millimeter upp när jag börjat skära för att inte råka skära för hårt och ta av alla hårstrån. Det ger en finare och mjukare kant.

Päls luddar och hårar rätt mycket när du arbetar i den, så ha en dammsugare nära till hands, eller håll till utomhus, så slipper du få hår i hela hemmet. Slutligen kan du dammsuga av alla remsor var för sig på päls och köttsida för att få bort damm, lösa hår och fluffa upp pälsen lite.

Päls mår inte bra av att vattentvättas och blir ofta torr och skör, men är den smutsig eller ofräsch så använder jag lite såpa och ljummet vatten som jag sköljer igenom skinnet med. Det här brukar gå rätt bra med begagnade fårfällar. Plantorka fällar och skinn, och vänd på dem så luften kommer åt från bägge sidor. Jag brukar avsluta med att borsta fårfällen med en gles borste för att få ett finare fall på pälslockarna.