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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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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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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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.


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15th century Headwear as a beginner

I actually started to write this in spring 2017, and now more 1,5 year later I finally feel that I can post it. Why did it take such a long time? Because it was a new subject I approached, and I was not confident enough to post something I didn’t really know that much about. But now, looking back, I can see that the post is just right for that moment in my work. It is the first in a long series of try out, and I wanted to show you some part of my learning process.

I’m really in the beginning of reenacting the 15th century, but find both the clothing and the headwear so interesting! One of the things I have learned while trying to do the headwear myself, is that it really is important to look at the details to get the over all look for your outfit.

This is what I came up with for the event my local SCA group had early in the summer. It looks ok, but really only is a lot of linen veils pinned down on top of each other, with a really long one then draping over the head at the end. But this chaotic look actually resembles some of the paintings…

Want to try it for yourself? I start by putting up my hair in braids, and then a Birgitta cap for a secure base. Then I add one or two thin linen veils on top of that, wrapped and pinned to the head like a turban, to get the volume and shape of the headwear. On top of those, I then add a very long veil that is pinned down, and then hangs loosely from one side. This is folded and laid over the head, quite loose. And that is all. I’m yet to learn the best way to put the pins, how many is needed, and most of all; remember how I did the headwear some months later when I want to redo it again.

 

Spara

Spara


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Tales from Double Wars

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

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

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

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

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

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

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

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

Here with love, practicing archery

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

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

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


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The Medieval Wedding Dress- the velvet gown

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 


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Lästips; 1400talsdräkt för kvinnan

Because the book is in Swedish; so will this blogpost be. It is about a new book about the late 15th century clothing for women.

Kommer ni ihåg att jag skrev om mansdräktsboken förut? Nu har även kvinnoboken kommit ut, och jag ville förstås bläddra i den också!

Boken påminner mycket om mansdräkten med samma lättöverskådliga layout, enkel och tydlig text, och stycken som efter en snabb genomgång ger dig koll på dräkten. Det är den typen av bok jag skulle börja med att skaffa om jag ville göra 1400tal, eller ge till en nybörjare som vet *ingenting* men gärna vill vara med. Det sena 1400talet är en komplex period med många samexisterande stilar och plagg, men jag tycker ändå att det känns som att den ger en överblick över det tyska modet, även om det inte finns plats för så många sömnadstekniska detaljer som jag skulle vilja- det är ju trots allt mitt intresse =)

Boken innehåller, förutom referenslistor, också massor av bilder från perioden. Bredvid varje avsnitt om plagg/material osv hittar du alltså både historiska referenser, bilder, skisser och materialförslag från ett modernt perspektiv. Dessutom finns ett uppslag om hur du får till 1400talslooken med en “turbanslöja”, jag förutspår att det här kommer vara nya innestilen till sommaren…

 


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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