Back in 201something (2016 maybe?) I made this outfit with a brown woolen overdress, based on Drei Schnittbücher by Katherine Barich/Marion McNealy. I wrote a research post to summarize my background research and thoughts but never got around to writing about the finished outfit. The research focused on middle Europe in the early 16th century, but when I found the book with pattern drafts I took the sidestep to try and make the gown after one of the models presented, even though it might be more probable to have made a dress with a waist seam like my trossfrau dress. But who can resist a fun pattern draft from a medieval tailoring book?
Since then, I have been wearing this outfit several times and even adjusted the dress with a lower neckline and a piece of mending over one of the skirt folds. I like this outfit since it is both pretty and comfortable for working, so I thought I would share it with you.
Winter event, with all three layers
I start with a basic linen shift in half bleached linen, based on my tutorial. It has a square cut neckline to match the dress and kirtle, and long sleeves.
Over that, I wear a kirtle or middle dress in wool, sleeveless and simple. This is a really practical working garment, and allow me to roll up the shift sleeves when doing dishes. Back then, I had a yellow sleeveless dress, that got sold to make a new one, one size larger.
Unfortunately, I got sidetracked when making that and decided on an Italian styled dress that is also shown in this tutorial. After that, I realised I really needed a middle layer to make this outfit complete, and made another kirtle in grey-blue wool, with a decorative fabric strip in black wool.
Both the middle layer and the overdress is rather tight fitted, giving me bust support when worn.
(This is what it looked like at first before I moved the neckline down a bit)
The overdress is made in brown wool with decorative borders in amber coloured wool. I liked this dress pattern since it is quite different from others I had tried, and I fell for the challenge. Sadly, the tailor books do not come with much information about how one should assemble all the pieces, so you could best describe this as a try on a medieval pattern, rather than something strictly copied.
I adjusted the cutting out of the fabric pieces to fit the fabric I had available, which was around 300*150 cm of wool. I also choosed to widen the skirt at the back to make it look more like the artwork from the period. The tailoring book shows the centre back (and front) straight, but that does not give the desired folds seen on women. Maybe a gore was supposed to go in there, or some other adjustment that was so obvious none bothered to write it down? To accommodate for the skirt width, I had to piece the sleeves with three different fabric scraps to get the dress together.
The front piece is folded at the centre front, making the skirt without a seam in the front.
The back pieces are pieced at the hem for fuller width
One of the sleeves, basted for trying on.
pattern pieces from the book
The overdress (well, the entire outfit) is sewn by hand, and on this dress, I only used linen thread, a choice I based on research for the period. Sadly, I have misplaced many notes and sources so the only reference I have left is a note saying “linen thread common for working-class clothing, do not bother with silk or wool). Ok, I apparently did that…
The skirt panels and some longer seams are made with running stitches, and the rest of the dress is sewn with backstitching, and the seam allowances are sewn down with whipstitching. The decorative fabric pieces are also whip stitched in place. On the inside, the dress is lined with a piece of sturdy linen fabric in the body, and the front closing is reinforced with a piece of linen canvas and closed with hooks and eyes. Another possibility would be lacing, but I like how fast the dressing is with hooks and eyes!
I found this model harder to fit than the 16th c models with waist seam, since you can’t adjust the waist placement during fitting. It has to be cut out at the beginning. I like to raise the waistline 1-2 cm above my natural waist to achieve the early 16th c silhouette, and that was more difficult here. But the dress made up for it by being really fun to assemble with the skirt folds.
I folded the skirt part that stretches outside the body in several folds and fastened these to the sides and centre back of the body. This gave a lot of strain on specific parts of the dress, causing the folds to rip when someone accidentally stepped on the dress hem. So I mended that side with a piece of fabric.
Here you can see the folds in the centre back and sides.
If I were to remake this whole pattern, I would choose to cut a slit between the body and skirts and fit the skirt in folds as you do on 18th c clothing. But this was several years ago and I hadn’t tried that technique yet.
Side view showing the gathered skirt fabric in the side; drapey and voluminous!
The greatest thing about this pattern was the drape of the skirt. It is full and generous and the folds look great in the centre back and sides. The front on the other hand is straight, with just an extra 15 cm overlap to allow for getting out of the dress. I just fold the gap shut and wear an apron above, but you could pin or hook it in place, or make a slit in the front. The straightness of the front makes the skirt great to work in; when I bend forward the skirt rearrange itself towards my legs, avoiding any flames or obstacles before me. Someone gave this thought “back then”!
The gollar I already made a tutorial for, and you can find it here. The early photos show an amber coloured English broadcloth gollar, fully lined with fur. The red one only has fur strips, enough to add some warmth but still be conveniently small for packing in a suitcase… Erh, I mean historically stylish yet cheap. Yeah?
The cap is a simplified Birgitta cap, and should be worn with a veil on top to be considered “well dressed for the public”. These caps are unusual in contemporary finds from the 16th century, I have seen a model doll and some “maybe” examples in art- it could be a cap but could also be a folded veil or other headwear. Hairnets, veils, braids, straw hats and other kinds of headwear are also visible. The most important is to have your head “dressed”; either with a hairstyle or headwear appropriate to the period.
You can find my pattern on the Birgitta cap at my Patreon or in my Etsystore.
The hoses are the same knee-high wool hose I use for other outfits, and here is a tutorial to make your own.
The apron is made in handwoven linen and smocked with linen thread. Two double folded strips of fabric were sewn shut to form the bands that I tie the apron with. The rest of the apron is only double hemmed and sewn with whipstitching.
When I went back to my old research post I also remembered that I wrote that I needed a jacket and a cloak, amongst other things. I actually made several examples of wool jackets, but they never made it to the blog for some reason. A black wool jacket based on the same tailoring manuscript book as the dress got photographed at an event, but then I sold it to make another one and try out some variations.
photo: Annika Madejska
Phew! So this was a lot of thoughts, and sewing, and years gone by without finishing up the writing on this project. I seldom return to old projects like this one, but since I still like it I thought it would be fun to share it with you. It is not a tutorial of any kind, more of a diary or a presentation of a project done.
Sometimes when you see others on the internet doing cool projects and posting photos of fancy dresses it is easy to feel like you don’t get anything done, but sometimes the road to finished projects can be long, windling and a bit unsure. It is ok too!
My Patreons wished for more research to be published, and I am happy to do so! Want to support the blog and be able to ask for content? Consider joining my supporters here!
This May I went to a small and cozy weekend event outside Stockholm, to watch the Majgreve tournament and meet with new and old friends. It was such a nice event, the weather was perfect and the site beautiful.
Wow, what a site! Don’t you want to go for a swim?
During Saturday, everyone hanged outside by the lake, having lunch picknick-style, playing or chatting with each other.
The fighters got hot; so they continued to practice in the lake.
I also got too hot, and decided for a swim in the lake. It was very cold, but very nice! I didn’t take any bathing photos because of no swimwear, but look at how happy I was afterward!
I put up my shop on the grass and tempted children with stuffed horses and adults with shiny jewels. Works every time!
The jug sneaked around the bush, going on adventures of its own. Who owned it? Don’t know, but I know that it is based on a find of a medieval clay jug.
Court in the shade
Afternoon sun by the lake
In the evening, tables was set outside by the shore and on the pier, and everyone enjoyed a pot-luck feast together!
And finally, some photos of fellow SCAdians! I always try to take some photos and/or portraits during events, to let you meet some of all the amazing people I get to meet during my adventures!
I had an amazing weekend, and really recommend you to visit a SCA event if you haven’t already, or to visit Majgreve next year if you live closer to Sweden and Stockholm!
Wearing my 16th century trossfrau outfit during the event. If you want to know more about it, read my other blog posts about 16th century clothing, and check out my tutorials on the subject =)
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). This method may be used with a good fake fur too!
I am guessing that you historically 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 challenges 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 garments seem to be the most common one, but some artwork you could interpret 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 too warm during summer, and also take a lot of space in the bag when packing, so I thought this new one would be a good alternative; fashionable, with the fur to warm me against the 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. A common thread for the period is uncoloured linen thread, so I used that and waxed it to make it more durable while sewing backstitches. After the pieces were joined together, I pressed down the seam and cut down the seam allowance on one side, and felled the seam allowance with whipstitching. 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 on yourself; so make one out of scrap fabric if this is your first one!
I 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. If you find it hard to use pins, try with fabric clamps/sewing clamps instead.
At the corners, I just sew the fur to the fabric and leave the leftover 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 leftover 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 does. 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 woollen fabric, to add warmth and make it easier to sew the fur down with no visible stitching.(a fully lined gollar can be seen in art.) For the lining, I cut out another gollar, without a collar (because the fur strip will cover the inside of my collar) and without the parts that would be covered with fur. When fastening the lining in the gollar, pin it or baste 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 in the photo. So; adjust the lining, cut off 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 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 suffer 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 the internet, buy second-hand or choose fake-fur from the fabric store (not the most historically accurate, but I rather go modern than using unethical furs) I had the fortune of finding a lady breeding rabbits in her garden as a part-time income, and got to buy furs from her, tanned locally by a handcrafter. These were about 30E a piece, so really reasonable in price!
Volare Digital Capture
Some examples of gollars being worn by 16th century common people during dances. Some of them seem to have a fur line around the hem (as being fur-lined) while others could be unlined or lined with fabric.
This is what I read right now; The first book of fashion. It is really two surviving dress diaries from the 16th century German, that has been put together and analyzed with comments and introduction to both the art and the time and period. It is a really well put together book, full of interesting reading.
If you are interested in recreating male clothing from this period, it is like a dictionary or bible full of clothing examples, with comments about what materials different garments were made of. It also have a recreated outfit at the end, with lots of information.
This is part 7 in my “reading tip/book tip series”, the earlier posts are in Swedish and you can find them here. Or just type in “dagens boktips” in my search field on the blog. Today’s post was rather short, because the sun is shining outside for the first time in forever, I’m heading out with the horse on an autumn forest ride, and then I’m of to visit some friends for the weekend. Hope you will have a wonderful weekend!
