Handcrafted History

Historical and modern handcraft mixed with adventures


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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 The fabric is a silk velvet, sensitive, very thin and extremely flimsy; I so understand why silk velvet has been replaced by synthetic alternatives on the market (and it is not just a matter of price).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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The Herjolfnes dress

Last year I made a woolen dress, based on the cut, sewing technics and seams from the finds from Herjolfnes, Greenland. I really didn’t plan it, I just had this sudden burst of creativity and had to make a plain, undyed working dress… The fabric is from Medeltidsmode, and it is an undyed natural wool that was just lovely to work with, the seams went very well, and the drape of the shirt is really good to. It is based on two different models, but with my measures- so it is a historical reconstruction with a practical use in mind.

Cutting out the pieces

And sewing them together with running stitches in wool thread

Sewing gores from the right side of the dress, with a whip stitch

The hems are made by a single fold, whip stitched and then sewed with another seam according to the finds. To finish of the hems two times was a bit tiring, but the result went very well, with especially the neckline and wrist coming out nice and stable for wear.

All inside seams are felled and whip stitched down, to make them more durable and the inside smooth and pretty.

There are several gores in the dress, both in the shirt and in the sides, that goes up to the arm holes. This gives the dress lots of hem line, as well as a nice drape. If you would like to make a dress more modern flattering, you could begin the width in the side seams by the waist. My dress is lose almost under the bust, which makes for a warm dress, that is easy to get in and out of, and probably good for medieval pregnancy if you are interested in trying that out…

The dress is so comfy, and despite a rather smooth fit over arms and shoulders it is easy to move in it.

On these photos I have rolled up my sleeves a bit and you can see the linen shift, a good way of keeping your sleeves dry when doing dishes.

Definitly one of my favourite dresses right now, it being so simple and yet pretty!


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Houppelande tutorial -part 1

Since I made my first houppelande (late medieval overdress) some years ago, I have been thinking about putting together a tutorial for you, to make it easier to understand the construction techniques behind the dress.

As it turned out, the houppelande dress is a bigger project than I thought at the beginning, so I’m doing the tutorials in different parts so it will be easier for you to find the model you are most interested in, and to get a nice overview of the whole dress style.

I start with my first woolen houppelande:

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This was somewhat of an experiment trying out both pattern, if I would like the type of garment, and what it would look like finished. I could not find my original sketch for the pattern layout, but it did look something like this:

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Some notes; this type of pattern layout work well in a tabby weave since it doesn’t matter if you turn your front and back pieces, but you can also use a twill like I did. If doing this type of pattern on a patterned fabric, you can have the pattern one way on the front pieces and the opposite on the back pieces, which work really well I think, if you want to save on the fabric.

The amount of fabric needed for this layout, in size small, is 150 cm * 280 cm (I used 3 meters of fabric, so I had a slightly larger hem.

F=front, B=back and FM= front middle gore. S1 and S2 is the sleeves. I always recommend drawing out your pattern before you do it on your fabric, it gives you the opportunity to see if all the pieces have room, and if you can add some extra circumference to the skirt. I also use to draw out how the garment will look finished, to give you an extra idea of the result. The small cut out pattern piece I use to draw the pieces faster by drawing around it on the paper.

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This is what it looked like once I had cut out all the pieces. After cutting, baste your pieces together to try them on, or sew them at once. I used running stitches and back stitches for parts were there was more stress on the seams (like around the body, the armholes, and the top of the front gore). I also pressed the seam allowances down and whip stitched them. You can of course sew your dress on a sewing machine if you would like, just be sure to pin or baste the skirt lengths first so they don’t stretch uneven.

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Always pin or baste your pieces together when they lay flat on a surface. After this is done, you can have the garment in your knee, sitting comfy in the sofa and sewing without having the seams getting all uneven. I started with the front gore, then sew the front and back pieces together. The sleeves were made after the “fitted sleeve” tutorial.

The hem is folded twice and whip stitched down, and the sleeves and front opening is lined with a soft, cut sheepskin in a matching colour.

The dress is sold since some time back, and I moved on to make another kind of pattern construction (as I usually do). I liked this one because of its simplicity, it was very comfortable and not bulky around the upper body. another pro was that it didn’t take a lot of fabric to make it. I really liked the fluffy lining since it gave a lot of extra warmth.

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The style is somewhat unusual in art, but can be seen at the start of the houppelande period, though with a tighter upper body, the sleeves were full length and often somewhat tighter. For paintings and art inspiration, check out my Pinterest board about Houppelande dresses

What I didn’t like was that I dragged the hem of the dress after me everywhere, without getting the comfort of a warm and thick enough fabric to protect me from rain and chilly winds. So the next one became a bit sturdier in fabric, and with more fabric…