Beeswax cloths are a really simple way of storing food or a picnic snack during your historical event, and they are also nice to cover bowls and jugs!
After this year’s Double Wars event when our encampments got overrun with aphids/lice, I really had it and promised myself to make some protective cloths for next year. And here they are! It was so easy and practical so we use them as everyday items at home, too.
To make some for yourself, start with measuring the sizes you want to have; I made two for covering jugs, a couple for bowls and some bigger ones for wrapping cheese in. I prewashed the linen fabric, cut it in squares, and hemmed the edges with linenthread and a whipstitch before waxing. (To be fair, I used scraps from earlier projects.)
You can wax cloths in different ways; by melting beeswax in a pot and scooping it over the cloths, or by distributing small pieces of wax on the cloth and then melting it in your oven or with an iron. The important thing to know is that beeswax tends to get sticky and may be hard to remove from your favourite pot, oven tray etc. Use baking sheets to protect your kitchen as well as your oven and iron. An apron might be good too, it is hard to get beeswax stains off your clothes.
I chose to melt the wax in a pot that I have already used for beeswax, this was quicker and allowed me to just dump in a big block of beeswax at once. I melted the vax on low heat and scooped it from the pot over the cloths with a spoon.
To save time, I stacked all the cloths on top of each other, poured over a generous amount of wax, and then covered everything with a baking sheet and used an iron on middle heat to help distribute the wax over and through all the cloths.
As soon as the wax is melted into the fabric your first layer is ready- remove it, put it on a baking sheet to cool, and continue down through your stack. You can do this task on your oven too, just make sure you protect surfaces with baking sheets. The cloths gets darker with the wax on, and while they are hot they look shiny and smell nice!
Don’t use too much heat- you want a generous layer of wax to remain in your cloth rather than soak through. Too much heat or too much time in the oven/under the iron will not give you enough wax in your cloth. If this happens, the waxed cloth will look uneven, and won’t stay in shape after cooling down (try to fold it or make a shape with the cloth, it should stay in place and stick to itself). If this happens, just repeat the procedure; pour on more wax and melt it down.
If you have to low temperature, the wax will not melt in properly but lay in cakes/lumps on your fabric. Try to add a little more heat! Beeswax is nice to work with because nothing gets destroyed if you don’t get it perfect the first time, it will just take a bit longer time.
I calculated 2-3 tablespoons of melted beeswax for a 40*40 cm cloth, but this depends on the thickness/weight of the cloth. In retrospect, I would have liked my fabric to be a bit thicker (around 180-250 grams/meter) than this 120 grams/meter linen. It was so fine it had problems holding enough beeswax, but turned out ok for this round of cloths. Next time, I will make them from other scraps.
If you want to make lids for jars, jugs etc. from leather you could also use this process much the same way. Make sure your leather piece is vegetable-tanned and undyed, and get some extra wax since it often takes more to wax a leather piece than a fabric piece of the same size.
This year’s information and schedule for Medeltidsveckan
Vi finns förstås på Medeltidsveckan i Visby som vanligt- du hittar oss på Kapitelhusgården med butiken fylld av handgjorda hattar, dräktaccessoarer, smycken, bling och bra hantverksmaterial.
Speciellt hattarna är jag extra stolt över i år; de i ullfilt gör jag själv utifrån medeltida fynd och källor (de säljer slut på nästan alla marknader jag besöker!) och flera nya stråhattar gör premiär på veckan. Jag har lyssnat på era önskemål och det kommer finnas stråhattar i olika material, modeller och storlekar efter historiska källor, och även hattar i barnstorlek. Flera av de nya modellerna är också extra hållbara och vattentåliga- perfekt för dig som lever det tuffa medeltida livet!
Den populära och oftast fullbokade Grundkurs i Brickbandsvävning kommer på onsdag kl 12 och fredag kl 08 (tips på fredagskursen om du vill ha extra hjälp, morgonkurserna blir inte alltid fulla) boka på: https://medeltidsveckan.se/programme/# Grundkursen går igenom allt du behöver veta, steg för steg, för att du ska känna att du greppar brickbandsvävningen och kan fortsätta själv. Allt du behöver ingår eller finns att låna, och extra material mm finns att köpa. Ta med dig själv och ett snacks (inga nötter).
Nytt för i år är att toilekursen ersatts av en visning/föreläsning- perfekt för dig som är nyfiken på toile/mönsterkonstruktion men inte orkar med en intensivkurs i värmen. Du dricker kaffe och jag gör allt jobb och visar momenten steg för steg. Även spännande prat om den medeltida skräddaren, problemlösning av mönster och hur man tolkar en medeltida tavla till ett färdigt plagg. Passar alla kön/kroppar, och du behöver bara ta med dig själv! Torsdag klockan 10, https://medeltidsveckan.se/programme/# (förutom föreläsningen kommer man få ta del av kompletterande material, checklista och bilder för att kunna göra mönster hemma i lugn och ro)
Kom förbi och säg hej till oss! /Linda och vikarien Henrik
This is an open letter, mainly to all organizers for historical events, and specifically new ones. I choose to write in Swedish since these are the grounds I know best, and to make it easier for new organizers to read.
Här är mina tips till dig som arrangerar (eller precis ska börja) historiska marknader och event såsom medeltidsdagar, vikingahelger och liknande. Jag skriver både utifrån mitt perspektiv som tidigare arrangör, besökare, volontär och marknadsförsäljare, med förhoppningen att du ska kunna undvika tråkiga misstag och få ett bra event!
Vilken känsla och period vill du ha på ditt event? Medeltid, vikingatid, vendeltid? Tänker du dig att lokala barnfamiljer ska ha picknick och titta på festliga framställningar, vill du ha återskapare som bygger en historisk marknad eller något av en festival? Bestäm tema och känsla och kommunicera sedan det tydligt!
Hur får man tag på marknadsförsäljare? I början måste du nog annonsera i grupper på sociala medier, men i takt med att ditt arrangemang återkommer borde försäljarna droppa in automatiskt, om du gör rätt. Gör de inte det? Då kanske du måste förbättra din service, kommunikation och det du erbjuder.
Hur får man tag på underhållare? Samma här, annonsera i början och hoppas på återkommande proffs. Har du en begränsad budget; var tydlig med det. Kanske finns det personer ändå som precis börjat lära sig gyckla, kommer från en ideell kör eller vill träna eldkonster, och som gärna ställer upp för en symbolisk summa eller gratis mat och boende.
Hur får man tag på volontärer? Hör av dig till dina lokala historiska föreningar, om det finns sådana. Fråga om de vill hålla i demos (såsom hantverk, bågskytte, fäktning) under ditt event, och erbjud något tillbaka: har ni liten budget i början kan gratis fika (och givetvis gratis inträde, parkering osv) vara lämpligt. Det viktiga är att visa uppskattning och respekt; var tydlig med er vision och vad ni kan erbjuda, och försök uppfylla behoven hos de som kommer och bidrar.
Inträde eller inte? Det här är nog främst en ekonomisk fråga, men se om du kan lösa intäkterna på andra sätt; besökare är mycket mer benägna att bara titta förbi, de handlar mer, och är ofta mer nöjda över en “gratis” upplevelse. (Ansök tex om bidrag från kommunen, stiftelser och föreningar.)
Logistik: se över behovet av parkering, toaletter, hygien, rinnande vatten, el och handikappanpassning noggrant. Ingen vill göra sig känd som arrangören som inte erbjöd rullstolsramper eller råkade ut för en eldsvåda. (Och ingen besökare vill upptäcka att det inte finns möjlighet att tvätta händerna ordentligt efter en småbarnsolycka. Det har hänt.)
Jag behöver logistikpersonal? Volontärarbetare som kommer från andra föreningar (tex scouterna) eller bara privatpersoner fungerar ofta bra för enkla uppgifter såsom att ta hand om parkering, fylla på vatten, tömma soptunnor och liknande. Ta hand om volontärerna; erbjud dem lokal, fika, dräkt eller väderskydd att låna och se till att schemat tillåter att de också får ha roligt. Då kommer de tillbaka! Till tyngre eller svårare uppgifter samt hantering av livsmedel kan det vara värt att ta in betald personal.
Sälj kaffet. Själv. De flesta erfarna arrangörer har upptäckt att besökare blir fikasugna. Väldigt fikasugna. Att vara den primära försäljaren av kaffe, enkel dryck och fika leder till stora intäkter. Om du inte kan täcka upp hela behovet själv; bjud in andra försäljare och se till att de kompletterar utbudet.
Kanske det viktigaste av allt: besök andras arrangemang och se hur de löser sina utmaningar. Hur många toaletter har de på området? Vilka avtal erbjuds underhållare? Hur har de skapat en trevlig marknad och hur fick de tag på de där uppstoppade drakarna som barnen klättrar på?
Marknadsförsäljningen då, hur gör man en bra marknad?
Var tydlig med tema, period och riktlinjer. Alla ska förstå vad som är ok och inte, så du slipper diskussioner med försäljare som anländer i blå plastponchos och vill sälja kaffe bredvid de anmälda honungsburkarna.
Fundera på vilken yta du har till marknaden, och kommunicera det till deltagare. I trånga inomhusutrymmet betalar deltagare ofta per bord eller meter, medan en stor äng gärna får fyllas ut med rejäla paviljonger, lägerplatser och långa rader med vackra föremål. Vad vill du ha?
Ta ansvar för utbudet; bjud bara in ett visst antal tygförsäljare, keramiker, korgmakare osv. Besökare vill se olika saker, och ingen försäljare blir glad över för mycket konkurrens.
Skäm bort dina försäljare! Besökare älskar marknader, och glada försäljare kommer igen (ofta tillsammans med sina volontärkompisar) erbjud vatten, toaletter, köp av el, duschar och en station där de kan hämta kaffe utan att behöva stå i 30 min kö. Kan du erbjuda boende eller ska de bo i sina tält? Finns det vakter under natten eller måste de spendera flertalet timmar med att plocka ihop varje kväll?
Be försäljarna att förbättra ditt event: bifoga länkar ifall de vill göra reklam och sprida ditt event i sina kretsar. Fråga om de vill visa upp hantverk/hålla modevisning/erbjuda kortkurser mm- massvis av extra aktiviteter för besökare kan uppstå med hjälp av rabatterat pris, en gratis lunch och möjlighet för försäljarna att tjäna in en lön.
Ska du ta betalt? Många som börjar med arrangemang erbjuder försäljare att komma gratis, dels för att man inte vet vilken statestik eventet har (hur många kommer totalt, hur mycket försäljning kan ske?) men också för att locka fler att satsa på ett nytt event. När du börjar ha siffor på antalet besökare och hur mycket varje försäljare omsätter (fråga efter eventet!) kan du lättare sätta priser för att stå på marknaden.
Om du tar betalt: informera om priser i förväg, samt ev servicekostnader (många arrangemang tar alltid ut en symbolisk avgift för sopor, el, vatten osv).
Det finns olika metoder för att ta betalt av marknadsförsäljare, vissa tar en viss procent (5-6%) av den totala omsättningen, eller vinsten. Är det trångt, kan du istället ta betalt för antalet bord/meter försäljarna vill ha, men räkna då med att medeltida tält osv kanske inte kommer brukas- har du marknadsstånd att låna ut? Tak? Vissa tar en symbolisk summa (serviceavgift) av alla som säljer för att de anser att marknaden lockar besökare och bidrar till eventets känsla. Ytterligare andra låter försäljarna stå för delar av eventets kostnad genom att ta ut höga avgifter av dem, och istället ha gratis inträde.
Det finns för och nackdelar med allt. Höga avgifter skrämmer bort små personliga företag, medan begränsad yta gör att inga försäljare av rustningar, tyger och tält kan närvara. Många arrangörer tillämpar individuell prissättning där ett grundpris kan sänkas med tex visning av hantverk, ett fint marknadsstånd osv, medan priset höjs om försäljaren behöver el eller säljer över en viss summa. I slutändan handlar det förstås om ekonomi; en försäljare har råd att betala högre avgifter om omsättningen är hög (tex medeltidsveckan) medan andra event erbjuder gratis plats, kaffe och boende för att locka försäljare till små event där de inte gör nog stor omsättning.
Tänk på att försäljare (och historiska volontärer) ofta redan haft omkostnader innan de kommer till ditt event. Transport, boende, mat, dräkter och tält är stora kostnader som historiska marknadsåkare måste få täckning för, om de ska kunna dyka upp och tillföra värde till ditt event!
Själv önskar jag att marknadsarrangörer i år ska börja uppskatta sina försäljare mer och underlätta för de som driver seriösa verksamheter och betalar skatt (och se oss som viktiga för marknadens liv!) Det är omöjligt att “konkurrera” med företag som dumpar priser i och med att de inte betalar skatt (vare sig här eller i hemlandet). Med det sagt har jag förstås också seriösa kollegor från andra länder som jag ser fram emot att träffa. Jag hoppas också på att få se många nya, seriösa hantverkare i framtiden. Kanske kan man underlätta för nya hantverkare genom att låta dem komma gratis första året?
Jag hoppas också på att arrangörer ska fundera mer kring vilken arbetsmiljö de erbjuder marknadsåkare i år. Korta avstånd för att slippa bära tungt, tillgång till rinnande vatten och tvål vid toaletter, närvaro på marknadsområdet i form av vakter/frivilliga nattetid och rimliga öppettider står på min önskelista. Många arrangörer gör ett bra jobb; Torpas medeltidsmarknad hade till exempel toaletter enkom för arbetare, för att man skulle hinna gå på toa utan att behöva stänga en längre tid. Oslos Middelalderfestival erbjöd ett säkert, upplyst område som gjorde att jag som ensam marknadsåkare kunde känna mig tryggare. På Kapitelhusgården fick jag en kopp kaffe eftersom jag inte hann gå och köpa dryck under arbetsdagen. I Skellefteå var marknaden vid boendeområdet så att det alltid rörde sig frivilliga i närheten. Sådana här saker gör mycket för att man ska orka arbeta på marknader!
Vill du veta mer? Är du en ny arrangör som vill få hjälp att lyckas med ditt event? Eller vill du också prova att sälja produkter på historiska marknader i år? Efter tunga pandemiår saknar jag många branchkollegor och hjälper dig gärna att komma igång eller bygga upp en verksamhet. Maila för att boka in ett digitalt möte!
My yellow dress in thin wool with buttoned sleeves
After my project with the Luttrell Psalter, I got interested in earlier medieval times and clothing and fell for the Morgan/Maciejowski Bible. The illustrations are so awesome! Also, the 13th century really is quite fashinating with its garments and ideal style differing so much from the 15th century that I have been into the last years. So here’s a short fashion/garment summary based on my studies of some mid-late 13th century manuscript.
Quick caracteristics of the mid 13th century female dress:
Overlong dresses: Reach the ground even with belts. The wearer hold the skirt up with their hand or drape it over the belt when moving.
Loose fit: The folds created in artwork indicates a loosely draped dress with lots of fabric.
Large armholes: Loose armholes on garments both with the sleeves sewn on, with partially open armholes with the sleeve half attached, and with open armholes without sleeves.
Sleeves: Loose upper sleeve, with tightness around wrist. S-sleeves and regular sleeves are both represented in finds (Söderköpings kjortel/kirtle was constructed with S-sleeve)
Whole outfit:
Shift (probably in linen) wool dress and wool overdress/gown, silk for elite society. Hose or socks in wool, shoes in leather. Apron (probably linen) when working, doesn’t appear to be a fashionable item. Hood and cloak for warmth, as well as overdresses lined with another fabric layer or fur. Lots of different headstyles; loose hair, hairnets, caps, wimple and veils, fillets, barbettes etc. If you want to check out more sources, my SCA mentor wrote this Interesting blogpost about Isabella de Bruce’s wardrobe from the end of 13th century.
Before I started this project I collected notes on ways to achieve the correct look:
Make the dresses and gowns much longer than usual.
Make the garment wider than my usual simple dresses, but with a fitted neckhole, shoulders and sleeves. Or rather; make the front part wider to drape across the body, but keep the width of the back piece to avoid bulkiness over the shoulder area.
Add gores both in the sides, front and back of the skirt. Lots of width is needed for the upper class look.
Add width to the garment from the armhole, instead of starting at the waist.
Choose a thin, tightly woven fabric with a dramatic drape; the folds should be deep and clearly visible.
Make the armholes and sleeves wider than you need, and then finish them snugly by the wrist, or add buttons for tight closure.
Here is my construction adjustments; the drawn lines is the blue 14th century dress, and the dotted lines are the adjustments I made while drafting this dress. The sleeve hole is larger, the dress front piece wider, and the dress longer than full length while standing. To save on fabric, I decided to not widen the dress from the armholes but make the front and back panels straight. The width of skirt is made with the help of the 4 gores.
The silhouette is rather straight, without female curves or visible bust, and the easiest way to spot a woman is to look for the pooling dresses, My SCA mentor told me that women seldom show their feets in period artwork, while the men have gowns leaving the feet visible. I found that interesting and so far everything I have seen from this period fits with that description!
So far, I have mainly focused on the gown. I used my 14th century linen shift, wool hose and shoes to complete the outfit enough for wearing. I also made a belt from tablet woven silk and a buckle and belt end in brass. This was also made for the 14th century outfit, but it does well enough here. The brooch is made in brass and coloured glass, and the hair band is tablet woven in the same silk colours as the belt, backed with silk and decorated with small fittings in brass. The veils seen in the photos is my old ones from my 14th and 15th century looks. A future step would be to create a fun headwear typical for the period, if I want to explore it further. The belt bag is an old one in historical brocade from the late 11th- early 12th century if I remember correctly, with silk tassels and cord.
Aha, no feets!
To achieve the right silhouette a loose garment is the best, as well as wearing the belt below the natural waist and arrange the folds to drape nicely. If in need of a modern bra for support, choose one that doesn’t separate or enlarge the bust, but rather a soft bra.
A note on linings: Used in overdresses, gowns and cloaks. Fur, wool or linen are mentioned in sources, and also blends; wool/linen and cotton/linen which might be an option for cooler garments. The patterned linings in white and gray/blue is a representation of squirrel fur, the white being the stomach of the winter coat and the most expensive. (Actually, squirrel fur was so popular that the poor animal went extinct in areas during the medieval period.)
Would you like to check out more from this period? Kongshirden is a reenactment group focusing on the start of the 14th century in Norway, and they have some great clothing guides for free on their website! (in Norwegian, but there’s lots of pictures to check out).
This is a fun garment since it is both practical and in my opinion, also cute. But it took me several years of studying medieval manuscripts and art before I got interested in this type of garment. It seems so modern? But once I noticed it, I found more examples in different places and even a contemporary pattern diagram in Drei Schnittbucher dated from the 16th century. Most sources I have saved originate in central Europe, mainly today’s Germany.
Research
The jacket or short coat can be seen in both late 15thc entury and 16th century artworks, but all examples I have seen are worn by working women, from farmers to ladies’ servants. One source in Drei Schnittbucher mentions a short jacket owned by a burgher class member, which indicates that it might have been a fashionable item and not only something worn for “survival”.
The jacket above is similar to the pattern diagram I found, though it has cuffs. The front closure is hidden but might be hooks and eyes, and the sleeves are S-sleeves put into a shaped armhole. The skirt part hangs in soft folds, probably a circle shape.
In the left corner, the lady wears a green jacket over a dress. She might be a maid or retainer of some kind, based on her dress and position in the picture. The jacket is fitted with a narrow sleeve and a fashionable neckline. The skirt part hangs in soft folds.
The blue jacket is fitted but the sleeve is a bit looser than the green one, and the neckline higher and rounded. I decided to base my jacket silhouette mainly on this picture (late 15th century).
Based on contemporary sources the jacket seems to be a practical garment to keep you warm while still allowing you to go on your daily chores (and keeping that fashionable silhouette!) I have found several sources from the middle of the 16th century onwards, often with the skirt part shortened like the jacket above. The black jacket has a short skirt, straight narrow sleeves and a collar of some kind. The collars seem to belong to the 16th century.
Differences between the 15th century and the 16th century styles:
Late 15th century jackets seen in art are all colourful, with straight sleeves narrow or loose, longer skirts (the lenght of the skirt and the length of the upper body seem to be similar) and with simple, rounded necklines.
16th century jackets transform from this softer style to a more shaped and fitted garment with details to accentuate the tailoring such as collars or sleeves starting farther down the shoulder.
This time I decided to make a jacket to be worn with my 15th century wardrobe. Some years ago, I tried out this pattern by making a black jacket to be worn with my 16th century working woman’s outfit, but I sold it and wanted to try some variations. The blue jacket above became my inspiration, and I used the pattern diagram from the 16th century source to draft the jacket. The side seam is adjusted towards the back on that pattern, but in retrospective I think that is a bit too modern for the late 15th century style, but I got curious to try it out.
Back with the side seams visible.
Drafting the pattern pieces
I decided on a straight S-sleeve to get good movement even when wearing dresses under the jacket, a longer skirt and a rounded neckline. The front closes with hooks and eyes. The original tailoring book states the lining needed for the jacket which is roughly half of the amount needed for the jacket. The fabric widths could be different since the pattern mention different amount of lining for different skirt lengths, or the skirt was not lined. I decided to put lining into the skirt too, to see how it would turn out as well as to make it more wind resistant.
The best way to create a skirt with even, soft folds, like the longer versions seen in the sources, is to use a circular cut on the skirt, rather than straight panels and gores. The contemporary pattern also suggests this style, so I went with that option.
The length of the skirt in 15th century sources seems to be around the same lenght as the torso, around 40-50 cm long perhaps. I decided to go with that. The tailoring pattern suggests a skirt lenght between 39 cm to 52 cm, which can be seen in the woodcut by Beham above.
To draft the correct size for the skirt pieces, measure around your waist and use that measure to calculate the inner circle diameter of the half moon, and draft the piece from there.
Example: Measurement around waist: 80 cm = circumference of the inner circle. That makes the diameter approx 26 cm, and the radius 13 cm. The length of the skirt = 40 cm. Mark 40 cm + 26 cm + 40 cm on a straight line = diameter on the skirt pattern piece (the straight side of the half moon). To draft the rest of the skirt, start with drafting the half-circle waist hole (measure from the middle of the line and draw a half-circle 13 cm from this point all around). Use this line to draw out the bigger half moon shape, by measuring 40 cm outwards all around the curve. Make 2 pieces for the skirt.
The upper body pieces are based on my toile/mock-up I already have (check out my Patreon for a video on how to make a mock-up yourself). To move the side seams I cut off a bit from the back piece and taped this side to side with the front piece instead. After that, I added seam allowance and some extra movement in the sides, shoulder and front to make the garment suited to wear over other clothing.
The sleeves are based on my existing S-sleeve pattern, cut in two. I added new seam allowance and made the sleeves a bit wider than my dress sleeves to get more movement.
Adjustments from the original pattern from the Leonfeldner tailor book (grey) to my jacket (dotted lines).
Differences between the pattern from Drei Schnittbucher and mine: The waist seam got rounded to create a soft fall and looser fit, and the shoulder seams were shortened to make the sleeve fit the anatomical arm, creating a softer look more suitable to the late 15th century style. I removed the collar piece on the back and decided to make the back piece as one, instead of having a seam in the middle back. Both options are represented in tailoring from late 15th century art sources, I just didn’t need the back seam to achieve a good fit. The last alteration I did was to piece the skirt parts to save on fabric. In the tailoring book, the sleeves are made in two pieces, probably to save on fabric, and I wanted to do the same to be able to cut them out from the scraps left over after cutting body and skirt pieces.
My jacket needed around 1,5 meters of fabric with 1,5 meters width for both outer fabric and lining, but I would recommend at least 2 meters of both if you have, if you are not smaller than I am!
Fabric: I decided on a medium thick wool twill for the jacket to keep me warm, with a soft muted madder tone. The lining is made in thin unbleached linen. I aimed to make the jacket a working garment and not too fancy, but neither coarse nor homemade.
Jacket worn open
Sewing order
When I have made all pieces (back, front *2, sleeves *2, skirt *2) I like to cut these out in a mock-up fabric (like an old sheet) bast them together and try the garment on over the dress, to ensure I have enough space for movement. Adjust if needed, and then I use the mock-up as my pattern and draft the pieces on the wool fabric and lining.
I like basting- here are some more benefits:
no pins will disappear or hurt you
no slippery fabric moving, giving you uneven seams
easy to try it on several times
easy to adjust
basting is so secure you can sit on the sofa with your project in your knee, without messing up the fit.
I prefer to sew one seam completely finished before the next, which is faster and more ergonomic than first assembling the garment, and then reaching all the seams for felling the seam allowances.
Sewing thread: unbleached linen 35/2 for most seams, paired with a sewing wool yarn for felling seams and create softer seam allowances. These are the materials I work with fastest. You can also use linen thread for the whole jacket, which would be a bit more historical as far as I have researched.
For me, the most important thing when hand-sewing is to make easy, fast seams without adding unnecessary strain to my fingers. The lining is put in at the same time as I sew the pieces together, in seams that need more sturdiness like shoulders and sides. In the skirt, the lining is fastened in the seam allowance when felling this down. The sleeves are made as 4 separate sleeves, and then the lining is put in. This minimizes the bulkiness in the sleeve seams.
Notes: linen thread if nothing else is stated. Sa= seam allowance.
This is my sewing order for hand-sewing the entire garment:
Start by joining the sleeve linings into whole sleeves with running stitches. Press the sa and whipstitch down to one side or leave them unfinished. Join the wool sleeves with back stitches. Fold down the sa, whipstitch down to one side and repeat with the back seam to get 2 complete wool sleeves.
Sewing the sleeve parts together.
Whipstitch the sa (photo shows the inside and outside of the sleeves.)
Sew the shoulder seams with backstitches, wool + lining at the same time. Press down sa to either side, whipstitch down. I leave the basting in while sewing, and place my seam 1 mm to the side to avoid sewing into the basting thread. This makes it easier to remove the basting thread once I am done.
Backstitching on shoulders 1mm inside the basting seam.
Backstitch the side seams together in the same way. I like to leave these open to adjust the fit if my weight changes, so I just whipstitch the sa but leave it loose from the main body. Then I put the sleeves in the armholes and sew them with backstitching. Cut down the sa and fell it towards the body with whipstitching.
Assembling the garment, with different ways to finish the seams shown.
I sewed the wool skirt parts together with back stitching and pressed the sa to either side. After that, I put the lining into the skirt pieces by folding the sa down to either side and whipstitched the lining in place.
Attach the skirt to the body with backstitches. Try on the jacket and mark out the hemlines; check the length of sleeves and skirt hem.
The skirt is finished by cutting down the lining a bit to avoid a bulky seam, and then the wool hem is double folded over the lining and whipstitched in place.
Trimming down the lining.
The front got a reinforcement strip in wool on the inside before the closure was added. I use running stitches and sew it front to front, then fold it over, press it to a good shape and whip stitch the loose part to the lining. A row of stitching along the edge makes it neat and durable (shown in the assembly photo).
The sleeve wool fabric is folded over the lining by the wrists and whip stitched in place. The neckline is also folded down twice and whipstitched. After that, I like to press it and then add a row of stitching around the opening to make it even neater!
Last, I added hooks and eyes to the front to be able to close the jacket.
This was a really fun project to do, and I have used the jacket a lot this season. It is easy to work in and doesn’t get as heavy as my coat does. Useful for medieval adventures!
If you know me, you know I am travelling and living my medieval/viking adventure life right now, and both blog and social media conversations are running low. If you are new- welcome here! I will not leave you bored in the middle of the event season, but have prepared some interesting posts for you to check out.
Last year at Visby; only a week left now!
The best way to reach me right now is by email. I also try to keep Instagram updated, but rarely use Facebook since it doesn’t work great on the phone. https://linktr.ee/handcraftedhistory for more ways to reach me!
If you are attending Medeltidsveckan in Visby, you can find me at Kapitelhusgården from Sunday to Sunday. The shop is open, and I also have workshops in pattern drafting and tablet weaving. These are currently fully booked, but you can check out the full schedule here: https://medeltidsveckan.se/programme/
Last years pattern drafting (sleeves)
Are you attending one of my workshops and have questions? Send me an email! The info at the program states if you need anything special (like a modern t-shirt or similar clothes on your body for the pattern making) othervise you can just stroll in with a snack and a ticket- I will bring everything else!
If you want to check out more about Medeltidsveckan I have written about past adventures here; https://handcraftedhistory.blog/?s=visby where you also find the old guide and the packing list in Swedish.
In my shop you will find lots of straw hats and felted wool hats- but be sure to come by early in the week to secure the colour/size you want. Last year they sold out. For you readers interested in straw and wool hats but not attending Medeltidsveckan- I will open up my Etsy store and start accepting commissions when I am back home and can start packing and shipping regularly again. Thank you for your patience! (Yes- I remember you who have emailed/pm/contacted me)
At Kapitelhusgården
New blog posts, patterns and research articles will be coming again this autumn- I look forward to share new and interesting stuff with you! With that said, I will continue with my packing/working/panic sewing days. Yes, I also have late projects. Yes, I will also sew on the ferry over… It is tradition, is it not?
In Sweden, the historical camping season has begun, and with that lots of clever reenactors are sitting at home, working on their packing lists and piling their things in large heaps. For your convenience and enjoyment, I have asked around after the best packing tips, clever hacks and what-not-to-forget as a beginner.
Here it is, the Ultimate Packing List! Containing everything and more, just what you need to plan your event. Just adjust after your preference and need, and print it out!
swimwear historical or modern depending on the rules
socks, and extra socks. Some more socks.
shifts/shirts
middle layers for warm days
overlayers for cold and rainy evenings
headwear that protects against the sun
Food, eating and cooking:
eating utensils: spoon, knife, pick/fork, plate, bowl, jug and glass
food storage: cloth bags, chests, plastic bags, cool bag with freezing blocks
water container to carry with you during daytime
fire maker (matches, striker etc)
towel/rags for hot kettle, table, dishes
fire extinguisher
fire pit/somewhere to make your food
tripod for your pot
firewood, coal
pot to cook in (frying pan or cauldron)
dish brush and dish soap
towel
tasty drinks
snacks
food for all your meals
trash bag or bin with a plastic bag inside for icky trash
Necessities:
toilet paper
towel
soap
hand sanitiser
plastic bags
wet wipes
your regular medicines and toiletries like toothbrush etc
menstruation pads
abrasion patches (band-aids for your feet)
Good Things to have:
power bank
extra socks
extra medicines (for cold, pains, band-aids etc)
extra blanket/sleeping bag for warmth
sunscreen
earplugs
mosquito repellent
snacks
first aid kit
cloth sacks to store things in
cloth sacks, baskets, fässing, bags to carry things in
mending/sewing bag
fluid replacement (to put in water if the event is very warm)
axe
small broom for the tent
To make the stay more enjoyable:
candles in lanterns, and/or led candles for lighting your tent in a safe way
heater for the tent + fuel for the heater
toys according to your hobby; sewing projects, swords, bow, armour etc
*Please be advised that some events have restrictions on fire and cooking or modern equipment etc so be sure to learn what rules apply to the event you want to visit!
Good luck with your packing and adventuring! I am going to pile some more “important-looking-stuff” now for my trip to DW next week.
I could call myself somewhat of a pro at living in historical tents, or more accurately, sleeping bad and freezing in historical tents… Therefore, I present to you a guide on how to choose your tent and live comfortable in that!
(This turned out to be a really long blog post- I have apparently missed talking to you. I marked all my personal thoughts and anecdotes with cursive, for easier reading)
Which period?
Different models are based on finds from different periods, so if you are going on viking adventures the Geteld or A-frame models are most often used. For medieval adventures, Getelds and Pavilions are good choices. Small shelters called “Soldier’s tents” are also often used.
When looking at websites selling tents, many will show you models that are not based on finds or pictures but called “historical” anyway. The openings could be placed in new ways, the seams made to save fabric widths or moved to be able to sew on a machine. The poles and ropes holding the tent up might be done in different ways that can not be seen in manuscripts and so on… These tents may still be good tents, but it is always good to know what you buy, and what it is based on for the future. If you are unsure about a model, ask!
A-frame tents at a viking market
What says finds and historical pictures?
Viking type tents are based on ship burials which have included a tent with a wooden frame and canvas. We don’t really know if people actually slept in these on land as well, and they probably did not bring them to different markets all summer… But what to do, when you are a modern person wanting some comfortable living?
Medieval type tents are seen in numerous manuscripts and paintings, both used by nobility and commoners. Brightly painted, large tents are used for festivities, tournaments and for avoiding that pesky sun, while small sleeping tents and shelters can be seen in military settings. A quick search gave me this board.
Round pavilions at Double Wars.
Where are you going?
Many events have lists or recommendations about what tent models are allowed on their events. Mostly, you can bring Getelds and A-frames to viking events, as well as small canvas pieces as simple roofs. To medieval events, Getelds are often allowed, as well as square, round and oval-shaped Pavilions. Materials may also be advised to be linen or wool.
Sleeping tent in the middle, and large pavilions in the background.
The event organizer will want to have as pretty a camp as possible, but at the same time, they know tents are really expensive and that guests will stay at home if their living investment is not allowed. The same is true with market tents; most of them are not strictly historical since a modern seller will need light loads to carry and transport, as well as a big enough tent to be able to bring enough products to earn a living. Not everyone can sell jewellery and candy, so some will need big, bright and roomy tents.
Other things to consider are the campgrounds; is it rocky and hard to put down tent pegs? Then an A-frame tent might be good. Is it often stormy and windy, then perhaps a smaller tent with a sturdy frame and long tent pegs is a good choice. Have you ever seen a jumping A-frame tent in a storm? I have, they can really get quite far…
Cotton, linen or wool?
Cotton is by far the most common tent canvas today since it is cheaper, lighter and easy to come by in the right thickness and waterproofing. I use cotton in my Pavilion to be able to lift the canvas pieces myself and to have a tent that is bright enough for customers to see my products, even if it is rainy outside. But oooh, my old linen pavilion was prettier!
Linen is heavier but more resistant to mold, and unbleached linen will keep your tent cooler and darker. Perfect for sleeping in, not so good if you are a market vendor selling fabrics. Linen gets bleached over time in the sun, giving the canvas a really good look.
Wool is mostly used in A-frames and a good, felted wool fabric will keep you dry, cool and comfortable in all kinds of weather. May be waterproofed with modern products, or with lanolin (wool fat) which is more historical.
Different types of fabrics; brown wool tent, white cotton tents and the unbleached linen pavilion in the background.
Consider this when choosing your model:
Packing space available (how much space do you have in your car for a tent canvas and wooden frame?)
Storing space (where will you keep the tent off season?)
How many people and how much stuff do you need to fit?
Is it important that you can put up the tent fast?
Is it important that the tent is easy to lift/carry? (consider a canvas in several pieces)
Should the door be big (welcoming/good shop) or small at one edge (more sleeping space)?
I have always been partial towards Geteld models since they are often economical, easy to transport and fast to put up and down.
With that said, after living for weeks in this model you will get really tired of the sloping walls, giving you almost no space to hang clothes for drying (except in the middle). Storing all your things around the base of the tent will save lots of space to allow you to walk around in the middle, but it will also mean you crawling around on your knees looking for things every day.
A-frame tents also seem very practical and I am slightly jealous of my friends when we are putting up camp at rocky, hard grounds. While I am sweating and swearing trying to put down the tent pegs in the ground, they simply fold their tent in place, secure the canvas by the frame and move in. I usually get my revenge when the carrying distance between car and camp is long since I can carry my poles in one go…
A-frame tents are practical, economical and if you have the storage and packing space for the frame it is a good choice. It is also considered the easiest tent to make yourself.
Pavilions often have a roof with separate walls, allowing you to open up different sections of the tent if you want the breeze to get in, or want a nice display area. Straighter walls with poles or wooden wheels mean you can place furniture along the walls, and hang clothing from the wooden frame, which is both practical and pretty. More sloping walls on the other hand might ride out storms better.
Round and square pavilions may be sensitive to hard winds and storms; during the Medieval Week in Visby you may see knocked down tents of these models, or tents laid down by choice before a storm. If the round pavilion has a sturdy roof frame, you can remove the middle pole, fold the walls and secure the roof down to the ground covering all your furniture and belongings while you wait for the storm to pass. You might not fit inside, but your tent will survive…
If you only want a sleeping place, tents called “soldier’s tent” or one-man tents might be the right choice for you. I would advise you to get a tent big enough to fit a bed inside, then you will always have a dry space, and can store your things under the bed.
Will I get wet?
A good tent will keep you dry even in heavy rains, as long as you can stay of the ground (in a folded camp bed or wooden bed for example). Also, never put clothes or bedding up close to the canvas, ideally, nothing should touch the canvas walls except the framework.
Our oval pavilions have kept out heavy rains on several occasions, with the single drop or two from a slacking corner joint between roof and wall. During one event, the rain was so heavy that small runlets formed and travelled through the tent. Everything above ground kept dry, but a turn shoe almost floated away…
Look for a tent construction that has sloping roof/walls, and a canvas that is thick, sturdy and treated with a waterproofing agent. Even so, after some years out and about the canvas may need to get additional waterproofing.
How to care for a historical tent:
Let’s start at the beginning; oil all your wooden poles upon arrival, and once a year after that (or when needed). When you put up your tent; find the right way to do so without adding unnecessary tension to the pole, canvas or ropes. The same goes for taking down the tent; do so slowly and controlled, and get some friends to help you in the beginning. Always mend loose ropes, or broken seams at once. Make sure the tent canvas is really dry before folding it away in the storage, and that it is reasonably clean since rotting mud, grass and insects may cause damage to the canvas over time. Brushing away loose bits before folding the tent is good. I also brush off the dirt from the tent pegs and ropes. The canvas should be stored in a dry space, outdoor sheds are not ideally. I can give you several examples of people having their tents destroyed by mold and rats during winter…
More tips to be comfortable in the tent:
Furniture like a bed, table and chairs (so you don’t have to sleep and sit on damp ground)
A heater for those chilly events (if you live in an area with cold nights and rains). We have a portable gasoline radiator (the same type you might have in a trailer van).
A mosquito net to drape over the bed at night
Look for opportunities to hang things inside the tent; a lantern and a rope for drying clothes make life easier.
Things to ask (or look for) when buying a tent:
What material is the canvas made of, and is it waterproof? Treated to withstand mold? Treated to slow fire down?
How much does the canvas weight? Does it come in 1 or several pieces?
How long are the frame/tent poles?
Are rope and tent pegs be included?
How should you take care of the tent?
If the tent canvas breaks, is it possible to buy additional fabric for mending?
Pricing?
Historical tents are expensive. Or at least, there is lots of money involved. The cheapest way is often to make one yourself if you have the time, space and skill. The second-hand market is also a really good choice, when people get tired of their small, practical tents and want to level up, they will often sell them for a good price. But try to inspect the tent yourself before you pay for it (ideally put up) to avoid bad canvas, mold, rips or a cracked frame.
A short sneek view over the camping ground at Double Wars; here you can see many different kinds of tents!
Welcome! Today I’ll show you some of my favourites from my historical wardrobe and give you my best advise on what to choose for your own outfit. Let’s start with veils.
My current favourite is the semicircle veil in different sizes. It is easy to drape and style, and the semicircle cut gives it a smooth and flowing drape. Here are some examples:
large semicircle veil
medium veil from behind
The measures on my different veils:
small: diameter 85 cm (the straight front edge) length 55 cm (from front head to the back).
medium: diameter 100 cm, lenght 58 cm.
large: diameter 140 cm, lenght 60 cm.
small semicircle veil
This is a larger semicircle veil in wool muslin fabric, worn over braids, cap and wimple. Pinned in place by the temples and in the back of the neck:
winter wool veil
To make one: Use a thin tabby linen (90-120 gram/m2) with an even weave. Presoak and wash before sewing to avoid shrinking in the future. I draw the measures directly on the fabric; a semicircle shape following the measures above. The reason for not making a mathematical semicircle is more a matter of taste; how long you want the front edge to be and how much fabric you want in the back. Try it out and see what you like!
I make small double folded edges and whip stitch them with silk sewing thread or 60/2 thin linen thread, vaxed before sewing.
The rectangular veil is a very useful veil that can be worn in several ways. It has a straighter fall than the semicircle, but is ideal for wrapping or draping around the neck, like this:
rectangular veil
rectangular veil with decorative edge
If you make the rectangular veil longer it becomes what I call a Great veil:
great veil for wrapping
The great veil above measures 55*250 cm and is great for creating turban styles seen in the 15th century.
The measures of some of my veils:
Simple rectangular veil: 55*150 cm
Veil with a decorative edge in linen: 50*150 cm
Great veil: 50*250 to 55*350 cm
Use the same quality linen fabric as above, and the same seams.
Shorter Great veil (200-250 cm) worn wrapped around the head, the end folded over the head and resting on top.
When sewing veils for wrapping, I find it easier to use them if they are not to wide. 50-55 cm is enough.
silk veil
Square veils are the hardest to style in my opinion. This model was the first I tried out, but we never made a great team. I do have one left though; my silk veil with freshwater pearls. Silk veils are high status veils, and look great. They are also very light, so you barely feel them on your head.
If you want to make a silk veil for yourself, use a fabric with a heavy drape and thin enough to be a little transparent. Sew the edges double folded with running stitches or even better; make a rolled hem with invisible stitches. (Or buy one ready-made from me with an email/pm).
Measures for a square veil: 80*80 cm or bigger (the silk one above is around 90*90 cm.)
This style is actually two or three different pieces: a cap with a folded strip of fabric pinned on, and a great veil on top. It is a simplification of the large head dress the fashionable woman wore during a preiod of the 15th century. Painting shows headwear with many folds or layers, held in place with pins, basting (or some kind of magic). But since I live in a tent during summer events (and not a comfortable house with a maid) I need simplified ways to dress myself. This was one option that came out nicely, it is both easy to pack and manage during medieval camping, and easy to dress myself in. It should be more tightly pulled in the neck though- contemporary pictures shows no such fabric volume in the neck.
simple style turban
This is another way to style the Great veil, for that “I am hard working but yet fashionable” look. The veil is pinned directly around the head without any shaping braids, padding or cap, and wrapped around the head a couple of times. It is then pinned down to the layers below, and the end left hanging.
To avoid bulky fabric in the neck, I have found that it is better to pin all models of veils in place instead of tying them.
Veil measures: 55*250 cm, thin linen with double folded edges.
Buying fabrics for veils?
Thin linen 90-120 g/m2 with an even weave, a semitransparent and drapey silk, or a fine wool muslin fabric are the materials used above. There’s no find of wool veils, but I use the fabric when I need to stay warm, and for its beautiful colour tone and drape. It is hard to find linen good enough for veils today.
Threads: I use 60/2 thin linen thread for linen veils, and silk sewing thread for wool and silk veils.
Type of stitch: Hand stitching is a good choice for veils since they are very visible, and the drape will look very different with a machine seam. I always fold the hem twice, as narrow as I can before sewing. Whipstitching is always a good choice, but running stitching will do the work faster and create a more discreet seam. Perfect if you have a very thin fabric, or are in a hurry. Silk fabric edges I like to roll and sew with an invisble seam.
variations; linen rectangle worn double folded.
You can vary your veils in many different styles to fit different periods, fashion and status. Above is the rectangular veil with a decorative edge, folded twice and pinned onto a birgitta cap.
The best way to find your styles is to look at contemporary paintings and portraits and try to replicate the look in front of the mirror. When satisfied- take some photos to remember how you did it. I always end up in early spring wondering what veil style I should wear for which outfit…
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!
