- Check In Page is now live.
- Basic information on check-in expectations (and limitations) available, ask questions as necessary
- First Check in – Early check in starts 10/22 – Late check in ends 11/10
- Reordered menus at top of page
- Added 4 new profile pages
- Updated Kingdom Breakdown Counts
- TWO new sponsored prizes!
October’s official craft night is 10/24. Bring your project and snacks. I’ll probably have a glass of wine, myself 🙂
Topic: C3 Official Craft-n-sew night
Time: Oct 24, 2020 07:00 PM Central Time (US and Canada)
Meeting ID: 836 5306 9614
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Meeting ID: 836 5306 9614
Find your local number: https://us02web.zoom.us/u/kfT9QsdFW
- Added 4 new entrants
- Added blogs to two pages
- Created a new page for entrant statistics by location. Click on links to go to tag pages to see the profiles of everyone in that kingdom/group. Currently under the ‘misc other’ section, but may create a new section for entrant sorting info. Click here to see the new sort page
We are sending out a quick Survey to help us do two things:
- Help us pick a night for the November Zoom crafting chat night
- For competing participants, we’ll have you tell us which sponsored challenges you believe you qualify for. This will allow us to add a special tag to your page so the sponsors can easily find their competitors (Good news, display-onlys! Since you opted out, you only have two questions to answer!)
We are asking your name so we can match you with your sponsored challenge answers. If you’re display only, you don’t have to answer 😊. We’ll do our best to match competing participants with their appropriate challenges if you don’t take the survey, but we can’t guarantee it’s correct. If you don’t identify and we leave you out of the running for a sponsored challenge, we won’t take responsibility.
If you’d like to look over the full text of the currently sponsored challenges, you can do so by going to the sponsors page on the website: https://calontirclothingchallenge.com/sponsors/
Take the Survey here: https://qfreeaccountssjc1.az1.qualtrics.com/jfe/form/SV_1WYx7rYQul0EjJz
Another busy day of updates!
- Added five new individual and one group entrant who has returned release forms
- Updated pages with newly submitted blog links
- Alphabetized entrants (by first name for individuals) – should be easier to find yourself, now!
- Added additional post tags based on entrant explanations of the projects they’ll be doing
That’s it for today. I have new updates planned for tomorrow.
Group Members: Baroness Linnet del Grenewode,
Location: Barony of Carolingia, East
Category/Level: Historically Focused/Intermediate
About Actreo: The two of us are a couple who have been in and out of the SCA for years. We heard about the Challenge from people in our local group. We will be making garments that we have wanted to make for a while. The inspiration of this challenge is a gift right now.
Project Update Blog: Crafting Ourselves – An SCA Arts and Sciences Journey
Their Project: We will be making a set of clothes for a high status (Thegn level) man and woman from England in the mid 11th Century. These garments will be based on artwork and writings done in period, as well as fragments from grave finds. We have been researching on this period for a while, but have yet to make a set of historically accurate clothing for the late Anglo Saxon time period. We need a set of court garb, not just pennsic clothes. We will be making for the man a shirt, trousers, tunic and cloak, and for the woman a smock, gown, mantel, and veil, as well as a number of smaller pieces.
We are making clothing suitable for an Anglo Saxon man and his wife who are high status individuals (Thegn level). There is little evidence of how the underlayer of clothing looked in the form of illuminations or grave finds for this time period for anglo saxon culture in England. There are many written sources, particular the words in Old English used for garment types. We used 2 main sources of information for making our decisions on how to make this: Dress in Anglo Saxon England by Gale Owen-Crocker, and the Authenticity Guide for Regia Anglorum.
For the man, the first layer would be a linen shirt or tunic, and either trousers, or hose and braies. We chose to make a simple shirt similar to those made elsewhere because the word Scyrte implies a shorter garment, rather than a full undertunic. the shirt has square gussets under the sleeves, and a keyhole neckline bound with silk.Hose and Braies were coming in as a style, but the anglo saxon trousers were still worn. After looking at, and experimenting with several reconstructions of early trousers starting with the iron age Thorsberg trousers, we decided to make the trousers by starting with 2 tubes with a seam down the inner leg. We tried several types of gussets and gores, and found that for us, they fit the best by taking in the lower legs, and adding a square crotch gusset. We left the bottom of the inseam open for the last few inches to get the trousers on over the foot. The trousers were held up with a linen twill tape tie. There was evidence for either ties or belts for this. There are old english words for what is assumed to be a loin cloth, but we opted to stay with modern underwear underneath.
For the woman, the first layer is a linen Smoc made in a similar pattern as layer 2 will be. We used the Nockert Type 1 form of tunic, as this is the most common type of tunic found around the 11th century. This tunic has square underarm gussets and side gores. We did not use center gores. Images of women’s clothing at this time appear to be mainly vertical in line, without much flaring out from the waist. The sleeves were very long and tight. The look at this time was for smoc sleeves to go over the hand some, and to have wrinkles on the forearm. The cuffs and necklines were bound with silk. There was a thriving silk trade in England at this time, and silk ribbons and strips were commonly used if one could afford it. The cap is to cover the hair so it does not show under the veil or wimple that will be added later. There are words for this garment like Feax Clap (head cloth), but what it looked like is up to interpretation. We used the English Cap proposed by Regia Anglorum for this. It is similar to a viking cap, but rounded at the top, and larger, so that all of the hair is covered. Some people use something like a St Birgitta cap, but that would seem to be to late to be used at this time.
All sewing was done by hand using waxed thread (linen for linen, silk for silk). Construction seams were done in back stitch; flat fell with whip stitch; and attaching strips to the edges with running stitch.
Both Linnet and Kendrick worked on this layer. Both of us worked on pattern development. Linnet did most of the construction sewing. Kendrick did the embroidery embellishment on the cap. He will be making many yards of fingerloop braid for the next 2 layers, as well as tablet weaving, and has already started working on those.
Location: Cum an Iolair, Calontir
Category/Level: Historically Focused/Intermediate
About Adelaide: I began in Ansteorra, took a decade-long break when I had my daughter, and arrived in Calontir around 2012. I enjoy many skills within the SCA, but I am probably best known for sharing those skills with the children of the kingdom, during my time as Kingdom Minister of Youth.
Her Project: I’ve had some lovely fabric that has been begging to become an Italian gown, so I will make a 15th Century Venetian gown. There are a few historical paintings that show a lovely front-laced gown, such as the woman in pink in Ghirlandaio’s Birth of St. John the Baptist.
Location: Barony of Endless Hills, Æthelmearc
Category/Level: Historically Focused/Advanced
Project Update Blog : In Wolf’s Clothes
About Æsa: I’ve been in the SCA for about 13 years. While I love sewing, I also enjoy playing with other skills like archery, knife and axe throwing, fiber arts, basket weaving, herbalism, soap making, pottery and brewing/cooking. I love acquiring skills that a Viking wife would have used in her everyday life. While the sewing aspects of the garments will not be difficult, historical clothing can sometimes present challenges as I am paralyzed. I often have to strike a balance between something that looks as correct as possible while also being comfortable, allowing for medical restrictions and not hindering my wheelchair’s movement.
Her Project: I’m hoping to create an ensemble that would have been worn by the Norse wife of a fairly well-off land owner in 10th century Jorvik. The piece is not based on any single burial find, but takes inspiration from several. The plan is for wool stockings, a linen underdress, a woolen dress and apron with jewelry and a head covering. The goal is to spin and weave a component of the ensemble.
My Norse linen underdress went as planned, as I am very used to making this style of gown for myself. I hand sewed all the seams and tacked them down using a running stitch and matching threads. For my stockings, I struggled a little deciding what to make. Many of the current interpretations from archeological finds seem to have a seam running along the sole of the foot, which I was afraid would be very irritating as I have some nerve issues from the paralysis. I also knew that I wanted the stockings to end below the knee, as I didn’t want to have any fabric bunched behind the knee as my legs are always bent. In the end, I used a pattern that I had drafted about ten years ago from “The Medieval Tailor’s Assistant” as I knew that it was comfortable to wear. The stockings were made from brown wool flannel, hand sewn and the seams were tacked down using a running stitch in contrasting thread.
Location: The Shire-March of Grimfells
Category/Level: Historically Focused/Advanced
About Aethelwynne: I joined the SCA last February, so I’m still very new! I sew regularly, both for work and for fun, and have been creating historical costumes for about 10 years now. I originally started with Victorian-era costuming, and worked my way back through time to early medieval, which is now my absolute favorite period of history to study. Besides sewing, I also participate in heavy combat and archery with my local group. This project does directly tie in to my persona, a 10th century Anglo-Saxon woman. I think the sewing itself will be easy for me, but the bits I’m hoping to do, specifically the embellishments on the gown and wimple, will definitely be harder as I’m still learning to tablet weave and embroider!
Her Project: I’m planning on making a late 10th-early 11th century, high status Anglo Saxon women’s outfit. It will consist of a plain linen smock/chemise, a green wool gown with pale yellow silk trim, brown wool cloak, and white decorated veil. Due to the inclusion of silk and the color of the wool, and the planned embellishments on the veil, this outfit could have been worn by royalty, high noble status, or wealthy abbesses/nuns. It isn’t based on one specific illumination, but I have taken different image references from “Dress in Anglo-Saxon England” (drawn from sources such as contemporary religious texts and the Bayeux tapestry) and picked various elements as my inspiration. It won’t include heraldry or awards because I have none yet (joined just before all the covid cancellations). This is an outfit I’ve wanted to make for a while; I have a few normal “everyday” gowns that look nice, but I want something extra special to wear to court or have for big events.
This is the shift I’ll be wearing as my base layer for my 10th century female Anglo-Saxon outfit. I made it out of a medium weight linen; I prefer this weight over handkerchief linen because it doesn’t seem to cling to the body as much when it’s hot out. I hand sewed the entire shift, with backstitch in the higher stress areas and a running stitch everywhere else, then felled all the raw edges on the inside; the sewing is pretty much invisible on the exterior. The pattern is a simple T-tunic style, with underarm gussets and side gores, following the cutting example from “Dress in Anglo-Saxon England”. The sleeves are nearly a yard long, with extra fabric to bunch up along the forearm as seen in period artwork of women. It isn’t specified whether this was a style worn by all classes of people, or if it was a way to show how wealthy a person was to afford extra fabric, but in most of the artwork women and men of this period have pleats or bunching along their arms, so this is the style I’m going with. It’s a little awkward to put on as I have to bunch the sleeves before I can pull it over my head, but I love the finished look. The construction went as planned, but the one thing I would do differently next time is cut the sleeve looser right below the elbow. I tapered the width a bit too much so it’s a little tight once I push the extra fabric onto my arm. Hopefully as I wear it the linen loosens so it will be more comfortable. Overall, I’m pleased with how this came out and ready to work on the main gown!