Group · Historically Focused · Intermediate

Actreo

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.

Final Photos

Layer 1

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.

Layer 2

We are making a set of clothes for an 11th Century Anglo Saxon high status man and woman. Layer 2 consists of tunics. The term Tunece applies to male garments. The term Cyrtel used to apply to short male garments, but by this point in history was used for longer female tunics. Both garments were Nockert type 1 tunics with square gussets under the sleeves, and triangular side gores, and were made from the same medium weight tabby woven blue fabric. A reproduction red silk was used on the cuffs and necklines. Silk was readily available in England at this time. The most common use was to cut the fabric into strips and use it to trim the edges of garments. Both the Tunece and Cyrtel had 3 cm wide strips on the bottom of the sleeves, and the Tunece had an additional woven band of gold silk on it. The Tunece had a square keyhole neck. This was a style seen in illuminations from England during this time period. It had a silk facing which comes to a point in the center front. The Cyrtel had a round keyhole neck, with the edge bound in silk. Women’s necklines were rarely seen, so would probably not be as showy as men’s.

We had planned on adding blue fingerloop braid to many of the seams, and gold braid to the collars and cuffs. Experimental trials made with silk cord indicated that it would take far, far more time with silk than previous trials with cotton or wool. Weaving the silk into a narrow strip also gave problems with tension and smoothness of weave compared to other fibers. We ended up settling for two woven bands to put on the Tunece, with the thought we might come back to this later. Linnet did the sewing, and Kendrick did all the work with braiding and weaving.

Layer 3

We are making a set of clothing for a high status anglo saxon man and woman. Layer 3 consists of a cloak for the man. It is made of a heavy brown wool with the rectangular construction common in this period. The long edges of the cloak were bound with red silk taffeta ribbon, and trimmed with a two color hand woven silk band. Layer 3 for the woman has 2 parts. The cloak during this period for high status women is a semi-circle of wool sewn into a cone shape with a neck opening. This style is believed to be copied from chasubles seen in byzantine art. Our cloak was made from a soft tan wool, and was worn either with or without a sash. The head covering for Layer 3 is a long rectangular veil of wool gauze. These veils were worn draped around the head over the cap. Lower status women tended to wear a more hood-like garment. In art, these veils are generally shown in a color other than white. For our project, the veil was dyed with black walnut. Several trials were done to try to get the color even. It was decided not to mordant this veil to darken the color with iron, for fear of damaging the fine wool gauze. Walnut has enough tannin, that a mordant is not required on wool. Kendrick did most of the work on the cloak, and Linnet sewed the mantle, and dyed the wool for the veil.

Layer 4

Kendrick did most of the work for this accessory item. The inspiration for our piece is an 11th century reliquary pouch. The original is in the German National Museum in Nurnberg. It is dated to 1050 to 1100 C.E. and Byzantine origin. We feel confident that trading between Anglo-Saxon England and Eastern Europe would have allowed similar bags to be found in England at this time. The original is a silk bag 12.5 cm wide and 14.8 cm tall, the front of the bag is decorated with 21 silver plaquetes, the center five are covered with an almandine stone, which is a purplish garnet, and 4 gold thread covered knots complete a five by five grid of elements, this is surrounded on each side by 7 heart shaped almandine covered plaquetes and 14 small square silver plaquetes with every other one covered in an almandine stone. All of these elements are surrounded with long strands of white seed pearls and three rows or silk cording. Unfortunately we could not create an exact copy of this bag.

Compromises of necessity and material were required. We could not duplicate cast silver plaquetes so heavy pewter craft foil purchased from Blick was used to cut same size and shape plaquetes which were sewn on using white silk thread. The heart shaped plaquetes on each side were eliminated as they were too hard to replicate or substitute with similar shaped pieces. Remnant burgandy silk was used instead of brown silk fabric for the bag which lead to a change in stones, although we had similar sized and shaped purple stones we decided that red coral stones looked better with our silk. Some of the bottom square plaquetes were replaced with bugle shaped coral beads because mounting the bead on the plaquete completely covered the plaquete. Additionally spacing the small square plaquetes was changed to allow for possible future seed pearl cords to be added, we couldn’t find small enough seed pearls to allow closer spacing. Gold silk 20/2 yarn was used to weave the bands across the top. The twisted tan cords around the sides and bottom of the original was replaced with 4 strands of loosely braided 10/2 ecru silk yarn which gives a similar “bumpy patterned” look to the border. When we get the chance, we will complete the decoration of this bag with strands of white seed beads surrounding each element on the front of the bag. Kendrick is proud of this example of an 11th century reliquary bag even if keeping the overall look of the original required some substitutions. The biggest change would be making or purchasing cast plaquetes but purchasing different shaped cast plaquetes would have changed the overall look of the bag so with our skill at this moment, cutting metal plaquetes was the best choice and we couldn’t find similar shaped plaquetes from the medieval craft sellers we know. A class that has been on Kendrick’s “to learn” list is enameling on metal, he thinks this might be the most approachable and best looking replacement for cutting special shaped cabochons.

Layer 4+

For our extra accessory layer, we made socks with a nalebinding technique. There are very few examples of nalebinding from this time period. The most complete one is the Coppergate sock, which dates from the 10th Century in York England. This would have been from the Anglo Scandinavian part of England. Due to the abundant trade between cultures, and the lack of any surviving socks from Anglo Saxon cultures, many researchers assume that nalebinding was a likely technique for the Saxons as well.

The socks were made from the top down. The exemplar sock was done in what was dubbed the York stitch, but this is the only example of that stitch in any surviving work. As I am familiar with the Oslo stitch, and these were my first socks, I chose to work in Oslo. Also, since I prefer to work on my thumb, I worked in a medium weight yarn, not a fine knitting sock yarn. At the cuff, a small raised collar was used, similar to the coppergate sock. This was worked for a few rows, then half of the row was detached to form a gusset. The heel was worked in decreasing rows in the space left open. Then the rest of the sock was done in decreasing rows until it was reduced and tied off at the toe

Since this is the first time I have made socks by any method, the first pair was a learning experience, then tossed. The second pair was much better, and the final pair was finally getting close to what I wanted. This is the pair I have submitted to you. I loved nalebinding socks, since prior to this I have only done hats. I plan on playing with this more in the future.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Æva Dyer

Location: Barony of Caerthe, Outlands

Category/Level: Modern Recreationist/Intermediate

Project Update Blog: Of Green and Gold

About Æva: I have been playing in the SCA for just about 4 years now. Sewing wise my mother taught me as a child and I have continued on making Halloween Costumes, Cosplay, and now historical garments. My recent sewing has been keeping my child in garb, and finishing off leftover projects from college… I sew often but finishing things is a weak point. I usually play 10th Century Anglo Saxon this is a huge challenge for me as we go from clever triangles and rectangles to curves and yards upon yards of fabric. The first dress I was given help from the lovely The Honorable Lady Isabelle de Calais, as she created a first draft of the bodice based on her own. I also referenced much of her work as I rushed to complete the dress in under a week. When I am not sewing I am playing with illumination and other fiber arts.

Her Project: The plan is to remake a noble woman’s 1560’s Venetian dress. I had made one for our Baronial 12th night this past year. However, the dress needs to be reworked and I would like to see a more complete outfit. If you have seen the Venetian Province of Treviso, Republic of Venice Paolo Caliari (Veronese), 1561: Detail from fresco Treviso, Villa Barbaro That is basically the color and cut of the dress I plan to make. However, this piece will be more Modern Recreationist as I do not have the knowledge or skill to bring this to a Historically Focused masterpiece. Why? I honestly fell in love with this dress! It is comfy yet elegant and I would like to do it justice not just leave it as a one-off. The Layers I plan to make a set of Drawers, fix the Camicia neckline, cut a new bodice to correct the errors I made on the first dress, re-do the pleats on the skirt properly and attach to the bodice, make a Partlet, make a pair of sleeves, making a zimarra, make a zibellini. I plan to hand sew, a number of pieces but because of the time limit will be using machine stitching as needed. I will also attempt to document my progress via my blog ofgreenandgold.com

Layer 1

Drawers- 16th Century Italy lady. Drawers have been documented by Janet Arnold and extent pieces exist. I made these based off a tutorial by Maestrina Chiaretta di Fiore (www.kitsclothingcollection.com) using the Bara Method outlined by the Modern Maker. I started by making a custom pattern based on the tutorial. First I made a set of Bara tapes. From there I drew the pattern out on paper before cutting some duckybunny to make a mockup. However once sewn up I found that the gusset was not needed as the inseam was long enough. Once the gusset was removed and the mockup resewn I ran about a bit to make sure I would not split them. Satisfied that the drawers fit I cut the final pair in a heavy linen. I also cut a cuff to finish the bottom. I machine stitched the main seams but chose to finish the front and back by hand to prevent fraying. I pressed the cuff in 4ths and used tacking stitch to attach them to the leg. I used the machine to top stitch them on. I folded the top over an inch to make a casing for the drawstring.

The drawstring I made using wool yarn I had dyed prior to this challenge with marigold and a lucet. The lucet was a new skill for me as I hadn’t owned one prior to this year and my last attempt with a borrowed one ended in a mess. Once I figured it out I made a length to use.

Over all I am pleased with making a working pair of pants. Pants are my nemesis and I haven’t made a working pair until now. The drawers are very comfy and I look forward to wearing them to events over my usual leggings.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Ambra Michelli

Location: Trimaris

Category/Level: Modern Recreationist/Intermediate

About Ambra: My first event was in the womb. In that time, I have learned to make sturdy lasting garb – but have opportunities to grow my quality and aesthetic. I am very excited for this challenge. In 2017, I was elevated to the order of the Laurel for my efforts in Written Works and the bardic community, and due service to my kingdom. I come from the shiny days of firelight catching trim, and am looking to step into something more authentic (while maintaining the convenience of my sewing machine – better for my attention span…). I actually have an Italian persona, but my household is Norse, linen breaths, and Trimaris is hot! This will be the perfect wander-by-night Gulf Wars outfit. Ideally.

Her Project: I plan to make a late Norse outfit – under-shift, apron, coat, and accessory. The coat especially is something I have wanted to make for some time. It may include some heraldry. I have not yet decided. It will be based on some historical examples and altered for my personal aesthetic.

Final Photos

Her Final thoughts on her C3 experience:

I’m so very grateful to the Volunteers who ran this competition. I rarely put this much effort into my own carb and this was a joy And a bit of a learning experience. Very excited and looking forward to many more projects that this has inspired.

Layer 1

Beaded and hand embroidered felt applique sleeves – underdress. Turned yolk w machine embroidery and trim. Machine embroidered seams. 
I am hard on my sleeves so did not edge embroider and the overdress will be elongated so no btm adornment would be visible. 

Layer 2

This second layer is a viking Norse Overdressed . It made out of hand-woven light Wool from Afghanistan . The And our roles and I added a bit of trim. In retrospect I don’t like that addition and will remove the trim, but for the purpose of this competition It fits as embroidery a dormant. One final note, normally I embroider the seams however I am going through a weight transition and if I were to add gores it would ruin the dress given the delicate nature of the fabric so I decided not to. The lay of the fabric is lovely And the feel even more so. I love the way this turned out. The straps are attached in the back for convenience but Loose in the front as they would have been And penned to fit . The seams are all Surge and or rolled depending . And the Rocks themselves or the wool fabric Tubed And flipped and then some down.

Layer 3

This Overcoat was an exciting project. The fabric looks well but I think has a little plastic in it I just a little rough on the fingers . It doesn’t feel synthetic but it’s not Soft to the touch. Or scratching the way will can be. So I faced/lined it with a linen canvas Which makes it feel really good against Your skin where it touches . I flipped the sleeves so the edges wouldn’t irritate my wrists And Trimmed around the sleeve matching the bordering trim Of the open neck. I also added some Byzantine trim to the bottom Which was more complicated than I assumed given its thickness. I also use an embroidery pattern Documentable for the Era Down the seams .

Layer 4

The last layer was an accessory. I thought about doing a headdress but in the end decided this outfit needed jewelry. So I created three strands of beads , Careful to ensure they reflected the color scheme, but also contrasted against the brown of the Overdress. I used Norse brooches that I already had To complete the outfit . I’m very happy with this layer’s result.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Amy of Gleann Abhann

Location: Barony of Axemoor, Gleann Abhann

Category/Level: Modern Recreationist/Intermediate

Project Update Blog: The Enchanted Tower

About Amy : I dabbled in the SCA back in college, and I’ve been dipping my toes back in over the last year or so. I am very comfortable using a sewing machine on a commercial sewing pattern, but I sew modern and vintage styles more frequently than medieval styles. I have very little experience drafting patterns; hence my hesitation to attempt a cotehardie. I haven’t settled on an SCA persona, or even a name, but this project is going to be a good opportunity to test out 14th century Western Europe.

Her Project: I’m planning to make a middle-class 14th century European woman’s outfit for myself. I’ve wanted a Gothic Fitted Dress/Cotehardie for several years, and this project is going to be my motivation to finally try one! Due to budget constraints – and the fact that this is going to be a wearable muslin – I plan to substitute cotton for linen and wool. My first layer will be a chemise, my second layer will be a fitted kirtle, and my third layer will be a Cotehardie. My accessory will probably be leather shoes as leatherworking is a different discipline and not something I’ve tried before.

Final Photos

Her final thoughts on her C3 experience:

Thank you for hosting this!

I’ve wanted to make a dress from this period for about 10 years now, and apparently this was the push that I needed to actually do it. It’s not perfect, but that’s okay! I think part of what’s been holding me back for so long was that I wanted my first gothic fitted dress to be perfectly fitted. This one isn’t, but it’s done. Pattern-drafting is hard, and it’s okay if you aren’t the best at something the first time you try it.

Layer 1

This is a woman’s plain cotton underdress. The neckline is very wide to remain unseen while accommodating the style of the first quarter of the 15th century in Western Europe. All visible stitching was completed by hand: felling the gores, skirt and sleeve hems, and neckline. I’ve made this pattern before, so I was able to copy most of the measurements and tweak the ones that I didn’t love from my last go-around this time. The pattern came from a blog post on Reconstructing History. Inserting gores into fabric slits remains challenging, but I found a tutorial on La cotte simple that did help it to lie more smoothly. I’m happy with this garment and might consider investing in a more expensive fabric if I have cause to make another underdress.

Layer 2

1400-1425 France woman’s fitted kirtle. I’m proud of this dress because I tried some new-to-me techniques like self-drafting and flat-lining. Although I didn’t quite get the fit that I wanted even after several muslins, I did manage to get the front of the gown to lace closed. This leads me to believe that I was on the right track with the fit, but that I needed some more help, and maybe in a post-pandemic world I can get that help. I also wonder how much of that fit would be improved by using better fabrics (there are limits to what cotton can do) and more a fitted undergarment. The sleeves especially felt like they suffered because it was hard to make them any tighter when there was so much loose fabric from the underdress fighting for space underneath. Now I want to research more options for undresses. Also, as I feared, by making my underdress first, the necklines don’t quite line up and the underdress peeks out at the shoulders from the kirtle. I definitely don’t have time to fix the underdress, but I have some other ideas for making the underdress less visible.

I did cheat a little bit while I was making this dress. The most obvious visible cheat is that I used my sewing machine to sew the eyelets (technically buttonholes because my machines only sews rectangles). My second big cheat was applying some medium-weight interfacing to the facing along the eyelet holes to help prevent gaping along that front edge. It was effective, and I did enter into the modern recreationist category.

I hand-stitched the visible seams – skirt hem, sleeve hems, and understitched the facing around the neckline. I have no idea if facings are period, but I’ve noticed that flat-lining is popular in SCA circles, and I know that bag-lining is a relatively modern innovation. Facings are certainly an efficient way to finish those edges.

This dress may not be perfect, but it is finished, and now I can start on my next layer.

Layer 3

In keeping with the rest of my outfit this is a gown meant to be worn by a middle-class woman in France circa 1400-1425. I substituted cotton* for linen for budgetary reasons. The gown is simple and relatively efficient, I made the whole thing with only 5 yards of fabric plus the lining. *I say that the gown is made of cotton because that is what I intended when I went to the store. I had a lovely blue selected, and found a bolt that was nice and thick so I was confident that I could get my full yardage. However, when I went up to the counter to get it cut the clerk unwrapped one cut yard of fabric and then another, and it became apparent that if I wanted a single cut of yard I would need another bolt. I went back to the same section and pulled a nearly identical bolt of fabric, but didn’t look closely at the label. After pre-washing the fabric I went to iron it and noticed that it had a lot more stretch to it than normal, so I think that I may have purchased a cotton-poly blend. Oh well.

Drafting the dress was challenging since this was something I don’t really know how to do, but I followed the tutorial offered by another C3 member. I can’t remember his name now, but it’s posted on the Stars and Garters blog, and it was a 6-panel gown. I didn’t get the fit quite right, but I got it done, and that is worth celebrating for me.

The bodice of the gown is lined in white muslin, and I used the same fabric to line the hanging portion of the sleeves. the bodice is flat-lined, but the sleeves are bag-lined. The sleeves should be lined in fur, not cotton, but that’s not practical in my current climate, so I used something else.

I had time to make one lucet-braided cord out of cotton embroidery floss to lace up the side of the gown. I also attached my first aglet to that cord, which was exciting. Unfortunately, the gown requires 2 laces, so I had to make do with ribbon on the other side. Imperfect, but it holds the gown together.

Layer 4

I made a necklace out of coral beads. I’ve seen a few of these on portraits of women throughout Europe in the 1300s. I’m not sure if it was right to make an alternating pattern of large and small beads or if it should have been large beads and knots as is seen on modern-day pearl necklaces.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Beatrice of Darkwater

Location: Midrealm

Category/Level: Modern Recreationist/Intermediate

About Beatrice : I started playing in the SCA in Trimaris about eight years ago and am currently living in the Midrealm. I have a fair amount of sewing experience, but have only made basic garb in the past. I have been wanting to up my garb game recently and this seemed like the perfect time to do it! In addition to sewing, I do a variety of crafts in the SCA, including kumihimo, jewelry making, fingerloop braiding, calligraphy and illumination, and banner making. At events, I can usually be found retaining or volunteering in some other way. This will be a challenging project for me, as I have not made garb above a basic level before. I fell in love with Roman garb during the hot outdoor events in Trimaris and am excited to make myself some new garb!

Her Project: I am planning to create an outfit that would have been worn by an unmarried upper class Roman woman of the Late Republic/Early Empire. I’ve been wanting to make a new, nicer outfit for a while, but this project has helped me focus that desire into a specific project.

Final Photos

Her final thoughts on her C3 experience:

I entered this challenge at an intermediate level knowing it would be a stretch for me. I had some sewing experience and knowledge of Roman clothing into C3, but had never tried to make a complete outfit like this. I have never entered any kind of arts and sciences competition before either. I learned a lot during this process that I look forward to applying to future projects. Thank you to all the wonderful volunteers for your work on this project!

Layer 1

The underlayers for my Late Roman Republic outfit for an unmarried woman consists of a strophium (bra band), subligar (underwear), and subucula (under tunic). Because these will not be seen by others and I am entering the modern recreationist category, I chose to machine sew all these pieces. The strophium is a long band that gets wrapped around the chest, similar to an ACE bandage. To create the pattern, I measured around my ribcage, multiplied that by 4, then added a few inches as ties. For the width, I measured just below my bust to just above my bust. I used a linen/cotton blend I already had in my stash, but wool or leather would be more common in period. Wool naturally has some stretch to it, but linen and cotton will stay stretched out once stretched. This leads to linen or cotton strophium needing to be adjusted throughout the day. Because I was using up fabric from my stash, I did sew the strophium in two pieces instead of making it out of one long piece. According to written evidence, subligar were not always worn by women. Extant art suggests they were worn at bathhouses and while exercising, but they also may have been worn during menstruation. I made my subligar based on an extant leather pair found in a well in Britain. The extant examples available look very much like a modern string bikini bottom made of leather. For my subligar, I chose to use a medium weight white linen out of my fabric stash and used cotton bias tape for the ties at the waist. I drafted my own pattern using a modern underwear tutorial. This was the most difficult piece to make this month, as I had to get the fit just right. But I think they turned out well. The subucula is a simple rectangle and was easy to make. I used the directions from Dulcia’s Roman Closet website to create my own pattern based off the directions for a closed shoulder tunic. I used a lightweight linen from fabric-store.com. During the Roman Republic, wool would likely have been the top choice for the under tunic, but linen, silk, cotton, and blends were all available. My subucula is mid-calf length and I left the bottom couple inches separate for ease of movement.

Layer 2

The second layer of my 1st century inspired Roman outfit is made up of the Tunica Muliebris, more commonly known today as the gap-sleeved tunic, and the Cingulum (belt). The tunica is made of a dark green wool/acrylic blend. The side seams were machine sewn, while the neckline, sleeve opening, and hem were all hand sewn. The fabric was thicker than I had anticipated and is not as drapey as a tunica should be, but it will make an excellent winter outfit! The Cingulum is made of cotton thread and woven by me on an inkle loom. I had planned to make the belt out of silk, but there were major delays in my supplies reaching me. So I went with the cotton I already had on hand. This is the first band I have ever woven. I really enjoyed weaving it and think it turned out quite well for a first attempt.

Layer 3

The third layer of my 1st century inspired Roman outfit is made up of the Palla, a large piece of cloth women would have worn for modesty when out of the house. Pallas would have likely been made of wool or a wool blend with cotton, silk, or linen. I chose to make my palla out of 100% silk, as it is a fabric I am familiar with. I purchased white silk from Dharma Trading Company, then dyed it lavender using modern batch dyeing techniques. I have a lot of experience modernly with silk dyeing, so I was able to get a nice even color on my palla. I hand hemmed the raw edges with silk thread so it would also dye the same color as the rest of the palla.

Layer 4

The fourth layer of my 1st century Roman outfit is consists of a necklace, two rings, and a pair of earrings. The necklace is made of sodalite and pearl beads and brass wire. The necklace is based on many examples found in period art as well as extant examples found at the British Museum. This was my first time making a necklace. I learned a lot during the process and look forward to refining my technique on future necklaces. The rings are also made of brass wire and are based on examples from the British Museum and The Met. The earrings are made of brass wire, small pearl beads, and a modern bracelet connector.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Birna Isleifsdottir

Location: Barony of Castlemere, Trimaris

Category/Level: Modern Recreationist/Intermediate

About Birna: I’ve been in the SCA for about 40 years. Own and operate an agro educational Icelandic farm in north east florida where we teach leather, wood, metal, and fiber arts. I have until now sewn by machine but have started sewing by hand; pretty ugly still. I have never embroidered. The garb design and initial construction should not be a problem. I have never made shoes before so that will be challenging. Also the trim; although I make the looms and teach the craft, takes many hours to get that much for hems and other pieces so that will be time consuming. I think the hardest for me will be the embroidery since I want to be very elaborate with Norse knot work and other designs in multi colors. This will be directly related to my persona and will be used when I compete at local, kingdom, and IKAC events.

Her Project: This is an archery outfit of my own thoughts. There will be a hood, shooting cap, dress, and apron. There will be hand woven trim; by me, on all the pieces and the dress, hopefully, will have embroidery around the hems and sleeves. I am doing this in a Norse style, early period. I also plan to make a pair of shoes in the Jorvik style and pour a pair of broaches at my forge. Although this is not fashion related I am also tooling a new leather quiver and making a set of period arrows. I am a mid 11th century Icelandic woman who was raised by my father to do everything the men do as well as what the women did around the farm. I fight, loose, do metal and wood, leather, cook, and run our farm.

The Complete Garment

Birna’s final thoughts on her C3 experience: i am very pleased with most of what I did. I wish I was better at embroidery at the beginning of this. I have had some very good practice over these past four months and I feel I have progressed. The dress I’m working on now for my wife; not in the challenge is way better than the dress I made for the challenge.

Layer 1

This layer is a Norse dress for someone in the tenth to eleventh century. I am Icelandic but it could be any of the Norse countries. The dress is part of an ensemble for a female Norse archer. The material is a camouflage pattern to blend into the woods of the landscape. The embroidery is hand stitched and the trim is hand woven on a loom that I built. This is the main layer of the ensemble. The next layer will be the pants and apron. After that will be the boots, hood, cap, and then final layer will be the weapons.

Layer 2

the pants are norse draw string pants. The apron is a strap apron with broaches.

Made my pants and apron from matching material. pants are lined with flannel for comfort and warmth. apron is double sided with the material for stability and strength. X stitched every seam on both pieces with embroidery floss. Embroidered six designs on the apron. made the trim for the straps on the viking flat braid loom that I made.

Layer 3

Early Icelandic woman’s archer garb. boots and cap. part of my entire ensemble.

Layer 4

This is a female archery garb for 11th century icelandic or scandinavian. it went as planned. Most was done by hand and although some was done by modern conveyance such as a gas forge it was substituted for an period method. This is all my work.

Layer 4+

this layer is all the bits and pieces that go with the garb. The two knives, the pouch, and the belt. All hand tooled and hand made.

Bonus Points

Historic Intermediate · Historically Focused · Intermediate

Edine Godin

Location: Innilgard, Lochac

Category/Level: Historically Focused/Intermediate

About Edine : I’m Edine Godin from Innilgard, Lochac. I’ve been in the SCA since 2006. I’ve previously been a keen fencer and a bit of a sewer. I don’t make myself fancy court clothes very often, preferring lower-class clothing. Now I have a reason to make a ‘dream gown’ for myself, but I haven’t made garb at all for a couple of years and nothing structured for about five, so I’m feeling very rusty! The outfit will be as close to my person’s era and status as I can make it. The deadlines particularly will be a challenge for me as I already have a full plate – but without them, I haven’t been making time to sew. I’m hoping this competition and the community of people supporting and encouraging each other will help re-light my fire of sewing interest and motivation.

Her Project: I will make mid to late 16th century French noblewoman clothes reflecting my persona. Drawers, chemise, and partlet; kirtle in black linen with silk trim; green silk gown, sleeves, and headwear; and jewellery – girdle, necklace, and earrings. I’m basing the outfit off a couple of engravings, with additional portraits for some details. I wanted a gown in my new heraldic colours of vert and argent for a special occasion. I’ve been thinking about a nice court gown for a while but haven’t had a good reason to expend the energy and money towards it, as I’m constantly on a budget for both.

Layers 1 & 2

This month I worked on my underskirt for Layer 2. It is nearly complete, I only need to whip stitch down the front of the waistband and put a fastening on it (hook and eye). The hook and eye can’t be done until I make a pair of bodies.
I had someone fit a bodice for me and it became obvious then that I need the full Elizabethan style underpinnings. I will make a pair of bodies and then get fitted again for the over-gown.

If I could do this all over again, I’d seek fitting help for everything, not just the bodice. I would buy a second fold-up trestle table much earlier – having two of them together has made a huge difference to cutting and pinning.
I sat down with a friend and made a week-by-week plan to get my outfit done. I’m struggling to juggle sewing and mundane life, so there will be many helpers involved from this point onwards.

Historic Intermediate · Historically Focused · Intermediate

Eleanora d’Arcy

Location: River Haven, Lochac

Category/Level: Historically Focused/Intermediate

About Eleanora: This will be my sixth year in the SCA. I grew up sewing and doing various crafts, though had a long break in using them. Am also learning many new skills in the SCA, and want to challenge myself to learn or use new skills for this challenge. This project will tie in with a challenge I have given myself, portraying a series of women through the ages, making outfits as complete as possible including accessories. Materials will have to be largely those already in the stash, due to financial constraints, which will add another level of challenge. This will basically be my main persona’s Saxon Grandmother. Saxon is not something I would have imagined doing when first joining SCA, but will help to round out the range of periods nicely.

Her Project: Anglo Saxon Late tenth to mid eleventh century gentlewoman. Looking at a number of illustrations to pick ideas. I have challenged myself to try to do at least one full outfit for each hundred years after 1000, too late to enter my half complete 12th century outfit, but this will also work well to have an outfit for a partly Saxon themed event I hope to co-steward next year. This will be my main persona’s Saxon Grandmother, circa 1066. Anglo Saxon is something quite new for me, so this will be a huge learning curve.

Final Photos

Layer 1

11th Century Anglo Saxon upper class (but not royal) ladies underdress Linen chosen in a colour appropriate for second wash madder. Embroidery was to have been silk and gilt on linen, but suitable silk was not available so cotton used. Stitches chosen included Bayeux stitch for the background, stem stitch and chain stitch to outline. The pattern was taken from a handout on Anglo Saxon Embroidery.

Embroidered facings were worked first, then dress cut out. I have made a number of bliauts and viking underdresses before, so use a similar geometric technique, but made the body of the dress a little wider for ease of wear, and altered the sleeves to make them longer, baggy at the top but very narrow over an elongated forearm to allow it to wrinkle/fold up as in contemporary sources. Gores were added to the sides only (three each side, may have been somewhat overkill, but the fabric was there) to maintain the flat fronted appearance. The facing was added by stitching right side of the facing to the wrong side of the dress, cutting and clipping then flipping it to the outside and ladder stitching down (after much pressing and pinning heavily and leaving to settle overnight). All sewing was done by hand, backstitching and faux french (whip stitched after folding) for the seams, and ladder stitch to attach the facings. Hem was folded and whipped after allowing to hang for a few days. I had forgotten to add extra seam allowance to the sleeve facings, so had to insert a piece and stitch down well at the seam. The neck facing is just big enough, but slightly higher than I personally enjoy wearing, so would probably increase it just slightly for a next time. The dress is quite long as per the fashions of the time, but may be taken up at a later date.

Layer 2

High class Anglo Saxon 11th century ladies overdress (Gunna).

Hand sewn from linen. Modified T tunic shape, larger elbow length sleeves and knee length with larger neckline to show underdress. It is very loose fitting as seen in illuminations of the time. Seams done as faux french, whip stitched closed. Neckline and sleeve trim from black silk with goldwork chain stitch embroidery, and embelished with freshwater pearls, carnelians, and turquoise. The pattern was adapted from the edges of the Sutton Hoo Brooch. I chose dragons as they are part of my heraldry. (I had toyed with using peacock pearls to simulate the closed eye of my sleeping dragon, but the price was prohibitive. Likewise the fleur de lis on the underdress is based on my heraldry, although they are argent not teal).

Originally I had planned to also do a wide goldworked front panel and hem trim, as well as embellished medallions with coral, turquoise, carnelian and onyx beading, but unfortunately time constraints and real life dramas prevented this. They are still in progress and will be added to the outfit at a later date.

Layer 3

11th century upper class ladie’s mantle based on manuscripts of the time. Rust coloured wool and purchased trim. Basic rectangular shape, the hardest part is finding the precise point to attach the pin holding it together, so as to allow the mantle to fall in a flattering manner, and also allow it to be quickly pulled up as a self hood in case of sudden inclement weather. Trim hand sewn to wool piece. Was very pleased that it seems on the dummy to sit very much as the illuminations depict. I chose to do a very light mantle as it is summer in my area, and I already own a heavy duty early period cloak.

Layer 4

11th century homespun naalbound ladies hose.

This was my first attempt at naalbinding. I had tried to do this with some dropspun yarn, but it had been spun at a demo and was very uneven and was not working well, so I purpose spun some thicker wool yarn on the wheel (for speed) and that was far more successful. They were each worked as one piece, tubular to the start of the heel, heel plate worked backwards and forwards, then the stitches on the edge picked up (and some skipped) to shape fully. Post construction areas which will have heavier wear (sole and heel plate, back of ankles) and any areas where the yarn seemed thinner were padded out by weaving wisps of underspun fibre through the fabric. The hose were then put on and fulled with the help of a footspa.

Knee length worn with garters were used by ladies in this period, longer hose usually worn by men. I am postulating naalbound hose as these were common in the Viking period, not only amongst vikings, with bias cut cloth used in later centuries, especially after the Norman conquest. At this time knitting was really only practiced in the far to mid east.

While they are not perfect, fulling them made them much better. The most surprising thing about them is how amazingly soft and comfortable they are, and not too hot. There will definitely be a few more pairs made in the future.

Layer 4+

Accessories for a high class 11th century Anglo Saxon Lady. It was my plan to have a complete outfit from underwear out totally handmade by me of, as much as possible, period materials and with as period techniques where possible.

Shoes: (first ever attempt) Black leather, pointed, semi turned with a front seam as seen in pictures of men’s shoes of this period. Most illustrations of ladies shoes just show black pointed ones similar to men’s shoes peeking out from under the hem of the dress. Cut in one piece from black leather, stitched with matching linen. Next time I would trust my original patterning (had thought they would be too tight, adjusted and now they are a little loose but should be ok with a felt or suede lining). Learned a lot about using a stitching awl during this! (and thoroughly qualified for the “bleed for it” category).

Enamel Brooch. Done during an A&S class dedicated to enamel brooches, had the teacher cut the shape using an Anglo Saxon pendant cross as the template, made using a modified version of the original cross pattern. First time doing enameling for over 40 years, would love to pick this skill back up again if able to afford the equipment.

Headrail Woven from 20/2 black silk, 300 thread warp 24 inch four shaft table loom. Again another real learning curve, with learning to use a warping board and loom. I had thought the end result a little gauzy, but it has settled well off the loom, and is probably more appropriate for our climate than the welsh black homespun originally pegged for the job. (this will be used with a revamp of the silk warp to weave a second headrail for winter). No respectable older Anglo Saxon lady would be seen without her headrail, and black was one colour repeatedly noted in illuminations of this time.

Garters Inkle woven from Gutterman silk thread, with the addition of a little gilt thread from the embroidery. This is still a relatively new skill for me, and at 80threads to make 8 mm (just over a quarter inch) it was the first time I had attempted anything so fine. Very fiddly and challenging to make, but quite satisfying. I have already bought thread to make some similar as trim for other projects.

Inkle woven belt Again, a relatively new skill. I had hoped to learn tablet weaving to do a silk belt for this outfit, but time forbade it. The first belt I made was approximately 1 inch wide, too wide for a Saxon lady of this time period, so the pattern was adjusted and the second one is around a half inch wide.

Sadly time also prevented the original plan of making pattens to wear with the shoes.

Bonus Points

Intermediate · Modern Recreationist · Modern Recreationist Intermediate

Elizabeth Allen

Location: The Shire of Canale, West

Category/Level: Modern Recreationist/Intermediate

About Elizabeth: I reside in The Shire of Canale, Cynagua, The West. I have been in the sca for almost a year now! I picked up sewing to create garb and have taken some college classes on sewing and design. I love researching French/English court dress of the early 1560s, and am researching women’s education in the third quarter of the 16th century. This project is not for me, but will be made for my sister.

Her Project: I will be creating an outfit suitable for a Florentine lady of means around 1565-1575. The items required are, a Camica, a small farthingale, a supportive kirtle, a doublet dress, an over gown, and finally a set of jewels. The outfit is primarily based on, Follower of Francesco Salviati del Rossi, called Il Salviati
Portrait of a lady, half-length, in a richly embroidered, high-necked white dress with pink trim, a jeweled headdress and pearl necklace, seated holding gloves in her left hand.

Layer 1

This is a 1560s Florentine kirtle, and partlet. The pattern was drafted using the modern maker, and adjusted to fit the visual sources I referenced. It is made of cotton canvas, linen blend, and cotton velvet. The bodice is stiffened with layers of wool and buckram, pad stitched together to stay rigid. The partlet is made of fine white linen, and trimmed with gold picot braid. This layer took longer that anticipated, but I am happy with the results.

Bonus Points

Historic Intermediate · Historically Focused · Intermediate

Eva Celensoen

Location: Barony of Three Rivers, Calontir

Category/Level: Historically Focused/Intermediate

About Eva: I have been in the SCA for almost 10 years now. I like to sew garb in the society but it is not something I do all the time; I also like to knit, do illuminations, and accumulate new hobbies to try. My persona tends to be 12th century onward. I have not completely settled on one time quite yet but this outfit is one for a persona I have considered. This project , despite having done some tudor before will still be challenging. I plan on handsewing this outfit almost entirely. The over-gown is something I have never made before which I will have to pattern and actually really intimidates me.

Her Project: I am going to make an upper class tudor outfit. This outfit is based on portraits of Mary I (1544) & Elizabeth I (1546) from when they were girls. In the past I have created, with much help an outfit for the tudor middle class women. The two outfit have the same shift and kirtle layers but vastly different gowns. My goal for this project is to sew almost everything by hand. I will be adding substitute whale bonesto the kirtle to provide extra stability and structure, which I have not done before.

Layer 4

Knitted Wool socks, late 1500s using a Modern maker knitting pattern. I made some mistake along the way so the socks are not entirely identical/do not follow the pattern exactly. These are the first pair of socks I have completed ever!

Bonus Points