About Giovanni: I am Giovanni Loredan, I have been in the Society for over 9 years. Giovanni is a second son from the mid-1500s Republic of Venice, where his late Uncle was a well-loved Doge. Giovanni currently lives in the Kingdom of Calontir, in Axed Root. In the past, I have sewn a number of items, including a late period suit. This complete project will probably be pretty challenging for me though. My last doublet took me almost three years to complete by hand. Hopefully having a specific challenge will help to keep me moving!
His Project: For the Challenge, I am working on a recreation of the “Portrait of Gian Gerolamo Grumelli (The Gentleman in Pink)” by Giovanni Battista Moroni (https://upload.wikimedia.org/wikipedia/commons/4/45/Giovanni_Battista_Moroni_008.jpg). The outfit worn in the portrait is fairly typical of the mid-1500s in Northern Italy. Layer 1 – Underwear: Camicia and Braes Layer 2 – Main Layer: Doublet and Paned Trunkhose Layer 3 – Outer Layer: Venetian Toga (Over robe) Layer 4 – Accessories: Garters and Shoes I have been planning this outfit since Clothier’s Seminar last year when I acquired the wool I will be using for the Doublet and Trunkhose. I have been looking at the Painting for many years. To fulfil the Outer Layer, I will be creating a Venetian Toga, also known as a Vesta. It was a civic uniform for men over 26 in Venice and was fairly highly regulated by sumptuary laws.
About Kristine: I joined the SCA in middle school when my mother started taking us to meetings. I wasn’t always as excited about it in the beginning, but when I found tablet-weaving, I was hooked. I met my fiance, Vincent, as well as all my closest friends in the society.
Vincent and I came to a deal a long time ago that he would make our garb, since he enjoys it and it just puts me in a foul mood…. but since I’m spearheading this challenge, I feel like I have to put my money where my mouth is and participate. Wish our household luck!
Her project: Years ago, I came upon one of the images below and felt like I fully understood the woman wearing it – and I love her apron. I can’t just make the apron, right? I have to make the whole outfit to go with it. These images are all from the same illumination and are a little later than my usual time period (I’m usually mid-to-late 14thc Scot) being earlyish 15c inspired by images from The Book of Faiz Monseigneur Saint Loys. So, My plan is to make all the layers shown, a chemise, a supportive kirtle (stretch project of additional pin-on sleeves), a silk cotte with embroidery, and a wool over cotte with embroidered embellishments. My accessory will be a tablet woven belt, though I’ll also be making the aforementioned apron. I have other wacky ideas on extra accessory layers, but we’ll see how it goes!
My layer 1 consists of a chemise and a St Birgitta’s Cap. Both are made of white linen and are of machine base construction and hand finished with linen thread.
The chemise is based off the general late period pattern which has been theorized was used in the early 15th century. As I’m in the modern recreationist category, I took a step from what I could document and added a simple embroidered pattern around the neckline and tablet woven trim around the base. The trim is of cotton, as it’s what I had on hand, and was woven by me – the first of many tablet woven projects which will be incorporated into this outfit.
The cap is of basic construction and went MUCH better than my first cap I attempted years ago. It went so well that I’m considering making a second one with some decorative elements.
Farmhouse Cheddar – Cheesemaking techniques haven’t changed much since medieval times. I’ve made two cheddar rounds, one smoked (ok, burned. I scorched the milk. But I already had the yeast and rennet in it by then, so I went ahead and finished it. Who knows?) and one regular. They’ll age until January when it’s time to take pictures
Beeswax – The beeswax was processed from the yearly rent paid by the bees who live in my yard. The hive shaped piece is mine for the challenge and the bees went out to people from my local group who have taken up the challenge as well.
About Soma: I have been in the SCA for 6 years now. My main areas are sewing, embroidery, weaving, and lamp-working glass. These were all picked up as a result of my choosing a 10th century Norse persona. This will be more challenging for me as it will only be the second time I have hand finished my seams, and the first time purposely creating a whole outfit on a deadline.
Her Project: I plan to create a 10th-ish century viking outfit. This type of clothing has been found in a majority graves and would be worn by a middle class person. I plan to make a serk, an apron dress, a coat, and the accessories are undecided. Most of the inspiration comes from Medieval Garments Reconstructed, Norse clothing patterns. I have had all the supplies and been planning it for a while, but needed motivation.
This is a basic Norse serk used through much of the viking age. This is worn by women of all social classes. The difference being the material for what we can still find. The only thing I will do differently next time is a smaller neck opening.
Yellow flannel because, well wool is expensive. With blue chain stitching to finish. I had originally planned a blanket stitch but hated the way it looked 6 inches in. So I changed it! This layer is a modification of D5674 in Norse Clothing Patterns. This is a favored pattern of mine for its simplicity and fabric efficiency.
This layer is the Norse Hangeroc dress. The pattern was provided by Mistress Thora. It is seen in grave finds from 9th and 10th century. This dress is 100% wool, which is historically accurate. The dress was finished using a stab stitch shown in the book Medieval Clothing Reconstructed. I did struggle with this stitch and it is less than perfect in many places on this layer.
This is a tablet woven belt! Yeah I know. I said it would he the coat but the coat is naughty so its the belt! This is 20 cards of 5 forward 5 back simple geometric pattern. There are many geometric patterns found in the norse and Finnish graves. This one is not specific as the original pattern I ended up hating.
About Susanna: I started playing in the Outlands in 2005 but then unexpectedly found myself moving to Calontir in 2006, so Calontir is my SCA homeland. My main interests are garb, games, and food. My first persona was late period English but a few years ago I decided to go with a more quirky persona – Dalmatian! – that allows me to combine several cultures into one storyline. I mostly dabble; I’ve never mastered anything!
Her Project: I plan to make a woman’s 16th century ensemble, for a resident of a small island on the Dalmatian coast of the Adriatic Sea. The wearer comes from a well-to-do local family; she is not Venetian, nor would she be considered “noble” by anyone but a fellow Dalmatian. This will be a special occasion ensemble suitable for the feast day of St. Christopher (the patron saint of Arbe) on July 25th. This project was inspired by an illustration in Vecellio’s 1590 publication ‘Habiti Antichi et Moderni’ and my previous attempts to track down the source of that image. It’s mostly speculation.
About Verti : I go by Verti to all my SCA friends. I’ve been in the SCA on and off 25 years. I’ve never been much of a seamstress, so this will be new for me. Most times you’ll find me at our local SCA Pub at events. I love telling and listening to stories and songs from friends and soon to be friends.
Their Project: I will be basing my outfit on early Pict carvings. My main focus will be recreating the Orkney Hood look, but not quite ready to make it with period technique. The parts will include the hood, an under tunic, t-tunic, pants, and possibly a hood.
About Vincent: I have been participating in the SCA for about 15 years. I do quite a bit of of basic costuming, especially helping newer members. Beyond sewing I work on a lot of general SCA projects and work on recruitment and retention efforts.
His Project: Mid fourteenth century middle class merchant from Western Europe. This is a commonly represented garment seen in illustrations. I am also working off of the men’s fourteenth century gown from the second edition Medieval Tailors Assistant.
This is the base layer of my attempt for a 1350’s merchant. It would be a middle class merchant from western Europe.
Linen Braies: long white linen braies, machine sewn, hand seam finished
Wool Hosen: Machine sewn, hand seam finished
Linen shirt: White linen, machine sewn, hand seam finished
Linen coif: White linen, machine sewn, hand seam finished
The layer consists of the linen doublet. This is an early version of a doublet based on the pattern described in the Medieval Tailor’s Assistant book. I machine sewed the garment with hand finishing and hand done eyelets.
Leather shoes: Machine basting stitch, hand sewn after
Leather Coin Pouch: Hand finished
Scented body powder: ground orris root and clove body powder
Leather garters: Purchased buckles, dyed vegetable tanned leather and hand finished
Leather girdle belt for Braies: Purchased bronze buckle, dyed vegetable tanned leather and hand finished
About Zaneta: I have been in the SCA for about nine years now. I normally play as a 15th century Venetian woman. Other days, I play at being a 10th century Norwegian. While I have been making garb since I started, I almost never manage to get extra details done – embroidery, shoes, hair coverings, etc – especially for my Venetian outfits. I am hoping to be able to create a complete outfit from head to toe. Making pants will be especially challenging for me. While I can make Thorsberg trousers for my husband without much problem, I have never been able to successfully create pants for myself. I attempted a pair of venetian under drawers (shorts) one time and almost stopped sewing – it was that bad. So this challenge should help me overcome some of my mental blocks about garb making.
Her Project: I will be making an outfit that would have been worn by a man in 1490’s Venice. It will be based off of figures in Vittore Carpaccio’s paintings – The Miracle of the Cross at the Ponte di Rialto (also known as “The Healing of the Madman”), and The Departure of the Pilgrims (from the St. Ursula cycle). I have been wearing Norse and generic 14th century clothing for a while and I would like to get back to being Italian. My outfit will consist of the following: Layer 1 – Camisa or undershirt Layer 2 – Zupon, sleeves, and hose Layer 3 – Mantello or caxacha, like a coat Layer 4 – Possibly shoes, hat, or hat pendant
This is a linen undershirt for a man in 1490’s Venice. I read through a number of blogs and looked at a number of images for this layer. Unfortunately, most of what I looked at had the same message – we aren’t entirely sure…. So I followed the general lines of a shirt from the Medieval Tailor’s Assistant book and added more to the sleeves for future puffiness. The shirt has machine sewn seams and is hand finished. Rather than angle out the body panels, they are straight rectangles. The neck was left large and I gathered it up into a small neck band. There are ties at the neck to close it when it is under the doublet.
This is the first time I have made this type of shirt so next time I will probably make the body panels a bit bigger. I must have done my math wrong because it’s a little more close fitting on the hips than I had planned. I didn’t want the shirt to be too baggy, though, because I tend to get overheated in my normal poofy camicia’s. As the part that is close fitting will be the part under my hose, I think it will be okay and will give me all the poofs that I need at the right spots.
Layer three was the main focus of this project. I created a open front over coat based on paintings of 1490’s Venice. I embroidered the left sleeve with an impresa representing my kingdom. In period, the sleeve would have been decorated with a personal or family impresa for those older men. For younger men, it might have been the impresa/logo for one of the Compagnia della Calze. In period, the garment would have been made of wool or velvet. The sleeves would have been laced onto the body and would have had openings to allow the large sleeves of the undershirt to floof out.
I chose to use a cotton flannel because I had it on hand. The lining is a yellow linen. Because this will be a winter coat for me, and I don’t plan on taking off the sleeves, I hand sewed the sleeves to the body to give the impression that they were tied in – the top of the sleeve is actually about a centimeter under the body so there is a bit of yellow lining to flash at the arm. I didn’t sew the sleeve all the way onto the body and I left a section of upper arm open as well so that the undershirt can poof if I want it to.
The body seams were sewn by machine. Once it was turned right side out, I sewed the neck, arm holes, and hem by hand. I also edged the front and neck line with a running stitch to keep the edges neat.
The sleeves were entirely sewn by machine. The flannel and lining were sewn together, turned, and then sewn into a tube shape. I didn’t like the look of the gap the first run through, so I sewed more of the upper arm. There is only about a six inch gap. I might go ahead and sew that completely together later on.
The embroidery on the sleeve is done in chain stitch with hand dyed silk. The purple details and letters were hand dyed by Lady Agnes von Heidelberg. I helped Agnes dye the two yellows.