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.

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.

Bonus Points

Advanced · Historic Advanced · Historically Focused

Aethelwynne of Grimfells

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.

Layer 1

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!

Layer 2

This is the second layer of my 10th century high status Anglo-Saxon outfit. It is a gown made of green worsted wool, and trimmed with gold silk that I’ve embroidered with wool and silk thread. This is cut in the same manner as my shift, following a t-tunic style layout. It’s entirely hand stitched in green silk thread. I sewed the seams with backstitch along the arms and shoulder seam, and running stitch along the gores. I then folded the raw edges toward each other and whipstitched those edges together, forming a mock French seam. This technique is documentable during the period. The facings are made of silk charmeuse that I’ve had in my stash for years. I embroidered it by couching down a fine wool yarn with silk floss, then adding French knots in between the lines with the same wool. This was my interpretation of a common design seen on Anglo-Saxon clothing in period artwork, where two parallel lines have small dots or circles running between those lines. This is seen along hemlines of gowns, sleeves, and cloaks, but I also added it as a neck facing. Everything went as planned, but the one thing I would do differently is find a stiffer silk to make the facings. I used the charmeuse only because it was what I had, but it was so thin and easily warped as I worked with it. This made the embroidery difficult; I used linen underneath it for some structure and had to keep it under tension as I sewed. If I were to do it again, I would use something like taffeta, that won’t wiggle off grain so much. As it is, the embroidery looks decent, but it was particularly hard to get it even on the neck facing due to the charmeuse so I’m not entirely happy with that. Overall, I do like the gown, and I’m glad to finally have something fancier to wear to special events!

Layer 3

This past month I worked on my 3rd layer, a wool cloak. Anglo-Saxon women of the 10th century wore mantles (poncho like garments, basically a piece of fabric with a hole cut in the center for pulling over the head) and cloaks; I prefer cloaks since they’re a bit more versatile- for example, you can fold over part of it to use like a hood, or you can use it as a makeshift blanket at camping events, so this is what I chose for my outfit. I used a thicker wool broadcloth, and construction was easy enough; I cut the fabric to length, and the fabric doesn’t fray, so I left the edges as-is. Period artwork tends to show women in plain cloaks, but written accounts mention more decor on clothing than what is seen in the drawings. This is in contrast to artwork of men, who are shown in decorated cloaks. The trim I used on layer 2 (a contrasting band with dots/circles along it) is shown in multiple images of men in the 10th century, and as there is ample artwork with women wearing this trim on their gowns, I figured it would be reasonable to decorate the edge of my cloak this way as well. I tablet wove a band in yellow wool directly to the bottom edge. For the dots seen in pictures, Dress In Anglo-Saxon England mentions that this could be embroidery or jewels sewn on; I chose the latter to contrast with my second layer. The cloak is wrapped around the shoulders and closed over the center of the chest with a brooch. The construction all went as planned; my only gripe is that I settled for glass beads on the trim, as that was what I had available locally. These were used in period, but after the challenge I might try to find flatter or smaller gemstone beads to replace them, as high status people would have likely used gemstones rather than glass on their clothing at the time.

Bonus Points

Advanced · Historic Advanced · Historically Focused

Alexis MacAlister

Location: Barony of Marcaster, Trimaris

Category/Level: Historically Focused/Advanced

About Alexis: I joined the SCA in 1981. Pennsic X was my second event. My grandmother taught me to sew when I was young. I’m a Laurel in the SCA for Fiber Arts. This challenge ties directly into my persona.

Her Project: My goal is to create an early 16th C. Tudor ensemble for a middle-class seamstress. I have wanted to get back into early 16th C. clothing for a while, as it is my first love in historical period and clothing.

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.

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.

Bonus Points

Advanced · Historic Advanced · Historically Focused

Annora Reyner

Location: Barony of Three Rivers, Calontir

Category/Level: Historically Focused/Advanced

About Annora: My main art focus is costuming. I will be using this challenge to make an outfit I had already planned. This will help provide some outside motivation for me to work on my project and stretch a little.

Her Project: Outfit will be an early Tudor ensemble indicative of the turn of the 16th century showcasing the stylistic change in silhouette. The outer gown will display pleating techniques in the back and have a wrap closure. The hood will be embellished with pearls and spangles as seen in several contemporary tapestries.

Layer 1

The body linen layer of the early 16th century was very similar to body linen layers of the previous eras. It is constructed using geometric shaped pattern pieces. For women it is ankle length. The sleeves are wrist length and narrow to fit through fitted outer sleeves. The neckline is square to match the kirtle with a high v in the back. I’ve made this same pattern many times and it wears very well. I did a reverse facing to complete the square neckline. I do not think I will do this in the future as I don’t like the look. But it would be a good method to apply an embroidered band to the neckline.

The linen is a lightweight linen from 96 District and the seams were sewn with a fine white silk thread by hand.

Layer 2

A pink linen kirtle of the early 16th century in England. It has been constructed with a separate waist seam and pleated skirt and short sleeves as seen in primary source images. The bodice is interlined with linen canvas and lined with 5oz white linen. This provides good shape and support to the bodice without being pad stitched or otherwise manipulated. I believe the early 16th century is too early for the use of pad stitching or other technical tailoring techniques. 20 hand bound eyelets were sewn in silk thread. Most of the construction seams were done with cotton thread. The kirtle is completely hand sewn and created from a pattern that I drafted. There are several process photos showing stages of construction and finishing. Fit is the most important thing about this layer as the kirtle supports the bust and provides the shape for the outer layer. I’m overall very happy with the fit of this kirtle. But I may tweak a few spots for the future. The shoulder straps could be a bit tighter and fit closer to the body. The facing around the neckline made the square corners much easier to sew but does add bulk to the neckline as well. This is the first time that I’ve used the fashion fabric for this purpose. A thin silk would reduce bulk here. The waistline is straight but appears to dip lower in the back of the kirtle. I believe this is an illusion created by how the kirtle fits on the body. The bodice was drafted with a straight waistline. An adjustment to the back of the bodice, raising it slightly, might account for this and correct the illusion. The hem goes to the floor but may be raised in the future as the kirtle is intended to be worn inside and outside.

Layer 3

This is a wool transitional gown from the turn of the 16th century. It’s has a wrap front closure that is shaped similar to 15th century gowns. But the back has developed more fullness and shows pleating techniques that start to be used more in the 16th century. The sleeves are a trumpet shape popular of this time period. It is fully lined in silk and hand sewn.

Bonus Points

Advanced · Historic Advanced · Historically Focused

Bartholomew Sharpe

Location: Barony of Bergental , East

Category/Level: Historically Focused/Advanced

About Bartholomew: I have been a member of the SCA for approximately 6 years. I have been involved in other forms of reenacting on and off since I was 13 (23 years or so). My main areas of interest is the material culture of 16th and early 17th century England. I have been sewing seriously for about 5 years. This past year I have been focusing on making completely hand-sewn garments. While I have a good understanding of making the garments I plan to enter, the challenge to me will be in trying to use a number of period techniques that I have only recently learned.

His project: I plan on recreating a complete English middle class men’s outfit from the turn of the 17th century. I am looking to recreate what would have been worn by a yeoman farmer or middle class tradesman in the years 1595-1610. The outfit will be based off of a variety of period artwork, as well as extant garments. It will include: shirt, doublet, hose, and jerkin. I plan on hand sewing the entire outfit. If time allows I may also make a belt, purse or knitted hat to round out the outfit.

The Complete Garment

His final thoughts on his C3 experience:

What a fantastic idea for a competition! This is one of the few A&S challenges that I have gotten excited for in a while. The ability to make an entire outfit from the skin out was a fantastic way to try new techniques and get better at other skills. Huzzah for the organizers of this challenge!

Layer 1

I am checking in my first layer, a linen shirt appropriate for the late 16th to early 17th century. The shirt forms the basic function of underwear during the time period. It is made very long to act as both a covering for the body and the hip area. The pattern is very basic and seems to have been fairly universal across western Europe for the times. It is constructed completely of linen fabric and linen threads of different weights. It was drafted using the “bara” system as describe in the Modern Maker book series (late 16th/early 17th century methods). Shirts similar to the design I used are found in many museums and covered in detail in Patterns of Fashion 4, by Gannet Arnold.

Layer 2

My second Layer consists of a linen canvas doublet and wool hose. These 2 items represent the basis of all men’s outfits from the 15th to the 17th century. The doublet is made in the style of the late 16th century to early 17th century. It is made from a linen twill outer layer, interlined with linen canvas, and lined in a light weight linen. The doublet is completely sewn by hand using various weights of linen thread. The buttons are of pewter. The button design was taken from a number of extant examples shown on The Portable Antiquities Scheme (finds.org.uk), as well as examples found on the wreck of the Vasa. I first carved the button masters in wax and then used a 2 part mold to cast them. The hose are representative of the style commonly referred to as “trunk hose”. They were a common style seen from the 1560s through the 1620s in various configurations. The are made from charcoal or “sheeps black” wool fabric, and lined in linen. They are sewn by hand using both linen and silk threads (silk for the buttonholes and eyelets). The raw edges of the hose and pockets are bound in a linen tape.

Layer 3

My third layer consists of a leather jerkin. It is based on period art as well as some surviving examples of English jerkins from the second half of the 16th century. Since I am attempting to recreate a “working mans'” outfit I chose to leave it mostly undecorated. I did however add leather piping with tiny slashes to the seams to give it a bit of flare. It is made from purchased modern chromium tanned leather, this was a mistake on my part. the chromium tan leather does not lend itself to being hammered flat. On one example in the Museum of London, the seams allowances are hammered very flat, being vegetable tanned it is much easier to do that on than chromium tanned leather. The pewter buttons are cast by myself. They are inspired by examples found on The Portable Antiquities Scheme website. I chose to piece one of the skirts together as an added historical touch. Many examples of surviving clothing incorporate piecing and I felt it helps to achieve a more historically correct garment.

Layer 4

My fourth accessory layer consists of a knitted hat. The knit hat is based on the styles seen in period art and examples in the Rijksmusem in Amsterdam. It was knit in the round from bulky wool, it was then fulled (felted) by hand. The hatband is made of a 4 strand braid of wool yarn that I dyed with madder root.

Layer 4+

My four+ accessory layer consists of a girdle belt, belt purse, and a cloak.

The girdle belt is made from vegetable tanned leather (purchase) and was dyed with black walnut juice. The buckle for the belt was sand cast in brass. The design for the buckle came from an example I came across on the Portable Antiquities Scheme and is dated from 1500-1650.

The belt purse is made from vegetable tan leather (purchased) and again dyed with black walnut juice. The purse is based on purses seen in period artwork, as well as an example found in the Netherlands.

In the end I decided to make up a cape to go with this outfit. It is handsewn with a coarse thick wool similar to that describe as ‘frieze’ in period. It is lined with linen, and closes with brass hook and eyes I made.

Bonus Points

Advanced · Modern Advanced · Modern Recreationist

Eadaoin inghean Chionoidha

Location: Barony of Lonely Tower, Calontir

Category/Level: Modern Recreationist/Advanced

About Eadaoin: I have been in the SCA since August of 2003, starting in the Canton of Axed Root. I have been sewing for just as long. Until the pandemic, sewing was my day job and is still my side job. I am also an inkle and card weaver and have dabbled in tapestry weaving and bobbin lace. I have done a Tudor kirtle, before, but I have not done this style of over gown, so it will be a new adventure. If I find that I have the fabric for it, I will be doing the more elaborate sleeves, which will be new for me.

Her Project Plans: I will be doing a mid 16th century Tudor outfit based on an engraving of Margaret Tudor. There will be some changes to stay within my limited budget and to utilize material that I already have. There will be a simple linen smock, a wool kirtle, and burgundy over gown with simplified sleeves, as I am not sure that I have the material for the more elaborate ones in the portrait. Patterns will be done by me based on the ones found in The Tudor Tailor.

Advanced · Historic Advanced · Historically Focused

Lady Eilish neé Salé il de Ré

Location: Westumbria, Calontir

Category/Level: Historically Focused/Advanced

About Eilish: I have been a member of the SCA, Kingdom of Calontir, Shire of Westumbria for about 4 years. Currently I am the Westumbria Herald. Sewing? Long? Oh, let’s see? Since I was old enough to use a needle & thread. (Note that I didn’t say “safely”.) I love historical sewing. To date I have made Roman, Irish, French, Norman, up to the 14th century; then I jump to 1830s Mountain man era, Souix maiden dress, prairie dresses & even some leather breeches; then Civil War hoop dresses, 1880s bustle dresses; & of course mundane from 1970s to present day. This dress will, hopefully be the signature gown for Lady Eilish. It will be a challenge because I love challenges. Especially sewing.

Her Project: I purchased a purple linen, Green Silk w/slubs & a textured white silk at Clothiers a couple of years ago. The dress idea didn’t gel for a while. After researching the following is what I have settled on. The design is completely mine using historical references. It will be made using machine & hand work. 12th century green cotehardie with detachable & reversible sleeves, trimmed with the white textured white. Trim is to be neck, arm cuff, reverse side of bell sleeve, mid calf trim & a tippet. White will eventually be embellished with embroidery & beads. Underdress will be purple linen. (Because there is not enough yardage for the complete long underdress, upper to below hips will be linen & lower will be unbleached linen.) Some aspects may not be historically accurate, ie; detachable/reversible sleeves & using a second color for lower skirt; but I like the ideas. Detachable/reversible sleeves & a tippet will make this dress at least 4 dresses in one.

Beginner · Group · Modern Recreationist

Elaisse’s Brood

Group Members: Elaisse de Garrigues, Randulf of Oakheart, Uhtred of Oakheart, and Wulfric of Shyreburne.

Location: Oakheart, Calontir

About Elaisse’s Brood: I have played in the SCA for about ten years (with a long break in the middle as I changed kingdoms), and I hope to use this challenge to draw my family more into my SCA life. The boys (13yo Wulfric and 10yo Randulf) enjoy youth combat, archery, and thrown weapons, as well as blacksmithing and making pottery. My husband, Uhtred, has only been to a handful of events, but has enjoyed Cut and Thrust fighting, brewing mead, and blacksmithing. I am primarily known as a musician and bard, but I am also an experienced costumer and I dabble in a wide variety of arts and sciences. I expect this project to challenge all of us in many ways as we delve into skills that are nearly or entirely new to us.

Their Project: Our goal is to produce items that will better enable our whole family to participate in future SCA events. We plan to create a set of four outfits reminiscent of what might have been worn by upper-class Anglo Saxons in the eleventh century that would be comfortable and practical at a typical SCA camping event. We have wide-ranging and ambitious ideas about various “accessories” that we might attempt. It will be exciting to see which ones we get to and what kind of progress we make. Possibilities include: tooled leather armguards for archery, quivers, arrows, belts, pouches, shoes, mead, cheese, butter, bread or other food, youth combat armor, feast gear, knives and sheaths, a crossbow, an Anglo-Saxon lyre, and an Anglo-Saxon geteld canvas tent. These are all projects that I have intended for us to tackle for some point, and if this challenge provides the impetus to get a few of them done, that will be quite a triumph!

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.

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 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.

Bonus Points