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

Æsa Helgulfsdottir

Location: Barony of Endless Hills, Æthelmearc

Category/Level: Historically Focused/Advanced

Project Update Blog : In Wolf’s Clothes

About Æsa: I’ve been in the SCA for about 13 years. While I love sewing, I also enjoy playing with other skills like archery, knife and axe throwing, fiber arts, basket weaving, herbalism, soap making, pottery and brewing/cooking. I love acquiring skills that a Viking wife would have used in her everyday life. While the sewing aspects of the garments will not be difficult, historical clothing can sometimes present challenges as I am paralyzed. I often have to strike a balance between something that looks as correct as possible while also being comfortable, allowing for medical restrictions and not hindering my wheelchair’s movement.

Her Project: I’m hoping to create an ensemble that would have been worn by the Norse wife of a fairly well-off land owner in 10th century Jorvik. The piece is not based on any single burial find, but takes inspiration from several. The plan is for wool stockings, a linen underdress, a woolen dress and apron with jewelry and a head covering. The goal is to spin and weave a component of the ensemble.

Layer 1

My Norse linen underdress went as planned, as I am very used to making this style of gown for myself. I hand sewed all the seams and tacked them down using a running stitch and matching threads. For my stockings, I struggled a little deciding what to make. Many of the current interpretations from archeological finds seem to have a seam running along the sole of the foot, which I was afraid would be very irritating as I have some nerve issues from the paralysis. I also knew that I wanted the stockings to end below the knee, as I didn’t want to have any fabric bunched behind the knee as my legs are always bent. In the end, I used a pattern that I had drafted about ten years ago from “The Medieval Tailor’s Assistant” as I knew that it was comfortable to wear. The stockings were made from brown wool flannel, hand sewn and the seams were tacked down using a running stitch in contrasting thread.

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

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

Advanced · Historic Advanced · Historically Focused

Agnes von Heidelberg

Location: Barony of Coeur d’Ennui, Calontir

Category/Level: Historically Focused/Advanced

About Agnes: I’ve been in the SCA for more than a decade. I regularly hand sew almost all of the clothes my husband and I wear (I’m pretty sure my sewing machine is out to get me). I have made a number of Japanese outfits for both my husband and myself before. I will be dyeing most if not all of the fabric that will be used for this project and this will be the first time I have done this for a whole Japanese outfit. I have done single layers of Japanese items before and I have done the dyeing of all items for a Viking outfit before. I am actually making this as part of a pair of outfits but I am only entering the one outfit into the challenge. I will also be learning kumihimo for this project as it will be needed for the bag I plan to make. Some of the basic construction of kosode will be very easy for me as I have done it a number of times the challenge level will be in getting the dyeing, including shibori, done within the timeframe and learning a new skill, kumihimo. I do plan to start learning kumihimo before the official start date.

Her Project: The outfit will be for a Japanese woman, the style is seen in art ranging from the Kamakura era through the Muromachi and Momoyama periods (1185 – 1600). The primary imagery used will be Momoyama (1568 – 1600). There are several kosode (the period version of the kimono) layers as well as a final kosode that is worn over the head when walking out of the house. I will also be making a bag used for carrying things that can be seen in the art of the period. The most influential period image is from the folding screen found on this website

Layer 1

This is a Japanese ‘underwear’ layer, or Jubon, for my 16th century Japanese lady’s outfit. I had originally planned to make this layer out of ramie as ramie and hemp are the known cellulose fibers for Japan in the period. Unfortunately my fabric still hasn’t arrived so I opted to use linen as a reasonable substitute. The linen I ended up using may be a little thicker but since there are only 3 layers for the official entry I wanted to be sure the collar would be stiff enough.

The design as far as I know is more assumption than based on any extent pieces from period nor any actual art. This is however the common design used by the re-enactment community.

The garment is shorter than the overgarments will be. The sleeves are straight instead of shaped like the overgarments will be. The only thing intending to be seen is the collar. In period the garment might not have been visible at all but due to the nature of this project the collar will be visible. I created the collar so it is actually 4 layers thick to be sure it will be nice and sturdy.

The obi is a necessary part of the garment, it holds the collar in place. I actually forgot to plan for this obi somehow so it is very much rushed. It is 4 layers thick folded in half then folded in half again so the raw edge was on the inside. I just whip stitched the edge since it isn’t going to be visible.

All sewing is done by hand with linen thread. Seams I doubled the thread. They are stitched with a running stitch with the occasional back stitch to keep the stitching from possibly gathering up on accident. I used single threads for finishing the French seams and on the hems and collar attachment. French seams are almost certainly not a period seam treatment as period garments were made from fabrics that were the width of the body panels so nearly all the seams in the garment would be the finished edge of the fabric. Since I’m working with linen only the side seams were the finished edges of the fabric. Even if I had the ramie I would likely still need to do the seam finishing as modern fabrics are not made in the widths of period fabrics (approximately 18 inch widths).
Screen reader support enabled. 

Layer 2

This kosode is the main garment layer of this outfit. Kosode is the period term for what we might modernly call a kimono, the cut is different than that of a modern kimono. A more formal look would include a second kosode layer between the skin layer and this layer but that is not part of the official plan for this project.

This style of clothing would be seen on any person of wealth or samurai class in 16ht century Japan. The cut and style would differ just a little between men and women, the main difference being the men would of this status would wear hakama (pants) but women did not. This is not however court wear, it is the style of clothing that would be worn to go out to the city or perhaps even to visit a shrine or temple or enjoy a theater performance.

The use of panels of different colors/fabrics is seen in several extent period pieces. It is called Dan-gawari. I decided to try that particular style with this challenge as a way to challenge myself while still working with what is really a rather basic garment.

The silk broadcloth used in this garment is hand dyed by myself. The yellow is mordanted with symplacose which is a bio-accumlator alum mordant. I started using this morant years ago for Japanese dyes as the natural alum used in traditional Japanese dyes is also a bio-accumulator. I have recently learned however that symplacose is known to be native to Japan so it is possible this may have also been used in the period. I did a secondary mordant with pomegranate. I am not certain about the availability of pomegranate in 16th century Japan however yellow tannins like pomegranate would have been available. Finally the dye used is cork bark which is a known dye from the period.

The orange/red is also started with symplacose. Then cutch as the secondary mordant which also doesn’t have documentation of being available in Japan in the period however its distribution in Asia means it might have been available as an imported dye stuff. However, even if cutch was not available in the period in Japan other brown tannins would have been available. Finally the main dye is madder specifically rubia cordifolia, or Indian Madder. This particular species of madder there is documentation for it being available in Japan prior to the 16th century. I have not yet had a chance to dye with Japanese Madder yet so I do not know how different the 2 dyes may be. It is worth noting that rubia cordifolia is used to make akane red, a traditional vibrant red.

Finally the green of the obi is started with symplacose, followed by copper, followed by cork bark, followed by indigo. The obi is actually made from extra fabric available from what will be the inner kosode between the skin layer and this layer eventually but probably will not actually be part of this competition.

All of my fabric is dyed using a modified version of ‘the log’ method taught to me by Mistress Willoc Mac Muiredaig at Gulf Wars several years ago. The main modification is that I use a pvc pipe to allow easier manipulation of the fabric with fewer people. This method of dyeing actually is very similar to methods used by modern artisanal dyers in Japan. The method uses a moderately large dye vat, however not as large as would be needed if you were going to try dyeing the same amount of fabric purely by immersion and stirring. A pole is set horizontally over the vat by a variety of methods, my set up was constructed by my apprentice brother. The fabric is then manipulated over the pole (aka log) and into the vat, then back out, and back in repeatedly. When I learned this method at Gulf Wars there were at least 6 of us involved including the teacher and we were using 5 yard pieces max. Often I am limited to just one or two assistants to help me with my dyeing. Due to this limitation I have actually adopted my modification of using the pvc pipe over the ‘log’. This allows the fabric to more easily roll over the ‘log’ without needing another set of hands to keep the fabric from tangling on the log. It is likely that in period that similar methods would be used as well.

The construction of the kosode involved a number of steps. First I use the pulled thread method of cutting all the pieces to ensure straight edges to work with. Second each panel I finished the edges on using a rolled or hidden hem before attaching them together and constructing the garment. This particular step serves a dual purpose. The first is just simplicity of not having to worry about the fabric unraveling while I work with it. Second to a degree it helps with accuracy as the width of the body panels is actually the width of period fabrics so those edges wouldn’t have been raw in period and would not have needed any seam finishing once the garment was constructed. I used silk thread I dyed at the same time as the fabrics for any visible stitching. For construction I used linen thread I have on hand, likely if a cellulose fiber was used in period it would have been either hemp or ramie. The construction stitches are actually just a running stitch, this is the traditional way of modern kimono construction and is to the best of our knowledge what was done in period. I do add the occasional back stitch for extra stability while I sew and to keep me from accidentally pleating up my stitching.

The pattern of the kosode is fairly simple and standard. The basics for construction I always refer to this website, http://www.wodefordhall.com/page4.html, there are however many other places that provide similar instructions. There are 2 different styles of kosode in period. One where the sleeves are of equal or almost equal width as the body panels, similar to the pattern provided on the website. The more common style seen in extent pieces however have a sleeve width that is approximately half of the width of the body panels. That is the style used in this garment. Years ago I did research on the proportions of sleeve width to body panels and sleeve length to body panels and created calculations for how to cut out my garments based on the full width at the shoulder and the length from shoulder to hem. I used those calculations in the design of this pattern. I did however end up with sleeves that don’t come down quite as far on my arms as I had planned but it is probably only an inch or two short so it isn’t too bad. The obi is also stitched with a running stitch as a tube inside out, I did use the matching thread for this stitching even though I was hoping it would be invisible. Obi in period are very slender and not nearly as extravagant as modern obi. I am personally of the opinion that they probably were often made from pieces left over after construction of kosode.

I am actually hoping to add embroidery to this layer in the future but there was no time to try to learn how to do period Japanese embroidery within the constraints of this project. I really appreciated that the colors of the fabric almost matched the color of the trees in the area the days we were dyeing. It’s a wonderful fall feel and lends itself towards the period approach to clothing ‘telling a story’. The embroidery will help tell the story of the fall at the time of the project.

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 Writren Works and the bardic comunity, and due service to my kingdom. I come from the shiney days of firelight carching trim, and am looking to step intonsomething more authentic (while maintaining the convenience of my sewing machiene – better for my attention span…). I actually have an itLlian 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 – undershift, apron, coat, and accessory. The coat especially is something Inhave wanted to make for some time. It may include some heraldry. I have not yet decided. It will be based on some historial examples and altered for my personal aesthetic.

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. 

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.

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.

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.

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.

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.

Bonus Points