About Charles: I have been in the SCA since 1988 and have lived in 7 kingdoms. At first i was only interested in heavy combat, however over the years i have branched out and dabbled in A&S : Armoring, leather work, costuming, and casting. I usually produce one item at a time this will be the first time I’m doing an entire outfit. I think about half of the items will be easy for me to make ( shirts, trousers, hat), the other half should be a challenge as I have never made them before.
His Project: Greetings! I will be making a Varangian/Rus outfit, as I have recently decided to change my persona. I am basing my cloths off of research done by Peter Beatson on Rus male costume. I will be making : undershirt, over shirt, kaftan, trousers, Hat, belts, and sword scabbard.
About the Clowder: Our group is a mix of newcomers to our Barony and people who have been here for years. We decided as a group to do something for one of our newcomers who had very little in the way of garb. Our group name was chosen because we mostly agree that this is going to be like herding cats. 😉
Their Project: We will be constructing a Viking Era Norse woman’s outfit for one of BLT’s newcomers. We are going with a general Norse outfit based off of several extant finds. Details are still being hammered out.
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.
About Embla: I’m a newcomer to the SCA, having decided to finally join this year. I’ve been sewing for as long as I can remember, and have been seeking to learn more about historical clothing construction methods in the past several years. I do a lot of different fiber-related crafts. I know how to knit, I’m getting the hang of nålbinding, I can spin wool into thread/yarn, I can weave on a rigid heddle, I’m learning how to do tablet weaving, and I know a little bit about millinery. I plan on using this project to get a better understanding of how to construct the more historically-based dress I’ll be making for my persona in the future, so I know how to properly fit it. I already know how to draft patterns, so this is going to be relatively easy, with the sewing part. The rest, not so much. Embroidery will be the next easiest thing, followed by knitting, then the parts that require weaving, and most difficult will be the Nålbinding pieces.
Their Project: I plan on making a modern-ish interpretation of a 9th – 10th century, middle class, Viking woman’s outfit. I plan on using more accessible fabrics (such as cotton/polycotton broadcloth for the underdress, and if I can find/afford it, a heavier cloth for the smokkr). I’m basing my outfit on the dress/tunic “pattern” on the clothing section of the Hurstwic website, as well as either a cloak or an overcoat, and accessories. I plan on doing a mix of machine and hand sewing, as well as weaving and nålbinding, as well as some embroidery, and possibly some knitting, if time allows.
About Jorunna: I’ve been in the SCA going on 4 years now. I’ve been learning to sew my own garb the past 3 years and slowly building up my collection. A good portion of what I have is Norse. However, I have a Persian outfit, a gift bliaut, a couple of Italian dresses, and some roman chitons. I want to have garb from all different times and locations, and have a list of what all I want to make. In the SCA I also do target archery, equestrian, mounted archery, heavy combat, combat archery, embroidery, and dabble in bardic. This endeavor is going to be a bit challenging for me, but I’m excited to learn new skills and have a new outfit!
Her Project: I am looking to make my first 12th Century French bliaut. This project is to add a summer weight or light weight bliaut for warmer weather. I was given a velvet bliaut from a friend, but it’s too heavy for warm weather events. This one will be made from a beautiful silk looking cotton rayon brocade. The fabric has embroidered fleur de lis in gold. The sleeves will be lined with actual silk that is lavender and gold. I plan to make a matching veil too. For inspiration I’ve been looking at images of the carvings on the Cathedral de Chartes, some illuminations, and some other SCAdians’ examples of bliauts. This is a chance for me to make something completely new that I’ve never attempted before. I’m excited to be expanding my sewing skills and knowledge and branching out historically!
This is an underdress for my 12th century ensemble. The outfit is meant to be a noble. I cut out the dress as a standard early period underdress. Using rectangles, triangles, and squares in the pattern. I decided to go with a scoop neck neckline on this dress, and realized after that I probably should’ve cut it an inch smaller than what I did, but it’s ok, and will work. I decided against decorating the underdress with embroidery, so that I can use it as part of other early period ensembles as well. It’s a pretty base layer and I love the color of this dress.
This is my 12th century bliaut main dress. It’s made of cotton/rayon blend that feels and acts like silk taffeta in a lot of ways. The sleeves and neck (purple/gold) is real silk that was repurposed from sari silk. It’s very lightweight and sewing the two together proved extremely challenging! I had to hand sew almost of the time on it because it kept sliding when I tried to use the machine. I did 20 hand sewn eyelets in the side of the dress. They took a while, but I learned a lot! I decided to machine sew the dress hem because 1. It would be more sturdy and hold up better. 2. I was running out of time for this project because we bought a house and have to move at the end of the month. If I had more time I would’ve hand sewn the hem too.
This was a 3/4 circular mantle I made as the top layer of my entry. It’s based on some of the courtly mantles seen in the paintings of the 12th century. I used a wool/poly felt blend for the top of it. I used fake fur to line it. That was awful. The fake fur while super soft and warm has a stretchy backing that made it difficult to work with. It took 4 times as long as it should have because of that horrible material and I will never use it again. Lessons have been learned. I found a really pretty metallic trim to edge the front of the mantle. This piece was almost entirely machine sewn. The brooches I got from Raymond’s quiet press and are replicas of 12th century brooches.
This is a leather belt I did. I’ve never done leather working other than cleaning horse tack and armor, prior to this. It was all new! I bought a simple blank and the 12th century replicas for the belt findings. I stamped the leather with a circle and Celtic knot design. Then riveted on the findings. I didn’t want to dye it black, but not sure what color I really want with it, so I left it natural for now.
About Kathleen : I have been in the SCA for 30 years and lived in 6 different kingdoms. As a wanderer I have been involved in diverse activities involving just about everything except fighting. Lately I have been concentrating on sewing. I am most interested in becoming more authentic and learning as much as I can.
Her Project: I plan to recreate an outfit based on a 14th Century illumination from the Tres Riches Heures de Duc de Berry. It will consist of a supportive undergarment, a short sleeved dress, hose, hood, apron and several accessories that I haven’t quite decided on yet. This outfit fits with my 14th Century persona which is loosely located in the borderlands of England/Scotland. This is a typical outfit for most of Western Europe during the 14th Century. I have been waiting long time for an opportunity to make this outfit, I just needed the motivation. This outfit will be made from the ground up with as many historic features that I can manage. The basic construction of most of my garments will be sewn on the sewing machine and then I will hand finish all the seams. This is something I’ve been working up to for quite awhile.
About Lyleth: I’ve been in the SCA for about 3 years. Sewing was a completely new skill when I joined but I’ve only sewn a handful of dresses. I’ve also recently gotten into fighting so I am sewing/building my own kit for that as well. This project very much fits into the Italian persona I am building. I’ve had a love for the style and era and am very much looking forward to completing this project. This project will be very challenging for me. The trials I have done in a similar style have all been for middle/lower class and have been made completely of linen. This will be the first time I’ve work with brocades and silks to make something finer. I’m also looking into doing some embellishing and embroidery for the first time. While I’ve done some corseting in my other gowns, this will be the first time I’ve made a Farthengale with the attached hoop skirt.
Her Project: The outfit I plan to create is a late 16th century Venetian gown. My inspiration is from the painting by Paolo Caliari (Veronese), 1571: Madonna of the House of Coccina. The inspiration is in the style and shape of the dress only, the fabric and color choices will be very different. I was intending to make this dress for Twelfth Night or WInter coronation either this coming year or for next year. The fabric is not period accurate but it felt perfect for the winter theme of the event.
About Makenzi: My name is Makenzi. I have not chosen a SCA name. I was introduced through my sister and her husband, Makayla and Tristan Smith. I joined in the spring. I do sew regularly, just not clothing to this extent. Mostly repairs and accessories. I enjoy Archery, and am learning to be a scribe. I am sure this project with provide many challenges. Thank you!
Her Project: I am new to the SCA and wanted to create something nice to wear to my first event when they are able to be held again. I have loved the look of italian dresses for many years and decided to create one for myself.
About Takezuo: I have been in the SCA for almost 16 years. This project is new to me and will be my first sewing experience. Hopefully in February I will begin my path in heavy fighting.
His Project: I have a Japanese persona, and I will be using a mixture of period and modern interpretation patterns to make a kimono, nagajuban, hakama pants, Jinbaori, and gata. The samurai would wear this outfit. I am making this outfit so I can have more SCA garb to wear.
About Tanneke: I’ve been a member of the SCA off and on since the 90’s and taught myself to sew. Thanks to the Internet I’ve learned so much about design and history and have access to documents and paintings that have really enhanced my clothing recreation efforts. I was looking to do something a little bit different this time around in the SCA and came across Drea Lead’s Flemish Workingwomen’s site and made several sets of Workingwomen’s Flemish garb. While doing further research I came across Kenau Simonsdochter Hasselaer (sometimes with an S). She lived in the late 16th century in Haarlem and what I found really exciting is coming across an engraving of the clothing I had made–historical proof for what I was creating and also this experience made history come alive for me. Kenau was a historical woman I could relate to and has a fascinating story. My construction skills have been slower to develop and with this challenge I want to really pay attention to the small details and take the time to produce a quality, well made garment. This recreation will expand the wardrobe for my persona and will present a mix of opportunities to practice skills I’ve been working on and challenge myself to attempt new ones. I have not yet created a high necked smock with ruffs at the throat and wrists, padded shoulder rolls to the bodice, or a bodice dress. I’m also going to make my first pair of shoes and develop a swallow tailed veil as seen in the image.
Her Project: After having completed Flemish garb I wanted to challenge myself to go further. After doing some more digging I came across the image of The Garden of Holland, an allegorical engraving by Philip Galle of a woman dressed in the manner of Kenau Simonsdochter Hasselaers from the late 16th century Haarlem near Flanders. The Garden of Holland is a heraldic engraving from a series of 51 prints of the Duke of Brabent and was printed by Plantijin Moretus around 1600. The design is from 1563. (www.gehuegenannederland.nl/?/items/BVB01:MB1563DIPK) I’ve been wanting to attempt recreating these garments for some time and this challenge presents an opportunity for me to do so. As Kenau was a merchant class woman (she was widowed and took over her husband’s wood supply business) and this garment is styled after Kenau this garment would be worn by a middle class woman. Further research revealed a heavy Spanish influence on society’s color palate and was rather somber: black, greys, browns, murreys (dark reddish purple) and sanguines (reddish brown reminiscent of dried blood). In looking at the color palate of depictions of KSH I also saw lots of orangey reds, black velvet partlets and guards, tans, golden browns, greens, and even light pinky purples. Worsted wools, a silk like wool, were often used by the merchant class, as silks and satins were reserved for those with larger incomes and nobility. For this recreation I’ve chosen modern silk wool: a golden yellow for the underkirtle and a bright orangey red for the doublet dress. The sleeves look to be a darker color and I haven’t yet determined if they were attached at the armscye of the garment or were detachable and held on with pins. A white linen apron is often worn so I will be creating a white apron with my own acknowledgement of this year. Along the hem I will embroider “Hoc quoque transbit 2020” (this too shall pass) and a stylized heraldic corona virus.
15th century high necked smock. I sewed the main seams by machine and hand finished all seams by flat felling. Any visible sewing is done by hand also. I think I would add a top tie on the neck to hold the collar and ruff closer to the face.