About Adelaide: I began in Ansteorra, took a decade-long break when I had my daughter, and arrived in Calontir around 2012. I enjoy many skills within the SCA, but I am probably best known for sharing those skills with the children of the kingdom, during my time as Kingdom Minister of Youth.
Her Project: I’ve had some lovely fabric that has been begging to become an Italian gown, so I will make a 15th Century Venetian gown. There are a few historical paintings that show a lovely front-laced gown, such as the woman in pink in Ghirlandaio’s Birth of St. John the Baptist.
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
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.
About : I have been in the SCA for 40 years, and have sewn for even longer. However, I have only been trying to be more historically accurate for the last 10 or so years. I do mostly fiber arts, but am also interested in woodworking and scribal arts.
Project: This is for a 16th century Italian middle class/lower upper class woman. I am basing my outfit from a painting by Lorenzo Lotto. Portrait of a Woman inspired by Lucretia. This is an outfit that has intrigued me for years, so this may finally inspire me to try to create it.
About Giovanni: I am Giovanni Loredan, I have been in the Society for over 9 years. Giovanni is a second son from the mid-1500s Republic of Venice, where his late Uncle was a well-loved Doge. Giovanni currently lives in the Kingdom of Calontir, in Axed Root. In the past, I have sewn a number of items, including a late period suit. This complete project will probably be pretty challenging for me though. My last doublet took me almost three years to complete by hand. Hopefully having a specific challenge will help to keep me moving!
His Project: For the Challenge, I am working on a recreation of the “Portrait of Gian Gerolamo Grumelli (The Gentleman in Pink)” by Giovanni Battista Moroni (https://upload.wikimedia.org/wikipedia/commons/4/45/Giovanni_Battista_Moroni_008.jpg). The outfit worn in the portrait is fairly typical of the mid-1500s in Northern Italy. Layer 1 – Underwear: Camicia and Braes Layer 2 – Main Layer: Doublet and Paned Trunkhose Layer 3 – Outer Layer: Venetian Toga (Over robe) Layer 4 – Accessories: Garters and Shoes I have been planning this outfit since Clothier’s Seminar last year when I acquired the wool I will be using for the Doublet and Trunkhose. I have been looking at the Painting for many years. To fulfil the Outer Layer, I will be creating a Venetian Toga, also known as a Vesta. It was a civic uniform for men over 26 in Venice and was fairly highly regulated by sumptuary laws.
About Lisette: I have been in the SCA for about a year and a half and sewing for about two years longer still. I sew quite a bit now, but all of the garb I’ve made has been in a very feminine style. I’ve never made pants before, so this outfit will be a bit of a challenge because it is a more masculine style (and includes pants!). The outfit, once complete, will tie in with my (mostly) italian courtesan persona.
Her Project: I plan to make a Venetian courtesan outfit. There are descriptions of many Venetian women, courtesans and not, “apparrelled like Men, in a doublet close to the body, and large breeches open at the knees, after the Spanish fashion, both of carnation silke or satten” (Fynes Moryson’s Itinerary c. 1590). For my entry I will make an undershirt, doublet and breeches, a cloak, snood and jewelry in the style described by Moryson.
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 Zaneta: I have been in the SCA for about nine years now. I normally play as a 15th century Venetian woman. Other days, I play at being a 10th century Norwegian. While I have been making garb since I started, I almost never manage to get extra details done – embroidery, shoes, hair coverings, etc – especially for my Venetian outfits. I am hoping to be able to create a complete outfit from head to toe. Making pants will be especially challenging for me. While I can make Thorsberg trousers for my husband without much problem, I have never been able to successfully create pants for myself. I attempted a pair of venetian under drawers (shorts) one time and almost stopped sewing – it was that bad. So this challenge should help me overcome some of my mental blocks about garb making.
Her Project: I will be making an outfit that would have been worn by a man in 1490’s Venice. It will be based off of figures in Vittore Carpaccio’s paintings – The Miracle of the Cross at the Ponte di Rialto (also known as “The Healing of the Madman”), and The Departure of the Pilgrims (from the St. Ursula cycle). I have been wearing Norse and generic 14th century clothing for a while and I would like to get back to being Italian. My outfit will consist of the following: Layer 1 – Camisa or undershirt Layer 2 – Zupon, sleeves, and hose Layer 3 – Mantello or caxacha, like a coat Layer 4 – Possibly shoes, hat, or hat pendant
This is a linen undershirt for a man in 1490’s Venice. I read through a number of blogs and looked at a number of images for this layer. Unfortunately, most of what I looked at had the same message – we aren’t entirely sure…. So I followed the general lines of a shirt from the Medieval Tailor’s Assistant book and added more to the sleeves for future puffiness. The shirt has machine sewn seams and is hand finished. Rather than angle out the body panels, they are straight rectangles. The neck was left large and I gathered it up into a small neck band. There are ties at the neck to close it when it is under the doublet.
This is the first time I have made this type of shirt so next time I will probably make the body panels a bit bigger. I must have done my math wrong because it’s a little more close fitting on the hips than I had planned. I didn’t want the shirt to be too baggy, though, because I tend to get overheated in my normal poofy camicia’s. As the part that is close fitting will be the part under my hose, I think it will be okay and will give me all the poofs that I need at the right spots.
Layer three was the main focus of this project. I created a open front over coat based on paintings of 1490’s Venice. I embroidered the left sleeve with an impresa representing my kingdom. In period, the sleeve would have been decorated with a personal or family impresa for those older men. For younger men, it might have been the impresa/logo for one of the Compagnia della Calze. In period, the garment would have been made of wool or velvet. The sleeves would have been laced onto the body and would have had openings to allow the large sleeves of the undershirt to floof out.
I chose to use a cotton flannel because I had it on hand. The lining is a yellow linen. Because this will be a winter coat for me, and I don’t plan on taking off the sleeves, I hand sewed the sleeves to the body to give the impression that they were tied in – the top of the sleeve is actually about a centimeter under the body so there is a bit of yellow lining to flash at the arm. I didn’t sew the sleeve all the way onto the body and I left a section of upper arm open as well so that the undershirt can poof if I want it to.
The body seams were sewn by machine. Once it was turned right side out, I sewed the neck, arm holes, and hem by hand. I also edged the front and neck line with a running stitch to keep the edges neat.
The sleeves were entirely sewn by machine. The flannel and lining were sewn together, turned, and then sewn into a tube shape. I didn’t like the look of the gap the first run through, so I sewed more of the upper arm. There is only about a six inch gap. I might go ahead and sew that completely together later on.
The embroidery on the sleeve is done in chain stitch with hand dyed silk. The purple details and letters were hand dyed by Lady Agnes von Heidelberg. I helped Agnes dye the two yellows.