Showing posts with label HSM. Show all posts
Showing posts with label HSM. Show all posts

Sunday, April 10, 2022

April HSM Project

April already.  Wow, has the time flown.

Between financial activities (work, taxes) and political (don't ask) activities, I have had little time to even think about this blog for the last two months.  However, I do have a happy development; I have decided upon an HSM (Historical Sew Monthly) project for April!  

April's HSM theme is "Bags."  I finally decided to buy myself a replica of the Great Bulgarian bronze mirror find, which is barely 2 inches (about 5 cm) across, for my birthday.  Though it's not a "Viking" piece, it's not impossible that a Viking might have obtained such an item through trade.  All I'd need to make a small drawstring bag to protect it is a small scrap of wool and a similarly sized scrap of linen, seamed together wrong side to wrong side in such a way that the seam allowances do not show, with a channel seamed in near the top for a closure.  I think I still have a small amount of thin cord that I could use as a drawstring, but if not I could probably braid some from thread if need be.  

It would be a very quick project, which is the sort of thing I need right now.  Wish me luck in actually finishing it before May!

P.S.  The blue cord I use to close my bag of (speculative) Viking age toiletries is perfect in thickness for the little bag I have  in mind, but is way too long.  I might cut some of the extra length off and use it for the little mirror bag.  

 

Friday, January 14, 2022

Historical Sew Monthly 2022!

It's a new year, and the Historical Sew Monthly marches on!

To be sure, I haven't done any costume projects for years, and still owe pictures for the last (small) one I completed.  Moreover, in November I started a new, part-time job with weekly time expectations.  

But I have not given up hope on actually doing costuming work again.  And I'm finding the new HSM Challenges inspiring.  The list is below:  I have cut and pasted it from The Dreamstress's blog; my comments on each appear in bold after the text for each challenge.

January: Anniversary Choice: It’s the 10th year of the HSM! Go back 10 years and choose any challenge from the 2013 HSF Challenge list, and make something for it! In 2013 we tried to do this fortnightly, so there are 26 options!  I still have many projects for which I have at least bought the materials, though I'm pretty sure I won't manage this by the end of January.

February: Neck & Shoulders: Make something to wear around your neck or on your shoulders.  There is my volva cloak, though to trim that completely may take me a while.  The lambskin hood is better; I started mocking up a pattern.  Perhaps I can finally nerve myself to save up for and buy the necessary materials....

March: Non-Woven. Make something not based on woven materials. There’s a whole world of possibilities. Braiding, carving, crocheting, felting, knitting, knotting, naalbinding…and…felting!  Felting has always interested me.  Perhaps a fez-like hat, to accompany an Assyrian outfit (see December reference below).  Or maybe start again to learn sprang by making a bag or a hood?  A sprang bag could fit under the challenge for March or April!  

April: Bags: Make a bag! Easy-peasy, if uninspiring.  If I had not made a Viking-style bag with wooden handles, that might have been an option.  I need to think about this one.  EDIT:  2/19/2022  I will make a small, drawstring bag, to hold a small polished bronze mirror, 1 and 9/16ths of an inch (4 cm) across. The Fairy Tales Chest on Etsy sells such mirrors, a replica of a find from Great Bulgaria during the right time period (8th-10th c. CE), and I've almost decided to get myself one as a birthday gift.  Sprang would be fun but I'll probably just sew a little bag instead; heaven knows I have enough scrap wool and linen lying about.  It will probably be a wool bag with a linen lining.

May: Protection: Create a garment that protects you from something: weather, dirt, wear, weapons, etc.  The volva's cloak, it haunts me....

June: At the Museum: Be inspired by the items and research available in museums and archives.  Need to think about this one.  Possibilities abound.  Perhaps my long-planned Kostrup-style apron dress?

July: Geometry: Make something with pattern pieces based on basic geometry, or that somehow incorporates geometric design elements.  I still have the white wool that was going to be the volva's tunic; maybe this is the year to get that done!  Like most pre-medieval and medieval garments, it's assembled from geometric shapes based on the measurements of the intended wearer.   EDIT:  2/19/2022  This should be simple enough to do, even if I sew it entirely by hand, as I plan to do.  

August: As Seen On Screen: Make something inspired by something you’ve seen on screen, whether it’s film, TV, or YouTube.  There are plenty of YouTubers demonstrating constructing of historical styles, many incorporating authentic techniques.  Need to think about this one too.  

September: Colour Challenge: Blue: Make something in any shade of blue.  My planned Vendel apron dress leaps to mind. The fabric for it is a deep blue, and making it will be simple; a line of sewing down the side, and at least a hem around top and bottom would do it.   EDIT:  2/19/2022  Also simple.  In fact, simpler than the volva's underdress; it would simply be a hemmed tube sewn closed along one long side.

October: A Perfect 10: It’s the HSM’s 10th anniversary, so make something 10 themed. 10th century, the something-10s, something that incorporates 10 of something? Be creative with it!  Perhaps revive a project that I've had pending since 2010?

November: Fitting: Make something that focuses on fit.  Socks?  Or the volva's hood?

December: New Era: Make something from a decade or century you’ve never made from before, or make something that represented a new era in fashion in its time.  I've been admiring Angela Costello's forays into ancient Assyrian costume.  Perhaps an Assyrian tunic? Wow.  That would be quite a leap! 

Wednesday, December 11, 2019

More Ways to Wear the Veil

I still haven't managed to get photographs taken of myself in my gray wool veil, but it occurs to me that I have a quantity of white linen that I'm highly unlikely to use for the bathrobe I originally planned to make out of it.  

It would be simple to make a wimple and/or a band to pin around my head.  Each of these items would open different possible looks for wearing the veil.  At the rate I'm going, I could easily make more items before my husband has time to help me with the photos.  The wimple could serve as my item for the "Re-Use" category in next year's HSM, which makes the idea of crafting a new one more attractive.

Friday, November 29, 2019

A New Necklace for the Völva

The completed necklace.  I may trim the cord later.
After months of dithering, I have finally assembled what I  consider to be a reasonable necklace for my völva costume.  See the photograph with this post.  The bead colors shown are pretty close to the actual colors, though the brown fabric in the background is very grayed out for some reason.

For reasons of cost, most of this necklace consists of glass pony beads, which I was able to obtain very cheaply in a reasonable size.  (Beads of that shape and size have been found among Viking age remains, but not typically in the quantities that I'm using.)  I've also added a few beads that look like bone, but appear actually to be glass, to give a little variation to the strand (and because decorated glass beads were more than my budget can presently manage.  That was one reason why I took so long to complete this project).  The two big blue beads near the ends are actually made from polymer modeling clay, but they don't look obtrusively anachronistic, so I included them in the finished product.  

In light of the absence of large, fancily decorated beads, my völva is clearly not wealthy as völvas go.  But then, there is no indication that the völva in Eric the Red's saga was unusually wealthy except for her gem-ornamented cloak. Making my version of that cloak will be a project for another time.

It occurred to me while I was finishing the necklace that it applies for the current Historical Sew Monthly ("HSM") theme which is "Above the Belt", so I'm providing hat information below.

The Challenge:  November--Above the Belt

Material:  Glass beads (with two polymer clay beads added), leather cord.

Pattern:   None needed.  I did attempt to stick with types consistent with bead types I've seen in pictures of Viking age bead finds.

Year:  Viking age, that is, early medieval.  Roughly ninth-eleventh centuries CE.

Notions:  Same as materials, see above.

How historically accurate is it?  We don't know what Viking beads were strung on since they are usually found loose in the grave, with the stringing material disintegrated and vanished.  Glass beads of similar shapes have been found in Viking age graves, and collections of a comparable number (50-60) and similar sizes have been found.  On the other hand, polymer clay with random swirls in it didn't exist in the Viking age.  So maybe 75%.

Hours to complete:  About a half an hour for arranging and stringing (somewhat longer to decide what beads to purchase, but I didn't keep track of that).

First Worn:  Tonight, to see whether the strand is long enough to remove without untying it, and whether I can make a hood that is open enough for the beads to be visible.  (The answer seems to be "yes"; the necklace is longer than I thought it would be.)

Total Cost:  About $15.50 USD; approximately $2.50 for the leather cord at my local JoAnn Fabrics store, and $13.02 (including shipping) for all the beads but the two polymer beads.  Those I've had for years; they were purchased for a project that never worked out.

Wednesday, November 27, 2019

The Historical Sew Monthly--Possible Projects for 2020

The Dreamstress has just announced the monthly themes for 2020's Historical Sew Monthly ("HSM") on the FB private group. All of the 2020 themes have an overarching objective--sustainability.  That is, engaging in historical costuming in a manner that is less wasteful of energy and other types of natural resources.  

In 2019, I managed all of 1 1/2 projects (the "half" being a not-very-historical project to provide a component for my long-planned völva costume) for the HSM.  This year, I hope to do better.  Below  is a brief summary of the monthly themes and what I hope to do with them.  Text in quotation marks are part of the Dreamstress's explanation of the theme.  (I will edit this post to provide a link to her blog post on the subject after she posts the material there.)  The text in italics is my comments about what I might do with each theme.
  • January: Timetravelling Garments: "Create an item that works for more than one historical era, or that can be used for both historical costuming, and modern wear."  Pretty easy, since many garments that would do for the Viking Age will work for much of the Middle Ages and, in many cases, for earlier or later periods.  My D-shaped veil is a good example, but that's already completed.  Maybe the planned mittens (or the hood) for my völva costume would serve.
  • February: Re-Use: "Use thrifted materials or old garments or bedlinen to make a new garment. Mend, re-shape or re-trim an existing garment to prolong its life."  I still need to let out and expand my old Hedeby apron dress to make it wearable again, and I believe I've found the rest of the fabric I'd used which I'll need to make new gores.  Wish me luck!
  • March: Green: "Make something in a shade or shades of green. If you can also make it ‘green’ in the figurative sense, even better!"  I love green, but I don't really have anything I can use to make a suitable project that is green, even in color, except for my (diminishing) supply of green yarn for the nalbinded mittens I wanted to make.  I need to think about this one.
  • April: Local: "Support your local industry and your local history by making something that (as much as possible) uses materials made locally, or purchased from local suppliers, or that features a garment specific to your part of the world."  Great idea!  Wish I could think of a project that I could do in this manner.  More thought needed here as well.
  • May: Basic: "Make a garment that can be used for many occasions (like a shift, or the classic ‘Regency white dress’), or a simple accessory that will help you stretch the use of an already existing garment."  Another easy one.  I still need that white wool shift for my völva costume.
  • June: It’s Only Natural: "Make something inspired by nature, or use natural fibres and materials in a way that stretches your usual practice (e.g. natural dyeing, using cane instead of plastic whalebone for corsets/stays etc.). Or challenge yourself and do both!"  Maybe I can teach myself how to spin, and nalbind something small using the yarn I make?
  • July: No-Buy: "Make something without buying anything. Whether it’s finishing off a UFO, using up scraps of fabric from earlier challenges in the year, sewing entirely from stash, or finding the perfect project for those small balls of yarn, this is your opportunity to get creative without acquiring more stuff."  Still easy since I have lots of UFOs (unfinished projects).  the völva costume shift, my calendared linen shift from last year, my sprang cap, all qualify.
  • August: Celebration: "Make something for a specific historical celebration, make something generally celebration worthy, make something that celebrates a historical hero, or just make something that celebrates some new skills you’ve learned."  Perhaps the cloak for my völva costume? It would require me to do a kind of nalbinding with wire to make the holders for the stones to ornament the cloak, which would be a new skill for me, and it would certainly be a celebration-worthy garment for a notable saga character.
  • September: Sewing Secrets: "Hide something in your sewing, whether it is an almost invisible mend, a make-do or unexpected material, a secret pocket, a false fastening or front, or a concealed message (such as a political or moral allegiance)."  The HSM has featured this theme before and I still don't have a good idea how to work it into a suitable project.
  • October: Get Crafty: "Make use of your own skills or learn a new one to make something from scratch rather than buy material." More thought needed here as well.
  • November: Go Green Glow-Up: "Be environmentally friendly and celebrate how your making skills have ‘glowed-up’ as you’ve used and practiced them by taking apart an early make of yours that no-longer represents your making skills, and re-making it so you’d be proud to use it. It can be as elaborate as a total re-make, or as simple as getting the ribbons or buttons you didn’t have time to source at first. You could even take something from a challenge made earlier in the year, and fix the tiny things you weren’t totally happy with."  Fixing flaws in my Hedeby dress might well qualify.  Maybe.  If I pull this off, that would be a new skill of sorts, since I have never tried to refit a previous costume before.
  • December: Community: "It is the season of giving. Create an item that honours or supports the communities around you, whether Real Life or online."  I think I have an idea for this one.  Maybe.  More on this at a later date, hopefully.

Thursday, October 3, 2019

The D-Shaped Veil--Complete!

My pretty hem!
At last my veil is finished, as you can see from the photographs accompanying this post.

I didn't quite manage to finish it during September.  I thought I would, till I came down with food poisoning on the evening of the 27th, and spent most of the weekend (after the vomiting stopped) in bed!  I thought of finishing it on the 30th, when I was feeling better, but even so I didn't think I could get the photographs taken and uploaded in time, so I decided to wait.

The first few photos show:  a close-up of part of the hem, right-side out; a close-up of the hem, wrong-side out, and the veil, lying flat, as a whole.  My stitching was not perfect, but the result looks fine after ironing the veil and hem carefully.  (Note:  the fabric is a pale light gray; the photo showing the hem from the right side comes the closest to showing the true color of the fabric.  I have no idea why the fabric looks so green in the photograph showing the wrong side of the hem.)

The not-so-pretty part.
My husband has been frantically busy with work, so I haven't gotten any photographs of the veil in wear.  In addition, I haven't been able to find my hlad or my wimple.  Perhaps it's just as well that the other accessories are going missing--it would be awkward to feature so many images in a relatively short post. I will post photographs of me wearing the veil eventually, but for now I'll just say that, of the techniques I tried, I like Edyth Miller's way of pinning the veil the best, whether or not it's provably period. Her technique produces the nicest looking result and requires the fewest accessories to achieve.  Overall, I'm satisfied with the outcome of this project.  This veil is certainly wearable, and I'm sure I'll find uses for it.

The September challenge for the Historical Sew Monthly is "Everyday."  After I saw Hvitr's post about her St. Birgitta's cap, which she submitted for the September challenge, I realized that my veil also qualifies.  It's made from wool, a common medieval fabric, and it's short--practical for every day.   So I will be posting photographs of it on the HSM Facebook page, eventually.

The Challenge--September: Everyday 

The whole thing.
Material: A piece of pale gray wool (blend?) gauze, roughly 19 inches (48 cm) by 30 inches (76 cm), donated by a reader of my blog (thanks again, Alison!).

Pattern:  I was inspired by Elena's post on her blog, Neulakko.  It's a D-shaped veil, as the photograph taken of the veil spread out on a flat surface shows.

Year: Medieval period. It's tough to be more specific than that.  Elina, who made the veil that inspired me, reenacts the 14th century, but similar veils crop up throughout the medieval period all over Europe, and might even have been worn by Viking women.

Notions:  Guttermann brand silk thread, in a pale gray which perfectly matches the fabric.

How historically accurate is it?  The whipstitch I used was certainly known in the medieval period, and wool is a period fabric. However, I'm not sure that my veil fabric is pure wool, and I don't have any leftover scraps to perform the bleach test on. Further, I'm not perceptive enough to determine from period artwork whether that artwork confirms the use of D-shaped veils, but the final appearance of my veil is not a bad match for at least some period art.  So 50-60%.

Hours to Complete: About 3 hours.

First Worn: Trying it on; my husband has yet to take photographs of me in it, because he is working on an important project.

Total Cost: Less than $4 USD--the cost of the silk thread I used to hem the veil.

Wednesday, September 18, 2019

The D-Shaped Veil--Sewing the Curved Edge

Tonight I am working on sewing one of the curved parts of the D on my D-shaped veil,  There has been surprisingly little trouble (though it's getting harder to keep the hem smooth as I'm reaching the most curved part, and I don't mean to imply that i am doing a flawless job).  Part of that may be that the curve is relatively slight, and the hem very narrow.  

But I'm also finding that I'm able to deal with making (slight) changes in the width of the hem because the fabric is quite stretchy--stretchy enough to make me wonder whether the fabric is actually a wool blend, rather than 100% wool.  (Alison?  Can you enlighten me about that?)  In any event, the hem is coming out quite well, and I should easily be able to finish before the end of the month.  

On a related note, it has occurred to me l that I need to think about how to wear the finished veil so that it won't simply slide off of my head.  My hair is long enough to braid, though rather thin; possibly putting it into two braids and fastening them so that I can pin the veil into them on either side of my head would suffice.  In addition, I own a gauze wimple, which would be an ideal companion for this veil, except for the fact that it's beige, a color that in my opinion doesn't harmonize with pale gray.  Finally, I have an ornamental headband that I made from a pouch with a Viking-esque piece of brocaded trim on it.  When I finish the veil, my photographs will probably experiment with some or all of these ideas.

I came across yet another approach the other day.  The embedded video by Edyth Miller of The Compleatly Dressed Anachronist demonstrates that it's possible to wear a veil by simply pinning it to itself, in strategically located areas.  I like this idea most of all because it doesn't require any other headwear to implement--just a few pins.  Although Edyth notes in the video that her approach cannot be documented, it would be surprising if no woman had tried it and used it, in light of the many centuries during which women wore veils daily in Europe.

Tuesday, January 1, 2019

New Year's Resolutions--The Historical Sew Fortnightly

Happy New Year, everybody!

December 2018 kind of got away from me.  By the time I had time to work on one of my projects, I was out of motivation to do so.

But this is a New Year, and with it, a new set of Historical Sew Monthly challenges!  To see them, click on the "Historical Sew Monthly 2019" image on the top left corner of my blog, or go here. 

Some of this year's challenges have me totally stumped, while others give me scope for finally finishing so many different projects that I'm not sure where to start.  Here's some examples based on my thinking so far.

March:  Sewing Kit.  I could use my tablet weaving loom and tablets, I suppose.  But I'd rather stretch the definition of "sewing kit" another way, by finally making the copper needlecase I've been thinking about trying for so many years now.

April:  Upping your game.  That sprang hood project still chides me, from the depths of my closet.  

June:  Favourite Technique.   Almost any of my Viking age sewing projects would fit here, because my favorite technique is whipstitch, and all of my handsewing involves whipstitch in abundance.  Maybe this is when I finish my white wool tunic (for the völva and Vendel outfits).

September: Everyday.  The white wool tunic works again here.  Also the peplos I want to make for my Vendel outfit.

October:  Details.  The Kostrup apron dress comes to mind, because the details of how the dress is pleated and how the bit of tablet weaving is attached are what inspired the project in the first place.

November:  Above the Belt.  Several orphaned projects work here, because they involve headwear.  They include the catskin hood, the D-shaped veil, and the sprang hood for that matter.  If I'm lucky and well-organized, maybe I can finish all three in November.  Or by November.  Hopefully November 2019.

December:  On A Shoestring.  This challenge appeals to me, because money remains a bit tight here.  But I'm having trouble thinking of a project I can start anew and finish cheaply, especially if one is to count the original cost of my stash materials.  Maybe something in the Linens (February) category?  I need to think about this one. 

Any ideas?  Please feel free to pass them on in the comments!

Monday, June 25, 2018

A Viking Wood Frame Bag

The completed bag.
Though I didn't manage to finish my Hedeby bag in April, I have finished it at last!  See the photographs accompanying this post.

I very nearly made the seam allowances for the lining bag too narrow.  The problem with doing that is that stitching too close to the edge of my moderately coarse linen can result in having the stitches pull out of the linen in wear. however, I succeeded in making my seams narrow enough that all raw edges were enclosed and the structural part of each seam was sewn through two folded edges, which should make it strong enough for a durable lining.

Because I made the seams on the lining bag so narrow, the lining is bigger than the felt outer bag, though that's not a big problem in use.  A slightly bigger problem is the fact that the felt seams are thick enough that the frames don't quite sit squarely where they should, making the bag a tad lopsided.  It still seems solidly functional, however.

With regard to the "trim", I ended up cutting a strip of the amber wool about 4 inches wide and folded both long edges under.  The top folded edge was stitched the top edge to the top of the bag, and the bottom edge was stitched to the body of the bag.  After that, I sewed the frames to the bag by stitching each wool tab down separately to the bag, first on the inside of the bag, then on the outside.

The steps involved in my method of construction, in order, were as follows:

Looking into the bag, showing the lining.
1.   Whipstitch the edges of the felt bag together (treating the bag as I had pinned it together for the last post on this subject as the wrong side of the bag, since both sides are very similar in appearance).

2.   Add a running stitch close below all of the whipstitched edges.

3.   Turn the felt bag right-side out.

4.   Cut an approximately 4-inch (about 10 cm) wide strip of the thinner amber fabric, turning the long edges under, and stitch the strip to the bag at the top.

5.  Stitch the lining pieces into their own bag shape.  Here, I folded each raw edge inward, whipstitched along the folded edges, and then sewed underneath the matched edges using running stitch.  Note:  the lining bag stays inside-out.

6.   Sew the bottom of the amber wool strip to the body of the bag.

7.  Stitch each frame to the top long edges of the bag by running tabs of wool felt through each of the slots in the frames, turning the short ends of the tabs under, and whipstitching the folded edges of each tab down. (Note:  The inside edges and the outside edges were stitched separately; I did not try to make each stitch go through both tabs.)

Top of bag.  This picture shows the colors best.
8.  Place the linen lining bag into the felt bag and line it up properly (so that the narrow sides of the lining are against the narrow sides of the felt bag).  This guarantees that the seams of neither the felt bag nor the lining will be visible in use.

9.  Fold the top edge of the linen lining bag under (i.e., so that the raw edge would be against the inside of the felt bag).  Whipstitch the top folded edge of the linen lining to the top inside of the felt bag.

10.  Thread the cord through the holes in the wooden frame pieces, and tie knots in them to secure them in place.  The photographs show how the cord was threaded through the frames and how the bag stays closed naturally when worn.  The bag stays closed best when the contents of the bag have substantial weight (like, for example, an apple, or a smartphone).

For the Historical Sew Monthly fans among my readers, here is the challenge-critical information.

The Challenge--May: Specific to a Time [of Day or Year]

Material:  Wool felt for the bag, medium-weight linen for the lining, cotton cord for the handle, and a thinner, paler wool fabric sewn on to the outside of the wool felt for decoration.

Pattern:   I was inspired by Kristine Risberg's pattern on Nattmal, though I ultimately made my design, as I've discussed in an earlier blog post.

Year:  Roughly 10th c. CE.

Notions:  Dark brown silk thread from Guttermann to sew the bag together (though the originals might well have used linen or wool) and light gold silk Gutterman thread to sew the lining.  Also two birch wood frames based on Haithabu designs that I purchased on Etsy.

How historically accurate is it?  We only have surviving frames, not complete bags, among the Viking finds, so that's hard to ascertain.  My frames are ridged and black on the sides, suggesting that some kind of woodburning technique was used to cut them out; so far as I know, that method would not have been used in period.  I tried to stick to period materials and stitches, though I suspect that wool cord, not the cotton cord I used, would have been used to make a wool bag in period, and probably such a bag would have been stitched with wool or linen thread, not silk.  However, all of the material types I used (birch wood, wool, linen, silk) were available in Viking Age Scandinavia except (probably) for the cotton cord, and we do not know what weights and weaves of materials were actually used for similar bags.   In addition, although whipstitch and running stitch were used in period garments, I'm not sure that my particular combination of the two was used for seam construction in period; I'd have to recheck my sources.

Overall, I'd give my bag an historical accuracy rating of 70% at best. 

Hours to Complete:  About 6 hours, exclusive of time spent selecting materials and planning the design.

First Worn:  I haven't "worn" it yet since I have not visited any good venues at which to wear my Viking attire lately.  But since it will be useful to have a hands-free bag to carry necessary items any time that I'm wearing my Viking clothing, it will definitely see some use.

Total Cost:  $37.18.   I paid $15.00 for the wood frames (postage was free), $10.95 for the brown wool felt for the outside of the bag (inclusive of postage), and $11.13 for the amber wool for trim (inclusive of postage).  The linen used for the lining, cotton cord for the handle, and sewing thread all came from my stash.  All prices are in U.S. dollars.

Sunday, February 25, 2018

Me and the HSM

I really like some of this year's Historical Sew Monthly challenges.  I've had a slow start this year (i.e., it's February and I haven't made anything yet), but there are quite a few themes on this year's list that I can imagine doing, and would like to do since I haven't done any historical sewing in too long.  Here's a sample of some of the projects that fit into this year's HSM monthly themes and where they might fit.

A Viking Age Bag.  My latest project--making my own Hedeby bag using an inexpensive pair of wooden frames found on Etsy.
Works for:  April:  Buttons and Fastenings: "Create an item where the closures are the star of the show.".  (Thank you, Stella, for pointing out that the bag's unique closure works for this challenge!)
Works for:  November:  Purses and Bags:  You've got your arms covered in July, your hands in September, now make something amazing to dangle from them!

Køstrup Apron Dress.  Another recent idea:  Make my own pleated-front apron dress to try to work out how the tablet-woven band on the Køstrup apron dress may have been sewn onto the dress.
Works for:  August:  Extant Originals:  "Copy an extant historical garment as closely as possible."
Works for:  October:  Fabric Manipulation:  "Take fabric to the next level with any kind of historical embellishment or manipulation:  smocking, shirring, embroidering, beading, pinking, ruching, printing, painting, dyeing, etc."

The Völva Shift.  The long, wool dress that is to be the underlayer and foundation of my long planned but barely started völva costume.
Works for:  February:  Under:  "Make something that goes under the other layers."
Works for:  March:  Comfort at Home: " Make something to wear around the (historical) house."

The Völva Cloak. The long, wool cloak that will be the most conspicuous part of the volva costume.
Works for:  April: Buttons and Fastenings:  Description below. As I've said before, I believe the völva's cloak fastened with long ties or straps, which were a prestige item on cloaks in late Viking Age Northern Europe.

Embroidery for the neckline and cuffs of my Byzantine Tunic.
Works for:  October:  Fabric Manipulation:  Description above.

Nalbinded Mittens or Socks.
Works for:  September:  Hands and Feet.  Create a fabulous accessory for your hands or feet.

And, of course, anything I don't manage to do earlier can be presented for December:  Neglected Challenge!   (E.g., Any challenge from this year's HSM, or any HSM or Historical Sew Fortnightly challenges that never got completed!)

Tuesday, January 10, 2017

Potential HSM Projects: 2017

The Dreamstress is continuing her popular web event, the Historical Sew Monthly:  a collection of historical clothing themes, a different one each month, to inspire interested costumers to make and compare suitable items.  Click on the "Historical Sew Monthly" image on the left-hand sidebar of my blog to be taken to a page that explains this web event in detail.

2016 was not a good costuming year for me.  I spent much of the spring ill and worried over taxes, and at the end of the summer our household income was dramatically slashed, which discouraged me from purchasing costuming materials for the projects I had originally meant to start. As a result, I made a few fitful attempts to start projects, but completed nothing.  However, our household's financial prospects for 2017 look rather better. Moreover, most of the HSM themes for 2017 fit well with several projects I have had planned, but never completed, in years past. The projects I would like to complete in 2017 I've listed below:  hopefully I'll have better success at project completion than I did last year.  The italicized sentences in the discussion that follows are quotes from the Dreamstress's description of each month's theme, which I've included only where the theme isn't obvious from the title.

January:  Firsts and Lasts.  Create either the first item in a new ensemble, or one last piece to put the final fillip on an outfit.  Either my plan for a sprang hair net (a final piece that could be worn with several of my Early Period outfits) or the hood for my völva costume (the first actual clothing item I will have made for this ensemble) would fit this theme, and I would like to do both this year.

My Hedeby dress
(Photo by my husband)
February:  Re-Make, Re-Use, Re-Fashion.  Some years ago, I made a Viking smokkr or apron dress from brown wool, using a pattern by Peter Beatson based on a find from Hedeby harbor (photograph on the right).  It was snug on me at the time--probably more snug in fit than any decent Viking woman would have worn her clothes.  Now, years later, it probably would not fit me at all; I have gained at least 15 pounds since I made the dress, mostly on the parts of my anatomy where the fit was originally the snuggest.  I would like to find some brown wool flannel, as close to the color and weight of the dress as possible, unpick the seams (or at least part of some of the seams), and see whether I can make the dress fit me properly.   If I can obtain a suitable wool fabric in a color close to the original brown, I could unpick appropriate seams and add gores to do the job (unfortunately, I no longer have enough of the original brown wool left).  I'm not sure I can get this done in February, but it's worth doing sometime in 2017, if I have enough time and find appropriate fabric.

March: The Great Outdoors.  The long, dark blue wool cloak that would be part of my völva costume is a natural fit for March's theme.

April:  Circles, Squares & Rectangles.  Many historical garments...use basic geometric shapes as their basis.  In this challenge make a garment made entirely of squares, rectangles and circles. Nearly every garment made before the 12th century (and many afterward) are based on squares, rectangles, and/or circles, including most of the items on my planned projects list.  The völva's hood would be a natural fit for this month's theme, as would the shift I intend to make for my Vendel period outfit.  The cloak, which I would make as a half-circle (pieced together from triangles if necessary) would also qualify.

May:  Literature.  My völva costume is, of course, an attempt to recreate the clothing of the traveling völva or wise woman described in Eric the Red's Saga, one of the literary masterpieces of the Viking age.  To have the costume complete, or nearly so, I would need to finish the hood, the cloak, and the wool shift by the end of May.  Unlikely, but a good objective.

June:  Metallics.  According to Eric the Red's Saga, the völva's cloak should be trimmed with "stones" set in metal. I have concluded that the stones would be set in wire-cradles made by a process resembling nalbinding. Again, I doubt I could finish this work by June, but it's very worth starting.

July:  Fashion Plate.  Since the Vikings didn't really have fashion plates in the modern sense, I have no clue how to proceed on this one.  I could try to make a costume based upon one of the Viking age pendants depicting a woman, but the details on those are pretty vague.  It may be something to consider, though.  One possibility would be to try to replicate the clothing on the figurine from Hårby, Denmark, since at least one scholar thinks that such figurines are symbolic figures rather than realistic, and on a certain level, the same is true of fashion plates, which depict the ideal figure contemplated by the styles of a particular period.  More on such a project below.

My Byzantine savanion
(Photo by my husband)
August:  Ridiculous.  Fashion is sometimes a little silly, and historical fashions can look particularly odd.  Make something that was considered outrageous in its own time, or is just utterly ridiculous to modern eyes.  I'm not sure what to do here, either.  The first Viking era items I thought of that fit into this description are men's wear (the extra-wide "puffy" Viking/Rus trousers for example), and I don't know any men who need clothing from that period.   I could make an argument, based in part upon the chess piece found by Elizabeth Heckett in County Meath, that in the latter part of the Viking age high-ranking women may have worn a wrapped linen headdress like the Byzantine one I completed years ago (which is arguably a bit ridiculous looking today), but (obviously) I have already made that item.  I need to think about this theme some more.

The "refugee" dress
September:  Seen Onscreen.  Be inspired by period fashions as shown onscreen...and recreate your favourite historical costume as a historically accurate period piece.  The only movie costume that ever inspired anything other than wry amusement in me from a historical costuming perspective is Eowyn's "refugee" costume from Lord of the Rings.  However, in my opinion that costume is more mid-to-late medieval in inspiration than Viking, and in any event, I'm not sure I'm inspired enough by it to try to design a historically accurate version.

But wait!  Eowyn's costume bears a surface resemblance to what we can see of the clothing on the Viking era figurine recently found in Hårby, Denmark.  That figurine shows a woman holding a sword and wearing an overgarment with no sleeves (or long sleeves?) and a deep V-shaped neckline. Yes, it's unclear at best how many different fabrics are included in the costume, but that's what makes recreation fun, right?

This is an interesting idea, though possibly it's not an idea I'm prepared to deal with this year.  I'll just pencil it in for now.

October:  Out of Your Comfort Zone.  Either my planned sprang hair net or my nalbinded mittens would qualify for this theme, and hopefully I can finish ONE of them by October!

November:  HSF Inspiration.    That is, make something inspired by someone else's HSM creation. I'll have to see what projects turn up on the HSM Facebook page, where costumers participating in the HSM (which used to be the Historical Sew Fortnightly, hence the difference in initials) post their creations.

December:  Go Wild.   You can interpret this challenge as an excuse to make something that incorporates animal print, or to simply make something wild and over the top.  The völva's hood is, according to the saga, lined with white catskin.  I will, of course, use fake fur, but that might be sufficient "animal" involvement to qualify.

So my list of potential projects is:
  • Remake my fitted brown wool apron dress [February]; 
  • Make a black wool hood lined with (fake!) catfur [January, April, December]; 
  • Make a blue wool cloak trimmed with stones set in wire frames [March, April, June];
  • Make a shift with the white wool I bought for the purpose years ago [April].
  • Make a reconstruction of the costume on the Hårby figurine [July, September]
  • Complete my nalbinded mittens [October]; 
  • Make a sprang hair net [October];
  • Complete the rest of the pieces of the völva costume [May].
Sounds like a plan to me!

Saturday, November 5, 2016

Change in Projects

Now it's November, and although I've slowed down on the nalbinding project, I've finally gotten two mitten cuff edges that are tolerable in appearance. Not perfect, just tolerable, as you'll see from the picture.  I may yet re-do the one on the right, which has more mistakes, and more obvious mistakes, in it.

The beginnings of two mittens!
I finally decided to deal with the issue of changing threads (piece of yarn, actually) this way.  I work each thread until the working thread is too small to take a stitch without falling out of the needle.  At that point, I pull the needle off of the piece of yarn, thread a new piece onto the needle, and start my next stitch without taking the last loop off of my thumb.  After I have completed the stitch, I pull the thread through until only a short piece is left outside the body of the work (about 2-3 inches/5-7.5 cm). Then I take a second stitch, in the same place as before, and in doing so drop the loop off of my thumb in the normal manner.  My new working thread is now anchored in the work, and forms the new thumb loop.  From that point, I go on working as usual. This leaves a pair of 2-3 inch pieces of yarn sticking out of the work for each new piece of yarn I use, but they can be clipped off later without significant ill-effect, so far as I can tell.  

The next step is to change yarn color and begin working the appropriate rounds, decreases, and increases, as specified in the mitten pattern, but I prefer not to push on too far too fast--that usually results, for me, in a bad mistake and a re-start.  I will give it a day or two before taking the next step.

The next time I start a nalbinding project, though, I'm going to take more care to make certain that I have 100% wool that is not "superwash".  My local Jo-Ann's fabric store carries a few nice colors of 100% wool yarn of the Patons brand, and even though it costs about twice as much as the yarn I bought for the mittens, it may be a better choice for nalbinding.

In the meantime, it's now November, and the current Historical Sew Monthly theme is "Red."  Since my sprang yarn is pink, this may be a good time to re-start that project, especially since work is very slow for me right now.  The good news about sprang is that, once I have a sufficiently good sense of what I'm doing, it should go very quickly.  With luck, I'll have at least a progress photograph for this blog before the end of the weekend.

Thursday, December 24, 2015

Plans for the Historical Sew Monthly 2016

Earlier this month the Dreamstress put up the proposed challenges for the Historical Sew Monthly ("HSM") for 2016.  Her page, which can be found by clicking on the "Historical Sew Monthly 2016" image on the upper left hand side of this blog page, explains what the HSM is about better than I could.

This year, none of the challenges are repeats of previous years.  I like them all, and can easily think of projects I might do for most of them.  I've reproduced the Dreamstress's list below; my tentative plans for each appear in italics.
  • January –  Procrastination – finish a garment you have been putting off finishing (a UFO or PHD) or make something you have been avoiding starting.  Most of my projects fall into this category!  Probably the smartest to designate for this challenge should be my Lithuanian Iron Age Shawl.
  • February – Tucks & Pleating – make a garment that features tucks and pleating for the shape or decoration  My planned Køstrup apron dress would be appropriate for this one; it will probably incorporate both tucks and pleats.   It seems unlikely I'll be able to get back to it in February though.  
  • March – Protection – make something to protect yourself (from weather or injury) or your clothes (from soiling etc.).  I have no immediate ideas, but a true apron would be good. Something functional; maybe in a medieval style.
  • April – Gender-Bender – make an item for the opposite gender, or make an item with elements inspired by the fashions of the opposite gender.   If I'm right about the style of cloak worn by the völva in Eric the Red's Saga, it is a garment that was worn by high-ranking people of both sexes.  Maybe that should be my April project.
  • May – Holes – sometimes the spaces between stuff are what makes a garment special.  Make a garment that is about holes, whether it is lace, slashing, eyelets, etc.  This screams of early non-weaving textile techniques to me; either nalbinding, two-hole tablet weaving, or sprang.  If my sprang cap isn't done by this point, I'll do it for this challenge.  If it is done, maybe I'll try again to nalbind socks or mittens for myself.
  • June – Travel – make a garment for travelling, or inspired by travel.  Hoods are excellent for traveling; perhaps the hood for my völva costume will finally get made.
  • July – Monochrome – make a garment in black, white, or any shade of grey in between.  I still need to complete the wool shift for my 8th century Danish ensemble; there may never be a better time.
  • August – Pattern – make something in pattern, the bolder and wilder the better.  Wow, this one may be hard.  I detest most patterns, and for my period of historical interest the only patterns used are stripes and plaids.  Perhaps I should try to reproduce the Hammerum dress? A subtle pattern is still a pattern, after all.
  • September – Historicism – Make a historical garment that was itself inspired by the fashions of another historical period.  This one is hard to pull off if your costuming period is before the Middle Ages.  My instinct would be to make a 1800-1810s gown, except I have no place to wear it.  This one will take some thinking.
  • October – Heroes – Make a garment inspired by your historical hero, or your historical costuming hero.  I still need to make my Ler outfit, and the planned blouse for that outfit was to be made based upon a tutorial written by the Dreamstress, who is one of my heroes when it comes to historical costuming. 
  • November – Red – Make something in any shade of red.  The fabric for my Køstrup dress is a rose red and my sprang cap is to be pink, so I can work one of those two projects in here if I don't complete them earlier.  If not...maybe I could make a red nalbinded hat?
  • December – Special Occasion: make something for a special event or a specific occasion, or that would have been worn to special event of specific occasion historically.  If I can finish my völva costume, complete with all components, by the end of the year, that will do nicely.
I would love to hear about my readers' plans for the 2016 HSM in the comments.

Sunday, December 13, 2015

HSM #12--Re-Do

Now it's December, and the final challenge of this year's Historical Sew Monthly is upon us.  The challenge theme is "Re-do", and the challengers can undertake any one of the previous 11 challenges, and do it again.

I've decided to go back to Challenge #6 ("Out of Your Comfort Zone")--and try to complete the sprang cap I wanted to make back in April. Sprang is an ancient textile art that was used by the Viking era Scandinavians, among others, and I'm hoping that completing this project will at least teach me the rudiments of the technique.  This item also qualifies as a re-do of Challenge #7 (Accessories), so I can "re-do" two challenges in the same project!  Assuming, of course, I manage to carve out enough time before the end of the year to work on it!

Thursday, November 12, 2015

HSM #9--The Lined, Wrapped Apron Dress Complete

Bottom corner, from the inside
Front view
Although it has taken me an additional month just to get the silk strip and loops sewn onto to the top of my lined, wrapped apron dress, the dress is finally complete. Here it is!  I have included close-ups of the corners and of the top edge both from the right side and wrong side, despite my less than stellar hand work, for those of my readers who want a better idea of exactly how it was made.  (I hope to replace the shots of me wearing the dress with clearer ones shortly.)

I realized, in the end, that I do not have enough information about the Grave 464 find that inspired this project to know exactly how the lining might have been secured, or even whether the entire dress was lined (though I think this was likely, if the dress truly was a wrapped-sheet type of dress). So I proceeded in a manner that would solidly fasten the wool and linen together without leaving raw edges, and covered the raw edge of the wool at the top with a pieced strip of my silk. The result gives the general idea of what a lined wrapped apron dress would be like in wear, but hardly qualifies even as an attempt to make a dress that is consistent with the fragments in Birka Grave 464.  

So here is how I made the dress.  

Small loop, from the inside
First, I laid the linen on top of the wool, wrong sides together, matching the fabric edge to edge as best I could. That meant matching the selvages on one side, and cutting a strip off of the other side, partly to attempt to (roughly) even out the differences in the fabric size, and partly to obtain a strip of fabric from which to make the loops.  Wool apron dresses with linen loops are common at Birka, but I had less of the linen than I did of the wool, so I didn't wish to cut the linen.  (If I had been concerned about cutting my piece of wool, I would have used scraps of linen from my stash for the loops; fortunately, my wool piece was large enough that I could spare a bit of it for the loops.  I like having matching wool loops better, and at least one period apron dress find has matching wool loops.)  The top was chosen so that the longer side would wrap around me; in other words, the fabric was aligned so that the dress would be about 36 inches long from top to bottom.

Next, I folded the top corner diagonally on the top and side to square it off (see picture), double folded the wool over the linen to enclose any raw edge, and stitched the two together using a whipstitch.  I continued this process along the bottom and other side, folding the corners but not cutting them (see pictures) as is common with modern mitering technique.

Finally, I cut two pieces of my silk, each about 3 1/2 inches wide and stitched them together end-to-end to make a strip long enough to cover the entire top edge of the dress. I folded all four sides of the strip to hide the raw edges.

And that is where I ran into a problem.

Because the linen and wool pieces aren't quite the same size, I had to figure out how to stitch the silk onto the top of the dress without (1) allowing any of the raw edge of the linen to show, and; (2) without having the line of the silk across the front of the dress look crooked or uneven.

What I ended up doing was a three-step process. First, I whip stitched the folded edge of the silk onto the linen lining, about 1 cm beneath the top edge of the linen.  Then I whip stitched the top edge of the linen to the wool, as close to the top edge of the wool as possible.  Finally, I folded the rest of the silk strip forward, over the top edge of the wool (with the raw edge of the silk tucked underneath) and stitched the silk onto the front of the dress, adjusting the visible width of the strip as necessary.

Left side view
Right side view
The most obvious difference between this dress and my wrapped, unlined, linen apron dresses, is that this dress is noticeably heavier than the other apron dresses I've made, except maybe for the Hedeby-style dress I made from heavy cotton denim. It's surprisingly warm and it hangs well--even better than my pure linen apron dresses.  Moreover, the way the dress wraps across the front conceals the fact that the line of the silk trim is (still, despite adjusting) uneven.  The unevenness in the hem caused by the fact that this is a wrapped garment shows, very slightly, at the bottom center, but is less conspicuous than the unevenness of hem that shows when I wear the wrapped linen apron dresses I have made.

Overall, I'm happy with the way the dress came out. Though I don't have enough information to guess how close I might have come to the way such a garment could have been made during the Viking period, let alone how the garment in Birka Grave 464 really was made, the project shows that a lined apron dress would have been wearable and comfortable.  As to whether one considers it attractive, it's not particularly sexy to modern eyes, but it has a clean dignity to it that is reminiscent at least some of the images of women in Viking period art.

HSM Challenge #9--Color Challenge Brown

Fabric:  A yard of very dark brown mid-weight wool, about 58 inches wide; a yard of cream-colored mid-weight linen, about 57 inches wide; and strips cut from a quarter-yard of silk taffeta.  The silk I had previously bought for another project, but the wool and linen were newly acquired.  

Pattern:  None needed.  The dress is based upon Agnes Geijer's theory that at least some apron dresses may have just consisted of a flat piece of fabric with loops sewn to the top edge that is wrapped around the body and fastened with pins.  (Perhaps older women wore wrapped apron dresses while younger women wore more fitted ones resembling reenactors' dresses based upon the Hedeby find?)  To the extent my limited information about the fragments found in Grave 464 at Birka, I tried to make the finished garment consistent with that information.    

Year:  The Viking age.  I think Grave 464 is one of the earlier Birka finds (9th century C.E.) though I'm not certain of that, and I don't know the extent to which anyone has attempted to date the finds in that particular grave.

Notions:   Dark brown, 100% silk Gutermann thread for stitching the wool and linen together along the sides, and some dark red 100% silk Gutermann thread for stitching the silk band in place.   Both were from my stash.

How historically accurate is it?   Not as accurate as I'd like it to be.  I don't really know whether the silk was folded at its outside edges where it attaches to the wool.  I suspect, though, that the silk actually found in Grave 464 was heavier and less prone to raveling than mine, and thus would not have required the foldovers on the edges of the silk that I needed to make on my silk.  Also, my wool and linen fabric pieces were slightly different in size and I didn't want to cut into the wool (which was the larger of the two) very much because I wanted to make sure there would be enough width that the dress would wrap around me comfortably.  As a result, in some places the linen and wool do not meet at the top, so the silk strip covers both but doesn't enclose them at the fold the way the original apparently did.  Because of this, I had to stitch the wool and linen together *before* folding the silk over both, and I know of no evidence that that was done on the original.   In addition, I don't know whether the corners of the dress were mitered in the modern fashion or only folded over to square them up, and I used silk thread, while the original was probably sewn with linen or wool.   So I don't rate the historical accuracy higher than about 50%, at best.

Hours to complete:  I didn't keep track very closely, but I think about 6-7 hours, spread over several non-consecutive days.

First worn:  To determine the correct placement for the loops.  When making an apron dress, I typically pin all the loops to the top of the dress with safety pins and try the dress on to determine whether the placement is appropriate before stitching them in place, and that's what I did here as well. The first real wearing was for the photographs accompanying this post.

Total cost:  About $45.00 USD (not counting the cost of the spandex-containing linen I'd bought to use for the project originally and had to replace).

EDIT (12/2/2015):  I forgot to mention that I did not spread the fabric out on a table to do the matching or any of the sewing.  I merely held the linen and wool in front of me, matched edges as best I could, and folded and stitched from there, so it *is* possible to do that.  (I did spread the partly-finished garment briefly on a bed to figure out how and where to place the silk strip, though).

Monday, September 28, 2015

HSM #9--A Progress Report

I spent this past weekend at the home of friends in Maryland, just hanging out, and managed to complete much of the work on my lined, wrapped apron dress.  All that I need to complete is sewing the silk strip across the top and adding the loops.  The prospects for completing it before Wednesday (the end of the month) are very good indeed.

EDIT (10/1/2015):  The prospects for completing the dress by the end of September were good, but not good enough.  I should have it done within the next few days, though.

Monday, August 31, 2015

The Fabric Has Arrived!

From top to bottom; binding, dress, lining
The fabric that has arrived are the two fabrics I needed for my lined wrapped apron dress:  the chocolate brown wool and the (replacement) off-white mid-weight linen.  It's late, and I'm not up to adding the necessary photographs to show the wonderfulness of the combination of fabrics that I'm planning right now, but I should be able to get to that in a day or two.
Good view of the wool's weave but the color is off.
EDIT (9/1/2015): Here are a few quick pictures of the three fabrics I've obtained for the project: the wool for the outer layer of the apron dress, the linen for the lining, and the red silk for the top trim/binding.  

The wool is a mid-weight wool with a slightly napped finish, and the linen is Fabrics-store.com's best-selling middle-weight linen in an off-white color.  I bought the red silk several years ago.  It doesn't show up as well in the photographs, but it's a taffeta weave and supposedly is 100% silk in fiber content. The top photograph gives the best rendition of the colors of the fabrics and the best view of the linen's weave, and the bottom one best shows the weave of the wool.  Both pictures should be clickable for a better detail view.

Now I have suitable fabrics for the project!  Hopefully the construction will also go well.

Sunday, August 23, 2015

A Return To My Roots: HSM #9--Color Challenge Brown

The September challenge for the Historical Sew Monthly is simple:  make something that is brown in color.  I was having trouble deciding upon a suitable project for this challenge, when I had an idea based upon my roots--the Viking apron dress or smokkr.  Because so many people have made apron dresses (and posted pictures of them on the Internet) since I first became interested in the Vikings, I had begun to believe that there really aren't any research-related reasons to make new apron dresses any more.  However, I may have stumbled upon a project that might be educational, and enough fun to be worth doing.

Despite the number of different styles of apron dress that I have made, I have never attempted to make an apron dress that is lined.  The evidence in favor of lined apron dresses comes from Birka, particularly grave 464.  Hilde Thunem translates the description of the relevant part of the grave 464 textile find in her long article discussing the evidence for Viking apron dresses:
Attached to the remains of a linen loop (1-2) was a fragment of fine dark blue wool (6). The wool had a linen fragment (4) lying against its inside and a silk band (3) had been folded over the top of both fragments (like a bias tape). ...
The woman in this grave was probably wearing a blue woollen smokkr, lined with linen and decorated with a silk band along the top of the dress. A small fragment of linen from the serk (5) was lying on top of the loop, indicating that at least in this case the smokkr had been worn directly over the serk (fig. 464:6). The top of the silk band, and thus the top of the smokkr, reached about 2 cm up into the brooch. This means that the front loops of the smokkr was fairly short and would have been completely covered by the brooches. ...
The grave contains several other fragments of the dark blue wool. One that seems to have been torn off from the brooch fragment is folded along two sides, creating a corner about 4 cm outside of the edge of the brooch (464:5). It is unclear whether the vertical edge of this corner was hemmed or if it was fastened to another piece of the smokkr.
It seems clear that the silk piece covering the top edge (and it had to be the top edge, because a loop was also fastened to it) functioned partly to bind a piece of linen to the wool.  How big the piece of linen originally was remains a question (and Hilde Thunem notes that Agnes Geijer thought that the linen lining of the garment in grave 464 was only partial).  So I started thinking about the reasons why people choose to line garments.  Two substantial reasons occurred to me:  to make the garment warmer, or to stiffen or otherwise change the drape and behavior of the garment in some way.

Warmth may have been a factor, certainly, with any item of Viking clothing, but stiffening would only matter if the garment in question were not an untailored garment such as a peplos; peploses work best with soft drapey fabrics than with stiff ones.  For a wrap-around garment, increased stiffness might actually work better unless you're going for a form-fitting sarong type of garment.

The mitered corner was only 4 cm (not quite 2 inches) from the outside edge of the tortoise brooch; that is approximately the same place where the seam appears on the Køstrup apron dress fragment.  Whether that location means that any seam along the edge of the corner would end up running underneath the arm would depend upon the size of the wearer.  On me, 4 cm from the outside edge of my brooches would place the seam very close to my armpit.   However, if the corner edge was not part of a seam, mitering it (which I have never thought to do on any of my earlier wrapped apron dresses, for some reason) should tend to make the open edge stand upright up and not flop over when worn.  Front corners that do not flop make a wrap-around style apron dress look better, in my opinion. 

In any event, making a fully-lined apron dress would show me whether such an apron dress would be comfortable and easily wearable, which to me makes the construction of such an apron dress an interesting project.

I have some red silk that I can use for the top-edge binding.   I have just ordered a yard of cream-colored linen that should serve for the lining, and am planning to buy a yard of chocolate brown wool for the apron itself.  (The grave 464 find was dark blue, but other apron dresses have been found to be brown, and brown is the color for the September challenge.)  Both fabrics are about 60 inches wide; a yard of each would make a suitable single-wrapped dress that, on me, would be about mid-calf length.  All we know about about the length of the dress in grave 464 is that it was at least hip length (because scraps of the same wool were found underneath a work brooch located at about hip level), so a mid-calf length should be fine for this project.

Hopefully, I'll be able to complete this project before the end of September.  Wish me luck!


Wednesday, June 3, 2015

HSM #5--A 15th Century Cap

Right side veiw
Left side view
On Sunday, the very last day of May, I finally finished my 15th century linen cap for the May Historical Sew Fortnightly challenge.  The theme:  practicality. Tonight, I had my husband take photographs of the finished product, and they appear in  this post.

The cap was simple enough to make.  I followed Catrijn vanden Westhende's directions, including the size of the rectangle (though I cut a bit extra on the edges to allow for hemming). I used the photograph accompanying the directions to estimate the length of the tie string . So far as I could tell from the photograph, the tie string was about four times the height of the finished cap, which would be approximately 11 inches.  Four times 11 inches is 44 inches, which is close to four feet; thus, I made my string about 48 inches long, figuring that I could cut off some of the length and re-sew the end if necessary.  However, I did not use a "fine" linen as she suggests, since what I had on hand was the mid-weight linen that fabrics-store.com sells.  Instead, I made the tie string out of the linen--using the same folding and whipstitching technique I use to make Viking apron dress loops.  I don't know what Catrijn used for hers; her photograph is too small to tell.

The failure to use a crisper, stiffer linen may have been a mistake on my part.  As the photographs show (thanks again to my patient husband for taking them), my cap is rather limp.  But otherwise, the cap gives a pretty good period appearance, provided I am careful, when I fold back the cap, to make sure to fold back the top edge at least 2 inches (about 5 cm) and make sure that the back edge is fairly even and not pulled up too far in the middle by the tie string.  Even so, my flaps remain floppy, and don't form the kind of pretty pointed turnbacks that Catrijn's cap has.

It occurred to me that starching the cap might help with this issue  A quick search turned up this site, which claims that the use of laundry starch goes back to the 15th century, but it was a luxury item then, and probably not used by peasant women (except, perhaps, by laundresses advertising their skills). On the other hand, the cap stays on well and covers the head tidily, so it meets the "practicality" requirement of the challenge.  Possibly more experience on my part in fastening the cap onto my head will result in a prettier appearance.  My efforts tonight make the cap look much better than when I first tried it on Sunday night. 

HSM Challenge #5--Practicality

Fabric:  A scrap of  white linen roughly 11 inches by 22 inches (30.5 x 55.5 cm) for the body of the cap, and a second scrap, roughly 1 1/2 inches by 48 inches (3.8 x 122 cm) for the tie string, both torn from a length of linen that was left over from a previous shift project.

Front view
Back view
Pattern:  Catrijn vanden Westhende's directions, referenced above, though it appears that no two costumers who have made such a cap have made it in the same way. 

Year:  Catrijn believes such caps are roughly late 15th century-early 16th century CE.  The images I've found on the Internet (mostly via the Medieval and Renaissance Material Culture website at Larsdatter.com) support this belief.

Notions:   White linen 80/3 thread, Londonderry brand, that was left over from other costuming projects.

How historically accurate is it?   It's entirely handsewn and gives a good period appearance, and the economy of the construction method argues that the design of the cap might have arisen in period.  On the other hand, the linen is probably too limp and slubby for the period, and I have no idea if there is any actual evidence for the use of this type of construction in period.  So let's just say 50%, maybe.
  
Hours to complete: A bit under 3 hours, all told.

First worn:  Right after I finished it, and then for the photographs accompanying this post.

Total cost:  Zero.  All of the materials were leftovers from other projects--making the cap even more practical!

The Pinterest board I made to compare similar caps in medieval art also includes some caps by modern costumers/reenactors.  As I said above, it appears that no two costumers have made this sort of cap in the same way, but in my opinion Catrijn's patternless method is the simplest.