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Posted by Elina

Ihana viikko Middelaldercentretissä on takana ja myös tällä kertaa mukana oli uusi mekko. Se on tehty Herjolfsnes – haasteeseen (ja tarpeeseen!) ja siitä tuli oikein kiva. Onnistuin viimein tekemään vaatimattoman ja yksinkertaisen perusmekon. Tällä kertaa ei tullut epähuomiossa kirkkaanpunaista mekkoa laahuksella. Tämmöinen luonnonvärinen ja vaatimaton mekko on käytännöllinen, monikäyttöinen ja sellainen jota olen kauan kaipaillut.  

Mekko on periaatteessa Herjolfsnesin D10581 (Vanha numero 39), kolmella muutoksella. Halusin pitkät hihat, koska en halunnut tästä päällysmekkoa. Sopiva hiha löytyi mekosta 38.  Mekko on alkuperäistä pidempi (vähän ylipitkä) käytännön- ja makusyistä. Kaula-aukkoon en tehnyt pientä lovea nyörinreikineen – tyyli- ja kangassyistä.

Kankaana oli Naturtuchen harmaa ohuehko villa, jonka viimeistelyssä villaa on venytetty äärimmäisen pinkeäksi. Kangas on miellyttävä, mutta joissain kohdissa hämmentävän vino. Siis niin, että lankasuorakin on vino. Vinouden kanssa onnistui ommellessa säätämään niin ettei se haitannut, mutta kaula-aukon osalta pelkäsin, että se pieni viilto menisi kuitenkin jotenkin itsestään vinoon.  

Jokaisessa mekkoprojektissa oppii uutta. Niin tässäkin. Ompelemisessa meni kauemmin kuin missään mekossa aiemmin, koska iso osa saumoista on ommeltu oikealta puolelta. Se on hitaampaa kuin mekon ompelelminen kokoon nurjalta puolelta etupistoilla. Etuna kuitenkin on mukavan näkymättömät ja litteät saumat sekä mainio hallinnan tunne tarkkutta vaativissa kohdissa. Valitsin tämän ompelutekniikan siksi, että myös alkuperäisten mekkojen sanotaan olevan ommeltu oikealta puolelta.

Lisäksi huolittelin osan saumoista itse kehräämälläni langalla (!! Merkittävä askel henkilölle joka on aiemmin tunnettu myös maailman surkeimpana kehrääjänä). Saumoissa on yhteensä neljää erilaista villaompelulankaa. Vaihdoin lankaa ompeluprosessin aikana aina kuin löysin paremman, mutta ei langan vaihtelu hirveästi näy, niin fiksuja ovat nämä saumat! Villalangalla ompelu on aika mukavaa. Pellavalankaan verrattuna saumoista tulee jotenkin pehmeämmät ja ne uppoavat kankaaseen. 

Mukava uutuus oli myös pyöreäkärkinen “kalanpyrstökiila” joka paitsi näyttää kivalle, voi osoittautua käytössä vähemmän herkästi kärjestä repeäväksi. Aiemmin olen versioinut niitä grönlantilaisia mekkoja, joissa sitä ei ole.

Alla lisää kuvia ja huomioita! 

*************** ENGLISH************

We had a lovely week at Middelaldercentret and also this year it marked the debut of a new dress. This was my finally finished dress for the Herjolsnes-challenge. And a dress that I really needed! I finally made a modest and simple basic everyday dress. This time my attempts at a working dress  didn’t end up producing a bright, luxuriously red dress with a train. I’m happy with the result – it’s really practical and something you can use pretty much with any dress and doing everything. 

The dress is basically a Herjolfsnes D10581 (Old number 39), with three major alterations. I wanted long sleeves, because I wasnted to use this not as an overdress but as a middle layer (over shift, under the overdress). A suitable sleeve was found in dress 38. The dress is longer than the original for practical and style reasons. I also left out the little notch in the neckline due to style and fabric-related reasons. 

The fabric I used was Naturtuchen’s natural gray wool, which has somehow been really really stretched when it has been finished. It’s hard to explain, really, but this stretch in the fabric makes it …um…. sort of….wonky. When I cut it completely straight on the grain it was still somehow diagonal.  I managed to work around this characteristic when I was sewing it, but was too afraid to include the notch in the neckline. I was sure that would have been pushing my luck and I would have ended up with a crooked notch in front and center of the dress. 

Every project teaches me something new. So did this one! Sewing this dress took longer than any other because most of the seams are sewn from the right side. It is much slower than sewing the dress with running stitches on the inside of the dress. However, the advantage is the invisible and flat seams, as well as an excellent sense of control when sewing, especially in tricky places like on gores and the sleeves. I went with this technique because the original dresses are also said to be sewn like this.

Also, I finished some of the seams using yarn I had spun myself (!!! a huge step for someone formerly known as the worst spinster in the world) There  is a total of four different wool yarns that I used when I was sewing the dress. I changed the thread during the sewing process every time I found a better one. But because the seams are so clever, the thread (and where I change it) hardly shows.  I usually sew with linen thread so I’m still experimenting with wools to find my favourite kind. Sewing with wool Herjolfsnes-style is pretty nice. Compared to linen, the seams are softer and they blend into the fabric (and are much harder to undo if something has gone wrong.).

A nice novelty was also a round-pointed “fishtail” gore that not only looks neat and makes for an interesting detail, but I think the shape may be less sensitive tears at the top of the gore. This is a detail on the Greenland dresses I haven’t recreated before, because it hasn’t been on the ones I have worked on before. 

Scroll down for more pictures and  observations! (English in Italic)

 

Muistin mekon kuvaamisen vasta viimeisenä päivänä, joten tässä vaiheessa mekossa näkyy kurttuina vyön painauma. Sateisina päivinä varjelin helmaa nostamalla sen vyölle makkaraksi. Kuten kuvasta näkyy, mekko ei ole varsinaisesti istuva, varsinkaan vyötäröltä, mutta yläosa on sen verran napakka että se pysyy paikoillaan. Kankaan takia siitä tuli oikeastaan yllättävänkin napakka, sillä kangas jousti villatoimikkaaksi tosi vähän. 

I remembered that I wanted pictures for this post at the very last day of the week – after a week of wearing the dress hiked up onto a roll with my belt on rainy days. The wrinkles at my waist show where the hem has been hiked up. As you can see in this picture, the dress is not really fitted – especially not at the waist. But the top part is snug enough to keep it well in place. And because the fabric had very little stretch for a wool twill, it became a bit more snug than even intended! 

 

Sama takaapäin. Vyön kanssa (ylin kuva) mekko on ihan toisen näköinen, kiva käyttää sekä ilman että vyön kanssa. 

The back. With a belt (topmosti picture) the dress looks quite different, I like wearing it both with and without a belt. 

Tein tai oikeastaan jätin ensimmäistä kertaa hihoihin halkiot, kuten monissa alkuperäisissä mekoissa. Ne vaativat vähän totuttelua, mutta olivat aika näppärät hihat piti saada töiden tieltä ylös. Nämä halkiot ovat vain noin 12-senttiset, mutta Herjolfsnesin löydöstä löytyy hihoja joissa on jopa 18 cm halkiot, eikä niissä näy jälkiä kiinnityksestä. Olisi kiva tietää, miten niiden kanssa toimittiin.  

Quite a lot of the Herjolfsnes garments have slits on the sleeves, but this was the forst time I’ve recreated them. Wearing them required a little getting used to, but they are very practical when you need to get the sleeves out of the way when working. They are about 12 cm’s so not even the deepest sleeve slits in the Greenland material. So far the research hasn’t shown evidence of them being closed up for wear. It would be interesting to know how they wore them

Tässä ei ole koristelua, vaan saumanvara on huoliteltu ompelemalla lanka helmapistoilla saumavaran reunaan. 

This is not an ornament but just seam finishing by stitching a thread to the folded over hem. I only had white thread when (panic)sewing these last touches. 

Tässä mekko tositoimissa, päällysmekon (jonka malli myös Herjolfsnesistä), hupun ja essun kanssa, helma vyötärölle rullattuna. Kamalan käytännöllinen asu!

This how I mostly wore it – under an overdress (the pattern for that one is also from Herjolfsnes) a hood (a London hood) and an apron, hems lifted onto a roll on my belt. It’s comfy and practical! 

Lämpimämpinä päivinä käytin sitä ilman päällysmekkoa – niinkuin tässä kun pidin pellavaompelimoa juuri maalatussa Suutarin talossa. 

When it was warmer I skipped the overdress, like on this day when I had my linen seamstress’s shop open in the newly painted house! 

 

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Posted by Katrin

It’s been a while since we had scale issues, right? So it might be time for the next instance of these. And the shed should be a nice place for them…

I already mentioned that the shed might need to be deeper than proper scaling would mean, as I need to fit my fingers through it. While I do have rather small hands, I found that a shed depth of 6 cm would be nice to handle – a rather deep shed for the small loom.

So my heddle length is also 6 cm… which means that to change the shed, I have 6 cm of way for the two layers to match, and then I need to go as much further as my artificial shed has to be deep. Which, in my case, is 4.5 cm. This means rather long holders for the heddle rod, though – 10.5 cm in length in the model.

For this, the hazelnut bush in the garden had to lose two branches, because the holders that were attached before were too short – the artificial shed only opened about 2 cm or so, and that is definitely too narrow for my fingers.

You can see the difference between the holders on the first image and the second one – the new ones are considerably longer.

setup_1loom_2

So now the heddles are done and in proper length, the shed issues are solved, and the loom is ready for the next step: chaining the spacer cord into the bottom edge…

Empire corset revisited

Jun. 21st, 2017 08:57 pm
[syndicated profile] evashistoriccostumes_feed
 Yesterday my friend Alfhild came by. She had visited another friend who wants to make both regency and Victorian clothes and was really inspired to  to make some too.
So we dug out my books, and then I got inspired to show my stuff and ended up opening boxes with costumes which hadn't been touched for years.
They are kept under our bed, and unfortunately our cat Mysko had managed to get into one of them and had puked on my 18th century shift, and an antique lace shawl. The shawl was too delicate to wash, so I just gave up and threw it in the trash. The shift will be washed next time we have the laundry room, next week, and hopefully it can be saved. But Mysko was very cheap for anyone wanting to buy him then ;)

Anyway, I dug out clothes and I tried on clothes, and to my great joy my empire corset still works, though it has to be laced wholly shut at the back. The same was the case with the smaller of my 18th century stays, though they should ideally be taken in at the waist - they're too tight at the top if I lace them shut, and too loose in the waist. I'll see if I'll do something about that, I have a partly finished robe à la francaise that I started 14 years ago, which would be fun to finish I guess.

Rickard took a photo of me in the empire corset, but I didn't get any in my 18th century stays.


The petticoat, gown, bonnet adn shawl that go with these underwear can be seen here. Unfortunately I suspect that the gown is too big, I didn't try it on, because I needed to pack away stuff for the night.
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Posted by Katrin

A loom with a front and back layer of threads is nice and fine, but a single shed not a weaving makes, or so. Which means… heddles.

Now in the very first, quickly-thrown-together setup, I had done a very, very bad job at making the heddles. There were only a scant dozen or so of them, if that many, but they all had a different length… which is a seriously bad idea for weaving. Especially since, see scaling issues, heddles with a slight length difference are annoying enough in full-size weaving, but the slight length difference will scale up with making the loom, and with it the shed, smaller.

Shed size, by the way, is another scale problem. If you could just have a miniature weaver or two use the miniature loom for demonstrations, you would have no problem with a shed that is to scale for the small loom. (Actually, it would solve almost all the problems. They could also do the loom setup, and spin the yarn. From miniature sheep wool, with finer fibres… ah, let’s not go there.)

My hands and fingers, though, do not get smaller when I downsize a loom, and I have to pass yarn through the shed for the demo – so it needs to be large enough for this. The shed size of the natural shed is easy to adjust by changing the angle that the loom has against the wall (in my case, that angle is relatively fixed by the angle the side support ends have; they are equipped with rubber soles so the loom doesn’t slip).

With the heddle stick in resting position, my heddle loops now have to be long enough to reach across the depth of the natural shed, and they should all be the same length as well, for good looks (important in a model) and good functionality (just as important).

Since I didn’t trust myself to do this free-hand, I used aids. First of all, I figured out a good length for the heddles (in my case, a tiny bit less than the depth of the natural shed, because the little loom has a very generous one). I then found a suitable stick and a position for that stick on the back of the side supports that, when the heddle yarn is wound around the stick, would result in the proper length.

Heddling was then done bringing the heddle thread through the front layer, around the thread of the back layer, around the gauge stick at the back, back through the front layer (in the same slot between threads, obviously) and around the heddle stick. It took me a good while to figure out how to make the knot consistently, so the left part of the heddle rod looks not as nice as the right part, but ah. I thought about doing it once more, all nicely… and then decided against it.

heddling

By the way: it is ridiculously easy to make a heddling mistake. Ridiculously easy. My respect for all those weavers who are setting up looms without any mistake went up a few notches again when I was doing this.

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Posted by Racaire

Today we’re taking another close look at my very first medieval islamic inspired embroidery project – the OvO pouch for Gloria, my dear mother-in-law.

The path which starts with the initial inspiration and finally leads to the finished project is not always easy. Sometimes one has to follow a quite difficult way and get rid of one obstacle after another. And yes, this project was one of those not quite so easy ones and sent me on an interesting journey…

Though it can be quite demanding at times, I normally don’t consider it a difficult task to turn a medieval inspiration into an actual pattern and finally into a finished embroidery. But this project was quite different. I already had to tackle two major problems at the very beginning of the project...

I am sorry, but the following content is restricted to logged in members of my blog.

…and that was how I tackled my very first problem with Ahmad’s help – an actual medieval Arabic inscription for my special medieval islamic inspired embroidery project. 

In retrospective I think this was one of the reasons why I didn’t take on this embroidery project for so long though I really had it on my inspiration list for quite some time now. But sometimes one just gets the right reason to tackle a certain problem – or well, many problems like in this case. And more about the medieval islamic embroidery technique in my next posting about this project. Stay tuned my friends… 😀

Best regards Racaire…and here you can find more postings about this special project:

Gloria’s OvO pouch with medieval islamic inspired embroidery 

The post …my medieval islamic inspired embroidery project – from the medieval inspiration to an actual pattern or “an interesting journey” .1 appeared first on Racaire's Embroidery & Needlework....

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Posted by Katrin

Next step for the loom setup was getting the weights… and there’s another thing that does not scale down easily. I had looked for typical weight per thread numbers, but a quick search did not give me any conclusive data, there was no time for more than a really quick search, and so I basically fiddled around a bit with some items and the kitchen scales and then sort of decided on a weight per guesstimate.

Off into the fishing tackle shop, then. I had decided on 20 weights (10 per row) with about 65 g of weight, each tensioning a bundle of 11 threads – this means about 5 g of tension per thread, which, I hoped, would be easily sufficient for the smooth cotton warp.

The friendly man in the tackle shop informed me that there were 64 g weights available. They were not only available, but also in a sufficient quantity, and they were covered in a sort of camouflage paint (thus closing in the lead, much to my appreciation), and had a suitable form and shape – sort of pear-shaped, with two flattened sides. So I happily went out of the shop with my 20 weights. This part of the loom, by the way, is the most expensive part – the little bits of wood that it is made from were all scrap wood.

Back at the loom, it was bundling the threads of the front and back layer into bundles of 11 threads each (the last, obviously, of only 10 threads), tying them and attaching the weights. I chose to do the tying with a slipknot and then tied the weight in with a bit of linen thread.

setup_1

You can see how it all hangs nicely in bundles, with almost all the weights at the same height. The weights give it a nice tension, and the whole thing is surprisingly heavy when you lift it – the small size of the weights is misleading to the eye.

Next step: Heddles… which was something that I sort of dreaded.

A lot.

Eye Candy Monday

Jun. 19th, 2017 05:07 pm
[syndicated profile] jessicamgrimm_feed
Today I am going to share some lovely embroidery pieces with you. We'll start off with the work of one of my students, then we'll have a look at some new pieces I made and we'll finish with a new initiative to bring Mastercrafts People together. Let's start with a stunning blackwork piece:
This piece has been embroidered by Anja from the Netherlands. She started it last year during one of my week-long embroidery retreats. Anja worked from a picture and translated the different textures and shades beautifully into blackwork's geometric patterns. Anja will add some white highlights to the eyes to make the birds even more life-like. I so enjoy seeing a finished piece which started under my tuition!
Next up is another piece by Anja. She started it last week during another one of my embroidery retreats. We had great fun designing this piece by using a piece by Hazel Blomkamp as the base. Then we added two flowers from a colouring book by Millie Marotta and a pomegranate from an older embroidery book. Just to illustrate that you don't need to be able to draw your own design from scratch. Mix and match often produces a stunning new design. I have a feeling this piece will turn out great as well!
As most of you know by now, I have a subscription to the Broderibox by Nordic Needle. Although I used all threads present in the May box, I wasn't sure what to do with the purse clasp. I am an embroideress and I can mount a finished piece satisfactorily. However, I am not good at finishing. Mainly because I do it so rarely. Time to change that! There are so many lovely products out there to turn your embroidery into something other than a framed picture. Time to become acquainted with the clasp.

Luckily for me, there was a website listed on the back of the clasp's packaging: Zakka Workshop. Do visit their website as they have some adorable stuff on there. And best of all, they have a really good Youtube video on how to install the clasp. As I wasn't confident that I could come up with the right size embroidered purse, I ordered their instructions for the simple patchwork pouch. It provided me with a template for the purse and then it was just a matter of adding a cute bird, do some Schwalm embroidery, add some beads and best of all: use a House of Embroidery hand-dyed perle #12 in a colour combination that's totally out of your comfort zone :).

Worked a treat so far. Installing the clasp wasn't as easy as the video makes you believe. Especially not as I've probably used the wrong interfacing between the embroidery and the lining of the purse. Mine is probably too thick/stiff. That's the challenge when using instructions from another country. However, I am quite pleased with the result! I will tinker with the purse design and write up instructions at a later date. Just keep an eye out for them on this blog :)!
Another great way to finish your embroidery (and really hot on Instagram!) is to use a tiny wooden hoop by Dandelyne. Since I really like my Schwalm butterfly, I wondered if I could shrink the piece enough to go into a 4cm hoop. Guess what? I could! I used a combination of House of Embroidery hand-dyed fine silk and raw silk as well as paper covered wire to stiffen the upper-wings. I've now worn the piece around my neck for two days straight (I did put it down for sleeping...) and it holds up beautifully. As I had some trouble adding my finished embroidery to the hoop using the instructions provided, I will write a blog on this alternative method soon. It will help others mount embroidery on thin fabrics into a Dandelyne hoop. By the way, you can get your Dandelyne hoops here in Germany from the lovely Nadine from Zur lila Pampelmuse. That's where I got mine :).
Still reading? Good reader! There is one last thing I want you to go and check out: the Mad' in Europe initiative. It is a website where you can find European Mastercrafts People. Please do visit my page and leave a review! It will not only earn you my eternal gratitude, but it will also help to make my work more visible. And don't forget to check this initiative for local crafts people near you or your next holiday destination! (and do apply for membership if you are a fellow European artisan; it's free!).

THE END :)
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Posted by Katrin

The miniature model loom is set up, and functioning, and it was a really fascinating project to do – plus I’m really, really happy with the result. Which looks like this:

loom_1

Setup took quite a long time – as was to be expected, as I’m a) not super-experienced regarding warping and loom setup, and b) not everything scales down to model size, especially not the time needed to do each individual task.

So… it all started with warping the red threads with help of the white starting border. You set up a warping frame and a rigid heddle for the band (at least that is what I used), weave a few passes on the starting border band, and then you draw loops through each band shed, bringing the loop around the warping frame.

This was a pleasant task, though I did end up with slightly irregular lengths of warp thread, and the edge of my starting border was not as nice as I’d have liked (but that was possible to fix after setting up the warp, at least to an extent). If I had already decided on how many warps to a weight I would set up, I could have separated the batches in this stage; but as everything sort of was still in flow decision-wise, I just did three batches (which also accounts for the warp length irregularity).

Thread length irregularity, by the way, is another thing that will not scale. You’ll easily end up with one or two centimetres length difference, maybe even more if you have stretchy thread and real tension issues, and that will be no real issue on a warp length of, say, 2 metres. If your whole warp length is only about 35-40 cm, though, 2 cm difference are a lot, percentage-wise!

So once that warping was done, I attached the starting border to my top beam. On a proper large loom, that beam would have a lever and brake so it could turn to wind the woven cloth onto it. In my model, it is firmly glued in between the sides and thus not turning, so there’ll be no demo of how to take up the woven cloth. Should I ever build another model loom, though, I would consider making a proper top beam, even though it adds another weak point in regards to transportability.

little_loom

You can see the attached warp in its irregular bundles here, and you can also see the very, very messy bottom edge of my starting border, due to bad tensioning in the warp of the border and to bad alignment of the warping setup. (Which I didn’t bother to correct, as I was counting on being able to fix it to a good enough state later on. Yes, yes, I know. Shocking.)

The finished warp is about 16 cm wide and has two layers of 109 threads each. Warp threads are a plied mercerised cotton yarn (intended for embroidery, originally) and the starting border is white linen yarn. I had thought about using wool for the cloth, but for several reasons settled on the cotton. First of all: durability. Not that wool isn’t durable, mind you – but the model might sit in a basement cupboard for longer periods of time, and I don’t want to pull it out again after, say, a year or so to find that some moth has found her way to my loom model and decided it would be a fine thing to feed her offspring. Then, second: scaling/tensioning issues. Wool tends to be a bit stickier than cotton or linen, and that might require more weight per thread, which I’d rather not have; also, doing it properly with wool would have meant doing it properly using single yarns spun in the correct direction, and while I have quite a bit of handspun yarn that might suit hanging around here, with my lack of practice regarding loomy things, I’d rather not do the first try for something like that on a miniature model. So cotton it was.

Even More Diamond Twill Sources

Jun. 18th, 2017 01:49 pm
[syndicated profile] cathyscostumeblog_feed

Posted by Cathy Raymond

Recently, I've found a few more sellers of diamond twill cloth on the Internet.

The Mulberry Dyer, a seller of natural dye substances and naturally dyed yarns and fabric in the United Kingdom, sells madder red, yellow, and blue diamond twill wool "off the peg" at £35 per meter and cochineal red, green, and black diamond twill wool for £45. Go here for the fabric purchase page. 

Plateau Imprints Archaeology and Heritage Consulting sells a diamond twill blend, 50/50 silk and wool, using dyed and woad-dyed fiber, from their Facebook page. A piece 70 cm by 200 cm costs £30.

Nornilla on Etsy sells fine diamond twill wool fabric for $45.51 USD per meter.  All of the fabrics of this type are two-toned and in the photographs appear to have a slight sheen.

Finally, and surprisingly, Wooltrade.cz advertises two-toned diamond wool twill fabric for 400 Czech Koruna--about $17.00 USD--per meter! At that price, it's not surprising that they are currently sold out of this product.

In other news, I have learned that the diamond twill wool sold by Stas Volobuev, who sells fabric from his Facebook page, has very small diamonds indeed.  The photograph I've seen appears to indicate that three diamond motifs can fit across the diameter of a U.S. penny (a length of a bit more than a centimeter).  My understanding is that the price is about $30.00 USD per meter, but you can always check with Stas yourself.

I still have my rose-red herringbone twill to make into an apron dress, but it's good to see that diamond twill is slowly becoming easier and cheaper to obtain.

On My Worktable

Jun. 18th, 2017 03:00 pm
[syndicated profile] edythmiller_feed
It feels lately like my project list has the hiccups. I've got the regular list of projects that builds up like normal, but then little projects pop in randomly out of nowhere, usually inspired by some experience at an event. This most often takes the form of repairs or easy updates. Occasionally, it is a project that may have been really low on the priority list that I realize I badly needed. At the moment, between events and not having any gowns in the works, I'm working on a real hodge-podge of things. Let's start with the little things I've already done.



I'm not sure how long I'd been dealing with it, but the strap on my best St. Birgitta's cap was too long. I did a video where I talk about this issue a while back. To deal with it, I was using the twisting trick I describe in the video to shorten the strap. Over time, though, I realized that I had to twist it a pretty good amount. So it was time to cut it down. This is one of those very easy projects (took me about 10 minutes all told) that just takes forever to get around to.

I've consistently had a problem with garters. I don't know if it's the shape of my legs or just some kind of operator error I always fall prey to, but all my garters would slide down. Sometimes, they would slip far enough that I'd kick them off as I walked. I managed to do just that with one at Pennsic last year, and miraculously, it was still on the road when I headed back to camp several hours later! In the past, I used soft leather or tied garters. I always wanted a woven pair, and I wondered if doing the woven pair would work better since I can make them as tight or as loose as I need to.


My mom picked up some really pretty light blue wool thread for me (from White Wolf and the Phoenix) at SCA 50 Year last year specifically for garters. It sat around for a long time, then I realized that I needed to get buckles too. I went with a brass pair from Armor and Castings.


I thought it would be fun to do a little pattern in the weave, and I chose a heart shape. One of these days, I'll do a little video on using the pick-up weaving technique for tone-on-tone patterning. (Spoilers: it's easy!) If you aren't familiar with Baltic-style pick-up inkle weaving, check out my how-to video.


I don't think there's much of any evidence that woven garters would have been made of wool in period. Silk was the medieval way to go, it seems. This was a cost-effective option, though, and I really like that they have a bit of a scratchy texture to grip my hose. It did slow the weaving down a little, since the wool wanted to grip to itself, but once I got the hang of that, it was easy to adjust my process for it. (BTW, the actual color is somewhere between those last two photos.)


Also in the long overdo category, I finally got a pole and finished up my two silk banners. The large heraldic banner has a casing at the end that's tight enough to slip into the pole and stay in place. The smaller scissors banner (which will get replaced once the scissor-related badge I recently submitted is approved) uses two strips of silk sewn on to create ties. Eventually, I may paint the pole alternating yellow and white to match the two banners' borders, but for now, I'm just happy to see these two banners fluttering in the breeze.

A really, really quick project was to turn this sad, old felt hat:


 Into a cute cap I can throw on whenever!


Not that it's entirely medieval, but I'm far more likely to toss it on my head now than I was with it being the sorry excuse for a hat that it was.

Those are the things I've crossed off as done. There are also a bunch of things that are in the works. Wait. Let me rephrase that. There are a bunch of additional things that are now in the works. The pile of things that are started by not finished is deeper than what I'm sharing today.


I've been looking for opportunities to set up my Tailor's Workshop as an "artisans row" style display at local events. I did this at RUM/RUSH last fall (pictured above), and I really had a good time and thought it was a success. Over the winter and spring, I've been looking into the ways I can improve it. The list there is long, and some of the improvements are going to be pretty big investments (like a new worktable), but other things were small and easy. I'd wanted to make some kind of sign to replace that printed paper sitting down there on the ground. Then a few months ago, Rosalie shared a simple notice board that she'd made for her display. (Rosalie always gives such great inspiration for these types of things.)

I thought a bit more on the idea and my needs, and decided that I wanted a frame to hang off my shade. I also wanted a little more Gothic-looking flair. Here's my original sketch:


After searching around for the supplies, I ended up with a blackboard backing instead of cork. It also took me a bit to find good finials. I decided to just go with two. A third at the top of the frame felt a little too ostentatious.


I have red paint for this. I picked up acrylic, but I noticed some milk paint at Joann's the other day, so I may use that instead. It will also get a pair of gold scissors painted on it. When I'm ready for it, I may attempt to make my own rope to hang it. I've been meaning to give Viking whipcord a try.


Working through my Doppelgänger Challenge (follow me on Facebook or Instagram to see my progress with that!), I was able to see some areas in which I need to supplement my wardrobe. It seems like I have SO MANY CLOTHES, but it turns out that I don't necessarily have the right clothing. My last post talked about this discovery phase. In that phase, I realized that I needed a red open hood that wasn't too heavy. I have an orange-red linen hood (it can qualify as a light madder red color), but I wanted a wool one. I had a pretty good amount of worsted flannel leftover from my red cote, so I thought I'd try that. It's very "suit" like, so the results will be quite different from what I'm used to, but I think it will work out.


So far, I only have one gore out of four sewn in. The hood is "self-lined", then a piece of sturdy linen forms an inner layer in the brim to help the wings hold their outward shape when it's worn. This is my usual method for nearly all of my hoods when the primary fabric isn't stiff enough on its own. I didn't do any experimental changes to the pattern on this one. I used my new pink hood as the pattern, if I remember correctly.


In addition to these things, I seem to always have a list of things I'm working on for other folks. That's not at all a complaint. I'm honored that my friends trust me and ask me to make things for them, and I also love making gifts. I always try to leave some room in my workload for those things, since they are just as important as the things I do for myself.

I think that's it. Now, time to get back to work!

Gotvik summer picnic

Jun. 17th, 2017 07:27 pm
[syndicated profile] evashistoriccostumes_feed
Despite the weather forecasts today turned out to be a lovely sunny day, and those of us who made ti to the picnic had a really good time.

I was pretty in my green silk bliaut, which fits again.



I brought Icelandic chicken, and a salad with lettuce, spinach, rocket, green peas, broccoli and green grapes to eat.

Photos from the picninc.







Working on my mint green surcoat

Jun. 17th, 2017 08:46 am
[syndicated profile] evashistoriccostumes_feed
I hae now made the sleeves, though one needs a few more beads. The gown and linign are also sewn together, bu tnot joined. They will also need trim and beads of course.



For this Italian outfit ca 1330-1340.



The under tunic is made, though it has turned out a bit looser than I first intended.


That won't be noticed under the over gown though.

Tiamat

Jun. 16th, 2017 11:40 am
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

AT least I think Tiamat was the three headed one?

I must admit I’ve been a bit slow posting and have built up a backlog of photos from this project, so I’m starting to get a bit confused as to what I’ve posted and what I haven’t. It doesn’t help that the cold I’ve had since Tuesday has turned my brain to porridge – I went out for the first time in three days just now, almost walked out of Boyes without paying for the pins I had in my hand, and then almost walked under a bus. I’m not at my cleverest right now!


[syndicated profile] peculiarmademoiselle_feed
Back in April I attended an event held at the open air museum of Fredriksdal. It focused on Swedish civilians and soldiers ca 1800-10. We got to live in the houses, cook in the fireplaces, even sleep in the beds. I didn’t do the latter, as the weather was cold and windy, I’m having a bit of a tough pregnancy, and to top it off, had just had pneumonia. I thought it safer to sleep in my own warm bed, and just stayed the one day, but still had a good time. The event, which was rather small and intimate, still attracted participants from the whole country, and even a few from Norway. Fredriksdal is located in the county of Skåne (Scania) and most of the houses are from there, so those women in attendance who, like me, are from this part of the country, chose to dress according to the local fashion, which in this case meant folk costumes, still in daily use at the time. Our feast day clothes wouldn’t do, so we tried to tone it down for an everyday look. Trickier than you might think, as very little evidence remains as to what was worn then. When it comes to the fancy clothes, much is known, but as usual, no one really cared to document what people wore when working in the kitchen garden.


I made a brown wool skirt for the occasion, which I intend to also use as a petticoat for my fancy folk costume. Brown wool skirts from my parish are mentioned in estate inventories, but are far from as common as the usual blue and green, or the reasonably common black. I had a suitable fulled, twill woven wool at home though, so it had to do, even if it was brown.

It is constructed from straight panels. My fabric was 150 cm wide, but as the extant skirts I know of are usually made from narrower widths I cut my panels in half, and stitched them back up again, making four narrow ones in total, and a width of close to 3 metres. The hem was faced with a strip of unbleached linen. 


The skirt is smooth in front, as seen in extant skirts, and has the fullness taken in by stroked gathers at the sides and back, that are secured with rows of stitches, seen only from the inside. 


It closes by a sturdy brass hook and eye half way to the left side. 


I don’t know how they did about pockets – in some mid-19th century folk costume skirts there are stitched in pockets, like in modern skirts of the time, but for earlier decades I’m unsure if they wore loose pockets or not. I left a slit open in the right side seam anyway, so if need be I can tie a pocket round my waist.


In the end the brown skirt ended up used as a petticoat at the event, as I decided I wanted two skirts for warmth, and wore my usual blue skirt on top. In the period manner I flipped the blue skirt up over my shoulders to keep out the wind every now and then, so I didn't make the brown one in vain.

I also made a new bodice. I intend for it to be trimmed with blue silk ribbons, and replace my old fancy silk bodice as that one has become rather too small. For the event I used it untrimmed though. It’s made from fine brushed wool, lined with unbleached linen, and closes in front with three pairs of brass hooks and eyes, but most of the closure is hidden beneath the skirt. The wide opening would be held by buckles and a chain for best, but for everyday was likely left as was. 


At the bottom of the bodice a rather thick, padded linen roll is stitched, on which the skirts rest. Having a full figure was considered attractive by the country folk at this time and place, and you do feel rather important in an "I break for nobody" kind of way when you come walking along the road in all your matronly fullness, especially when you wear several wool skirts on top of each other. It's far from what is considered an attractive figure today, which make rather few people recreate it as close to the originals as I try to, but go the more 'inspired' route. I'll post more detailed pictures of the bodice when it's trimmed and have the buckles attached.

As for the apron, I didn’t want to use my fancy one, as I expected to cook and do greasy dishes – a good decision it turned out. Instead I whipped one up from a piece of cotton fabric that I had intended to purge from stash. It’s not perfectly period, the fabric isn't quite right and it's much too narrow, but woven stripes were popular, and the fabric had a sort of washed out, sun bleached, worn look to it that I thought would do for everyday.


I never got any decent pictures of myself from the actual event (though I can be seen in a couple of these), so I took proper pictures the other day. The weather is a lot warmer now than in April, so I could ditch the knitted spedetröja I had to wear to the event, despite it feeling too fancy. For the pictures I wore the bodice and skirt over just an unbleached linen shift (for an everyday shift I’m not sure if it should have a collar or not...), and accessorised it with the ever present apron and head kerchief. As the temperature is pleasant I went without stockings or any form of shoes. I want a pair of wooden clogs, but all in good time.



The outfit might have been a little later than the event called for, as most of the sources I base it off are from Ca 1825-50, and I generally aim for the 1830’s-40’s in my fancy version of the folk costume, but ah well. I’m still not quite sure how historically accurate this outfit is, but at the very least I think it's plausible and believable. I may have to revise it in future, but then we always do, don’t we?

Too little yarn error. Again.

Jun. 16th, 2017 08:46 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

skein

I’ve told you about my spinning project, and my glorious decision to ply the yarn spun from the dyed top with nice, grey Gotland yarn, to get more length. Well, it is finished now, and it looks really nice. It also knits nicely, and results in a pleasing fabric. Only problem?

It’s not much. I have 278 g of yarn, but this weight only runs to a scant 458 m according to my length-measuring thingie. (Damn you, high twist resulting in high-density yarn!) Which is definitely not enough for something sweater-like… so now I have the usual not-enough-yarn problem again.

Sigh.

Maybe if I spin up some more plain Gotland, ply that, and use the two threads alternatingly?

Watlington

Jun. 15th, 2017 02:06 pm
[syndicated profile] opusanglicanum_feed

Posted by opusanglicanum

Some replicas of items from the Watlington hoard, made for the ashmolean. Photo courtesy of Sarah Doherty, because I forgot to take one before handing them over.

it was very weird setting out to make part of a torc, rather than a whole one…


[syndicated profile] kurage_feed

Posted by kurage

Först lite information!
Inledningsvis vill jag påpeka att det är lite glest mellan artiklarna. Anledningen är givetvis livet självt som pockar på min uppmärksamhet. Det är familj, hus, vildsvin och min egen hälsa som går före. Dessutom mitt ordinarie arbete som jag vill slå ett särskilt slag för. I sommar basar jag över ett helt friluftsmuseum, Färgargården i Norrköping. Sveriges enda färgeritekniska museum ska öppna igen och museet gestaltar ett landsbygdsfärgeri under 1800-talets andra hälft. Jag ska vara där och reenacta 1800-tal hela sommaren. Kom gärna förbi och följ vårt arbete på vår FB-sida! En del av det som sker där kommer också bli material här på bloggen.

Här kommer lite programpunkter för sommaren, jag tror det är mycket som intresserar er som är min målgrupp för denna blogg.

 

Svartsnärpan – Dawn of the evil slädbössa

 

I brist på verkligt omdöme i kombination med ett dumt infall köpte jag ett ledsamt stycke skjutjärn. En värsta sortens flintlåsbössa, byggd på alla möjliga delar, en nedsågad muskötpipa, ett muskötflintlås m/1762 och en ful putsad kortad stock och en apart bakkappa. En ful bössa kort och gott. Det korkade infallet jag fick när jag först såg kan sammanfattas med ett ord – slädbössa. Jag måste bygga den styggaste slädbössan som världen skådat. En mörk tingest ruvandes ett halvt skålpund varghagel i sin dunkla mage, en rännkulornas honmonster. Svartsnärpan skall bliva hennes namn! 


Källa: Svenska akademins ordbok 1981.

En del av er kanske minns artikeln om de extremt korta bössorna? Slädbössor är en fantastisk genre bössor, korta självförsvarsbössor som använts för att avvärja såväl rovdjur som rövare men även vid oplanerad jakt under färd.

Bygget
Innan ni börjar läsa hur det gick till, vill jag som ruinromantisk, vapenhistorisk fetischist säga att jag vill verkligen inte starta någon slags trend här. Välj med omsorg ditt projekt om du nu liksom jag vill sätta sågen i en pipa. Välj sådant som saknar större kulturhistoriskt värde, det vill säga dåligt skick, hårt renoverat, sentida byggen, återkonverteringar och liknande. Jag vill verkligen inte se några av okunskap nedsågade bössor som annars är helt ok.



Utgångsmaterialet var inte vackert att beskåda. Inledningsvis fick jag lämna låset hos vapensmeden för att passa in en ny slagfjäder då den gamla brustit. Det som var kvar av kolven fick vara mall för den nya piplängden. Att förlänga stocken hade också kunnat vara ett alternativ och det hade också blivit en rätt snygg och oändligt mycket bättre balanserad bössa. Men eftersom jag inte är någon höjdare på den typen av avancerad träslöjd så fick det bli bågfilen. Med hjälp av maskeringstejp markerade jag snittet och började såga.

När pipan var kortad så filade jag i ordning mynningen. Personligen hade jag föredragit en pipa som var skapt i den här längden. Fina slädbössor är gjorda med ursprungligt korta pipor och får därmed tunnare gods i mynningen och blir därmed betydligt graciösare skapelser. Min pipa saknar för närvarande korn, vilket heller inte är nödvändigt på dessa närstridsvapen. Men jag skulle gärna vilja ha korn i framtiden för att det gör att bössan ser mer hel ut.

Kolven var belagd med någon hemsk lack. Jag valde att sickla hela kolven med en vass kniv och sen slipa av den.

Eftersom framstocken var så pass kort ville jag skapa ett snyggare avslut. För att göra den mer elegant började jag med att öppna upp laddstockrännan för att kunna förse den med en rörka. Jag ville också att bössan skulle ha en hornnäsa så jag täljde och filade in en ansättning att limma en bit horn på. Jag tog ett spräckt kruthorn med lämplig dimension som sågade till.

Hornbiten lät jag koka i någon timme för att göra den mer flexibel. Jag limmade den sen med kontaktlim.

Jag tittade sen på andra bössor jag har hemma från 1700-talet och formade sen hornet och träet för att få en trevlig övergång. Inpassningen blev helt ok men inget mästerverk. Jag valde också att skära en enkel dekorrand längs med laddstocksrännan.

Många bruksvapen under 1700-talet svärtades med linolja och kimrök. Svenska arméns musköter svärtades ända fram till 1800-talets början, idag finns sällan svärtningen kvar utan den avlägsnades ofta under 1800-talet. Det är mer av en färg än en bets som man kan se på den här originalsvärtningen på min m/1716-1805 musköt.

Jag blandade en pasta bestående av kimrök och kokt linolja som jag i omgångar strök i tunna lager och sen eftertorkade. Vid det här laget hade jag kommit över en passande rörka från en genomrutten, piplös subsidiemusköt. Rörkan passade jag in framtill och ordnade en gammal rembygel som också säkrade rörkan i träet.

Nu var det dags att göra en laddstake. Eftersom rörkan är ganska trång och avsedd för metallladdstake så var jag tvungen att göra en ganska tunn i trä. Jag använde mig av Larry Potterfields metod som fungerar på så vis att man gör en slipjigg med sandpapper som man sen slipar ner träbiten till rätt form med hjälp av borrmaskin. Jag orkade inte bygga en hel jigg utan gjorde en enkel i trä som gick att trycka ihop i skruvstycket.

Det är väldigt lätt att dra av laddstaken om man kör för snabbt och den vobblar, så kör försiktigt när du tar ur den ur jiggen. Jag valde ek i brist på andra träslag. Den färdiga laddstaken passades in och svärtades lätt.

Svartsnärpan var född till världen.

That why they call it a flinchlock….

Ta

Hur bra funkerar då denna svarta dikesrensare? Balansmässigt är det såklart en katastrof, det är i princip en pistolkarbin, men funktionen är det inget fel på. Den är gjord för att spruta snärpor över ondsinta rövare, vargar och valfria mylingar som kommer för nära. På det hela, ett roligt litet projekt.

 


Holiday reading!

Jun. 15th, 2017 08:35 am
[syndicated profile] togs_from_bogs_feed

Posted by Katrin

It’s a holiday here today, so you’re getting some reading stuff from around the net which will hopefully amuse you:

Making a disease from a remedy – how Trotula gets misinterpreted in medicine papers.

Disability, fraudulent beggars and medieval surveillance.

Fictional languages get a real-world breakdown. This is a really fascinating video, and if you are at all interested in languages and pronounciation, I thoroughly recommend it.

Menswear of the Lombards

Jun. 14th, 2017 05:56 pm
[syndicated profile] cathyscostumeblog_feed

Posted by Cathy Raymond

Paul the Deacon, from a period MS  Artist unknown
 MS from Laurentian Library, Plut.65.35, fol 34r
(Wikimedia Commons)
As I previously posted, I recently learned of, and obtained, an ePub copy of the following book:
Gordino, Yuri. Menswear of the Lombards. Reflections in the light of archeology, iconography and written sources. (Bookstone, Dec. 25, 2016).
The Lombards were a Germanic people who conquered and ruled substantial portions of Italy between the mid-sixth and late eighth centuries CE.

My only regret is that I do not have a printed, paper copy of this book instead of an electronic copy. The book is lavishly illustrated, mostly with photographs of reproduction fabric, weapons, accessories, and clothing from the Lombard culture between roughly 550 CE and 770 CE that are based upon the research in the book.  Many of the illustrations show reproductions in lovely, primary colors that look as though they were made with period-available dyes. Despite the book's title, some of the photographs show women in period Lombard clothing, as well as men.  It would be wonderful to see those images as color photographs printed on good paper. 

The book is so beautifully illustrated that it is difficult to focus on the text.  It would be wrong to consider either text or illustrations in isolation, however, because examination of period art forms a critical element of Mr. Gordino's conclusions.  According to Mr. Gordino, information about Lombard clothing has to be derived from multiple sources, including "archaeological data, written sources and iconographic evidence" since surviving items of clothing from the region are nonexistent and only small textile scraps have been recovered from archaeological sites.  Consequently, a number of sketches based upon the most important pieces of period art appear in the book as illustrations, highlighted to demonstrate information about particular garment types. The text also discusses clothing information from Paul the Deacon's history of the Lombards, which is a major source of information about the Lombards in general (see the image in the photograph above).  In addition, the author has reviewed the available evidence in light of what is known of other Germanic people's clothing during the period of the Lombards' rule, though little explicit discussion appears on this point.

For those who are familiar with the known information about contemporary Germanic races associated with other parts of Europe, the book's conclusions will not be surprising.  They include the following:
  • Lombard men typically wore undershirts and drawers made from linen.  The drawers were made with a drawstring with legs extending to just above the knee, like the underbreeches that appear in the art of the later Middle Ages in northern Europe.
  • The most commonly found weaves are tabby, herringbone twill, diamond twill, and repp. Higher status men tended to wear the diamond and herringbone twill weaves, which were dyed in bright colors.
  • There is some evidence for trousers as outerwear, decorated with a broad ornamental band at the hem.
  • There is also evidence that other men wore leg wrappings, as did the Anglo-Saxons and various northern European peoples.
  • Outer tunics were long-sleeved and A-shaped.  They came to about the knee and were decorated with broad bands of contrasting cloth, either in a straight line from shoulder to shoulder (including the neck area) or with a broad band from shoulder to shoulder and a perpendicular band starting from the neck and running down the middle of the torso to about the waist level.  
  • The outfit was completed with a short (no longer than to the hem of the tunic) cloak, fastened with a brooch on the right shoulder, with the opening exposing the right side of the body.  
  • There is evidence for two different types of hat:  a pillbox style, and a felted hat shaped like an inverted modern flowerpot with a small brim.  
  • There is also evidence that low, slipper-like shoes were worn by Lombard men.
The book concludes with an essay on the type of sword belt of which evidence is most often found in Lombard graves.  

Menswear of the Lombards has a few drawbacks.  It is short, especially given the breadth of subject matter covered. Possibly in consequence, long descriptions of the evidence or of the analysis leading to the author's conclusions do not appear.  In addition, the book is written in English, which judging from the grammatical constructions used does not appear to be the author's primary language.  Thus, it's important to read the text slowly at first, making frequent reference to the illustrations based upon the period art evidence in order to absorb the author's meaning.  There is a significant bibliography, but note that many of the sources listed are written in Italian.

In conclusion, Menswear of the Lombards is well-worth its modest EPub price for costumers and other amateur scholars interested in the region and period, though it is far from the final word about Lombard costume.

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