SCA: Blue Velveteen Florentine Bodice

 I’m stopped on my A&S project for the time being until I can purchase some new fabric for part of it - which I would be doing today but for some unforseen automotive repairs that cropped up. Soon, though. 

Meanwhile, work proceeds apace on the 1520s aqua velveteen Florentine gown: 

I’ve got the bodice almost done now, and it fits, yay! I had to alter an old pattern to make this and I was not at all sure about the resizing I was doing, but apparently I did it correctly.  

The side back openings are safety pinned together for the time being so I can put it on without the lacings for fitting purposes; the next step is to trim up the bottom to the right length and then close it up. 

I laid the gold and teal trim over the bodice today for the first time to see how they look together - I think this is going to be beautiful! I have some gold lacing rings coming to me via SCA Express (a friend is bringing me some from her stash), and then I’ll be able to finish this thing and get started on the skirts and sleeves. 

Woohoo! 

SCA: A Klappenrock for Ivar Hersir

My good friend Ivar was given a piece of gorgeous wool several years ago that he’d always wanted to have made into a coat, so I volunteered my services. He and I sat down at the last event and took some measurements and discussed styles, and he basically gave me free rein to “do what I do,” hehe. 

It’s lovely fabric, a medium-weight wool of about 4y.  It looks dark gray from a distance, but up close it’s made up of black, light gray, and dark blue threads in a herringbone twill striped pattern, with a thin stripe of brown every few inches. 

I made it into a klappenrock - the tunic-length coat with an angled front that wraps over in the front, for male Vikings. I don't know a whole lot about the archeology behind this style; it’s described by Inga Hagg from her studies on the finds at Hedeby (10-11th century).  I've seen the klappenrock in the SCA, although not often, and usually made out of linen. 

The pattern I drew up was pretty simple - it basically looks like the drawing above. Nothing fancy, no gores or gussets, just angled front and back pieces. I didn't have an Ivar available for fittings, as he lives two hours away from me, but I had him bring me the fabric as well as a tunic of his that he liked and which fit him well, and used that as a jumping-off point for sizing and shaping the coat.  I did take measurements of him as well, when he delivered the fabric to me at the Bjornsborg fall event a couple of weeks ago.  

Sewing this coat was also very simple.  I did the seams on the machine to save myself some time, and then hand-finished all the seam allowances for a period look.  I couched a length of brown wool yarn along the seam allowances edges with a herringbone stitch to help protect them from fraying: 

I used a herringbone stitch in black thread for all the seam allowances and for all the hemming on the open edges. 

Very often you see these coats with a contrast guarding around the edges, and I didn't do that (I had no extra fabric with which to make one), but I did finish the front edges and sleeve cuffs with a band of tablet-woven trim which I made.  

The pattern for the woven trim is  Ladoga 2b, which is a Rus design from Staraya Ladoga barrow in Russia; in blue and white with a red and black border.  I made about 3.3 yards to go around the neckline and front opening, and another yard or so for the sleeve cuffs. 

And that's it.  This was a great "quick" project (the coat itself took about five hours to make, and the woven trim took me about a week or so weaving in my spare time).   His excellency absolutely loves it.  Success! 

*

It's going to be a while before I post again.  We just finished up Bordermarch's event War of the Rams, and so events are over until February, for me - but I have a LOT to do over the winter, both for the SCA and with projects around the house. 

I'm working on a new outfit for A&S in the spring, a new hood, and a LOT of tablet weaving - including building two new looms.  I'll try to post about the stuff I'm making as I go along.  

SCA: Weaving Stuff - Birka 6

I've been doing a bit of tablet-weaving lately, mostly for practice, and to fill up my time since I don't have any big projects to work on at the moment. 

Birka 6, wool

I'm trying out a new wool yarn for weaving - Hobbii's "easy care merino", which is absolutely lovely to weave with:  it's smooth and even, and doesn't stick to itself the way some wool yarns do.  The pattern above is Birka 6, which I love to do, even though it's kind of slow.  I'll get faster at it the more I do it, though.  

I've also begun teaching tablet weaving, a little bit.  I spent a few hours last weekend semi-teaching weaving to a couple of friends of mine (not total newbies, but wanted some guidance) at the local library's "crafternoon", and it went really well.  I'm not really cut out for teaching in front of a class, but I really enjoy these little one-on-one sessions.  I have a couple more planned for the coming month, too.  

I've also been replacing the trim on an old smokkr.  I donated a bunch of my old Viking clothing to the local Gold Key a few weeks ago, and only kept  my five favorite pieces.  This is one of them, a favorite because of the color of the fabric ("blue bonnet" from Fabric-Store.com): 

The problem was, the trim on it was manufactured jacquard trim in a semi-Persian design that I purchased online a million years ago.  It was pretty, and I loved the blue and gold, but it wasn't accurate for the dress at all.  I took it off and replaced it with another blue-and-gold Birka 6, this time in cotton (cotton, because I wanted to be able to throw this thing in the washing machine).  

Somehow I managed to warp this one up backwards, and the pattern came out on the underside of the weave instead of the top, and the design is blue-on-gold instead of gold-on-blue. After much conversation with a weaving buddy, and a fantastic explanation by a kind soul on Reddit, it was determined that I wove too many picks at the beginning of the band which threw off my pick count which threw off the gold/blue rows by 2, and reversed the colors. Does that make sense? It barely makes sense to me, but I mostly get it. I need to spend some time playing with turning sequences to get a better feel for how this all works - I can follow a pattern, but I don’t know as much of the theory as I would like to. 

  

*

Anyway, just a couple of little things to work on to fill my time, nothing big going on. "Event season" is just around the corner, starting with Kingdom A&S in September, about which I'm very excited and very nervous.  In the meantime I'll be weaving some more, doing more teaching, and playing around with Spring projects, which I'll show you as I go along.  

SCA: New Winter Cloak

I spent the past few days weaving my butt off. Needed something to do while I wait for fabric to come in the mail. 

I had a bunch of that diamond weave blue wool left over from my smokkr project; it wasn’t enough to make into a coat, so I decided to make it into a large rectangular cloak instead: 

The woven trim is pretty simple - in fact, it’s the first pattern I ever learned to weave, one of the Ladoga designs. I made ten yards of it in three sections, most of it on a “new” loom that someone gave to me recently. (More on that in another post).  

I’m pretty happy with this. It was a fast, fun project which will look great and keep me warm at BAM this year. 

My next post will probably be about more hand sewing, as I’m about to start adding to the blue wool smokkr project to bring the whole outfit up a level. I’m also going to be doing LOTS of weaving the next few months, and I’m planning on building at least one new loom for sure, maybe a pair of them. We’ll see.  

SCA: Some Roman Updates

We have a Roman-themed event coming up in April, so sort of in the background behind all the other stuff I’m working on right now*, I’ve been making some slight alterations to my Roman outfit, which I posted about in April. 

I got a booklet of Greco-Roman themed tablet weaving patterns from Etsy a while back, and used one of the patterns in it create this trim for my blue linen chiton: 

I ordered some new white handkerchief-weight linen and made it into a new palla - four yards long, nearly two yards wide. I hemmed the edges by hand and then embroidered this little toothy gold edge design all the way around it. 

I also made a new blue sash to wrap around the whole thing, as the dark gray just wasn’t working for me (it was kind of boring).  The blue is much better. 

I also ordered these adorable little wire fibulas, which I’m using to close my brown linen peplos (made for my Iron Age outfit in June, but I’ve since had to scavenge the blue apron for use in another project, and the under dress ripped and wasn’t reparable, so all I have is left of the IA outfit is this brown peplos, which will be pressed into service as a Roman peplos in April).  

Now. Is tablet weaving period for Ancient Rome? No. Is edge embroidery? Who knows? Both mimic the look of whatever trim they DID use, though, and it’s fine. I like chasing period accuracy in my Norse wear, but since this is a one-off event, I’m just going for “looks good” and not necessarily 100% accurate. I’m fine with it, and I love the way the outfit looks. 

*Meanwhile, I’ve got February to prepare for: both Candlemas (A&S) and Laurel’s Prize Tourney, a week apart.  LPT is not a tournament, and there’s no prize - it’s a display-only event whose entire focus is to be able to sit down with the laurels and talk shop like a bunch of geeks, and it’s SO FUN. I can’t wait to go - but I have a LOT of work to get done for both events in the next four weeks. Wish me luck! 

SCA: Do Not Open Until September

 Something else that happened at KAS over the weekend: I gave a good friend of mine a birthday present: 

This is a Skjoldehamn style hood, made of linen, machine-sewn, with a thin tablet-woven band around the hood opening and bottom edge. 

My friend Ivar saw my blue and brown hood last fall and expressed a wish to have a similar one, so I made this blue and red one for him in June, and I’ve been dying to tell you about it ever since - but it was a surprise, so I couldn’t say anything yet. I haaaate keeping susprises a secret! 

Here’s a closer shot of the trim; it’s 
the Oseberg 12L1 pattern again

I’m just pleased that he loved it. More than that, the look on his face when he realized that I was giving him a birthday present was priceless.  Ha! 

* 

So there are TONS of events coming up in the next couple of months, and I’m working my butt off on new things, and I hope I’ll have lots of photos from the events for you. More soon! 

SCA: The Hand-Sewn Viking Project, Part II

The second part of my hand sewn Viking outfit project is the smokkr, or apron dress: 

I searched high and low for the right wool, learned a lot about fabrics I almost never use - and then I learned that it was going to be prohibitively expensive to use the wool I wanted for this dress.  So I ended up using a wool "stuff" fabric I had in my stash instead: it's a lightweight diagonal twill, and very smooth, almost like a suiting but not as slick or thin.  On the suggestion of a friend, I ran it through my washer and dryer a couple of times to felt the fabric a bit, which made it thicker and softer, and got rid of the little bit of sheen it started out with.  It’s not perfect, but it’s just fine for this project, which is basically a test-run for a more serious version of this dress that I might make next year. 

Anyway, the pattern for this  dress is the basic three-panel-and-three-gore pattern that the entire SCA uses, which, as near as I can tell, the pattern we use was designed by Carolyn Priest-Dorman (SCA name M. Thora Sharptooth, East Kingdom) in 1993 as a 9th-century Danish apron dress.  FWIU the pattern is based on a combination of viking artwork and on archeologists’ renderings of proposed designs for the garment which were based on grave evidence. 

I went a step further and created a pleated front for this dress, in the style of pieces found at sites like Køstrup and Kaupang.   The exact method the original owners of these garments used to pleat the fabric is not known; I had never pleated anything before so I used the simplest method I found, which was to baste the fabric, draw it together, and then whipstitch over the pleats to hold them in place.  It’s a little uneven, but I think not bad for a first try. 

I finished the top of the dress in two ways. Firstly, because I forgot to hem the top of the dress before I pleated the front, I ended up using a binding strip made of herringbone linen scraps that I had in my stash, which I dyed green.  I then applied a thin tablet woven band to the top edge of the dress between the two brooch loops over the bust. There is evidently some confusion over exactly how this was accomplished on the original Køstrup dress; the band was either suspended between the loops or it was attached to a vegetable diver fabric backing which has since rotted away leaving only the wool band in place. I opted to attach my band to the loops at the top, and whip stitched it to the top edge to help keep it in place. The band itself is cotton and was woven specifically for this project. 

For the shoulder straps and front loops, I used the same fabric as the body of the dress to create a thin double-folded tube, whipstitched closed on the side, following Inga Hagg's sketches of the loops found within the tortoise brooches at Birka: 

Hagg, 1974

I used period stitching methods on this whole dress, like I did for my serk. I used a backstitch for the primary construction seams, a running stitch to attach the linen binding at the top, flat-felled the seams and whip-stitched them in place, and then folded the lower hem and stitched it in place with a herringbone stitch (Inga Hagg's "Osenstitch"): 

Hagg, 1984

This dress has its problems, to be sure. I deviated from my inspiration pieces in areas like fabric choice, and in the use of an edge binding at the top. This was my first time hand sewing an apron dress, hand sewing on wool, and creating pleats/smocking.  Overall, though, I’m pretty happy with the way this turned out, and I can’t wait to wear it with my new serk when the weather cools off a bit! The whole dress took approximately 21 hours to make, including the weaving. 

Whew! Next project! 

Regency: Blue Floral Wrap Dress

My latest Regency creation: 

This is a wrap-front dress made from LM’s (#129) Spencer pattern, to which I added rectangular skirt panels like I did for my velveteen pelisse last year. I also widened the neckline a bit, and shortened the sleeves to 3/4 length. The fronts close with cotton twill tape ties, which are hidden by the white sash wrapped around the waistline. 

The fabric is from a set of cotton sheets I had in my stash. The floral pattern isn’t 100% period, but it’s close enough, I think. The lace itself is polyester, found on Etsy and trimmed to make the design work for this neckline. 

The dress took me just a couple of afternoons in late July to put together, but I had to wait for the lace to arrive in the mail, which took two weeks, so I just finished it today. 

I added a little button placket to the back, just so the back wouldn’t be totally plain. Nom-functional, but cute! 

This was originally inspired by this dress of Elinor Dashwood’s in Sense & Sensibility 

Other inspirations include: 

From Galleries of Fashion, 1796

Henri-Pierre Danloux, unsure of the date

unknown fashion plate

This project was a nice breath of fresh air in the midst of what has been an absolutely insane summer for me - I’ve been working my butt off in just about every possible way. SCA event season starts up in a month, and I still have a lot of preparation to do for all of that - I really needed a break to work on something utterly frivolous to rest my mind a bit. I love this dress! 

Final note: the newly-refitted dressmaker’s dummy was fantastic to use for this project. I was able to size and drape and fit this dress wholly on the mannequin, and it fits *perfectly*.  Granted, this was a very simple pattern, but it was a good test run for the “new” dummy and I’m very pleased with how it went. 

SCA: Tablet Weaving: Decorative Ties for Winingas

 My latest weaving project is done:  a pair of thin ties to wrap around my winingas for my male Viking kit (ostensibly to help hold them up, although they stay in place just fine without them): 

I'd seen this look in several photos on reenactors' costumes on various blogs and online photo albums, and wondered about the authenticity of them.  While the existence of winingas in the Viking age has definitely been proven (through grave finds, artwork, etc.), I wasn't sure about these little ties to help hold them on.  I didn't find any record of physical evidence of straps/ties like these, but I did find a couple of period artworks which depict them:

 

from The Benediction of St. Æthelwold,  971-984 CE, England
 (the person on the far right has straps/ties at the top of his leg wraps)

Bayeux Tapestry, 11th century
(the guy on the right)

Of course, neither of those are Norse art, but at least it does show that these little straps/ties were in use for a while in a couple of different areas around the same time period as I’m going for.  

And I DO love the chevron/diamond pattern that I used to weave them...although I've realized that I've used this same pattern in like three different places now, and I should probably vary that a bit, hehe.  I love weaving and I do it all the time, but I DO need to be careful how much of it I'm using in my Viking outfits - I don't want to overdo it and look like a piled-up mess of competing patterns, colors, and accessories.  In my male kit I now have these leg ties, as well as woven trim on the edges of my tunic, and I think that's enough for one outfit (and my shoelaces, which I need to replace, but that’s a story for another blog entry). 

What's Next? 

So I just got back from Steppes' Warlord, and I'm TIRED.  Warlord is a "work weekend" for me, and I busted my ass the whole time I was there and came home thoroughly exhausted and not at all in the mood to work on projects.  However.  I do have several things I need to work on this summer, which includes (but is not limited to): 

• building a new Oseberg loom
• weaving a whole bunch of bands for largesse purposes
• repairing a few pieces of garb (seam rips, fallen hems, etc). 
• hand-sewing a new Viking serk (halfway finished with that right now) 
• hand-sewing a new smokkr

And I'm also working on some "mundane" projects, like refinishing an antique table and crocheting a summer top I would like to finish before summer is actually over, hehe.  Lots to do!  

More soon.  

SCA: New Tablet Woven Trim For An Old Tunic

 My men’s tunic needed a little extra fiber bling. (Is “fiber bling” a thing? It is now).  This tunic is like seven years old - it’s been dyed three times and been through four different iterations of trim and edging details. This is the latest: 

The trim is the Oseberg narrow band design (double sided, not that it matters for this application), in cotton crochet thread and 8/2 cotton rug warp, which are almost exactly the same size (the crochet thread is just the tiniest bit thicker, but it ends up not mattering). 

I had a blue thread that was an exact match for the blue of this tunic, but it just looked too homogenous and bland. I wanted something that would pop against the blue and the rust colored edge banding, and I really love the way this dark red and gold look against the tunic colors. 

PARDON the wrinkles. You know how linen is. I applied the woven trim to the neckline, sleeve cuffs, and the lower hem of the tunic - about 6 yards in total. 

Now when I dress as a dude in the SCA, I shall be a fancier dude than I was before. I have some alterations to make to my new boots; soon as I’m done il get some photos of my entire Viking dude kit and show them to you. 

SCA: Tablet Weaving Stuff & Upcoming Projects

Just a quick update on what I've been doing lately:  I recently updated my linen coat (2020) with some new trim.  A few years ago I trimmed it with bands of blue and green linen, wishing, at the time, that I knew how to tablet weave so I could make something cool for it.  Well, I do now, so I did! 

old linen trim bands

new herringbone trim in blue,
white, and navy

What's Next? 

I'm currently weaving a belt on my inkle loom, working on the Oseberg loom A&S project for another entry at an upcoming event, making a new Hedeby/Birka bag for myself, and making a new Roman outfit for myself for the hot weather we have coming in the next month or two.  

More soon!  

SCA: Men's Viking Outfit: Dyeing All the Things

The other day I posted a couple of pictures of me in a couple of my Viking outfits.   When I first saw the picture of me in my men's Viking outfit, I realized two things:  (a) that was the first time I'd ever actually SEEN my men's Viking outfit on me from an outside perspective, and (b) I didn't like it at all.  

Most of my (women's) Viking outfits are in varying shades of blue and green, and I like them all.  But each women's outfit is primarily one color:  the color of the apron dress, backed by a white or pale gray under dress, with coordinating accessories (hats, bags, etc) in complementary shades of blues and/or greens. Very simple.  

The man's outfit, however, was made up of several pieces in varying light blues and light greens that were worn all together,  and the different colors were NOT working well with each other.  Overall the whole outfit looked...kind of Smurfy.  And that's not good. 

 

before

The Problems

1.  Multiple shades of blue and green that don't all go together very well

2.  Main body of tunic is a really weird green that is probably not a "period color"  which was bothering me

3.  I never really cared for the big trapezoidal neck yoke and the sleeve cuff pieces.  I don't like the shape of the yoke at all.  

(Please ignore the violently turquoise socks - those are being replaced by new socks in natural colors).  

The Solutions

THE TUNIC 

I removed all the trim, visible top-stitching, and the blue yoke and cuff pieces. Then, I re-hemmed all the edges by hand, and dyed the whole thing.  After that, I applied some new trim pieces to the neckline, sleeve cuffs, and the lower hem of the tunic.  

The new color of the tunic (right)  is much better.  I used a royal blue and teal to achieve this shade of blue, which is one that would be achievable with natural dyes like woad, and therefore makes the tunic a bit more period-looking than it had been before.  

 The trim fabric is made from an old linen apron dress that didn't fit me anymore; I also couched a twisted cord in coordinating colors to the edge of the trim fabric.  I don't wear this rust/orange color as a primary color, because it looks awful on me in large amounts; but I really love the way the rust/blue set each other off.

PANTS, SOCKS, AND WININGAS

The linen pants, which started out a sort of "light navy" color (sort of darkish grayish blue, shown on the left of this picture), were dyed with a deep brown, which rendered them a sort of charcoal gray, which grounds the more intensely colored tunic nicely.  

I dyed the winingas with a bit of the same brown and some charcoal gray.  They started out a sort of baby-blue, and the warp threads in the wool remained blue, while the weft threads dyed a deep charcoal-brown, and I REALLY like the effect.  

The End Result

after

Here's what the finished outfit looks like: 

This is a much more balanced color scheme, with a single intensely-colored piece grounded by dark neutral tones. I feel like the colors here are much more natural and realistic-looking - these browns and grays and blue are colors which are achievable with natural dyes, and might have been worn in period.   I'm immensely happy with the way the dyeing turned out. (The tunic actually looks more blue than this in person, I could NOT get it to come out right on my camera).  

I'm also pretty stoked that I managed to do this entire project for only about $20 for just the fabric dye.  That's far less than half of what I would have spent on just the linen for a new tunic!  

    

     

Just for fun, here's a pic of with my blue wool cloak. 

Bonus: new hat! 

Whew, done!  For now. 

SCA: Finishing A Long-Overdue UFO

This week I completed a UFO (unfinished object) that's been outstanding for SEVEN YEARS.  

In 2015 I made this linen Skjoldehamn hood.  I'd meant to put a lining in it, since it was just medium-weight linen, but I never got around to it.  I did at one point embroider the edges of the hood (apparently? I don't remember doing it), but it still wasn't lined, and so it wasn't warm enough or heavy enough to really be functional, or even really sit right. The first thing I did this week was remove the decorative embroidery, since it was (a) in my way and (b) not period-appropriate for this garment piece. 

The original hood, found in Norway in 1936 and dating from the 10th century, is made of wool, with a woven (probably whipcord) woolen tie in the center of the hood which can be used to tie the hood closed in the front or tied behind the head.  

Mine is made of linen instead of wool, because at the time I started this project I still thought I was allergic to wool (I'm allergic to the chemicals they use to treat wool fabrics, but I've since learned that those can be carefully washed away and I'm fine).  I went ahead and lined it in linen (actually a linen/cotton blend) because the outside was linen.  I've omitted the ties on mine for the time being. 

Also, since my hood was machine-sewn, I went ahead and sewed the lining by machine as well; although all the stitching that shows - where the inside and outside are stitched together around the face and the lower hemline - are done by hand (whipstitch), and the trim is sewn on by hand (running stitch through the outside edges of the trim). 

Here's my finished hood: 

I applied a thin card-woven trim to the bottom edge of the hood, which I wove myself last week (my second-ever card weaving experiment).  It's made of #10 cotton crochet thread in brown and light gray, because that's what I had on hand.  I got the pattern from this website; it's a design which was inspired by some of the Oseberg weaving patterns (not an actual period copy).  

Hooray, it's finally finished and I can wear it!  This will look great with my men's Viking outfit this fall. (The men's Viking outfit is getting a major overhaul right now, I'll show you when it's done). 

For reference, here's a photo of the original Skjoldehamn hood as found on the bog body: 

the Skjoldehamn hood

More information on the Skjoldehamn hood: 

Náttmál. “A Skjoldehamn Hood.” NÁTTMÁL, 21 Mar. 2021, nattmal.wordpress.com/2016/03/16/skjoldehamn-hood/ 

Dan Halvard Løvlid (English translation by Carol Lynn) – The Skjoldehamn find in the light of new knowledge, 2011

Carletti, Francesca. “The Skjoldehamn Hood Class Handout.” Carlys_sewing, Her Ladyship Francesca Carletti, July 2016, carlyfenton.files.wordpress.com/2016/05/theskjoldenhamnhood_revised.pdf

Brennasdottir, Ula, "Skjoldehamn Hood" 2021 (SCA blog) https://medievalexcellence.com/2021/05/12/skjoldehamn-hood/