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Completed for Canterbury Faire, February 2007 This hand sewn outer garment is a fitted, black wool surcoat with short, puffed sleeves that is fully lined in black linen. It is decorated by strips of black brocade applied like braid and closes using hooks and eyes up the centre front. Gores are used to achieve the fullness in the skirt.
Although many things inspired this camping wardrobe, it was primarily Lucas
de Heere's picture of 4 London women that provided aesthetic direction.
Completed for Rowany Festival, April
2006
Intended for use as a warm layer for outdoor events, this wool
over-gown was created to be worn over my Spanish dresses when the day
turns chilly and as an early morning 'about the encampment' coat while
preparing breakfast and the like.
The surcoat is based on the cutting diagrams available in Alcega with
reference the 1570's German loose gown described in Arnold's Patterns
of Fashion.
A very fine wool fabric has been used for the outer shell of the
garment and the lining is black cotton, this was utilised due to a dearth
of dark blue or black linen at our local fabric merchants.
I modified the great sleeves from my usual pattern in response to the
intended use of the garment and also the wool fabric. As the fabric
has little or no body I felt smaller sleeves would sit better than larger
sleeves, which would have a tendency to 'flop'. Reducing the fabric
and bulk of the sleeves would also reduce inconvenience and safety
concerns when cooking around open flames.
For warmth, I also chose not to have slashed sleeves, although I
constructed the sleeves in such a way that they can be opened for a
horizonal slash with little effort, should I require it. This garment is often referred to as a 'Spanish Surcoat'.
1560 Spanish Dress
Completed for Rowany Festival, April
2006
This tourney gown was made as a result of a fantastic deal I got on
some red twill fabric. Originally a mock up for a silk satin court
gown, it was completed for Rowany Festival as a outdoor garment for
hot weather. The cotton as well as the copious quantities of
slashing promised a degree of coolness no other spanish gowns of this era
could equal.
Lined in inexpensive white cotton, and interlined with cotton canvas
over the body and sleeves, the many slashes and tabs are also bound with
strips of the white fabric.
The cost of suitable ouches (or buttons) proved prohibitive to
reproducing the fine decorations of the gown ensuring this version is a
pared down tourney gown. I chose to forgo the gold embroidery
depicted in some versions of the portrait as I did not want to spend many,
many hours embroidering what is effectively an inexpensive travelling
tourney gown. Both of these elements will be included in the silk satin
version. The only image of this gown is on the Southron Gaard
Website in the Rowany
Festival Gallery.
Completed for Canterbury Faire, February
2006
This ensemble was created as I wanted something appropriate
for working outdoors around the encampment. This is based
on figures depicted in various Civitates Orbis Terrerum maps of
Spanish cities. In particular I wanted to experiment with the spanish "manto" or
modesty wrap. The manto is described in number of sources (such as
Anderson, Alcega and Coello) but is seldom seen. As the weather at Canterbury Faire (when it isn't raining) is hot and
dry, for that reason I chose to use natural fibres. The
outfit consists of a white linen shirt worn under a black fine linen
bodice with sleeves and skirt. It is usually accessorised with a
linen coif and apron.
White paj-silk manto (veil) is worn with a white dupion silk
pill-box hat. The silk veil has since been replaced with several metres of
light cotton voile because the silk proved too unruly in a breeze. It
seems that if it is a modesty garment it should function as such.
The silk and cotton were stand in choices until I was able to purchase
some suitably fine linen fabric. I have recently purchased 4 metres
of black linen voile to make a half-circle 'manto' as described in
Alcega.
Completed in February 2003
This gown was inspired by a variety of late 14th Century French
manuscripts and the desire for something light and inexpensive to lug
around the world in a back pack.
Consequently, it is made from cotton and lined with cotton voile. For
weight, the under-sleeves are not attached to the kirtle, but instead
hook and eye to the shoulders of the gown itself.
Around my neck I am wearing a gold heraldic dolphin based on one in the
collection of the Musee de Moyen Age, Paris. The Pilgrim token is one I
picked up at Canterbury (the one in England) when I visited the Cathedral
there.
I am also wearing one of my favourite hairstyles based on a manuscript.
What you cannot see in the picture above are two more plaits crossed over
at the base of my neck as seen in the manuscript.
Completed for Southron Gaard 20th Year
Anniversary Encampment, late 2002
Entered in the 20th Anniversary Arts and Sciences Championship. Winning
Entry.
This was my first completely hand sewn garment. Each piece of linen or
wool was hand hemmed immediately once cut out as the fabrics had a
tendency to fray uncontrollably if I didn’t keep an eye on them.
Designed for use as a warm layer to be thrown on during camping events,
I interlined the back panel with another layer of wool so that I wouldn’t
get a cold back while my front was nice and toasty. This worked a treat
resulting in one of my favourite cold weather garments.
I began looking into these garments as an extension of my research into
Persian clothing (and desire to have something to wear in the Gher.)
The plan was to make a Persian cross coat but the lack of detailed
pictorial and archaeological evidence necessitated delving into the
immediate predecessors of the garment to understand the fundamental cut
and construction.
The documentation is currently only in paper format, but once I have
typed the 40 odd pages in again, I will add it to this website.
Completed for a chilly event in Darchester,
2000 or 2001
A linen lined, navy blue wool gown with cream brocade collar and cuffs.
It is an example of the gowns that are transitional between houppelands
and the fitted V-neck gowns.
Created to serve as a warm camping gown, (and to match the rolled
head-dress I wanted to make) it is worn over a front lacing kirtle
with ornate brocade breast-band.
The length has been kept relatively short (just to the ground) for
convenience and safety at camping events, particularly those where fire is
permitted.
Completed mid 2001 Consisting of black linen shalwar, red linen circle skirt, mustard
yellow linen hip length bodice (trimmed with narrow black gimp braid) and
a short black linen hip skirt (trimmed with narrow gold satin ribbon) this
outfit was made purely for belly dancing at Middle Eastern Guild Haflas.
This ensemble has an interesting effect on dance style as many small or
delicate vertical hip movements are lost under the hip skirt while
twisting movements and large, rapid level changes are enhanced.
The ensemble was inspired by a number of late period and early 17th
Century illustrations, such as this one
Completed the investiture of Callum and
Chrettienne as Baron and Baroness of Southron Gaard, Canterbury Faire,
February 2001
(Their excellencies stepped up in German and
requested their court do the same)
A linen gown using what I had learned on the red dress. Although the
same sloper was used for this dress, I altered a number of areas to bring
it closer to period images. For example: I widened the shoulders and
shoulder straps, lowered the back of the neck and widened the front lacing
area.
This has been my very favourite gown for many years. Sadly it is
starting to look very worn and has been retired.
Completed some time in 2001 Based on the manuscripts of Bihzad, this ensemble consists of white
cotton shalwar, white cotton gomlek, (optional black linen ‘over’
shalwar), a long pale blue linen caftan, a pale yellow over caftan and a
white cotton veil.
The necklines are varied so that each layer is visible at all times, as
seen in the manuscripts. The look of the veil is achieved using an ‘egg’
shaped veil which is carefully folded and pinned over a curved surface
before attaching it to the plaited hair.
Sadly the good pictures of this ensemble worn with full makeup and
hairstyling did not survive their encounter with the words “trust me, I
know what I’m doing”.
This picture was taken at the 2006 Yule celebrations. As I
am no longer the same shape and size I was when this set of clothing was
made, the garments are sitting a little less well than they did
originally. I have also lost the small brooch I usually wear to
close the neck of my gomlek.
Completed in time for the trip to Estrella,
February 2000 This dress was an instructional project. My Laurel was taking me and
one of my fellow apprentices through her method of making German gowns,
while also introducing us to the concept of sloper patterns.
It was a steep learning curve, but set me up for many later projects.
This gown is made from cotton twill, and the gardes are black
wool. The interlining is a supple cotton duck canvas, and red
cotton has been used for lining.
The exact inspiration for this gown escapes me, but it hit after many
hours trawling through Meistern Christian’s collection of 16th Century
German images.
Completed for the event at Cracroft in 1999
(Partlet, coif and hat, 2005) Linen ensemble inspired by a variety of images including the Fete at
Bermondsey and Civitates Orbis Terrarum.
Initially using tied in sleeves, use and Patterns of Fashions convinced
me to use hooks and eyes instead. The skirt uses flared drops and is
cartridge pleated into a band that is tied to the bodice.
Initially worn with a farthingale, I decided to take some length out of
the skirt and make it a working class outfit in order to reconcile the
dress style with the fabric. Strangely enough, it is a very convenient and
comfortable working ensemble.
Completed some time in 1998
This gown was my first attempt at period construction based on what I
had learned at the College of Reannag Fhara’s weekly A&S meetings.
Laced down the back (using over-sewn metal grommets) this woollen gown
is of rectangular construction except for the skirt. I chose to flare the
skirt rather than use gores as I wasn’t entirely comfortable with my
sewing skills in that area. I have since learned how easy it is, ...
what was I thinking?
Since then I have had to re-hem the skirt as the bias seams have
settled considerably. I am currently contemplating altering the
skirt construction to eliminate those bias-to-bias seams. Sideless Surcoat
Completed some time in 1997
Using some inexpensive linen, this unlined surcoat was a pattern
drafting exercise for the green velvet surcoat mentioned in the Court
Gowns page.
However, the gown was completed and found its way into my regular
rotation as I decided sideless surcoats were really quite neat, and a
fabulous way to show off my funky hip belts.
Sadly, I know of no pictures of this garment, and the garment is now
lost, which is a shame because it's line was lovely despite its humble
origins. Completed for Baronial Anniversary 1997 (I
think) An unlined rayon gown made from a modified cocktail dress pattern. I
added sleeves, elongated the dress from knee to floor and changed it from
back to front fastening. It closes using lucetted cord loops and pearl
buttons.
The sleeves are also adorned with pearls from the wrist up to the mid
forearm.
Always worn with a veil and wimple for a couple of{1} years,
several event attendees had no idea what colour my hair was until I
started wearing German.
The gold hip belt was constructed by Sir Vitale from a pair of Indian
necklaces The veil and wimple are both hand hemmed, fine cotton lawn secured with
pins and a brass wire circlet. This picture was taken during early 1998 while I was recovering from a
prolonged bout of Glandular Fever. I had lost a
significant amount of weight during the previous
months, which is clearly shown by the bagginess through the
torso and arms in this picture. The gown normally fitted
quite snuggly. |
English Middle Class Surcoat
The back collar is cut in one with
the back body pieces as a result of comments made by Juan de
Alcega (among others), and work beautifully resulting in a very comfortable surcoat.
Wrinking at the back of the neck is not an issue (as Alcega and previous experience suggests) when a soft and malleable fabric like this wool is used.
1589 Ropa
Late 16th Century Spanish Middle Class
Cotehardie
Mongolian Cross Coat
15thC Transitional
French Gown
16th
Century Turkish Dance Outfit
16th Century German Gown
Persian
Ensemble
16th Century German Gown
1570s
Middle Class English Ensemble
Norman Gown
Gothic Kirtle
