Herjofsnes challenge No. 39 - 2

Earlier this year, Elina at Neulakko started the Herjolfsnes challenge on Facebook after a bunch of us realised that we all bought the same fabric with the intention that it would become a garment based on the extant garments from Herjolfsnes, Greenland. With the books “Woven into the earth” and/or “Medieval Garments Reconstructed” as a base and help.

Herjofsnes challenge No. 39 - 3
Herjofsnes challenge No. 39 - 4

I decided to make a no. 39 based on the fact that there was no strange seams, no singling or tablet weaving involved. I wanted to take the “easy way out” as I always seem to make things harder and more complicated. I need to exercise simplicity.
Also I really wanted to make a short sleeved overdress and the double pointed gore in front and back is so pretty.

Herjofsnes challenge No. 39 - 8

The fabric is a white/gray wool twill fabric from Medeltidssmode.se it is a bit fluffy but not to thick. It was very nice to work with and for this dress I decided to not use any measuring while sewing. Trying to get over my tailor training of exact measurement but trust my eyes.

Herjofsnes challenge No. 39 - 1

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The dress is sewn with wool tread using only running stitches as the original. All the seams are sewn to the dress with overcast stitches.

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Both in the neckline, hem and sleeves 1cm is folded in and cast down. The extant gown have no filler threads mentioned at all so I decided not to use any either.

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There is two rows of stab stitching at the neckline and sleeves and in the bottom hem there is one row of stab stitches. I also stab stitched the top part of the front and back gore as the original. It is a good way of defining and making a durable edge. Locking the seam allowances down and helps from stretching.

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The neckline have two pairs of eyelets, the text does not mention anything about what the were sewn with but as all the other seams are sewn with wool, I used that for the eyelets as well.

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After having my old St. Brigitta’s cap for several years, and not really liking it that much. Well I like the cap itself as it is the best thing to pin your veils to, but it was a bit on the rough side with a bit to thick linen and also the band over the seam seemed like a good idea at the time but I don’t want it to show when wearing my frilled veils. Also the original cap have a lace embroidery over the head and in front on the band.

Making a new one is not that much work either, and the embroidery part was much easier than I thought.
I started by cutting the cap part out, in stead of sewing the back seam together I hemmed the two parts individually. Then I basted the cap to a thin cardboard that I had marked out some guide lines on to make it easier to embroider, the gap is 1cm wide and the markings are 0,5cm apart.
Embroidered St. Birgittas cap - 1
Embroidered St. Birgittas cap - 2

I used this excellent guide for the embroidery for the interlaced herringbone stitch.
I recommend looking at the guide in stead of my pictures, it is very clear. My pictures was mostly to show the progress on facebook.
I used a silk buttonhole tread for my embroidery, it became very delicate and nice, the original cap was probably embroidered with linen thread.

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At the end where the slit in the cap will be I made a bar by making buttonhole stitches over a couple of treads.

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In the front I made a embroidery inspired by this picture on Medieval Silkwork.

And this is how it looks when finished.
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And also how it looks when worn with a frilled veil, and also here with some flax cornettes I made a while ago. I love how the lace embroidery is seen under the veil.

If you want to make your own St. Birgitta’s cap here is a tutorial with a pattern.

This tutorial is long due, I took most of the pictures two years ago so when I decided to redo the skirt on my 16th century German dress a couple of weeks ago I took the last pictures for the tutorial.

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Start out by cutting the shell fabric, I have a blue wool fabric that is slightly fulled. The back piece is cut on fold, but not the front piece, as it will open in front.

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The pattern is without seam allowances as you can see, I choose to have 1,5 cm seam allowance everywhere except the neckline and centre front, there the seam allowance is 1cm.

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The I cut my linen lining, I use my shell fabric as pattern pieces in stead of the paper patter, it lays better on the pattern and you can just cut them the same size, no measuring seam allowances a second time.

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Put the shell fabric and lining wrong sides together.

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Baste the two layers together, they will now be treated as one piece of fabric.

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Put the pieces right sides together and pin the shoulder and sides seams together, I have made a sewing line with a pen so that my stitches will be straight, these lines will never be seen so no need to use any special pens.

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I sew the shoulder and side seams with backstitches using waxed linen thread, as this is a tight garment so it is important that the seams hold up.

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Before sewing all the way down to the hem I cut away some of the lining, this is so that when the bodice is hemmed the lining won’t peak out.

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Then I take away the basting on the shoulder seams and side seams.

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The lining is cut down in all the seam allowances in side seams and shoulder seams, to make the seams less bulky and to make sure that the lining won’t peak out when the seams are felled.

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I press my seams flat with my iron and then I trim the seam allowances down to 1cm. You can start with smaller seam allowances from the start, but by cutting them at this stage you can mask if you have not sewn 100% straight. I think this make the seam allowances look cleaner especially if you have a fabric that is prone to fraying.

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Then I cast the seam allowances down, I use a filler thread because it is pretty and it keep the edge from fraying. To be honest the use of filler threads like this is something that might not be 100% historically accurate, the use of filler threads have been found on the garments from Greenland, but the findings is from the necklines only. But I do this anyway, as I find it historically plausible and pretty, but I wanted to make clear that it might not be correct.

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But it is so pretty!

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Take care when casting down the seam allowances to not go through the shell fabric, as I have done here, red might not have been the best choice of colour.

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I do the same on the shoulder seams.

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Then I cut out the fabric for my guards. The width is you choice, there are a lot of variation in the pictures, but they are all fairly wide. I have also added 1cm seam allowance on both sides.
I cut them longer then I really need, to have some fabric to work with.

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I press in the seam allowance on one side.

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Then put the guard right sides together with the front opening, make sure that you the guard is sticking out in the top and bottom.

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Mark the top of.

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Then put the strip from the bottom of the neckline in the front.

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Mark the corners on both strips.

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Draw diagonal lines on both strips connecting one corner to another.

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That line is the seam line, I add 0,5cm seam allowance.

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I always number my pieces to make sure that I know where they are supposed to go.

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Then I keep doing the same thing for the whole neckline. Putting the strips right sides to the bodice, marking the corners, drawing seam lines and adding seam allowance.

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Do this for the whole neckline and front openings.

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I sew them together in the right order using running stitches and silk thread, the reason for not using back stitches is that these go faster and on this seam there will be no stress so the strength if the back stitch is not needed. It is important to use the seams wisely. You are hand sewing this thing so why waste time by using a stitch that is unnecessary, time that can be better used doing other nice things.

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I sew only to the pressed fold of the seam allowance, not all the way down.

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In some of the corners you need to make some cuts and to cut away some material to make the guards lay flat when you press the seams down.

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When the seams of the guard is pressed you put it right side to the lining of the bodice.

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I have marked out my seam allowance on the neckline and centre front; 1cm with a tailors chalk.

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Then I sew the guards to the bodice using running stitches with waxed linen thread, make smaller stitches or even back stitches in the corners.

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Then I trim down the corners to make them less bulky.

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I take away the basing thread in the neckline.

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I also cut away like this, to make it possible to turn the guards and make the corners nice and neat.

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I trim down the seam allowances all around the front and neckline. The shell fabric is shortest, the guards are longest and the lining is in between.

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Turn the guards around and press the edges, make sure that the black is visible from the lining side, this is to make sure that the lining fabric will not peak over the edge when the dress is worn.

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Pin the guards down.

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Now we take a break from the bodice and make lacing strips. They are made from the same linen as the lining, folded so that you fold the raw edges inside so that the whole strip have four layers of fabric. As you can see the lacing holes are for spiral lacing, that is the most common lacing type in the 16th century.

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I sew a line of running stitches on one side of where I want my boning.

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Then I make my lacing holes, the next pictures are taken from another project, as I forgot to take pictures. I start of by punching holes in the fabric with the smallest setting. I sew them with button hole stitch, as this is a period correct way to do both buttonholes and lacing holes. The knots on the buttonhole stitch makes the lacing holes and button holes more even and it protect the edge. Each stitch is a knot and that means that when the buttonhole or lacing hole gets a lot of wear so that it actually wears of threads the rest of the buttonhole will be intact. If you don’t have the knots the entire buttonhole might unravel.

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Then I widen the holes using my bone tool, I know a lot of people use knitting needles for this work, I made this bone tool to polish the edges of punched holes in leather, but it is perfect for making lacing holes as well.

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Make a hole as big as you want.

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Thread a needle with waxed linen tread and make a knot at the end. I put the needle in a bit away from the hole and come up about 4mm from it.

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Pull the thread through.

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Put the needle through the hole and up through the fabric again, at the same distance from the hole as last time.

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As you pull the tread you will see the loop that is forming.

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Put the tread on the left side of the loop, and then take the needle through the loop from behind. It is important that you put the tread on the left and come through from behind, this is what makes the knot on the thread.

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Pull the tread, see in what direction I am pulling the tread, this makes the knot end up at the edge of the hole. You can pull it so that it comes more up on the edge or even more inside the hole depending on how you pull the thread. It is a matter of taste where you place the knot.

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Do the same again and you will see that row of knots form like a pearl bracelet!

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After some stitches I like to use my bone tool again, when you sew lacing holes it tends to shrink as you work. Doing this makes the hole bigger, you can get a lot more stitches in and the lacing hole itself gets stiff from all the stitches, no need to reinforce with metal rings at all.

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Then you keep stitching until you come all the way round to your first stitch.

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Here I go through the treads between the first and the second knot.

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And then down to the backside. Doing this will make sure that there is a solid ring without gaps.

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I secure the thread on the backside.

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Take the needle through the layers and then up again.This is so that the end of the tread will not be visible. And if you cut the tread of just where you secured it the knot will unravel, having a cm of thread left will keep the knot secure.

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Cut the knot of on the front and the tread of the back.

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And then you do it all over again, and again and again.

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Then I pin the lacing strip to the bodice about 0,5 cm from the centre front edge.

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Then I attach the lacing stitch with backstitches, through all the layers except the guards. This line of stitches forms the boning channel.

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See how clever it is, the seam is totally hidden by the guards.

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Here is where I stray from period correctness, I use a modern crinoline steel to help my lacing out. I guess the period correct version would be to use reed as you use in 18th century stays.

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I secure the top and bottom with extra tiny stitches.

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Now I sew the guards down, I sew with silk thread and with these stitches that makes the seam invisible.

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Then I trim of the end of the lacing strip.

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I trim some of the lining of to make sure that it won’t peak out when the bodice is hemmed.

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Then I fold 1,5 cm up and press the hem, I trim some off just at my lacing panel.

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Then I sewing it the hem down with small stitches.

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Then I pull away the basting thread at the hem.

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All clean and pretty, but not done yet! My floor is not so clean ;) I have the habit of throwing scraps and treads on the floor, it is quicker for me that way, to clean it all in one go.

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This is how it looks so far.

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Now lace it up with a scrap string.

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Put needles in between the lacing, this is to prevent the lacing from gaping.

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Secure with stitches.

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Now on to sleeves, this tutorial comes with a pattern of a simple s-sleeve but here you can see my fancy sleeve that is a adapted version of the s-sleeve.

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I sew the sleeve together using back stitches, and then I sew it into the bodice also using back stitches.
The sleeve head have added 3 cm of ease, the sleeve is 3 to big for the bodice arm holes. This is to make a pretty sleeve and those 3 cm is distributed at the top of the sleeve around the shoulder seam. It is not supposed to be a puffy sleeve, done correctly you will have no small pleats or ruffles in the seam. for wool 3 cm of ease is not that much is you sew in linen it will be harder to fit the sleeve.

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Here you see the ease, but where the seam is there is no pleats or ruffles. To make a pretty sleeve this ease must be pressed down.

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I put it on my tailors ham and add water.

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then I gently start to work the ease down. You will have to go easy to not press the ease into pleats. Add more water when you fell that is is dry and press until flat.

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Here we see before and after, insane difference, this is why wool is awesome!

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Now I trim down my seam allowance in the sleeves to 1 cm.

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Then I cast the edges of all the layers together, this is all the finishing I will do on this edge, binding it would make it to bulky, but this is enough to keep it nice and together.
Remove all the basting threads left on the bodice.

Now on to the skirt, unfortunately when I took the photos I decided not to show you how to attach the skirt as I wore it as a separate piece. But is is much more period correct to have the skirt and bodice sewn together so when I decided to renovate my 16th century German dress and attach the skirt I took photos of that. But that means that I have no photos of how to sew the skirt part together.

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But it is very easy. My skirt is made up by three widths of fabric sewn together with running stitches and then the seams are felled. In one seam there is a opening so that you can get in and out of the dress.
I choose three widths of fabric to make it wide enough in relation to my body. I am big, and to make the hem look on me as it does on the women in the woodcuts, to make the pleats as deep ad they need to be I needed three widths of fabric. If you are smaller you will do fine with less and it personal preference. I already have a good trossfrau body, round hips, small waist and big breast but I you need more hips the extra fabric will help you out. I like to joke and say I was built to for 16th century German fashion ;)

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I have quite the wide hem on the skirt, this helps to hold it out in shape.

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The slit in front, here you can see my stitching before I started tailoring school, sooo big stitches ;)

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I have two rows of guards on the skirt, the cut-out is inspired by a woodcut, some people have puffs of silk coming out of these slashes, I wanted mine to be simple. I have also sewn down the slashes onto the skirt in stead of only hemming them. After a few incidents of getting stuck on low objects and benches and ripping the slashes or at some times part of the whole guard of the dress I decided to make it more secure.

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On the top of the skirt I fold down 3 cm. This is because I want to make the cartridge pleating in double fabric, to make the pleats even fuller.

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Using my smock guide I mark out two lines of dots that are 1 cm from each other and 1 cm from the edge.

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Like this

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Then I divide the skirt into four parts, this is to make gathering the skirt even easier, I make marks with some thread.

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Then I sew the gathering treads, down one dot up at the next.

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At the slit I sew the edges of the fold and the skirt together.

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I sew two lines of gathering stitches that I secure in one end.

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Then I pull the treads, look at the pretty cartridge pleating.

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I also mark the bodice in four equal parts.

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Then I put the markings at the skirt to the markings on the bodice right sides together.

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Now it is easy to gather the skirt evenly, put some pins as I go along.

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Then I stitch the skirt to the bodice. I do it with two stitches at each pleat, to make it strait.
Also the skirt is kind of heavy and these stitches need to be able to hold that weight.

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Look all neat and nice, I love cartridge pleats!

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This is how it looks at the front opening.

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When you are finished with the seam you can pull the gathering treads out.

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As you can see the cartridge pleats “stands open” inside the dress, this gives you the extra hip boost that will give you the correct 16th century hips, and for us that already have 16th century hips naturally; we get the superfrauhips! More hips is good, the German ladies all seems to have a lot of them.

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And now, you are actually DONE! With the dress that is, the list of stuff you need now is long, this is why the 16th century German women never gets boring. It is easy to give one dress many looks by simply changing the chemise, the veil or the size of you wulsthaube. Throwing on another hat, getting a fancy new gollar. I have tutorial for most of the details to make a 16th century German outfit in my tutorial list

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Here is the pattern.
It is in cm as always and made for me.
Bust: 118cm
Waist: 94cm

Remember to do a mock-up before cutting into the real fabric.

16th century German dress - pattern front
16th century German dress - pattern back
16th century German dress - pattern sleeve

It always starts with the idea, I see someone in a outfit that makes the gears in my head turn furiously. So I do a lot of looking at pictures, on paintings and then I sketch my idea. The sketches always look something like this.

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Many lines and text, explaining to myself what my idea is, the drawings are not made for someone else to look at, only so that I can remember that great idea I had about that specific detail.

I have collected my “housebook” dress pictures on a separate pinterest board, if you wish to have a look.

This dress is interesting, with the silly pleated part in the front, the low cut neck. There is a lot of details in the look and as always what I find interesting is “how does this work with my boobs?!

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And as always when dealing with a difficult model, I start with a toille. Drawing new lines, cutting it up after those lines and making it work. The front piece is a square, and then the shape for the bust is pinned to this piece, this makes all the shaping for the bust invisible, as on the finished garment it looks like straight lines.

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The pieces, now comes the real pattern work.

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The old darts of the toille is cut away and then put together to close up the pattern pieces for one single pattern piece without the seam. Some of the width is lost, but if it is only this small amount you will not notice it.

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The pattern when finished looks like this I have added a skirt piece that widens in stead of putting in gores. As the paintings show no visible lines for gores in the skirt, and they show every other seams there is. The pictures show wide hems, so I did this and also have 75cm of fabric in the front and back pleated panels.

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Here we have the panels, my panels are 75cm wide, and the front panel have a slit down the front to allow for an opening of the dress centre front.

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I have a sturdy linen as a base for my panels.

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I decided to make rolled pleats. Many recreations have stuffed cartridge pleating, but looking on the paintings and drawings they never have more then ten pleats, but very wide hems on the dresses, so I decided that even if there is no “evidence” for rolled pleats in this period they would be perfect. There is no need for stuffing the pleats, they fall just as in the pictures and you can get a lot of fabric to fit on a small area.

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They are made like this, They are sewn onto the linen linings with running stitches.

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then they are rolled one at a time and secured like this.

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The dress is then sewn and the pleated panels inserted in the front, they are attached at the top like this.

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I decided to do the open back sleeves, so here we have lacing holes, they look like golden silk suns.

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They are backed with a sturdy linen.

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I sew in silk with buttonhole stitches, as this makes for neater and sturdier buttonholes, and it is also the period way to do.

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The neckline is a single fold hem finished with stab stitching and on the back with a filler thread.

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Last thing is to finish the hem. I always put the dress on, make someone put one needle in each seam at the height of where I want my hem. Then I take it of, fold the dress in half and make a nice line working from these needles.

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As I did not want to take away the wools ability to stretch and shape around the body, I only put lining around the waist, where I wanted to make sure that there was no tension on the pleated panels. If they strain you can be sure that the hidden lacing will show. There is a corsets steel behind the lacing holes, to keep it all straight and nice. I guess the period way would to have reeds there in stead of modern spring steel.
The Lining is only secured in the back with big stitches, and then in the side seams and at the front on the pleated panel.

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A picture on neat seams in the inside.

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I have hooks and eyes in the top, as the lacing only goes up to the height of the pleated panel.

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The sleeves have one continuous lace, I did not work that well to have it free so I have stitched it to keep it from bunching up when wearing the dress.

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There is many pictures with elaborate veils, so I was inspired to make something that looks like “Meister des Amsterdamer Kabinetts: Das Gothaer Liebespaar” so I made a paper guide where I made a hole in each crossing with a big needle and then made dots on a thin linen fabric with the help of a pen.

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The long lines was couched in silk.

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And then I made stars with the same silk but another tone over each crossing.

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Some details in the front.

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Sadly there was not enough silk to make the last three stars, but this place is hidden in the back and never visible.

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Under the dress I wear my Lengberg castle brassiere, and to wear over that I made a now hemd, I use the same method as in my kampfrau tutorial, but in stead of the high neck I choose to make it low and only honeycomb smock and to have less fabric in the body.

Then there came the problem of closure of the top of the dress. When I saw the big golden closure of THIS and THIS ladies I was in love, but with no metal working skills there was no way that I could make them.

But then suddenly I saw this blog post. And of course! I can make one like that to.

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So I turned to good old Etsy and ordered a pile of golden filigrees and started building. Layering the filigrees gave it a very nice solid look.

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To top it all of I needed a wulstahube that was so big that it looked really silly. This was important for me, to make it so high that I could almost not wear it. There are numerous pictures of really big wulsthaubes in period artwork, and as I love the silly headdresses I wanted to top this silly dress of with something equally silly. As stuffing this wulst with fabric would make it to heavy I turned to thin birch branches that I made into a wulst and padded with linen wrapping.

The yellow dress - or the housebook dress - 53
And yes it turned into a really silly wulsthaube, it took me several weeks to decide if I could wear it. But I finally started to like the sillyness of the height.

And this is how the dress turned out, the yellow and golden dress.

The yellow dress - or the housebook dress - 54
The yellow dress - or the housebook dress - 55
The yellow dress - or the housebook dress - 56
The yellow dress - or the housebook dress - 57
The yellow dress - or the housebook dress - 58
The yellow dress - or the housebook dress - 59
The yellow dress - or the housebook dress - 60
The yellow dress - or the housebook dress - 61
The yellow dress - or the housebook dress - 62
The yellow dress - or the housebook dress - 63
The yellow dress - or the housebook dress - 64
The yellow dress - or the housebook dress - 65

Some times you have this GREAT idea! Or at least you have this idea that you can not get out of your head. This dress is one of those ideas, the idea of making a Charles de Blois inspired dress. I mainly wanted to try to make the huge “grande asiette” sleeves, I was thinking that it would be perfect on me with big breasts, that the lines going across my breast would be a easy way of fitting it well.

My gray Charles de Blois dress - 1
My gray Charles de Blois dress - 2
So I did as I always do when the pattern is tricky to draft, I made a toille of my basic block that is already fitted to me and simply drew the lines where I wanted the seams to be. I do this a lot, It is a quick way of getting a rough pattern to work from.

My gray Charles de Blois dress - 3
My gray Charles de Blois dress - 4
My gray Charles de Blois dress - 5
Then it is simply to cut the toille up following the lines that you have drawn. Here is where the real work starts.

My gray Charles de Blois dress - 6
My gray Charles de Blois dress - 7
My gray Charles de Blois dress - 8
My gray Charles de Blois dress - 9
My gray Charles de Blois dress - 10
My gray Charles de Blois dress - 11
My gray Charles de Blois dress - 12
There is a lot of adjusting and cutting, taping together, drawing stuff again. Thinking on what happens if I take some away from this piece, should I add to this piece. I sometimes call this post apocalyps patternmaking. When you have it on a paper, it is all clean lines and you can use the eraser to remove things, this is more gritty and makeshift, you do what you have to do to make it work. You can be a bit violent and cut stuff of, pin new bits on like a Frankenstein monster.

My gray Charles de Blois dress - 13
I had this pattern drawing of “how it should look” based on pattern drawings found over the internet, my goal was to make the pieces look kind of like this.

My gray Charles de Blois dress - 14
After several hours this is what I ended up with, it looks kind of like the pattern…

My gray Charles de Blois dress - 15
Now it was time to sew it all together again, to see if it worked. And yes, with only minor tweaks this really could work.

My gray Charles de Blois dress - 16
My gray Charles de Blois dress - 17
So it ended up as a dress, “the insane button dress”, due to the fact that I “needed” to make tiny buttons, a lot of tiny buttons. It is completely hand sewn with linen tread, seams felled with silk, buttonholes are also worked in silk. I like that is is a subtle mi parti and that is is gray and I love the tiny buttons, all 94 of them. And I should sew the last buttonholes and buttons, as it is “missing” seven buttons on each arm due to lack of time, but that is not noticeable.

My gray Charles de Blois dress - 18
My gray Charles de Blois dress - 19
My gray Charles de Blois dress - 20
I have worn it ONCE. I do have some problems with it. I would like to have it more fitted in the front, It looks nice from the behind but from the front it looks kind loose around the bust and waist. It is also wrong in the fact that women did not wear this in the late 14th century. There are 15th century pictures of women with grande asiette cut on the back of the dress, but never in the front. So I have made a dress that I can not with confidence wear while re-enacting, that was kind of silly of me, especially doing 94 buttonholes on a dress I can not wear in really nice fabrics.

My gray Charles de Blois dress - 21
I do have a solution for my “problem”, I can wear it under another dress, a short sleeved or a sideless surcote that have a wider middle part. I can take the “bumpyness” of the buttons in the front that will be visible on the overdress, it would be silly to let the dress just hand in the closet.

I swear by my St. Birgitta’s cap, as you could see in the post “How I wear my veil” I use it as a base when I pin my veils. It can also be worn as it is as you can see in these pictures.

Here you can see it on the woman on the left
The cap have a long strap that is put over the head two times
A collection picture
There is also a extant cap

There is a lot of people that have written about this already, Isis post on it on Medieval Silkwork is a good read.

What I will show here is a simple version, without the fancy embroidery.

St. Birgitta’s cap - 1
If you have looked at other peoples patterns, you will see that my patterns differs slightly. Most patterns have a square lower front, my pattern have that part rounded of, the reason is that I find it easier to gather it when it is like that. I have tried the square pattern, but the rounded of corner works best for me.

St. Birgitta’s cap - 2
Start of by cutting your cap parts, you will need two parts. I use a medium weight linen fabric, make sure to make the marks both in the front and back, these are important later on in the process. As the pattern does not include seam allowance, you can choose what is best for you. In these pictures I have 1,5 cm seam allowance on the back seam and 1cm on the front of the cap.

St. Birgitta’s cap - 3
Pin the top seam, you will sew from the front to the marking in the back. To be able to put the cap on you will need a slit in the back and the back marking marks out where it begins.

St. Birgitta’s cap - 4
I sew backstitches with silk thread.

St. Birgitta’s cap - 5
Sew with backstitches all the way to the mark for the slit.

St. Birgitta’s cap - 6
Now you need to press the seam you sewed apart, I use my fingernail to simply scrape it open.

St. Birgitta’s cap - 7
Fold in the raw edges to make the cap neat on the inside.

St. Birgitta’s cap - 8
Then sew the felled seams down, I use small stitches and only pick up a few threads of the outer layer, this makes a almost invisible seam from the outside.

St. Birgitta’s cap - 9
Hem the other side as well.

St. Birgitta’s cap - 10
Now it is time to gather the lower edge, this gives the cap it’s shape in the back.

St. Birgitta’s cap - 11
St. Birgitta’s cap - 12
St. Birgitta’s cap - 13
I stitch with big stitches from the back up to the mark in the front.

St. Birgitta’s cap - 14
By sewing two lines of stitches you will be able to gather the fabric nicer.

St. Birgitta’s cap - 15
Now it is time to sew on the ties straps. I first take a strip that is 70 cm long and 5cm wide. On one side I mark out my 1 cm seam allowance and on the other side I press that seam allowance down.

St. Birgitta’s cap - 16
Now on to some measuring, on the centre of your 70 cm make mark, this is where the top seam of your cap will be. From the centre you will mark out the distance of the front of your cap, in this tutorial it is 26,5 cm, a total of 53cm. This will make it fit a head measurement that is around 56cm. The measurements is 3cm smaller then the measurement of your head to allow for stretching of the fabric and so that you do not pull the slit completely together. If the slit is completely closed you will have a hard time getting a snug fit on your head. You will have to experiment to find what measurement fits best on you.
Put the cap part and the strap right sides together and pin them together.

St. Birgitta’s cap - 17
The gathering should be as tight as you can to the back of the slit, sew the seam with backstitches.

St. Birgitta’s cap - 18
As the strap should be longer I now sew on the other strips. They are 65 cm long and 5cm wide as I made this cap without a special person in mind. Most common is to have one continuous strap, but you can also pin the strap ends together when wearing the cap. When trying the cap on you will find what length you will need and you can shorten your straps later.
These two straps I prepare by folding and pressing in 1 cm seam allowance on both sides of the strip.

St. Birgitta’s cap - 19
Then I sew them on on each sides of the strap that you have already attached to the cap with backstitches.

St. Birgitta’s cap - 20
Like this.

St. Birgitta’s cap - 21
I scrape the seam open with my fingernail.

St. Birgitta’s cap - 22
Now what is left is to close the straps up and to enclose the raw edge on the front of the cap.

St. Birgitta’s cap - 23
I pin and sew the entire length of the strap together, enclosing the raw edges.

St. Birgitta’s cap - 24
If you wish to pin the straps together when wearing it, simply fold in the raw edge at the end of the strap and sew it shut.

St. Birgitta’s cap - 25
St. Birgitta’s cap - 26
St. Birgitta’s cap - 27
And your cap is done!

To sew the strap together, this is how you both put the cap on and measure how long the ends should be. If you are planning on having a continuous strap, you should not sew the entire length of strap together out to the ends. Save around 10 cm on the ends and then do this next part before joining the ends with a backstitched seam. After that you can close the last bit of the strap up.

St. Birgitta’s cap - 28
Put the cap on your head, if you have long hair it is good to have it in braids in the back or to put it in a low ponytail. As I have short hair I generally just put it in a low ponytail and stuff my bangs inside the cap. This cap is to small for me, I have a large head so for my personal caps I don’t use these measurements, also I could not bother with putting all my hair in the neck inside the cap, I always wear wimples so I usually don’t bother that much about some hair sticking out.
Cross the straps in the back.

St. Birgitta’s cap - 29
Pull them to the front and cross again, make sure that the straps lay nicely and so that they are not twisted.

St. Birgitta’s cap - 30
Then pull them over the back of your head above the bag that have formed for your hair, the straps should be snug around your head, if not the cap will slowly slide of your head. If you feel that the positioning of the straps makes the cap slide of your head you could also put it under the bag that have formed for your hair.

St. Birgitta’s cap - 31
St. Birgitta’s cap - 32
St. Birgitta’s cap - 33
Put a pin where they meet, now you can see where you need to sew them together, or if you want to pin them in stead, you can now go along and putting on wimples and veil if that is what you prefer.

St. Birgitta’s cap - pattern
Here is the pattern, in cm as always, and not including any seam allowances.

Surfing the net a million years ago, before I started with all the medieval stings I did do a lot of looking at other peoples work, wishing that I would find the courage to staring doing it myself.
Then I found this webpage with all of the fantastical reproductions. He had a photo of a extant medieval pouch from Norway that looked like no other purse I had seen. So when it came to me making my own money pouch a couple of years ago I knew I wanted to make that kind of purse. It says that the pouch is from late 13th to early 14th century but as money pouches does not differ that much and in “purses in pieces” Olaf Goubitz writes that the circular cut pouch is the most common type of coin purse in medieval times and that the use of them continues at any rate into the 20th century.

I have made my purse slightly smaller then the reproduction I was inspired by but as I girl I guess I have smaller hands and I did not want to have a too large pouch anyway.

I start of by cutting the leather out, you need the circular piece and also you need two long thin strips one that is 50 cm long and one that is 65 cm long, I made both mine 1 cm wide but to make it look even more as the extant purse you could cut them thinner. I have used a piece of a old leather jacker, but any soft leather will do fine.

Norwegian money pouch - 1
Norwegian money pouch - 2
In my paper guide I have punched holes, these I use to transfer the markings for the holes on the leather. I use a regular drawing pencil that I wet slightly, it gives just enough marks and is something I had lying around at home. You are cutting the dots of so you can use anything to make your markings with.

Norwegian money pouch - 3
Then I punch all the holes out.

Norwegian money pouch - 4
Take the longer leather strip and make it pointy in one end.

Norwegian money pouch - 5Norwegian money pouch - 6
Start threading it through the holes.

Norwegian money pouch - 7
All the way around

Norwegian money pouch - 8
I round the other end of the strip of and cut a hole in the middle.

Norwegian money pouch - 9
The pointy end goes through.

Norwegian money pouch - 10
Pull your pouch together a bit.

Norwegian money pouch - 11
As much as you want to have it open when it is finished.

Norwegian money pouch - 12
Thread the pointy end on a big blunt needle.

Norwegian money pouch - 13
Now we are going to do the nice wrapping around the purse.

Norwegian money pouch - 14
Continue around the purse and make sure that the strip of leather lies nicely and evenly around the first round of the strip.

Norwegian money pouch - 15
Norwegian money pouch - 16Norwegian money pouch - 17
Norwegian money pouch - 18
I did not my strip long enough, but you can easily make it longer like this, make sure that the joint end up on the “backside”, this will make it invisible.

Norwegian money pouch - 19
Then when you have sewn all around the pouch.

Norwegian money pouch - 20
Take the needle and go down the hole.

Norwegian money pouch - 21
See, it looks like it continues all around.

Norwegian money pouch - 22
Now you have the rest of the strip on the inside.

Norwegian money pouch - 23
Cut it of a bit and split it in half.

Norwegian money pouch - 24
Norwegian money pouch - 25
Thread one end on the needle and go under the inside strip.

Norwegian money pouch - 26
Make a knot and cut of the excess.

Norwegian money pouch - 27
Norwegian money pouch - 28
Then take the other strip of the leather, make one side pointy and thread it through the top holes.

Norwegian money pouch - 29
Go all the way around.

Norwegian money pouch - 30
And knot the ends.

Norwegian money pouch - 31
Norwegian money pouch - 32
Norwegian money pouch - 33
And now the purse if finished!

Norwegian money pouch - 34
The pattern is in cm, as always.

Good luck!