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

Herjofsnes challenge No. 39 - 13

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.

Herjofsnes challenge No. 39 - 10

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.

Herjofsnes challenge No. 39 - 11

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.

Herjofsnes challenge No. 39 - 12

Herjofsnes challenge No. 39 - 14

Herjofsnes challenge No. 39 - 15

Herjofsnes challenge No. 39 - 9

Herjofsnes challenge No. 39 - 6

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.

Herjofsnes challenge No. 39 - 5

Herjofsnes challenge No. 39 - 7

sideless surcoat - 8
Being a trial member of the 14th century re-enactment group Fraternis Militia Carnis I was invited to the carnival at the annular meeting. I decided to dress up as a popular medieval saint, Catherine of Alexandria. For this I needed some “fancy clothing”. So I decided to make a yellow silk sidless surcoat, something that also have a home in my “normal medieval wardrobe”.

sideless surcoat - 7

sideless surcoat - 1
It is made in silk tafetta and is flat lined with a thin wool fabric to give the right drape of the fabric. I choose to machine wash the silk and wool before sewing, that was a good thing as I was spilled on after 30 minutes, meat on silk dress leaves a stain, but most came of after a go in the machine.

sideless surcoat - 2

sideless surcoat - 5
I also made a front and back gusset even if all extant sidless surcoats are with only side gussets. But based on manuscripts the fullness seems sometime to also be in front of the sidless surcoat. But if you wish to make it without I would advice you to make the side gussets a bit wider in the hem.

sideless surcoat - 6
The whole dress is sewn by hand with running stitches with silk thread, back stitches are kind of unnecessary as there is no strain what so ever on the seams in this kind of dress. The seams are then sewn to the wool lining with not to big stitches.

sideless surcoat - 3

sideless surcoat - 4

I finished the neckline with stab stitches and will probably do the armholes as well. I hemmed the neckline with a single fold, but the armholes with a small double folded hem, as you can see it when it is worn. The bottom hem is a wider single folded hem.

sideless surcoat - 9

This dress was made for me who is 176cm long, bust measurement 120cm, hip measurement 130cm.
The pattern is made in cm, click it to see a larger version.

sideless surcoat - pattern

This type of textile bag with tassels can be found in manuscripts and pictures from the middle of the 13th century to the middle of the 16th century. This is the type of bag that women wore hanging from their belts in long ribbons and it was very often hidden by the over dress.

The look of the bag varies greatly, different kind and amount of tassels, colours and fabrics. The material of the edging and the materials in edging and tassels.

This bag I will show you is based on the simple three stranded flat braid. The look is very similar to the tablet woven edge but much simpler as you do not have to know card weaving to do it. Here is a extant bag with a similar braided edge.

The material of your bag decides how “fine” your bag is and it is possible to make the same kind of bag in silk and in wool, also embroidered bags can be found in the extant findings.

Start by cutting your fabric, I use a wool fabric for the outside that is 19,5*35,5 cm (7,7 * 14 inches) and the lining is a thin linen fabric that is 19,5 * 34,5 cm (7,7 * 13,6) note that the lining is shorter then the outside fabric, it should be so that the lining does not peak out at the top when finished. Seam allowances are included.

Medieval textile purse - 1
Pin both the short sides, with the outside fabric and lining right sides together and sew them with a small running stitch with 1cm (0,4 inch) seam allowance.

Medieval textile purse - 2
Press both seams open like this, you now have a tube of fabric. As you can see I have marked on both sides around the tube, 2cm (0,8 inch) from the edge.

Medieval textile purse - 3
Now you want to press in the 1cm (0,4 inch) seam allowance on both sides around the tube. This is very easily done as you can simply fold the edge until the raw edge meets the 2cm (0,8 inch) markings, what you now have folded in and pressed is your 1cm (0,4 inch) seam allowance.

Medieval textile purse - 4
Turn your fabric tube inside-out and put the wrong sides together, pressing the short sides flat and nice.

Medieval textile purse - 5
Now it is time for the braiding. First you need to cut all the yarn you need, how much depend on the thickness of yam you are using. I use a medium/thin wool yarn. You will do two braids, one longer and one shorter. For my long I have 18 threads that are 2m (2.2yd) long. To my short braid I use 9 threads that are 1,5m (1,6yd) long.

Medieval textile purse - 6
On one end, make a knot so that you have loops in the end.

Medieval textile purse - 7
Cut the other side open.

Medieval textile purse - 8
I use a door handle like this when I braid, to have something to braid against.

Medieval textile purse - 9
You are going to make a simple three strand braid so part your yarn into three equal strands. As you can see you always strive to put the outer threads in the middle. And as you move the outer threads to the inside the threads that where on the inside ends up on the outside. Like this a braid is formed, yes trying to use words to describe braiding is really hard, that is why I made this neat illustration of how you do it!

Medieval textile purse - 10
Start with the long 2m (2,2yd) threads and keep on braiding, as you braid the bottom will become tangled. So now and then make sure that the bottom is untangled, or you are going to have a mess of yarn in the end and a short short braid.

Medieval textile purse - 11
Braid the 2m (2,2yd) long threads until your braid measures 1,2m (1,3 yd)(measure when relaxed) and make a knot.

Medieval textile purse - 12
Trim the end roughly, the rest of the threads will be used for the tassels so save them.

Medieval textile purse - 13
Now take the shorter treads and do the same thing, knot in the end, cut the other side open, divide in three and braid. But this time you braid the full length of the threads.

Medieval textile purse - 14
Then cut the braid in half, unravel the ends a bit for tassels and make knots. there you have the two drawstrings for your purse.

Medieval textile purse - 15
Now we make the tassels, cut a piece of yarn and tie it around the middle of one of the leftover ends from the long braid folded in half.

Medieval textile purse - 16
Make a knot and pull the knot to the top of the tassel, so that you get this look.

Medieval textile purse - 17
Make all three tassels, don’t trim the ends yet.

Medieval textile purse - 18
Now we are back at the sewing, mark two lines at both the short edges, one that is 1 cm (0,4 inch) from the edge and then one that is 1,5cm (0,6 inch) from the first line.

NOTE

I got a question on what I was basing this type of drawstring on, an the simple and honest answer is that I did not look at the extant purses. I simply looked at manuscript pictures and did what felt right and what worked.
What I have found is two bags with the same type of drawstring, but the first a 10th century German relic bag is way out of my time span and the second one is also a German bag but from 1540 so it is a bit on he late side.
This was a stupid thing of me to do, because when I looked and asked around all the extant purses have simply the drawstring pulled trough the outer fabric and lining, no holes made and no eyelets sewn.

Like these extant purses show you.
14th century Sion
Mid 14th century France
1301-1400 Europe Here you can also see what looks like a linen lining.

But one should note that the extant purses have silk cords, and the shell fabric is almost always silk embroidered linen. For a purse like mine with wool strings and wool outer fabric I would suggest that one did sewn eyelets either with linen or silk thread to prolong the life of the drawstring and bag itself.

If you wish to do eyelets instead I would suggest to to them in two levels as this picture shows, as the braided wool cords are a bit on the thick side, or to do your braids a bit thinner. If you do eyelets you can also skip the part about skipping over the tunnel for the drawstring that will come further down, just sew the braid to the bag all the way to the top in stead.

END OF NOTE

Medieval textile purse - 19
Stitch along the lines with small running stitches.

Medieval textile purse - 20
Like this, on both short sides.

Medieval textile purse - 21
Fold the bag in half, lining against lining. Short sides against short sides and pin along the edges.

Medieval textile purse - 22
Take a longer piece of yarn and thread it on a needle. Knot the end of the yarn and starting from the inside of the bag, between the lining and outer fabric, pull the tread trough.

Medieval textile purse - 23
We are now going to attach the long braid, that also is your carrying strap at the same time as we sew together the lining and outside fabric. Pull the needle right trough your braid like this.

Medieval textile purse - 24
Make sure to catch both the lining and outer layers. Go straight trough the braid, and take a stitch right trough the bag, angle it slightly upward to the other side and pull the tread trough as far away from the first stitch as you choose.

Medieval textile purse - 25
Sew like this along the length of the bag, stopping only at the channel for the drawstring that you stitched before, there go trough the layers. Then when you have passed the channel continue your sewing until you reach the top edge, there fasten the treads.
Do the exact same thing on the other side of the bag, before sewing the braid make sure that it is not twisted.

Medieval textile purse - 26
Divide the bottom part of the bag in three and attach the tassels.

Medieval textile purse - 27
Take one of your short braids and tread it trough one side of the channel with the help of a safety pin, go under the big braid and thread the braid trough the other channel as well.

Medieval textile purse - 28
Like this!

Medieval textile purse - 29
To the same thing with the other braid as well. Now you have a functional drawstring!

Medieval textile purse - 30
Pull the bag shut and then trim the tassels all around. I like it when my tassels are bigger in the middle and gradually gets shorter to the sides, but that is just personal preference.

Medieval textile purse - 31
Now it is done! Put it on your belt and feel happy! I have mine hanging from a purse hanger that I got at Historiska Fynd.

I started to feel like it was about time to sew a new dress, after three years (or tree weeks as I only really worn it to medieval week) in my green gown I had so many things I wanted to do better. I did my green gown before I started tailoring school and when I was really new on medieval stuff. I decided on brown last summer, but did not buy any fabric, and then the yellow gained on the “most wanted dress list” as it felt like “everyone” was doing brown. In the end I did a small poll on my personal facebook, and everyone said yellow… And a small voice in my head said but, but, the brown, is so pretty.

That is how you choose colours ;) so I bought a lovely oak brown thin twill from Handelsgillet a thin ans shiny fabric perfect for summer, a lot thinner then my green dress. I got it home and steamed it and put it on the “to do shelf”.

Brown Greenland gown - 1

Next of was pattern, I knew I wanted to do a Greenland inspired gown, so I looked a lot on Greenland no. 38 for this dress. I love the slim panels in the sides that flare into a wide skirt, it is perfect for fitting on a large bust and “hides” hips in the fullness of the skirt. I tried my hands on the 38 in my green gown, but now I wanted to master it with my tailoring skills.
I choose to make it much more fitted then the original gown, as the trendy tight fitting dresses from the manuscripts. I also choose to have buttons in the sleeves as you can see in the London findings. As I wanted to make this so that I can wear it as a middle dress I choose to make it with lacing in the front in stead of buttons, also this is inspired by period art, in the shape of the grave effigy of Katherine, Countess of Warwick. She sports lots of tiny buttons on her sleeves and then spiral lacing in the front.

Brown Greenland gown - 2

Also I did not know when I made the green dress but the panels of the original 38 is actually cut slightly on bias. I wanted to see what difference it makes. For one it makes the cutting of the dress very fabric effective. You get a lot out of your fabric with not all that much waste but a great fullness of the skirt.

Brown Greenland gown - 3

A big bust is troublesome when fitting and it took me about six toilles before I felt that the fit was nice, as always it is hard fitting yourself, but I am happy with how the pattern turned out. Keeping the side panels slim as in the original felt important, is would have been a lot easier it they had been wider and more of princess seams, but then it would not have been the same dress.

Brown Greenland gown - 4
Brown Greenland gown - 5
I basted together the whole dress to check the fit, I want to show you my stitches. I find that many people baste very small, this is my stitches. I make them smaller in the tight fitting areas, and then really big in the skirts. Don’t waste time on small basting, do small stitches where it matters in stead.

Brown Greenland gown - 6
After the fitting I started to sew the real seams, I do it like this. A ribbon is tied around my leg just over my knee, and then the fabric of the dress is pinned to the ribbon. As I sew the fabric is tight and it makes for quicker sewing and easier to make straight seams. I sew with backstitches where the dress is tight, until my hips, and from there I sew with running stitches in stead, with the occasional backstitch. Again, don’t waste your time with backstitches on such a wide skirt, it is unnecessary and only takes time.

Brown Greenland gown - 7
Brown Greenland gown - 8
After sewing all seams I pressed them really well and then I felled the seams to one side using a filler thread. The filler treads can be found in the seams just as this on the Greenland finds. I sew down the wool filler thread with sewing silk.

Brown Greenland gown - 9
Where the buttonholes and lacing holes are I have reinforced with a linen strip.

Brown Greenland gown - 10
I choose to sew my buttonholes with a real buttonhole stitch with a knot in buttonhole silk, as you can see on the buttonholes of the London finds, it makes for durable buttonholes that are easier to do straight, even and also look very pretty. Also note the round buttonholes without thread bars in the end, just as a medieval buttonhole should look. Also my lacing holes are sewn in silk with buttonhole stitch.
Here you can see another thing inspired by the London findings, a thing silk edge weave, tone in tone silk to match the fabric of the dress. I used DeVere silk treads in the colour Cigar and thread thickness 36 and three cards that were threaded in all holes both as warp and weft, to weave was really boring actually. It was so slow, but I love the end result. Subtle but very nice and it makes the edge more durable.

Brown Greenland gown - 11
The backside looks alight, not as pretty as in the front but it is ok the buttons are 5 mm from the edge, and then the edge weaves comes and is 3mm wide. I should have put the even close to the edge, next time I might dare more.

Brown Greenland gown - 12
Then it was time to do buttons, tiny tiny buttons and in the end it became 31 on each arm, so a grand total of 62 buttons.

Brown Greenland gown - 13
So close that they almost touch.

Brown Greenland gown - 14
Here you can see the lacing holes and also the string that I made for the spiral lacing. I card weaved it in the same silk as the edge weave and it was even more boring. Six or eight cards threaded in all four holes with DeVere silk thickness 36.
What you can’t see is that all the edges are stab stitched, around the neckline, in the front and around the hem of the sleeve and buttonhole side. Just as in the Greenland findings. It makes the edge less prone to stretching and also keeps it very flat and nice.

Brown Greenland gown - 15
This is the result and I am very happy with it. It will fit better after some wear as always with wool the dress needs to “settle” on the body. After one sweaty day in Visby it was a lot better already.

Brown Greenland gown - 16
The wobbliness that you see here will most likely be gone after some wear, it is due to the side panels being on bias.

Brown Greenland gown - 17
The “prettyness” picture that shoes all that I love with this dress; tiny buttons, pretty buttonholes, edge weave in silk, side panels, lots of hips

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.

Embroidered St. Birgittas cap - 3
Embroidered St. Birgittas cap - 4
Embroidered St. Birgittas cap - 5
Embroidered St. Birgittas cap - 6
At the end where the slit in the cap will be I made a bar by making buttonhole stitches over a couple of treads.

Embroidered St. Birgittas cap - 7
In the front I made a embroidery inspired by this picture on Medieval Silkwork.

And this is how it looks when finished.
Embroidered St. Birgittas cap - 8
Embroidered St. Birgittas cap - 9
Embroidered St. Birgittas cap - 10
Embroidered St. Birgittas cap - 11
Embroidered St. Birgittas cap - 12

Embroidered St. Birgittas cap - 13
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.

I made this picture for a Swedish medieval sewing group on facebook that I am in and thought that I can just as well share it with you to.

The question was “how does different shaped veils look from behind”

And of course the shape differs depending on shape, size and draping of the veil, but here are some simple styles pinned to a St. Birgittas cap with measurements for the veils. My favourite is the half circle.

Veil shapes

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.

The yellow dress - or the housebook dress - 1
The yellow dress - or the housebook dress - 2
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?!

The yellow dress - or the housebook dress - 3
The yellow dress - or the housebook dress - 4
The yellow dress - or the housebook dress - 5
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.

The yellow dress - or the housebook dress - 6
The yellow dress - or the housebook dress - 7
The yellow dress - or the housebook dress - 8
The pieces, now comes the real pattern work.

The yellow dress - or the housebook dress - 9
The yellow dress - or the housebook dress - 10
The yellow dress - or the housebook dress - 11
The yellow dress - or the housebook dress - 12
The yellow dress - or the housebook dress - 13
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.

The yellow dress - or the housebook dress pattern - 2
The yellow dress - or the housebook dress pattern - 1
The yellow dress - or the housebook dress pattern - 3
The yellow dress - or the housebook dress pattern - 4
The yellow dress - or the housebook dress pattern - 5
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.

The yellow dress - or the housebook dress - 14
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.

The yellow dress - or the housebook dress - 15
I have a sturdy linen as a base for my panels.

The yellow dress - or the housebook dress - 16
The yellow dress - or the housebook dress - 17
The yellow dress - or the housebook dress - 18
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.

The yellow dress - or the housebook dress - 19
The yellow dress - or the housebook dress - 20
They are made like this, They are sewn onto the linen linings with running stitches.

The yellow dress - or the housebook dress - 21
then they are rolled one at a time and secured like this.

The yellow dress - or the housebook dress - 22
The dress is then sewn and the pleated panels inserted in the front, they are attached at the top like this.

The yellow dress - or the housebook dress - 23
I decided to do the open back sleeves, so here we have lacing holes, they look like golden silk suns.

The yellow dress - or the housebook dress - 24
The yellow dress - or the housebook dress - 25
They are backed with a sturdy linen.

The yellow dress - or the housebook dress - 26
I sew in silk with buttonhole stitches, as this makes for neater and sturdier buttonholes, and it is also the period way to do.

The yellow dress - or the housebook dress - 27
The yellow dress - or the housebook dress - 28
The neckline is a single fold hem finished with stab stitching and on the back with a filler thread.

The yellow dress - or the housebook dress - 29
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.

The yellow dress - or the housebook dress - 30
The yellow dress - or the housebook dress - 31
The yellow dress - or the housebook dress - 32
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.

The yellow dress - or the housebook dress - 33
A picture on neat seams in the inside.

The yellow dress - or the housebook dress - 34
I have hooks and eyes in the top, as the lacing only goes up to the height of the pleated panel.

The yellow dress - or the housebook dress - 35
The yellow dress - or the housebook dress - 36
The yellow dress - or the housebook dress - 37
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.

The yellow dress - or the housebook dress - 38
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.

The yellow dress - or the housebook dress - 39
The long lines was couched in silk.

The yellow dress - or the housebook dress - 40
The yellow dress - or the housebook dress - 41
And then I made stars with the same silk but another tone over each crossing.

The yellow dress - or the housebook dress - 42
The yellow dress - or the housebook dress - 43
Some details in the front.

The yellow dress - or the housebook dress - 44
The yellow dress - or the housebook dress - 45
The yellow dress - or the housebook dress - 46
Sadly there was not enough silk to make the last three stars, but this place is hidden in the back and never visible.

The yellow dress - or the housebook dress - 47
The yellow dress - or the housebook dress - 48
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.

The yellow dress - or the housebook dress - 49
The yellow dress - or the housebook dress - 50
The yellow dress - or the housebook dress - 51
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.

The yellow dress - or the housebook dress - 52
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