Dungiven Jacket Documentation (And Double HSM)

EDIT, 5-23-16: After the original was stolen, I decided to make it again--the Dungiven Mark II.  Because I'm lazy, I'm not going to completely re-write my documentation, but add to the section with details pertinent to the second go.  These paragraphs will be written in a different font, like this header note you just finished reading.

Mark II.  It was (obviously) much warmer this time.

You are correct in believing the hat is not period--however, it was bloody cold out.

The project I chose for my Queen’s Artisan’s piece was the Dungiven Jacket—a late period woolen doublet found in an Irish bog. For the challenge of accuracy I decided to hand sew it with wool thread, and see how close I can get to the original.

The Find:
The Dungiven find consisted of a pair of trius (the Irish trousers), a jacket, and a brat (Irish variation of a cloak) dug up by a farmer on April 23, 1956. There were several other pieces found as well as the major ones—a pair of Lucas Type 5 [Henshall, pp. 135] shoes (sewn with wool thread, interestingly enough), and fragments of a belt that was found in the waistband of the trius. No skeleton or body was found with the clothing, which is not unusual given the acidity of the soil. The pieces were found slightly North of Dungiven, Co. Derry, North Ireland (the tiny red dot on the map). One of the somewhat interesting things about the garment(s) is that we do not actually know what period they are from—it is estimated based on shape that the jacket could have been make any time between 1570 and the 1640s.

Featured Garment; An Early Frock Coat?

Last week we went to 1330s Genoa, with a rather interesting cioppa.  I had a devil of a time deciding exactly where to go this week--I just couldn't seem to find anything that piqued my interest.  Then I remembered a garment which caught my eye months ago (or however long since I first started using pinterest)--and extremely early example of a frock coat.

This coat, from Eastern Europe, dates to 1815--a good five years before the frock coat as we know it is supposed to have come into existence--as popular knowledge has it, anyways.  In reality, it existed on the continent before that--it just took a little longer to reach the shores of merry old England.

Historical Sew Monthly 2016--An Optimistic Plan

Edited: 3-15-16

Every year I attempt--somewhat--to follow the Historical Sew Monthly (or Fortnightly, when it was every two weeks).  For those who do not know, the Historical Sew Monthly is a sewing challenge.  12 historical sewing projects (cut off is 1938), due on the last day of each month; each has a different theme chosen by the sponsor and popular vote (to some degree), and it is up to you to come up with something--anything--sewing/costuming related that somehow fits in.  This year, there is a particularly nice lineup, which may actually help me get it done--I think there is only one which I'm looking at with no idea.

The main post on the Historical Sew Monthly can be found HERE.  Read it, or else.

Featured Garment: A 1330s Genovese Cioppa

This week, we are going back to the Second Quarter of the 14th Century, in North-West Italy, where a somewhat unusual garment caught my eye.  Any guesses as to which?

14th Century Kolpak

Today I'll be going over my process and some documentation for my kolpak.  Sadly, this project was a couple of years ago, and I didn't take full notes on my documentation.  Shame on me, I know.

When I made my 14th century Russian garb (lovely period, btw.  Quite comfortable, and warm) I needed, of course some kind of headwear.  Preferably one which wasn't commonly seen...this mostly left a tall kolpak.  I really don't feel like writing an article--when Sofya la Rus has already done so, and better than I can.  So go read HERE...I'll wait.

Well, they seem to have "typically" been made of a stiffened felt--not an option for me, sadly; I don't have the materials to do so.  So I went with a logical variation--using birch bark as a stiffener.  I figured "birch is common in Russia, and was used for some things, so why not" (I seem to recall a collar stiffened with thin leather or bark).

The first order of business was to pattern, figuring out the circumference (head, plus some ease for the fur), and the height.  I then drafted a slightly asymmetrical shape that I found pleasing to the eye.  Note that the curve to the bottom is necessary.

Featured Garment: A patchwork dressing gown from 1820

An absolutely fascinating, one of a kind garment--a dressing gown or banyan made entirely from tiny diamonds of printed fabrics.  Bear in mind that this was sewn entirely by hand--not a venture I would want to undertake.

In shape, it is not an untypical garment for the period--around ankle length (based on the measurements), double breasted, and with sewn on cuffs.

Franken-frock Coat: It's Aaaliiive!!

Almost...done.  When I last last left, I was discussing the pockets, and mourning the fact that I apparently did not take any pictures of the semi-complete garment.  So, an overview it is.

To recap, my Frankenfrock is a frock coat made of 11 different wools, patchworked together; all of the shell materials were upcycled from blazers I purchased at the thrift store.  When I designed the garment, it was partly because I wanted a unique coat, and partly for the challenge of pattern matching and forcing myself towards precision in sewing my seams (the other option would be making a quilt...which just doesn't appeal to me).

Featured Garment: 1765 Skinnrock

In this issue of my Featured Garment, we will be examining a fascinating garment--a military skinnrock (which translates as leather coat) from 1765.

Av brunt läder med gul krage och rabatt med vita "knapphål" av redgarn. Fickorna är fasonerade med stående "knapphål" Gula uppslag. Över klocksprundet bak ett vitt redgarnsband.

En jämförelse med Jacob Gillbergs uniformsritningar av uniform m/1765 visar att den har samma dekorerade bröstrevärer och knapphål som Livgardet till fots rockar. Detta bör då vara en rock m/1765 för Livgardet till fot, men utförd i skinn istället för kläde. Möjligtvis rör det sig om någon form av rock för vakttjänst. 2010-05-17 MM.

Franken-frock, Part Three: What has it got in it's pocketses?

Part One was the shell and patterning, Part Two was about putting it together (at least up to the halfbody) and tailoring.
Part three, on the other hand, will be the pockets and hopefully finish work--unfortunately I didn't take nearly as many photos as I should have at that point.

And for the fun part, pockets.  I actually enjoy making them, in a mildly masochistic way--especially jetted pockets. 

Featured Garment(s): Two 15th Century Pilgrims

The chosen garments this week are those of the two Pilgrims on Folio 102r, in Le Livre des faiz monseigneur St. Loys.  The manuscript is about St. Loius--and importantly, his family--, and includes actual historical items, and accounts of miracles and such.  It was commissioned by the Cardinal Charles de Bourbon for one of his sisters-in-law (we do not know which one).  The current dating--exact date is unknown--of the manuscript is assumed to be the late 1470s, very beginning of the 1480s, based on the clothing and the prologue stating who it would be given to [Hoover.  Pp. 10].  Read the Hoover text for more information. 

 I found this interesting not as much for the clothing, which is fairly standard pilgrims clothing for the period, but for the detail of the accouterments--of the accessories.

The Franken-Frock, part II: Garment Construction Begins

It has been months since I last looked at posting about the franken-frock project--therefore, I figure that it is time.
They are slightly out of order, in a way--Part One dealt with the construction of the pattern and shell.  Part Two is the internal structure; Part Three will be pockets and finish work--however, in reality parts were done concurrently; for instance, the breast pocket was completed before sewing the body pieces together.

You can see the layers of canvassing and batting here.  From bottom to top; standard pattern chest canvas, on the straight of grain; second layer of canvas, cut on the bias (this layer is barely visible); Chest and shoulder padding, which follows the second layer of canvas; then a second layer of padding, directly over the chest to accentuate.

Featured Garment: Odd Wool Suit, 1900

For this week's garment, it is an odd brown wool suit from around 1900, that was up for auction back in 2006.

It appears to be a long, sac cut coat (and trousers) in a brown wool flannel, with faint blue/brown plaid--rather a pretty fabric, I think.  The trousers are fairly typical, as near as I can tell.

All the auction house has to say about it is the following:

2-piece, the wool having faint blue & brown pattern, fitted jacket w/ silk braid trim, Ch 40", Jacket L 33", Slv L 24.5", Pant W 31", Inseam 31", excellent.

Featured Garment: 1820s American Surtout

I decided--inspired by the Dreamstress, if you are familiar with her blog (if not, it's on the sidebar the right of your screen)--to start doing a weekly "Featured Garment".  For the most part, these are likely to be a piece of men's clothing that catches my eye--whatever period it may be.

For the first one, there is a fascinating wool early surtout--a frock coat--from America, that is up for auction.
The Auction house has this to say:

Beige wool broadcloth, fitted through chest, tan velvet collar & turn back cuffs, diagonal double row of brown thread buttons, side & F waist seam, double pleats to wide back skirt, CH 40", L 39", (1 tiny hole, velvet knap worn & torn, sleeves enlarged w/ inset beige wool gusset) very good. James Kochan - Don Troiani Collections

The piece caught my eye because of the low pockets--to start with.  Other things that caught my eye are the extra long cuffs, lined with the same velvet as the collar, and made to be turned back--also note the position of the three buttons on the cuffs.

Buttonholes through the Periods

Updated 11-4-16: 16th Century buttonholes.

Some time ago, I began to wonder: How do buttonholes differ in construction throughout history (up to the modern day)?  So, I began searching, looking at some extant garments for clues--what I found was rather interesting (hence the article on them).

It appears to be rather difficult to find exactly when buttonholes appeared on European clothing--conventional wisdom (i.e. "everybody knows!") has that buttons themselves have been used as a fastening--for a tunic neck, or Russian svita--but with a loop fastener, rather than a hole sewn in the fabric.

I'm actually finding it rather difficult to track down when they appeared in Western Europe (supposedly, they came from the East, either near or far.  However, I cannot yet document this). The typical form of clothing of the 13th Century just didn't call for them, since it was generally loose.

However, in the 14th Century, they pop up--the earliest effigy I see is from 1319.

Germany Wurzburg Burgerspital Johann von Steren 1319

Bliaut Bibliography

I decided (more or less randomly) to throw this bibliography on the bliaut together from the various links I had, plus a look for new ones.  

The bliaut appears in the 12th Century as the most common main layer of clothing in Western Europe.  As a general rule, it is close fitting in the torso, has sleeves with varying degrees of pendulous cuffs, and may or may not have horizontal wrinkles at the waist.  The neckline is usually a keyhole or slit.

 

Bliauts, Broad Skirts and Belled Sleeves: making the court dress of 12th century Western Europe

http://www.scribd.com/doc/35248635/Bliauts-Broad-Skirts-and-Belled-Sleeves-making-the-court-dress-of-12th-century-Western-Europe

As far as I am concerned, this is the best article on the subject of bliauts.  It gives an introduction, as well as patterns, variations of the style, and a look at contemporary sources.  Has information on men’s clothing as well as ladies.

Installing a sleeve vent

One of the things I found when I went to make my first couple frock coats is that there roughly no tutorials on exactly how you put together the vent on a working suit sleeve.  So, during the process of stitchripping over a dozen assorted blazers for the Franken-frock project, I paid attention to how the sleeves were constructed.  I'm not saying this tutorial is the only way to do it--or even the right way--but it'll work.

    None of them had working buttons, of course, but the construction is close enough--the main difference is in the lining.

   

 Alright.  Your sleeve pieces should look approximately like this.  When you draft, you need to add enough length to double up on the vent.  If you didn't, you can always sew on a piece to be the facing.

Research Dump, No 8

Included in this edition are several links on 16th century clothing, a couple of treatises from the same period, Romani and Chinese clothings, and numerous other subjects.





Notes and Illustrations on Regency Clothing Styles

(I should note that it naturally only covers women's clothing)
http://www.pemberley.com/janeinfo/ppbrokil.html


Women's Dress and  Dance of the 16th Century Ottoman Empire
http://wiesenfeuer.ansteorra.org/links/artsandsciences/compilations/kajiracamber/Women%20and%20Dancers%20of%20the%2016th%20Century%20Ottoman%20Empire.pdf


Early 16th Century German Peasant Clothing
Some decent information, but I definitely do NOT agree with some of the author's suggestions on recreating it easily.
https://amiesparrow.files.wordpress.com/2014/06/early-16th-century-german-peasant-clothing.pdf 

Elizabethan House - Robert and Laura Mellin: Clothing and Accessories
A basic overview of Elizabethan clothing.
http://traynedbandes.com/wp-content/uploads/2013/05/2-Elizabethan-House-Clothing-and-Accessories.docx.pdf 


Grisone, Federico:Künstlicher Bericht, ... wie die streitbaren Pferd ... vollkommen zu machen 

A German Horsemanship treatise from the end of the 16th Century.  Specifically regarding hard to break horses.
http://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00084455&pimage=00001&v=100&nav&l=de 

Latest project, Unveiled. The Franken Frock (coat). Part I

Most people already know about this--it's not exactly a secret--but I have not officially announced one of my latest hare-brained schemes.  Since November I have been gathering materials, and am finally beginning to work on assembly.

A single breasted Frock Coat, based theoretically on the 1870's patterns (mainly the lapel shape), in a patchwork of tweeds I am upcycling from blazers found at the thrift store.  I have affectionately dubbed this project as my "Franken-Frock".  I've seen a few examples of patchworked coats, and personally have found them all to be hideous, with large pieces of material used in random places.  In comparison, part of the point of this project is to force myself to higher accuracy in stitching, since if I don't the pattern will get slightly askew (i.e. Let's challenge myself with pattern matching).

Research Dump, No. 7

Norse Stamp Pattern Jewelry
A class on the design of "Viking" armbands, and pendant decorated with stampwork.
http://www.fitp.ca/articles/FITPXXI/viking_silver.pdf

Period Tailoring Techniques--making a doublet interior--part 1
An article more or less discussing the interlinings and canvassing of a doublet.
http://www.reconstructinghistory.com/blog/period-tailoring-techniques-making-a-doublet-interior-part-i.html 
Part II: http://www.reconstructinghistory.com/blog/period-tailoring-techniques-making-a-doublet-interior-part-ii.html
Part III: http://www.reconstructinghistory.com/blog/period-tailoring-techniques-making-a-doublet-interior-part-iii.html 

Rock of the Eye
A discussion on drafting patterns by Rock of the Eye (less poetically known as "eyeballing it").  There is some good ideas and thoughts in here, although it takes them some time to get there.
http://www.cutterandtailor.com/forum/index.php?showtopic=853 

1370s Blue Cottehardie. HSM: April - War and Peace.

The Project:

This project is a men’s cotehardie, from the 1370s.  I wanted a garment which would work equally well for outdoors (“hunting”) and for less formal functions—not court clothing, but certainly not low class, either.  It is somewhat more modest in length than the average for that time—however, as you can see in the German Effigy, not everyone wore garments which showed off the majority of your legs.

Base Sources:
              I based the garment on several illustrations from the period.  A couple illuminations of soldiers (or one soldier), and a German effigy.  I don’t believe there actually are any finds of this kind of garment, beyond the Charles du Bloise pourpoint[i] (which is a silk gold brocade).

BNF Nouvelle acquisition française 15939 Miroir Historial (Vol 1) Folio 122r

Drafting Patterns from Extant Garments

Ever wondered how to take those line drawings of an extant garment—like those Medieval Garments Reconstructed, Marc Carlson’s database, or Patterns of Fashion--, and make it fit you, while remaining as true to the original garment as possible? Or better, photographs of the garment itself and figure what shape the pieces are?  
            This is the method I used for most of my major projects; The Sture Suit, G63, and most notably my Moselund Kirtle, as well as a number of projects which are planned but not constructed.

            A point on terminology for reconstructing garments (this is what I use): A museum replica is a piece made entirely with the correct technology, to be as close to identical to the extant piece when new (as possibly).  A working replica (what this class is geared towards making) is patterned from, and maintains the proportions of the extant as much as possible while having it fit you, as well as construction and definition; however, the fabric might not be spun/woven to order.  "Inspired by" I do not consider to be reconstructing a garment--you may be making a perfectly good, period piece, but the goal isn't to get as close to a specific extant garment as possible.

Research Dump No. 6

Shoe notes
 A collection of notes about a pair of shoes based on the Oseberg.  I believe the information is good, but it is an angelfire site...so have your pop-up blocker ready.
http://www.angelfire.com/mi4/olafvanta/Dirk/shoes/dshoes.htm 

A HOARD OF 16-17TH CENTURY TOYS
An article on a collection of toys found hidden in an English church.
http://irisharchaeology.ie/2013/02/a-hoard-of-16th-and-17th-century-childrens-toys/  

14TH CENTURY WOMAN'S CLOTHING: THE LUTTRELL PSALTER PERIO
A decent article discussing the various pieces and layers of clothing from this period.
http://users.skynet.be/bister/Passion/Fichiers/14thcClothing.pdf 

Sture Suit: Finally (almost) Complete

Project:

              The full project will be a head-to-foot German renaissance outfit, patterned on the extant suit of Svante Sture.  All in all, this includes a doublet, pluderhosen, shoes, netherstocks, a hat, and probably a belt of some sort.  This documentation will only discuss the doublet and pluderhosen.

The find:
               The find this project is based on is the suit that was being worn by Svante Sture at the time of his murder on May 24, 1567.  The suit was saved and placed in Upsala Cathedral by his widow Marta.  The suit consists of a black velvet doublet and pluderhosen, trimmed with a greenish-grey silk.  The puffs of the pluderhosen were of the same fabric.  Overall, the outfit was fairly moderate—suitable for an older gentleman, or my more subdued taste.

The full suit. (From Patterns of Fashion 3, by Janet Arnold)

              

Pattern:

              The doublet is a fairly simple form of construction—single piece back (integral back collar), front pieces, sleeves with an interesting cap, shoulder wings, and a single piece peplum.  I chose to leave off the shoulder wings—in the first attempt at making the doublet I included them…then decided that I really did not like how they feel and look.  There were also a couple of pieces inset into the side, presumably to accommodate for weight gain—I left those out as well, because—while contemporary—they are believed to not be original to the pattern.

14th Century Suit: A start

This is a (almost) completely new period for me--I have a suit of 14th century Russian, but it bears little resemblance to the clothing being worn by the rest of Europe at the time--and have done a couple of odd pieces, but not the full outfit I've been dreaming of for years.  Recent posts by the blog Exploring the Medieval Hunt have inspired me to make my own outdoors ready outfit (it was mainly that awesome square hood style)...with winter ready layers and accessories.

While I started out by looking through medieval huntbooks, I soon moved away from them--the ones I could find were either too late, or too early for the style I had envisioned...a close fitting cotte (I eventually went through every image I could find from my chosen time of 1370).  In addition to the required hosen (either red or brown), I want one or two hoods.  The first, a simple pull over liripipe hood, and the second as a square mantled, fur lined hood.

Historical Sew Monthly, January: Foundations

Being worn without an outer layer--I was rather cold...

For the first entry this year, I have a simple undertunic.  Those who know me, know that I tend to play in early medieval Northern Europe, so this was a much needed addition to my wardrobe (all my old undertunics died.  Horribly).  I threw it together a few days before an event, once I remembered that I would need a new one, and did the hand finishing (sewing down the yoke and cuffs) in the car on the way to the event, as well as late that night while partying.

The pattern is simple—two body pieces seamed at the shoulders (it would have been one long one, but I wanted the stripes running lengthwise on the garment), two sets of gores, and two trapezoidal sleeves.  The gores were made approximately as wide and long as I could.  I may stitch rip, then inset gussets in the underarm at some point in the future.

Phrygian Cap Documentation

Phrygian Cap

Being an entry into the Viking Stitchery Competition at Summer Coronet, AS 47

A Phrygian cap to match my new ionar, in green/black herringbone wool, lined with green linen.

Goals

This piece, aside from being a clothing accessory, is intended to example several seams and stitches appropriate for Norse clothing.  What it is not intended to be is a period perfect replica of an existing garment.

Pattern

After trying out several possible patterns, I decided upon a simple three piece one, consisting of two sides, and a circular top.  This pattern, I feel, gave me the best combination of utility (as the hat will be actually used for warmth) and drape for the desired profile.

The pattern used.

A pair of Norse Shoes

Completed Shoes.  Not particularly attractive--especially unoccupied--but they should serve.

This particular project was inspired by a terrible need for a pair of early period shoes—something fairly generic, but period (Viking Age) in cut.  While I started by patterning off of the Oseberg 303s—and did keep the basic outline of that pair--, I ended up draping many trials in order to get the fit I desired.  My goal was to make a pair of shoes which met my desired purpose—something which could be worn in winter with heavy socks and would keep the snow out.

Overall, the shoes are based on a slightly simplified Oseberg 303s—a single piece upper with no center seam.  There is a dart in the center back (of the heel), covered by the triangular extension from the heel of the sole.  The heel extension was more commonly found on Anglo-Scandinavian footwear, but also on Oseberg 172[i].