*Lady* Gillian de Chelseye

At Midrealm's Pennsic court, I was awarded my Award of Arms (AoA) and can now call myself either Lady Gillian de Chelseye, or Gillian de Chelseye, AoA.

My friends conspired to make a proper lady of me and I certainly was surprised. I nearly fell off my bench and had to be escorted to the dais by my clan brother Berach.

Lady Maeve Dianotto inscribed my scroll, and a view of her magnificent work can be seen here at her website.

I also was awarded a baronial Northern Star for Service during the baronial Pennsic court.

In other news, this lady is finishing her armour and will begin fight practice next week Wednesday.

Woot!


YiS,
Gillian

Much to my surprise...a t-tunic!

Well, I thought I had several more hours of work to go on Anne's t-tunic. Surprise, surprise, it's done in under 2 hours and just needs hemming and the collar finished. And that's hand work anyway. I might use a contrasting seam binding for the collar. Pretty it up.

So, here it is, just in time for Pennsic. (And that means I can cut the second kirtle tomorrow at work). The color is a little hard to discern from these pictures, but it's a sort of jade/grey green. Great little dyeing mistake that turned out well. I guess it could look teal in the right light, but it seems like jade green to me.





For you Authenticity Buffs out there, here's what I usually base this pattern on:

http://www.personal.utulsa.edu/~Marc-Carlson/cloth/type5.html

15th century kirtle

I finished Anne's first kirtle today at work. The last thing I have to do is cover the grommet holes with embroidery floss. Normally I would hand-bind the eyelets, but this is the quick and dirty way. It'll look nice with the floss over it though. And she'll have to find something to lace it with (lucet cording works well), because all I have is a safety pin to hold it together at this point.

The major seams are machine sewn, but the sleeves, the hems, and the collar are all hand-finished. It's helpful to have nothing to do at work and plenty of sewing to do. It makes me want to work even harder so I can get through my garb to-do list before Pennsic.

In period, they would have worn this over a long sleeved-smock, then pinned on lower sleeves to cover the smock arms. Here's a period painting illustrating such:


and...


So without further ado, here's some pictures. Hopefully I get some with her in it at Pennsic.

News and Notes

Well, it's a good thing I haven't had much SCA news to post lately, as I've had plenty of mundane accidents and emergencies to deal with. The most exciting (and problematic) of those was the tree that fell on my house. Needless to say this put a speedbump in my roadway to Pennsic projects.

Speaking of Pennsic projects and fast approaching deadlines related to said projects, I've made another list!

My personal garb

• wool peplos/bog dress for official MacEoghain functions
• wool Persian coat for our "A Meal in the Levant" class
• dark blue linen tunic dress, 13th century
• chevron weave tan linen short sleeve tunic dress, 13th-14th century
• at least 3 more Bohemian Bathouse smocks, 1 linen and 2 muslin
• an early 15th C. kirtle, linen
• an 11th C. tunic dress in lightest peach with a surcote in rosy lavender
• at least 3 more pairs of hose
• real garters, instead of fabric scraps (or more fabric scraps...)
• wool inserts for my period shoes
• at least 2 pairs of drawstring pants
• 5 pairs of shorts/underwear (the last batch were cut wrong, wrong, wrong and I refuse to wear bike shorts again this year because they're too hot)
• 2 new veils, linen
• a new coif, linen
• a dark grey wool court dress, 13th century with embroidery
• 2 cotton tunic dresses, 12th century
• alterations on blue cotton tunic dress
• a Viking/Rus ensemble, tube dress over-tunic

My projects for other people:

• 3 gowns; a 11th C. tunic dress and two 15th C. kirtles for Anne, Io's new lady. It's her first Pennsic and her first garb and hopefully she'll be comfortable. Possibly a few Bohemian Bathouse smocks, but I'm waiting for the go-ahead on those.

Sure, it's a lot of stuff, but I'm mostly finished with one of Anne's 15th C. Kirtles, and I have the tunic dress cut out. Once her stuff is done, I can finish mine. I'd like to be able to take an actual amount of clothing this year so I'm not running around in my chemise.

More later, maybe some pictures.

A little off-topic, but I found this fascinating

From Ms. Frizzle's blog:

Aoccdrnig to rscheearch at an Elingsh uinervtisy, it deosn't mttaer
in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is
taht the frist and lsat ltteer are in the rghit pclae. The rset can
be a toatl mses and you can sitll raed it wouthit a porbelm. Tihs is
bcuseae we do not raed ervey lteter by it slef but the wrod as a
wlohe and the biran fguiers it out aynawy.

Someday tent project

I want to build the tent with the pine branches and the wooden door on it in this picture from the Romance of Alexander (Bodley 264), c. 1338-44.

*sigh* So many projects, so little time.

I've been working really sporadically, but still furiously on my Flemish kit. More updates on my Flemish blog.

Yours in Service to The Dream,
Gillian
(Gille? Gill? Giles? <--That's my name when I'm in armour.)

Tablet weave garters

So I'm currently dabbling in tablet weaving and I think I'm making garters for my hosen. I'd also like to make another pair of hosen with the wool scraps from my new wool. The garters will be dark blue, teal-ish blue, and orange wool/silk.

I've been using cotton scraps for garters up to now. I'm just having a problem sitting down and finishing my tablet weaving. It makes my back hurt. Maybe I can entice Gwenyth to finish it for me...I'll have to ask her next week. I can make her one of the new bags. More about those later.

YiStTD,

Gillian

P.S. I took down the Flemish garb posts and moved them to a new blog of their own: http://flemishgarb.blogspot.com.

YiStTD,

Gillian

Research is so much easier with the internet.

I'm pretty sure that my generation will never pick up a book from the library again unless they go for Master's degrees or PhD's. I love the ease of the internet, the ability to cut and paste and bring multiple sources together in seconds. I feel like the people who went to college just ten years ago were left out of this information access. Internet research will dominate the academic world forever.

I'm so glad I can sit at home, watch the History Channel and research my Flemish gown from sources, paintings, and anecdotal recreations from all over the world.

What a great life for academics.

YiStTD,
Gillian

13th-14th century drawstring pouches with stamped designs

Ever since I checked out that textile book last summer, I've had it in my head to create a stamped fabric creation of some sort.

After much mulling over and hopeful thinking and studying of shapes and designs, I've finally decided to do some test samples. At first they will be very simple: a Fleur-de-li and a three-cornered Celtic knot. But I hope to move onto some of the garland and flowery prints as I develop. I'm hoping Corwyna will help me create wood blocks for printing eventually. For now I'm going to make very simple closed-cell foam versions.

There's about a million and a half ways to make these bags, so I thought a broad view of as much information as I can get a hold of was important. This site about pouches and bags and reliquaries, Oh my! has excellent links to pictures and information of different styles of bag.

This bag is the shape that I'd like to create. The silhouette, if you will:


"woven of silk and wool with the arms of Brabant-Limbourg and Bourbon, 1291-1310"
Picture Source
Caption Source


I'd like to have tassels attached like in this picture:


1300-1330
Picture Source (This is my screen capture of detail. You can find the full picture at this site.)


And this is sort of what I'd like to eventually accomplish as far as print styles go:


"Small bag or aumônière made in Italy in the 14th century; fabric is apparently a form of brocade made of silk, linen, and cotton"
Picture Source
Caption Source

So that's it for now. See you tomorrow.

YiStTD,

Gillian

A good answer to someone's question on SCA-Garb Yahoo Group

This question was asked by a new fighter's mother on SCA-Garb Yahoo Group that I belong to. I was impressed with my answer--that sounds self-involved, doesn't it? Anyway, I thought it was a good solution to her problem, so read on.

I'm not sure where else to ask this question.

My son is now an authorized fighter, as of last weekend. Of course, nothing will do but that he LOOK splendid. Problem is, I know JUST what I want, and have no idea where to find a pattern to use or adapt for what I want. Maybe ya'll can help me.

I've seen fighters in surcoats with "cap sleeves" and split "skirts". The coats usually have ties in front or back.

Am I making sense? And can anyone here point me in the right direction to find a pattern for this? I could probably "wing it"....but this is for my son, and it has to be JUST right. (nooooooo....*I* am not a veryproudMommy)

Fiondel

Mother of Arthur Gordon, newest Calontir fighter

Congrats to your son, Fiondel. I hope to be taking that journey later
this summer. As a new fighter (and a girl who loves to sew), I too
want to look good and avoid the barrel plastic/carpet look. I've been
at the books with this problem for a few months and this is what I've
found.

I might know what you mean by cap sleeves, but split skirts are a must
for any fighting tunic that falls below the hips any distance for the
sheer need for mobility.

That said, there are literally thousands of ways to make a fighting
over-tunic and even more ways to decorate it.


Three things to consider when choosing a style:

1.) Is it mobile enough for my fighting style? (This is VERY
important! A fighting tunic designed for speed and agility in a
tournament differs greatly from one for giant melee wars like at
Pennsic where heat and exhaustion become important factors.)

2.) Do I want to research and provide authentication for my style, or
do I just want something that fits and looks good and damn the A&S
exhibit? (The latter is a very valid choice, especially if you're low
on funds/skills/time)

3.) How much money, time, and skill do I have and what can I do with
them? (Cotton bedsheets in a rainbow of colors can be had from
second-hand stores for a few dollars. Please, PLEASE use all-natural
fabrics (not wool though--too hot--although there may be some who
disagree with me) for fighting garb of any sort because polyester will
hold heat close to the body and can cause a myriad of heat-related
health issues. Sewing machines can be found there as well or retail
for as low as $70 dollars and as high as $7000. Will you need help
drafting a pattern or draping and pinning? How will you finish the
seams? Decorate with appliqués or embroidery?)


********
Now onto your suggested style of tied tunic with cap sleeves:

I would wing it if your son is set on that look.

Before you do that, though, talk to some fighters wearing that style
and pump them for information:

Is it documentable and what is that documentation? (again, if this
matters to you, if not, then ignore this question. If you do ask it,
pick a good time--not right before the fight and not right after.
Give them a few minutes to warm-up/cool down.)

How does it wear in the heat? Is it easy to clean? What kind of
fabric? How long did it take to construct? Ask any questions you
feel necessary and make sure to write down the answers. Maybe even
get contact information so if you have another question, you can email
them. It's a good way to make new friends and a great way to learn a
little bit about various cultural differences in the SCA.

IF you cannot find anyone to talk to about the style, I would sit down
and sketch and fiddle with what the style will look like--even if you
cannot draw. Many period styles are based on geometric shapes and are
easy to draft out on graph paper.

This is what I *think* you are looking for from your description:


Body front and back:



Sewn at shoulders and has open armpits, "cap sleeves" attached along
the top of armscye and not all the way around.

Attaches around body by ties at the bottom of the armscye and at the
hip, but you can add more if necessary.

The sides below the hip are open to the hem for mobility.

You can shorten or lengthen the hem as needed.

Reinforce the neck scye, the armscyes, and the ties because they will
get a lot of wear and tear. Plan on replacing the ties periodically,
and maybe after the first battle--a small hand sewing kit throw into
the armour bag should be a part of his armour repair kit anyway.


Sleeve:



Covers only spaulders/pauldrons and ties underneath arm.

Make sure you measure the spaulders so that they completely cover them
and do not impede the movement.

Make the ties long enough and reinforce them at the sewn points. I
would cut them from strong fabric on the bias, or use 1" bias tape
sewn closed.

Do not use poly or cotton "rope" trim from the fabric store for the
ties. At first chance it will unravel or break and it's a pain in the
butt to sew securely onto cotton/linen/anything. If you *must* use
it, get a smaller gauge (less than 1/2") and hand sew it on so you can
be sure it's on tight.

(EDIT 2/4/08: thinking about this more in depth, using tablet or inkle-woven bands, lucet cording, or finger loop braids would be very period depending on what era you're involved in. They look cooler too. The tablet weaving doesn't have to be intricate, a simple one-color band would do as well as anything fancy and you won't be as devastated when it rips.)

***************************************

So I think I just solved my own problem with surcote sleeves. It makes me happy. I like this a lot. Not to mention that a plainer version will allow my Clan tabard to stick out better in a crowd. However, while these plans are for "to the elbow" sleeves, I think I'll be making mine long enough to cover my yucky ugly plastic wrist bracers.

YiStTD,
Gillian

Persona Identity Crisis

So I know I'm not the only one who changes or wants to change or has changed their persona, but I'm in a real pickle here. I've got eighteen thousand projects in various stages of development currently and they all seem to be from different eras and places. It really puts me in a bind as to who Gillian wants to be within the Society and what Melissa wants to spend her mundane time doing.

I've always had the goal in the SCA to avoid MPD--Multiple-Persona Disorder--because I think it's tacky if done wrong. But I also like being able to blend in with my surroundings and having a multitude of options. I have this sort of obsession for the accurate and documentable. It's not enough for me to know how things were done, I have to achieve it too. I guess it will help to list and describe the projects that are pulling me in these many directions.

Let's go in order of importance:

1.) Rework "Beyond the Wench: Mid-16th Century Garb on a Budget" to fit a 30 minute class time by the end of April, including my own sample researched Flemish outfit from the skin-out, including headgear with a budget of $30. I only have the research, drafting, and chemise finished (and the chemise isn't truly finished--HEMS!).

2.) Finish gambeson, surcote, chausses, braises, and other non-garb elements for my fighting kit.

3.) Finish test samples for toddler garb for eBay. I need the cash and I need to free up the space that my less historic fabrics take up for my new nest of delightfully expensive new textiles.

4.) Use some of the new wool flannel to make a winter peplos so I can play as a Celt sometimes.

5.) Use the new silk to make a simple 13th C. Persian-inspired garb for ME-themed events.

6.) Use new linen for making another 13th century gown, surcote, and ruffled fillet/barbette for summer courts.

7.) Use new wool and linen to make Viking dress and apron (and coif), respectively.

8.) Use new wool for making another 13th c. gown for winter courts.

9.) Make fabric stamps for sample 14th c. drawstring fabric pouches. That would preclude me actually making the sample bags as well.

10.) Make some simple Byzantine garb with research and extant examples/paintings/other art because I feel like it isn't well-represented in this area (or in the Midrealm for that matter).

11.) Repair and finish all garb in my wardrobe. This include hems, cuffs, and neck scyes.

12.) Organize sewing materials and notions and give them their very own area in the apartment, with a distinct sewing table. Go through fabric collection. Put aside fabrics for the Canton newbie garb event next Fall. Consolidate scrap bags. Sort fabrics by type into separate tubs. Sell fabrics with value, but are of no use to me. Use older/yuckier fabrics in my collection to make Pennsic junk garb that I can destroy without feeling guilty.

13.) Die of overwork and take 10-day vacation at Pennsic with all my garb finished AT LEAST 3 weeks beforehand. (HA!, yeah right.)



I'll stop there because it's my lucky number, ironically. Legend has it that Friday the 13th is considered unlucky because the Knights Templar were attacked en masse and destroyed on Friday, October 13, 1307 by King Phillip the Fair of France. There is no documented date of the incident though, so don't listen to what History Channel tells you as it is often very, very wrong.


YiStTD,
Gillian

Yes, I know I just posted, BUT...

I wanted to gush about my toddler interpretations of period clothes. I'm not a mom, but I am an aunt. I spend countless hours with the girls (14 m/o twins!) and have always wanted to make them some garb just to see what period construction can do for ease of wear in kid's clothes. I've often thought modern clothes far too "cookie" cutter and unable to adapt to the wide range of shapes and sizes in kids and adults.

On eBay, at least, it's very hard to find simple, sturdy children's SCA garb that doesn't look like bargain bin junk. It is *especially* difficult to find garb that is cut to allow for expansion--which I suspect would have been a period practice, though I don't have hard proof. It's also hard to find children's garb that looks fairly authentic.

So I measured Boo Boo and Moo Moo (identities concealed with my nicknames for them) last week to see what I could mock up. I did three separate patterns from one mock of the same cut.

First of all, I worked on a girls t-tunic that was layerable and with extra seam allowance to let out (or take in) as they grow out and up. They currently wear 18 m/o and 24 m/o commercial clothing. I added an extra 3 3/4 inches to the hem, 4 inches to each front and back panel horizontally so that almost 8 inches can be taken out around the chest and waist. The hem will fall just below the knees.

Next, I made a simple coat that could pass through Byzantium to the Levant to the Mongolian steppes. I'm leaving everything plain so the new owner can add what he/she likes for the period they prefer. I left out the gores, but I cut them and am including them when I send them in case someone wants to add them in.

Lastly, I made a really simple peplos for the little female Celts/Romans/Greeks out there. When I decide on a male pattern for trousers and leg wraps that will fit diapers, I'll market them with the t-tunics for the Celt/Viking boys.

For the future of the line:

I also made a simple coif pattern based on my own. It's 16th century based (3 piece), but I'm going to do a pre-16th C. 2 piece pattern for the real authenticists (like me) out there. I'd also like to do a liripipe hood and a hood-less cape. I'm also a little bit interested in a simple middle class Flemish from the Tudor era.

I'm definitely investigating making basic muslin chemises in two styles: square neck with finished wrist cuffs for the later period, and regular round neck with open wrists for the earlier period tunics and peplos.

Any more ideas, leave them in the comments!



So hopefully, I'll have about 8 samples for sale (and pictures for an update here) on eBay by this weekend. I offer special free pickup for SCAdians who are attending the same events as me, so take a look and let me know if you're in the area and I can deliver at the event.

Yours in Service to The Dream,
Gillian

Travelling Forward in Time to the Tudors Again

So any of the five of you that have stumbled upon my humble little site may remember my attempt at creating a class on Tudor middle class garb for Pennsic 36.

Infamously titled "Beyond the Wench", this class was based on my interpretations of some Flemish middle class Tudor-contemporary paintings by Breughel and sketches by Holbein, the book "The Tudor Tailor" by Ninya Mikhaila and Jane Malcolm-Davies, and "Tailor's Pattern Book 1589" by Juan De Alcega for period patterning tips and sewing instructions.

Both books are excellent resources. Alcega's book can be had for $105.00 on Amazon.com, but check your local Inter Library Loan for a copy. Michigan has MelCat and this book is available through this system if your library is connected to MelCat (most MI libraries are). Mikhaila's book is about $40.00, but buying directly from them is better for everyone. You'll pay a little more in shipping, but they can continue their work by taking in a larger profit.

I have been asked to present the class with the completed garments at the end of April for Squire's Revolt (which is to have a Tudor/Elizabethan theme this year). Now you may also remember that this era is not my especial favorite, but something about these Flemish styles speak to me as a female and a medieval re-creator. They can *easily* be styled up or down to change classes. Different sleeves can remake the entire gown. One can really go hog wild with trims and beads and pearls.

Here's a very simplified, broken down version of the kirtle and gown I'm attempting. My version is closer to the cutting layout of "Tudor Tailor" and "Pattern Book".

My chemise is already completed (uh, well minus finishing the hem [you're surprised?] and neckhole), and is of white cotton muslin. I normally use unbleached muslin for my earlier period chemises because (for me) it represents the less refined aspects of medieval clothing.

So keep an eye on this blog for more updates. I have 3 major projects going right now, and several smaller ones in the works.

Also, I'm experimenting with a toddler line of basic t-tunics, early period peplos, and Persian coats that will go on eBay next weekend hopefully.

Black and White Pennsic Pictures

Finally, as promised:




































These were taken over two days during the castle and field battles. This year, I'll be fighting instead of watching.

Take into account that I did not have any glasses, so I couldn't focus my camera and refuse to use my SLR on auto-focus.

New year, new gown

Oh what I naughty girl I am for not posting about my new gown. Not only that, but I have no pictures yet and I didn't finish my chemise to go with it, I haven't hemmed it or the surcote that goes with it, it's not in the century I had researched, and it has to be completely finished by February 9th for Val Day.

...Aaaaaand it just occured to me that that is my freaking anniversary and *that* is why Bryan was put off when I told him I was going...jeeeez I'm dumb.

Well, maybe I can come home early.

Onto the dress:

So in the previous post in November, I was planning an extravagant Gothic fitted gown with underpinnings and accessories. Well, I didn't get my shoes for Christmas, so that's out. I also cannot fit a GFG without help and Bryan doesn't fall into that category.

So I settled on underwear-out for a mid-13th century gown based on the extant example of St. Clare of Assisi's gown. It's simple, and with a few modifications (read: extra side front gores), my ample bosoms fit right in.

(Short note, I made this dress, with a lining, and the surcote, from scratch, no patterns, jsut drafting straight to the fabric, in about 48 hours. I forgot about 12th Night and the Baronial Investiture--Hoobah for Odo and Dulcinea!--until about 3 days before the event. So kudos to me.)

The idea for the gown came from this site. It's pretty well known amongst garbers of this era because of it's simplicity, clarity, and accuracy. I have not been able yet to verify this source, so if you have been able to have access to this research or the book it comes from, let me know.

The reason for this change was not only because of the difficulting in fitting a GFG alone on a fat figure, but also because my linen is very heavy coatweight and it really didn't drape right around my curves.

While this gown is actually based on St. Clare's clothes as she would have worn them as a Bride of Christ and head of her Order of Poor Clare's, I was able to support my theory for the look with other sources--specifically the Maciejowski Bible and Manesse Codex. The Bible being of French origin and contemporary time, I can show a wide swath of style from Assisi in Umbria, Italy to other continental kingdoms. Most particularly or note is the picture of the Benjamites winning wives from Shiloh, and the women of Israel meeting David after slaying Goliath. These two illuminations display the solid color, floor length, belted gown with a simple circlet and no veil.

The Codex is a little later, being 1305 C.E. and are of what we would call German origin, but because of the lack of unity of the many pricipalities and kingdoms of the region, I'm going to say that there are Swiss and German people represented, but not in our modern sense. The styles have changed a little, but here I can find documentation of my surcote on a female. In this illumination of
Count Konrad von Kirtchburg is climbing up to his lady love, who is wearing a sleeveless surcote over her gown.

Also supporting are the illuminations of

Herr Gottfried von Neifen
Herr Jakob von Warte
Herr Walther von Klingen
the poet Kuerenberger
and several others. I suggest these sites and a Babel Fish translation to get the gist of what the illuminations mean.
The University of Heidelberg
and
Tempora Nostra


I have not finished the underwear yet, but I'm working on it.

More updates soon, hopefully with pictures, but don't quote me since I haven't produced the promised Pennsic pictures yet.

In Service to The Dream,
Gillian de Chelseye.