Frankenblogging Part 7: Medieval veils and other headwear

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. This one is late! My apologies.


Today's installment is made of a couple of pages from the old site. The first section is the short opinion/advice piece that grew into a larger research project, on 12th Century French women's court headwear, and the second is a set of pieces I wrote about buckram and other materials in making historic hats, closing with a tiny little thing I said once about straw hats.


A short observation on early veils

The early veil (think Norman Conquest - there are two ladies on the Bayeux tapestry wearing something that looks like this) seems to have been a smaller version of the roman matron's veil.

It's a large rectangle, worn by laying the centre of the long side over the head, crossing the ends over the front of the throat, and tossing them over the shoulders. No bands seem to have been worn with this style of veil, but keeping it in place would have definitely been helped by pinning it to braids wrapped around the head. It's very warm, as well, so if you live in a hot place, make it of thin cotton or linen, with a slightly open weave, to let air pass through. For winter, make it of wool or heavy soft silk.

A good place to get inexpensive, high-quality, premade veils (my early veil is exactly this item) is at Dharma Trading Co. They carry them in silk and cotton (though they call them sarongs).


Buckram and Elizabethan Hats
This is OLD, I wasn't as much of an expert as I thought I was, and this wasn't EVER my main focus of research. I can MAKE hats, and I was trained in modern millinery techniques (i.e. 1800s and more recent). Please have a look at the websites of those who do specialize in this period, like Sarah Goodman and Drea Leed.

I trained with a professional milliner (who is now retired) making reproduction hats, using traditional techniques and materials. I've done theatrical costume and I've also been researching and making documented period costume for over 10 years. Much of what is given below is based on my experience with the various materials.  

That last sentence is pretty accurate. It's practical advice on using modern materials, NOT AT ALL a piece on making authentic reproductions. Keep that in mind!

Period Usage of Buckram  No, not really about buckram at all. I didn't find any. See my cautionary note, above, PLEASE! This is another case of "Ive got a BOOK! Look! Expert! ME!" syndrome. 

Sigh.

I have checked my copy of _Queen Elizabeth's Wardrobe Unlock'd_ (Arnold), and it seems that buckram was used in giving body and shape to clothes (as Pellon interfacings are used now), but not to hats, during Elizabeth's time. Stiff felt was used for shaping hats, which would then be covered with the fashion fabrics. I suggest Arnold's _Patterns of Fashion_ for more information (with photos of construction details on an existing example) on at least one hat (my copy is now gone and I have been unable to replace
it). Also, try the Elizabethan Costuming Page, as it focuses more on this period than I do, and may
have more information on where to look. The main downside to felt is that millenery felts are fairly expensive.

Modern Buckram

Modern buckram is made in a similar way to period buckram. 10-years-ago me seems to know SO MUCH about things I haven't really researched personally. Please ask someone who really knows what they are talking about! "Buckram" basically is now defined as a coarse-woven cloth stiffened with starch, and the meaning of the word has not changed very much over the intervening time, save that in the 16th c it also referred to the unstiffened cloth. If you want to use it for hats, you should look for and purchase millinery buckram as it is superior for hatmaking. It should, in any case, be reinforced with a millenery wire frame securely whipped down onto the buckram, in order to produce a reasonably sturdy hat. Buckram's main advantage is that hats made with a wire-and-buckram base are less expensive to make, and are lighter, cooler and tend to breathe better than felt hats.

Other materials (In hatmaking)



This is actually pretty good advice for people wanting to learn how to build hats on the cheap. I've used posterboard, plastic jugs, coathangers, cardboard pizza boxes (unused), cereal boxes, etc. Alternative materials are a great way to learn.


Now, if you are wanting to *practice* making hats (or if cost is an issue), lightweight posterboard is a reasonably cheap and practical alternative for working out shapes and fit before working with an unfamilar (or expensive) material or technique. Also, medium- or heavy-weight posterboard is quite sturdy for costume hats, and is often used for making headwear and props for theatrical productions on a smaller budget. A posterboard base can be covered with fabric and finished just as a buckram-and-wire base can, and I have a few 'practice' or 'stage' hats in my costume closet that are indistinguishable from the 'real' hats to the uninformed. I have found that using an equivalent weight of posterboard for a base structure is almost equally durable as an inexpensive sized felt.

All three materials (sized felt, buckram, and posterboard) are sensitive to moisture and will lose shape if they get wet, are crushed or damaged in any way. I suggest that you start out with posterboard to begin with, and, once you are familiar with the shapes, fitting, etc, you can then move on to a felt base hat. The successful 'practice' hats, if nicely finished, will do nearly as well as felt-based ones would for camping events, loaners, dress-up hats for demos, or other situations where one's best costume isn't really recommended anyway.

On Straw Hats
Wow, actual good advice without too much Authoritative Tone. Straw hats are nice, anyway. 


The basic woven grass/straw 'farmer hat' has been around for at least 2000 years. They are shown in many medieval illuminations of field workers. I have also seen Roman artwork depicting travellers and laborers wearing woven grass or straw hats of a very familiar shape.

I suggest, if you are unsure of whether they were used in your period, that you check contemporary artwork for images of travellers, laborers and other persons who might need protection from the sun.

Frankenblogging Part 6: Medieval Wire Jewellry

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. Annotations are in this typeface.

I wrote this a long while ago. Please excuse the 10-year-old, grainy, low quality digital photography. 


On Wire Jewellry in the Medieval Period

Good books on the subject:

Welch, Martin Discovering Anglo-Saxon England isbn 0-271-00894-6

has some information on grave-finds, including color pictures of a double pin connected by a chain and spiraled-wire beads. 

Ogden, Jack Ancient Jewellry (from the _Interpreting the Past_ series) by ISBN0-520-08030-0

Slim book, lots of information and illustrations. Ancient wire-making techniques, chains, etc. 

Egan, Geoff and Pritchard, Frances Dress Accessories c1150 - c1450 Medieval Finds from Excavations in London: 3 isbn 0 11 290444 0

In-depth catalogue and study of artefacts from the Museum of London excavations of the London waterfront. Lots of clear photographs, some colour plates, many detail drawings of jewelry, belts, pins and other accesories. Extremely useful to the medieval costumer for all the finishing touches. 


I've copied several pieces from this book, in particular two copper wire annular brooches, shown on p 254,
fig 164, artefacts 1340 and 1341. Descriptions of these artefacts and two further similar pieces (one in gold, from York) are given on p 256. The chapter of Hair Accessories is of especial interest. I've made several
of the decorative u-pins (p295, fig 196), and recreated possible original states of both of the nearly-complete circlets/headdress frames, which are made of silk-covered wire.

There are also spiraled wire beads and of course chains from Anglo-Saxon england, rome, etc, as well as a sort of naalbinding technique used to make chains from viking times to the present (although modern examples
are mostly from the Middle East and North Africa).

This is another clear case of "I've got a BOOK! I'm an EXPERT NOW!!!" I'm sorry. But, that said, these things are both documentable and easy to make with cheap and widely available materials, which makes them kind of fun to have references for. Hence my geeky excitement.

Jewelry and personal items made after items in Dress Accessories

A grouping of homemade reproductions of medieval period items.

Author's note: I took these with a terrible, terrible old digital camera sometime in 1998 or 1999, and the picture quality is just AWFUL. My most heartfelt apologies for that fact. I plan a new post on some of these items with new photos, as I still have most of them.

A grouping of homemade reproductions of medieval period items, this time with a wooden jewelry casket bound in incised leather.

Author's note: This "wooden jewelry casket" is actually a fairly nicely redressed 1950's or 1960's small mass-produced jewelry box. It's lined on the inside with tooled brass sheet and printed cloth. I think it's still neat enough to get its own future post. 

A full-size (1") and a double-size (2") reconstruction of a small double-spiral ornamented ring brooch in Dress Accessories (p 254, fig 164, artefacts 1340 and 1341). There are actually numerous examples of this type of brooch, in base and precious metals.

My versions are all in copper.

A conjectural brooch made with a flattened coil wired to two concentric rings and decorated with flat spirals at the compass points. It is all copper.

A reconstruction of a simple but effective little (1") flattened
coil brooch described and illustrated in Dress Accessories. It has no foundation ring. Mine is copper with an iron pin.

A first attempt to create a period grooming set (earspoon, tweezers and toothpick) after examples shown in Dress  Accessories.

This attempt at reproducing one is made from hammered copper sheet, cut and shaped, with fine brass wire wrapped around to provide grips. it is perforated and strung on a small chain, which depends from a brooch.

Hair or veil pins made after examples shown in Dress Accessories (p295, fig 196). They show the characteristic doubled-spiral decoration. The originals were made in copper, brass, silver and gold (if I recall correctly).

These I made in two sizes, all in copper. I have since made more,
in brass.

A draft of a conjectural recreation of the fragmentary iron wire headgear with silk-wrapped spiral brass wire decoration shown in Dress Accessories. These pictures are larger than the others to attempt to show the detail of the piece.

Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me to get my hands on. The spiral decoration is made of brass wire, wrapped with cotton embroidery floss, which was then formed into the double spiral motif. The base wire was wrapped with the same floss, and this was used to secure the ends of the wire into smoothly covered loops. Finally, the decoration was attached by wrapping on a further layer of floss. The ends were sewn down to secure them. It is held shut with a matching floss tie.

I have not attempted to attach a veil to this piece because I'm saving the good translucent silk for the final product.


It is not known if the original is in fact a circlet or if it is
some other kind of head ornament, such as a veil frame. The original was found to have fragments of a  transparent silk veil attached to the spiral decoration, and one end of was formed into a hook or opened loop. The other end was broken off.

This is a reconstruction of the silk-wrapped iron wire circlet with silk-wrapped square knot decoration in two colors shown in Dress Accessories. Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me find.

The base wire was wrapped with yellow-dyed unspun silk, and this was used to secure the ends of the wire into smoothly covered loops.

The ornamental wires are copper, wrapped with blue and red dyed unspun silk. These were carefully knotted around the base wire so as to form decorative square knots at regular intervals (about 1 inch apart). Once these were attached, red silk was used to smoothly
cover the ends of the decorative wires near the loops. Finally, the circlet is held closed by a silky cord tied through the ends.

The two circlets, together, and another image of the two together, on edge to show details.

Frankenblogging part 4: Medieval Half-Circle Cloaks

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 

More Old Content! Please feel free to post comments, questions, and crticism :)

On the wearing of half-circle mantles

At least one surviving (non-ecclesiastical) example has two ties, one on either side, which are rather farther down than you would expect. This fits with my experience of wearing one, and actually helps to 'fit' the
garment to the body so that it stays.

My heavy, fulled wool, winter mantle is a pure half-circle, calf-length, and is worn opening at the front, clasped with a heavy double pin (bridged  by a chain of approximately 6 inches). It does not tend to slide down the back, but that is because the double brooch is pinned at shoulder level, /after/ arranging the cloak so that the extra cloth wrinkles up at the back of my neck (nice and cozy in cold weather). This is usually
about 16-18 inches down from the crease when the cloak is folded in half.

My summer mantle, being a little shorter and of finer wool, can be pinned to my gown with lighter brooches and doesn't wrinkle up much at the back of my neck because the lighter fabric drapes more easily across my shoulders. It is light enough that it can be comfortably pulled over my head (in the veil/mantle manner) if I need to do so. 

Note: This observation really has not changed at all in the intervening 10 years since I first made it. 

On decorating mantles

Virtually all of the surviving cloaks from period (And yes, I mean the whole 1000+ year stretch) that we have are decorated in some way. Some, like the 'Schnurmantel' and the coronation mantle of Roger II of Sicily are elaborately embroidered with designs that stand out from the base fabric, some are only 'trimmed' with embroidery (the Mammen cloak). The cloak from the Burgos collection is decorated in that it is made of an elaborately patterned textile of Moorish origin.

Due to artistic evidence of undecorated cloaks, I'd venture that lower classes wore them, and that these would be unlikely to have survived as they would be ideal candidates for recycling into other things (and also
because the richer garments were given into the care of the Church after a period of secular use, which helped to preserve them).

Half-circle cloaks were pretty much the norm from about 1100 on, although scattered survivals of the earlier rectangular cloak (mostly among poorer or isolated peoples) continued on for some time. The more extravagant 3/4 and full-circle cloaks seem to have evolved as weaving technology became more efficient, just like the rest of the world's fashion did. If you want easy, rectangular cloaks are very easy and practical, in that
they convert quite easily to blankets.

Frankenblogging Part 3: Miscellaneous notes on hand sewing and medieval sewing

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 

More old stuff! Complete with only slightly repaired poor formatting and a less well-thought-out writing style. My newer notes are in this typeface. Enjoy!

Medieval sewing stitches
From _Textiles and Clothing_:

Running stitch (not recommended for bias seams or any seams that will take stress or wear as the fabric may shift and the thread may break or pull..)

Not really. Make them very small and regular and they are just fine. This was actually the most popularly used seam and hem stitch.

Backstitch (the most solid stitch and most suitable for modern fabrics, takes stress and wear well)

Used for heavy stress areas and embroidery.


Overstitched edges (good for selvedges or fulled edges)

This is also called butted edges.

Felling seams:
French seams are not described at all in _Textiles and Clothing_, but a flat seam finish is: The seam is opened flat and the seaming allowance is sewn flat with a running stitch (which is safe to use as it is not going to be stressed at all). For modern, unfulled fabrics, I would roll the raw edge under as I sewed the seaming allowance flat with the running stitch. Other methods, not found in Textiles and Clothing can be found
below.

Hemming stitches: 

There are three basic techniques shown in _Textiles and Clothing_:

1. Hem stitch is shown used on both a single and double folded hem. 
2. Top-stitching done in running stitch is shown on a single-folded hem hemmed with hem stitch. This would give a stronger hem, and reduce stretching on bias edges. 
3. Running stitch is shown used on single-folded hems.

Rolled hems are shown on fine fabrics such as silks and I suspect they may have been done on fine linen edges, although no examples have survived to prove or disprove this theory... Personally, I would use this edge on fine linen.

Sarcastic note about my own tone here: "I bought a BOOK! I'm an EXPERT!" Sigh. 

Facings and edge finishes: 

Necklines and open armhole edges were often faced with narrow silk bindings or facings on the straight grain. You could use inexpensive Habotai silk for these facings. They are sewn on with a fine running stitch. Lacing edges are finished with the same type of facing, with the lacing holes worked in buttonhole or whipstitch through the outer fabric, lining (if any) and facing strip. I'd use a doubled strip for my lacings, as I know how much stress I always put on them :) Buttonhole edges were finished with a narrow cardwoven band, about 4 cards wide, sewn on as it was woven ( the weft thread was the sewing thread). If you are going to the trouble
of handsewing anything that will have buttonhole edges, you should really do the cardwoven reinforcement. I'm working on a project right now that will have these edges on it. 

Some Handsewing Stitches


This is my own advice and therefore is less directive and "experty." However, that means that I felt that my little illustrations spoke for themselves. I think I need more explanation for these to be really practical. Or just more illustrations. 

And no, I can't really draw a needle. I'm better now, but not by much.

This diagram shows how to measure and knot the doubled thread.
Measure wrist to shoulder, cut your thread.

Thread your needle, then knot the two ends as shown.


Anchoring the knot in your cloth.

Running stitch

A good basting stitch, and a good hem stitch for lightweight fabrics.

Not very sturdy for seams. Unless small and close! Take small, neat stitches forward on both the front and back of your work. Can also be used for gathering up fabric.

Backstitch.

A sturdy seam stitch. Take long stitches forward on the back of the work (2x your desired stitch length), then stitch one stitch backward on the front of your work.


Chainstitch

Decorative and useful as a seam stitch. On the front of the work, punch the needle through near to the point where it emerged, making a loop. On the back of the work, bring the needle forward one stitch length and back up through the fabric to catch the loop.

Whipstitch

A hemming stitch, also useful for finishing seams and sewing down trims. Worked like running stitch, except that it it 'zigs' on the front and 'zags' on the back of the work. The second diagram shows how to trim one side down to ease rolling the seam allowance under for finishing.

whipped hem

Crossed whipstitch

Whipstitch worked double for durability. The second row is worked across the first, forming x's.

Oversewn or whipped edges

Use to join selvedges for a flat smooth finish. Take small, neat whipstitches all along the doubled edges. When finished, open flat and press.

Finishing a gathered edge

A gathered edge can be neatly bound by carefully whipping a binding onto it, being careful to catch the binding on both sides as you work.

Ladder stitch

Makes a strong, decorative join on two hemmed pieces of fabric. Stitches are worked in a figure-eight pattern (second diagram), going in one peice and coming out of the gap, then going in the other.

side view 

Frankenblogging Part 1: Some thoughts on the gown in The Accolade

Author's note: Welcome to Frankenblogging! This is a feature in which I comment on my own older web-published advice and reference, as a way to make myself feel better about subjecting folks to new posts of it while I am porting it over here.


I wrote this piece a decade or more ago, originally for a post to a discussion list, later re-written for my old website.  While it is an older opinion, most of what it has in it is still both valid and consistent with my current opinions on the subject of medieval costume in Victorian artworks.

Some thoughts on the gown in The Accolade

I get asked about this every once in awhile, since it's such an attractive painting, and the gown shown is so lovely to the modern eye. Unfortunately, it's also a Victorian fantasy of what a generalized 'medieval' gown would look like. While it would make a nice 19th century theatre costume, fancy dress outfit, or even a modern wedding gown, it isn't really a medieval gown at all. I'm going to go over its various features and analyze them for the reader, based on my background in studying and recreating medieval, rennaisance and Victorian dress.

Image from Wikimedia Commons

What I see in this gown:
It looks to me as though the artist spent a bit of time looking at a couple of costume texts of the day in an effort to get the right feel. However, some of the details are a bit off for the probable intended period, while, at the same time, being right on target for later periods.

12th century elements:
It seems, at first glance, to be a sort of 'Victorianized' bliaut, which probably doesn't help much, if you are at all familiar with the contorversy about how these garments might have been made. Things that make me think it's a bliaut (or just generally intended to be a noble lady in 12th C. dress, which would fit nicely with the knighting motif, and the dress of the rest of the figures):

• The 'V' neck on the overdress
• The tight and wrinkly undersleeves
• The neck of the undergown closed with a brooch
• The bicep trimmings
• The wide sleeves of the overdress,
• The location of the belt.

'Victorianized' theatrical costume book elements:

• The puffy sleeve cap on the overdress sleeves (regency/Victorian)
• The plaque belt (which *is* medeival/rennaisance, but doesn't
  appear until about 100-200 years later than the intended period
  in its earliest form)
• The fact that the belt has no upper loop around the torso
• The overgown and undergown being of the same colors (although
  this is probably both a painterly and a theatrical convention)
• That the torso's silhouette is that of a gently corseted woman
  of about 1880-1900 (which would make sense if he had a model pose
  in a theatre costume to get the light and shadow right - she would
  have worn her stays underneath it).
  

If you compare this to the Chartres statues, you'll see what I mean about the details: (Note: links are dead, I have to replace them - search for "Chartres West Portal" for good images) There are manuscript illustrations as well, but I have no links for those.

I like The Accolade. Really. It's a charming, romantic work, and was the stuff of my knights and princesses fantasies as a child. Plus, the dress is like every little girl's fantasy Medieval queen dress up outfit. It makes a fantastic wedding gown, and a number of custom wedding gown makers have a version in their catalogs. That said, it's a Really Really Bad Historical Reference, don't use it as one.


Also, I've been asked DOZENS of times about how to make this "bliaut" for historical reenactment wear. At the time I wrote this, I had been asked about seven times, and I was already getting kind of burnt out. I think I made up a form letter, actually, then thought better of it and put this on my site and just redirected folks to it.

Some other thoughts on Victorian ideas about Norman dress
Don't blame the painter too much for the dress being wrong, although the subject matter is romantic fantasy. The whole 19th century concept of how Norman court dress was made and worn was very wrongheaded. Much of this had to do with the idea that it had to be constructed in some manner similar to that of formal dress of the time (restrictive, separate bodice, either over or under the gown). Additionally, art and costume historians of the 1800's had little or no archaeological evidence to work from, and this, combined with the lack of clear photographs (most worked from others' redrawings of period artworks) contributed to their ideas about how things must have been made. Unfortunately for the beginning costumer interested in Norman court dress, most costuming books easily available today still use these ideas.

I think the current transmission of these ideas mostly comes through Braun & Schneider and Norris, but originally came from Voillet-Le-Duc (who WASN'T a tailor, and boy did it show - I'm not of the opinion that he was much of an artist, either) when he sketched the statues badly 200 years ago. Montfaucon's (earlier) sketches were much better but are less well known. Interestingly, Strutt wasn't as influenced by Voillet-Le-Duc's ideas, possibly because they were near-contemporaries. Strutt, however is more useful for later eras and leaves much out in his redrawings of clothing of the 12th century, though he does seem to have done them from direct observation of illuminated manuscripts.

This bit is more of an analysis of the whole 19th century take on Medieval dress in general. Still pretty opinionated. 

Day 59: Creative Hands

 

Creative Hands (1999) Digital collage.

This was my favorite portion of an attempt to communicate the feeling of the creative process though symbols.

days 52 and 53: Foodie Glamour Shots

 

 

(1999) Digital photographs, retouched and digitally manipulated.

Two glamour shots I did for the cookbook project I mentioned on day 9.

One's vegan, and one isn't. I can't recall now which is which.

Day 50: Fashion

 

Fashion (1999) Quickie digital painting

Desktop background, done in a half hour or so in fireworks for fun. Liked it enough to keep around for 8 years.

day 43: Wallflowers

 

Wallflowers (1999) Digital photograph.

Two of the dolls from the ragdoll project (CafeGirl and PonyTart), posed.

day 29: Wings

 

Wings (1999) Pen and ink

Design for articulated angel wings, anchored and supported by a set of 18th century stays.

I designed and built a set of wings for a freind for Halloween 1999, and this one of the design drawings.

Day 27 and 28: Red and Blame

 

Red (1999) Digital revision of Blue.

A pretty simple color-change revision, but fairly interesting on its own.



Blame (1999) Final digital version of Blue.

Some filtering, cutting through to a layer underneath that contained Red, and text, which was copied from a core dump message.

Day 11: Kiss:Heart

Kiss:Heart, 1999. Digitally manipulated and retouched photobooth picture. Originally intended to be a study for a painting.

I feel a little squicked about this one. On the one hand, it's really an iconic, almost perfect image. On the other, that's me and my ex in the original. It's very hard to be objective about its artistic value when all I see is a bad breakup (even if I was very much in love with the guy at one time). It's not as if you can tell who those people are in the picture, anyway.

Don't make good art with relationship overtones, unless you want to feel faintly dirty about it for the rest of your life. I may do the painting, just to work out the feelings I have about this piece. It's a good piece, even if I wouldn't hang it in my house.

Day 9 bonus: Scary silverware

 

Scary Silverware (1999) Chapter heading illustration for privately published cookbook. Pencil, ink, colored pen, scanned and digitally cleaned, then finished in Photoshop. About half digital and half traditional, and one of my earlier tablet pieces (not much was done with the stylus though - it really isn't that difficult to draw a glob with a mouse...).

I did several illustrations for this cookbook project, including two page layouts and two old-style cookbook glamour food shots.

ETA: oops! I thought this was posted today, but it wasn't, so there'll be another up in a few.