Tuesday, November 14, 2017

Dress Houpelande for a Companion to the House

Although my persona is 10th century viking, my Household that I am in the process of trying to join, is 15th century german. So if we show us as a household in dress, it's ALL the Houpelande's and Dags and shiny boots (If you're a guy). As a female fighting household member (when and if I make it that far) the uniform is less clear, but it's still very much 15th century. As a companion to the house (I have expressed interest in joining, but the house hasn't expressed interest in me yet. a sort of pre probationary period lasting at least 6 months) I wear a black tabard when I fight. For full dress, it's a bit complicated. If I was a guy, I would make myself a nicer black tabard and still wear the tabard. As a female, it looks dumb, and it's not appropriate for any period to wear a tabard belted over my clothes. With Fall crown tourney coming up, and several of the guys in the house throwing their hats in the ring (two of them with a good chance of winning) All of us coming to cheer have been requested to show up in full house formal dress. I decided that me in my viking undergown with my tabard belted over it and my bare feet LIKELY wasn't what they had in mind, although it's the strictest interpretation of the rules. But the rules were designed for male garb, not female. I decided, after consultation with the other fighting female household member, to wear a female houpeland in unrelieved black (like my tabard) this provides a nice continuity of look between the male house members and the female, while still maintaining distinct gender for those who wish to.

both figures here wear houplandes
Boccaccio "Livre des cleres et Noble Femmes"
ca 1404 
It's really a very simple garment; almost exactly the same as the male version. Other than a few deviations in collar style, the only obvious difference between the two garments is that,  while the men's came in numerous lengths (from just past the crotch to floor length), Women's Houpelande were limited to floor length (or super exorbitantly long so you had to carry it.) It's one of the few times in history that I can think of where male and female clothing were almost exactly the same, which is interesting (excepting the way back when when people basically wore tunics and long tunics.)

As previously mentioned, there are several variations of the neckline for the women's Houpelande, Since the idea is a uniform look (pardon the pun), we chose the high neck to match the style that the men wear. Likewise you can do almost anything with the dags: we chose the crenelated style used by the men's current dress garment.

There is, as usual, argument about the best way to create this garment. A lot of the plausible research suggests for the very opulent style: essentially a full circle of fabric with a neck hole and slits cut for setting the sleeves. This produces an incredible garment, but is also a LOT of fabric. It also doesn't entirely provide for the very fitted drop shoulder look seen in a number of the illustrations I perused. I didn't fall too far down that rabbit hole.  I wanted a garment that would look and hang like the period garment, not necessarily an exact reproduction. In some cases, the two are the same thing: you can't get the period look and hang without the proper construction. in my case I thought i could probably manage by drafting off a block.

church of santa maria, piano italy.
Another source of debate is the lining of the gown. While it seems obvious from even a quick perusal of period images that the gowns were lined fully (every turned back hem shows a different color) I have seen it asserted that they were exclusively lined in fur. While there are certainly a large number of them lined in fur, probably even the majority, there are plenty of illustrations that show a non furry lining. I will not be lining with fur, because many times when I will have occasion to wear this it may be 90 degrees outside, and i do not wish to melt.

Life of the virgin, the birth of Mary, detail
ca 1470
Houpelande's were an over gown. they were worn over the fitted kirtle of the 14th century (indeed they were fashionable over the end of the 14th century and the beginning of the 15th.) Frequently the undergown was made of some sort of fabulously opulent material, which would then show at cuffs and hem. It's also possible that it could have been fitted with a wide trim around the hem of the fabulous material and pin on sleeves. Certainly a short sleeved kirtle with pin on sleeves was known. Later images, particularly several by van der weyden show this short sleeved gown appearing next to a woman in a houpeland, possibly as it's own sort of overgown,  while some other images seem to show it as a sort of undress. My own kirtle has pinned sleeves and may later be outfitted with a contrast hem. this is easy and practical for me, providing more combinations of outfits with less effort. Although I cannot assert that it is absolutely correct without much more research, I feel like I can call it plausible.
 (If you wish to go further down this rabbit hole than I did, a quick google search for "women's 15th century houpelande illumination" will yield many hours of fun.)

For my own recreation, I started from my recently drafted body block, dropped the shoulder, and slashed and spread it from just above the bust point.

The first fitting was promising, but needed a few further alterations. There was more fullness than I wanted under the arm, so I re-adjusted some of my spreading. Also there was a problem with the sleeve. I had placed the seams at the center top and bottom of the seam, rather than at the front as in my husband's hanging sleeve. and made the shortest part of the sleeve also parallel with the shoulder point. That turned out to not work out as well in practice. The short part of the sleeve ended up being at the back of the wrist, and an awkward fold over the hand. I moved the seam to the front of the arm, as in my husband's hanging sleeve, and moved the short part of the sleeve to match. This solved that particular problem.

The obviously problem with this patterning method is that it makes a pattern piece wider than the fabric. This is only a problem to the modern sensibility though. In period, many fabrics were woven on much narrower looms than our modern machine looms, so fabric was frequently seamed together before being cut out. I just did the same here. Laid it out, added a piece where it was needed, then cut. Then I laid the cut piece out on the lining, and cut that out.

I made the sleeves as a unit first, since they had the dags and I wanted to get them out of the way. I used my patented cheater dag technique to save fabric and make sturdier joins. Which meant first making a whole pile of dags....

and then catching them in the seam between sleeve and lining, turning, pressing, and top stitching. Oh my sleeves!

Although it seems most likely that the original garments (particularly the fur lined ones) were sack lined, I ended up flat lining my gown, because the outer fabric was too drapey for the pattern. The flat lining gave it some support. I pad stitched the collar to a piece of felt, and sewed that in, and then attached the sleeves. The final step was to have my long suffering mother pin the hem (and it was a vast amount of pinning) and help me get it cut straight. Which was a challenge with the slithery fabric. I would like to take this moment to state that this is why I'm becoming a natural and period fibers snob. linen or light weight wool would have been SO much easier to work with (I didn't have a bolt of either of them lying around though.) Finally I installed a very wide hem facing of a nondescript grey "faux wool" I had lying about, to protect the white lining from dirt.

I had a little fabric left over and a lot of curiosity about the full circle method of construction, so I made Kitten a tiny black houpelande with fur lined sleeves using that method. It turned out well, but, as I suspected, it doesn't have the snugness across the back and in the shoulders that you see in some of the illuminations. I suspect that were I working with a full fur lining, I would prefer this method. Kitten's has a fur lined sleeve, and the upper chest is lined with medium weight wool for warmth.

Over all, I count it a success. I ended up using one of my viking under gowns with pinned on sleeves. Hopefully I will be able to upgrade that to a proper undergown with a contrast hem before I wear the Houpelande again. I ended up having to adjust the sleeve cap after I had already made the sleeves, so the sleeves are JUST long enough with the dags. I will lengthen them a little in the next iteration of the gown. It was comfortable, classic, and I was able to layer enough to be warm (and think I can layer down enough to be moderately cool as well)

With the hat and veil added to it, I Really felt like I looked like I had stepped out of an illumination, which was fun.

Tuesday, October 17, 2017

15th century Heart shaped Hennin

In order to match my in progress houpelande, I needed some sort of period headwear. Now the 15th century is notable for many things, amoung them the sheer volume of truly EPIC headgear. From things that look like a lampshade inverted over the head, to the large number of different varieties of hennin, to some truly incredible pinned and shaped veils, the 15th century has the fabulous and faintly ridiculous to the modern eye headgear competition won. In fact, sifting through it to find something that I could wear and not feel totally ridiculous was difficult. The sheer size of many of the pieces is daunting, even allowing for artistic licence. My personal favorites are images from the beautiful fresco work of the nine worthies and the nine worthy women by Giacamo Jaquerio.

after a lot of looking at pictures, and sending pictures to friends and laughing over them. I decided that I had two options: I could go with matronly and demure, with a folded and pinned veil, something like this one from Van der Weyden. It would require some sort of basic supports, but I likely had all the moving parts for from my 14th century wimple/veil/false braids combo. This would be low key, which, as I'm going to be a companion for one of the consorts at the east kingdom crown tournament when I wear this ensemble for the first time, would be suitable. It's also appropriate for my age and also my sort of station in life. By medieval standards, I am a matron.

OR I could do something fun and ridiculous. I was drawn to this more moderate heart shaped hennin and folded veil, also from the fresco of the 9 worthies. I say more moderate as compared to the really obnoxious examples. like another from the same fresco. Now THAT is some hat!

While  have nothing against personifying myself as demure and retiring with my headwear (and in fact do go out properly wimpled and veiled whenever I do 14th century. which is rare but does happen) the chance to do something so (the adjective I keep coming back to is "ridiculous") completely over the top is rare. and it just looked like a good deal of fun, if I could get past people staring at me.

In the end I made my decision spontaneously on a day when I felt terrible, but still had to supervise the horde. I just needed something funny and cheerful to work on by hand while I sat propped upright at the table. And thus the heart shaped hennin was born.

Construction wise, I haven't heard of any surviving headdresses, so all we have are pictures and written accounts to go on. I've seen the heart shaped hennin reproduced a number of ways. A lot of them I find unlikely and some of them I think look wrong (personal opinion. not based on irrefutably concrete evidence or exhaustive research.) So I made it up as I went along, picking the method that seemed most likely to me, and extrapolated most from earlier headdresses: under the logical assumption that it's more likely that people would adapt a known form than create something brand new. (not that it never happens. but typically fashion proceeds one step at a time not in grand leaps.)
I started with a sort of elongated semi pointy caul shape to cover my ear and the side of my head. I first patterned it out of cardboard, and when the shape seemed reasonable, cut and sewed it out of heavy duty needlepoint foundation. Yes, the proper thing to do would be to use buckram. But I had this, and wanted to see if it would do in a pinch.
I made two of the caul pieces, and then set them aside to make essentailly a closely fitted coif of the same foundation material. first shaping it with a single center seam, and then tightening it in over the ears with a pair of darts.  With that solid, I attached the side pieces to it with pins. To be sure that the shape was right, I used a tea towel as a stunt double for the eventual padded roll adornment. So far so good. (I then proceeded to send pictures to all my friends that needed something to laugh about.)

With the shape set, it was time to start building the actual hat. First it all had to be padded with layers of batting to both finish out the shape, and to disguise sharp seam edges. I used the batting that I keep on the roll here, which is Quilters Dream angel. It was nice for this because it's dense and fairly firm rather than just super fluffy. It's also fairly easy to stretch to shape and tack down.

 I used multiple layers places where it need needed a softer, rounder shape: over the ears of the caul parts, and along the center ridge seam of the coif part.

 Then a single layer over everything. I paid particular attention to basting and butting the seams in the joins so that there wasn't any overlap. this kept the crease between wings and head shape and neat. I was also sure to pull the outside over the tip of the wings and baste it on the inside so that any lumps would be hidden by the padded roll.

 The last step on the base was to wire the edges. this ensures that the cap or hat or whatever millinery you are making maintains the shape of it's edges. In this case it's particularly important because it keeps the edges of the cauls tight to your face. Typically one would use Millinery or florist's wire. This is copper ground wire, because it's easy to shape, sturdy, and (this is a repetitive refrain of mine) I already had it lying about. I tacked the wire in place to be sure the bends were right, then used blanket stitch to attach it all the way around the edge. Usually I've whip stitched, but for this application i liked the way blanket stitch held the wire better: it made a sort of casing.

With the base done, I started covering everything in fabric by draping a long strip of bias cut black cloth (the same from my gown) over the coif portion of the hennin. Bias allowed me to pull it tight to shape along the top, only taking in a small dart at the center back. I basted it to the batting where it will go under the sides, and carefully basted it into the joins between the wings and coif. 
then the inside of the wings. I was originally going to cut the pattern piece out and then sew it like a slip cover, but because of the added padding, and because the draping on the center part went so well, I decided to just drape bias cut pieces of fabric over the wings as well. This portion got photographed and sent to all my friends as well, since it looked like I had a giant bat perched on my head..... I was everyone's comedic relief while I was working on this thing (including my own!)

 it looked a good deal less like an errant bat once I'd trimmed the fabric, gathered it, and whip stitched it down to the padding.

It was also at this point that I decided the tall points of the cauls were a bit less sturdy than they needed to be to hold up to decorating and padded rolls and whatnot. They tended to want to collapse in on themselves when I was stitching them, and I was afraid that they might get accidentally crushed and be hard to re form once the hat was lined. So I packed a little poly fill into the tops just to firm them up a little. That solved the problem and they held up beautifully to all the rest of the decorating.
with the major construction of the form done, it was time to finish off the inside of the cap with a lining. I made the lining like a coif, with a single curved back seam, then basted it into the inside. Because the foundation of the hennin has numerous shaping darts, I had to slightly gather the lining into it. For this reason I used a very thin cotton muslin, that wouldn't be awkardly bulky. I carefully turned and whip stitched the lining down to the brow portion of the cap, then bound off the rest of it with some matching linen bias tape I had lying around from another project. 
 Next project was covering the cauls. I had a plan for a scrap of burgundy or dark fuchsia (somewhere in the middle. very pretty) velvet I had. Unfortunately it had been in the bottom of a bin and was quite crushed. A good steaming and brushing with a stiff bristled brush sorted everything out though.
 I cut the cauls using the pattern from the foundation, plus a little extra to allow for padding. I decorated them with beads and gold ribbon and braid in a lattice pattern. Because by this point I had challenged myself to make the whole hat with nothing but what I had on hand, I ended up making different design choices than I usually would, but I think the final effect is very pleasing.
 With the cauls made, I mounted them on the side pieces. The grand plan is to make it so that I can switch the side pieces without completely deconstructing the whole hat. So the decoration was mounted to the velvet, then the velvet pinned in place and whip stitched down to the form. I covered the stitching with some gold braid, then trimmed the edge with trim I made by braiding gold cord with faux pearl strand.

 With the hat itself finished, I turned to the padded roll. I made the base by wrapping strips of batting around a bent wire (ground wire again, because it's easier to shape than coathanger wire). Instead of wrapping it around a straight wire and then bending it into the characteristic V shape, I butted the batting at the front and back, and then cut it at an appropriate angle and whip stitched the ends together. This eliminated some of the possibly bulk and wrinkling.

 After checking the roll for size, I proceeded to cover it with some grey acetate faux silk from my stash. First whip stitching the fabric to the bottom of the roll, then wrapping it, turning the edge under, pinning it, and using small stitches to sew it down. With both sides sewn down, I angled the ends and carefully sewed them. angling the ends was important because it avoided a big bunch of ugly wrinkles right in the V of the roll. With the roll done, the final step was to bend it to shape and carefully baste it to the side pieces of the hat.

 and done! I'm still deciding on how to pin the veil and how much decoration to put on the roll. The small dangly things (called bezants) are period but I'm not sure if I love them. it seems to depend on how I want to pin my veil. Since this is just a stunt veil made of a piece of bridal tulle (the organza for the veil proper is on order.) I've decided to wait till I have the final veil done to decide how I'm going to pin it and if I want the bezants or not. I like them with the veil pinned this way.
But I dislike them with it pinned this way, with the "butterfly" in the center. Both are period methods of veil arrangement taken from images. but I'm not sure which I'l like more.

The other thing to take notice of is how much further down my forehead the front of my headdress is than the period images. I took it as far up to my hairline as I could without having hair sticking out (and I have a moderately high forehead) but it's still lower than period images. During this time period a high forehead was considered a sign of beauty and intelligence, so women would pluck their foreheads much like we now pluck our eyebrows. Since I am not going to pluck my forehead, I am left with a slightly off representation of the period look.

Pictures of the full ensemble will be coming once I finish up my Houpelande and get the proper veil finished.

Monday, October 9, 2017

In search of Armor: Breastplate and tunic

With my kidney belt finished I moved onto the last remaining piece of my basic armor (not counting legs and helmet, which I'm still using loaner.) Over the kidney belt and rerebraces, I wanted to wear a plain short sleeved linen tunic. From what we can extrapolate from grave finds and art work, vikings did wear a sort of standard geometric tunic pattern, although they sometimes did shape the sleeves and armholes (as I do in my Serks). For this I decided to just keep the standard roomy "T" shape The loose sleeve is very easy to move in, and the more awkward drape isn't something I'm concerned about all that much when I'm wearing armor anyhow. Since by this time we were on final approach for pennsic, I just needed to get it done so I could get out of what i Had started referring to as the "hedgehog armor."

 I had bought blue and gold linen for this purpose several months ago on an excursion to a fabric warehouse, Indigo for the body, gold from the trim. I trimmed the sleeves, neck, and hem with the gold,  and covered the join to the body with a couched cord. The couched cord is found on smokkr fragments found in birka (1) although not used exactly in this way.

This is the most basic design in historical sewing, very fabric efficient because it's all squares and half rectangle triangles. I did flat fell all the seams for comfort and strength, and I made the under arm gusset much larger than I do on my normal garments, just to give it that little extra ease and make it easier to move in, and easier to get on and off over partial armor.

I also tried a new thing with the bottom trim. It's curved so it's a bit tricky. if you cut it in a long shaped strip, it's wicked inneficient use of fabric. lots of waste. If you cut it in pieces to match the ends of the gores, it's a lot of seams, and hard to get all the seam points matched up. If you make it straight and let it hang down, it hangs super weird and looks funny. So I cut a long straight strip, sewed it onto the edge, flipped it up to the outside of the tunic, and turned the edges under. Now I had an upper edge that was bigger than the garment. So at each seam along the side I took a small dart in by hand, from the edge of the trim to the top, shaping the trim evenly to the garment. The darts look like an extension of the garment seams, and the trim lies flat and smooth. I joined it to the body with a couched cord. The down side is that it makes 2 layers along the bottom of the garment, which is more wasteful. But on the other hand it weights the hem and makes hang very nicely. I think on balance it was a successful experiment, and I will repeat.

For the breastplate, I drafted a pattern from my gambeson, which was already patterned to wear over my breast band, which binds my chest flatter than a modern bra. I cut it out of stiff paper, because I didn't have cereal boxes big enough, and taped it together. Then I cut and shaped until it fit well over gambeson and breast band, leaving a little ease for the tunic. Instead of a seam directly over the shoulder, I used a long flat piece along the shoulder with an extended tab over the top of the arm. This both eliminated a seam at a pressure point where it could potentially cause discomfort, and gave me a place to rivet my spaulders.

I cut the breastplate pieces for medium weight leather for the sides, and heavy leather over the chest. This isn't to protect my chest as much as it is to protect my collar bones, sternum, and upper ribs. In my few months fighting, it's not super common to get hit on the chest, although that may be partially a function of preferring to fight sword and shield to other forms, but most blows seem to come down onto the shoulders, where they get deflected by the spaulders. Why then do I bother with anything past a heavy collar to protect your collarbones and support the spaulders? Aside from the occasional odd ball shot that was meant for your face but landed on your chest instead, a couple of the guys in my practice have a nasty hanging shot that comes in behind your shield and lands thumpingly on your sternum. In addition to that, when I do eventually take up forms that don't involve a shield, my whole upper torso becomes a prime target until I learn to block.

I pre punched small holes all along the edge of the breast plate pieces with my awl, then sewed them together with waxed leather thread (which is actually a sort of very fine braided cord) I then went back over the stitching the other way, making the exposed stitching look like a row of X's. This involved the use of pliers and a hand pad. I didn't want to punch the holes too large, but in hind sight I should have made them a little larger, because I broke two needles gripping them with the pliers to yank them through.

I didn't want to super water harden this piece, because I just didn't think it needed to be rigid, and I wanted some flex in thesides for ease of movement (although the way I patterned it I think I could have made it of kydex and still gotten complete range of motion.) but it did need to be shaped, and stiff. So I put on my gambeson, wrapped myself in saran wrap to protect it, then put on an old t-shirt of my husband's to simulate the bulk of the tunic. I submerged the breastplates in almost boiling water for about 20 seconds, until the edges had JUST started to shrivel a little, Then put it on, and stretched and formed it into shape. I wrapped it on with a giant ace bandage until it had cooled. Then I put it over a pillow so it would hold it's shape while it dried.

I attached a piece of suede for the back and shoulders (This will be covered by my scale mail drape, so it not only doesn't need to be rigid, but it's preferable that it not be) and added ties to one side so I could get in and out. Then I took it to a friend's house so he could help me drill holes in my stainless spaulders and I could rivet them on. I also wanted the advice of a more experienced armorer (I have so little experience it's not funny, he's been making armor for something like 20 years I think.) for the most effective placement of the spaulders. He actually decided I should put them on upside down, they fit my narrower shoulders better that way, and higher up than is totally standard. He also advised me on the best way to pad the inside of the spaulders, so that the ends and edges don't dig in when I get a direct hit. I wouldn't have thought of that until I'd been hit once, so I'm thankful.

And it was done! just in time for a shake down cruise to pennsic. I do NOT advise this course of action. ideally you should try your new armor at a few practices to work out any wrinkles, but I was determined to be rid of the heavy, uncomfortable loaner breastplate for pennsic and it's long days of field battles. So I packed an extensive repair kit, crossed my fingers, and jumped in at the deep end. Thankfully, it had no problems. It survived trial by fire with flying colors! I was deeply thankful for the padding in the spaulders a couple of times. It was light, mobile, and comfortable. The only down side of the shorty breastplate I found in a week of fighting is that in some positions spear to the ribs can miss both belt and breastplate and nail you. That happened once and all the air exited my lungs in a whoosh. Heck of a shot by the spear. I also want to get the drape done before I do another round of melee, because pole arm to the back on padding only kind of sucks (although that wool padding is surprisingly effective. I got pole armed to the back a couple times and I was sure I was going to have big old bruises, and didn't.)
Waiting to tag back in at the
allied champions battle. I still
look silly.
Photo by James Pallack
My probationary household member tabard almost
completely covers my armor, which actually improves
the look for early period.
Photo by James Pallack

and a gratoutious shot of me with some of my hopefully someday household brothers, mustering on the field.
 Fighting with these guys is a joy and an honor. I hope to continue doing it for a long time.
Photo Credit: Charla Kinzel

1) Orignal source: Hägg, I. 1974. Kvinnodräkten i Birka: Livplaggens rekonstruktion på grundval av det arkeologiska materialet. Uppsala, Archaeological Institute. ISBN 9150600028
translated in this excellent article about smokkr

Friday, August 25, 2017

Post Pennsic Roundup

I'm back from Pennsic! I survived (even unpacking) and I had a great time. I know I've been a little quieter than usual in the months leading up, but I was SO busy I just didn't have the energy for blogging. Before I finish up posts about my armor (which got it's shakedown cruise on the battlefield at Pennsic!) and a few other things I've been working on, I thought I'd do a quick roundup of all the basic sewing I've done to get ready for the summer events this year. Even though the big kids went to camp grandma instead of Pennsic (so they didn't need a weeks worth of clothes), it was a huge amount of work to have enough clothes for me, the Husbeast, and Kitten to survive a week with only one round of laundry. I didn't get everything done I wanted to, but next year I can add to the wardrobe without the pressure. I KNOW we can survive a week with just what we have. We also finished our tents up (finally) complete with sunshade, and the Husbeast made us a bed and sundry other furnishings.

I do spend a lot of time on the interesting and new projects that I usually write up for this blog, but I also spend a lot of time on the very basic sewing that keeps everyone clothed for events, mending, and also mundane sewing (particularly for Ladybug). This year there has been a LOT of that basic,  keep people from going naked, sewing.  Thankfully, the sheer volume I've had to produce this year will not be an annual event. Sooner than later Kitten will start getting Ladybug's old garb, and the same holds true for Crash and Bang. God bless hand me downs. Also, Now that Husbeast has a basic wardrobe, I can add to it in a more seemly and less panicked manner.

So here's what I've accomplished in the last 4 months that hasn't been interesting enough to blog about. (although some of it may show up in later posts!) Everything is Terribly wrinkly because I just got home from pennsic, washed it all, and folded it to put it away, then decided to take pictures, and unfolded it....

Kitten has 5 small back lacing gowns, a hood, a kaftan, a nightgown, and a tiny coif for to keep the sun off her noggin.

 Her Kaftan and hood are wool. The kaftan is upcycled from two old wool skirts, and the hood is a scrap I had leftover from another project. It's edged with blanket stitch, and seamed with van dyke stitch, all in crewel wool. I used the leftovers to make a little tassel. The kaftan has some decorative stitching in silk Perle.
The yoke on this little butterfly gown is upcycled from an vintage doily. This (and all the others this year) is Baby Gown v2.0 It back laces with a fingerloop braided cord and hand eyelets. Much easier to get on, and she can't take it off!
 Crash got two new tunics, a nightshirt, and a new pair of Thorsbjurg trousers.

He also got this upcycled cloak. We were given an old cloak that was made of two layers of heavy wool and had lost it's clasp. I took it apart, let the boys choose lining fabric, and made two new cloaks. In addition he got a new hood since he outgrew his wool one. This is a lighter weight linen one (originally intended as a fencing hood but didn't fit the helmet right.) and edged with satin stitch worked in green wool.

Bang got two new tunics, two new pairs of thorsbjurg trousers, a nightshirt, and his half of the upcycled cloak project. Thankfully Crash's hand me down hood fits him just right.
 Ladybug still had some garments, so she got two new gowns, a nightgown, and some accessories.
She asked for a hennin and veil, but I told her that wasn't really a thing little girls wore in the 14th century, but I'd find something. A little research led me to discover that younger girls did wear chaplets of flowers, sometimes real, sometimes jeweled or enameled. So I made her this little chaplet of enameled flowers. Also she got the silly embroidered purse.
The nice thing about viking is my garb needs are fairly few and simple. (Thankfully because I needed armor.) I made two new Serks of linen, one with silk trim. and a pair of (also linen) Thorsbjurg trousers for fighting in.
Himself on the other hand, has ALL The garb needs. Particularly because he needs body linens in addition to outer clothing. I finished two shirts for wear, and two shirts to fight in, with at least a little embroidery on them.
I learned to do pulled work on his shirts, and found it addictive. Here's the neck opening of one of his wearing shirts.  (the collar is worked too)
And the cuff of one of his fighting shirts. The little zig zag was really fun!
 He had no clothes, so He got a half circle wool and velvet cloak, lined in silk, one suit of clothes (brown trunkhose and blue doublet) and one pair of camp pants out of a single layer of linen canvas. He can wear those around camp with just a shirt and be more comfortable and cool. He still wore his viking some too. Hopefully by next year he'll have enough of his own period of clothes he won't have to wear the viking at all.
He also had to have a fighting houpelande to match the rest of our household that we're in the process of joining when he was out on the melee field. This has a hanging sleeve (although you can't see it that well here.) it's two layers of linen in the body to pass the safety tests for SCA rapier fencing, and one layer in the sleeve.

Here he is fencing in it :) on the left with the loud tights and brown hood.
In addition to that I helped Husbeast with the fabric portion of our tents. That was a project and a half. I'm so thankful I have a heavy duty treadle machine to handle the sewing. I also have a new respect for tent makers.
After all that, I'm taking a bit of a break from projects with deadlines. I'm spending some time reading, weaving, working on an embroidered kaftan project, catching up on household duties (you can't see my poor roses for the weeds!) and generally decompressing.

Sneak Peek of the Kaftan project!!