Selecting the right accessories to match your garb can add the finishing touches to an ensemble. Indeed it can elevate an outfit so that it looks like the wearer "stepped out of a portait". On other occasions, it can add an understanding of the functionality of an outfit, giving a moment of insight into the lives of the people who wore them. It doesn't hurt that making hats and other accessories can be a lot of fun!
Pocket or Faltriquera
Completed: January 2018, for Canterbury Faire
Inspiration: Extant Spanish faltriquera (1575-1600) from the Museo del Traje, and various contemporary Italian saccoccia.
With Canterbury Faire looming, and a spare hour, I decided to make a very quick pocket so that I could test its practicality while going about my camping chores and other activities at Faire. Constructed from dull green cotton canvas scraps, and edged in some left over red cotton tape, the entire contraption was stiched by machine.
Over the course of the event, the pocket proved to be a thoroughly practical addition to my late period wardrobe, and more secure than I had anticipated. However, a quick glance at surviving pockets suggests it is far too plain!
Knitted Draw-string Pouch
Completed: late 2013
Inspiration: Various 14th-16th century knitted reliquary pouches and a late 16th century knitted silk jacket seen in the Victoria and Albert museum
All of the period reliquary pouches were quite complex, making use of multiple colours in quite detailed patterns. I however, chose to create a single coloured prototype to see if my skills were up to knitting in the round.
Wishing to mimic the scale of the period knitted jacket I had seen in London, I chose to use size 20 crochet thread, which proved to be another test of my rather rudimentary knitting skills.
Knowing the basics of how to knit, I just had a go. After a couple of attempts I managed to cast on and start the first round. Looking back there were a couple of hiccups with figuring out where the thread needed to go while swapping needles, but by the time I noticed them I was not going to undo what I had managed to knit. The errors may annoy me in the future, but they remind me to think where I'm putting the yarn as I knit, so they serve a purpose at present. Besides, they give it a bit more character.
This wee project proved to be a little more ambitious than expected. Progress was very slow, taking well over a year to complete. However the pouch serves its intended purpose, of disguising my phone as it sits in my basket at events, very well.
Fighting Favour
Completed: June 2010
Inspiration: A selection of surviving gloves
Previously, I had need of a favour that could be carried onto the field for rapier and heavy tournaments. I wanted to avoid the generic SCA belt-flap style of favour and began looking around for other options. In the end, the choice was between a sleeve or a glove, and a pair of gloves was just more interesting.
Having run across several pairs of period knitted gloves while exploring museums' online catalogues, these seemed an easy and practical choice. As I am an indifferent knitter, I chose to purchase a very cheap pair of knitted woollen gloves and dress them up. The gloves themselves are far more coarsey knitted than the period gloves, but I'm not about to be too fussy if it means I don't have to make them from scratch.
To be clear, these gloves are inspired by period and just out of period items, but are a mish-mash. Other than the gloves themselves, each element (such as the twill cuffs lined in linen, the satin ribbon ruffle and the black wool embroidery) was chosen as it could be copied using materials from my stash. The cuff shape and wrist ruffle are both taken from knitted gloves just out of period, and the black embroidery is inspired by various pairs of secular and ecclesiastical gloves. Also, as these gloves are going to get smacked about in combat, I didn't want to use anything too delicate, or inadvertedly put 100 hours into them. As they stand, they are a wearable pair of wollen gloves than can be tucked into a fighter's belt without too much angst.
1601 Spanish Capirote
Completed: May 2010, just because
Inspiration: 1601 painting "Viage de la emperatriz Maria desde Praga" by Hans van der Beken.
Sometimes you come across something that is so silly you simply must have one. This hood may make the wearer look like a first-year at Hogwarts, and have truly odd acoustics, but how could you not want one?
The shape was worked out by trial and error with newspaper mock-ups (first for an apple and later full-sized) and comparing them to the original image. Once the pattern was established, I added a seam allowance all around and started cutting fabric - wool outer, cotton canvas interlining and cotton/linen lining.
The beautiful, black, boiled wool was hand basted to the cotton canvas and the edges were zig-zagged. The next step was stitching the top and back seams, after which, I opened the seam allowance and carefully stitched it down, trimming away the excess away at the point. The already assembled lining was then stitched to the outer fabric around the face, and that seam allowance was securely stitched to the canvas interlining. After wrestling the hood right-way-out, the seam allowance around the bottom of the hood, on the outer fabric only, was turned under and stitched down. The lining was then invisibly stitched. The last thing, once the basting stitches were removed was to add the covered button to the top of the point.
Many thanks to the Spanish Seamstress for posting her travel hood and details of the image that inspired her.
Knitted Garters & Bag
Completed: approximately 2008
Inspiration: 16th century knitted garter in the Museum of London and the knitted garter found in the Haddon Hall account book
Having seen tantalising pictures of the knitted garters, I postulated that the stretch inherent in knitting would likely make the garter more comfortable to wear than my cotton tape or tablet woven pairs. In order to acquire a pair to test this theory, I needed to end my self-imposed knitting ban and make some.
As this was a test piece, and my first attempt at knitting in ... a very long time, I used the cheapest needles and "wool" I could find (that wasn't in a truly hideous colour) and proceeded to experiment with what I recalled of garter stitch. A good friend (Lucia) then suggested that I don't knit the final stitch in each row in order to neaten up the edge. This tip proved to make a huge difference in the finish of the garters.
Once the garters were of sufficient length, I still had most of a ball of wool left, so I had a go at making a pouch to keep my garters in outside events. I added the tassles to both echo the aesthetics of Elizabethan sweet bags and use up the very last scraps of wool.
After repeated wearing, the garters have proven to be effective and comfortable. I call that a success.
Late 16th Century Shoulder Cloak
Completed: February 2008, for Canterbury Faire
(Worn for Elevation to the Order of the Laurel in Sartorial Arts)
Inspiration: A selection of extant garments, including: Red satin cloak (c1600, Victoria and Albert Museum, item number
793-1901)
Green Velvet Man's Cape (1590-1600, LACMA, item number
M.85.253)
The cloak is made in a half circle, with some shaping around the neck. I chose to shave the lower front edges to ensure a flat hem when the cloak is worn around both shoulders.
Green cotton velveteen was used for the outer fabric, while the cloak is lined in dark green linen. The 1cm wide fringing that follows the hem and centre front edges is multiple layers of that same linen, stitched into the edge seam, trimmed and then frayed to create a plush fringe. The collar is stiffened at the centre back (with some ancient boning in place of an iron strip) as mentioned in Patterns of Fashion and then edged with metal thread cord.
The decorations, applied evenly around the hem, are gold appliques in the form of laurel wreaths and fleur de lys. An additional laurel wreath applique is positioned over the left side of the heart.
A late 16th Century Fur Lined Hand Warmer
Completed: March 2008
Inspiration: Images in the Civitates Orbis Terrarum
It turns out that embroidered and pearled voided velvet just doesn't suit every occasion. Who knew? So with that and the left over fake fur in mind, I made myself a new, less posh muff.
This muff deviates from period practice as it can be turned inside out to suit fashions from different countries. (For example French and English muffs have their fur on the inside while Germany appears to prefer fur on the outside.) By undoing the four thread covered buttons along the bottom edge, I can turn the muff inside out to suit whichever fashion I am wearing.
Honey coloured fake fur was used because it was on hand, and inky blue-black wool was picked because it worked well with the fur. The muff is interlined with some hideous pink and purple plaid wool and a layer of "compressed wool" (what they call compressed dacron these days) to provide body. All the layers were carefully tacked together before the edges of the wool and fur were turned over and stitched in place.
Having experienced winter events in Darton, this muff was made specifically for May Crown. Only leftovers from other projects were used in its creation.
A late 16th Century Fur Lined Hand Warmer
Completed: June 2007, for Midwinter Coronation
Inspiration: a variety of late 16th Century portraits, including: Eleanor Verney (attributed to Sir William Segar, c. 1590) & London map, Civitates Orbis Terrarum (Braun & Hogenburg, 1572)
The outer shell of this muff is burgundy voided velvet that has been backed with gold shot silk. The velvet pattern has been further decorated with gold thread embroidery (stem stich) and beading (pearls), techniques which have also served to secure the delicate velvet to the silk and sturdy backing fabric. The use of additional surface decoration, particularly pearl beading, is seen in the portrait of Elizabeth Verney, although the amount of decoration here was limited by the stock of pearls of a suitable size on hand.
Following the examples of the above portrait, and the 1572 London map, this hand warmer has a fur lining that is also used to "bind" the hand openings. Honey coloured fur was chosen as it best accentuated the velvet and silk combination used for the outer shell of the muff. The lack of availability of real fur in a suitable colour lead me to use fake fur.
I have also made a cord that allows the muff to be suspended from my neck or belt when not in use, as seen in the afore mentioned London map. This cord is removable to allow greater versatility.
Paternoster
Completed: March 2007
Inspiration: 1589 edition of Alcega
Made of bone and silver toned metal, this paternoster is based on an image found online. The 16th century patermoster is also discussed on Chris Laning's Paternoster Blog, where it is described as probably being of Mexican origin. I thought that such a morbid piece made in 'New Spain' seemed a suitable paternoster for Isabel Maria.
The skull beads are made of bone and were purchased locally. Sadly
these skulls are not as
large, detailed or accurate as the originals,
which also open to show tiny carvings of Christ's life. The silver-coloured beads, end loop and crescent were also bought from local stores and chosen to work with the size of the skull beads. The small cross was taken from a pair of earrings I
haven't worn since I was 12, and I combined the various pieces into the paternoster you see above using beading wire.
1570s Flat Bonnet
Completed: May 2006, for First Feast (in St Kessog)
Wanting a less formal hat to go with my less formal 16th Century clothes, I decided to make my very first 'ubiquitous flat cap', otherwise known as a bonnet.
Mostly following the information provided in Patterns of Fashion, I chose to vary the shape from a perfect circle to an oval in order to create the flat brim style I desired. The exact shape was manipulated from one of my better fitting circlets.
It is constructed with a velvet shell, linen lining, canvas interlining and felt mulling. In order to encourage the flat look (rather than the 'too small muffin cap' style) I have reinforced the the top of the crown with several extra layers of quilted canvas.
This hat is generally worn with either a silver feather brooch, or a small plume of game feathers, and finishes my day gowns from the same period.
1560s Spanish Cintura
Completed: April 2006, for Rowany Festival
Inspiration: Numerous pictures of Spanish Royalty, however the primary influence was the 1572 portrait of Anne of Austria by Alonso Sanchez Coello
A jewelled belt to complete the red Spanish Tourney gown.
The point is an inexpensive brooch, while the silver 'plaques' are from a group of bracelets I managed to purchase in bulk during a jewellery sale. The pearls are the last of my Estrella hoard, while the red beads were purchased for a viking necklace, and the silver beads were purchased specifically for this project.
The findings above are stitched to a sturdy base of shaped canvas reinforced with petersham and covered with white bias binding. After attaching the findings I covered the back with another layer of white bias binding.
Lacking a decent clasp that could take the weight of this fairly hefty belt, it ties in back using inch wide white ribbon.
(And just in case anyone is concerned about the colour of the belt, I did run this past a member of the Order of the Chivalry before completing it. It was deemed "spekky", and otherwise OK.)
1570s Pleated Silk Tall Hat
Completed: May 2005, for the Merchant's Ball
Inspiration: Pleated silk hat in Patterns of Fashion
A fan of head coverings in general, and after rediscovering my 1570s English middle class ensemble, I found I needed the kind of hat a middle class woman might put on, along with her good apron, in order to go to the markets. In other words, something that would look suitable with a variety of garments in different seasons, and also not look out of place when worn with the generic white coifs and biggins' of the time.
I was also searching for a project that looked like fun and allowed some experimentation in methodology and materials used. This hat was based on an extant example in Janet Arnold’s Patterns of Fashion, which was chosen after comparing it to the proportions of hats in the art of the period. Using cardboard for the base (in line with comments made by Arnold), this hat also has wool felt mulling, black linen lining and silk-satin outer shell. The stiffer base material has eliminated the need for wire reinforcing.
Documentation for this hat can be found here
To my immense sadness, this hat has had to be retired. It got squashed in late 2013 and could not be fixed. The braid will be salvaged (when I can face it) and re-used for the new and improved version of this rather fun hat.
Late Elizabethan Sewing Bag
Completed: mid 2005, to contain at event projects
Inspiration: extant examples in the Tudor display in the Victoria and Albert Museum (London) and serveral of the purchases shown in the picture
This purely functional accessory was created in order to keep my small projects and sewing things together at events.
It is hand stitched and constructed from tapestry fabric (outer) and linen (lining). The pincushion is stuffed with fabric off-cuts and attached to the bag with a hand lucetted cord.
Sir Vitale was kind enough to make the small brass loops decorating the pin cushion and bottom of the bag. I felt it looked a little bald with just the loops, so I have made and attached a number of small black tassels to complete the look as seen in several extant items on display in the V&A.
Items found in the bag include: Tudor thimble, medieval ring thimble, painted wood needle case (containing several steel needles), snips & stamped leather sheath and the current portable project.
1570s Spanish Gorra
Completed: October 2004, for visit of TRMs Draco & Serena, Beowulf Event
Inspiration: Numerous pictures of Spanish Royalty, however the primary influence was the 1572 portrait of Anne of Austria by Alonso Sanchez Coello
In the process of making my dream gown, I felt I needed the correct headwear to complete the look. After considerable trawling through pictures of the Spanish nobility and royalty, I settled on this style. In the end, this bonnet was inspired by numerous portraits of Anna of Austria, Isabel Valois, the Spanish Infantas Catalina and Isabella, and also portraits of several noble women.
Using wire reinforced canvas for the base, wool felt was applied to the canvas as mulling before the silk lining, velvet shell and brim were added. Each pleat has been carefully stuffed with rolled felt at the base, near the brim, so that the applied decorations, such as the pearl rope, won't crush the pleats and destroy the shape of the hat.
Documentation for this hat can be found here
Late 15th Century Truncated Henin
Completed: February 2003, for Canterbury Faire
Inspiration: A selection of manuscript images of transitional gowns
With a light, silk transitional gown completed in time for the event, it was obvious that a henin was also required.
The looming trip to Drachenwald and Pennic added certain tricky requirements for the hat. For example, the ability to survive international air travel in a backpack was an important requirement.
This particular issue was solved by using a plastic flower pot (one of those fake terracotta jobs) as the base. Black wool felt was used as mulling over the modified pot, and then covered in white linen so the colour would not show through the fine lavender coloured silk outer layer. The lappets are self-lined and sewn from black cotton velveteen.
1590s Silk Tall Hat
Completed: June 2000, for Southron Gaard's Midwinter event Entered in the Barony of Southron Gaard's Arts and Sciences Championship
Inspiration: A selection of manuscript images of transitional gowns
This was my first serious millinery project, and was inspired by a combination of a category for hats being announced in the Baronial A&S championship and my desire for a hat to compliment my first Elizabethan gown project.
Although numerous resources were considered, the hat is mostly due to the portrait of the Ball for the Wedding of the Duc de Joyeuse by the School of Clouet.
The silk shell and lining are applied over a mulling of white craft felt and a wire reinforced canvas base.
Many of these images were previously seen at http://helois.250free.com