Dress with front and back pleated section. Most often portrayed in the a book of engravings by the Master of the Housebook.
Description:
This dress is commonly known as a housebook dress because it was frequently portrayed in a book of engravings called the Housebook. It is a dress with pleated inset in both front and back with fall into the fullness of the skirt. The haub is a pleated rectangle of fabric (I use linen) which is wound about the head to produce is shape. The tail of the haub can be tucked back into it, wound around your neck and simply left to hang.
Inspiration Images
Common Materials
Fabrics:
Gown – wools, finely woven wools, brocaded or patterned cloths. Rich textiles, collars featuring velvets and furs. Fur trim
Kirtle – wools lined in linen
Underclothes – Linen
Ornamentation:
Effective Substitutions
Fabrics:
Gown – Some cottons, linens, Linen blends wool blends, brocades, some poly/cotton upholstery fabrics to achieve the woven in patterns.
Kirtle – Linen and linen blends, some cottons to lighten the under layers
These entries are taken from the participants in the Calontir Clothing Challenge (C3) which ran from 10/1/2020-1/31/2021. The C3 challenged artisans to make a 4-layer outfit over a four month period, three of which were clothing layers and the fourth an “accessory” (widely defined to include anything that displayed a non-sewing skill), while documenting their work. Entrants ranged from beginners making their first outfits to experienced members.
Because of how these were received, they will be in a different format to other entries.
About Kristine: I joined the SCA in middle school when my mother started taking us to meetings. I wasn’t always as excited about it in the beginning, but when I found tablet-weaving, I was hooked. I met my fiance, Vincent, as well as all my closest friends in the society.
Vincent and I came to a deal a long time ago that he would make our garb, since he enjoys it and it just puts me in a foul mood…. but since I’m spearheading this challenge, I feel like I have to put my money where my mouth is and participate. Wish our household luck!
Description:
Years ago, I came upon one of the images below and felt like I fully understood the woman wearing it – and I love her apron. I can’t just make the apron, right? I have to make the whole outfit to go with it. These images are all from the same illumination and are a little later than my usual time period (I’m usually mid-to-late 14thc Scot) being earlyish 15c inspired by images from The Book of Faiz Monseigneur Saint Loys. So, My plan is to make all the layers shown, a chemise, a supportive kirtle (stretch project of additional pin-on sleeves), a silk cotte with embroidery, and a wool over cotte with embroidered embellishments. My accessory will be a tablet woven belt, though I’ll also be making the aforementioned apron. I have other wacky ideas on extra accessory layers, but we’ll see how it goes!
Her final thoughts on her C3 Experience: Well, I knew that running the challenge and getting my own outfit done at the same time would be a challenge. I didn’t get to the final overcoat layer like I’d hoped (which would have been blue wool with a red lining) but I’m pretty happy with the four I did get finished.
My favorite completed pieces are the belt (layer 4) and the apron, which was the inspiration for the whole thing.
Overall, I have reaffirmed that Vincent will do all the construction sewing from now on, but I’ll happily help out with hand-finishing. Good to know since we have wedding garb to finish next!
C3 Level:
Modern Recreationist/Intermediate
Complete Outfit Images:
Inspiration Images
Layer 1
My layer 1 consists of a chemise and a St Birgitta’s Cap. Both are made of white linen and are of machine base construction and hand finished with linen thread.
The chemise is based off the general late period pattern which has been theorized was used in the early 15th century. As I’m in the modern recreationist category, I took a step from what I could document and added a simple embroidered pattern around the neckline and tablet woven trim around the base. The trim is of cotton, as it’s what I had on hand, and was woven by me – the first of many tablet woven projects which will be incorporated into this outfit.
The cap is of basic construction and went MUCH better than my first cap I attempted years ago. It went so well that I’m considering making a second one with some decorative elements.
Layer 2
This short sleeved kirtle is made of linen, with a wide V-front design to allow for changing sizes. The lacing here is tubular tablet weaving I made during the project time. Machine construction, hand finishing
Including the eyelets! This was my first time hand-sewing eyelets and I think they turned out alright.
Layer 3
This layer really tested my patience, let me tell you. We have a rule in my house, as mentioned above, that my fiance (Vincent de Vere) does all the sewing in the house and this dress proved once again that that’s a great policy for us. I tried on this dress and it fit great but there was a little too much on the back, so I took it out. Then I tried it on again…. and it was too small by exactly that same amount, so I had to piece it back in. There’s no reason it should happen, but it did.
Anyway, this is a green/black dupioni silk and I just love the color. Based on information from the Medieval Tailor’s assistant, I chose to make this layer side lacing to alternate with the underlayers. Rather than embroidering, I wove bands for the bottom as I’m a tablet-weaver and that seemed a lot less onerous for me while I was running this challenge. I will eventually go back and embroider in words as is seen in my inspiration images.
This, too, is machine sewn and hand finished, including all the eyelets for the side closures.
Layer 4
I’m a tablet weaver (if you couldn’t tell from all the tablet weaving I snuck into my other layers) so my layer four is a tablet woven, brocaded belt. The main layer is a red 30/2 silk with a mylar metallic weft (because who can afford real gold for these things?) Patterns are self-designed and generically geometric.
I like to have a supportive backing layer on my belts because I’m not very easy on them. It offers a little extra support. The backing band here is a linen in a simple pattern which was woven separately and sewn to the decorative band.
Belt ends are purchased.
Farmhouse Cheddar – Cheesemaking techniques haven’t changed much since medieval times. I’ve made two cheddar rounds, one smoked (ok, burned. I scorched the milk. But I already had the yeast and rennet in it by then, so I went ahead and finished it. Who knows?) and one regular. They’ll age until January when it’s time to take pictures
Beeswax – The beeswax was processed from the yearly rent paid by the bees who live in my yard. The hive shaped piece is mine for the challenge and the bees went out to people from my local group who have taken up the challenge as well.
Embroidered Apron – the whole reason this was my to-do outfit! The originals had religious sayings but, not being religious I wanted to switch it out for something else. “Vox Nihili” – roughly meaning “saying Nothing” seemed amusing and appropriate. Linen embroidery on lined fabric, with a linen tablet woven band at the top for tying.
“A” shaped dress with “V” shaped neckline, fitted in the torso and spreading widely, often with train from the waist. Wide belt at waist. Worn over fitted kirtle.
Description:
One of the garments that there are many image examples for as this is a time of many surviving artworks. A style of dress seen in many Flemish paintings that show a common set of features including fitted torso with deeply plunging neckline and collar with contrasting fabric or fur lining. The deep neckline displayed an under placket or partlet or kirtle, some displayed without. Sleeves often shown with lined cuffs that are rolled back on the sleeve. Most show no seam at waist or a wide belt covering any such seam. More examples of images showing the waist seam appear closer to 1500CE. Many are displayed as being lined
Under layers would commonly include a shift, slip or some form of underdress, covered by a fitted kirtle and then covered by the gown.
Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate.
This dress is poly cotton blend brocade with cotton velvet collar and cuffs, red linen kirtle, white linen shift. A yellow silk placket covers most of the red kirtle at the plunging neckline
Inspiration Images
Common Materials
Fabrics:
Gown –
wools,
finely woven wools,
brocaded or patterned cloths. Rich textiles,
collars featuring velvets and furs.
Fur trim
Kirtle –
wool
linen
Underclothes
linen
Ornamentation:
Effective Substitutions
Fabrics:
Gown
Some cottons
linens
Linen blends wool blends
brocades
some poly/cotton upholstery fabrics to achieve the woven in patterns.
Kirtle
Linen and linen blends
some cottons to lighten the under layers
Underclothes
Linen
Linen blends
cottons
Ornamentation:
Ensemble Components
Under layers – shift/slip or some form of underdress
gown.
fitted kirtle
Accessories
Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate.
This is the time of the Henin hat that becomes the stereotypical ‘princess’ hat, various low shoes or slippers, pouches or purses.
The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces. (May imply someone with a dubious occupation.)
Description:
Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.
Many of the outer garments were made from wool. Contrasting color collars and cuffs, bight colors, rich fabrics. No two looking the same. Bodice laced shut exposing layers underneath. Some necklines are very wide creating garments nearly falling off the shoulders. Long and short sleeves are seen. Many garments ‘slashed’ to expose layers underneath sleeves
Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts. Patterned stockings are seen in some illustrations. “Cow mouth” shoes with a wide toe area.
Note on Names:
Cranach – last name or two painters associated with this style
Tross – the camp followers of the mercenaries
Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries
It’s cool but read up on the culture before deciding to make one.
Inspiration Images
Common Materials
Fabrics:
Wool main garments in bright colors, vivid patterns, rich fabrics added as trim.
Silks, velvets,
A lot of fabric to make the dresses.
Ornamentation:
Knitted stockings
linen undergarments
Effective Substitutions
Fabrics:
Some poly/cotton brocades to simulate the rich fabrics.
Wool blends are easier to find.
Linen blends and cottons for undergarments.
Very hard to make these dresses look right without investing in the right materials.
Ornamentation:
Ensemble Components
Gown – bodice and attached skirt
Placket over breasts
underdress
stockings
hats, including large, feathered hats
Accessories
Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces. (May imply someone with a dubious occupation.)
Description:
Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.
Many of the outer garments were made from wool. Contrasting color collars and cuffs, bight colors, rich fabrics. No two looking the same. Bodice laced shut exposing layers underneath. Some necklines are very wide creating garments nearly falling off the shoulders. Long and short sleeves are seen. Many garments ‘slashed’ to expose layers underneath sleeves
Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts. Patterned stockings are seen in some illustrations. “Cow mouth” shoes with a wide toe area.
Note on Names:
Cranach – last name or two painters associated with this style
Tross – the camp followers of the mercenaries
Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries
It’s cool but read up on the culture before deciding to make one.
Inspiration Images
Common Materials
Fabrics:
Wool main garments in bright colors, vivid patterns, rich fabrics added as trim.
Silks, velvets,
A lot of fabric to make the dresses.
Ornamentation:
Knitted stockings
linen undergarments
Effective Substitutions
Fabrics:
Some poly/cotton brocades to simulate the rich fabrics.
Wool blends are easier to find.
Linen blends and cottons for undergarments.
Very hard to make these dresses look right without investing in the right materials.
Ornamentation:
Ensemble Components
Gown – bodice and attached skirt
Placket over breasts
underdress
stockings
hats, including large, feathered hats
Accessories
Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces. (May imply someone with a dubious occupation.)
Description:
Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.
Many of the outer garments were made from wool. Contrasting color collars and cuffs, bight colors, rich fabrics. No two looking the same. Bodice laced shut exposing layers underneath. Some necklines are very wide creating garments nearly falling off the shoulders. Long and short sleeves are seen. Many garments ‘slashed’ to expose layers underneath sleeves
Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts. Patterned stockings are seen in some illustrations. “Cow mouth” shoes with a wide toe area.
Note on Names:
Cranach – last name or two painters associated with this style
Tross – the camp followers of the mercenaries
Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries
It’s cool but read up on the culture before deciding to make one.
Inspiration Images
Common Materials
Fabrics:
Wool main garments in bright colors, vivid patterns, rich fabrics added as trim.
Silks, velvets,
A lot of fabric to make the dresses.
Ornamentation:
Knitted stockings
linen undergarments
Effective Substitutions
Fabrics:
Some poly/cotton brocades to simulate the rich fabrics.
Wool blends are easier to find.
Linen blends and cottons for undergarments.
Very hard to make these dresses look right without investing in the right materials.
Ornamentation:
Ensemble Components
Gown – bodice and attached skirt
Placket over breasts
underdress
stockings
hats, including large, feathered hats
Accessories
Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces. (May imply someone with a dubious occupation.)
Description:
Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.
Many of the outer garments were made from wool. Contrasting color collars and cuffs, bight colors, rich fabrics. No two looking the same. Bodice laced shut exposing layers underneath. Some necklines are very wide creating garments nearly falling off the shoulders. Long and short sleeves are seen. Many garments ‘slashed’ to expose layers underneath sleeves
Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts. Patterned stockings are seen in some illustrations. “Cow mouth” shoes with a wide toe area.
Note on Names:
Cranach – last name or two painters associated with this style
Tross – the camp followers of the mercenaries
Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries
It’s cool but read up on the culture before deciding to make one.
Inspiration Images
Common Materials
Fabrics:
Wool main garments in bright colors, vivid patterns, rich fabrics added as trim.
Silks, velvets,
A lot of fabric to make the dresses.
Ornamentation:
Knitted stockings
linen undergarments
Effective Substitutions
Fabrics:
Some poly/cotton brocades to simulate the rich fabrics.
Wool blends are easier to find.
Linen blends and cottons for undergarments.
Very hard to make these dresses look right without investing in the right materials.
Ornamentation:
Ensemble Components
Gown – bodice and attached skirt
Placket over breasts
underdress
stockings
hats, including large, feathered hats
Accessories
Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
Apron made from one yard of linen fabric featuring honeycomb pleating decoration.
Description:
This apron is made from three pieces with two long narrow strips sewn into the waistband and one large rectangle decorated with honeycomb pleating.
Aprons are easily constructed accessories that are also functional accessories to use with your SCA clothing. They can easily be made in a few minutes by machine or just a couple hours by hand. They add to the completeness of an ensemble by adding another layer to the look. They are also very functional in protecting the clothing beneath it.
The honeycomb pleating makes this apron appear much more complex but the decoration can be done in a few hours of work and makes a much more decorative accessory.
Inspiration Images
Common Materials
Fabrics:
Linen
Effective Substitutions
Fabrics:
linen blends
Linen
cotton
cotton blends
Ensemble Components
Accessories
Source/Links
woodcut Tailor and Seamstress by Erhard Schon, 1525-1530
These are images from the The German single-leaf woodcut, 1500-1550, Max Geisberg ; rev. and edited by Walter L. Strauss, New York : Hacker Art Books, 1974.
Hourglass Shaped Gown with Large Sleeves & Detachable Under Sleeves
Description:
Main Body:
This style of dress is an evolutionary phase within the 16th century that is influenced by Spanish and German styles. The silhouette has an hourglass shape: the bodice narrowed to a small waistline and the skirt gradually expanding into an inverted cone shape. Many of these dresses were floor length and without a train.
To achieve the cone shaped appearance required a supportive layer called the Spanish farthingale which was worn over the chemise. A pair of bodies was worn with the farthingale and over the chemise. The front of the overdress would have an inverted V opening and the neckline was square with highly decorative jewels or trim on the edging. The sleeves were narrowed at the shoulder and expanded outward (normally a wide square cuff) that was turned back on itself. This cuff could be made of fur or brocade. A detachable, false sleeve was worn underneath and was decorated with panes and slashes through which the chemise could be seen or pulled through.
Inspiration Images
Common Materials
Fabrics:
Linen, Cotton, Wool, Silk, Brocade, Jacquard, Satin, and Taffeta*
*Some of the materials refer to weave structure and would have been made from natural fibers.
Additional:
Whalebone, cane, or steel for farthingale. Leather for shoes.
Effective Substitutions
Fabrics:
Some Polyester/cotton blended brocade, jacquard, satin, and taffeta.
linen blends and cottons for under layers
Additional:
Plastic, zip ties, and metal for boning.
Ensemble Components
Chemise: undermost garment that is cut full and gathered into a round or square neckline; with full, gathered sleeves and ruffled cuff.
Spanish Farthingale: a skirt separate or sewn to petticoat with hoops that gradient in size from the waist to floor. Constructed with whalebone, cane, or steel hoops.
Pair of Bodies: corset or under bodice that has stays (boning) laced together at the front, back, or both.
Petticoat: an underskirt that is made with elaborate fabric which can be seen in the front opening of overdress.
Overdress/Bodice: narrowed, stiff, and flat with an elongated V that dips at the natural waist.
Overdress/Skirt: combined with the bodice; very full and gathered made of similar fabric to overdress bodice.
Head wear: Coif, French Hood, Square Hood
Shoes: Fabric or leather square-toe.
Accessories
Needlepoint/bobbin lace
Embroidery/Blackwork
jewels/trim
jeweled belt
brooches
purses suspended from belt
squared or feather fans.
Source/Links
Tortora, P. (2010). Survey of Historic Costume. New York: Fairchild Books.
SCA Iowa Garb Guide 
