A fragmentary grave find of a Finnish dress. Style consists of an under tunic, an over dress of two rectangles of fabric and an apron. The layers are decorated with tablet weaving and metal coils. The grave find also was rich in metal artifacts
Description:
The complexity of this garment is in the decoration and accessories. The basic garment layers are exceedingly simple.
Under tunic: the base layer under tunic would most likely have been flax or nettle linen. It consists of 6 pieces, front and back panels, under arm gores extending into the sleeves and the sleeves that extend from hand to neckline.
Overdress: the over dress is related to other Norse dresses as well as stylistically similar to a peplos. It is two rectangles that are folded over at the top, pinned at the shoulders and stitched or pinned at the sides. This layer is likely wool in a tabby weave and decorated by tablet weaving.
Apron: The apron is folded over a belt and was likely wool. The notable thing about the aprons are their decorations made from coils of wire attached at the edges and along the bottom in a variety of styles and decorations.
Accessories:
Metal coiled arm bracelets (a very close approximation was sold as costume jewelry recently and can still be found)
Necklace made from coins and lampwork beads
Knife sheath and “puco” knife
Eura is a region in south west Finland. Many graves have been excavated in Luistari in the 1960’s and 70’s. Fabric reminants were preserved due to oxides from the metal finds. Grave 56 was a focus of attention because the metal preserved enough of the fabric in key points to allow for a reconstruction with some certainty
Inspiration Images
Common Materials
Fabrics:
Under dress: linen
over dress: wool
apron: wool
Ornamentation:
tablet woven trim
brass and bronze alloy coils
glass beads
Effective Substitutions
Fabrics:
Cottons and linen blends for the under dress
wool blends or linens and linen blends for the over dress in summer
wool blends or linen and linen blends for the apron
Some analysis of the actual colors of the grave finds has been done. SCA recreations commonly use colors that are available through natural dyes and are therefore plausible.
Ornamentation:
Ensemble Components
Underdress
Overdress
Apron
Belt
Optional Mantle (shawl)
Simple leather Shoes in the style of “bag shoes”
Metal and glass accessories
Accessories
Pair of brooch pins holding the overdress together at the shoulders
A fragmentary grave find of a Finnish dress. Style consists of an under tunic, an over dress of two rectangles of fabric and an apron. The layers are decorated with tablet weaving and metal coils. The grave find also was rich in metal artifacts
Description:
The complexity of this garment is in the decoration and accessories. The basic garment layers are exceedingly simple.
Under tunic: the base layer under tunic would most likely have been flax or nettle linen. It consists of 6 pieces, front and back panels, under arm gores extending into the sleeves and the sleeves that extend from hand to neckline.
Overdress: the over dress is related to other Norse dresses as well as stylistically similar to a peplos. It is two rectangles that are folded over at the top, pinned at the shoulders and stitched or pinned at the sides. This layer is likely wool in a tabby weave and decorated by tablet weaving.
Apron: The apron is folded over a belt and was likely wool. The notable thing about the aprons are their decorations made from coils of wire attached at the edges and along the bottom in a variety of styles and decorations.
Accessories:
Metal coiled arm bracelets (a very close approximation was sold as costume jewelry recently and can still be found)
Necklace made from coins and lampwork beads
Knife sheath and “puco” knife
Eura is a region in south west Finland. Many graves have been excavated in Luistari in the 1960’s and 70’s. Fabric reminants were preserved due to oxides from the metal finds. Grave 56 was a focus of attention because the metal preserved enough of the fabric in key points to allow for a reconstruction with some certainty
Inspiration Images
Common Materials
Fabrics:
Under dress: linen
over dress: wool
apron: wool
Ornamentation:
tablet woven trim
brass and bronze alloy coils
glass beads
Effective Substitutions
Fabrics:
Cottons and linen blends for the under dress
wool blends or linens and linen blends for the over dress in summer
wool blends or linen and linen blends for the apron
Some analysis of the actual colors of the grave finds has been done. SCA recreations commonly use colors that are available through natural dyes and are therefore plausible.
Ornamentation:
Ensemble Components
Underdress
Overdress
Apron
Belt
Optional Mantle (shawl)
Simple leather Shoes in the style of “bag shoes”
Metal and glass accessories
Accessories
Pair of brooch pins holding the overdress together at the shoulders
A fragmentary grave find of a Finnish dress. Style consists of an under tunic, an over dress of two rectangles of fabric and an apron. The layers are decorated with tablet weaving and metal coils. The grave find also was rich in metal artifacts
Description:
The complexity of this garment is in the decoration and accessories. The basic garment layers are exceedingly simple.
Under tunic: the base layer under tunic would most likely have been flax or nettle linen. It consists of 6 pieces, front and back panels, under arm gores extending into the sleeves and the sleeves that extend from hand to neckline.
Overdress: the over dress is related to other Norse dresses as well as stylistically similar to a peplos. It is two rectangles that are folded over at the top, pinned at the shoulders and stitched or pinned at the sides. This layer is likely wool in a tabby weave and decorated by tablet weaving.
Apron: The apron is folded over a belt and was likely wool. The notable thing about the aprons are their decorations made from coils of wire attached at the edges and along the bottom in a variety of styles and decorations.
Accessories:
Metal coiled arm bracelets (a very close approximation was sold as costume jewelry recently and can still be found)
Necklace made from coins and lampwork beads
Knife sheath and “puco” knife
Eura is a region in south west Finland. Many graves have been excavated in Luistari in the 1960’s and 70’s. Fabric reminants were preserved due to oxides from the metal finds. Grave 56 was a focus of attention because the metal preserved enough of the fabric in key points to allow for a reconstruction with some certainty
Inspiration Images
Common Materials
Fabrics:
Under dress: linen
over dress: wool
apron: wool
Ornamentation:
tablet woven trim
brass and bronze alloy coils
glass beads
Effective Substitutions
Fabrics:
Cottons and linen blends for the under dress
wool blends or linens and linen blends for the over dress in summer
wool blends or linen and linen blends for the apron
Some analysis of the actual colors of the grave finds has been done. SCA recreations commonly use colors that are available through natural dyes and are therefore plausible.
Ornamentation:
Ensemble Components
Underdress
Overdress
Apron
Belt
Optional Mantle (shawl)
Simple leather Shoes in the style of “bag shoes”
Metal and glass accessories
Accessories
Pair of brooch pins holding the overdress together at the shoulders
Fitted male coat forming the outer layer or the middle layer of an ensemble
Description:
In some areas in Western Europe, male garments became more fitted in the 1300s. The unfitted cotes became the tailored and fitted cotehardies. Layers associated with cotehardies would be a linen undershirt, sometimes an early form of the doublet and braies and hosen. Layers over the cotehardie could be gowns and houppelandes
In some cases the cotehardies are shorter to the point of reaching just to the crotch depth. Others are seen longer to the point of knee length. Some have decorative dagged edges. They often feature a large number of closely spaced buttons
Male cotehardies could have long or shorter sleeves including short sleeves showing off the doublet below, sometimes featuring sleeve streamers. The sleeves of the cotehardie or the layer under the cotehardie are very tight.
This cotehardie has the group livery colors and has silk stripes appliqued on the silk cotehardie lined in linen and a liripipe hood with dagges
Inspiration Images
Common Materials
Fabrics:
Wool
silks
brocades
velvets
Ornamentation:
cloth or metal buttons
Effective Substitutions
Fabrics:
cottons
linens
linen blends
wool blends
Ornamentation:
Ensemble Components
linen undershirt
likely an early form of the doublet
. Turn shoes, slippers or low boots
braies and hosen
Layers over the cotehardie could be gowns and houppelandes
Fitted female garment forming an outer or middle layer including the foundational garments.
Description:
Red wool cote (in this case similar to other entries on cotehardies) over an unseen kirtle supportive layer. Seen with accurate accessories of an apron, hood and veil.
As female garments became more fitted in the 1300s the unfitted tunic like dresses became more tailored and fitted.
A loose shift or slip like garment could be worn as a base layer. There is limited evidence for underwear. The bust could be supported with just the fitted layers.
A kirtle layer worn between the shift and the cote could be laced up the front and the sleeves could be buttoned or laced. The kirtle layer is often fitted as to be supportive in the bust and not as long as the cotehardie layer.
The cote layer over the kirtle later adds to the support of the bust line. The neck line could be plunging or more modest. The dress is often shown with a large number of closely spaced buttons on a front closure. The sleeves could be short, short with sleeve streamers (a very stereotypical cote look) or longer. Some examples extend over the hand almost to the fingers. The cotehardie layer would be floor length. The belt is often shown slung low on the hips.
This is a case where the person who made the garment prefers to call this a cote, where others would call it a cotehardie or a gothic fitted dress.
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.
SCA Iowa Garb Guide 
