Tag: Vincent De Vere

Female, Full Entry

1000 CE Finnish “Eura” Dress 3

deveretallier
Title: 1000 CE Finnish “Eura” Dress 3
Entry #: GGB2021.023
Alternate Names: Luistari in Eura – Grave #56 
Year: 1000 CE
Time range:
Era: Early Medieval
Gender: Female
region: Eastern Baltic
Countries/cultures: Baltic Tribes – Finland
Maker: Vincent De Vere, Kristine Nic Tallieur, Marguerite des Baux
Difficulty: 4
Confidence: Remains of Extant example

Intro:

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
  • Rings
  • Knife and knife sheath

  • chains between the brooches
  • bracelets including the spiral bracelet
  • necklace made from coins and glass beads

Source/Links

http://www.katajahovi.org/en/costumes.html

http://www.vikinganswerlady.com/FTP_Files/Ancient_Finnish_Costumes.PDF

Version: 2
date: 2/26/2021
Source of Period Pic:
Model:
Photographer: Vincent de Vere
  

Female, Full Entry

1000 CE Finnish “Eura” Dress 2

deveretallier
Title: 1000 CE Finnish “Eura” Dress 2
Entry #: GGB2021.022
Alternate Names: Luistari in Eura – Grave #56 
Year: 1000 CE
Time range:
Era: Early Medieval
Gender: Female
region: Eastern Baltic
Countries/cultures: Baltic Tribes – Finland
Maker: Vincent De Vere, Zaneta Baseggio, Kristine Nic Tallieur
Difficulty: 4
Confidence: Remains of Extant example

Intro:

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
  • Rings
  • Knife and knife sheath

  • chains between the brooches
  • bracelets including the spiral bracelet
  • necklace made from coins and glass beads

Source/Links

http://www.katajahovi.org/en/costumes.html

http://www.vikinganswerlady.com/FTP_Files/Ancient_Finnish_Costumes.PDF

Version: 2
date: 2/26/2021
Source of Period Pic:
Model:
Photographer: Vincent de Vere
  

Female, Full Entry

1000 CE Finnish “Eura” Dress 1

deveretallier
Title: 1000 CE Finnish “Eura” Dress 1
Entry #: GGB2021.021
Alternate Names: Luistari in Eura – Grave #56 
Year: 1000 CE
Time range:
Era: Early Medieval
Gender: Female
region: Eastern Baltic
Countries/cultures: Baltic Tribes – Finland
Maker: Vincent De Vere, Zaneta Baseggio, Kristine Nic Tallieur
Difficulty: 4
Confidence: Remains of Extant example

Intro:

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
  • Rings
  • Knife and knife sheath

  • chains between the brooches
  • bracelets including the spiral bracelet
  • necklace made from coins and glass beads

Source/Links

http://www.katajahovi.org/en/costumes.html

http://www.vikinganswerlady.com/FTP_Files/Ancient_Finnish_Costumes.PDF

Version: 2
date: 2/26/2021
Source of Period Pic:
Model:
Photographer: Vincent de Vere
  

Component Entry, Female, Male, Unisex

Narrow Belt with Reproduction Buckle

deveretallier
TitleNarrow Belt with Reproduction Buckle
Entry #GGC2021.032
Alternate NamesBelt
Year1066 CE
Time range1000-1200CE
EraHigh Medieval
GenderUnisex
regionEurope
Countries/culturesEurope
MakerVincent De Vere,
Difficulty1
ConfidenceExtant Example

Intro:

 Various belts.      

Description:

This is a reproduction of an extant example buckle and strap end attached to a strip of leather to form a belt.

This reproduction buckle is based on an extant example and was dated to a time range in the high medieval period. It is available through several reputable vendors. It would be an example of a very inexpensive reproduction piece.

Inspiration Images

Common Materials

  • Fabrics:
    • Leather
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • Leather
  • Ornamentation:

Ensemble Components

Accessories

Source/Links

The Portable Antiquities Scheme/ The Trustees of the British Museum, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0&gt;, via Wikimedia Commons

https://armourandcastings.com/en_US/products/prjazhka-e14-2

Norman belt set, Britain, 11-12 c. For 20 mm wide belt.

Version1
date1/2/2022
Source of Period PicBritish Museum
Model 
PhotographerVincent De Vere
  
Component Entry, Unisex

Shoe, bag shoe

deveretallier
TitleShoe, bag shoe
Entry #GGC2022.017
Alternate Names
Year1000 CE
Time range3000 BCE – 1200 CE
Eraall
Genderunisex
regionEurope
Countries/cultures
MakerVincent De Vere,
Difficulty1
ConfidenceExtant Examples

Intro:

Simple slip on shoes.

Description:

Low slip on shoes that are constructed from a single piece of leather and a leather thong.  Evidence of shoes much like this have been found to our knowledge, from sites ranging from 3000 BCE to 1200 CE or later.  Basic shoes of this style have also been found in the archeological record across Europe. 

This recreation shoe later had a stiffing sole and tread glued to the bottom to prevent the wearer from slipping at events.  Although this modification is not historically correct, modifications done for personal safety and comfort are common in the SCA.

Inspiration Images

Common Materials

  • Fabrics:
    • Leather. 
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • chrome tanned leather, but oak tan/veg tan leather will work far better

Ensemble Components

Accessories

Source/Links

The Jotunheimen shoe. Vegard Vike/Kulturhistorisk museum, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0&gt;, via Wikimedia Commons

Stepping Through Time: Archaeological Footwear from Prehistoric Times until 1800, By Olaf Goubitz.  ISBN  9089320040 ISBN-13 ‏ : ‎ 978-9089320049

Version1
date1/9/2022
Source of Period PicThe Jotunheimen shoe. Vegard Vike/Kulturhistorisk museum, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0&gt;, via Wikimedia Commons
Model 
PhotographerVincent De Vere
  

Female, Full Entry

1150 CE Female Bliaut Inspired Fantasy Dress 3

deveretallier
Title: 1150 CE Female Bliaut Inspired Fantasy Dress 3
Entry #: GGB2021.035
Alternate Names: Buttercup’s Dress from Princess Bride 
Year: 1150 CE
Time range: 1150-1250’s CE
Era: High medieval
Gender: Female
region: Europe
Countries/cultures: Europe, france, england
Maker: Vincent De Vere
Difficulty: 2
Confidence: Fantasy based on historic garment

Intro:

Buttercup’s riding Dress from the first part of the Princess Bride.  This movie costume is very similar to a Bliaut.

Women’s or men’s over-garment characterized by the tunic like construction with side closures resulting in a more fitted silhouette.  The attached skirts were full and floor length for women and shorter for men and the sleeves were commonly fitted above the elbow and trumpet shaped or widened out below the elbow.

Description:

Although similar to the basic t tunic dress the differences in the sleeves and the under-bust to waist area distinguish them.  The sleeves vary in style, but predominantly are characterized by the fitted upper sleeve and the widened lower sleeve.  The lower sleeve by be in the form of a trumpet sleeve or as extreme as examples that drag the floor.  A lined sleeve that could be turned back to expose an expensive inner liner would also be seen. 

The other major distinguishing feature is the under-bust puckering of the fabric.  There remains multiple ways to achieve this look, but many have had success by elongating the under-bust to waist dress length by some number of inches and by adding lacing on the side of the dress to achieve the fitted look. Most evidence of the dress is found in areas of French fashion influence.

An Attempt of Buttercup’s dress.  Much like a Bliaut but the sleeve had cuffs that were an adaptation for the movie.

Inspiration Images

Common Materials

  • Fabrics:
    • Some think images of fine pleats to represent silks
    • fine wools
    • rich fabrics
    • perhaps linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • cottons
    • linen blends
    • wool blends
    • muslin for undergarments
  • Ornamentation:

Ensemble Components

  • Underdress
  • Bliaut overdress

  • various head coverings

Accessories

  • a belt wrapped around the body
  • pouch or purse
  • wimple or veiled head covering

Source/Links

https://www.eg.bucknell.edu/~lwittie/sca/garb/bliaut.html

http://danikaulakisart.com/bliaut.pdf

https://adamselindisdress.blog/2014/04/28/12th-century-dress-the-bliaut/

Version: 3
date: 3/6/2021
Source of Period Pic: Chartres cathedral ,Angers cathedral, France, sculpture at West Portal (detail of existing Commons image :Image:Angers Cathedral sculpture at west door TTaylor.jpg
Model:
Photographer: Vincent De Vere
  

Female, Full Entry

1150 CE Female Bliaut 4

deveretallier
Title: 1150 CE Female Bliaut 4
Entry #: GGB2021.036
Alternate Names:  
Year: 1150 CE
Time range: 1150-1250’s CE
Era: High medieval
Gender: Female
region: Europe
Countries/cultures: Europe, france, england
Maker: Vincent De Vere
Difficulty: 2
Confidence: Image Examples

Intro:

Women’s or men’s over-garment characterized by the tunic like construction with side closures resulting in a more fitted silhouette.  The attached skirts were full and floor length for women and shorter for men and the sleeves were commonly fitted above the elbow and trumpet shaped or widened out below the elbow.

Description:

Although similar to the basic t tunic dress the differences in the sleeves and the under-bust to waist area distinguish them.  The sleeves vary in style, but predominantly are characterized by the fitted upper sleeve and the widened lower sleeve.  The lower sleeve by be in the form of a trumpet sleeve or as extreme as examples that drag the floor.  A lined sleeve that could be turned back to expose an expensive inner liner would also be seen. 

The other major distinguishing feature is the under-bust puckering of the fabric.  There remains multiple ways to achieve this look, but many have had success by elongating the under-bust to waist dress length by some number of inches and by adding lacing on the side of the dress to achieve the fitted look. Most evidence of the dress is found in areas of French fashion influence.

This bliaut is purple linen with gold silk around the collar as well as lining the sleeves. 

Inspiration Images

Common Materials

  • Fabrics:
    • Some think images of fine pleats to represent silks
    • fine wools
    • rich fabrics
    • perhaps linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • cottons
    • linen blends
    • wool blends
    • muslin for undergarments
  • Ornamentation:

Ensemble Components

  • Underdress
  • Bliaut overdress

  • various head coverings

Accessories

  • a belt wrapped around the body
  • pouch or purse
  • wimple or veiled head covering

Source/Links

https://www.eg.bucknell.edu/~lwittie/sca/garb/bliaut.html

http://danikaulakisart.com/bliaut.pdf

https://adamselindisdress.blog/2014/04/28/12th-century-dress-the-bliaut/

Version: 3
date: 3/6/2021
Source of Period Pic: Chartres cathedral ,Angers cathedral, France, sculpture at West Portal , Sculptures on the exterior of the Cathedral of Notre-Dame de Chartres
Model:
Photographer: Vincent De Vere
  

Female, Full Entry

1150 CE Female Bliaut 2

deveretallier
Title: 1150 CE Female Bliaut 2
Entry #: GGB2021.034
Alternate Names:  
Year: 1150 CE
Time range: 1150-1250’s CE
Era: High medieval
Gender: Female
region: Europe
Countries/cultures: Europe, france, england
Maker: Vincent De Vere
Difficulty: 2
Confidence: Image Examples

Intro:

Women’s or men’s over-garment characterized by the tunic like construction with side closures resulting in a more fitted silhouette.  The attached skirts were full and floor length for women and shorter for men and the sleeves were commonly fitted above the elbow and trumpet shaped or widened out below the elbow.

Description:

Although similar to the basic t tunic dress the differences in the sleeves and the under-bust to waist area distinguish them.  The sleeves vary in style, but predominantly are characterized by the fitted upper sleeve and the widened lower sleeve.  The lower sleeve by be in the form of a trumpet sleeve or as extreme as examples that drag the floor.  A lined sleeve that could be turned back to expose an expensive inner liner would also be seen. 

The other major distinguishing feature is the under-bust puckering of the fabric.  There remains multiple ways to achieve this look, but many have had success by elongating the under-bust to waist dress length by some number of inches and by adding lacing on the side of the dress to achieve the fitted look. Most evidence of the dress is found in areas of French fashion influence.

This is a simplified bliaut made from blue linen blend fabric constructed in a simplified way.  It lacks decoration or lining but is a very simple to construct garment

Inspiration Images

Common Materials

  • Fabrics:
    • Some think images of fine pleats to represent silks
    • fine wools
    • rich fabrics
    • perhaps linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • cottons
    • linen blends
    • wool blends
    • muslin for undergarments
  • Ornamentation:

Ensemble Components

  • Underdress
  • Bliaut overdress

  • various head coverings

Accessories

  • a belt wrapped around the body
  • pouch or purse
  • wimple or veiled head covering

Source/Links

https://www.eg.bucknell.edu/~lwittie/sca/garb/bliaut.html

http://danikaulakisart.com/bliaut.pdf

https://adamselindisdress.blog/2014/04/28/12th-century-dress-the-bliaut/

Version: 2
date: 3/6/2021
Source of Period Pic: Chartres cathedral ,Angers cathedral, France, sculpture at West Portal , Sculptures on the exterior of the Cathedral of Notre-Dame de Chartres
Model:
Photographer: Vincent De Vere
  

Female, Full Entry

1150 CE Female Bliaut 1

deveretallier
Title: 1150 CE Female Bliaut 1
Entry #: GGB2021.033
Alternate Names:  
Year: 1150 CE
Time range: 1150-1250’s CE
Era: High medieval
Gender: Female
region: Europe
Countries/cultures: Europe, france, england
Maker: Vincent De Vere
Difficulty: 2
Confidence: Image Examples

Intro:

Women’s or men’s over-garment characterized by the tunic like construction with side closures resulting in a more fitted silhouette.  The attached skirts were full and floor length for women and shorter for men and the sleeves were commonly fitted above the elbow and trumpet shaped or widened out below the elbow.

Description:

Although similar to the basic t tunic dress the differences in the sleeves and the under-bust to waist area distinguish them.  The sleeves vary in style, but predominantly are characterized by the fitted upper sleeve and the widened lower sleeve.  The lower sleeve by be in the form of a trumpet sleeve or as extreme as examples that drag the floor.  A lined sleeve that could be turned back to expose an expensive inner liner would also be seen. 

The other major distinguishing feature is the under-bust puckering of the fabric.  There remains multiple ways to achieve this look, but many have had success by elongating the under-bust to waist dress length by some number of inches and by adding lacing on the side of the dress to achieve the fitted look. Most evidence of the dress is found in areas of French fashion influence.

This bliaut is green linen blend decorated with silk around the neck, sleeves and hem.  The sleeves are lined in a bright contrasting red linen blend.

Inspiration Images

Common Materials

  • Fabrics:
    • Some think images of fine pleats to represent silks
    • fine wools
    • rich fabrics
    • perhaps linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • cottons
    • linen blends
    • wool blends
    • muslin for undergarments
  • Ornamentation:

Ensemble Components

  • Underdress
  • Bliaut overdress

  • various head coverings

Accessories

  • a belt wrapped around the body
  • pouch or purse
  • wimple or veiled head covering

Source/Links

https://www.eg.bucknell.edu/~lwittie/sca/garb/bliaut.html

http://danikaulakisart.com/bliaut.pdf

https://adamselindisdress.blog/2014/04/28/12th-century-dress-the-bliaut/

Version: 3
date: 3/6/2021
Source of Period Pic: Chartres cathedral ,Angers cathedral, France, sculpture at West Portal , Sculptures on the exterior of the Cathedral of Notre-Dame de Chartres
Model:
Photographer: Vincent De Vere
  

Full Entry, Male

1100 CE Grayfriar (Cistercian) Habit 1

deveretallier
Title: 1100 CE Grayfriar (Cistercian) Habit 1
Entry #: GGB2021.032
Alternate Names: Friar Robes, monks robes 
Year: 1100 CE
Time range: 1100 – end of period
Era: High medieval
Gender: Male
region: Europe
Countries/cultures: Europe
Maker: Vincent De Vere
Difficulty: 1
Confidence: Extant Examples

Intro:

Long belted tunic with a belt of leather, cloth or rope.  A scapula, the tabard like rectangle of cloth with a cowl or hood attached. 

Description:

Generally unadorned, color of the fabric denotes particular religious order the wearer belongs to. The belt could be leather but some references say rope was more common. 

Over time the colors of the different orders became nearly standardized.  The Benedictine Monks would dye the wool they used to make their habits leading to names such as Black Monks or Blackfriar.  The Cistercian Monks who arose in the 1100’s opted for undyed wool to show their adherence to poverty.  This led to names like White monks or Grayfriars.  There ae still many places across England with location names of Blackfriars and Grayfriars. 

This attempt at a Cistercian habit used linen instead of wool for the long tunic and brown wool for the scapula.

Any portrayal of religious personages at events should be done with respect to the beliefs of others.   

Inspiration Images

Common Materials

  • Fabrics:
    • wool
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • linen
    • cotton
    • linen blends
    • wool blends
  • Ornamentation:

Ensemble Components

  • tunic
  • scapula hood

  • belt

Accessories

  • pouch
  • rosary

Source/Links

Version: 2
date: 3/5/2021
Source of Period Pic: Life of St. Bernard of Clairvaux by Jörg Breu the Elder 1500
Model: Vincent De Vere
Photographer: Vincent De Vere