2 bags, made by Lady Katherine Stewart – the first for a Mouseguard, the second with the Baronial Tower
Tag: Accessories
HC2018 – Mistress katherine’s entries
This is for our day tent’s cloth of estate showing the dimidiated arms of Bartholomew Baskin and katherine kerr (ie joined to show that we are married). This assumes that my proposed augmentation passes….
A banner for Bartholomew — using one of the left-over ones from Nov Crown ASXLIV
This is a valence of heraldic beasts to go on the new cloth of estate for the CF Feast and Half-Circle Theatre.
HC2018 – Master Brian’s tokens
Master Brian has made a number of tokens in a variety of ways, all of which are much smaller then the images below.
HC2018 – Lady katherine’s bags
HC2018 – Lady katherine’s bags
Something to cover the mundane – Lady Katherine Stewart. One of those bags you get goodies in at shows, with the writing on it covered with applique
And a lovely gift, made by Lady katherine for Sir Callum
VPC2017 Baroness Agnes’ French Hood & St Birgitta’s Cap
Baroness Agnes brings two articles of headwear – a French Hood for category The Neck Best Thing and a St Birgitta’s Cap for category One Metre Material Project
She says about the hood:
A french hood to compliment Agnes’ Tudor garb. It’s wired fake-buckram covered in brocade, with glass pearl accents to create the look. It perches on the head rather than being an encompassing hat, so I shall make another eventually.
And about the cap:
A super-useful hat to hold the hair away that can be found through Europe 13th to 16th C. This one specifically is a commission for katherine kerr. Linen, with manufactured lace because I’m no embroiderer. This is being entered in the A&S championship.
VPC2017: Her Excellency Ginevra’s Hose & Houppelande
Her Excellency presents a pair of hose which fit the categories Counting On Sheep and Togs Togs Undies, and a refashioned houppelande for Remake Reuse Refashion Reconsider.
She says about the houppelande:
I remade one of my old Burgundian dresses into a 1520’s middle class houppelande. I took off the old collar, cut the cuffs to just a bit over wrist length, recut the front, rehemmed the front, put on new cuffs and collar facing.
VPC2017: Meisterin Christian’s Linen Hose & Katharina von Bura Dress and Haube
Meisterin Christian presents a pair of linen hose for the categories One Metre Material Project; Hitting Below The Knee; Togs, Togs, Undies. Possibly also Remake, Reuse, Refashion, Reconsider, and a dress based on a portrait of Katharina von Bura for the categories Remake, Reuse, Refashion, Reconsider and Counting (on) Sheep, and finally a haube for The Neck Best Thing.
About the hose, she says:
I first made woollen hose some years ago, and then after a particularly hot and wet Canterbury Faire one year I decided I needed some linen hose to either wear alone, or as a lining layer for woollen hose. However my pattern had disappeared. Having torn apart my sewing room, I gave up on the project. Last year I decided it was time to make some more hose, and after failing to find the pattern yet again, made a new one. Which I then promptly lost. While looking for some beads for another A&S challenge project I found last year’s pattern. So, using a (less than a metre) scrap of the same linen I used for my child’s shirt project in this Challenge, I whipped up these linen hose. Pictured as worn below (the foot-selfie makes my feet look alarmingly small).
Hose made from woven linen fabric are recorded in 16th C sources and at least one extant example survive. These may have been worn as lining for woollen hose (so that the woollen hose can be worn repeatedly without washing while the lining pair could be cleaned frequently), and/or they were probably worn alone in warmer weather. The hose were cut on the bias in order to stretch and conform around the feet and legs. Garters are worn to hold the hose up. The seams here are stitched in linen thread, overcast stitch for strength, with the seam allowances flat felled on inside for comfort.
About the dress and haube she says:
For Yule 2017 I decided that as this winter event included outdoor activities I really needed to wear something warm (and made of more practical fabrics than say silk or brocade). It was not cold enough for my really heavy woollen dress, and too cold for my light woollen dress with the slashed sleeves; ideally I needed something in between. It occurred to me that I had an unfinished green woollen dress in the naughty corner (that’s where annoying, frustrating, or uncooperative A&S projects are sent until they learn to behave) which I had started years ago and not finished because a) I didn’t have much use for warm clothing at that point, and b) the woollen fabric was somewhat annoying to sew). This seemed like a prime opportunity to get a new dress and also knock off a couple more A&S Challenge categories in the process.
Of course this all occurred to me the night before the event, which is not the ideal time to decide you need a new dress. After some excavation I recovered the dress and found that there was only about 30 mins work (tidying the lacing rings and waist fastenings), and a brustfleck (the brocade breast-band), needed to make the dress wearable. Since it was the night before the event, and I’m not completely crazy, I found an brustfleck from another old dress and covered it in a scrap of brocade from my stash, and after a couple of hours work I had a new, never-been-worn dress. And to add to the fun, I also quickly cobbled together a haube (the hairnet/snood type thingy Katharina is wearing in the portrait) from a (purchased) black hairnet and a gold headband I had begun for another haube project. I didn’t get any photos of the dress at the event, so the photo below is of the dress on a dressmakers form.
This dress is based on the 1526 portrait by Lucas Cranach of Katharine von Bura (below). Katharina von Bura was the wife of Martin Luther (he of the 95 theses). The size, shape and placement of guards (black trim / bands) on the bottom of the skirt and the back of the dress are conjectured from dresses in other portraits of the period.
VPC2017: Lady Mathilda’s Hood
Lady Mathilda presents this hood for the categories Cover Me and The Neck Best Thing.
She says:
This hood is the first I have made in a long time, and definitely the first that I have properly researched.
The hood is made of vibrant pink linen lining and a grey tabby woven wool outer with medium length liripipe.
It is based off a hood (D10597) that forms part of the Herjolfsnes finds from Greenland from around the beginning of the fourteenth century.
I have chosen to make the hood a bit bigger than the original, as I wanted to have lots of room for comfort.
As in manuscripts from much of England and Western Europe at the beginning of the fourteenth century, the hood is often depicted with some lines of decoration around the bottom. I have included this in my hood- by adding two rows of parallel chain stitch in light and dark blue Appeltons’ Embroidery wool.
The hood is handstitched using running and back-stitch, and is fully felled.
VPC2017: Mistress katherine’s Garters and Swaddling Clothes
The garters are presented for category Hitting Below The Knee
Mistress katherine says:
I saw the trim at Pennsic and loved it as it has my tower, even if I had to settle for green, rather than white. But I knew the pattern was far too mundane to use visibly (I’m sure I’m not the only one who asks herself “What would Mistress Rowan say?”). So, having repurposed the lovely garters Catherine d’Arc made me into a travel coronet, I thought a pair of garters would let me use the trim in a hidden but useful fashion, and answer another VP challenge. I sewed petersham ribbon on the back for sturdiness and grip, added pewter buckles cast by Sir Sebastian, and whacked a grommet in for a hole. They keep the new hose (Mistress Ginevra’s creation) up nicely.
The Swaddling Clothes are presented for the category of Containment System, and Mistress katherine adds that this is for the baby, not their by-products!
Futher, she says: This is part of the Venetian swaddling band my mother wrapped me and my short-lived brothers in.
Swaddling bands appear in a number of Renaissance paintings , such as Laviania Fontana’s Newborn Baby in a Crib (1583)Extant Italian examples from the 1570-90s can be seen in the V&A and Met. Typically they are made of white linen doubled up and edged with a lace or embroidered band (including whitework, reticella, stem stich, interlacing); rectangular at the wider end (12-24cm) and tapering to a point along a 2-3-metre length. The shape is to allow a spiral band of the fancy work to show as the final layer of swaddling cloth is wrapped around the child. A V&A example can be found here.This one is made of a linen-like cotton from my scrap pile; with lace purchased on Burano, the lace-making island in the Venetian lagoon; and Spotlight trim whip-stiched on as an edge.
VPC2017: Lady Melissa’s Belt With Bone Buckle and Strap End
This belt is an entry from Lady Melissa – she started the project before BA, but this is acceptable for the category Remake, Reuse, Refashion, Reconsider (and it also fits in Show Us Your Arms). I believe this makes Lady Melissa’s fifth project, making her the second person to finish the five projects aspect of the Pentathlon, and earning her a prize to be awarded at a future event.
She says:
I started this project before BA, but it was sitting unfinished due to a number of challenges regarding safely riveting through bone and obtaining a suitable leather (which needed to be blue, as it was for Nathanael, whose device is a white stag on a blue field). I have finished it for the pentathlon challenge!This is a belt with a bone buckle and strap end. The buckle was carved out of cow bone, and the strap end is carved out of sheep bone. The strap is commercially veg-tanned blue leather. The buckle is loosely based on the Borre belt buckle, which features two wolves rather than two deer. The strap end is based on a Jelling-style dragon strap end, modified to represent a stag instead. The belt is slightly less than 2cm wide.
