About saraitindall

I primarily focus on late-fourteenth-century clothing recreations, although I dabble in a few other areas as well.

14th Century Buttonholes

I get asked a lot about how I do my hand worked buttonholes. So here is a little bit of my thought process. 🙂

14th-century button holes 4

Buttonholes on a Pourpoint I made for Luca some years ago.

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Cotehardie Patterning

I have been asked a few times if I have a tutorial on how to pattern cotehardies and so a few weeks ago when I taught a class on patterning women’s cotehardies for the Shire of Rúnviðarstaðr Una took some pictures throughout the day so that I could work on a walk through tutorial.

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A SCA 14th-century apprentice ceremony: Part 1

Introduction

At Pennsic I apprenticed to Master Derian le Breton. Prior to Pennsic we had discussed what type of contract and ceremony we were both interested in and there started the research.

While we pursue different areas of skills we both feel that research is important to our personal improvements in the SCA which is one of the things that brought us together and so making sure that the contract style and wording were in keeping with extant examples was important to both of us.

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Planning Clothes and Banners for a Roman Triumph and Vigil

In early March a good friend and household brother was placed on vigil for the Order of Chivalry and I was asked to help with the clothing for him and his wife. Slight problem, I had never done Roman clothing. So after some mad dash research and assembling of images we sat down and decided on clothing appropriate for a Roman Legionary living in Britain and married to a woman from the Silurian tribe.

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Patterning and Making Padded 14th-Century Armour: Aventails

I have been making padded aventails for a few years for my husband to wear when fighting heavy combat. This is some of what I have learned in further researching them and experimenting with the design.

There are not a lot of images of padded aventails, but there are a couple of very detailed effigy sculptures. The effigy of Philip the Bold shows the joining between the aventail and the helmet liner and the shape of the channels on each and on the effigy of Sir Walter Von Hoenklingen the aventail looks like it might be attached to the outside of the helmet rather than the inside. The aventails in the fresco from St. Stephen’s Church, Milan, Italy do not give any indication as to whether they are padded or mail, but drape with a similar stiffness as the other images and personal experience. Additionally, as on the effigy of Philip the Bold many of the mail aventails could have also had a padded aventail under them. This would provide different types of protection, with the mail protecting against cuts and the padded aventail protecting against concussive hits and also protect the wearer from the mail.

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Understanding the Herringbone Stitch on the St. Birgitta’s Coif

I’ve made a lot of basic St. Birgitta style caps without the embroidered band on the center seam of the cap, but finally decided to sit down and figure out the embroidered band recently. I have not been able to find a good image of the embroidery on the original cap and I’ve seen a few different interpretations so I selected one to try. The original linen cap is two halves joined with an interlaced double herringbone stitch similar to a modern faggoted seam, from the front edge to about 2 inches above the bottom edge.

A couple of few weeks ago I taught a class on how to do the stitch at a local event and I would add that if you want to do a trial run of the stitch on a short piece of fabric using multiple colored threads definitely helps the stitches to be more visible.

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Recreating a 14th-century Pourpoint

Research

The Pourpoint is a quilted and padded garment adapted from the military silhouette of the mid-14th-century into a civilian garment and can be found in imagery and extant garments in the later 14th-century throughout much of Western Europe. The silhouette is very common on effigies of English and French knights from the 1340’s-1370’s identified by a rounded chest and narrow waist, such as in this effigy of Thomas Beauchamp.

Thomas Beauchamp, 1369, St. Mary, Warwick, England. Combat Society website, http://www.themcs.org/armour/14th%20century%20armour.htm

Thomas Beauchamp, 1369, St. Mary, Warwick, England. Combat Society website, http://www.themcs.org/armour/14th%20century%20armour.htm

This silhouette can also be seen in the Pourpoint of Charles de Blois (pictured below) and the Pourpoint of Charles VI (not pictured) as well as many manuscript images. The first set of images below from the Wailsche Gast manuscript show the rounded chest, but not the deep-set armscye, also known as the Grande Assiette Sleeve, of the Charles de Blois Pourpoint.

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New year, new goals and new ideas!

Looking back at 2015

Last year one of my favorite historical clothing bloggers posted her clothing goals for the new year which got me started on goals for myself. A common phrase is to try to improve ten percent every year, but how do you quantify ten percent when you are talking about aesthetics or appearance? An easier goal for me to quantify is to select an area or topic I want to improve and then identify specific goals to achieve.

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Recreating Veils and Hairstyles of the Middle Ages: 14th Century Italian Hair Styles

When looking at images of 14th Century Italian hairstyles a couple of styles are definitely more prevalent, hair that is braided or wrapped with ribbons or cloth and then wrapped around the head. While the hair wrapped with ribbons or cloth can be held in place by wrapping the long ends of the ribbon around the head and tying them at the base of the neck, the braids would most likely be held in place by either hair pins or sewing.

Ambrogio Lorenzetti - Allegory of Good Government - Good Goverment - Detail 1338-40 Fresco Palazzo Publico, Siena, Italy web

This image from Siena, Italy circa 1338-40 shows both braided and wrapped styles.

BLR - 6 E IX - Regia Carmina - f 13r

ca 1335-1340 Tuscany, Italy

 

 

 

 

 

 

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