Waffenrock Tabard Design for SCA Fighters: The Waffenrocket!

waffenrocket-front

The Waffenrocket!

Tabards (wappenrock) are popular for SCA fighters because they’ll cover up less-than-period armor and just generally make one look good without a lot of effort. And while my fighter (Gregor) has plenty of good things to wear, he tends to go back again and again to the tabard for comfort and ease.

There’s just one problem — tabards aren’t something German Renaissance soldiers wore to battle. They wore wams (doublet), lederwams (leather vest), hosen, and waffenrock (arming dress). Wams and lederwams are too short for what we need here — we want to cover the upper legs, too. Gregor has a waffenrock, but his is very fitted and takes much too long to get in and out of on his own, which he has to do frequently. It’s also very heavy and hot. And it doesn’t adjust well to different shapes and layers of armor underneath it.

So together we came up with an idea of a simpler, sleeveless waffenrock that functions like a tabard. We’re calling it the Waffenrocket (no, not a real word!) — because it’s like a Waffenrock but faster to make and faster to get on and off. This design is not period, as far as we can tell, but it looks good and behaves like a tabard in that you can just toss it over whatever you’re wearing.

Note: It’s important to note that historic tabards were also a way of displaying one’s heraldic device or association with another individual or group. But I think that putting a heraldic device on the Waffenrocket would be going too far as the 16th c. German men never did that based on my research. Instead, I simply chose meaningful colors for the Waffenrocket. You can display your heraldry in other ways (shield, banners, flags, etc.)

So I thought I’d pass on how to make one to other fighters out there in need of a good, German tabard-like garment. Here’s how we made it:

waffenrocket-topMaterials:

  • 2 yards of muslin or other non-stretchy material you don’t mind marking up
  • 5 yards of linen or wool (we’re using linen because this is for the summer), at least 56″ wide
  • 2 yards of linen or wool (wool will look better)
  • matching thread
  • 3 yards of cording

Instructions:

1. Take a 2 yard-long piece of muslin or other light-colored, non-stretch fabric, fold it in half crosswise. Cut a hole in the center for your head and put it on while wearing whatever you’d want to wear underneath (i.e., hemd, padding, armor, etc.). You should look like you’re wearing a poncho!

waffenrockish-step1

2. Using images of period waffenrock as a reference, draw right on the muslin where you want your neckline, cross guard, inside guard, outside guard, and waist to go. Important: To get the right look of the waffenrock, your waist should be around your natural waist and your guards should angle in as they go down. German men liked the small waist look (athleticism was highly prized at this time in history) and this V shape makes the waist look trimmer and gives the “right look.”

waffenrockish-step2

3. Take the muslin off your head, fold in half crosswise at the neckline and trim the sides where you drew the outer edge of the outer guard. Also trim the neckline where you indicated the inner edge of the center guards and the upper edge of the cross guard would go. I made Gregor’s Waffenrocket identical front to back, so it could be put on without worrying which way was right.

You can see the lines I drew in on our muslin. Messy and not straight, but you get the idea!

Our muslin trimmed at the neckline and sides. Note the shape!

4. Now, still using your muslin, sew straight lines at slight angles, sloping down from the neck to the shoulder. In other words, place a mark at the top of neckline and another mark about 1″ down at the shoulder, then sew a straight line between them. Repeat for the other side. These simple shoulder seams will minimize puckering when you wear it.

You can see the angle of the shoulder seam here.

You can see the angle of the shoulder seam here.

5. The last step for your muslin is to cut it about 1″ below where you indicated the waist should be. This muslin is now your pattern for the upper section of your Waffenrocket!

6. Take your pre-washed and ironed material (we used linen for the main material) and fold it in half crosswise. Using your muslin pattern, cut out your linen and sew the shoulder seams. Set aside.

Slashing on the outer guard

Slashing on the outer guard

7. Cut out guards for the top of your Waffenrocket. I found that 8″ strips for the outer guards and center guards, and 4″ strips for the inner guards worked well. If you want to do anything fancy with your guards, like slashing, do it now. Note that for best results, slashes should be cut on the bias of the fabric — this minimizes fraying.

8. Attach the center guard by covering the raw edge of the main fabric and folding over the raw edges of the guard, pin in place, and sew down. Do the same with the outer guard — cover the raw edge of the fabric with the guard, folding over the guard edges, pin, and sew. Repeat for the inner guard, which should overlap the raw edges of the center guard. When you’re done with this, the only raw edges left will be the ones at the bottom!

9. Put on all the armor and clothing you might want to wear at one time then put your the top you completed in step 8 on over it. Admire how great you look! Now measure your natural waist with everything on. Make a note of this measurement.

10. With the remaining three yards of your main fabric, cut it in half lengthwise so you have two long strips that are three yards each. These will form the skirt of your Waffenrocket.

11. Make rolled pleats in these two lengths of fabric for the front and back of your skirt (with side seams). For help making rolled pleats, see my article and calculator at http://germanrenaissance.net/rolled-pleats-photo-tutorial-and-pleat-spacing-calculator/ — you’ll want each side of your skirt to be roughly half the measurement you took in step 9.

12. Once pleated, sew the rolled pleats down for stability near the edge of the fabric before removing pins.

13. Join the seams of the skirts together (use a french seam or flat-felled seam) to create one big skirt where the waist is at least as big as your measurement in step 9. (Note: If you are making this without adding bulk underneath, you’ll need to add some inches to your measurement or you may find it hard to get on over your head.

14. Cut out guards for the bottom of your skirt with the remaining fabric. You can be creative here — have one or two guards, slash them, whatever. You’ll probably want at least one guard. Save a strip at least 4″ high by the length of the measurement from step 9 (+2 inches) for your waistband.

Completed Waffenrocket with ties at the sides.

Completed Waffenrocket with ties at the sides.

15. Cut the waistband strip you saved in half and cut your cording in half. Sew down the raw 4″ ends of the two strips. Now fold the strips over, lay the cords inside them, and pin them over the raw edges of the skirt, folding the edge of the strip over as you do so. Now sew the strips to the skirts, taking care not to sew into the cording. When done, you will have a black waistband at the top of your skirt with two openings and four cords on either side.

16. Now simply attach the black waistband of the skirt to the raw edges on the upper section you completed in step 8, again taking care not to sew into the cording (you want that to remain free moving). Note that the sides are open.

waffenrocket-side17. Put the garment on over your head and tie the cords at either side. Voila! You have a Waffenrocket. If you want to wear it with less on underneath, cinch the cords a bit tighter at the sides. You’ll want to wear a belt with this like all good Germans did, so you can arrange and smooth the front as necessary to achieve the right look.

Tips: Gregor’s skirt turned out to be attached too low after his first wearing, I think because the linen loosened up a bit after wearing in the rain. So you may want to pin and baste, then hang for a while, before attaching permanently.

German Goldhaube Cap of Silk, Gold, and Pearls: Pattern, Instructions, Documentation, and Notes

goldhaube-pinterestAfter months of research, I’ve successfully managed to create a lovely “goldhaube” (golden cap) that looks like the caps seen in the many Lucas Cranach paintings of 16th century Germany. During my research and trials I had many people contact me to ask about it, and I’m happy to share what I have learned. In addition to the pattern, instructions, and notes below, I have documentation on the goldhaube — I entered it into my regional Arts & Sciences Competition where it received a first place award.

My goldhaube is made of gold-shot-reddish silk taffeta, 1000+ freshwater pearls, gilt passing thread, linen, silk thread, and linen thread. It weighs 11 ounces. And, amazingly, it stays on my head without pins.

Goldhaube Pattern

Below is the pattern I used to create my goldhaube. Many thanks to Katrine De Saint Brieuc, Crespine de la Vallée, and Anthoinette de Martel for helping me figure this out. It took several tries to get the shape right and this is the end pattern result. Keep in mind that this cap is intended to be worn with zopfe (false braids) or at least padding to fill the cap and have it puff out at the sides.

haube-pattern

Sizing Notes: Measure the circumference of your head and adjust the back band and straight edge of the hood as necessary (these two are currently 21″ — my own head circumference). If you want less bulk and poof, reduce the length of the hood from 9.5″ to 9″ or even 8″.

Goldhaube Materials

It is my belief that cloth goldhaubes would have been made out of cloth of gold (cloth with real gold-wrapped weft threads) and that is nearly impossible to find these days. So here’s what I recommend using instead:

  • 1 yard of red-gold silk taffeta (such as Sunset Taffeta). – $17
  • 1 yard of linen (red, gold, orange, or brown), washed, dried, and ironed – $9
  • 1000 real freshwater pearls (3mm or smaller) – $70
  • 3 yards of gold/gilt passing thread – $6
  • Linen and silk filament threads in white, gold and red – $10
  • Beeswax (to wax all threads)
  • Needles: sharps (size 9) and non-flexible beading needles (you want very thin, sharp needles when working with silk taffeta)
  • Slate frame with a usable area of at least 30″ by 14″

Goldhaube Embellishment

First thing you’ll want to do is get the pearls and goldwork stitched onto your taffeta. Here’s how you do it in 20 steps:

1. Follow my directions for dressing a slate frame with your linen and taffeta. Important: Put your taffeta on the frame so that the gold threads are along the parallel to the longest side of your frame.

2. Transfer the pattern (modified as necessary for your head) onto good, strong paper (no need to add extra seam allowances). Onto your hood pattern piece of paper, draw lines at 60 degree angles (NOT 45 degrees) starting from 1/2″ from the straight edge and ending 1″ in from the sides and curved bottom.

Hood pattern with diagonal guidelines drawn upon it.

Hood pattern with diagonal guidelines drawn upon it.

3. Lay the pattern piece on the bottom edge of your taffeta and copy the pattern onto your taffeta by handstitching the patterns’ outlines right onto the fabrics with white thread in a large stitch so it’s easy to remove later when you are done. Also using thread, create the diamond grid over your taffeta, sewing each thread down at the edge of the hood to use as a guide for later.

Guide threads sewn to the fabric -- these will be removed later.

Guide threads sewn to the fabric — these will be removed later.

4.Now using a non-flexible beading needle (strong and sharp enough to pierce your fabric but thin enough to go through the hole in your pearls), begin sewing pearls in straight lines to one side of your thread guides. Work in parallel lines across your fabric and strive for consistency in placement. My pearls were sewn on five to a segment, with the fifth pearl forming the important center pearl where two thread guides met. If you are unfamiliar with how to sew pearls, check here and follow either the backstitch or couching directions (NOT machine couching). Be sure to wax and anchor your thread, and knot your thread regularly between stitches (at least every five stitches) to avoid catastrophic breakage and pearl loss.

Pearls attached in parallel lines on fabric

Pearls attached in parallel lines on fabric

Tip: If you decide to couch your pearls, be sure to use thread that matches your fabric to minimize the appearance of it between stitches (I did not, but wish I had).

5. Once all the parallel lines of pearls are secured down, go back along and fill in the lines going in the other direction. Be careful to line them up with the center pearls so your lines are as straight as possible.

Sewing the pearls down along the other lines.

Sewing the pearls down along the other lines.

Note: I estimate that attaching the pearls took me about 20 hours, just so you’re prepared.

Tip: I chose not to attach pearls all the way to the sides, as you can see from this photo. I was concerned about pearls that close to the bottom of the hat would constantly get tangled in my hair. I was also a bit worried about the pearls dragging down the fabric at the bottom of the hat. It’s your choice.goldhaube-pearls3

6. Now it’s time to turn your attention to the two head bands. I did not bother to stitch around my pattern pieces for these. Instead, I simply started by couching down a straight line of gold passing thread. I then added another, parallel to it, exactly one inch away. I repeated this for the other head band, making sure to leave plenty of space between the two bands.

goldhaube-couching

Couching the gold passing thread in parallel lines one inch from one another

7. Once you’ve got your gold passing thread couched down, apply your pearls just inside the gold lines. I recommend the couching method of attaching the pearls for the head bands.

Attach pearls inside the gold lines

Attach pearls inside the gold lines

8. Now you can add more goldwork by created designs in between the rows of pearls with your gold passing thread. I chose to put in hearts (part of my heraldic device), but you can pick something else or leave it blank. Check the Lucas Cranach Digital Archive for inspiration!

goldhaube-goldwork

 

Goldhaube Construction

9. Now that your pearls and goldwork are applied, carefully remove the fabric from the slate frame (I simply cut the threads and then cut off the sides) and cut out your pattern pieces. The hood is easy — just cut outside your thread guidelines. The bands are also easy — cut 1″ from the edge of the outer pearl/gold lines for each band. You’ll also need to put a piece of taffeta and linen for the crown section (see pattern), which has no pearls or goldwork on it.

Note: From this point forward, I will refer to the linen that backs the taffeta as the “interlining” to avoid confusion.

10. Sew the crown taffeta and linen together (see photo), leaving a small portion unsewn so you can turn it inside out. Turn inside out, press flat, and stitch the open section closed. Treat this now as a single piece of fabric.

Sew the crown

Sew the crown

11. Cut out a new piece of linen using your hood pattern. Now sew the hood taffeta/interlining combination together with the new linen just inside the thread guides in the same fashion as the step above, this time leaving the straight edge unsewn except for about 6-7″ on either side. Turn inside out and carefully press edges. Leave the open side open for now.

Sew the hood's taffeta to the linen following the thread guides.

Sew the hood’s taffeta to the linen following the thread guides.

12. Place the crown and straight side of the hood right sides together, then sew together with small stitches. As you did not sew the hood closed here, you’ll want to sew the crown only to the taffeta/interlining in the places where they are not attached to the new linen. Yes, this means your new linen will still be unattached along this edge.

goldhaube-hood

13. Check all your pearls for any issues and fix before you stitch down the lining. It’s easier to do now than later.

14. Make three silk fingerloop braids at least 32″ long. If you’re not sure how, check out http://www.instructables.com/id/Multi-Strand-Finger-Loop-Braiding-or-How-to-braid-/ and http://www.silkwerk.com

Fingerloop braid

Fingerloop braid

15. Cut out two 3″ inch strips of linen long enough to match your bands. Sew each linen strip onto one edge of your bands, fold over, tuck a braid in from step 14, fold the raw edges in, and stitch down — this gives you a new linen lining to each band, complete with a braid inside it for securing to your head. Try the back band on now to make sure it fit across the top (crown) of your head and just barely meets (or doesn’t quite meet) at the base of your head — if it’s too long, shorten now.

(I apologize for the lack of photos from this point.)

16. Now sew the front band to the crown (the band should just overlap the crown, with the band on top).

17. Sew the back band over the section between the crown and the hood, lining up the edge of the band so it just means the point where the pearls begin.

18. Decide how you would like to gather the bottom of your hood. I chose to sew a casement in the bottom of the hood’s fabric, but another option is to add a length of bias tape or even loops of braid or narrow bias tape to the edge of the fabric. If you decide to sew a casement as I did,  first poke two holes at either end of the curved section of your hood using an awl, finish the hole edges with a buttonhole stitch to create eyelets, insert your remaining braid into the holes and tuck into the edge of the fabric, then sew a straight line well above the braid (just under the lower edge of pearls) to create the casement. Now pull the braid tight and tie it to gather up the edge of the hood.

Green circle is placement of eyelets (holes), yellow dotted line is the sewing line for the casement.

Green circle is placement of eyelets (holes), yellow dotted line is the sewing line for the casement.

19. Stitch the loose lining of the hood to the lining of the crown. There’s no need for these stitches to be super small, as you may want to open this lining up at this point to make adjustments or repairs later on.

20. Braid your hair, add your zopfe (braids) and/or attach your padding, then try on your cap! Tighten the braids for both bands to keep secured to your head, then tuck all braids inside your cap.

Goldhaube Notes

A. If done correctly, you should not need any pins to keep this cap on your head. I have super slippery, fine hair, but my cap still stayed on. It only fell off when I leaned backward, then the weight of the cap pulled it off.  If you find you want pins anyway, I recommend sewing small loops to the lining under the front band, then insert the pin into those loops.

B. You do not need to attach pearls—you can use couch gold passing thread instead or embroider gold in a stem stitch. You can also attach the pearls in straight, parallel lines (without the lattice pattern). Check the paintings for ideas.

C. You can wear just the cap, or put a barrett (small or large) or coronet/crown on top.

D. In order to achieve the right look, with the cap bulging on either side of your head, you should have braids or padding here — I don’t think it’ll look right without something to make the cap bulge out. If you want, you can create a special undercap with padding built in, or sew linen-encased-padding (I recommend wool roving) right into the cap (you can see padding like this in the extant flinderhaube which has a similar shape).

Please let me know if you need more detail on any step, or if you have ideas on how to improve this post or the entire goldhaube. I am always open to feedback!

Some high resolution photos for your viewing pleasure (please ignore my spring sunburn):

Wearing the goldhaube -- note the close fit to the top of the head and how it extends out on the sides.
Wearing the goldhaube — note the close fit to the top of the head and how it extends out on the sides.
Wearing the goldhaube under my tellerbarret, as was common in paintings.
Wearing the goldhaube under my tellerbarret, as was common in paintings.
View of the back of the goldhaube -- note the shape!
View of the back of the goldhaube — note the shape!

Dressing a Slate Frame to Embroider on Silk

embroidererIt’s important to have the right tool for the job, and this is especially true when it comes to the fiber arts. Back in 16th century Germany (and many other European countries and periods prior to this century), Der Seidensticker (embroiderers) used what we call “slate frames” to keep their fabric taut and tensioned while stitching. A slate frame is really just a frame (a square or rectangle) made of slats. And rather than clamp or pinch your fabric between bars as with other embroidery frames or hoops, a slate frame is intended for you to sew your fabric right to the frame, providing the absolute best tension control.

slate-frame-parts

Where do you get slate frames? I bought mine from Hedgehog Handworks more than a year ago, but they are not currently carrying them. Other sources include Tristan Brooks Designs and Spanish Peacock. If you can’t find or afford a slate frame, it is possible to either make one (a topic for another blog post) or use a scroll frame and a pair of dowels.

My current project calls for embroidery and pearl couching on silk, so I’m using a slate frame to get this setup. Here’s what I did:

1. Measured the space I needed for my project. Sadly, it was too large for my 20″ slate frame, so I made new 33″ stretcher bars from some red oak boards at my local home improvement store — if you go this route, make sure you bevel all edges.

2. Pre-washed, dried and ironed my 100% linen (medium-heavy weight), then cut it to size (2″ wider and taller than the inside of my slate frame). Fold over all edges of your linen by one inch and press. Be careful to follow the grain when both cutting and folding — grain is very important in embroidery.

3. Sewed first one edge of my linen to the canvas edge of one roller bar (it’s the bar that usually has canvas attached to it), then the opposite edge to the other roller bar. I used buttonhole thread, which is very strong. Traditionally, the backing material (the linen) is attached with a herringbone stitch. I did this herringbone stitch and decided my stitches weren’t uniform enough, so I did attached the other side to the other roller bar using my sewing machine’s herringbone stitch. Both are fine for this step, but the handstitching is more authentic and versatile. The beauty of herringbone stitch is that it is elastic! The degree of stretch that you can get depends on how closely you make the stitches. This becomes more evident later.

4. Now I turned my fabric and roller bars over so that the seams were underneath. Then I slid my stretcher bars through the holes in my roller bars and put my pegs/pins in holes so that my fabric was reasonably taut but not tight. The pegs/pins are put into the inside of the frame, in case that’s not obvious. Also, I prefer to put them from the bottom up so that when the frame rests on a table, they aren’t as likely to pop out.

5. Using a ruler and an awl, I poked holes in the bottom and top of my linen every 1″, about 1/4″ to 3/8″ from the edge of the fabric. You want the hole to go through both layers of the linen (remember, you folded and pressed the edge in step 2).

6. Using the same buttonhole thread, I “laced” my linen to the top and bottom of the stretcher bars by putting my needle through the holes I made in step 5 and around the bars. Be careful to use enough thread (or string, if you prefer) so you don’t run out halfway through a side. Typically I measure five times the length of my stretcher bar to have enough thread to lace up one side. When lacing, try to keep the fabric perpendicular to the bar. Do not tighten yet. Tie off into a slipknot when done.

Lacing the linen to the stretcher bars.

Lacing the linen to the stretcher bars.

7. After I secured all sides, I made sure that my fabric was taut but not tight. You should have it just taut enough so there are no wrinkles. To do this, I tightened my laces a little bit. It’s important that your linen not be too tight at this stage.

8. Now I prepared my silk. I cut it the same size as the visible linen on my frame, then folded in the edges by one 1/2″ and ironed flat carefully. It’s important to also cut your silk on the grain as straight as possible. Mismatched grains will result in funny wrinkles and twists.

9. I laid my prepared silk on the linen backing on my frame and pinned it in place at the edges, starting with center pins in the top, bottom, left, and right, then added more pins in the corners and other empty places until the fabric was reasonably smooth. You won’t get it perfect.

10. Using cotton or linen thread (not silk), I stitched my silk to my linen backing using the herringbone stitch, removing pins as I went. Why not silk thread? Silk is too strong and could cut through your fabric. It’s very important to use the herringbone stitch here because you want your silk to stretch with your linen when you tighten it in the next step. I also recommend you start your stitches in the middle of each side and work out from there.

Herribone stitches securing my silk to the backing fabric

Herribone stitches securing my silk to the backing fabric

11. Once my silk was stitched onto the linen backing and looking much smoother than it did with simple pins, it was time to tighten my frame. To do this, I set my frame on the floor and pulled up on each side until I could get my pegs into another hole in the stretcher bars. I should note that I only needed to tighten it just one hole — the silk stretched taut with only a little tension.

12. I adjusted my lacing on the top and bottom to smooth out the surface.

My silk is beautifully taut and smooth, ready to embroider!

My silk is beautifully taut and smooth, ready to embroider!

And that’s it. My fabrics are now “framed up” and ready for embroidery. In all, it took about 4 hours to dress the frame, but I had a very large frame and the added work of the silk. That’s a lot of time, but if it’s worth doing, it’s worth doing right.

Notes:

  • For my project I will embroider through both layers, but it is possible to trim out the linen behind the top fabric if you wish — just be sure you don’t remove more than 1/4-1/2″ from your stitches to ensure the tension remains.
  • The fabrics may loosen over time — if this happens, tighten the laces.
  • Most people will lay the frame flat when embroidery with it. If this becomes cumbersome, try setting the frame on a pair of trestle legs (like shown in the woodcut at the top of my blog post) or saw horses, or rest the back of the frame on a chair placed on top of a table.

For a more detailed description on dressing a slate frame from an embroidery expert, visit http://www.needlenthread.com/2008/07/dressing-slate-frame-for-embroidery.html

Goldhaube Pattern: Preliminary Ideas

After many experimental haube (coif) mock-ups, talking it through with Lady Antoinette, and feedback from the GermanRenCostume Yahoo Group (especially from Katherine), I have a preliminary pattern for the goldhaube:

haube-pattern

The haube band would be sewn to the straight side of the haube itself, which would start at the top of the head (a bit back from the hairline) and tie at the bottom back of the head. The rounded part of the haube would be gathered (or smocked?).

The under band would go across the top of the head at the hairline and tie at the bottom back of the head. It goes on the head first, then the haube goes over it, covering the top and back of the head.

And the reason for the grain line is that I found that cutting the haube on the bias allowed the material to stretch over the braids on the sides of the heads in a more fluid manner. It would also explain why I see pearls applied at 45° angles to the line of the haube — they would be along the warp and weft lines of the fabric then.

I’m continuing to seek feedback before I proceed!

Goldhaube Pattern: Getting the Right Look and Shape

I’m stumped. I am not quite sure how to make my gold silk haube (what some call a goldhaube). I’ve been studying paintings, drawings, and woodcuts for close to a year (see my post on goldhaubes for more background). Here are my observations of the gold haube:

1. No visible gathers in any period depictions (i.e., not a simple, gathered caul)

2. Most likely not a netting over a silk cap — while some look like they could be netting, most do not. Netting would pull and push the fabric underneath it in a specific way. You can see that the goldhaube in Cranach’s painting of the Beheading of Salome has a slight fold on the side, and this would not occur if it was netting over fabric.

3. Most, but not all, of these hauben have a tight band. Those that do not are more likely to look like they are netting. (I realize some of these bands could be separate from the haube, but I think most are not.)

4. All of these hauben accommodate the “braid bulge” on the side of the head without obvious straining.

I thought perhaps a half oval, with the straight side around the head and the curved side gathered in the back might create the right look, but there just didn’t seem to be enough material to accommodate the braid bulge on the side. Also, when I tried this on myself I could see folds and gathers near the side neck that you just cannot see in the paintings. And, frustratingly, I can find no paintings, drawings, or engravings that show this style of haube from the back, so I cannot see how they did this. You can see a good number of the hauben images I’ve found at http://pinterest.com/genovevalubeck/german-hats-and-hairstyles/

I plan to make more muslins of different shapes and experiment with them. But if anyone out there knows — or has theories on — how these hauben were constructed to show no gathers/folds and yet have a tight band and accommodate the braids, please let me know! I have the special order orange/gold silk in, I have my vintage fresh water pearls ready, I have my slate frame ready to go — but I don’t have the right shape yet!

If you have any ideas, PLEASE reply to this post or e-mail me at genoveva.von.lubeck [at) gmail.com. Thanks!

 

Zopfe: German Braids (False Braids/Artificial Braids) – History, How to Make, and How to Wear

German women are well known for their braids throughout history. But did you know German women of the 15th and 16th centuries augmented their own locks with false braids (zopfe)? Take a look at any number of paintings, drawings, or woodcuts of women with large braids or lumpy caps and you’ll begin to see that these ‘dos were not done without some help!

Compare the braids on Sidonia (left) and Genoveva (right)

Princess Sidonia in 1535 (left) and Genoveva (me) in 2013 (right), both with zopfe!

You can see many more images of braids, and braids under caps, at my Pinterest page: http://pinterest.com/genovevalubeck/german-hats-and-hairstyles/

A Brief History of Zopfe in Period

The use of false braids during this time period is documented. There is at least one extant fake braid in existence, created from padded linen cloth-tubes.

Extant false braid from the 15th-16th centuries.

Extant false braid (15th/16th century, Allgäuer Landesmuseum, Kempten, Germany)

False zopke are also depicted in a painting quite clearly. In two of the scenes of St.Clare of Assisi,1465-70, first we see a woman with large braids. Then we see the same woman with her hair being cut off — her fake braids are seen nearby.

Scene from St.Clare of Assisi,1465-70

Scene from St. Clare of Assisi, 1465-70

Zopfe are also mentioned in “Textiler Hausrat : Kleidung und Haustextilien in Nürnberg von 1500-1650″ by Jutta Zander-Seidel. This is a book, written in German, that gives descriptions of clothing and household articles common to Nurnberg in the years from 1500-1650. And it turns out there’s a section on braids (zopfe) in her book thanks to a table of contents I found online. Sadly, the book is not in print, nor is it online. I was, however, able to find a translation of the section on braids in the GermanRenCostume Yahoo Group. And, according to that book, the German ladies did indeed wear false braids. Not only that, but it seems women from all classes wore them, the author having found them noted in the wills of working women and married women, as well as in the inventory of Heironymus Imhoff in 1571.

Based on the evidence and the notes in Textiler Hausrat, zopke were made from silk (seiden), waste silk (Flidtseide), linen, and (later in the 17th century) cotton. Predominate colors were red, green, and yellow, but  also found are liver color, flesh color, gold color, brown, black, blue, nail color, ash color and sea green color. We get a hint as to the creation of the artificial braids by an entry made in 1571 into the household account book of the Behaim family where they purchased blanket weaver’s wool to fill two pairs of braids. Four years later this was recorded, “the 15th of December I paid for an ell and a quarter of black sendal for a pair of braids, and sewing silk 2 pfund, 6 pfennig…. same year the 18th of December 1575 I paid for an ell and 1/8 of brown ormesin for Maria a pair of braids and for sewing silk and for wool 18 pfennig.” The braids were mostly stuffed with waste wool. There was even a “Zopfmacher” (braid maker), whom you can see pictured below with a bundle of braids in his right hand.

Der Zopfmacher (Braid Maker) - Hausbuch der Landauerschen Zwölfbrüderstiftung, Band 1. Nürnberg 1511-1706

Der Zopfmacher (Braid Maker) – Hausbuch der Landauerschen Zwölfbrüderstiftung, Band 1. Nürnberg 1511-1706

 

How to Make Zopfe

Wanting to present the proper German appearance, I’ve made my own pair of zopfe with great success, and you can, too.

My pair of zopfe. The top set are unbraided and ready to go into my hair. The bottom set is braided so you can get an idea of how easily they braid together.

My pair of zopfe. The top set are unbraided and ready to go into my hair. The bottom set is braided so you can get an idea of how easily they braid together.

Materials:

  • Linen in any reasonable color (I chose a color close to my hair)
  • Wool roving, about 1/3-1/2 pound.
  • Linen or silk thread
  • A long, thin wooden stick (like those used for kebobs)
  • Scissors
  • Needle
  • Pencil with eraser

Directions:

1. Cut out six lengths of linen about 2 3/4” wide by 26″ long.

Cut out your linen strips.

Cut out your linen strips.

2. Fold each strip of linen lengthwise and sew along it’s length, closing it — note that at the top of the strip you’ll want to sew about 1/4″ from the raw edge but by the time you get to the bottom your seam should be closer to 1″ from the raw edge. Your are bringing your seam closer to the folded edge as you go creating a tapered tube. Trim off the excess fabric along the seam.

You can see how I've tapered the seam here.

You can see how I’ve tapered the seam here.

3.  Turn each tube inside out using your wooden stick. To do this, place the blunt end of the wooden stick near the end of the tube, bunch the fabric down around the stick until the fabric begins to encase the stick, then push the fabric down the stick. It’s a bit hard to explain, so I made a video for you at http://youtu.be/XQAXcdlqAL0

Tube being turned right side out with a stick

Tube being turned right side out with a stick

4. Lay your linen tubes out on a flat surface and measure out six strips of wool roving the same length as your tubes. Trim the wool so that it’s thinner at the bottom end — add the wool you trimmed off to the top to make it thicker.

Trimming the wool so it's narrower at one end.

Trimming the wool so it’s narrower at one end.

5. Twist the wool lengthwise and then wrap thread around it (opposite direction from the twist) to keep the hairs neatly contained.

The length of twisted, bound wool.

The length of twisted, bound wool.

6. Attach the narrow end of the twisted, bound wool to the blunt end of your wooden stick, wrapping the tip of the wool around the end of the stick securely.

Wrapping the wool around the stick securely.

Wrapping the wool around the stick securely.

7. Insert the wool-with-stick into the wider end of your linen tube, carefully pushing it down into the tube. Work the stick all the way to the end of the tube and pull the other end over the length of wool. Tip: If bits get stuck, you can use the eraser end of your pencil to push parts into the tube.

8. Once your stick is pushed all the way to the end of the tube, pull it out just a bit and snip off the bit of wool covering the end, then pull the stick out — the wool will stay behind.

9. Sew the ends of the tubes shut, then sew three of the tubes together at the wider ends. I thought it worked best to sew the edges together creating a three-pointed star, and then sew those edges down again, creating a sort of flower shape.

Sew the wider ends of the tubes together.

Sew the wider ends of the tubes together.

 

How to Wear Your Zopfe

If you have short hair and will be wearing a cap over your braids, you can just braid the zopke up together and attach them to your head with pins.

If you have hair long enough to braid up with the zopfe, do this:

1. Make two pigtails in the back of your head, tie with bands.

2. Take one pigtail in one hand and put the wide end of your zopke into the pigtail so the hair goes all around it.

3. Braid your hair with the zopke just as you would normally braid your hair. The zopke will stay in place once you do the first set of plaits. Continue braiding, paying attention to how your own hair falls over the fake braids.

4. If you run out of your own hair before you reach the end of the zopfe (as I do), just keep braiding the zopke — your hair will stay inside the plait.

5. When you reach the bottom, tie the zopke with a long ribbon. I use a cotton twill ribbon.

6. Repeat for the other pigtail. (If you want to wear a headband, put it on now.)

7. Now wrap one braid up and over your head. How far forward your braid falls on top of your head depends on the hairstyle you’re trying to recreate and the shape of your head. Tuck the end of the braid behind the ear opposite from where it began, then bobby pin in place.

8. Repeat with the other braid. You may be able to tuck the end of the second braid under the first one on top of your head, depending on how thick it ends up and the hairstyle you want to recreate. Pin in place.

9. Using the ribbons tied to the end of your braids, wrap them around the back of your head, cross them up over the top of your head (behind your braids), and back down to the base of your head where you will tie them. This keeps the braids secure to your head.

At this point, you can leave the braids uncovered. add a Gefrens (a band with a width of fringe in the back), or cover them entirely with a cap. Here are photos of me in the braids, with and without a cap — notice how the cap is filled out by the braids.

 

Front view

Front view

 

zopfe-side-view

Side view

 

zopfe-back

Back view

With cap

With cap

 

With cap and hat!

With cap and hat!

 

Make Your Own Custom-Sized Garment Bag with All Natural Materials (with Optional Carrying Strap and Pockets for ID and Accessories)

My All-Natural Garment Bag

With all the travel I’ve been doing lately, I need reliable garment bags that protect the clothing I make. After much research into the features I want (breathable fabric, long length, fold-over design with shoulder strap) and those I do not want (zippers and obviously modern touches), I’ve developed a pattern. If you’d like to make your own garment bag, here’s what you’ll need:

Garment Bag Materials:

  • Unbleached canvas 60″ wide (length = garment length + 12″; I used 2 yards for a long dress)
  • Cotton thread
  • Your favorite hanger
  • Wood dowel (1/2″ in diameter, 36″ long) – optional for a fold-over feature with carrying strap
  • 12″ strip of unbleached muslin for ID and accessory pocket – optional for ID and accessory pockets

 

Garment Bag Instructions:

1. Lay out your fabric with the 60″ wide section at the top and the selvedge at the sides.

My 60" wide canvas spread out on the floor.

2. Center your garment (on its hanger) on top of the fabric, making sure the top of your hanger lines up with the top of the fabric.

My red German gown, on a hanger, centered on the canvas.

3. Fold over the left side of the fabric. I like to leave a 1/2″ of room between the fold and my garment for roominess.

Left side folded over my dress.

4. Fold over the right side of your fabric, overlapping the two sides. This will be the width of your garment bag. (My width is about 25.5″.)

Right side folded over. Note the overlap.

5. Put a pin at the either fold to mark the spots and mark the length you want your garment bag to be. Remove your garment and re-fold at the pins.

Marking a fold with a pin.

6. Cut the fabric to the length you want your bag. (Note: If you’re going to do the optional fold-over, you’ll want to cut off at least 5″.)

I cut off 5" from the bottom.

7. Pin the edge (this will be the bottom of your bag) in place.

Bottom edge of bag pinned together.

8. Center the hanger at the top of your fabric (with the hook extended above the edge of the fabric, as if hanging).

My hanger centered on the canvas

9. Mark the angles with a straight edge from the top to the sides (make sure you have at least 3″ of straight edge at the top) and cut the fabric on the angles you marked (no need to add in any seam allowance here).

Marking the angle of my hanger before cutting.

10. Fold under and press the top straight edge twice and pin in place. It’s very important that you roll over the two top overlapping edges together.

Top straight edges folded over twice and pinned.

11. Sew down the hem of each of the two straight edges on the top of the bag.

One of the two top edges sewn with a rolled hem.

Note: At this point, check your fabric edges that overlap one another (the selvedge) — if you think they might unravel or fray over time, or you want this edge to look more decorative, now is the time to do something. The simplest thing you can do is a rolled hem. Or you could cover the edges with bias tape. (My selvedges were just fine and I did nothing.)

12. Sew together the top angled edges of your bag 1/4″ from the edge.

Top edges all sewn.

13. Sew the bottom edge of your bag 1/4″ from the edge.

14. Clip the corners, turn your bag inside out, press the edges, and sew the top and bottom edges again (we’re making French seams).

Turned inside out and pressing seams.

15. Turn the bag right side out again, press the all four edges of your bag.

Bag turned right side out and pressing all edges.

Now just put your hanger through the top, and voila … you have a hanging garment bag!

 

Optional Feature: Fold-Over Feature with Carrying Strap

If you’d like to be able to fold over your garment bag (handy for long bags) and carry it with a shoulder strap, you’ll want to add this feature. Note also that this feature keeps your bag’s overlapped edges more secure as it acts to keep everything in place.

A. Lay out your garment bag, mark the spot you want it to fold over (halfway down), and place your wood dowel on top edge to edge. If your dowel is too long, cut it to the exact width of the bag. Set aside.

B. Take that strip of canvas you cut off the bottom of your bag in step 7 above, trim to 5″ wide, and fold over the bottom about 1.5″ and the top about .75″, and press as shown below.

Fold and press the strip of canvas

C. Fold the top of your strip over and press again.

Fold over again and press.

D. Sew the strip along the fold, insert the dowel, and set aside for now.

Sew the fold down and insert the dowel

E. From the corners you clipped off in step 9, cut two 1.5″ strips about 12″ long.

Two strips about 1.5" wide and 12" inches long

F. Fold over both the top and bottom edges of these strips and press down, then fold over again and press (you’re making cords).

Folding and pressing strips of canvas into cords

G. Sew along the fold of the strips.

Sew along fold to make sturdy cords

H. Pick up your strap (with the dowel in it) and insert each of your cords into the ends of the strap, then sew along the strap edge to secure.

Sew the strap ends and cords

I. Place the strap with attached cords on top of your garment bag where marked the fold-point in step A. Note: You want your garment bag to fold over with the overlapping edges folded in, not folded out, for the security of the contents. Push the dowel all the way to one edge of your strap and pin it to one edge of your bag, then find the other edge of the dowel that is now in the middle of the strap and pin the strap in that spot to the other edge of your bag.

Pin the strap (with dowel) in place on your bag.

J. Tuck the other end of the strap under your garment bag, matching up the ends. Pin this strap edge to the edge of the garment bag. Now REMOVE the pin that was holding the other end of the strap to this edge, which you placed in the previous step.

Match up the strap end and pin in place.

K. Sew strap down to your garment bag in the TWO spots you have pins (very important) — one on either side of your garment bag. That means you’ll sew the strap at one end and sew it at the middle, but NOT at the other end. You want to keep this other end unattached to the garment bag so you can swing it out of way when you want to get and out of your bag.

Sewing the strap to the edge of the garment bag.

Now just tie your cords together to keep your strap in place. The strap on the other side of your garment bag acts as a carrying strap.

Carrying the folded garment bag with the built-in shoulder strap.

 

Optional Feature: ID and Accessory Pockets

I. Cut out two 12″ x 12″ pieces of unbleached muslin (you could use canvas if you have some leftover, of course).

Two 12" x 12" squares of muslin

II. Sew the two squares together all around except for the last 2″. Clip corners, turn inside out, press edges, and sew the square shut.

III. Place your pocket on the lower half (very important) of your garment bag. I put mine right at the top edge of the lower half, with the dowel strap actually covering the very top of the pocket — the strap will keep the pocket secured. Pin in place.

Place on lower half of garment bag so top edge of pocket is covered by strap.

IV. Sew three sides of pocket down (leave top edge unsewn). You now have an accessory pocket.

V. To make the ID pocket, cut out two pieces of muslin about 9″ x 6″. Pin in the center then cut a rectange out of the center about 2.5″ x 2.5″.

Cut the center out of the two rectangles.

VI. Stitch around the cut-out area about 1/4″ from the edge, then snip diagonally at the corners.

Sew around the edges and snip the corners

VII. Fold your fabric inside out and press edges.

Seams pressed ... so neat!

VIII. Cut off the extra fabric to make all sides even, then fold in edges all around and press.

Fold in edges and press down.

IX. Pin to top of your garment bag.

ID pocket "frame" pinned to top of garment bag.

Step X. Sew top, side, and bottom edge of ID pocket (don’t sew the other side). Now slide cut out a piece of paper a bit smaller, write your name (or the contents of your garment bag) on it, and slide it in!

Finished ID pocket with my name!

Voila! You now have a spiffy, all-natural garment bag with carrying strap, ID pocket, and accessory pocket. This garment bag takes about an hour (for the basic bag) and 30 minutes (for the accessory pockets), so it’s not too hard or time-consuming.

Here’s my garment bag with my gown inside:

Garment bag ready to go!

Note: I don’t recommend this style of garment bag for airline travel, unless you plan to take it on as a carry-on — the overlapping edges are fine for car transport, but would not hold up to being tossed about in baggage train or cargo hold, in my opinion.

Rolled Pleats Photo Tutorial and Pleat Spacing Calculator

Tubular rolls on a skirt (left) -- compare to skirt without them on the right

Rolled pleats are a technique for neatly gathering a large amount of fabric into a small area to create long, tubular pleats from the pleated point to the end of the fabric. I like to use rolled pleats on my German gowns (skirt) because they produce the right look. Sadly, I cannot find any evidence that this type of pleating was actually used during this period. But those of us attempting reconstruct garments from the 16th century theorize that this type of pleat may have been used because it looks similar to the way skirts look in paintings, particularly those by Lucas Cranach, with the pleats falling in long rows to the ground. Lady Cerridwen verch Ioreword did a good experiment with different styles of pleats which illustrates this.

Making rolled pleats are not hard. You’ll need your fabric, a straight ruler or something similar, and pins.

Material, ruler, and pins for rolling pleats

 

Step 1: Lay your ruler perpendicular to the edge of your fabric.

 

Step 2: Fold your fabric over the ruler.

 

Step 3: Hold the fabric that is folded over the ruler firmly and roll both over once.

 

Step 4: Fold the end of the fabric back over the ruler.

 

Step 5. Slide the ruler out.

 

Step 6: Hold roll in place with two pins, one near the edge and one a few inches down (the second pin keeps the roll tidy and in place until you sew it).

 

Step 7. Use the ruler to measure the distance to the next starting point (use calculator below to determine how far over) and begin again at step 1.

 

Pay attention to how far apart you begin your next rolled pleat and do it consistently for the best effect.

You can use something other than ruler to achieve a roll that is wider or narrower. The minimum amount of fabric needed for rolled pleats set side-by-side is 5 inches of material for every 1 inch of pleats. If you don’t have quite enough material for that, you can add a bit of space between each pleat. If you have more material than that, it’s possible to repeat step 3 and roll it again (for this method, you’ll want 7 inches of material for everyone 1 inch of pleat).

When you are finished pinning your pleats, I recommend you sew the pleats down before finishing your skirt and/or attaching it to the bodice — this keeps the pleats nice and straight, which is important for that tubular roll look.

Here is a photo of my German gown with rolled pleats. Notice how the rolled pleats create the nice, long rolls down the dress! The gown was not pressed to do that — the rolls happen naturally thanks to the pleating method.

Rolled pleats on my German gown

To determine how far apart to make your next pleat, use this Rolled Pleats Calculator:

Width of object used to roll pleats (i.e., ruler or twines of fork)
Length of fabric
Length of finished piece (i.e., waist measurement)
Unit of measurement Inches CM


Based on the above measurements, this is just the right amount of material for 36 side-by-side single rolled pleats. Start your next pleat 3 inches from the last one.

If the calculator doesn’t work for you, you can calculate this manually by first getting these measurements:

A. The width of the object you’ll use to roll your pleats (i.e., a ruler). For example: 1

B. Five times number A. For example: 5

C. Width of your fabric. For example: 180

D. Width of your bodice’s (or skirt band’s) waist. For example: 36

E. Divide C by B. For example 180/5=36

If your D = E, then your pleats will fit perfectly side by side so start your next pleat 3″ to the side of your last pleat (as shown in step 1).

If your D is larger than E, you’ll need to space your pleats a little farther apart to get them even. To determine how far apart, subtract E from D to get the difference (i.e, 7) and divide the difference by E (i.e. 7 / 36 = .19). So in our example, we’d have .19 inches between each pleat, so begin each new pleat at 3 and 3/16 inches to the side of your last pleat.

If your D is smaller than E, consider an extra roll (repeat step 3) and do the math again but this time number B should be 7 times A. Now compare your D to your E, and if it is larger, make the above adjustments.

Please let me know if you have any questions!

German Gown Pattern. Assembly Notes, and Instructions (Dorothea Meyer’s Gown)

I’ve had several people ask for the pattern for my dark red German goldwork gown, which is based off Dorothea Kannengiesser Meyer’s gown as painted by Hans Holbein the Younger in 1516.

Portrait of Dorothea Kannengiesser Meyer by Hans Holbein the Younger (1516)

To make a basic version of this gown without any fancy embroidery, you’ll need the following:

  • 6.5 yards of outer material, such as wool (60″ wide)
  • 1 yard of lining material, such as linen
  • 1 yard of interlining material, such as linen canvas or cotton canvas
  • 3 yards of guard material, such as velveteen (cotton velvet)
  • 2 yards of 1/8″ grosgrain ribbon
  • 1 yard of seam binding
  • Silk thread in the same color as your outer material and your guards
  • Black hooks and eyes
  • Tailor’s chalk or some other sort of non-permanent fabric marker
  • Good scissors
  • Strong needles (sewing machine optional)

Here is the cutting pattern: German-gown-pattern.pdf (click to download)

Cutting pattern and resizing notes

Instructions:

  1. Adjust the pattern closer to your measurements. I recommend cutting a bodice out of muslin and making further refinements first. Note: As this dress has an open front (unless you choose to sew it closed), you’ll need an underdress and you’ll want to be wearing it, and your smock underneath it, when you fit your gown. If you don’t have a suitable underdress already, you can make one out of linen and linen/cotton canvas (as interlining) using this pattern — just omit the sleeves and the guards. Make the underdress first, good and snug, and it’ll also serve as practice for the main gown.
  2. Wash and press all your materials (steam your velveteen gently from the back with an iron). I prefer to wash my wool in my machine washer and dryer, but not all wool will react well to this and not everyone likes the slightly fulled appearance that usually results — test a sample before you wash all your wool!
  3. Cut out your material according to the cutting pattern above (pay careful attention to fold lines).
  4. Lay the outer material and interlining material on top of one another, wrong sides together, and pin them together. Now sew them together around every edge and treat them as one piece of material from this point forward.
  5. Match and pin the straps of your bodice outer material together (right sides of outer material together), try it on to make sure it fits right, then sew the straps together along the blue dotted line (or your adjusted line). Sew the straps of the bodice lining, too.
  6. Place the bodice lining against the bodice outer material, right sides together, and pin your ribbon 1/2″ from the top edge of your bodice (along green dotted line marked on the pattern) and sew together along the ribbon line. Then sew down the two front edges (purple dotted line) of your outer material and lining. Try it on and check to see if the front bodice edges fit around you — the edges should just meet and it should feel a little snug. If it is too large, mark where it should be with your chalk and resew along your new line. Tip: Don’t be afraid to make this bodice pretty snug if you’re using a material that is naturally stretchy, such as many wools and linens. Those times I sewed my bodice edges conservatively because I was leery of it being too snug, it ended up being too loose. Linen, in particular, will stretch as you wear it from your body heat. But if your fabric is synthetic, it may have considerably less stretch in it. If you’re not sure how your bodice will behave, sew the edges conservatively, put it on over whatever other garments you plan to wear, safety-pin it closed, and wear it for a while … then decide!
  7. Once your bodice fits perfectly, trim the seam allowance to half its width, clip the curves, and trim the corners. Turn right side out and press edges.
  8. Moving on to the sleeves, fold them in half lengthwise (right sides together) and sew along the blue line marked on the pattern.
  9. Turn the sleeve right side out and place it the armhole of your bodice (which is turned inside out), so the right sides of the sleeve and bodice are together. Pin the top edge of the sleeve into the armhole, right sides together, sleeve seam at bottom of armhole, with as few puckers as possible. (If you find that the sleeve is puckering too much, hand-baste the top edge first, then pull the threads of the basting to gather sleeve cap until it fits perfectly in the armhole.) Once the sleeve is set in perfectly, sew it to the bodice. Repeat for other sleeve.
  10. Sew the lining to the bodice around the armhole, then cover the seam with seam binding and sew it down.
  11. Moving on to the skirt, first sew a rolled hem along both short sides of your material (this gown is open in the front by design — if you prefer it be closed, you can sew it together with a French seam instead).
  12. Make rolled pleats along the top edge of your skirt until it is the width of your bodice (use my Rolled Pleats Calculator to help you determine where to start your next pleat). I like to start my pleats in the middle of the back skirt and roll them inward from that point. This creates a more voluminous point in the back and a neater, flatter front. Once I have my pleats where I want them, I like to sew along the top edge of my skirt to keep them in place.
  13. Pin your skirt to the lower edge of the outer material of bodice, right sides together — do not pin to your bodice lining yet. Once it is pinned in place, sew together — you’ll probably need to do this by hand with double-stranded silk thread because the material will be quite thick now.
  14. Once your outer material is sewn to your skirt, turn the dress inside out and fold the edge of your bodice lining under so it covers the raw edge of your skirt, then hand-sew down to your skirt. It can be tricky to do this without avoiding wrinkles that show when worn, so pin first and try on before sewing to ensure you have a smooth fit.
  15. Put the gown on, have someone help you mark the hem (should be just above floor length), mark it with chalk, trim as necessary, and sew the hem with a hem stitch. I also covered my inside hem seam with seam binding, but that is optional.
  16. If you’ll be applying velveteen guards, put the gown on, pin the front edges together, drape the velveteen around your shoulders (have a friend help), make sure it lies flat and smooth, and pin it in place.
  17. Now draw a chalk line on the velveteen where you can feel the top edge of your bodice underneath.
  18. Unpin the velveteen from your gown and lay flat — you should see a big curve. Measure inside this curve 1″ and draw another chalkline. Then measure outward four inches from this inside line and draw another line. This will be your top bodice guard. Cut out along the outer curve lines.
  19. Turn your bodice inside out and pin the guard to the inside top edge/green dotted line (right side of velvet against the wrong side of your bodice). Sew the guard to the inside top edge of bodice (green dotted line on pattern), clip the curves, and fold the guard up and over the edge of your bodice. Turn the lower guard edges under (clipping curves as necessary to have it lie smoothly), and hand-sew down to the bodice (stop about four inches from each end).
  20. Cut two four inch strips of velveteen the same measurement as the top of your bodice to the edge of your skirt (50″ in my case). Pin the edges of the velveteen strip to the edges of your bodice and skirt (right side of velveteen against wrong side of wool), then sew, fold around (tuck under top guard), press, and hand sew to outside of gown. Now finish sewing down the top guard to cover the edge of the front guards.
  21. Cut out a 6″ strip of velveteen the same circumference as your skirt (about 180″), press edges in 1/2″, then hand-sew to the bottom edge of your skirt (I prefer not to go right to the very bottom, leaving a few inches of the skirt material showing).
  22. Cut out two 6″ strips of velveteen, each about 23″ long (or however wide your sleeve is at the bottom edge). Sew each strip together at its short ends (French seam), press seam, turn inside out, pin to inside edge of your sleeve (right side of velveteen to wrong side of sleeve, line up seams), sew, fold over and around the outside of your sleeve, tuck upper edge of velveteen under, and hand-sew to your sleeve.
  23. Attach hooks and eyes to the front edges of your bodice (purple line on pattern), being careful to sew through all layers of your material to ensure a smooth fit when worn.
  24. Check for stray thread ends and clip, press your gown, and you’re done!

Finished dress on display at A&S Competition (Kingdom) in Spring 2012

I recommend you wear this gown with a pleated smock with a wide neckline that just shows above the gown’s edge!

Many thanks to Mistress Melisant who helped me fit the pattern, adjusting the strap so it would lie closer to the edge of the shoulder, and offered advice about sewing the top guard, using a ribbon to keep the bodice’s top edge snug, and using hooks and eyes. She also graciously read through these instructions and noted places I could clarify or expand upon, which I have (though I’d still like to do a photo tutorial on rolled pleats). Thank you!

Please let me know if you have any questions about constructing this gown. And if you make one, please let me know!

You can view the original A&S competition documentation on this gown, which received a first place award, at http://germanrenaissance.net/files/RedWoolGoldworkGown.pdf

Wearing the gown at Val Day

Progress on the Schaube/Rocks (German Men’s Coat) – The Beauty of a Good Pattern

Sometimes, when things come together, it’s just beautiful!

Now that I have the actual pattern and method of construction for the schaube, and I know how it all fits together, I’ve been assembling the pieces. What was a jumble of weird shapes that didn’t work together is now a very well-designed coat. A thing of beauty! And I love that I know without any doubt this coat was designed at least over 450 years ago, and quite probably a bit older than that as this style of coat was popular for some time in the 16th century in Germany, England, and Italy.

Here’s my progress on my wool version of this coat:

  • 8 yards of dark red wool, pre-washed, pre-shrunk, cut, and ironed (I believe I could have gotten away with a little less, maybe 7 yards)
  • Coat, collar, lapels, and lining assembled and sewn with silk/cotton threads (machine stitched long inside seams, hand-stitched the collar and yoke)
  • Black cotton velvet guards cut, sewn, and attached to the collar with gold metallic thread (note: I machine stitched all of this gold metallic thread on the guards because, frankly, it’d take a year to do it by hand myself and I do not have a stable of minions to help!)

 

What remains to be done:

  1. Stitch velvet guards onto the puff upper sleeves and the straight lower sleeves, then attach them together and to the coat
  2. Hem the cloak to the length of Gregor’s knees
  3. Cut and sew the multiple black velvet guards to the hem
  4. Make the passementerie knot and attach it to the right sleeve

 

Photos of the coat in progress:

Back of Coat in Progress

Close-up of Back Collar

Close-up of back collar where it joins the front collar

Front of coat in progress

 

Close-up of guards on front collar

This wool coat is my “practice” version, and I’ve learned several things already that I’ll improve upon for the one I make out of silk damask. The biggest thing bothering me right now is the metallic stitching on the guards. I did it by machine for this practice version, but because it’s harder to control than hand stitching, it isn’t consistent in places. That bugs me. So I will need to handstitch at least some of the metallic threads in my final coat.

Additionally, the point at which the back collar joins the front collar is tricky for matching up the guards. I could have done a better job at that, and I’ll pay more attention on my final coat.

Finally, I noticed that the folds of my practice coat aren’t falling as evenly as those in the photo BUT I know that the photograph of the extant coat has an unusual coat-shaped form under it, and that form has the folds in it. I also know that the original coat is gathered, not pleated, so I suspect that it has that nice, big, even drape thanks to the form more than the coat itself. It’s also likely that the velvet guards will add more volume and shape to the drape. So we’ll see how it turns out when it is done.

Now to work on the sleeves!

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