VPC2017: Meisterin Christian & Dona Isabel Maria's Refurbishing of Cushions and Cushion Bags

This joint project is for the categories Show Us Your Arms, One Metre Material Project, Give What You Get, Fly the Colours,  Remake, Reuse, Refashion, Reconsider, Containment System.

Meisterin Christian says:

Baroness Ginevra recently completed embroidered Baronial augmentation cantons for the baronial kneeling cushions, having been commissioned by Baron Oswyn and Baroness Isabel Maria to do so.  She asked for a volunteer to sew these to the kneeling cushions and I obliged.  She also asked for bags to contain and protect the cushions (the baronial cushions had never had bags, and the Lochac kneeling cushion bags had disappeared).

On close inspection the cushions were very dirty, and the velvet fabric very faded, so I offered to refurbish them so they would not look a  little tatty against the new embroidery. The cushions were original embroidered and constructed by Baroness Eleonora and Mistress Madeleine more than 20 years ago, so its no surprise that they were in need of a little care and attention.  I dismantled the cushions and vacuumed the embroidered pieces (it is best not to try and wash or dry clean embroidered needlepoint, as this can ruin the piece, esp. anything red).  The canvas had become very soft over time and had started to come apart in places.  I mended and over sewed the edges and seams to keep them together.  Thanks to THL Ydeneya for donating some red velvet for the project when there was none to be found.

The augmentation of arms cantons were stitched on by hand, with some additional tacking stitches to ensure the soft cushion canvas did not rub against the stiff new canvas and become damaged.  The cushions were reassembled and the canvas bottom layer was renewed.  The canvas needlepoint of one cushion has always been out of square, which makes this cushion a little awkwardly shaped and wrinkled.

The cushion bags are simple and practical (and fairly ugly) and have their purpose written on them in hope they will not be lost again.  Please take care of the cushions and bags, and ensure they don't get lost or further damaged!

VPC2017: Meisterin Christian's Child's Smock

This entry is presented for the categories Child's Play: Out of Your Comfort Zone (Embroidery), One Metre Material Project (linen and lace), Give What You Get, and  Togs, Togs, Undies.

Meisterin Christian says:

I  have been interested in the lovely late 16thC linen shirts with silk insert embroidery stitches, but alas this is too late for the clothes I wear in the SCA.  I decided to make one for my goddaughter for 2017 Midwinter Coronation, both as gift to her and also as an experiment to learn more about these shirts and their construction.  I was also looking for a project to take with me on a 4WD camping trip at Easter.  (What I should have taken was the Skjoldehamn hood (although I hadn't even thought about making it at that point), as trying to hand sew a white linen shirt outdoors in crepuscular light and a windy, wet, muddy environment was not ideal.)
I worked from several extant women's smocks and boys shirts in Janet Arnold's Patterns of Fashion 4, and a girl's smock pattern in the Tudor Tailor.  As the child was only 2 years old I had to scale down the extant patterns in size, but still leave room for growth as the event was some months away.  There was always a chance that her growth would not be linear and the smock would either swamp her or be too small (I had backup plans for either scenario).  Also chances were, that given the pace of growth for toddlers and the number of SCA events each year, she might also only be able to wear the smock once.
The extant shirts and smocks are made of white tabby woven linen in various thread counts.  I made this shirt from less than 1 metre of such linen; offcuts from one of my own smocks.  I imagine that women in period, who we known often made shirts and smocks for their family (even if tailors or servants made their other clothes), would have used remnants in the same way for their children.
Each pattern piece in the original was hemmed first, with narrow (~3mm) hems and then the pieces were sewn together with the coloured silk in a decorative stitch.  Due to the light and mud (see above) the hems done in the field weren't always 3 mm, but once back in the real world the later hems were nice and tiny.  There is no reference in Janet Arnold to the stitch used to hem the originals so I used a simple whip stitch with a white linen hand sewing thread; these stitches are essentially invisible in the completed piece.
Due to the less than optimal sewing conditions outdoors, the many small pattern pieces, and the danger of losing pins in the muddy grass, I loosely slip-stitched the hemmed pieces together before stitching the pieces together permanent with the insertion stitches.  Given the child is generally energetic, it seemed a little reinforcement to the slightly fragile embroidery stitches might be a good idea.  It's entirely possible that this could have been done in period; the tacking stitches are also virtually invisible in the completed garment.
For the insertion stitches (that join the garment pieces together) I decided not to use silk because of the cost (since the child might only wear the shirt once) and because a toddler's clothes are likely to need some serious laundering.  I substituted DMC embroidery thread, which I was assured would be colour fast even in nappy-soaking chemicals (so far, so good).  Having surveyed the silk colours of extant garments in Janet Arnold, I tended to a crimson, and with the help of the child’s mother and other godmothers selected a colour we all liked.  Late period embroidery is definitely outside my comfort zone.  Having looked at the embroidery on various extant garments, and searched for information on period techniques, I experimented with a few until I found stitches that I liked.  Some of the extant shirts also have decorative embroidery on parts of the garments other than the seams (e.g. sleeves), and/ or also alongside the insertion work on the seams.  Given the child may only wear the shirt once or twice, I decided the additional work was probably not warranted.
The remnants I had were not enough to cut the sleeves in one piece so I had to piece them. I'm sure this would not be uncommon in period for economic reasons. Initially I planned to put the additional seam at the back of the sleeve where it would not be obvious, but then I decided to make a feature of it by putting it at the front and embroidering the seam which would add interest if the shift was worn with an open front sleeve.  I started my embroidery here. I decided I really liked the alternating triple stitch buttonhole stitch so I played around with the stitch until I found a technique that produced the right look and was easy to maintain in a steady stitching rhythm.  I sewed a couple of inches and decided that it was too large a scale for such  small garment, so unpicked it and went to double stitches.  Once I'd sewn the whole seam I realised it was really red and overwhelming, and then recalled a shirt that had a white linen thread stitched over the insertion silk embroidery on one shirt, and for which I'd thought - why would you do that?  Why use practical white linen thread decoratively on top of red silk?  Now I wonder if the embroiderer thought as I did that there was too much red in that stitch, and it needed more contrast from the white.  The stitch was also (comparatively) very slow and used a lot of thread, so I decided it wasn't going to work for the whole shirt.  I decided to change to a single alternating stitch for the rest of the shirt. Its not clear if different insertion stitches were used in different parts of the same shirt, but it is clear that decorative embroidery used a variety of stitches on the same garment, so I went with the change.  It also made more of a feature of the centre front sleeve seams.  After some experimentation I chose a pretty standard looking insertion stitch (essentially an alternating blanket stitch with another stitch into the intersection to "knot it off").
The body and sleeves were gathered into a collar and cuffs to make the smock more comfortable for the wearer.  For the same reason I choose to attach a flat band of lace to the collar and cuffs.  I briefly contemplated making the lace, but since the child might only wear this once, that seemed unwise. Ties at the cuffs and collar in the original garment were inserted through sewn eyelets, but I figured a toddler would have those out and lost within minutes, so instead I sewed soft tape ties on as neck and wrist closures

VPC2017: Baroness Agnes' Medical Chest Contents & Simple Dress

More entries from Baroness Agnes - the herbal contents of a medieval medical chest for the category For Science! and a simple Renaissance style dress made as a gift for a relative newcomer for Give What You Get.

About the herbs, she says:

The beginnings of the contents of Agnes's medical chest. Pictured are mint, lemon balm, sage, plantain, rosemary, catmint and cleavers. These were located, identity confirmed, harvested, dried and stored. Eventually they'll get nicer jars and a chest to live in, but the herbs are the central aspect.

About the dress she says:

A simple renaissance style dress for [a friend] who wanted to come to Faire. Unfortunately she never made it, so there's no photo of the relative newcomer in the dress, but I still made the dress, and she'll still wear it one day.

VPC2017 Her Excellency Ginevra's Appearance In A Play & Throne And Kneeling Cushions

Her Excellency writes to inform of her appearance in a morality play at Canterbury Faire. This falls into the categories Break A Leg, and Out Of Your Comfort Zone.

Additionally, these throne and kneeling cushions, submitted as Show Us Your Arms, Give What You Get and Embellish It.

VPC2017: Mistress katherine's Dog Collar, Puppet Theatre Towers & Bookmarks

The increasingly prolific Mistress katherine adds the following to her Challenge entry hoard.

Firstly, a medieval dog collar for the category Togs Togs Undies! 

This is a dog collar, based on the comments by Gaston Phoebus in 15C Book of the Hunt, and from illuminated manuscripts. Common features: red velvet, embroidery with gold thread or wire, a leashing ring, single eyelet, rumbler bells, studs of various kinds. Modelled by Mercalli ("what a good dog!"). Here's a good site with lots of doggy and hunt info.
And a good image from Gaston Phoebus of white pointy-eared dogs with collars.

Mistress katherine says: 

I was particularly delighted to read that the Boke of St Albans describes the kind of dogs to be found in a medieval Scottish town including a 'prick-eared cur'

The next entry is new towers for the puppet theatre at Canterbury Faire, made from scavenged cedar shingles and painted up like 14-15C examples. These are for the category Out Of Your Comfort Zone, which katherine assures us she was.

She says: 

This took me out of my comfort zone -- I had to use power tools and -- worse-- ask an unknown neighbour for permission to raid his construction skip. I also looked at the shingles after I'd painted them and realised that circular saw marks were clearly visible, which Master Edward confirmed was a no-no to proper woodworker eyes, so I flipped them over and sanded them down to start again.

Some examples of puppet theatres in manuscripts can be found at the Bodleian here and another example here.

Finally (at least for now!) - bookmarks in baronial colours for the largesse chest. From the 12C onwards, cords, threads of strips of leather were attached to beads, buttons and similar shapes to make stand-alone bookmarks. Multi-threaded bookmarks were particularly popular amongst the clergy for flipping back and forth in service books. These are for the category Fly The Colours, but they also meet the requirements for Give What You Get. More information about these from katherine here.

VPC2017: Lady Melissa's Winter Hood

Lady Melissa brings us this lovely hood for the categories The Neck Best Thing, Cover Me, Counting on Sheep, Tis the Season, Give What You Get

She says:

This hood was made in the 13th century style, and can be worn as either an open hood or a fitted hood. The outer shell is wool, and it is fully lined with winter coat possum fur; period pieces would have been lined with rabbit or, for the very wealthy, ermine. All of the fur was hand-pieced and hand sewn. Only the central (hidden) seam in the hood was machine sewn. The buttons are self-fabric. There is a central plate with button holes because the test pattern did not fully account for the thickness of the possum fur, and it would not close without choking the wearer. While I have not seen a similar device in illuminations, it would be a suitable period solution.

This item is for a very lovely lady I met at Canterbury Faire (she may have to share with her family, though!). I was very glad to be able to work with the possum furs, which were luxurious and provided by the family. They are all relatively new to the SCA, and I hope that they enjoy their next CF with some additional warmth!

VPC2017: Her Excellency Ginevra's Tiniest Unicorn

This delightful piece of embroidery from Her Excellency Ginevra is for the categories Here Be Monsters, Show Us Your Arms, and Give What You Get.

Her Excellency says:

It is worked with silk thread, on silk, in split stitch (with thanks to Melissa for teaching me) and is 1.5 inches high. It's been given to Mistress Rowan, to be part of the Broiderers Guild of Lochac Banner.

VPC2017: Mistress katherine k's Award Cords

More in Mistress katherine's industrious output, these Award Cords, presented for the categories String Theory, Give What You Get, and Fly The Colours (and Out of Your Comfort Zone)

She says:

Half-a-dozen award cords in baronial colours. This could also count in Out of Your Comfort Zone as I used this to learn how to do four-ply braiding which I'd never done before. Strings are definitely not my thing, but I'll keep practising the four-ply as I liked the result.

VPC2017: Mistress Amalie's Award Cord Token

This fingerloop braid was made by Mistress Amalie, and qualifies for the categories The Neck Best Thing and String Theory, as well as Give What You Get, as it is intended as an award cord.

As she has written an informative post for the excellent Lochac Fibre Guild website, it also qualifies for Those Who Can, Also Teach.

This cord comes from the Harley 2330 Manuscript, and is called A Grene Dorge. Further details on the pattern and instructions are available from her post on the Lochac Fibre Guild website here

VPC 2017: Mistress Taddea's Skjoldehamn Hood

This is Mistress Taddea's second Pentathlon Challenge entry, and she completed it within two days, which is impressive. It is a Skjoldehamn hood, and was made for a newcomer, and given to them to wear at their first event. It is an entry in the categories One Metre Material Project, Give What You Get (gift for a newcomer), The Neck Best Thing and Embellish It. 

Fabric and embroidery are both wool. Embroidery is simple chain stitch and running stitch.