Anna goes on pilgrimage! Part 1: The “Midwife” Esoforion

Next week at a Trimarian event called “Corsair’s Heart”, Mistress Mayken van der Alst is coordinating a Medieval Hike! I decided that this sounded more in my wheelhouse than an entry into the Birka Garb Challenge, so I chose to go full bore and see what I could come up with.

The short answer: A middle/working class Byzantine ensemble that would be comfortable for hiking in. The hilarious thing is that I don’t own anything lower class, or uh, casual.

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But for real, in period, in persona, I would have been carried to Jerusalem in a litter, or rode in the back of a carriage. If I was “roughing it”, I would be on my own horse. Walking? Bah!

But that’s not the point of this exercise. The point is to walk, and wear and carry something that I could walk in, comfortably.

Better start at the bottom. Layer that is.

In my searching for *sigh* casual Byzantine, which, by the way, not that easy, I found a Cappadocian fresco that is contemporary to my period. Here, a midwife and Salome bathe the infant Jesus and his rippling man-pecks of the Divine.

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Fresco is located in the Dark Church, Goreme, Cappadocia. 11th Century.

Everything here seemed perfect. You have women working, wearing clothing indicative of an arid climate that would have been passed through to continue to the Holy Land. The colors are great, and my favorite part? The Midwife’s SLEEVES:

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Hot diggity, they’re tied behind her back!

I determined it was either one of two things: A guard that was slung over the shoulders to allow her to pull her clothing back and away for midwifery duties, or, slits in a tunic designed to do this, again, for her profession. Both are plausible, of course, but I decided to test the theory on a tunic, as it’s also supported by some of the work Dr. Timothy Dawson has done with kavadion/gambesons whereas the underarm is open, and the padded long sleeve can be pinned back for more movement.

This is what I came up with.

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The base pattern for the esoforion (undershirt), is the Manazan Caves Tunic, which I’ve used before for some shirts for the hubby here. The reasons I decided to go forward with one of these for myself were: A; The high collar is good for protecting against the elements. B: The extant tunic is contemporary to Cappadocia, but not in the same location. The Manazan Caves are in present day Karaman, Turkey, and the Dark Church is in present day Goreme. This is a distance of about 270km. That doesn’t mean that these settlements weren’t in contact, and it’s still close enough for approximation of Cappadocian fashion. C: The long gore construction of the Manazan find would work well with allowing a ton of ease and slack on the arms for slits in the sleeves.

So, with my pile of 3.5oz natural linen, I set off on an adventure. I determined that the sleeves would have to be longer to pull this off, but since that was a Persian trend that had trickled into Byzantine fashion and stayed, I had no qualms with some potentially droopy sleeves. I also ended up hand-sewing the entire collar, and all openings/hems. There are only 6 machine sewn seams in the whole thing, not bad. I do want to do an entirely hand-sewn one of these, and I have the fabric to do it, so I figured this would be good practice. Plus, as I mentioned in my previous blog post about this tunic, hand sewing the collar construction is a must, anyway. It just won’t work right with a machine. Good thing too, because after the couple days it took me to complete the collar setup, I returned to the machine, and promptly sewed a full stitch through my left index finger, INCLUDING THE NAIL. Typing hurts right now, but it’s healing. I guess that’s a sign I should keep on my hand work practice.

So much whipstitching, man. The Byzantines loved them some whipstitch.

I decided on the arm slit placement after basting the side seams together, and looking at fit. Each slit is 8″ out of the front seam that connects the gore. I then cut the basting, turned in a hem, and it was done. Zero fuss, and zero fabric waste or odd cuts into the garment.

The pictures speak for themselves. It works. The placement of the uber-long gore makes for a full range of movement, and as you can see, I can still create more slack to go over an outer tunic.

This garment is more than practical for just midwifery. While on pilgrimage, it would be beneficial to cover your skin for sun protection, and the long sleeves still allow for this. But, if I get too hot, or need to cook/set camp/do dirty work, I can tie my sleeves back and be comfortable doing so. Genius.

What’s next?

I’m going to use a tie on the front of the collar this time, versus a button and loop as I did for Gieffrei, because I feel it will allow me to adjust fit and function better during the hike. I can inkle weave a small band easy enough in an hour on my little loom.

Of course, the outer garment is next after that. I’m following through with the color scheme of the fresco, especially the look that Salome is wearing on the right. I have a block printed cotton I will be using for the turban to match the Cappadocian look, as well.

My final touches will be a shoulder bag, and a relic bag for my belt. If I can find out more, I want to research into accurate ankle support as well, only because I’m a chronic sprainer and could use the, uh, help. These will all be completed over the course of the next week, and I’m looking forward to pulling it all together for the hike!

Okay, what was THAT at Birka? My “Romanov Romanova” makes her one and only SCA appearance.

Probably the crappiest attempt at 17th C. Imperial Russian you’ll ever see, but it was coated in bling so it doesn’t matter.

This story begins, as so many do, with the quintessential opening of, “So no sh*t, there I was…” It was February of 2016. I was at a tiny pop culture convention at UConn with some friends who I’ve known in the comic artist circuit for no less than googlety years.

…Yes, I draw, by the way. My first degree is in art, and I’ve been working on and off in the pop culture industry now since 2002. The latest thing I churned out was this Master Chief for my brother-in law. This is not relevant to my post. I just wanted to show it off because I slayed that bristol board.

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Image is watermarked. Please don’t steal art, it’s not nice.

Long story short, I had secured badges for San Diego Comic-Con International, yes, the big one, and I was chatting it up with a friend in our hotel room on a freezing cold night in Storrs, CT. She randomly suggested something along the lines of, “You should totally do a historically accurate Black Widow.” And I only half heard it. So while she was talking about art, I heard “costume for Comic-Con”, and the rest was history.

The kicker was getting in a position to make it before the con. Our move from New Hampshire to California had already been scheduled, and I was in the middle of writing and sewing my thesis. So what it came down to was waiting until I actually lived in San Diego to get started. This would not have been so bad, if we didn’t wait a month for our household goods to come in. When all was said and done, I had 3 weeks to pull it together. I began ordering supplies before I had a sewing machine in my house, and basically launched this project on a Hail Mary.

Since I made this for convention cosplay, versus SCA wear, I decided to focus on the look of the costumes from the 1903 Ball at the Winter Palace, in which the theme was to wear 17th Century court dress. So it was already going to be anachronistic in addition to costumey. I chose the look of the coat of Grand Duchess Xenia Alexandrovna, sister of Czar Nicholas II, and the kokoshnik from another noblewoman.

 


I shorted the hem of the layers to make sure I wouldn’t trip and fall in a convention center. I used every machine trick I had to save time, and collected plastic beads, rhinestones, vintage beaded trims, buttons with black widow spiders on them, and embroidered patches churned out on a friend’s embroidery machine. In the end, most of the handwork involved was just on the kokoshnik. I threw lace on the forehead instead of beads, because I don’t know how to do that type of beading and there was like zero time to try to learn. The patterns are overly simplified to facilitate speed. I’m pretty sure Russian coats were not made like t-tunics.

I was sewing up to the night I wore it, but it paid off in the end: I was awarded a hall costume blue ribbon from the Hollywood Costumer’s Guild, and got to meet Terry Dresbach, the former costume designer from “Outlander”, who immediately recognized my attempt at a historical version of Black Widow. I didn’t get my picture with her, but I did with others from their group.

Here is a full gallery of the construction and wearing of the costume at SDCC. Note the crazy nuances like my makeup, and nose ring. This was never intended for SCA wear, it’s more like a Las Vegas Imperial Russian.

 

And then the costume got put away in my closet, and came out again for Costume College in 2017, but I didn’t wear it.

And then the 2019 Birka Garb Challenge was announced as “Marvel and DC Superheroes and Villains”, and I was like, “Well, okay. I’m skipping this one. Unfair.” And then I got talked back into it. Originally, I was going to enter as Thanos in full crazy 12th Century Byzantine complete with chased and repoussed “armor” as a loros, and then decided I didn’t want to do that much work. So, I backed out again, in prep of doing the medieval persona hike here in Trimaris in February at Corsair’s Heart, which I figured would give me a better avenue for re-wearable garb.

…And then I got asked to trot this haute mess back out. Since nobody back in the East Kingdom actually saw it in person, I had a few people who really wanted me to bring it. I had even more people who didn’t remember, or know, that I did this, so when I posted a few pics to social media that one was coming out of the vaults, I think it really intimidated a lot of other participants. For their benefit, and my own, I decided I wouldn’t enter the fashion show, and opted in to judging it instead, which, honestly, was so much fun, I would totally do it again. I loved sitting on the panel and admiring all of the entries with the other judges, TRM East, Her Highness East, and Her Highness Atlantia. We had an absolute blast.

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So yeah, if you saw this, and wondered what the frack it was, this is what it was. The ribbon hangs in my studio, underneath a ribbon I won at Arisia 2009 for my first ever Byzantine ensemble. They’re a nice reminder to stay humble. 😉

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“So, you wanna be a Varangian?”

I field more emails and more online questions about the Varangian Guard than I do actual Byzantine personae. I lifted most of the information below from my Byzantine Personal Basics page above, but I’ve included a bibliography to hopefully help those on the path find what they’re looking for.

I’m going to preface this by saying that I have nothing against Varangian personae, but I’m about to be very blunt: Varangians are not Byzantine.

The Romans viewed them as barbarians and outsiders, and despite the fun tales from the Norse Sagas, chances are, they weren’t well liked in the City. The truth of the matter is that there are currently more Varangians in the SCA than there ever was serving an emperor at one point in time due to the fact that it gives Norse personae an excuse to wear lamellar when it’s hot (which is fine, we don’t need anybody dropping dead at war, please). Not everybody could show up at the Blachernae Palace steps from somewhere up North and demand they be admitted into service to the Purple. It was a bit more complicated than that, and each emperor had different requirements. Not to mention, Varangians were only predominantly Norse for a short period of time in the mid 11th Century if we assume what the Sagas say is true.

The first Varangian Guard was not established until the late 10th Century (around 980) when Basil II was given thousands of Kievan soldiers in exchange for marriage of a Byzantine princess to the Prince of Kiev in order to defeat the Bulgarians. The Kievan Rus were not Norse, they were Slavic, potentially with Norse ancestry, but the term “Viking” itself is a particular Norse occupation. The “Viking Age” was pretty much over at this time. We do have record of plenty of Norse travelers coming to Constantinople prior to this, but the “Viking raid” in 860 was actually Rus that had come down into the Black Sea from what is now Ukraine.

To further screw things up, the term “Varangian” itself was used by both the Romans and the Rus to refer to Norse Vikings prior to the 10th Century. So, if this is the route you desire to go, determining if you’re just a Norse traveler from early period, or an actual member of the Emperor’s elite guard is important.

If you do decide to go Varangian GUARD, here is a list of “waves” of ethnicities that served at specific times. This is by no means set in stone, but it provides a guide for those that want to pinpoint a specific time period that suits their goals:

988 – 1020ish: Kievan Rus

1020-1070ish: Scandinavian (Icelandic, Norwegian, Swedish) Bolli Bollason and Harald Hardrada served at this time.

1070-1204ish: Danish and English (Anglo-Saxon). The term “Danes” comes up in Byzantine literature often to describe the Varangians, and the English were escaping Norman rule in England at this time. This is documented in the saga of Edward the Confessor. Siward Barn served at this time. Normans were NOT permitted to be apart of the Varangian Guard, but some may have served as mercenaries in other capacities.

The Fourth Crusade has probably some of the best documented accounts of the Varangian Guard in action protecting Constantinople. After the retaking of Constantinople and re-establishing the empire, however, there didn’t appear to be as formal of a guard unit, and those that were a part of it, had fully assimilated into the Roman culture. It is unclear if the Varangian Guard really remained a thing until the Fall of Constantinople in 1453.

There are a lot of myths surrounded what they actually wore, especially in the SCA. The “red is for the Emperor’s service” and “green is for the Empress’s service” is totally a SCAdianism as far as I’ve found. It looks like the on-duty color for the guard was blue or red, while off-duty, you see them in nothing more than plain tunics and slim-fitting trousers or hose, which was typical for men’s casual wear throughout the empire. Earlier travelers would have continued to wear the clothing of their culture, versus picking up stuff along the way. Clothing was expensive and difficult to carry and launder, so the other SCAdianism of having a diverse wardrobe boasting the latest fashions of every exotic port of call you visited is also inaccurate. They would, however, assimilate over time if they decided to stay put in an area. This does not include trade goods, but items that were exchanged in business were not necessarily the same as the clothes you wore on your back.

As far as religion goes, during the period of the active guard, most serving were already Christian, or converted to Orthodoxy from Arian Christianity which was more common in Eastern Europe and the Scandinavian countries early. Please, remember that Arianism IS NOT THE SAME THING as Aryanism. Mind your i’s and y’s! Either way, the idea of your persona dripping in lovely Asatru regalia would be incorrect as a guardsman, but as a very early Norse traveler to Constantinople, still possible.

I totally just ganked these images off of Wikipedia since I know they’re there, but you can check out the Madrid Skylitzes here: https://www.wdl.org/en/item/10625/

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“On Duty” Varangian Guardsmen in the gold armor with blue garments beneath. They are armed with rhomphaioi (axes), and shields. Note the round and teardrop shields. From the Madrid Skylitzes, 12th Century.

 

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A woman kills her Varangian would-be rapist, and then is presented with his belongings from the other guardsmen. Note how they don’t look very “Norse” or Scandinavian – Dark hair and eyes, probably Eastern European, though at the time the manuscript was produced, they would have been mostly English (Anglo-Saxon). Plain tunics and slim-fitting trousers with boots- Typical of a Byzantine common man instead of a fancy hodgepodge of Norse and Byzantine that is common in the SCA.  Also from the Madrid Skylitzes.

And for those that want to actually do homework, here are the goods:

Suggested Readings

Primary Sources

Of Aguilers, Raymond. Historia Francorum Qui Ceperint Jerusalem. Translated by John H, and
Laurita L. Hill. Philadelphia: American Philosophical Society. 1968; Medieval
Sourcebook, 1997. http://www.fordham.edu/halsall/source/raymond-cde.asp

Choniates, Niketas. O City of Byzantium. Translated by Harry J. Magoulas. Detroit: Wayne State
University Press. 1984.

de Clari, Robert. The Conquest of Constantinople. Translated by Edgar Holmes McNeal.
New York: Columbia University Press. 2005.

of Edessa, Matthew. The Chronicle of Matthew of Edessa. Translated by Ara Edmond
Dostourian. Ann Arbor: University Microfilms. 1972.

Komnene, Anna. The Alexiad. Translated by E.R.A. Sewter. London: Penguin Books. 2009.

The Laxdaela Saga. Translated by Muriel Press. London: The Temple Classics, 1899. The Online Medieval and Classical Library, 1996. http://www.omacl.org/laxdaela/

Porphyrogénnētos, Constantine. De Admininstrando Imperio. Translated by  R.J.H. Jenkins.
Budapest: Pázmány Péter Tudományegyetemi Görög Filológiai Intézet. 1949-1962.

——. De Ceremonii. Translated by Ann Moffatt and Maxeme Tall. Canberra: Byzantina
Australiensia. 2012.

Psellus, Michael. Chronographia. Translated by E.R.A Sewter. New Haven: Yale University
Press, 1953; Medieval Sourcebook, 1999.
http://origin-rh.web.fordham.edu/halsall/basis/psellus-chronographia.asp

The Saga of Edward the Confessor. Translated by George Dasent. 1894.

http://www.sacred-texts.com/neu/ice/is3/is324.htm.

Sturleson, Snorri. Heimskringla (Saga of the Kings.) Translated by Samuel Laing. London: 1844;
         The Online Medieval and Classical Library, 1996. http://omacl.org/Heimskringla/

de Villehardouin, Geoffrey. Chronicle of The Fourth Crusade and The Conquest of
Constantinople.
Translated by Frank T. Marzials. London: J. M. Dent. 1908; Medieval
Sourcebook, 1996. http://www.fordham.edu/halsall/basis/villehardouin.asp

 

Books and Articles

Blöndal, Sigfús. The Varangians of Byzantium. Translated by Benedikt S. Benedikz. Cambridge: Cambridge University Press. 1978.

D’Amato, Raffaele. The Varangian Guard: 988-1453. Oxford: Osprey Publishing. 2010.

Madden, Thomas F. The New Concise History of the Crusades. Lanham: Rowman and Littlefield. 2006.

Norwich, John Julius. Byzantium: The Decline and Fall. New York: Knopf. 1995.

Queller, Donald E. and Thomas F. Madden.  The Fourth Crusade: The Conquest of Constantinople. Philadelphia: University of Pennsylvania Press. 1999.

Runciman, Steven. A History of the Crusades. 3 vols. Cambridge: Cambridge University Press. 1987.

Dawkins, R.M. “The Later History of the Varangian Guard: Some Notes.” The Journal of
Roman Studies Parts 1 and 2.
1947. http://www.jstor.org/stable/298453.

Doxey, Gary B. “Norwegian Crusaders and the Balearic Islands.” Scandinavian Studies.
            http://www.jstor.org/stable/40919854.

Madden, Thomas. “Outside and Inside the Fourth Crusade.” The International History Review.
1995. http://www.jstor.org/stable/401107441.

Pappas, Nicholas C. J. “English Refugees in the Byzantine Armed Forces: The Varangian Guard
and Anglo Saxon Ethnic Consciousness.” De Re Militari.
http://deremilitari.org/resources/articles/pappas1.htm

Shepard, Jonathan. “The English and Byzantium: A Study of Their Role in the Byzantine Army During the Later Eleventh Century.” Traditio Vol. 29 (1973): 53-92. http://www.jstor.org/stable/27830955.

Fordham Conference Presentation Available Online

I just uploaded my paper and Powerpoint presentation from the 2018 Fordham Medieval Studies Conference on Dress and Identity in the Middle Ages to my Academia.edu account.

Feel free to download them for free here (Though you will need an account on the site, which is also free): https://unh.academia.edu/AngelaCostello/Conference-Presentations

This is both an abridged version of my Master’s Thesis and an expansion of sorts. It focuses solely on Kale’s garments and her inventory as such demonstrating her changing identity from noblewoman to nun. The Powerpoint has photos of my attempt at ecclesiastical dress and some dramatic poses for fun.

The publication of my thesis as a Compleat Anachronist (#177) is still available from the SCA Stock Clerk, here: https://members.sca.org/apps/#Store

Ladies, it’s time to ditch the Byzantine head donut.

You know, that head roll that SCAdians think is so Byzantine? You can buy them at Ren Fairs, they show up in commercial paper patterns. It basically looks like something you get at a medical supply store for bum cushioning.

Yeah, those.

Stop.

I know this sounds mean, but there is -zero- evidence that such a thing existed. Artwork from the early Byzantine period (300-899) shows -something-, and that something is called a fakiolion. It’s a turban, and it continues to be worn through the middle period, when art becomes more refined post-iconoclasm.

I’m far from innocent, of course. Here I am, 10 years ago and 50lbs lighter, wearing my hair donut in a photoshoot.  This was my first attempt at Byzantine garb, which over all wasn’t bad, but if I could go back and beat myself with a hammer for the donut, I would. It was a waste of fabric and pillow fill that makes zero sense in the case of medieval construction.

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Here is the cut from Theodora’s procession at San Vitale. I know you see the stripes, and think that it has to be ribbons and spangles and fancy things wrapped around a roll to get that effect. The fact is, that the same effect can be made with a turban with the right designs on it.

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Then of course, there is the bust of the Byzantine Woman from the Metropolitan Museum of Art, believed to be Julia Amicia, Theodora’s zoste patrikia, shown as the third woman from the left above, you know, the one actually looking at us with her elegantly draped palla over her fakiolion. The front of this sure makes it confusing. Even I haven’t been able to completely figure out what that pucker is, but, thanks to my skills at museum yoga, I was able to get pictures of behind her head.  As you can see, it’s definitely not a donut. It almost reminds me of how a St. Birgitte’s Cap gathers in the back of the head. I wonder if this piece was polychromatic at one point, and, if the Met plans on having it investigated for color residue. I feel any trace of color on the hairpiece would probably make it easier to interpret.

The use of a turban rather than a head roll provides multiple benefits. One, it doesn’t use up fabric and filling that could have been better served in other capacities. Two, it keeps the hair out of the face, and most importantly, CLEAN. The use of silk on the hair also helps protect set styles, and women still use silk wraps today to wear over their rollers and other curling implements to bed in order to control frizz and damage. It was not uncommon for a Byzantine woman to leave her hair uncovered, even as a married woman, and noblewomen would have had the option of affording hair services such as ornate braids and temporary “perms” made with gum arabic. The fakiolion would have helped keep these styles in place and relatively clean, versus having to constantly re-set the hair on a daily basis. A head roll would have been useless in any of these applications. While Byzantines were known for conspicuous consumption, even that seems off the mark.

Here is my Byzan-bestie, Konstantia, showing her interpretation from the same period. Note that the stripes in scarf used to create the turban gives the same effect as you see above from the mosaic. It looks so much more elegant than the donut, don’t you think? You can read her blog post pertaining to Byzantine headwear, here: https://kaloethina.wordpress.com/2016/10/01/headgear/

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The trick, is to make sure that your fakiolion has the right grammata on it, or geometric designs. The Last Will and Testament of Kale Pakouriane describes these designs as being done in goldwork, and some scholars believe that grammata had pseudo-kufic script embroidered in, which was a popular design feature. Typically, you want the design to run parallel along the edges of the length of your turban fabric. Both Konstantia and I have found that commercially available hijabs do this nicely. And, since they’re designed to be worn on the head, they tend to not be stifling materials, and stay put.

Here’s a similar scarf to what Konstantia is wearing above, only worn by me, in the most flattering selfie imaginable, that just happens to have the best shot of my turban style. It also gives a nice railing for coronets to perch without the pinching or headaches associated with some heavy head jewelry. Konstantia rocks the look complete with a maforion, or veil over top of it, which was common for the early period, versus the middle period, when I’m supposed to be living. She used a pashima here, for added thickness and warmth.

And here I am in some 11th Century, emulating looks from The Menologion of Basil II as seen in my master’s thesis and Compleat Anachronist.

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My header of St. Pelagia’s minature from The Menologion, showing her wrapped turban in the center.

It was requested that I do a video tutorial of my preferred turban wrapping, so, here it is:

I know the phrase goes, “All good things must come to an end”, but in short, that head roll was never good. It’s an early Faire/SCAbomination of garb based on Italian and Spanish Renaissance fashions that don’t fit in this culture,  has seen its day, and needs to be retired for a more accurate solution. Consider the fakiolion for your next event, and put your donut out to garb pasture for good.

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The 5-day Trossfrau, and why personal challenges matter.

I do this to myself a lot.

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This isn’t always the smartest idea. Especially when that particular garb is 16th Century and you literally haven’t sewed a fitted bodice on anything in about 5 years. But I was determined, and challenged by a certain Countess in Meridies who just received her Laurel in 16th Century German clothing to get it done. She even made me the wulsthaube as incentive.

I looked at a lot of pictures, and broke down the ensemble: shirt, dress with fitted bodice and full pleated skirt. Easy enough. Really. I could do this! Granted, I’m currently unemployed. Your mileage may vary.

It went as follows:
Sunday – Shirt.
Monday – Didn’t sew for some reason.
Tuesday – Skirt panels.
Wednesday – Fit the bodice.
Thursday – Sewed the bodice.
Friday – Constructed the dress.

So, first was the shirt. Kissa pointed me in the direction of a simple pattern, and I used some of my super soft Signature Finish linen from everybody’s favorite online linen store, Fabrics-Store.com. The shirt is pretty standard for a 16th century smock: sleeves are gathered into cuffs, and the collar has a slit, and is also gathered into a band. The Germans were extremely fond of pleatwork, or smocking, and that is really far out of my wheelhouse, so I opted for simple knife pleats, which also appears to be a period method. I made this is an afternoon, including hand-finishing the cuffs and collar. I initially left a slit in the cuffs, and then for some reason, closed it. I should have left them open, because it would have been easier to roll the sleeves.

 

Now I had to construct the dress. The bodice needed to be fitted, so I had to wait for a friend of mine to find time to come over for a fitting. So I focused on the skirt pieces. At first, I was going to do basic black guards, and then I had a visit from the Scope Creep Imp in my sleep, and decided that big, funky checkers were going to be the answer. Because, I can’t do anything that doesn’t make me look like a traffic cone. This was another full day’s worth of work.

 

I had to get that bodice done come hell or high water, though. I started the project on a Sunday, it was now Wednesday. I don’t have any pictures of the fitting process, but I do have pictures of the aftermath. Linen is not really the best fiber for this. I know there’s ways to “hack”, and get it to work, but being that I was short on time, I had to make it work.

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Mandatory Tim Gunn.
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Initial bodice block, I made no less than eleventy hundred more adjustments to it before I was pleased enough to cut the dress fabric.

I attempted a thick interfacing as the interlining, and it made all kinds of interesting geometric protrusions that were not okay. So, I stripped it out and conceded to just two layers of linen. I should have included a canvas interlining instead, but my brain went, “It’ll be fiiiiine”, and continued. I hand-closed the arms, and then attached the rings for lacing. It took me almost the entire film Dangerous Beauty to complete the rings.

And a fitting…over a T-shirt. We have bunching and not much support. Uh-oh. I just assume that adding the guards and the skirt would fix the fit. I wasn’t too off in the long run.

 

It was suggested that I hand-sew the guards down. I’m still not sure if this was the best option for me, but I did it anyway. It took the entirety of Dodgeball and almost all of A Knight’s Tale to get them down.

And then finished at 11am on Friday morning!

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“I got blistehs on me fingehs!”

But it was far from over. I still had to actually get the dress together!

I sewed the skirt panels up the side seams, and started the super fun pleating into the waist of the bodice. I actually like pleating, so this part wasn’t so bad. I was having fun with it. And of course, more handsewing: the lining needs to cover the raw edges of the skirts! (Yes, I doubled my thread. I have a bad habit of doing it because I tend to get more tangled and become unthreaded when I don’t. Technically, you should only do this for buttons, because it’s kind of lazy, but whatever. I said it was a bad habit.)


Almost…there… I took a break for dinner before hemming.

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Welp, I did a ton of handwork already, may as well hand-finish the hem, as well. I love blind hems. They’re quick, but I use them mostly on collar facings than actual hems. This is the first hand-hem I’ve done on a dress in a while.

Look! I used a single thread this time!

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But what about the Wulsthaube?! I got in the hat from Kissa on Monday (it was now Friday), but all it needed was a cover. Easy enough. I braided my hair for maximum effort, and picked a striped linen remnant I had in the closet. I machine finished the raw edges, and bam.

Das ist meine Wulsthaube. It Haubes Wulsts!

 

Then I had to try it on…oh no! It didn’t have ANY support! *expletives* But nothing I can’t fix with a pushup bra for the sake of the event. This upset me,but it goes back to the not having an interlining + sagging linen + Florida humidity making it extra saggy.

Without a bra on the left, and with on the right. So annoyed that it wasn’t self-supporting, but the lift was necessary. For someone with a big butt like me, you’d think I have the top to match? Noooo, I live in pushup bras. 😦 Thankfully, most of them are t-shirt bras, so they don’t show, especially through 3 layers of linen. This allowed me to have the support and shape I needed to fill the dress, without showing modern intervention to pull it off.

Naturally, the best thing to do at this point was to put the whole thing on, run downstairs, and terrify my husband.

Gieffrei was…not pleased. He looked at me and went, “That’s so not you. You don’t look normal and I don’t like it.” Gee, thanks, Jeff. But, he obliged in taking pictures of me in our messy library, anyway, as he was covered in sawdust from making a new chair out in the garage.

Voila. A Trimaris-friendly Trossfrau in 5 days.

Well, maybe not THAT Trimaris-Friendly. The stockings and clogs ended up staying home. The high at Hausmaerchen was near 90 and humid. So I opted for cloth Mary Janes, since I don’t have duckbill shoes. I was a hot sweaty mess, and the linen sagged EVEN MORE, but it gave a sense of authenticity of following the Landsknecht tross on campaign, I guess. I also got bit the hell up by fire ants. Womp womp.

I topped off my wulsthaube with a pin of a harpy. The theme was “the Lorelei”, but as I had no mermaid, another man-eating lady monster would fit the bill.

 

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So, why did I do this to myself, again? The bodice will have to be dissected and re-fitted before I wear it again, that’s for sure. And this was a lot of work for less than a week. This did, however, distract me from my regularly scheduled unemployment. Instead of sitting on the couch and surfing Facebook, or planning my next Byzantine attack, I had to go outside of my comfort zone (despite formerly having a 16th Century persona, hence the understanding of this basic pattern) and knock it out of the park in just a few days. It took my mind off of real life for a bit, and gave me a reset button to push. A new focus. Sometimes, we need that reset button. We need that challenge outside of our normal routine to wake the brainmeats up. The SCA gives us the fluidity to explore other cultures in that regard, which is nice. Otherwise, I probably would have just gone in a sloppy chiton to a German event if I didn’t give myself this chance to prove otherwise.

I’m going to try to give myself something new every year, now. Last year was the Burgundian, this year the Trossfrau. I wonder what’s next?

 

The Archaic Chiton requires an Archaic Himation

Or something to that effect.

Being that it will be no less than the temperature of the surface of the sun, plus 3000% humidity this weekend at Trimaris Coronation, I decided that less was more, and I would go in that killer yellow chiton from my previous post.

But then I decided to add more.

As mentioned, the Chios Kore is probably my favorite all-time Archaic statue. And the polychromatic replicas just make my gaudy heart sing. Plus that perfect example of the archaic smile. What does she know?

Here are the photos again, for a refresher:

Take a look at her himation, the over-garment that would evolve into the Roman palla and toga. You see this style on multiple statues, such as the ones in the header on this great page that discusses polychromy and its recreation a bit more in detail:

http://www.greece-is.com/the-colors-of-antiquity/

It’s not really a “himation” at all, but more of a peplos that is pinned as a chiton on one shoulder only.  I figured this was easy enough to do, and would help complete my look for this weekend. This project was done entirely by machine in less than 2 hours. I think the longest part was just getting the trim down.

I went with the same orientation of the linen as the chiton: using the long weft length instead of the warp. I figured this would give me a comparable drape, and continue on this archaic project being a fabric-conserving venture. In hindsight, it probably could have been longer, but at least it won’t be dragging on the ground.

I started with a length of 2 yards and 10 inches (82″ total) of lightweight blue linen, and finished the two raw edges first. I maintained the finished selvedges as the hems.

After that, I went and started making my peplos, using a 16″ peplum, and ironing the snot out of it to get a nice sharp crease.

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I applied a nice contrasting band of meander trim along this crease. In period, it would probably have not tacked the fold down, but rather have been a horizontal stripe along the fabric, and the fold actually being free to open back up. This would have allowed the garment to be worn multiple ways. For the sake of this test project and ease of wearing at an SCA event, I just stitched it down. The next one I try will be more accurate, so I can re-work it into a chiton or peplos or himation as I choose.

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I then put bands of trim on the base of the peplum, and at the hem. Mixing them up a bit like on the original artwork. I did not have enough of either to do the vertical stripe down the front, or anything that looked “Grecian” enough to really match this go around. I’ll have to do some hardcore trim shopping and see what’s out there for my next attempt.

Here’s some pictures of my trim layout, complete with cat assist.  I pulled up the top trim in the last photo to show my cheater stitches along the fold.

Next was draping. I threw it on the dressform, and formed the peplos. It is short, but look at how nice it fits the body, like the Peplos Kore variants, versus the more draped later styles. Once again, this is a 16″ peplum, and it fits nicely from my shoulder to natural waistline.

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While on the dressform, I just started measuring like I would for a typical classical dress: found the center points, measured out my neckline, and then formed my sleeves from there.  The Chios Kore shows 7 disc pins, I used 6 round buttons. I’ll probably use one of my smaller fibulae to keep it attached to my chiton, and stop it from slipping down my arm. It really does miss that vertical stripe, so I may have to go back and add one once I find a suitable trim for it.

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And just like that, it was done!

Here are belting variations:

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No belt.
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One belt over the top of both garments.
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Belt on the chiton and not the himation.

 

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A belt on each garment.

And the side views. The open side makes for a more accurate garment, but if one were to make this into a functional full peplos or chiton, it would have to be wide enough to wrap around the body, or a nice breeze may reveal quite a bit.

 

I’m exceptionally pleased at the color palette, since the primaries were all over the archaic statues. While they were common tempera shades, I do admit I’m not 100% sure on if those colors could be achieved by dyes so early. I’ll have to touch base with my dyer friends to see what they think.

Now, if only I could put my hair in multiple braids to complete this look!