#sca garb

Give it to your group for loaner

I managed to finish this set of garb before the Middleground Archery Championships this weekend. It ended up being quite warm outside, so I'm glad I designed it to come in detached layers that I could mix and match to suit the climate throughout the day.

This is for my 15th century persona: a Jewish merchant and apothecary from Jerusalem who travelled through al-Andalus before settling in Malta. I based the garb on examples found in extant Jewish manuscripts, especially those in Haggadot and Hebrew calandars.

More images from Middleground under the cut!

New things I have learned about the cyclas:

the name originally referred to a swanky imported fabric the surcotes were made from, and didn't shift to mean the surcote until the mid-13th

the fabric was made in the Cyclades Islands, which at the time were part of the Byzantine empire, and was named after them

which means the period pronunciation was probably kee-klas

Admittedly not the most period fabric choice, but sometimes we get to put the "creative" in SCA :P I debuted this at the Blue Feather social at Lilies a couple of weeks ago.

The tunica is a linen gauze and the beads on the sleeves are little moonstone clouds, for maximum cuteness.

The belt was brand new and made for me by a talented and awesome friend.

At Vindheim's first Accademia della Spada, the tournament for Princess Octavia's champion was held. My brother white scarf, Master Marcus von Furth, WSA was chosen as HSH's personal champion to be sicced on her foes and to defend her good name and honor. Several years ago, when Marcus was chosen to be Deanna I's champion, she approached my wife to make him one new suit so he could better look the role. That she did, and in addition a second hand silk suit (seen below) we had bought hoping it would fit me did not, but it sure did fit our boy!

(I'm still mad about that suit not fitting me, I'm OBSESSED)

This time, Marcus approached me about making 1 new suit and 2 extra doublets to help him better look the part and to accommodate his sick new gains! Ah, the joys of working out and eating sufficient protein. All your old stuff no longer fits right, and specifically in the difficult areas to let out and take in. Marcus's preferred style of doublet is almost more of a jerkin, with little sleeve puffs as seen in his old doublet and in Don Gabriel de la Cueva y Giron Duke of Albuquerque by Giovanni Battista Moroni (Moroni my beloved <3333) as seen below. Obviously, the heat of Ansteorra contributes to certain styling decisions and the removal of the full length doublet between the undershirt and the puff-sleeved doublet.

The time had come for my second attempt to figure out the barra system and pattern drafting method featured in Matthew Gnagy's The Modern Maker. For those of you who haven't yet used it, it is genius and intuitive in how counterintuitive it can feel. Gnagy walks even an intermediate (begrudgingly) sewist through a historical pattern drafting method that relies on the tendency of the human body to be proportional in certain measurements to the bust, waist, hip, and height. It makes an incredibly good first draft which, for the doublet I'm working on myself concurrently, only took one pass. In defense of the mockup for Marcus, I was figuring it out as I went, okay?

I used multiple colors of sharpies to keep my brain from melting as I went, starting with a fine pointed light pink as a "sketching" sharpie and frequently clarifying lines with an orange or blue sharpie. I did run into issues where my math failed me and had to insert extra fabric, as seen above, but who knew what chaos those simple insertions would portend....

Behold, the frankendoublet. The result of me screwing up and miscalculating in some places, learning after the first try on that the wearer had gained 2 inches of bicep and almost 3 inches of chest and back muscle in the months since I'd last measured him, and in confirming his preference for a more modern, long-torsoed garment than the higher waistline seen in late period. I swear there was a method to this madness, but it gives a few of my apprentice siblings headaches looking at it and I don't blame them. I transferred the pattern to paper, and we were off to the races!

A quick interjection about the fabric choices: we are both in the middle of financial tight spots, so as much as I'd like to work with natural materials (that don't melt by campfires at the very least) we agreed to opt for 1 silvery-blue shot silk-look polyester doublet, 1 crimson shot silk-look polyester doublet, and 1 royal blue polycotton striped brocade full suit, all intended to be interchangable for a variety of outfits. I bought 2 yards for each of the doublets and 3 yards for the pants, rocking out at $40 flat for the self fabric. While not ideal for breathability and late night campfires, right now it's hard to beat costs like that. The silvery-blue can be seen for the remainder of this post as I chose to use it for the first doublet.

In one full day's work I have managed to chalk and cut out the full doublet from the self and the lining (a slate blue linen I pulled from stash) and used approximately 1.6 yards of each. Behold my selection of pattern weights, including a remote, a basket hilt, 3 bottles of paint, most of a block of wax, some drill blocks, sticky notes, and a can of coke I was putting off drinking so it could continue to serve as a pattern weight.

By the end of day 1 of sewing I had assembled the full body and sleeves and begun pinning the collar. This is my first suit lined doublet so I am definitely taking things a little slower than usual. Thus far all the seams have been machine sewn aside from the finishing on the sleeve cuff. After some extra thought considering biceps and the volume of fabric, I patterned the bicep cuffs to have approximately 2 inches of excess cuff to hide within the seam to be easily let out if further size changes do occur. At this point I left the cuffs open for one more fitting before seaming them closed. By the end of the night I also finished the strip of waist eyelets, sewn on linen canvas provided by Asa inn blindi, so in the future pants can be pointed to this doublet. By this time, however, I was a little too dangerously sleepy to be trusted with a sewing machine so with the collar pinned I ended for the night.

The next day saw the attaching of the collar, the reopening of the shoulder seam to "zhuzh" more of the length of the back into the shoulder to accommodate the natural volume of shoulder muscles and to make the collar fall correctly. The eyelet strip was first sewn to the seam allowance of the waist line, after which the seam allowance + eyelet strip was pressed to the body and stitched down securely. After that, some lovely hand dyed wool twill tape was donated by Asa in blinda to cover and protect the raw edges along the waist line.

Rather than the strip of silk taffeta Gnagy recommends the tailor tacks in to the left side to reinforce the buttonholes, I ironed in a strip of fusible interfacing as reinforcement.

Glamor shot of the interfacing being sewn in by hand. My hand seams are getting a wee bit straighter.

In absence of the much sturdier taffeta Gnagy recommends for both trimming and reinforcement, I used scraps of a much lighter weight silvery-gray silk fished out of Asa's scraps, like a raccoon through a trash can. This does not provide the same structural benefit as the taffeta trimming, but it does introduce a little extra "pop" to the colors imho.

Then I tackled my first-ever hand sewn buttonholes. I opted for 3 strands of DMC 930 cotton embroidery floss on the final project after testing with buttonhole thread, all 6 strands, and 2 strands.

And finally, some glamor shots of the completed garment. From left to right, the "secret ease" on the bicep meant to make adjustments for more muscle growth easier to accommodate, the collar lining sewn in, and the final garment waiting in my office to be handed to the recipient at Coronation.

Overall, I think we're both very pleased with the results. Master Marcus retained his full (and simply absurd) range of motion on and off the field, the garment is machine washable, and it is a lovely color on him. The combined power of the ladies of our Princess's household has convinced him to let me raise the waistline on doublet 2 a whole two inches, which I am very excited about.

What did I learn?

The barra method is not nearly as terrifying to manage as I think it is, as long as you trust the process

Multiple colors of sharpies are a game changer.

I'm actually faster at hand-sewing buttonholes than I am at machine sewing them, because I get so anxious about sewing them by machine.

Suit-lined garments are SO much easier to do seam finishing on, it's absolutely night and day.

I think I want to make an entire doublet of silk taffeta. This is a problem. I need money and confidence to do so.

What's next?

Update the 14th C English clothing powerpoint to what I currently use for classes

I am currently making an Elizabethan suit for Darien de Shameless with my apprentice sibling Asa in blinda, with aims of finishing it for Queens Champion

I am currently making an Elizabethan-ish suit for Viscount Micauley Morison ahead of Winter Crown (but cheating on the pants so he has one pair of breezy breeches). The construction is largely the same to this one, so if I make a post about it it probably won't include an entire construction diary. Just some glamor shots.

I am making Rus for Dona Halldora Hrafnsdottir, but I keep getting distracted on which Navershnik I want to finish first.

I am looking forward to making some new and improved Rus for myself and Centurion Runa Bjarki ahead of the Crown/Coronet season, with an eye towards moving us to more accurate pieces.