When Baron Hamish MacLeod found out that his wife, Baroness Ysabeau ferch Gwalchaved, was going to be surprised with her Laurel at Bright Hills Baronial Birthday in February 2020, he asked me to create her Laurel cloak. Now-Mistress Ysabeau is a spinner, weaver, and sewer who handsewed garb for one of her first events 32 years ago (in a time and place when handsewn garb was actually looked down on — how far we have come!) so I knew I had to pull out all the stops I had.
At some point in the murky past (that is, 2019), Kaaren, Adelaide, and I made a joke about how we’re the three Fates. I am, of course, the spinner Clotho, Adelaide the measurer Lachesis, and Kaaren the inflexible/cutter Atropos. When we discovered that we all had bought (or wanted to buy) the same grey linen, we decided to make Fates-themed garb in our preferred styles (we also managed to be chronological as well!). For a deadline, we set Twelfth Night 2020.
Because I was doing early period English, I felt a little guilty that my garb wouldn’t be as complicated and require as much hard work as Adelaide and Kaaren’s. So I decided to make everything I wore.
I already had shoes, anyway.
For the second year in a row, I was proud to be a member of the Ottoman Mehter Takımı, or Janissary Band, at Pennsic. I was also asked to put together a display of the band’s material culture for the Known World A&S Display. I enjoyed coordinating it, and writing the materials allowed me to learn even more about the Mehteran! In this post, I’ve included photographs of the display and of my new uniform. After the cut is the display’s sign text.
Many thanks to Maggie Hays for the photos of the display below. It was rather hard to photograph, as it was long (two tables!) and tall (standards and flags!).
For my efforts in the A&S display, I was named an onbaşı (corporal) in September 2019.
As part of my individual efforts, I made a new uniform that was much more accurate than the one I wore in 2018.
For my new uniform, I made a new red coat, kaftan, pants, turban, and cross-body bag. Because I was making these close to Pennsic, most items were machine-sewn; however, I hand-finished the coat. I also made some prayer beads as an accessory to hang from my sash (and fiddle with while we were waiting to march!). I’m really happy with my uniform now, but for the next march I plan to update my hat (time for a historically accurate one — read below!) and my yellow sash (it’s just too flimsy.)
Keep reading for the text from the display!
In Spring/Summer 2019 my friend Adelaide decided it was finally time to tackle a project she’d been wanting to do: a genderbent, period-accurate outfit based on Disney’s Rapunzel. As a knitter, I immediately volunteered to knit her a flat cap and garters. I was not particularly good at taking photos of my work before passing it off to Adelaide, but luckily our friend Kaaren Valravn took an excellent photo of Adelaide in the garb this fall where the garters and hat are perfectly visible.
You can read all about Adelaide’s hard work here.
In the summer of 2019, I went on a small jewellery/beading jag.
Left, top to bottom: necklace that doubles as circlet made of amber on beader’s wire; amber drop earrings; glass bead swag with removable beads (cord is beader’s wire with silver beads); amber and copper bead swag on beader’s wire for Old English garb (with brooches). These are all for wearing with my Old English garb.
Right, left to right: Pearl-and-amber paternoster on silk with silk tassel; green-stone-and-amber paternoster on cotton with cotton tassel; green stone prayer beads on cotton with cotton tassel. The first two paternosters are to wear with my 14th-century garb, while the prayer beads are for my Ottoman garb.
In early 2019, I finally finished my first-ever 15th-century fitted and self-supporting dress. Described in reenactment circles as a “Gothic fitted dress” or GFD, mine was inspired by a fieldhand in June page from the Très Riches Heures of Jean, Duc de Berry:
In summer of 2019, I made my first pair of shoes with Michel Almond de Champagne’s shoe kit. They were remarkably easy, and will fill a nice gap in my wardrobe, as they will work roughly for most time periods.
The leather and rubber soles came in the kit, which I handsewed with silk thread. The shoes fit very well both with and without socks, but the soles are incredibly thin, even with a pair of insoles. Because of this, I only plan to wear these when I know I will mostly be standing on dirt or grass.
In April 2019 I had the pleasure of leading the Shire of Roxbury Mill team at Revenge of the Stitch, a 24-hour sewing competition. After consulting with our model, Ava Deinhardt, we settled on a 12th-century bliaut. I was particularly interested in bliauts, as they’ve been finicky to pin down, and I happen to know Dr. Monica L. Wright, an expert on bliauts, and I wanted to apply her research.
After several requests for our team’s documentation, I am posting it here. You can also download a PDF copy.
In 2019, I decided to make Ottoman Turkish garb for a Near-East-themed Twelfth Night — and won for Best Themed Garb in the Garb Runway Competition! I unfortunately got almost no pictures from the event, but below the cut I have my full documentation, progress photos, and pictures of the finished garb.
For Twelfth Night 2019, Vadoma organized an artisans’ exchange. I immediately signed up and was assigned Mistress Greer. Knowing her love for frogs and later-than-my-time persona, I was struck by inspiration: a frog on a lily-pad!
The “lily-pad” is a Tudor-style wool flat cap, knitted and fulled. The “frog” is a needle-felted wool pincushion; his spots are black-headed pins. The “flower” is two sets of inkle-woven trim, one purple-pink-white and one yellow-white with beads.
We were also requested to write a story about our objects!