#kirtle

[hurglewurm]

been thinking a lot about the Layers in fashion during the 15th-16th centuries in europe... this is a highly inaccurate mishmash because i was just doing more or less the original design and put on some slashed sleeves lmao

[zwierendezwam]

Wore my new kirtle to Muiderslot today!!

[tetrachromate]

after english brass effigies circa 1500

[jortschronicles]

T Tunic Assembly

Notes created for the cast of the Medieval Fair of Norman intended as a good starting point for costumers made nervous by curved lines.

Meaurements and suggested cutting layout for this tunic are here

Cut out 4 body panels, 2 sleeves, 2 gussets, and some* gores.

Sew 2 body pieces down the long edge. This makes your back panel. **Optional for skirt volume: sew butt gore into back seam**

Sew the other 2 body pieces down long edge. This makes the front panel

Sew the front panel to the back panel at the shoulders

Trace a circle with a 3" radius (6" diameter) with the center 1" down the front center seam (This places 2/3 of the circle on the front panels and 1/3 on the back panels). Cut this out & seam rip ~2-4" down the center seam of the front. This makes the keyhole neckline we use for trying on our mockup.

Center one of the sleeves along the shoulder seam. Repeat for the other side.

Sew the gusset (armpit) into the right angle formed by the sleeve and the body. Repeat for the other side.

7. Attach gores to the body panels as depicted in diagram on left. If gores are in multiple pieces (i.e. 4 or more right triangles, as instructed in the prior post, see diagram on right.)

8. Fold tunic in half and start sewing along the outside edge. Gussets should be folded diagonally making armpit "triangles" when viewed from the front.

You now have a T tunic! start fitting and making adjustments as desired. Consider the following suggestions:

pinch and pin along the sleeve to tighten the fit. mark and trim if the sleeve is too long.

pinch and pin under the widest part of the chest and along any part of the torso with too much ease.

mark how wide you want your neck to be, if wider than the keyhole neckline.

consider moving your gores up or down to start at your natural waist or hip.

Consider narrowing or shortening gusset if it has too much of a bat wing. Gussets can also be a "kite" shape with the long narrow end pointing down the arm and the short end into the body.

[fabric-whore]

Welcome back to shitty light central! This time featuring The Orb ™

The blue dress is later medieval and the purple one is early, it's also a bit wack but wtv

I dyed the blue one, it was supposed to be green but I rather like the blue

There are buttons made out of dimes on the blue kirtle so it's worth at least 1 dollar

[beans-wit-da-sauce]

finishing up a 1500s tudor kirtle. sewing eyelets it totally so fun 10/10 would reccomend. pattern and techniques are from The Tudor Tailor. @zeltrair we should throw a tudor style hallows eve party. eat a turkey leg and fear the dead.

[nochd]

This was on @whatareyoureallyafraidof's post where they put up this:

And I responded with this image:

and promised in the tags to elaborate if asked. And, @frodo-the-weeb, I will. But it's going to get long and I'm going to have to split it up into several reblogs.

First of all, since not everybody in the world is a Silmarillion enthusiast, let me explain what we're referring to.

One of the stories in the Silmarillion, and possibly the one Tolkien cared about the most, is the tale of Lúthien and Beren; a highly condensed version of a narrative poem called the Lay of Leithian, which Tolkien began writing in the 1930s and tried to get his publisher interested in after the success of The Hobbit.

(Their readers said no, and they tactfully asked him to focus on his Hobbit sequel instead. "The result," in Tolkien's own words, "was The Lord of the Rings.")

The skeleton of The Lay of Leithian is as follows; I'm intentionally leaving out a bunch of information that weaves it into the overarching story of the Silmarillion but isn't relevant to the thesis I'm advancing here.

Lúthien, an Elven princess and enchantress, falls in love with a mortal man, a ranger called Beren. Her father, the Elven King Thingol, disapproves and sends him Beren off to fetch one of the jewels from the crown of the Dark Lord Morgoth. Lúthien tries to join Beren but her father imprisons her in a tower to stop her, only it's actually a treehouse because they're forest elves. Lúthien magically grows her hair long and uses it to escape. By the time she catches up with Beren he is chained in the dungeons of Morgoth's second-in-command, Thû (whom Tolkien later renamed Sauron). She rescues him with the help only of a dog, who defeats Thû himself in single combat. They then live in the forest together for quite some time, but Beren feels bad about being the reason she can't go home to her family, and still intends to finish his mission and get the jewel. He leaves one morning while she's still asleep, so as not to put her in danger, and then when he's on the threshold of Morgoth's underground fortress in the far North of Middle-Earth she catches up with him again and he accepts that she's not going to be put off. Together they enter Morgoth's fortress and make their way to his throne room. They are in disguise but Morgoth is not fooled and uncovers Lúthien in front of everyone, declaring his intention to make her one of his many slaves. Lúthien offers to sing and dance for him, which is the way she works her magic. She puts everyone in the throne room to sleep, including both Beren and eventually Morgoth. She wakes Beren and he takes the jewel and they flee, but as they get to the outer door they are stopped by Morgoth's guard-wolf, who bites off Beren's hand holding the jewel.

That's as far as Tolkien ever got with the poem, but we have the synopsis in the prose Silmarillion to tell us the rest of the story; again cutting it down to the quick, Thingol accepts Beren as his son-in-law, Morgoth's guard-wolf attacks Doriath, Beren goes and hunts it but is mortally wounded, his spirit goes to the Halls of Waiting in the Undying Lands where the dead in Middle-Earth go, Lúthien also goes there and, again through her magical song, persuades Mandos the god of the dead to let him come back. Mandos offers her a choice: live on immortally as an Elf without Beren, or return to Middle-Earth with Beren but both of them will grow old and die. She chooses the latter.

Tolkien created Lúthien as a portrait of his wife Edith, which makes Beren a picture of himself. We know this for a fact because he had LUTHIEN written on her grave when she died, and when he joined her in it two years later the name BEREN was written for him:

Now on the lower right side of my response image you'll see Pauline Baynes' illustration of the Lady in the Green Kirtle from The Silver Chair, one of C. S. Lewis's Narnia stories. A quick synopsis of the Lady of the Green Kirtle's part in the story:

The Lady is a witch who rules a gloomy kingdom underneath Narnia, accessible through a fissure in the earth in an old ruined city far to the North. Before the story opens she has enspelled and kidnapped King Caspian's son Prince Rilian, whom she intends to send leading an army to conquer Narnia in her name. For twenty-three hours a day he is her willing slave and lap-dog; to maintain the spell, he must be bound to the titular silver chair for the remaining hour, during which he is sane and aware of his imprisonment. The protagonists, Eustace and Jill and their guide Puddleglum, meet her and Rilian unawares on their journey to the North; she sends them astray and almost succeeds in getting them eaten by giants. Eventually they rescue Rilian from the chair, but she sings a magical song which very nearly puts them all to sleep but for Puddleglum's intervention. Foiled, she transforms into a serpent, attacks them, and they kill her.

It is my contention that the Lady in the Green Kirtle is Lewis's caricature of Lúthien, with the enslaved and befuddled Prince Rilian representing Beren; and further, that Lewis knew or recognised that Lúthien and Beren were a literary portrait of the Tolkiens, so that The Silver Chair is ultimately a nasty commentary on their marriage.

In forthcoming reblogs I will lay out my evidence for this thesis.

[15-lizards]

Inspired by the latest episode, what would the Brakens and the Blackwoods wear?

They are average riverlanders to me, though the Blackwoods are genetically more goth, and all Brackens are fated to be jocks. The most beautiful part is that no matter the time period, they would wear the exact same fucking thing. Definition of same text different color scheme

Blackwood voice our proud and noble colors reminiscent of the dragon kings themselves. Our sturdy leather doublets and finely crafted but perfectly humble wool tunics. Our modest gowns and flowing skirts and sleeves. Unlike those garish horse piss drinkers down the road.

Bracken voice our noble golden colors that shine like a light upon this land. Unlike the evil ravens whose colors are reminiscent of only death and blood. Our fine, carefully crafted embroidery that speaks of our rich history. Our flowing sleeves and grand robes that are needed for people of our ancient lineage. Unlike those uncultured heathens down the road who sully the riverlands with blood magic

[queenmarytudor]

Mary's gowns by colour and year of purchase, from Of Crymsen Tissue: The Construction of a Queen: Identity, Legitimacy and the Wardrobe of Mary Tudor by Hilary Doda, 2011

Mary's kirtle and sleeves by colour and year of purchase, from Of Crymsen Tissue: The Construction of a Queen: Identity, Legitimacy and the Wardrobe of Mary Tudor by Hilary Doda, 2011

[roaldseth]

So the fellows not over on the other site don't miss out. Everyone's up in arms about no Octopath Traveler II, so it's fashionable to get around to finally upload cosplay photos.

Photography : @ falling_cat_media (Instagram)

Editing : @roaldseth

[who-canceled-roger-rabbit]

A Narnia adaptation where the witches are both David Tennant in drag

Jadis in the style of the Time Lord Victorious, especially if they cover The Magician's Nephew

The Lady of the Green Kirtle as, like, Kilgrave but with the a green color scheme (the opposite side of the Joker/Incredible Hulk/Barney the Dinosaur/etc. color duality) and turning into a green version of noodle Crowley at the end

And yes, since my headcanon that the Lady of the Green Kirtle is Jadis's avenging widow, we would nees body doubles and possibly more advanced visual effects to convey the hot Tennant-on-Tennant action I would want here

[daincrediblegg]

Oh yeah so anyway part 1 of the lady terror ensemble complete👍

[jortschronicles]

Dressing the Despencers pt 3: The End of An Era

Part 1 | Part 2

I had to accept that due to time constraints and a sum total of 1 hour to fit two people, my dreams of fully buttoned full length cotehardies would not be fulfilled. However, I am very satisfied with the way things turned out. My cuffs were long enough and sleeves snug enough to prevent riding up, and did not need the planned emergency Glamorgan chevronelly cuff. The mens' cotes were kept long (just below and just above the knee) for personal taste of the wearers. Both boys were put in hoods, though I seem to have failed to catch a picture with Thomas le Despencer in a hood. I have a habit of leaving my phone in the cast tent, so I am not surprised. The yellow dagged hood was my first foray into dagging and I am OBSESSED.

As both of the boys playing Edward and Thomas le Despencer were new to the historical costuming scene, neither were comfortable with the snug fit in the torso of a good cotehardie and requested an expansion to fit more like T-shirts. Due to the short time remaining, I opted to go for a stripe of dark brown linen down the front opening to ensure a semi-unified look. Unfortunately the literal last minute nature of this change resulted in some puckering down the front of each cotehardie that makes my eye twitch. I was terribly sad as this decision came after I'd installed what felt like thousands of buttonholes down the front of Edward's cotehardie.

Alas, some concessions must be made for the hellish clash of the impending deadline of an event and the limited available time for fittings with students. I have very mixed feelings about the results of this project, as I feel I did not make these costumes up to my standards, but I am incredibly proud of what I managed with the restrictions and barriers I encountered.

Some highlights:

To maximize the length of the sleeve and reduce the bulk, I applied a piece of 3/8" polysatin bridal ribbon to the serged edge with the tiniest back stitches I've ever done, then folded the ribbon to the inside and whip stitched it in place to secure the edge and hide the serging. To prevent the thin satin from tearing where I applied my (machine) buttonholes, I took a scrap of linen, folded it in half, and applied it to the buttonhole edge as a facing to take the majority of the strain of the buttons off the fashion fabric.

At the suggestion of Countess Christyana at LPT, I made a long strip of craft felt to apply to the inside of my hem, backing the lions. I found this gave a body to the bronze and blue fabrics that they did not have previously, giving me a much better silhouette, as well as stiffened the edge of the dress and helpfully preventing me from tripping over my own two feet. I wore it with just the craft felt basted in to one dress rehearsal before applying a facing of scrap muslin to the interior edge. This encased the felt, preventing it from picking up every blade of grass in the state of Oklahoma.

Regrettably I have no pictures of the process of inserting the felt, but my process was simple. First, I applied the felt as a facing, turning it towards the interior edge. This I basted fairly loosely to the seam allowance where the red trim is attached to the bottom of the dress.

I then cleaned up the edge where the "grass guard" met the felt met the red embroidered band with some small whip stitches to give a crisp, clean finish.

After three days in a variety of weather conditions, the interior lining did relax a little as seen below, and will require some cleanup.

Pictured: Baroness Elizabeth Despencer attending the court of His Majesty Edward III, wondering why, exactly, one of the privateers has been handed the sword of state. (it was for a bit, we promise)

Also seen above, I purchased 14 badges of Prince Edward of Woodstock for the members of Prince Edward's Court (court 2) to wear, as a gift to the wonderful cast members who variously learned and developed new skills, stepped out of their comfort zones, and maybe let me turn them into human barbie dolls a little bit.

I really enjoyed wearing this outfit for three days through the course of the Norman Medieval Fair. I was incredibly worried about the polyester fabrics causing me to overheat, but found the linen lining and tight fitting torso prevented the polyester from building the dreaded heat pocket of humidity, and I stayed fairly cool and dry throughout the weekend. I found a personal preference for the structure and bulk of a wimple and veil when the face edges of both are folded, providing protection from the dust on the wind and the blazing sun. I cheated and safety pinned the bottom edge of my wimple together in the back, though the rest was secured by a single pin through the crossed upper edges to my brigitta cap and held tight by the pair of pins that attached my veil. Dancing in this garb made me feel more regal than I ever have in my life.

Pictured: a happy baroness with croissants. Fed nobility is happy nobility!

Unfortunately due to mental and physical health issues, I will not be returning as costuming director to the cast.

What comes next?

A klappenrock for a commission

Lesbian Minoan ;)

Coordinating Roman and Greek for myself and my consort

an attempt at a little viking cap!

a nap, probably.

[majouartings]

PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA PLAYABLE ZELDA *inhale* PLAYABLE ZELDA PLAYABLE Z