I grew up in Oregon, and we went camping on Mt. Hood almost every summer. Those experiences taught me the importance of layers, and planning for unexpected weather when there's only a thin tent wall between you and the elements.
I don't know if I procrastinated too much, or just had too much other prep on my mind, but these became some of the last projects I... well, completed is a little too generous. They're gorgeous and totally wearable, but I still need to finish the inner seams.
Now, these aren't really anything terribly concrete. We know so little about Viking clothing, it's kind of laughable! I've seen other SCAdians and Viking enthusiasts with these coats before, so I decided to run with it, even though I don't have much at all in the way of documentation. I took a couple notes, which you can see on the drawn plan.
Inkle Loom Pattern Generator to help me plan the trim. It's based on a wider project I really liked on Pinterest. I had to leave the cream section in white, as it's not one of the colors in the program. Once the plan was set, I used 3/2 pearle cotton to weave it with a rigid heddle.
Raymond's Quiet Press was at Gulf Wars, so I was able to give it back to them for silver-plating.
That was an awesomely spent $10! When it was mailed back, the brooch was a stark silver. I wanted it to have a more antiqued silver look, so I employed a trick I learned while volunteering at Troll during Gulf Wars. It was a slow afternoon at gate, and our site tokens were all the same color. You couldn't see any of the gorgeous details, so we did what crafty people do when we get bored: experiment. We had sharpies and there were paper towels in the bathroom. Add in a little bottle of Purell one good lady had in her purse, and we were in business!
Update, 7/23/14: It's Finished!
It's taken over three months, but I have finally finished this project! All seams are now finished by hand, and unless I decide to go crazy and add some sort of embroidery (which is doubtful) then I have sewn my last stitch in it!
gray apron dress project, I used the technique inspired by Østergård's illustration on pg. 99 and sewed all all the gores down flat.
To the left, you can see the raw edges I started with. When the seam allowances meet in points, those points are left sticking up.
When the seam is spread open, like the stretch in between both gores, the strength of the seam relies entirely on the stitching between two independent pieces of fabric.
That's a normal, good thing, but since I can be more than a little hard on things, I appreciate some additional durability.
This method gives me that. With the gores sewn like this, it is actually a marriage of the pieces of fabric. If you try to pull the seam apart, you have to overcome two independent lines of stitching as well as the static friction of the overlapping seam allowances.
And, just so you know, I actually had a physics discussion with my husband (a senior engineering student) to make sure I used that term correctly!
You can tell the overlapped seams from the others because there's a single line of stitching on one side of the seam line, while the regular seams have stitching on both sides.
Baker, Jennifer. "Stitches and Seam Techniques Seen on Dark Age/Medieval Garments in Various Museum Collections." 2009. <http://nvg.org.au/documents/other/stitches.pdf> 11 June 2014.
Glæsel, Nille. Viking: Dress Garment Clothing. Lexington: CreateSpace Independent Publishing Platform, 2013.
Kenna nic Aherne von Ziemer. "A 9th Century Viking Kaftan." Kenna's Closet.
<http://kennascloset.blogspot.com/2009/05/9th-century-viking-caftan.html> 23 July 2014.
Østergård, Else. Woven into the Earth: Textile Finds from North Greenland. Denmark: Aarhus University Press. 2004. Page 98-99.