Bycocket, I Think She's Got It!

Ever since I joined the SCA, I've wanted a bycocket. I especially wanted one when I found out what they were called. It's just too much fun to say!

The original pattern found on Honor before Victory

I remember seeing someone wearing it so nicely with a simple veil and a cotehardie many years ago at an event. The combination itself was enough to have me intrigued. It would be some time before I made the attempt, but always had the vision in my head.

The opportune moment came at this year's Market Day at Birka when Queen Anna issued an "Accessories" challenge for the fashion show. House Strangewayes also had a personal challenge of "Tips and Toes". This was my "excuse" to try something I always wanted to, and finally had the courage to do so.

I ended up going with a pattern found on "Honor before Victory" - another SCAdian blog showcasing a GORGEOUS bycocket made for an elevation. The pattern itself seemed simple enough so it was the one I decided to go with. I didn't use the split loop seem method as suggested in my reference, but I used the basic pattern included with it.

I decided on linen and silk in contrasting colors for my first attempt. Most of the bycockets I had seen were primarily made with wool felt, and sturdier cloth - so I used canvas as an interlining to give it more support.

The tip of linen layer needed to be trimmed later on.

I started by measuring around my head, to make sure it fit, and measuring the "height" the crest of the hat would be. Make sure you measure the width of your head, so your hat closes at the top (I have a pretty big noggin, so this is important).

Once I had those measurements I followed the diagram I had found, and tested out the fit. It was perfect. After that step was taken care of I cut out the layers of silk and linen. I ended up making the linen layer longer than the silk, since this would form the rim of the hat. I wanted to give it a little more space to make sure it'd be long enough to sew up the brim of the hat without issue.

The completed bycocket! (sans feathers)

I did initially serge the pieces together, and used a machine to construct the two pieces individually. The rest of the hat was completed by hand. Because the silk had a diamond pattern to it, I decided to use a small blanket stitch down the center of the hat, and an invisible stitch along the brim. The total amount of time I would say it took would be about 4-6 hours total.

I would definitely recommend trying your hand at one of these if you've ever wanted one. This ended up being much easier than I had originally anticipated. You don't necessarily have to do the finishing by hand, but I preferred doing that to go with the outfit overall. I think I'll try to make another one eventually, but for now I'm still very pleased with this one and how it came out.

Thanks for stopping by (cocket)!

14th Century Hood Part 1 - Constructing the Lining

In the SCA, some folks really like to go all out and create a lot of their pieces (or all of their pieces) by hand. I am all for it, but in most cases just personally don’t have the time or patience. Most of my work right now is indeed, machine sewn. I’m not against doing hand sewing from time to time however.

I’ve only been in the SCA for 3 years, and have just recently gotten my AoA (Award of Arms). I’m merely trying to find what skills suit me best, and trying to hone those skills to get the most out of my experience.

To enhance said experience, and really make an attempt at period construction of a garment I decided to try hand sewing a 14th century hood. It’s not an uncommon piece of clothing in the middle ages, and was quite popular from at least the 1300s to the 1600s. The Viking version of the same garment is a little different, but the same basic idea and functionality.

Worn by both men and women, hoods were a common head covering for people. Most examples

Period Illumination featuring two hood wearing people.

found are merely one layer of fabric, but for more affluent people during the time it bet it wouldn't be unheard of to have a lining fabric to offer added stability and warmth during colder months. I don’t have any documentation for this. If there isn’t, this is just a theory. If there is, well… I stand by my statement.

I decided to use a heavy black linen for the main body of the hood, and a salmon colored cotton blend for lining and buttons. Now, you might be asking yourself - “How is the color salmon historically accurate?”. Great question! I asked myself the same thing. Apparently madder root (Rubia Tinctorum) offered many colors in the red spectrum during the middle ages. My fabric wasn’t naturally dyed in this case, but the color is indeed accurate.

I conveniently had the matching thread (because I usually buy a matching spool when I buy fabric), and decided to get to work. My friend, and teacher within the SCA draped my pattern fabric (a thin white cotton) and fitted it properly. As she has some background in fashion design she had no trouble getting it to drape as it should. In no time at all I had my hood pattern cut out, and was laying it on my fabric. 

Forgive my fabric weights, and cutting table. I have limited space to work on. First I cut out the parts of the pattern in the lining fabric. As you can see in the middle image above, an extension was added to the original pattern. This addition is what is known as a liripipe. A liripipe was common on hoods, and varied in length from modest to floor length. Not all hoods had a liripipe attached, such as those in the Viking version. No evidence has been found that liripipe length related to a status of a person or anything of the like. It just seems to be a fashion choice. In the event of a longer liripipe it could be worn around the neck as a scarf for extra warmth.

Once the pieces were cut out, I started working on the lining. A blanket stitch was done around all the edges, and on the seams. Once that was done it was easier to see what the hood would look like when finished.

Once that was constructed, I started constructing the black outer piece. It seemed a little much to put it all in one blog post, though. Please stay tuned for the second half of the blog post! I'll be finishing it up, and providing a button and button hole tutorial. Thanks again for stopping by!

My first Italian gown...

   So the East Kingdom hosts a large event every year known as Birka, named for the Viking trading town from the middle ages. The event hosts a huge merchant area filled with the most wonderful fineries, a bear pit and fencing tournament where heavy list fighters and fencers test their mettle (and metal). After court is held there is also a ball, and a hafla. Not to mention there is an Arts and Sciences exhibit, and classes for people to take part in. The event has a little something for everyone.

   Our household, House Strangewayes strives to dress our best at this event every year. We pick a household theme, and each of us create attire based in our chosen time period.Our household's chosen time period run the gamut from early period Viking, to late period Italian. We have a little bit of everything. Below, is a wonderful family photo taken by our household member, and my friend Heather. Her SCA name is Bianca Angoussola.

Photo Credit: Heather Fitzpatrick

From left (Back Row): Lady Syele von Heidelberg, Lady Simona bat Leon, Lord Thothreker Ogaefa, Erdene Qadajin, Lord Fearghas MacGreggoure, Lord Hermankyn, Master Ekk, and Hongo Ryotaro Mitsuyoshi
Front Row, from left: Lady Cecily Windham, Lady Bianca Angoussola, Maestra Julia Agriccola, Lady Fortune St. Keyne, Lady Elvira Violante Ballesteros, and Lady Lysken die Waeyer.
Front (with the awesome hat): Jacquemine Van Bel

   What you're looking at is a late period Italian gown with detachable sleeves. A white linen chemise underneath. Accessories are a black snood with pearls and gold beading, a circlet adorned with a bee. Earrings and necklace both made by me. The earrings are a pearl drop earring with a gold cap on them. The closures aren't quite period, but I was working with what I had. The necklace was a redesign of a previous blog post I had done. I changed the sizing of the pearls, and I adjusted the spacers. The belt was a chain belt made from long bronze clearance necklaces at Charming Charlie, and a bee pendant I found last minute at Michaels.

   If you look closely you can see a cross hanging from my belt as well. This was semi common during this time in Spain and Italy. My persona is more attuned to the religious side of things so I felt it appropriate.

A great side view of the dress. Photo credit to Jason Taylor.

   Here you get a little glimpse of the cording I had made for the side lacing. This was done via finger loop braiding and serves the same basic purpose as lucet cord. I have to redo this part, and add more rings but I was quite pleased with this. At each end of the cord is an aiglet sewn onto it. They're gold colored aiglets, and add a little shimmer (and who doesn't love that?).

   I certainly have quite a ways to go in getting that perfect dress but believe me when I say I've come a long way, baby. Hopefully next Birka will be even fancier!

   Thanks again for reading!

Pelicon: The Begining

So I was perusing Pinterest recently, and I came across a pin from one of my favorite SCA Pinners, Fortune St. Keyne. She had pinned an image I had never seen before:

I'm not certain of the origin of this image, but the garment this woman is wearing is quite interesting. It's called a pelicon (pronounced with a soft c), and Google is less than helpful when trying to research it. Pinterest however, gave me at least a little more to sink my teeth into.

I came across this image as well when searching Pinterest, and it only helped confirm a few theories I had on how it was worn and constructed.

The image led me to this site, that gave a little blurb about the garment and its styling and construction.

"At the end of the 13th century the Pelicon, a feminine version of the Garde-corps, makes its appearance. This is made of a large elliptical piece of fabric, measuring approximately three and a half metres on its longer axis. Worn, the fabric falls softly from the shoulders to the feet and forms a train at the back. Like the Garde-corps, the Pelicon is made from a heavy fabric bordered with fur and completed with a hood. The head opening is cut at approximately three-quarters of the length of the ellipse, where the separately cut hood is buttoned up to the collar."

Upon reading that description I felt comfortable in my assumption that is was an odd hybrid of a surcoat and a houppelande... but with a hood. The hooded aspect is whats really grabbing me, and the contrasting lining fabric that shows when the hood is left to hang off the shoulders. It also doesn't help that the trim in some of the examples is fur, and I happen to LOVE fur on everything.

A fellow household member is making one for Birka so it'll be interesting to see what she comes up with. I've seen a few variations without the hood, and just a very high buttoned neckline - much more similar to that of a houppelande, without the sleeves.

I'll be doing my own interpretation of it at some point. I've got some red silk that is dying to be made into a cotehardie, and I think this would be the perfect addition to that dress for those cold, wintery events *cough* Crown Tourney *cough*.

Bienvinguda!

Welcome to my blog! My name is Elvira Violante Ballesteros, and I am an active member of the SCA (Society for Creative Anachronism). I'm located in the East Kingdom, in the Shire of Quintavia (Worcester, MA).

The SCA is an organization for folks that enjoy researching, and recreating life from the middle ages. From Early period life, to about the end of the 16th century. People with a multitude of interests come together on a regular basis to create an experience not easily put into words. I've been a member for three years now, and I've finally decided to start documenting my research, and projects here.

I hope in time, that my research and work can help other find their passion in the SCA, and encourage more people to explore the hobby that is, medieval reenactment.

My persona is currently in it's very rough stages, and it took me over a year to finally narrow down a time period and a name. The household I'm a member of can attest to that. I've had 3 or 4 names up until this point (including the one I FINALLY registered). The time period I've chosen is during the early years of the Spanish Inquisition, but that's about as far as I've gotten thus far.

So come along with me on my journey through medieval Spain, and learn with me! Gràcies

Adventures in Jewelry

When creating garb, some often think of accessories as well and want to complete their looks with different time appropriate fineries. I'm no different in that sentiment. I've only just recently started to dabble in the fancier garb of late period Spain and Italy. I wouldn't say it's something I want to wear all the time, but having something beautiful for court is important. To complete the look I'm going for, I decided to make some matching jewelry that represents my household. So here's a little background...

House Strangewayes has a household heraldry of a bee on an oak leaf, in black and gold. This is our household badge, a way to identify ourselves at events. We have silk banners we use, and have many items in our encampment decorated with bees. This year our Birka theme just so happens to be household heraldry. Wearing black and gold of course is a given, but incorporating the bees is something I also wanted to do; so I did a little perusing on the internet for examples of Italian renaissance jewelry.

These are the three examples I went with. From the right, Francesco Pietro Bissolo - Portrait of a Young Woman, circa 1500. Ambrogio de Predis - Portrait of a Woman, circa 1490, and Andrea Solario - Salome with the head of John the Baptist, circa 1506-7.

In all of these, you can see pearls. Lucky for me I had a ton of them sitting in my jewelry making kit, just waiting to be put to use. In the first painting, Portrait of a Young Woman you see small pearls, and another alternating small gem. I liked this detail of the necklace and kept that in mind.

In the second painting,   Portrait of a Woman the use of larger pearls caught my eye. As I'm not too fond of the simple pearl strand (as elegant and timeless as it may be), I moved on for a little more inspiration.

I then found Salome with the head of John the Baptist. The alternating bead size, and the pendant in the center are what really caught my eye. Looking closely, the black beads are oddly shaped but from afar it looks like small black beads between larger pearls. As I didn't have any beads shaped like the ones shown on Salome, I let the creative part of creative anachronism do the rest.

With what I had available, and using the design aspects I observed in the paintings, I came up with the following piece:

This was my attempt, and my reasoning behind designing it this way was due to a few different design aspects I had discovered in my, albeit limited research. The shape and length of the necklace was easy. Most of the paintings I had seen all had a close fitted pearl strand as the necklace, so that wasn't difficult to decide on.

The alternating colored gems in Portrait of a Young Woman inspired me to do the same with some red, imitation beads I also had available.

The alternating pearl size wasn't something I could easily document, but in Salome with the head of John the Baptist the pearls are larger, and the pearl above the pendant is larger than the other pearls. I just reinterpreted that in my own way, and thus the necklace you see if what I came up with.

Instead of making a pendant, I used a gold enamel bee I had bought at the craft store, to officially tie in the household heraldry. I showed it to my household and they all seem to like it too. So with a little anachronism, and a little creativity I present to you, my Italian Renaissance jewelry.

Thanks for reading!