Ultimate Kirtle Pattern Lady Asrune Russtikus-dotta Pennsic [email protected] Kirtle: (Kyrtel) is a fitted tunic-like dress with variations found from the 1350s all the way up to 1650s. It was a staple of the medieval wardrobe.The Kirtle was worn by all different classes of women all over Europe. Typically, a chemise, or underdress, is worn underneath. An overdress such as a “houplandie” or “cotehardie” would be worn on top when needed. The kirtle acts like a bra. The body of the dress can be 2, 4, 8 or more pieces. They can be lined, or not. They can have long, short, or no sleeves. They can have a waist seam, or not. They can be laced or buttoned, on the side or in front. They can be elaborate or simple, heraldic or plain. In short, there are a lot of options to work with when it comes to Kirtles that are all “period,” and can be made with just one pattern! The Pattern (Draping method) Fabric- Linen (most common), Silk, or Wool. Leather is also period, but rare. Avoid synthetic fabrics. You will need 3-8yds of fabric to make a kirtle. You will need 1-3yds to make the pattern. American Size Yards for dress Yards for pattern Size 2-6 3-4 1 Size 8-14 5-6 2 Size 16-24 6-8 3 Before you start- Make sure you have · Lots of pins! · 1-3yds of linen (the lighter the color the better, so you can write on it) · Scissors · A sharpie or fabric marker · A friend to pin you up · And a good bra on Step 1: Take your measurements Bust (A) Waist (B) Hip (C) Sleeve (H) Upper Arm (O) Wrist (N) Waist to floor (K-M) 1. Divide you Hip measurement (C) by 4, add two inches and cut 4 rectangles of fabric of that width. This should make four large bits of fabric, that combined are large enough to cover your back and front. They should be long enough to cover your bottom. Hip/4 + 2in = Rectangle width 2. Pin 2 rectangles together to form the back of your pattern. Pin the other 2 together to make the front. 3. Get a friend to center and pin the back and front pieces together at the shoulders on you. 4. Have you friend pin the sides closed, being careful to keep both sides even. You should look like this: 5. Pinch the fabric on the pined “seams,” to tighten the fabric around you and re-pin. Work slowly, be careful to keep the sides even, and the front and back centered. 6. Tighten the shoulder until you feel “lifted”. You should look something like this: 7. Get a sharpie or fabric marker, and mark: l Your natural waist line. (An easy way to do this is hold a string around you, it will automatically go to the smallest part of your waist.) l Where you want your neckline(s) to be. High(neck), low(normal), and sexy (boobs) are the three I usually mark. TIP: if you leave the neck high, you can use this pattern for a doublet too! l The joint where your arm meets your shoulder. This is where your sleeve should start. 8. Trace all the pinned seams on both sides with your marker. Make sure you get front, back, sides and shoulders, both sides. 9. Remove all the pins. 10. Compare the two front pieces and the two back pieces by laying them out. There will be slight differences between them. Chose the front and back you like best, or try to mediate between them. This will be your final pattern. 11. Cut the pattern out, leaving 5/8in (or whatever you like to use) seam allowance. 12. Put your name, the date and your seam allowance on the pattern. Label back and front and viola! You’re done! The Sleeve 1. Make a “T” with your Sleeve measurement. One line horizontal. One line vertical. 2. Center your wrist measurement at the bottom. 3. Center your Upper arm measurement at the top. 4. Add seam allowance 5. Measure 1 in down and 2 in up from the top of your “T” and draw a curve OR… 6. Better yet, take a piece of string, measure the sleeve hole on your new made pattern and cut to the exact length on string. Then move the string to fit a curve like the one above on your horizontal “T” line. The Chemise Use the same pattern as you did for the kirtle, but cut it on the bias for more stretch and no closures. If you don’t have the fabric to do this, then add 1-3in to the width of the pattern. You may also want a slightly looser sleeve. Modifications: 1. You can shorten the sleeves, simply cut off the sleeve pattern where you want it. 2. You can add gores to make a fuller skirt. I usually add 4 gores; front, back, and sides, for the full “princess effect” 3. You can also make it into more pieces, this makes a more fitted garment and can help when you have narrow fabric width. It also serves to allow you to add more gores. (think princess seams) 4. Adjust the neckline shape. 5. Use buttons instead of laces, you’ve got a cotehardie! TIP: wrap pennies in bits of scrape fabric from your dress for the perfect buttons! 6. Try hand sewing your button holes by pushing a hole through the linen and working your way around, you’ll be surprised how easy it is! (on that note, try to avoid using metal grommets, they were not used on dresses in period) 7. Cut the pattern off at the waist and make a doublet! How you can use your kirtle pattern drawings by Heather Morgan for this class, all right reserved Kirtles in History (in broad sweeping terms, not an end all be all) Kirtles begin to appear in the early 1300s all over Europe. The fashion seems to have started in the north and worked its way south to Italy by 1400. Like all fashions Kirtles are first worn by the upper class only, but work their way down to the lower classes fairly rapidly. 1350-1400: The most commonly seen kirtle style from this time has short sleeves, a wide scoop neckline, no waist seam and closes in the front, usually with laces. Solid colors. (This style of Kirtle stays in fashion up until the 1450s with the lower classes of women.) 1400-1450: Long sleeves become more common. Wide scoop neckline, no waist seam, closes at the front usually with laces. They were mostly of solid color, but can also be found in heraldic styles (such as quartering), cloth of gold, and other patterned fabrics. 1400-1450: the neckline seems to narrow into a closed scoop or a “V” shape, and side closures become more popular. We also start to see the sleeveless kirtles, often with detachable sleeves. So you can “dress up” your look. 1450-1500+: brings the waisted kirtle into vogue. At first, the skirts attached to these kirtles were pieced skirts that were wider at the hem and narrowed into the waist. However, there is a rapid progression to gathered and then pleated skirts. The waisted kirtle is used in many forms, for many styles all the way into the 1650s. Kirtles in Action Front laced, classic Kirtle. Notice the fake sleeves. German style, the yellow kirtle is likely a side laced kirtle with a wide square neckline. The overdress or kampfrau uses the same pattern with a scoop neckline and a closed front lacing or hooks. waisted square neck sleeveless Kirtle, working class . Notice the wide lacing. Two short sleeved working class kirtles. The left is a looser pull over gown, the right kirtle is front laced with a wide scoop neckline. You get a good look at the Chemise here too. Waisted Kirtle Waisted Kirtle with short sleeves and box pleats Split Skirt Wide front lacing and cloth of gold underskirt with metal eyelets Heraldic Kirtles Bi-colored Kirtle. Alternative Pattern theories: The Quick and Dirty Geometric Method-Some people will swear by this method as the “most period” due to its simplicity, and there are some extant examples....but there are extant examples of other styles as well. It is a perfectly wonderful way to make a early period kirtle, it is NOT however form fitting enough to be a bra substitute. In my opinion it's a less flattering method as a result, but great for looser wear-around-the-camp dresses. 1. Fold you fabric lengthwise. 2. Divide your Hip measurement by 4 use that for width of rectangles 3. Cut either 2 large rectangles (leave the fold), OR 4 smaller rectangles (cut on fold)* 4. Cut 4 gores, the height of your waist to floor (W-F) measurement, and width desired. 5. Cut 2 rectangular sleeves the width of your arm-2 +1 in. 6. For long sleeves, make sleeve as long as arm-1 + 1in, and narrow to wrist + 1in 7. Cut 2 diamond shaped gussets 2-4in across. *if you would like a front lacing kirtle, you must cut at lease the front into 2 pieces. Measure and draft Method 1. Patterning the good old fashion way! Instead of draping, take all of your measurement form the first chart and plot them out on graph paper. Continue as before. This method is great if you don't have a buddy. If you measure very carefully, you'll get something very close to the form-fitting Kirtle like you would get from draping. I find that this method doesn't always produce the support that I want, and generally has more wrinkles but they still look nice!

Southern California brings to mind warm breezes, year around flowers, and every day a sunny day. While this is true a lot of the time, it c...

Photo from National Museum of Finland, Helsinki, Finland Eura is a region in the southwest of Finland with extensive archaeological remains dating from 500AD – 1200AD. To date over 1,300…

Dress has simple medieval cut with gussets on both sides, long sleeves, loose and comfortable. The historical pattern - an important element when playing historical realities, especially Vikings or Slavs. Have you dreamed of a long minimalist dress with the spirit of the Slavs and Scandinavians? We have, so we created this dress just for you. Warm and comfortable dress is perfect for historical events as well as everyday life. The freedom of movement, accessibility and excellent quality of materials will serve you for many years. The same colors as in the picture are not available. The offer includes only the wool dress. All other elements visible in the photo such as belt, jewelry, etc. are not included in the set! ----------------------------------------------------------- FABRIC The materials are resistant to washing and the quality of the seams ensures that the dress will last you for many years. The dress was made of thin wool in selected colour, with hems made of natural silk. ----------------------------------------------------------- SIZE AND COLOUR You can customize the dress and choose the colour and size that suits you. For more details about colour options, please contact me directly. I will send you a current offer of wool fabrics. Of course, you can leave colour details for me. Available thin and medium wools: goo.gl/photos/Vv27owMNEy8PAkw69 If you do not choose a specific available fabric and the fabric shown in the photos is not available, we will use any other fabric in the color you chose. Contact us to know about available silk options. All clothes are made in our workshop in Poland. If you are not sure about your size or your measurements differ from the table, please contact us. Note that colours may look different on your monitor depending on their settings and technical characteristics. ----------------------------------------------------------- WASHING & CARE INSTRUCTION • washing in temperature 20C/30C • wool clothes can be wash by hand only • do not use bleach or stain removers • no spinning (it is damaging for seams and fibres) • hang in the vertical position to dry • to keep the look, it’s best to iron clothes inside out, up to 120C (one dots) ---------------------------------------------------------- STANDARD I – Outfit is sewn with the machine – all stitches are made with the machine, pattern of the outfit is based on the historical sources, according to its description on the site. Internal stitches are finished with overlock, visible stitches are sewn by machine II – Invisible stitches are made with the machine, all visible stitches are sewn manually. The fox, belt, and other items are not included in the set. If you are not sure about your size and have questions, please contact me.

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I've been in love with Medieval fashion ever since 2015, when I made my first 1360s gown. Five years later is time for a new one!

Photo from National Museum of Finland, Helsinki, Finland Eura is a region in the southwest of Finland with extensive archaeological remains dating from 500AD – 1200AD. To date over 1,300…

My love affair with Titian’s painting has led me to compile research on the style of coat featured in it. I call it the Turkish Venetian coat. The painting is Portrait of a Lady by Titian don…

This blog post is made with the support of my Patreons According to my notes, I made an update on this sewing project when moving it to the current blog address, in 2014. 2014? That is some time ag…

Sorry, I haven't prepared English version of this article, but visit us soon! Notka o stroju na prośbę Czytelniczki. Z góry uprzedzam, że jest to streszczenie posiadanych przeze mnie informacji. Nie mam niestety czasu na tworzenie obszernych przypisów i podawanie bibliografii (zresztą i tak większość kończyłaby się na Fresze bądź Halli), także nie jest to absolutnie tekst naukowy :) Jeśli jakaś kwestia wydaje się być dyskusyjna, proszę o komentarz - zawsze fajnie dowiedzieć się czegoś nowego. Edycja: na prośbę dodałam rysunki, proszę wybaczyć kiepskie wykonanie, może kiedyś zrobię lepsze :P mam nadzieję, że mniej więcej o coś takiego chodziło. 1. Giezło / suknia spodnia Suknia o prostym kroju (załóżmy, że standardowo prostokąt+dwa trójkątne kliny, do tego lekko zwężane długie rękawy, długość całej sukni przyjęłabym do kostek), dekolt najbezpieczniej wycięty zaraz przy szyi, z pionowym rozcięciem (dla kobiety karmiącej na tyle długim, by mogła wyjąc pierś). Dla Rusi może być plisowany przy szyi, tutaj jednak bym nie kombinowała - zakładając, że w X-XI wieku mieliśmy ożywione kontakty z Europą Zachodnią pewnie były spore wpływy w modzie. Len niebielony dla biednej, bielony (ale na słońcu, nie chemicznie) dla bogatszej. Giezła bez rękawów są dużo późniejsze. Co do zdobień, w przypadku osoby bogatej mogłabym się pokusić o subtelny haft (wszystkie krawędzie) wykonany czerwoną nicią. Dla odstraszania złego ;P Wystawanie spod kolejnych warstw - nie wiem. Wydaje mi się jednak, że jeśli giezło byłoby haftowane, suknia spodnia mogłaby mieć np. odrobinę większy dekolt i odsłaniać jego zdobienia. Z drugiej jednak strony, w strojach XIIIw. przyjmuje się, że giezło absolutnie nie może wystawać - skądś to się musiało wziąć. Ważna sprawa - na Ruś przyjmuje się, że giezło mogło stanowić zarazem suknię spodnią, czyli pierwsza warstwę (dla biedniejszych kobiet). Myślę, że nie będzie sporym błędem, jeśli tu tez założymy to samo. Jeśli więc chcemy być bogate, zakładamy kolejną suknię, czyli tzw. spodnią. Krój jak w gieźle - rękaw długi, zwężany, całość jednak nieco dłuższa, może nawet do ziemi. Dekolt albo przy szyi, albo troszkę większy niż w gieźle (ale darujmy sobie wielkie łódki). Materiał barwiony (jeśli jednak chcemy wersję ultra, odpadają wszelkie intensywne kolory - len barwi się naturalnie, z tego co wiem, jedynie na pastele). Hafty, krajki, taśmy... zdobienia owszem, ale z głową - to ciągle odzież spodnia - czyli zakładamy że może się szybko zniszczyć. Fajną opcją jest np. przyszycie lnianej taśmy z haftami, które potem można odpruć i przyszyć do kolejnej sukni. Rękawy zwężane są chyba najbezpieczniejsze. Prostokątne rękawy na rękach wydają się być poszerzane (ramię jest dużo grubsze niż nadgarstek). Rękawy mocno poszerzane to raczej wymysł XII w. (czyli okres powstania drzwi gnieźnieńskich, o które było pytanie) - a u nas nawet później. 2. Fartuch Nie mam tu żadnych informacji na temat zachodu, posłużę się więc Rusią: Zapona lub zapaska - zakładana na suknię spodnią. Zapona to fartuch panien (prostokąt z okrągłym wycięciem na głowę, długość mniej więcej za kolana, po bokach luźno, bez żadnych zapięć/wiązań), zapaska zaś - dwa prostokąty (przód/tył lub po bokach - rożnie czytałam) przykrywające biodra - dla mężatek. Nie wiem jak ze zdobieniami - wikińskie fartuchy były pełnoprawną, reprezentacyjna odzieżą, ruskie raczej ubiorem niższych warstw. 3. Suknia wierzchnia Jest to każda wełniana suknia, którą zakładamy na spodnią :) nawiersznik też się do nich zalicza, aczkolwiek jest to ubiór raczej ruski (wełniana sukienka do kolan, o krótkich rękawach) - nie wiem, czy jest jakkolwiek potwierdzona dla zachodu. Uniwersalny krój będzie więc tak jak sukni spodniej, z tym, że dekolt powinien być większy,a rękawy i dół mogą być krótsze, aby odsłaniać ewentualne zdobienia pod spodem. Krój był niezależny od statusu - świadczył o nim dobór tkanin i zdobień. Tak więc suknia ubogiej kobiety mogłaby być niezdobiona, zaś bogatej - do wybory do koloru .Wszak to odzież reprezentacyjna :) 4. Płaszcz Płaszcze z półkola są albo późne, albo ruskie ( i jeśli ruskie, powinny być bardzo bogate...). Wiem, że dla Skandynawii można kombinować z np. krótszymi pelerynkami z koła/owalu, ale mam dokładniejszych danych. Dla Słowian Zachodnich najbezpieczniej płaszcz z prostokąta. 5. Nakrycie głowy Czółko z kabłączkami, najlepiej esowatymi, dla panien, chusta dla mężatek. Co do sposobu wiązania chusty nie wiem, gdyż nie dane mi było póki co odtwarzać zamężną niewiastę - a nie po to mam włosy za pas, by je zasłaniać ;) Do pracy lub w upalny dzień starcza kwadratowa chusta, złożona w trójkąt, wiązana pod włosami. Niektóre dziewczyny noszą prostokątne chusty, założone jakby "w poprzek" luźno na głowę, a na to krajkę (rysunek "suknia wierzchnia"). Z późnego średniowiecza wiem, że wdowy (czy mężatki tez?) powinny zasłaniać szyję. 6. Zdobienia Dla Polski nie za bardzo cokolwiek się zachowało - z tego co pamiętam są tylko jakieś fragmenty tkanin w Gdańsku czy Opolu (np. haftowane buciki). My bierzemy wzory z różnych przedmiotów, trzeba jednak pamiętać, że np. charakterystyczne ornamenty w koncentryczne kółka, które zdobiły przedmioty kościane są bez sensu na tkaninie (kółka było po prostu łatwo wyryć ręcznych wiertłem). Na dzisiaj to tyle. Mam nadzieję, że się przyda, i że nie napisałam jakichś strasznych bzdur ;) Sława! Jaromira

In the time of Kievan Rus’, goldwork embroidery flourished in the lives of the feudal elite and occupied a significant role in their lives.

This post is a collab with Korps and contains advertisement for plantdyes and fabrics I wanted to put down what I have learned about coloured garments and fabrics from the Viking age, so you may us…

I found something on Saint Maximilians Landsknecht Reenactment Guild that started my research on the tellerbarret (or pizza hat) that the landsknechts wore in some of the woodcuts. According to their site... Hat * Because we are often marching in the sun a hat called a tellerbarret (platter hat) is the best choice. It is sometime s referred to as a 'pizza hat'. It is a large fairly flat circle. The hat should be made from wool and selected from a woodcut. Be very careful about the size of the hat - don't make it too big, as it will get in the way of your pike. Somewhere between 16" and 24"(?). It can be a simple circle but it is recommended to do the style that is done by overlapping two somewhat more than half circles. There are many other details that are allowed- there are many woodcuts to chose from. The crown is usually a flat circle. You may have a smaller hat if you are absolutely immune to the sun but it is not recommended as your only hat. * Feathers are optional; you may have from 1 to possibly 10 (if small) ostrich feathers, large or 'down'. The amount and color of feathers should be checked with the costume coordinator. Period feathers can be difficult to find since modern colored feathers tend to by dyed too brightly. Natural, white, or primary colors are encouraged. Pastel or neon colors will not be allowed. No other types of feathers allowed. Found a couple of woodcuts of the type of hat my husband prefers along with a floppy version that I found interesting. I found written instructions for making one of the more rigid tellerbarrets on http://www.fahnlein.com/forums/forums/thread-view.asp?tid=206&posts=9&start=1 which I've included here. Hat Instructions: This description assumes that you have actually had your hands on one of these hats at some time and will generally understand the anatomy that I am talking about. If this isn't the case, I don't have the digital camera to assist you... Materials Needed: 1.5 - 2 yards of mid weight fabric (brim and "box") .75 yards of HEAVY weight buckram - the width I found with an acceptable weight at Hancock Fabrics was only about 20" - you'll only need a little more than 18". One 18" Brass Macrame Hoop (the secret ingredient) One package double fold bias tape. One 40" cotton braid shoe string - in whatever color you want your strap to be. Okay, start by placing your macrame hoop on your buckram. Trace a circle (using the outter edge of the hoop as a guide) and cut it out. Mark the center of your circle. Now: you will need to cut an rounded oval hole, centered on the center of the circle, for your head to go in. This is trial and error. once you have a hole that fits well, cut another .25" off (for seams and bias tape to make up later) Using heavy thread, baste the ring to the circle around the edges. You should now have a "halo" with the ring at the edge to re-enforce the buckram. Once the ring is in place (and generally not moving around) use the double fold bias tape to seal it to the edge of the buckram - hand sewing time. Just open up the bias tape and place it so that it encases the brass ring and helps attach it that much better to the buckram when you sew it down. Next, measure the widest point between the ring and the cut out for your head, this should be the broadest section of the buckram. Double this measurement and add at least two inches. This will be the width of your brim fabric. You will be cutting a long rectangle with the length being the circumfrence of your brim and the width being the measurement you just calculated. (Actually, I ususally subract at least one inch from the "lenght" of this rectangle so that the fabric fits the brim tightly). Sew the width-ends of your rectangle together, now you have a big circle of fabric, like a ring, which should be something like 53" around (if you are using an 18" macrame hoop) and about 13" - 16" inches wide. Place your rimmed "halo" inside the circle of fabric. Once it is centered on the circle, you should be able to see that the "brim" fabric will drape into place on the "halo", making up the top and bottom fabric covering on the brim of your "pizza" hat. This fabric needs to be either gathered or pleated into place and tacked down at the "inner" edge of the brim (the hole where your head will go). *This style will not have very deep pleats - see end of message for the variation. Now, the "box" that goes on top of the hat can be made in a number of ways. No matter where you place the seams of the four parts on the "top" of the box, you will need to make a matching "bottom". Once this "bottom" has been constructed, center it on your brim piece and cut out a hole that matches the head hole in your brim. (You can line your "box" by replicating it exactly inside out - including head hole). Sew the square, outside edges of your "top" and "bottom" box pieces together (place liner inside at this point if you are lining it). Line up the edges of the head hole on your brim with the edges of the head hole on your "box". Baste the two together. ALMOST DONE! Now, make a peice of bias tape out of your remaining fabric. You dont need a lot of fabric to do this and you can find better descriptions of making bias tape online than I can give you here. Use this bais tape to cover all the nasty, thready ends that are now all around your joint head hole. This is going to be hand sewing. Finish your hat with the cotton shoe string (minus plasticy end bits - use white glue and roll the cut ends between your fingers until they dry to reseal the ends of the cut cotton shoe string in a more "period" way) as the chin strap - lots of different methods here as well. You can include a covered button in the middle top of your box. At one point I found visual instructions for making a tellerbarret and doing a little digging, I found the Flickr site again. http://www.flickr.com/photos/77086627@N00/page2/ He also has patterns for making other bits and pieces to the landsknecht outfit, but I'll post them later when I have more time. Hopefully between the written and visual instructions, making one should be a snap. :D

As a Viking reenactor, one of my challenges is recreating garments worn centuries ago, with no instructions on how they are put together. I read through several sets of instructions for how to make…

They aren’t scanned fabulously, but heck, you get how they work. These WILL be posted on my Eastern Roman Garb page as well, but I wanted to get these on a blog page and tagged for searchabil…

I was scheduled to teach 4 classes at Gulf Wars this year. Unfortunately, Gulf Wars turned into Gulfnado and I was only able to teach 1. I’ll try to schedule them for future events, but unti…

Manuscrit enluminé sur vélin. Début du XIVe siècle. Reliure sur ais de bois, XVIIe siècle.

A few scans from one of my many historical costume books. More to come, so keep your eyes peeled!

Based on a style of hat seen on sixteenth century scholars, and related to the Canterbury Cap still in use by the Anglican Church, our Scholar’s Cap is a comfortable, square brimmed cap with a flap that covers the ears and back of the neck. Several variations are possible, make it with a distinct cross on the top or without, make the ear flaps longer or shorter, add a central stalk or not. Whilst not formally part of my ‘Historic Hats’ range, this pattern does result in a convincing approximation of the style seen in period illustrations and may be a consideration for use with 16thC costuming. Worked in the round, top down, and fulled to size.

Landsknecht Pattern for a Doublet

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