expenses

I spent
13 dollars on a belt
about 9 dollars on basket
3 dollars pewter
1dollar string
total of 26 dollars
the rest of the materials I already had

belt mounts report and pictures

Belt mounts by Engeline Vonfoxridge

Name of piece and what layer it represents:
The name of the piece is a belt mount and it represents the accessory layer.
Period and origin of time:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.
What material was used in period:
 Pewter was used in period.
Material I used:
I used pewter.
How I assembled the pieces:
I used a 3 part registered soapstone mold to cast the mounts. I carved the shape into the soapstone. Then I poured the pewter into the mold, let it cool, and then smoothed the rough edges.
The difference between:
I used brickettes instead of coal or wood to make fire.
History:
Belts made of leather, woven, or fabric were often decorated with metal pieces Many belt mounts on women's belts were made from silver, although very often pewter was used to make imitation silver belt mounts.

What I learned:
I learned how to carve and cast pewter. 　
　　References:
Egan, Geoff & Pritchard Frances (2002) Dress Accessories c. 1150-1450. Boydell Press, Woodbridge.
Newton, Stella Mary (1980)
Fashion in the Age of the Black Prince. A Study of the years 1340-1365. Boydell Press, Woodbridge. Nockert, Margareta
Piponnier, Francoise & Mane, Perrine (1997) Dress in the Middle Ages. Yale University Press. New Haven and London.
20,000 Years of Fashion - François Boucher
The Book of Costume - Millia Davenport

* special thanks to the Arn hold casting guild.*

belt report and pictures

1338-44, French.
From the Romance of Alexander; fol 204r
Belt By Engeline Vonfoxridge
Name of piece and what layer it represents:
 This is a belt and it represents the accessory layer.
Period and origin of time:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.
What material was used in period:
Belts were made of leather, woven braid, embroidered fabric or metal.
Material I used:
I used leather, green leather dye, wax, pewter, and metal.
How I assembled the pieces:
I bought my leather belt blank from Tandy Leather. I wetted the leather and smoothed the edges of the belt. I used green leather dye. Waxed it to seal the dye into the belt. I added
my belt mounts and buckle.



What I did and the difference between:
I didn’t use period dyes or waxes.History: History:
Belts or girdles were worn by everyone in the 14^th century. Belts were not only functional items, by also used as status symbols. Belts were not commonly used to carry much weight. They were more decorative. As with many forms of dress accessory, belts came under fire for their decoration. “A 13th century preacher from Paris, Gilles d'Orlean, rebuked women for their affluence of dress and accessoriesA 13th century preacher from Paris, Gilles d'Orlean, rebuked women for their affluence of dress and accessories chiding: that Jesus Christ and his blessd mother, of royal blood though they were, never thought of wearing the belts of silk, gold and silver fashionable among wealthy women.’Peasant women wore sturdier and more practicala belts made of leather. The shape of a woman’s belt most commonly worn was long and thin. The belt was usually worn low on the hips with a knot at the buckle and the rest of the belt hanging down the front anywhere from 6 inches to as long as their dresses. Decorative belts were often more expensive so usually only weathlyer women wore them. Women with a better social standing wore thinner belts of better leather or embroidered with better metal clasps or buckles. Long continuous strips of leather were hard to come by , so leather belts were often made up to be whatever length of leather that could be found. It was not uncommon to find belts made from spliced pieces of leather to make longer belts.
What I learned:
I learned that green dye sucks. It is hard to seal. 　
Reference:
Houston, Mary G. Medieval Costume in England and France � The 13^th, 14^th, and 15^th Centuries, Dover 1996.
Norris, Herbert. Medieval Costume and Fashion, Dover 1999.
Braun & Schneider. Historic Costume in Pictures, Dover 1975.

　

St. Birgitta of Sweden’s coif report and pictures

St. Birgitta of Sweden’s coifThe Maciejowski Bible (also know as The Morgan Bible of(PML M.638), c. 1250 By Engelinne VonFoxridge
Name of piece and what layer it represents:
This piece is called a hat and it represents the accessory layer.
Period and origin of time:
The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.

What material was used in period:
Linen was used in period.
Material I used:
I used linen.
How I assembled the pieces:
I cut out a piece that was roughly the shape of my head. I sewed them together tried them on and re-shaped them to fit my head. Then I cartridge pleated the bottom by the neck. I made strings by folding long strips of linen and sewing them. I used the herringbone stitch up the center seam of the hat. Lastly I added them to the back of the hat.

What I did and the difference between:
The difference is that I used cotton string instead of linen.

History:
The earliest head coverings were probably made of animal skins and were designed to protect the wearer from the weather. Headdress also helped women with the control of their hair. Through the years, head covers evolved to reflect the status and culture of the wearer. The hat moved from status to part of a uniform and to an art form. As the social order became more and more defined, so too did the variety and importance of headwear. During the Middle Ages, women wore simple coifs, wimples, and veils. In fashion terms, hats are a very noticeable accessory because the onlooker’s attentions is first drawn to the face. Headwear of the Middle Ages was not an accessory, per say, but instead a part of the outfit.
 The cap of Saint Birgitte in the Birgittine Convent in Uden, photo's by Isis Sturtewagen
 .This small white linen coif is attributed to St. Birgitta of Sweden. It was housed at the Birgittine convent of Marienforst near Bonn, and more recently owned by the Birgittine convent of Maria Refugie in Holland.
What I learned:
I learned about St. Birgitta coif.

References:
Houston, Mary G. Medieval Costume in England and France � The 13^th, 14^th, and 15^th Centuries, Dover 1996.
Norris, Herbert. Medieval Costume and Fashion, Dover 1999.
Braun & Schneider. Historic Costume in Pictures, Dover 1975.

Underwear documentation and pictures

Underwear by Engeline Vonfoxridge
Name of piece and what layer it represents:
These are underwear and they represent the skin layer.
Period and origin of time:
The period of origin I am using is the 1300’s my personia is of Austrian decent so I am using Austria as the place.
What material was used in period:
Linen and silk were used in period.
Material I used:
I used linen
How I assembled the pieces:
I took my measurements and cut a waist band. Then I cut out a piece for the bottom and between my legs. I hand sewed them together
What I did and the difference between:

 I am not sure the differences I couldn’t find any documentation explaining how underwear was made.

History:

As far back as 7,000 years ago remains have been found of pre-historic leather loincloths. The Egyptians used fabric to make a undergarment as long ago as 2,000 years ago. A ‘chiton’ was used by ancient Greeks. Underwear are cloths worn under cloths, next to the skin. The purpose of underwear is to keep the outer garments cleaner by keeping the bodily secretions and dirt away from the dress. They also shape and provide support for parts of the body. Underwear is also used for warmth by adding a extra layer of clothing. Around the 13th century, pull-on underpants were invented and underwear became an important garment. Braies replaced the loincloth. Braies were often made of linen and were worn by all society.

What I learned:
I learned that documenting underwear is hard.
References:
Fashion in the Age of the Black Prince. By Stella Mary Newton
Boucher, François. 20,000 Years of Fashion. The History of Costume and Personal Adornment (Expanded Edition). (Harry N. Abrams, Inc., NY 1983). ISBN 0-8109-1693-2.
Cowgill, J.; M. de Neergard; and N. Griffiths. Knives and Scabbards (Medieval Finds from Excavations in London:1). (HMSO, London 1987)
Crowfoot, Elisabeth; Frances Pritchard, and Kay Staniland. Textiles and Clothing, c.1150-c.1450. (Medieval Finds from Excavations in London: 4) (alias "T&C") (London: HMSO, 1992).
Houston, Mary G. Medieval Costume in England and France, The 13th, 14th and 15th Centuries (Dover Publications, NY, 1996; 1st pub. Adam & Charles Black, London, 1939, as Vol. II of "A Technical History of Costume")
Kohler, Karl. A History of Costume. ISBN 0-4862-1030-8.　

Tippets documentations and pictures

TippetsBy Engeline VonFoxridg

Name of piece and what layer it represents:

Tippets. These represent the accessory layer.

Period and origin of time:

The period of origin I am using is the 1300’s my persona is of Austrian decent so I am using Austria as the place.

What material was used in period:

White fabric, I believe to be linen or they were made of fur.

Material I used:

I used white linen. I used linen because I already had some and I like the way the white looks against the red of the dress.

How I assembled the pieces:

First thing I did was measure how long I wanted my tippets to be. Then I cut two long tubes of linen to length and two pieces to fit my upper arm. I hand sewed them together. At the ends I sewed them into a point, then turned them right side out and attached the cuff around the top.

 What I did and the difference between: I put quarters in the end of my tippets to weight them down.
History:

Tippets were like streamers that hung from the elbow. Tippets were popular around the 1340’s to the 1350’s. Both men and women wore them. Tippets probably came from the long baggy sleeve that was popular years before. Tippets were just for decoration they had no function. They varied in length somewhere from forearm to floor length. Some were even longer.

Lessons learned: I learned to better measure my arm.　
　An image from Bodleian Library MS Bodl. 264, a mid-fourteenth-century edition of the Romance of Alexander

References:

Crowfoot, Elisabeth; Pritchard, Frances; Staniland, Kay. Textiles and Clothing 1150-1450. . Suffolk: The Boydell Press, 1992, 2001.
Farmer, Sharon. "Biffes, Tiretaines, and Aumonieres: the Role of Paris in the International Textile Market of the 13th and 14th Centuries." Medieval Clothing and Textiles 2. Suffolk: The Boydell Press, 2006. 73-90.
Netherton, Robin. "The Tippet: Accessory After the Fact?" Medieval Clothing and Textiles I. Suffolk: The Boydell P, 2005. 115-132.
Newton, Stella Marie. Fashion in the Age of the Black Prince. Suffolk: The Boydell Press,
2002
　1346, Czech. brass of Lady Maude De From Six treatises on common christian matters
by Thoás Stítný; fol 37 Foxle, dated 1387