In Which I Inventory My Own Wardrobe

I need new clothes.

Over the last couple of years, I’ve sold off or otherwise gotten rid of everything I had that didn’t fit my body, didn’t fit my persona, or didn’t make me happy. Currently, I have two dresses and a Moorish outfit that I like.

And there are Things Happening that will require me to have a better wardrobe than that.

So here are my plans for winter sewing:

  1. Black lightweight wool saya with gray and purple band trim

  2. Pink cotton sateen saya

  3. Brown velvet paneled gown

  4. Cream and black pinstripe brial

  5. Several pairs of sleeves

  6. At least one new white linen camisa

  7. More caps

  8. A couple of new braid cases

  9. Silk brocade gonete

  10. Tucked skirt

  11. Teal blue waist belt

  12. New green wool Laurel coat with flannel lining

To do all this, I need to place a Wawak order soon - I need more bobbins and sewing machine needles - and I also need to order silk ribbon for sleeve points. I want to try to get the pink saya and brown velvet gown done for our Kingdom Twelfth Night in January and maybe the black with colored band trim for Birka Market Faire (also in January).

I also need to finish unpacking and organizing my sewing room.

Yep.

Totally reasonable.

Iberian Icons: St. James the Apostle (Santiago)

July 25th is the Feast of St. James the Apostle (James the Great/Santiago), the patron saint of Spain.

Saint James the Greater. Gil de Siloe . 1489–93. Made in Burgos, Castile-León, Spain. Metropolitan Museum of Art - The Cloisters. Accession number: 69.88

Feast Day: July 25 (Western Christianity), April 30 (Eastern Christianity), December 30 (Hispanic Church)

Attributes: Red Martyr, scallop shell, pilgrim’s hat

Patronage: Veterinarians, equestrians, furriers, tanners, pharmacists, oyster fishers, woodcarvers, Spain, Guatemala, Seattle, Leovca, Nicaragua, Guayacil, some places in Mexico and the Philippines, and Santiago de Chile

The Legend of St. James

The 12th century Historia Compostelana commissioned by Diego Gelmírez provides a summary of the legend of St. James, as it was believed at Compostela at that time. Two propositions are central to the legend: first, that James preached the gospel in Hispania as well as in the Holy Land; second, that after his martyrdom at the hands of Herod Agrippa, his followers carried his body by sea to Hispania, where they landed at Padrón on the coast of Galicia, then carried it over land for burial at Santiago de Compostela.[19]

According to ancient local tradition, on 2 January AD 40, the Virgin Mary appeared to James on the bank of the Ebro River at Caesaraugusta, while he was preaching the Gospel in Hispania. She appeared upon a pillar, and that pillar is conserved and venerated within the present Basilica of Our Lady of the Pillar, in Zaragoza, Spain. Following that apparition, St. James returned to Judaea, where he was beheaded by Herod Agrippa I in AD 44. -Wikipedia

James the Greater was the second Apostle to die and the first Apostle to be martyred. He is also known as James, son of Zebedee, Saint James the Great, Saint James the Greater, Saint James the Elder, or Saint Jacob.

The most famous tale of St. James claims that the saint miraculously appeared to fight for the Christian army during the battle of Clavijo during the Christian Reconquest. The traditional Spanish call to arms has been "Santiago y cierra España" – “St James and strike for Spain”.

 

the botafumeiro

The central celebration of the Dia de Santiago is the King's Offering to the Apostle, a high mass attended by the Spanish Royal family and high-ranking government officials. During the mass, an enormous botafumeiro (incense burner) is swung from the ceiling of the Cathedral de Santiago de Compostela.

The ritual use of the botafumeiro has been recorded to the 12th century, and may have begun as a prophylactic practice to ward off disease carried by foreign pilgrims.

Contando Estrelas from Vigo, España / Spain, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons

 

Gerd Eichmann, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

Why Scallops?

Scallop shells are a symbol both of Santiago and of pilgrims who walk the Camino de Santiago (the Way of St. James), one of the great medieval pilgrimages. The shell, with grooves coming together in a single focal point, represents the different paths to Santiago. Also, scallop shells were plentiful on the coasts of Galicia, and became an ideal utensil for a pilgrim to both drink and eat from. Finally, legend records that Saint James himself rescued a knight from the sea covered in scallop shells.

On the Washing of Linen

Splendor Solis (British Library Harley 3469, fol. 32v), 1582

I am a lazy, lazy Laurel and seamstress. For years, all of my linen fabric and garb has been thrown in the washer on high, dried on hot, and that was that. Mystery holes and fraying seams? Meh, that’s the price of linen.

Until I started reading more about historical methods of clothing and fabric treatment, I really thought that my middling to mediocre results with linen were because I couldn’t afford the super-nice linen better re-enactors use. Until I got some better linen, and it acted just like the cheap stuff I buy at Pennsic. So, what was the problem? I started Googling around, which led to Academia.edu which led to more academic articles and primary sources on fabric treatment.

And then I stumbled on a little article on the blog In Dem Jahren Christi titled A Washing Guide for Linen. In this guide, Maria (one of the two blog hosts) lays out a step by step guide that involves soaking the linen for several hours in a lukewarm tub of water, washing gently in warm water, and then hanging it dry. Maria and Peter mangle their fabric at the end.

This article tossed around in the depths of my mental deep storage for years, until I had the opportunity to make Coronation clothing for Abran and Anya of Atlantia. They purchased a beautiful deep blue linen, and just for fun, I decided to try out IDJC’s method. I made a few adjustments, as follows:

A Laundress on the Beach, The Decameron, Manuscript 5070. 1432. Arsenal, Paris

Step One: I unfolded the fabric and shook it out of its shipping creases. I filled my bathtub with lukewarm water (about room temperature, or “when I stick my hand in, I don’t feel much different from the air”), and gently folded the fabric in. The biggest trick is making sure you make soft folds and not sharp creases - you want the pile to be loose, not compact.

Step Two: I let the fabric soak overnight. Maria recommends 4-5 hours, but I may have started watching a program, forgotten, and then remembered after I got up the next morning.

The purpose of the long soak is to let the fibers of the linen absorb absolutely as much water as they can. This strengthens the fibers, and prepares them for washing, so they are less likely to break in future washes. Remember that linen is a plant fiber, and like most plants, it needs a bit of care.

Step Three: I took the soaked fabric out of the tub and transferred it to my washer. Then I washed it on a warm cycle with regular detergent (no special additives and NO SOFTENERS).

Step Four: I pulled the washed fabric out and hung it up in my bathroom to dry. I left the bathroom fan on to speed the process along, but ten yards of fabric ended up taking a full day to dry. This would go faster with more space or, ideally, an outdoor clothesline.

Step Five: Once the fabric was completely dry, I used a steam iron set on the linen setting and a glass fabric smoother to iron out any remaining wrinkles. I have a short video on how to use a linen smoother below:

@spanishseamstress Using a Tudor glass smoother to polish linen fabric. #sca #medievalmethods ♬ original sound - Magistra Beatriz

You’ll notice that the sample piece of fabric I use for the smoothing demo in that video still has visible creases from drying, even though it as ironed with a hot steam iron. Those shadow creases are really hard to get out, and in lower quality linen they could be permanently visible.

After you’ve turned this pre-treated linen into a garment, you’ll want to continue washing it in cold or warm water and hanging it dry. Tumble dryers are very damaging to plant fibers especially, and eventually they will cause the garment to wear out much faster than they would otherwise. This means that your garment will feel “crispy,” but that crispiness does go away as the garment is worn.

Some of my hardcore medieval living history friends tell me that linen prepared in this way hangs and drapes differently than modernly-prepped and cleaned linen. I haven’t worn mine enough yet to make a proper study of it, but if you do try this, please let me know your results!

I'm Excellent, Thanks

Atlantia’s Kingdom Arts & Sciences Festival happened on March 4. Aside from displaying in the Open Display (a writeup of the Coronation and Twelfth Night clothing for Their Majesties), I handled the display space coordination for both the Open Display and the Persona Pentathlon.

As always, the day went well, the company was good, and the works were exciting and inspiring. Court came, and I watched a friend be elevated to the Order of the Laurel, and others recognized for their service and artistic achievements.

And then, the unexpected. I was called into court. As a Peer, you can used to being an NPC in someone else’s game, as a friend put it. You learn to value your contributions without expectation of reward (or award, or sometimes even thanks) because those contributions are what makes the Society work.

However. This time, Their Majesties and my beloved chosen family had something else in mind, and I was made a Baroness of the Court of Abran and Anya for contributions in clothing Their Majesties, supporting Their reign with classes and activities, and coordinating arts and sciences. The court barony carries no precedence and I doubt I will start going by “Excellency” since I am rather attached to “Magistra” (although La Baronesa may make an appearance). I do get to wear a beautiful tiara, and I have an exquisite piece of art in the form of a scroll by Korrin Villman and Lanea verch Kerrigan.

Photography by Lord Thomas de Winter (Thomas Beebe).

Illumination and calligraphy by Laurel Kolfinna Valravn, wordsmithing by Ollamh Lanea Inghean Uí Chiaragáin

AND THEN…

We turned the tables, as my apprentice Mariana Ruiz de Medina received her very deserved Pearl.

In Atlantia, the Order of the Pearl is a Grant of Arms level award for excellence in the arts and sciences. It is a polling order, and is often considered the intermediate step on the path to a Laurel.

Mariana was aware that she was receiving the award - there was no way we could get her non-SCAdian fiance there without her getting suspicious - but she did not know the details of the medallion and scroll.

The medallion was my own, made by Lord Edgar refskegg (who, earlier in the day, won the Royal Brewer competition), and was given from my own neck.

The scroll is another work of art, a collaboration between Kolfinna Valravn (art and calligraphy), Ollamh Lanea Inghean Uí Chiaragáin (wordsmithing), and Lady Nyvein bat Rav Adam (Hebrew translation). The scroll is based on a medieval kitubah (marriage contract) and was read in both Hebrew and English.

Mariana is mundanely Jewish and much of her SCA research involves the study of the lives of Jewish women in medieval Spain. In addition, His Majesty Abran is also Jewish, so the entire ceremony became extra-special. I hope we did her proud, and I hope we can top it for her inevitable elevation to the Laurel!

Photography by Lord Thomas de Winter (Thomas Beebe).

Saints of Spain

saint wilgefortis

Vilgeforte (Portuguese), Uncumber (English), Ontkommer (Dutch), Kümmernis (German), Frasobliwa (Polish), Liberata (Italian), Librada (Spanish), Débarras (French)

Feast day: July 20 (unofficial)

Das Bild der Kümmernis (1513) in der Egidienkirche in Erlangen-Eltersdorf. Wikimedia Commons.

Patron of: Relief from tribulations, women who wish to be unencumbered by abusive husbands, facial hair.

Venerated: Northern England, Germany, Poland, the Netherlands, Portugal Galicia, Bavaria, Austria, France, Belgium, Argentina, Panama, Italy

The Legend of St. Wilgefortis

Wilgefortis was a young Portuguese (or Galician) noblewoman whose pagan father had promised her in marriage to a Moorish nobleman. To avoid the marriage, Wilgefortis took a holy vow of virginity. When this did not dissuade her would-be husband, Wilgefortis prayed to God to disfigure her so that the marriage would be dismissed. Go granted Wilgefortis a full beard, and the Moorish nobleman called off the wedding. Wilgefortis’ father was so enraged that he had Wilgefortis crucified.

Wilgefortis is a folk saint whose veneration arose in the 14th century. The legend of her life is set in Portugal and Galicia. There is no evidence that Wilgefortis was an existing person; she was never officially canonized by the Catholic Church, although her veneration was widespread, particularly among women.

Her name may derive from the Latin “virgo fortis” (“strong virgin”) or from the German “Hilga Vartz” (“Holy Face”). The German roots point to what modern scholars suspect is a misinterpretation of the Volto Sancto of Lucca, a representation of the crucified Christ with long hair, a crown, and a long tunic.

In England, Wilgefortis was known as St. Uncumber (to relieve of suffering). She was viewed as an intercessor in times of great tribulation, especially for women married to abusive husbands.

references

  • Ott, M. (1912). Wilgefortis. In The Catholic Encyclopedia. New York: Robert Appleton Company. Retrieved December 13, 2022 from New Advent: http://www.newadvent.org/cathen/15622a.htm

  • Jasper, Alison. (2005) “Theology at the Freak Show: St Uncumber and the Discourse of Liberation.” Theology & Sexuality 11:2, 43-53, DOI: 10.1177/1355835805051877

One year later...

Oh look. Here we are again. I would apologize for the absence, but frankly, it’s been a hectic year and something had to go. But hey, winter is coming again - time for another warm dress!

There are several events on my immediate radar that will be mostly if not entirely outside, and while I love the cold, I also don’t want another events of worrying about the state of my fingers. At the same time, I’ve been rummaging through my stash with an eye to selling some fabric at the upcoming Holiday Faire and also to designate and use up stuff.

I ran into a five yard piece of dull pink heathered wool, and a large bundle of indigo linen. I immediately thought of an image from the Cantigas de Santa Maria:

Cantiga 105: “How the wicked bridegroom planned to do something and committed a shameful deed.” Edicón facsímil del Códice T.I.1 de la Biblioteca de San Lorenzo el Real de El Escorial, Siglo XIII. Edilán, 1979. Made available open access by the University of Pennsylvania. https://inpress.lib.uiowa.edu/feminae/DetailsPage.aspx?Feminae_ID=36178

Note: I refer to this as a midwife’s dress not because this is a birthing scene (it’s not), but because several images of births in 13th c. sources show midwives with removable hanging sleeves, often tied or pinned behind their backs to not interfere with their work.

This pink gown with shorter hanging sleeves is my specific goal. The wool I have is slightly too heavy for something like a fitted cote or first layer, but it will be perfect for a snuggly outer layer. I’ll pillage my stash for some silk scrap for the trim.

The woman in front of our pink lady is wearing a blue gown that I’ll use for the undergown. It’s loose, with a plain keyhole neckline edged in a contrasting fabric, and the sleeves are long and fitted at the wrist. This will be a good all-around undergarment to have in the wardrobe.

I also need another little hat, since the one I wore with my green gown has disappeared over the course of two moves. This time, I’m going for a plainer level brim with applied stripes. The stripes are most commonly red and black in source images, and I will cheat and apply ribbon instead of trying to weave them in or embroider them on

I don’t remember where I got this - it’s probably a very enlarged detail from the Cantigas.

Dress Diary : The Snuggledress

November in northern Atlantia can be cold and gray, so I need a nice warm something for Highland Havoc (that event I’m autocratting).

Two requirements:

  1. it must be at least Spanish-adjacent to fit into my overarching wardrobe goals

  2. wool may not be possible given the issues that the US is having with supply line delays

The Inspirations

For many years, 14th century fashion has been so popular in my kingdom that we refer to it as “Atlantian business casual.” While I never joined the 14th century Mafia, I can hammer out a Gothic Fitted Dress (AKA a GFD) in a couple of weekends, and I just happened to have a brand new body block available. Off to my supply of images I went, looking for something that could plausibly be adapted from a basic GFD.

1385 St Stephen Altarpiece - Noguera - Museum of Catalan Art

This image annoys me - it’s from Carmen Bernis’ La indumentaria medieval española, and no good color image seems to be available.

Both of these dresses are similar enough to a basic Continental GFD that I felt comfortable using my pattern as is. Since it’s a fast project, I’m going to deviate from my exemplars to some degree and have the gown lace down the front - my reasoning for this is largely convenience, but also I’m intending this dress to be more of a field/tourney gown that I can throw on quickly by myself and also be able to work.

To that end, I’m also making the neckline less of a wide boat neck and much more of a medium-depth scoop. Honestly, the end is more I don’t want to fiddlefart around with sleeve and neck fitting any more than I will already need to (sleeves are the devil). The gown will be short sleeved as in the blue dress on the left. Eventually, I will make pin on sleeves, but I don’t know yet if it will be that cold by November 13.

The Materials

Once I had the idea in place, it was time to buy fabric. I have had a real struggle with shipping fabric from my favorite stores on the West Coast, so I went hunting on my preferred discount site (fabric.com). Sadly, their wool selection right now tends to either heavy melton or mostly polyester, and I don’t have enough time for an order from B. Black & Sons or Royal Blue Traders to arrive.

At the same time, I noticed the site was having a sale on flannel, so I went to peek for fabrics for another project. As I was paging through, I ran across a very nice russet herringbone 100% cotton shirting flannel by Kaufman, and it jumped right out as the perfect fabric for the project. So reader, I bought it.

About the same time, I decided I needed a hood to go with. A while back I purchased the Medieval Cat Hood pattern by Daisy Viktoria, and I decided this would be perfect for an event meant to be fun and silly. I hit up my local JoAnn’s hoping to find some olive green wool, and instead found a very satisfying forest green wool, and then another brand of herringbone flannel in a harvest gold.

It didn’t hit me until I piled things together that I will be dressed as a pumpkin… Anyway, here’s the fabrics:

Gown fabric: Russet herringbone cotton flannel. I’ll scrounge some medium weight linen for the bodice lining.

Hood fabrics: golden herringbone cotton flannel lining, medium weight green wool for outer, and gold yarn for the tassels.

Dress Diary: Emergency Sewing Project

Okay, honestly there is no such thing as a costuming emergency if it doesn’t involve paychecks or hospital bills, but “I’m already overcommitted so one more thing can’t possible make anything worse” was too long for a post title.

For my SCA folks, I am autocratting my first event in mid-November. For my non-SCA readers (which by the way, who are you? Shout out.), I am project managing an outdoor event for about 150 people plus horses in just under a month. I live in the mid-Atlantic, in the Appalachian foothills, and it is likely to get chilly if not actually cold, and the event site has no “indoor.”

The emergency factor is that over the pandemic, I managed to gain most of the quarantine weight that my friends lost. That combined with a general dissatisfaction with my existing historical wardrobe led to the sudden realization that I have nothing to wear and will be attending two cold events in a row.

Enter the Emergency Dress project. At first, I thought I would take the fine new body block I made at a workshop a while ago and slam out a basic Gothic Fitted Dress. Except, as you know if you’re reading this site, I am the Spanish Seamstress, and GFDs aren’t really Spanish. My current goal is to create a mixable wardrobe of 100% Spanish, and an English gown doesn’t fit the bill.

At the same time, I’m working with a brand new apprentice who has specifically asked for help with clothing project management, planning, and documentation. So over the next couple of weeks, I’ll be posting here to shed some light on my process (or lack thereof) while I’m building a new outfit

Make Do & Mend

One of my current favorite things to do is making over old garb into new garb (or new modern clothing, in some cases). The fashions I prefer are really fabric-intensive, so I can nearly always get 3-4 usable yards of fabric out of them.

This week’s project is turning an old Elizabethan petticoat into yardage for a new Spanish jacket. Two reasons for this: a. I haven’t worn Elizabethan since about 2012, and b. it doesn’t fit anymore. Here’s the plan:

5 yards of olive green silk with a band of melon silk.

5 yards of olive green silk with a band of melon silk.

This is a whole lot of skirt to just get rid of. I love it - it’s light and flowy, but it should have a good body when it’s lined.

But first I have to unpick some of the best cartridge pleating I’ve ever done. It is secure.

But first I have to unpick some of the best cartridge pleating I’ve ever done. It is secure.

fb776e923659a42bf44b2fa7eda9b913.jpg

I’m thinking of turning it into a little jacket like this one, with closed sleeves. I’ll probably have enough left over for another set of sleeves, or some trim, or possibly a hat. We’ll see.

Intellectual Freedom and Copyright on the Internet

Lately, there seems to be a spate of copyright/fair use infringement happening to re-enactment bloggers. I think a lot of the problem is that copyright is a contentious, thorny, compex subject that no one really has an opportunity to study closely (unless you happen to be a law student, or perhaps a web designer, etc.) and so we often don't know what is okay to use, how, and when.

The issue came up again, and since part of my job involves keeping up on US copyright issues, I posted a short list of links to my Facebook page. The response was overwhelmingly positive, so I am posting here a longer list of resources for learning the basics about Internet copyright.

Disclaimer: I am not a copyright attorney or interpreter, nor do I play one on TV. What I am presenting is a list of resources that should hopefully be helpful to the average person trying to figure out what they can and cannot do online.

Disclaimer 2: I am located in the US, and these resources are for US-based persons.  I do not claim to be knowledgeable about intellectual property issues in other countries. However,  I will take suggestions from readers, so if you know of a good copyright resource for your country, please let me know.

 

The U.S. Copyright Office maintains a page of resources at http://www.copyright.gov/ . It’s a good starting place to get as precise answers as you are likely to get.

The USCO “Students and Teachers” page is helpful, if a little on the young side. http://www.copyright.gov/students_teachers/

The University of New Hampshire School of Law has an entire website dedicated to intellectual property and copyright. This essay by Prof. Em. Thomas G. Field, Jr. addresses some basic concepts. http://law.unh.edu/franklin-pierce-ip-center/studying-ip-at-unh-law/ip-basics/copyright-internet

George Mason University “Copyright and the Internet”: http://mason.gmu.edu/~montecin/copyright-internet.htm

University of Texas’ “Copyright Crash Course”: http://copyright.lib.utexas.edu/useofweb.html

The Center for Internet & Society at Stanford Law has a great page  on Internet copyright and fair use: http://cyberlaw.stanford.edu/focus-areas/copyright-and-fair-use

“Ten Bogus Excuses People Use When Stealing Photos From the Internet”: http://www.theguardian.com/media/greenslade/2013/nov/26/news-photography-medialaw

The Wardrobe Project

This weekend I attended Atlantia's Crown Tourney. While preparing for the event, I figured out that I really do not have a persona-appropriate wardrobe to speak of. In my chosen period and place, not counting items that do not fit or are badly damaged, I have: 2 linen kirtles, one full-sleeved linen camisa, one straight-sleeved linen camisa, one wool jacket, one wool petticoat, two habitos, and my elevation ensemble.

That's it. My tranzados are filthy from wearing at Pennsic, two of my linen kirtles are too big, one kirtle is torn straight down the front, all of my other camisas have shredded into rags, and I don't even have proper stockings.

I am not a very good example of a costuming Laurel at the moment.

I've decided to embark on a full wardrobe project to fix this, and I pinky-swear that I will post about it extensively on the blog. I'm going to start with locating my persona in place and time (for those reading along - I know when and where I am), then look at wardrobe inventories and source images to get an idea of what someone of my persona's social standing would be wearing. I'll talk about fabric choices and embellishments and how to clothe a person rather than costume a persona.

Hopefully by the end of this little experiment, Beatriz will look like the minor noble lady that she is, and I will have a collection of clothing that makes me proud.

Atlantian University Fall 2013 Handouts

I have just posted PDF copies of my handouts from this past weekend.

I am trying something new this time: if you go to "Documentation and Handouts," you will see the handouts listed by title. However, these copies do not have the images or cover sheet attached. I have created a new directory, "Atlantian University Fall 2013" in the documentation section.

The University directory has all the pieces of the handout packet. I have made separate PDF copies of the imge pages and the cover sheet, so if you want part but not all, you are welcome to download just what you need.

Elevation Gallery

In February, Their Majesties Vladimir and Kalisa of Atlantia called me into court and presented me with a writ to consider joining their Order of the Laurel. For non-SCA folks, the Laurel is our organization's highest award for excellence in the arts and sciences, and represents an acknowledgement that one in an expert in one's field.

On March 30th, I sat vigil and was elevated to the Order. It was an amazing, thrilling, humbling day, and I am beyond touched to be included in the Order alongside people whom I have admired for years.

I have finished collating and labelling all the photos from my vigil and elevation to the Order of the Laurel, and they are available in the Elevation Gallery. Very soon, I hope to take photos of some of the objects that were gifted to me, and add those to the gallery as well. Right now, I am filling out thank you cards for all the people who worked so hard to make my day special.

Pinterest

It occured to me today that providing a link to my Pinterest account may be of use to some folks. I use Pinterest to collect research images together, until I have the time to add them to a gallery or a set of documentation.

I have Pinterest boards that cover historical cosmetics, many many aspects of Spanish clothing, shoes, food, historical and modern knitting, and tons more. Please feel free to follow me - I usually follow people back - or just browse around. I try very hard to provide correct citation information for the images I pin, so if you happen to notice incorrect information, please let me know.

http://pinterest.com/mscogsworthy

Possible Extant Spanish Hood

This exquisite article recently sold for USD 11,950 at Bonham's Auctions. 

Details from the auction site:

"1460: A fine and rare metallic thread and jeweled hood. Iberian or Austrian late 16th century. Applied with scrolling flowering plants springing from a late Renaissance urn in metallic thread and enriched with seed pearls, the flower heads centering Renaissance gold and enameled jewels set with precious stones including rubies and emeralds, the initials for the Virgin Mary beneath the crown on the back of the head above the urn. height 12 1/2in (31.5cm)."


Garb CRP #1: Leather shoes

The one item in my wardrobe that really takes a beating during Pennsic are my shoes. No matter what I do, eventually I'm going to have to slog through a mudpuddle, and then my shoes are wet and dirty. I sweat in them, walk all over site with them,  let them dry out in my tent overnight, propr them up by the fire, and sometimes I even lose one under the carpet in my tent for a couple of days. And then I toss them i na plastic bag, seal it up, and take them home.

By the time they come out of the bag, they're really a mess. Ground in dirt, scuffs, sometimes a little mold... I make these mistakes so you don't have to.

Let's take a look at a couple of pairs of my shoes after Pennsic XLI:

Red 14th century shoes. These aren't so bad compared with some of the others.

Green 14th century shoes. I only wore these once, but it poured down rain that day.

16th century latchet shoes. I actually haven't worn these since last Pennsic, so you can see how filthy shoes get. Let's take a closeup look:

Ewww.

 

This year, I decided to take a more preservation-minded approach to dealing with the shoes. Here's how I cleaned them.

Note: The following method is for cleaning smooth leather only. Suede and nubuck require special cleaning methods that I will not be discussing in this guide.

What you'll need:

 

  1. Stiff brush
  2. Two soft cloths, one dampened
  3. Saddle soap
  4. Mink oil
  5. Towel to cover your surface

 

I started with the red 14th century shoes from the first photo above. Here's a closeup of the caked-on dirt splatters:

Take the stiff brush and clean off any caked-on dirt, paying close attention to dirt collected in seams.

Take the damp cloth and work it over the surface of the saddle soap until it lathers.

Apply the soap to the shoe and rub it well.

Don't worry if a bit of the dye comes off with the dirt, especially if the shoes are new or have never been cleaned before. This is what came off of my shoes during their first cleaning:

Remove any excess with a clean corner of the damp cloth and let dry. If you aren't planning to wear your shoes outside, you can skip the mink oil step and just buff the dry leather with a clean, soft cloth.

However, since mink oil is also a conditioner, I recommend using it once or twice a year to keep your shoes from drying out and cracking.

Load the dry soft cloth with mink oil. You don't need to scoop it onto the cloth - just rubbing the cloth over the surface should let you pick up enough to work with.  Rub the mink oil into the leather until the oil no longer absorbs.

With turnshoes, I usually clean and oil the soles as well as the uppers. I try to pay special attention to any seams and spots that might be scuffed up, to make sure they will be well-sealed.

Here are the soles before and after cleaning and oiling. The top shoe is completed, qhile the bottom shoe has only had the loose dirt brushed off:

Unfortunately, red doesn't photograph terribly well on my camera, so let me show you some before and afters of the other shoes.

 

16th century German Kuhmaule by Bohemond Boots.

The shoe on the top/left has not been cleaned.

 

 

  16th century latchets. The shoe o nthe left has not been cleaned.

 

Miniseries: Cleaning, repairing, and preserving garb

If you've ever been to Pennsic - or any other outdoor event where there might be rain, mud, dust, snow, humidity, and other natural crud - you know exactly how much havoc extended outdoor wear can wreak on your historical clothing. Hems get muddy, necklines get sweat stained, and leather shoes look like they've been dug up out of a bog. It's not fun at the time, and it's even less fun when you get home and have to get all the nature off your clothes. 

In this miniseries, I'm going to talk a bit about how I clean and preserve my historic garb. I will be including tips for big cleanups (like for after Pennsic) as well as tricks for ongoing maintenance and cleaning. From top to toes, this series will help you keep your garb looking nice and will extend the life of your wardrobe.