I am going to get on a soapbox now, you can feel free to leave if need be.  And yes, I know that I have made this statement before, but I feel it can never be said enough.

If you ask someone about a thing or practice, or even your thing that you made yourself, and the comment that comes back is "that thing is not period" or "there is no evidence for a thing", that is not an attack.  It is not an insult.  Rather, it is a statement of fact given in reply to a question that was asked or as part of an ongoing conversation over a thing.  There is no need here for defensiveness, though it is certainly ok to ask for sources or to engage in deeper discussion.  

Further, it does not mean that that thing is unwelcome in the SCA or that you cannot choose to craft that thing that you happen to love.  I can certainly discuss the absolutely complete lack of evidence for large scale Celtic art applique on Norse dress while appreciating the beauty of the item in question.  I also often state that they indeed a very lovely way to approach SCA heraldry for any kit, especially for our Royals.  That those things can be admired, however, does not give them historical validity, and there is nothing at all wrong with conversations that flow in that direction.  Far better that someone who prefers to choose authenticity know the reality of something before they dive in and spend time and money on a project that they might later regret because it is not what they thought it was.

There are constant conversations online (and occasionally in person) about how someone destroyed someone's soul by giving comments that where not asked for.  Understand that this also works both ways.  If you ask for comments on a thing, you might well get some you did not expect, or some that match your own ideas on a thing.  That is OK.  That SHOULD be why the question was asked at the outset (to learn more).  If you really do not want to know more, do not ask.  To jump on the defensive over a statement of fact (that came in response to a question or as part of a conversation) can be just as hurtful, and just as game destroying, to the person who tried, to the best of their ability, to answer the question you ask.  This person is taking their time to engage in a dialog that you initiated, to offer advice, to give their perspective.

Is the advice or commentary sometimes contrary to what we thought we knew?  Does this shake our world?  Sometimes, yes, it does.  But that is why we ask these things to begin with.  Do not ask a question just to affirm what you think you know.  Do not ask a question when what you really want is a compliment.  Ask because you want to know more, because you want additional input and because you want to expand on your work.  All of that is quite ok, assuming that we react to that quake with grace.  It is not always easy.  I know this because I have been there, but it is how we grow as artisans. 

And yes, sometimes we do not react with grace, but we can learn from that too.  The key is to remember that this is not about you as a person.  It is not even about the quality of your work.  It is also not about the person who took the time to give you critique or engage in discussion with you.  Please, please do not turn around and scream about how someone treated you less than kindly when, in fact, they were actually responding to your query.

I would love to see everyone be more willing to have thoughtful, engaging dialog.  This is how we all learn and further our knowledge of things from the past.

(Yes, I understand there are people out there that might try to harsh someone on purpose, or people that offer comments that were NOT asked for.  This post is NOT about those situations.  They happen, everyone on this planet has heard about them at this point.  This post is a reminder that it is a two way street and any "someone crushed my dream by looking at me funny" comments will be deleted.)

Occasionally I realize that I have totally lost my mind.  Clearly this is one of those times. 

Last year I decided I wanted to come up with a super easy, one layer sort of loose garment that I could do in linen that is more period than my typical bog dresses.  (My "bog dress" is a modified version of the typical two-flap style that involves less fabric, less bunching, and some pleats for better drape.  It is plausible, but is "inspired by" rather than based on an actual extant piece.  My instructions are here: http://awanderingelf.weebly.com/blog-my-journey/sca-standards-the-bog-dress) awanderingelf.weebly.com/blog-my-journey/sca-standards-the-bog-dress

I prefer linen at War, but the issue with linen is that its drape does not lend well to garments that have a lot of fabric bunched up at the waist.  Linen has a very beautiful crisp hand, and tends to fall away from the body rather than flow over it.  Linen is also typically a tabby weave.  Tabby also tends to fall away from the body, whereas a twill will better flow.

Both linen and wool are wonderful, as are both twill and tabby.  They, however, have very different looks and are suited to different things.  For me personally the linen tabby does not make me happy with a Huldremose or Zweeloo style bog dress because it is simply too much cloth (that does not flow well) gathered in at the waist.

I recalled awhile ago that I was deciding on what to do with some lovely mid-weight wool, twill plaid, and tested a very hypothetical garment out in that cloth.  The bulk was too much, but just maybe it would work with this mid-weight linen...
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In my massive stash of books and articles I have one entitled "Visions of Dress. Recreating Bronze Age Clothing from the Danube Region".  This is by Karina Grömer, Lise Bender Jørgensen and Helga Rösel-Mautendorfer.  I tend to collect articles by certain authors, in this case it was Bender Jørgensen that is responsible for this one being in my stash.  It discusses a fantastic find from the Bronze Age in Austria and what the plausible costume construction for the fantastic (and dangerous, lol) jewelry could have been.

One of the options (Variant 4: Pustopolje type) is a very simple wrapped garment made from a rectangle of cloth.  I have to take a moment here and note that it is expressly stated in the article that "none of the recreated outfits can be considered as 'the truth'".  This is very key, they are all exceptionally hypothetical (and the methodology is laid out in the document itself, which I shall link further down).  It does, however, work amazingly well and is quite beautiful in the linen that I tested!  (There really is not enough to back this, even with this article, to give this garment enough to pass muster as an A&S project, but it certainly works for events like Pennsic, where I want to stay cool and comfy!)
​https://www.academia.edu/10762573/Visions_of_Dress._Recreating_Bronze_Age_Clothing_from_the_Danube_Regionwww.academia.edu/10762573/Visions_of_Dress._Recreating_Bronze_Age_Clothing_from_the_Danube_Region

Below are some tests I did.  This is 2 yards of 5.3oz linen, un cut and unhemmed.  I tried it with and without a belt and both styles are secure.  I can walk, climb stairs, get up and down off the ground and chase cats in it.  For this test I simply used kilt pins.  In reality I will hem the cloth and use my Crafty Celts Belt and Fibula set (which dates several hundred years after this, but I have it and it is stunning).

The only issue I have so far found at all was that the top-front (neckline) tends to ride a little high on me.  That can be easily fixed with a small brooch or fibula in the front that would serve to gather  just a bit of that fabric (pulling it a bit lower).

I know that I wanted to over complicate this exceptionally simple garment, and was pleased when I figured it out exactly how easy it was.  Below are steps to complete this look yourself.  Note that the fabric requirement will change with size and body type!  

If you have recently been to Æthelmearc War Practice, you know that there is an open Artisan's Playtime that goes on in the Great Hall during the event.  This event has areas for different arts (C&I, wood working, fiber, etc.) where you can see arts demonstrated or even try your hand at something new yourself!

This year, Æthelmearc Royal will be hosting a Pennsic Artisans' Playtime!  On Middle Saturday, from 10am-3pm, feel free to stop by and check things out.  Come find your new art!  

Lady Rosamund and I will be there processing wool and doing some other fiber things if that is of interest to you.  Please stop by!

https://www.facebook.com/artisansplaytime/  www.facebook.com/artisansplaytime/

​Please note that Æthelmearc Royal is a good location to remember should you need a place to sit in the shade or a bit or a glass of water.  There is a populace hospitality area just inside!  The Hospitality Staff will be happy to point you to it.

I can never just do what I need to do, in any sensible order.  I did, in fact, prep the RV and do some Pennsic Packing this weekend, but I also spent some time trying out indigo dyeing (I need a long blue wool veil) and finished up a Hedeby purse.

The dye I used was actually an indigo tie-dye kit from Dharma.  It has everything you need to set up a vat very quickly and with little chance of error.  As I am only a dabble-dyer, and have never used indigo or woad before, I opted for easy.  I will definitely use this again!  I did three dips with my wool gauze veil, 3 with a small piece of silk habotai, and Lady Rosamund came over and dyed 3 skeins of wool yarn and several scraps of wool cloth and felt.

My one comment is to buy LONG rubber gloves if you dont want blue fingernails!

http://www.dharmatrading.com/kits/starter/sets/indigo-dye-kit.html

Less than 2 weeks till War!  I cannot wait!

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As part of the A&S display this year there will be an opportunity for consultations!

A & S Consultation Tables
NEW THIS YEAR!


Entrants can voluntarily request feedback based on the higher degree of expectations that happen at more competitive levels.


The focus is on extensive research, historical understanding, and exemplary execution. These are all important for A & S Champions entries, but also for other activities throughout the Society. Even if you never plan to enter A & S competitions, you can use these tables as opportunities for feedback.


Entrants: After you have gone through the registration table, you may sign up at the A & S Consultation Tables for constructive feedback. (This is in addition to your other A & S Display activities and is no way required.)
You will not receive a score and there is nothing to win.

You will have a chance to talk to experienced judges and walk through their thought process as they examine your entry.


We can give you directed feedback and we can also walk you through example judging rubrics. It depends on what help you are requesting.


We will attempt to accommodate as many entries as possible. We will visit you at your table to view your display and talk to you. We can also work with you on scheduling a specific time.


Judges: We also welcome volunteer judges. Want to help? Let us know! It's you who will help make the A & S Consultation Tables successful.


We'd welcome you for the full four hours; two hour shifts would also help. Let us know what you can do and we'll work with you.


Never judged before and want to learn? Let us know. You can be a shadow judge. We'd welcome the company.

We also hope that this will make the judging experience more constructive and more enjoyable.


If you are interested in helping, please contact The Honorable Lady Kataryn Mercer.

http://www.pennsicwar.org/penn46/DEPTS/AANDS/DISPLAY/index.html#consult

(Warning, this is a very preachy post, you can avoid it if you prefer.  None of us are perfect, but this is, in part, also a reminder for me to think twice as much as it is anything else.  Further, this is NOT about clear cases of someone mistreating others at events, it is merely a commentary on the importance of not assigning motive to those behaviors.)
 
One of the most important things that I learned in conversations with my Laurel was how dangerous, and detrimental, it can be to apply motive to someone else’s actions.  Of course, all of this actually makes sense when you think about it, but I guess I had just never really spent the time on it until a couple of situations came up and we discussed them.  It never actually occurred to me how damning (for all parties involved, including the person making the assumptions), that applying motive to someone’s actions can be. 
 
Over the years I have seen it commonly come up in forums, these situations where people are assuming that someone shafted them for some reason (which they do not ACTUALLY know, in most cases) venting about the injustice of it.  I have also seen it in person.  I know someone who loved to vent about how she was garb snarked at an event once.  That a certain Laurel saw her kit and made nasty comments about it.  Well, the reality of that situation was that that person was behaving like a total ass at that moment, and she merely got an eye roll over the very poor public behavior (the garb in question was actually wonderful stuff, lol). 
 
So, I want to put an example out there, about how damaging applying motive can be.  Here is an example:
 
At an event Shapoopee (thank you to one of my dear dance teachers for that example name) and Shapeepee are talking to Lady Artisan about their garb.  Shapoopee and Shapeepee have only been playing a couple of years and have not yet been awarded an AoA. Lady Artisan has been around a bit longer and has her GoA for her costuming work. They know each other in passing, but not well enough to truly consider each other friends yet.
 
The three women are all in the center of a room chatting away.  Lady Artisan seems a bit distracted a few times but is carrying on her end of the conversation. 
 
Across the room, in full view by all three, is a door and note here that the room is getting more crowded as more and more people enter (perhaps this is the social area of an event, or maybe dayboard is about to start). Eventually through that door comes Laurel Costumer and Laurel Feeder-of-Masses.  Shapoopee comments on their entrance because she is in awe of Laurel Costumer's new dress. At that very moment, Lady Artisan cuts off her conversation rather abruptly, and with a quick excuse, makes haste towards the doorway.
 
Now, Shapoopee and Shapeepee are somewhat stunned by this (rightfully so) and immediately turn to each other and in hushed tones are asking each other “What the hell was that?” They are both a bit hurt about being suddenly abandoned.  They come to the quick conclusion that Lady Artisan ditched them in favor of the pair of entering Laurels.

They might tell this story to others, about how they were snubbed because they have no awards, or how Lady Artisan was trying to suck up to the Laurels.  The end result is some very damning rumors about Lady Artisan that some might hear (and wrongly) take to heart.  Another result of the chatter is that Shapoopee and Shapeepee end up looking quite petty to others.  And beyond that even, Shapoopee and Shapeepee might start avoiding Lady Artisan, which could ruin a potential friendship, or they might lose out on some wonderful information because they will now not take her classes.
 
Now, the question really is - what actually happened here?
 
Lady Artisan was distracted during the conversation because her young daughter was across the room near the door way playing with some other children.  They were all getting a bit rough and rowdy and were getting closer and closer to creating some sort of inadvertent child disaster.  At the moment that the Laurels entered the room, she saw the kids romp into a nearby table, spilling the contents of several goblets on it. Lady Artisan was dashing off to do damage control and was more concerned about the idea that the children might have damaged someone’s property than making polite excuses to other adults for abandoning a conversation.
 
The reaction Shapoopee and Shapeepee had was a natural one to being abandoned, and they missed what else happened because they were (rightfully) a bit stunned.  But the point is that, however natural the reaction might be, the assumptions they immediately came too were wrong.
 
What else could have happened?
 
Maybe Lady Artisan was just not feeling well that day.  Maybe she felt as though she was going to be sick and needed to make a hasty exit.  Perhaps, even as she was dashing out of the room, Laurel Costumer did indeed grab her attention to complement her on her work for a split second (before she could once again finish that needed retreat to the rest room).  Maybe Shapoopee and Shapeepee saw that and it confirmed their “theory” (which was still, in fact, wrong).
 
Or perhaps this?
 
Lady Artisan was actually waiting in the room within view of the door because she had been asked by Lady Costumer to make something special for a Vigil that was happening that night.  Lady Artisan should actually have left the event much earlier, as she had to get home after getting a call that the babysitter needed to leave early for some reason.  She wanted to make sure that the item got to the proper person and was distracted because she also worried about being late.  When Laurel Costumer arrived, she wanted to pass off the item and leave.  She was not snubbing anyone, and her only possibly wrong was the lack of grace she showed in her hasty exit.
 
Or what about this one?
 
Lady Artisan is at a bit of a loss on some social situations and had more than her fill of peopling for the day.  Shapoopee and Shapeepee had a habit of cornering her at every event and talking for hours (often about things well outside an SCA context).  Lady Artisan likes these women, but is not very close to them because she feels their personalities do not mesh well.  She is getting to a point where she cannot cope with the chatter and attempts (somewhat ungracefully) to make her leave to go see Laurel Costumer, with whom she is actually friends in an effort to calm down and resort her own thoughts.
 
I could go on. 
 
I could make up these scenarios all day. 
 
I could go on so long I would run out of plausible fictions and I resort to tales of alien abductions or time travel or trips on the Enterprise.  And the reality of it is, that unless Lady Artisan actually tells me what happened, I will likely never, ever know the reality of it.
 
I know that in the SCA, especially on forums where people can ask Peers questions, as well as in conversations amongst Peers about candidates that we love to discuss PLQs.  To me, it is critical to try to remove “assumption of motive” from any of these conversations, and from any angle.  It is not always possible, and sometimes, yes, there is a long standing pattern of behavior that might offer more insight.  But the reality is that we are all doing a disservice to not only the Society, but to each other and ourselves by assuming the worst when we, in all reality, cannot actually guess at the underlying cause of a behavior.

If you are a regular around here you will have seen my numerous posts on over-embellishment by reenactors (and know that at one time I too fell into that trap), but you will also see my rationale for NOT employing things such as lavish embroidery to a period kit.

This topic is typically heated in online forums and is accompanied by every Woulda/Coulda/Shoulda that one can imagine.  

Well, I discovered yesterday that these conversations even happen in later period forums (though, I have to say, with far less vehemence than some I am used to).  I am going to link a thread below for the Elizabethan Costume group on Facebook because the conversation is educational, civil and very, very similar in context to the things earlier period reenactors should be considering when planning a kit. The conversation includes discussion on social status, expectations of that, and more.  (Also, poke around this forum if you have any interest at all in later historical costume.  There are WONDERFUL samples of people's work and many engaging discussions!)

https://www.facebook.com/groups/29374273995/permalink/10155428435723996/

Facebook reminded me today that I made my first Viking outfit a decade ago.  It was crafted hastily after returning from a vacation to Norway, using a pattern diagram from one friend and a sheet on "embellishments" from another.  I bought my brooches and pendant and strung the beads at Pennsic that year.  

Since then, I have done copious amounts of research.  I have upgraded my brooches 3 times, replaced my swag with reproduction beads (and far less of them) as well as more period appropriate pendants, when I use them at all.  I have added additional accessories such as bracelets and period shoes, as well as headcoverings.  This aprondress is covered in herringbone stitches, so it has been passed on to someone else and I am using more period embellishment when I chose to add accents (which is not that often).

Most importantly, I have learned, from the ground up, how textiles were made in period.  I have learned to spin and weave.  I have put together classes on how wool now differs from period wool and what types of textiles you can look for when shopping so that might get you a more period look and drape.  

And there is still so very much more to learn, to experiment with and to too keep carefully, and thoughtfully, upgrading my kit.  Yes, it took a decade to get here, but I am pleased with what I have learned and with how I can implement it (as well as how I can share it with others).  

I cannot wait to embark on another decade of this wonderful journey!

For those who have missed it, Registration has been extended till June 23!  That means you have one last chance to register and get that land allotment!

Also, this year the site book is being published BEFORE war online.  That means you can take a peek now.

http://www.pennsicwar.org/penn46/PW46EventGuide.pdf