AuthorTheCarolaCarolaC adler

www.zauberfeder-verlag.de

Whether you portray a hetman, craftsman, slave, seer or farmer’s wife, Viking Garments offers Viking re-enactors

a handbook for the making of detailed clothing for various roles, time periods and regions. This book contains

numerous basic patterns for men’s, women’s and children’s clothing in many possible combinations. Extensive

additional information on materials and sewing techniques allows even sewing beginners with little experience

to make sturdy clothing for winter and summer.

ISBN 978-3-938922-72-9

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Carola Adler has been sewing and designing

clothing for over twenty-five years. In 2002 she

decided to turn her hobby into her profession, and

has been running the costume shop Adel und Volk

(www.adelundvolk.de) as a one-woman enterprise

ever since. She offers unique garments, mostly in

fantasy and medieval styles.

arments

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1st Edition 2017

Copyright © 2017 Zauberfeder GmbH, Braunschweig

Text: Carola AdlerIllustrations: Kay ElznerTranslation: Sonia FockeCopy editor: Sylvie MalichEditor: Stephan NaguschewskiArt director: Christian SchmalArt editor: Martin-Christoph Schneider (Glorienschein GbR), Christian Schmal, Heike PhilippProduction: Tara Tobias MoritzenPrinting: UAB BALTO print, Vilnius

All rights reserved.

No part of this publication may be reproduced by any means (photocopy, microfilm or other methods) or processed, copied or distributed by using elec-

tronic systems without prior written permission of the copyright owner.

Printed in LithuaniaISBN 978-3-938922-72-9www.zauberfeder.com

Publisher’s note:This book has been compiled carefully. However, no liability can be taken for the accuracy of this information.

The author and the publishing company as well as their representatives can assume no liability for potential damages to persons or property, or for financial losses.

The patterns and instructions in this book were conceived to aid the sewing of custom garments of the Viking Age. Although they are based on historical finds

and depictions, they have been adapted to modern cut, size, material and manufacturing standards. We, therefore, make no claims in terms of authenticity.

Patterns and instructions are intended for those who are already familiar with contemporary sewing patterns.

All measurements are given in centimetres, without seam or hem allowances. The sizing charts are intended as guidelines and may need to be individually adjusted.

Carola Adler “Make Your Own Medieval Clothing – Viking Garments”Original title “Kleidung des Mittelalters selbst anfertigen – Gewandungen der Wikinger”

For Torge and Hagen

Contents . . . . . . . . . . . . . . . . . . . . . . . . 4

Introduction . . . . . . . . . . . . . . . . . . . . . 5History of the Vikings . . . . . . . . . . . . . . . . . 6Appearance and clothing of the Vikings . . . . . . . 7Artistic Styles of the Vikings . . . . . . . . . . . . .10

Garments for the menfolkGored tunic . . . . . . . . . . . . . . . . . . . . . .12“Viborg”-style tunic . . . . . . . . . . . . . . . . . .14Tunic with trapezium panels . . . . . . . . . . . . .17Short wraparound coat . . . . . . . . . . . . . . . .20Long wraparound coat . . . . . . . . . . . . . . . .22“Thorsberg” trousers . . . . . . . . . . . . . . . . .24Wide trousers . . . . . . . . . . . . . . . . . . . . .26Gaiters/hose . . . . . . . . . . . . . . . . . . . . . .27Cap . . . . . . . . . . . . . . . . . . . . . . . . . . .28Hat . . . . . . . . . . . . . . . . . . . . . . . . . . .28Hood . . . . . . . . . . . . . . . . . . . . . . . . . .29Hooded shoulder cape . . . . . . . . . . . . . . . .30Rectangular cloak . . . . . . . . . . . . . . . . . . .31

Garments for the womenfolkSimple shift . . . . . . . . . . . . . . . . . . . . . .32Fitted shift . . . . . . . . . . . . . . . . . . . . . . .34Gored overdress . . . . . . . . . . . . . . . . . . . .36Apron dress . . . . . . . . . . . . . . . . . . . . . .38Pleated apron dress . . . . . . . . . . . . . . . . . .39Apron dress with two gores . . . . . . . . . . . . . .40Apron dress with one gore . . . . . . . . . . . . . .41Apron dress with decorative braid . . . . . . . . . .42Coat . . . . . . . . . . . . . . . . . . . . . . . . . .44Cloak/shawl . . . . . . . . . . . . . . . . . . . . . .46Kerchief . . . . . . . . . . . . . . . . . . . . . . . .47Cap . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Garments for the little folkTunic/dress. . . . . . . . . . . . . . . . . . . . . . .48Trousers . . . . . . . . . . . . . . . . . . . . . . . .50Hooded shoulder cape. . . . . . . . . . . . . . . . .51

Accessories . . . . . . . . . . . . . . . . . . . . . .52

Sewing your garmentsDrafting a pattern . . . . . . . . . . . . . . . . . . .53

Using the sizing charts . . . . . . . . . . . . . . . . . . 54

Using the “t-shirt method” . . . . . . . . . . . . . . . . 55

Choosing your materialTypes of cloth . . . . . . . . . . . . . . . . . . . . . . . 56

Weaves . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Colours . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Sewing Your garmentGeneralities . . . . . . . . . . . . . . . . . . . . . . . . 58

Hand sewing . . . . . . . . . . . . . . . . . . . . . . . 58

Machine sewing . . . . . . . . . . . . . . . . . . . . . 60

Textile craftsEmbroidery . . . . . . . . . . . . . . . . . . . . . . . . 61

Tablet weaving . . . . . . . . . . . . . . . . . . . . . . 63

Fastenings. . . . . . . . . . . . . . . . . . . . . . . . . 65

Coloured facings . . . . . . . . . . . . . . . . . . . . . 66

Braids and fringes . . . . . . . . . . . . . . . . . . . . 66

Patching. . . . . . . . . . . . . . . . . . . . . . . . . . 68

Tufts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Nålebinding. . . . . . . . . . . . . . . . . . . . . . . . 69

Sewing glossary . . . . . . . . . . . . . . . . . . . .70

Bibliography . . . . . . . . . . . . . . . . . . . . .74

he Age of the Vikings has been a source of enduring fascination. The Norsemen’s joy

of battle and sensual pleasures, their skill as traders and artisans, their profusion of gods and the magic that permeated their world – these are some of the elements that may explain universal appeal. It is therefore hardly surprising that more and more people feel drawn to Viking-themed festivals and events, eager to be a part of all this if only for a weekend. However, the cost of materials can be enormous and not everyone is lucky enough to know someone who can take them by the hand and induct them into this new, old world. The easiest way to establish a foothold is to seek contact with enthusiasts at a festival or to join existing “clans” on the Internet. Whichever means you choose, this book is to help you create a basic set of historically inspired Viking garments suitable for outdoor wear.

Viking art left few depictions of people and little in the way of written descriptions as to their appearance and clothing. Despite an abundance of excavated textile remains, the majority are too fragmentary – unlike metal and stone which can survive in the ground in a relatively good state of preservation, cloth tends to deteriorate to a point that it can only be speculated as to their original function. Although minute traces of textile fibres have been found preserved in the corrosion products of metal objects such as fibulae and belt buckles, they at best only offer information on the material used, not on the actual form of the garment. Some reconstructions of ancient apparel has been based on the placement of metal buttons, fibulae and other accessories that fastened or held garments found on or around skeletal remains in grave sites.

Duplicating Viking attire has also been complicated by the fact that neither historians nor sculptors nor painters, nor indeed any other type of artist, depicted clothing from a tailor's perspective, nor did seamstresses leave behind written accounts of their work. Contemporary records on extraordinary events involving royalty, for instance, always

provided more detail than those involving the ordinary labourer. This is still true today – evidenced by the tabloids at any newspaper kiosk.

In the past, any change in (traditional folk) regional dress occurred very slowly. Archaeologists and historians often use the word “costume” rather than “clothing” to try to reflect this resistance to change. While rural communities with limited outside contact show little if any variation in dress over long periods of time, clothing fashion from distant lands is at least recognizable at the large trading centres of Ribe and Haithabu.

Textile finds dating from before the Viking Age (such as those from the moors of Damendorf and Thorsberg in northern Germany) might help bridge existing information. Medieval garments recovered from the permafrost of Greenland near the historical Norse settlement of Herjolfness are equally useful. Our knowledge on the clothing of faraway places such as Byzantium or Russia, which reached Viking trade outposts by sea, can also add to the understanding of some of the finds.

Contemporary chroniclers who travelled the Nordic lands, such as the Arab diplomat Ibn Fadlan or the cleric and theologian Adam of Bremen, provide further documentation on the appearance and lifestyle of the Vikings, and give insight into the archaeological finds.

Much in textile archaeology remains a question of interpretation and no doubt will need to be revised as new information comes to light. Even experts disagree on many points, such as, for example, whether or not the tortoise fibulae of women’s garments were worn to emphasize the bosom, or whether apron dresses were open or closed at the sides, or perhaps they were not even dresses at all but something resembling a frock-like train.

Since only the rich and affluent were buried in elaborate graves, it is uncertain whether grave finds properly illustrate the customs of that period. In the past, clothing was much more a reflection of a person’s rank and

IntroductionIntroductionContentsContents

IntroductionIntroductionIntroductionContentsContentsContentsT

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IntroductionIntroduction

wealth than it is today. It did not merely take a decorative function, but confirmed the wearer’s trade and their rights. Therefore, grave goods only provide information on the appearance of the upper class; lower classes and slaves remain unrepresented.

In 1979-80, a sensational find at the port of Haithabu (English alternative: Hedeby) brought to light clumps of textiles which, having outlived their usefulness as everyday articles of clothing, had subsequently been re-used by shipbuilders as tar brushes and rags. Archaeologists were finally able to examine Viking textiles which had actually been worn before their owners decided to throw them away. An interesting aspect of the Haithabu finds was the fact that they were fitted: their tailoring and the use of darts made them form-fitting, in contrast to the loose loom-woven garments previously associated with the Vikings.

Modern Viking-themed festivals display a great variety of garments, based to a greater or lesser extent on interpretations of historical finds. Many of them are very carefully researched and sewn with great skill and craftsmanship, providing visitors with a good general impression of Viking life. Also, the depiction of Vikings in live role-playing is one of the few areas where re-enactors mostly draw their inspiration from historical examples, relying on extensive historical documents and finds than on their own imagination.

So when the time came to select interesting garments for this book, I oriented myself first on the preferences of re-enactors from Northern European Viking events, second on the official Viking Age from 793 to 1066 AD and third on Iron Age fashion in the Nordic countries. This led to the elimination of several articles of clothing commonly worn during Viking festivals today, but which are, in fact, dated to the Iron Age or oriental in style. Of course there are some exceptions, such as the Thorsberg trousers which are from the 3rd century AD but show distinct parallels to a find from Haithabu. That said, Iron Age kirtles are not represented in this book, although they were almost certainly still worn during the Viking Age.

Some garments were included despite indications of their existence (such as stylized depictions on rune stones) being unspecified or vague. These pieces are very popular

This was not the Nordic pirates’ first documented raid, but it marks the beginning of a 300-year scourge known as the Viking Age.

The term “Viking” probably harks back to the phrase “fara i viking” (“to go viking”) or “i vikingu” (“on a raid”). The men who went on such raids were called “Vikingr”. However, the origin of the word “viking” (“to raid”) is still unclear. In contemporary descriptions and later chronicles authored by non-Scandinavians, the Vikings were given many other designations as well: “barbarians”, “pirates”, “pagans”, “Normans”, “raiders” or even just “Danes”. They landed on the undefended coasts of settlements and towns, and, in a hit-and-run attack, surrounded the site before disappearing with their rich booty.

The attack on the monastery at Lindisfarne was the first link in a chain of raids that brought the Vikings to the coasts of England, Ireland and France, and as far as Spain, Russia and the Ukraine. Over the next few years, the monastery was raided by Viking longboats so often that it was finally abandoned when Bishop Eardulf and his monks left the island in 875 AD. It is probable that a variety of reasons caused so many Scandinavians to take part in Viking raids. Certainly oared boats had always been an important means of transportation in Norway and Sweden, and in countries shaped by fjords and lakes and whose population clustered mainly along the coasts the boat was probably a more important means of conveyance than, say, the oxcart. Once the ships were equipped with sails, providing them with the ability of going out on the open sea, the warlike raids were no longer restricted to places close to home. Now, even distant rich Christian lands became potential “tourist destinations”. The ships were agile and fast and had so little draught that they were capable of navigating even shallow rivers.

The raiders brought their looted treasures back to Scandinavia, where trade centres such as Ribe (Denmark), Haithabu (Schleswig-Holstein) and Birka (Sweden) soon emerged. From there, commerce developed with the rest of the world, trade relations were established, the cities grew and soon the Vikings were no longer known only as raiders, but also as shrewd merchants. Everything the heart

desired could be acquired in the towns: furs and amber from the North, silk and brocade from the East, wine, spices, slaves, weapons – there were few commodities that were not displayed in their marketplaces. The existence of a single language spoken by most of Northern Europe (Old Norse) provided a good basis for the establishment of wide-reaching commercial routes.

But raids and commerce were not the only things that drove the Vikings out to sea. Over the course of the next few centuries, they colonized Iceland, Greenland and even parts of Russia, England, France (Normandy) and Ireland. Sometimes a peaceful process, but often enough the Nordic armies conquered the land by force. Over the next few decades, bitter wars were waged between the Scandinavian rulers, supported by their current allies, and the rest of the world.

The year 1066, in general, marks the end of the Viking Age when Harald Hardrada, King of Norway’s invasion of England ultimately failed, and shortly thereafter William (the Conqueror) Duke of Normandy won the Battle of Hastings and was crowned King of England. By that time, the raids had all but ceased, and the Nordic sovereigns had joined the European political stage, while their subjects had renounced Odin and Thor and converted to Christianity.

But their raids, their lust for expansion, the bravery and impudence with which they overthrew all the rules of trade, conquest, colonisation and more, is what made the Vikings into the unforgettable legends they are today.

History of tHe Vikings

with re-enactors and have become an integral part of the Viking experience.

This book does not and cannot claim to be historically accurate. It is meant to be used as a tool by Viking re-enactors for the creation of their garments, and to ensure that the festivals remain a well of diversity and colour. With the help of the section explaining the various types of fabric and stitches, it is possible even for beginners with some sewing experience to create a durable summer or winter outfit. Though adjusting the patterns requires a bit of skill and, most importantly, patience, I am certain you will feel a sense of accomplishment when you put on your garments to wear for the first time.

The basic patterns can be individually combined and altered by adding gores, etc., according to what shape or style is desired. Many combinations are possible, depending on the wearer’s taste and the particularities of a certain region or era. Whether you are representing a skald, hetman, slave, artisan, seer, farmer’s wife or wealthy trader, the patterns can be adapted to each role by changing small details, choosing different materials and trimming, and accessorizing to suit.

When the crew of a Norwegian longboat landed on a sandy beach on the English island of Lindisfarne (Holy Island) in 793, none of them could have imagined that this date would go down in history. The bare-legged, bearded giants from the far North who, roaring the names of their gods as they stormed the walls of the monastery of Lindisfarne, must have seemed like demons to the monks. They laid waste, robbed, murdered and plundered the island and its monastery. The raid was over in a flash; in only a few hours the strangers left the island with a rich booty of golden reliquaries and slaves. The ships then disappeared, wraithlike, leaving behind nothing but ruins. Laden with their spoils, the Norwegians set sail for home, where they told tales of gold for the taking and great feats of bravery.

According to contemporary reports, the Vikings were described “as tall as date-palms” and as “perfect physical specimens” (Ibn Fadlan). Skeletons of Norsemen place their average height at 174 cm, about half a head taller than most other contemporary Europeans and a whole head taller than the Arabs of that period. Their hair and beards

AppeArAnce And clotHing of tHe Vikings

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IntroductionIntroduction

were reported as being predominantly blond or red, as still is the case in Scandinavia today, and their skin browned a lovely shade of gold.

The Vikings liked to bedeck themselves with beads of glass, amber and semi-precious stones. Their clothing was held together with simple brooches of bronze, or of more elaborately finely worked specimens in gold or silver. Silver neck rings (torques) were found in the graves of both men and women; they also seem to have functioned as currency. Leather belts were fastened with metal buckles and sported decorative end tips. Utensils and keys hung from the belt strap.

The lower strata of society – the slaves, the poor and the serfs – probably wore only the bare essentials in clothing. One unfitted garment of coarse, undyed wool allowing for freedom of movement and easy to repair and alter in size would suffice. Those who could get hold of a prosperous trader’s well-patched and darned cast-offs could consider themselves lucky. It is probable that the garments made by the Germanic peoples in rural areas, of rectangular loom-shaped lengths of cloth that were simply sewn together, were also remarkably durable.

The Viking man wore woollen hose or stockings up to the knee or mid thigh, fastened by leather laces. In addition, he would have donned long woollen trousers with fitted legs and a wide seat. Puttee-like wrappings bound with bands or fastened with small hooks (as for a bandage) helped secure the leggings and provided added warmth in winter. Whether these leg garments were footed or not is unclear; finds from the Iron Age include both variations. It might have depended on who owned the hose: a rower, for example, his feet constantly in bilge water and often having to wade through water to pull the boat on land, may have found footed hose to be a hindrance.

Contemporary depictions show another type of trousers, reaching down to the calves or even only to the knees. It is unknown whether this was a variant of the extremely wide harem-type trousers such as those worn by the Rus, or simply a comfortably wide version of the more usual cut. In any case, these loose harem trousers were probably confined to the upper classes, as they were made of very fine wool and the amount of cloth needed to make them would have indicated great wealth. Viking trousers

The Viking woman wore a loosely fitted, calf-length dress of wool or linen. Occasionally, this dress would also have had darts to emphasize her figure. The less physical labour the wearer had to do, the tighter the dress could be. Over this dress they wore a sort of apron with straps fastened at the breast with brooches or fibulae. Strands of beads and pendants hung between the two brooches. There were several variations on this type of dress – with or without gores, open or closed in front, slit on the sides or sewn shut.

The wealthy Viking woman wore an overdress belted with keys and a small scale for weighing hacksilver over a shift of pleated linen.

Outdoors, she wore a coat-like overtunic reaching down to the calf made of lined loden or felt and sometimes

padded with down or feathers providing warmth and protection from the rain.

Well-to-do Vikings of both sexes wore similar shoes: turn-shoes that reached just below the ankle or low boots of soft leather. The poor, however, would have gone barefoot.

The poorer ranks of society wore their undyed wool clothes in their natural colouring – mostly shades of grey and brown. More prosperous Vikings had clothing made of dyed fabrics.

It was certainly possible to dye cloth using the technology available during the Viking Age. That it was done is confirmed by finds in Birka and Haithabu, though it is difficult to determine exactly what colours there were and which dyes were used to obtain them.

were sometimes bi- or multicoloured (for example, red in front and yellow-green in back) and may occasionally have been made of several layers of cloth – possibly aiming for a more bouffant look. Since various parti-coloured garments (each panel a different colour) are mentioned in the Nordic sagas, this style may have also been used for other pieces of apparel.

Over their trousers Viking men wore a tunic or kirtle of linen or wool, the skirt of which flared out with the help of triangular or trapezium gores, or else slit to allow more freedom of movement when riding, fighting or working. The tunic would have reached down either to the hips or the knees depending on the period – generally speaking, tunics tended to grow longer over the course of time.

An overtunic would have been of a cut similar to the undertunic, though generally with a tighter fit and made of either wool or loden. This type of tunic could also have been made from a shag pile or tufted fabric. Since it is generally thought to have functioned as a sort of coat, it could also have been lined or even padded with down or feathers. Both tunics were usually pulled over the head, though they may also have been open in front. The necks of the tunics were either fairly wide, or narrower with a small slit at the chest which would have been closed with a clasp. Trimmings of fur, rough wool, tablet-woven braid or embroidery would have marked the difference between rich and poor. The grandest of tunics were trimmed in fur and decorated with ribbons, braids or embroideries of silk and gold or silver threads.

A hood would have made a sensible addition to this outfit. While some hoods only covered the neck, others had an additional shoulder cape for better protection from rain and weather, and often a liripipe as well. At sea, the hood might have been worn under an overtunic or a jerkin to prevent the breast panel from being blown into the wearer’s face by the wind. Other headwear such as caps or hats were made of linen for protection from the summer sun, or of fur, leather or even tufted cloth for additional warmth in winter.

Wealthy Vikings may also occasionally have worn a wraparound coat, trimmed in fur and lavishly decorated. In winter, a luxurious rectangular cloak served to provide the more prosperous Vikings with additional warmth while displaying wealth.

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Various types of shoes

Garments for the menfol kGarments for the menfol k

Gored tunicGored tunic

Garments for the menfol kGarments for the menfol kGarments for the menfol kGarments for the menfol k

PatternThe pattern depicted here is size M. Use the chart at the bottom of the page to help you adjust the pattern to your own

All measurements are in centimetres.

Sewing instructionsStitch the front and back panels together along seam A down to the markings for the gores. Set in the side gores. Stitch together the front and back panels at the shoulders. Join up the sleeves, then set them into the armholes. Hem and finish the tunic. Sew a facing to the neckline or neaten with a rolled hem..

VariationsIf you want a slimmer gore, adjust measurement R. If you want to add gores, slit the front and back panels from the middle of the hem upwards for the length of Q and add another gore (see Sewing glossary: Setting in gores.)

To face your tunic, follow the instructions in the Sewing glossary: Facings.

Before you start sewing, take a moment to familiarize yourself with the terms in the Sewing glossary. You do not need to learn them all by heart, but it helps to have gone over the technical terms at least once.

his type of tunic is the garment most commonly found at Viking festivals and among museum re-

enactors. The reconstruction shown here is based on textile fragments recovered from the Haithabu harbour and burial grounds. The cut is very modern and differs from Iron Age tunics and kirtles through the use of curves in the pattern. It has a round neckline with a slit that can

be faced. If you wish, you can also turn the facing out and fasten it to the outside. The cut of the sleeves is tighter at the

forearms. The armholes are rounded and so is the sleeve cap.The skirt of the tunic is wider at

the bottom, thanks to the use of side gores, which makes it more comfortable to wear. Fighters in particular might appreciate this pattern with an added gore in the middle, front and back.Though this pattern is

usually made of linen, it is also suitable for thicker materials such as heavy wool or loden.

Gored tunicdifficulty: intermediate

A B C D E F G H I J K L M N O P Q R S

S 65 23 12 18 7 4 40 88 51 63 50 28 45 30 20 13 40 20 40M 65 24 13 18 7 4 40 89 56 64 50 29 50 32 21 14 40 20 40L 70 26 13 20 8 5 45 96 60 65 50 30 55 34 22 15 45 20 45

XL 70 27 14 20 8 5 45 97 62 67 50 32 60 36 23 17 45 20 45

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measurements. When creating your sewing pattern: start with measurement A, followed by measurement I, then move on to the other measurements.• Front panel 1x• Back panel 1x• Sleeve 2x• Gore 2x

Optional• Facing or trim• Gore x2 (middle of front and back panels)

Material• Linen, 230-280 cm x 150 cm bolt width

Cutting the patternFold your cloth lengthwise so you have two layers. Pin the pattern to the fabric. Trace the outlines of the pattern with dressmaker’s chalk, but remember: Do not forget to add seam allowance. Remove the pattern and cut the pieces out along the chalk lines. The front and the back neckline of the tunic are different: first cut the panels from the folded cloth, then set one piece aside. On the second piece, cut out a deeper curve and slit. This is now the front panel. Cut the gore out on the fold twice.

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Garments for the menfol kGarments for the menfol kGarments for the menfol k

PatternThe pattern depicted here is size M. Use the chart at the bottom of the page to help you adjust the pattern to your own

fasten it to the outside. The cut of the sleeves is tighter at the forearms. The armholes are rounded and so is the sleeve cap.

The skirt of the tunic is wider at the bottom, thanks to the use of side gores, which makes it more comfortable to wear. Fighters in particular might Fighters in particular might appreciate this pattern appreciate this pattern with an added gore in the with an added gore in the middle, front and back.middle, front and back.Though this pattern is Though this pattern is

usually made of linen, it is usually made of linen, it is also suitable for thicker materials such as heavy wool or loden.

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here is size M. Use the chart at the bottom of the page to help you adjust page to help you adjust the pattern to your own

The skirt of the tunic is wider at the bottom, thanks to the use of side gores, which makes it more comfortable to wear. Fighters in particular might appreciate this pattern with an added gore in the

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Sewing instructions

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Sleeve 2xGore 2x

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his fitted overdress is similar in many ways to the fitted shift. It is a more elegant and costly design

variation and should be made of fine wool. Four gores give the skirt more flounce, and facings of another colour at the neckline and sleeves catch the eye. The tailored fit flatters the figure.

If you want to use this pattern for two dresses worn one over the other, cut the overdress several centimetres larger so that it fits loosely on top.

PatternUse the chart at the bottom of the page to help you adjust the pattern to your own measurements. When making your pattern, start with measurement A, then measurement B, then move on to the other measurements.• Front panel 1x (on the fold)• Back panel 2x• Sleeve 2x• Gore 4x• Facing of a different

colour

Optional• Brooch for closing

Material• Wool, 420 cm x 150

cm bolt width

Cutting the patternFold your cloth lengthwise so you have two layers. Pin the pattern to the fabric. Trace the outlines of the pattern with dressmaker’s chalk, but remember: Do not forget to add the seam allowance. Remove the pattern and cut the pieces out along the chalk lines.

A B C D E F G H I J K L M N O P Q

S 23 11 8 1818 10 21 42 9 55 59 45 25 39 26 17 61 93M 25 12 8 2020 10 22 42 9 55 60 45 26 41 27 18 61 93L 27 12 9 22 10 23 42 9 55 61 45 26 43 28 19 61 93

XL 29 13 9 25 10 24 42 9 55 62 44 26 45 29 20 61 93

Gored overdressGored overdressdifficulty: advanced

Make two slits in the front panel: one at the bottom for the gore, and one at the neckline (see Sewing glossary: Slit neckline). Cut out the facings in a fabric of a different colour (see Coloured facings).

Cut and set in four gores (see Sewing glossary: Cutting out/setting in gores, or according to the pattern).

Sewing instructionsJoin the two back panels down to the gore marking. Stitch front and back panels together at the shoulders.

Join the side seams down to the gore markings and make up the sleeves. Set in the sleeves and gores. Try on the dress and adjust the length of the sleeves and hem. Hem and finish the dress. Either add facings to the neckline (see Sewing glossary: Facings) or neaten with a rolled hem.

VariationCut the gores out of the same material as the coloured facings.

Front panel 1x (on the fold)

Facing of a different

Brooch for closing

Wool, 420 cm x 150

pattern with dressmaker’s

Garments for the womenfol kGarments for the womenfol k

All measurements are in centimetres.

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facing facing

facing

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BACK FRONT

AA AAC CB BB

F GF G

Dgore gore gore gore

Dgore gore gore gore gore gore gore

Dgore gore gore

Sewing your garments Sewing your garments

When choosing fabrics for your clothing, it is best to use colours that are typical for the material you are using. In the shops you will find a practically inexhaustible selection of fabrics and colours, but not all combinations are appropriate for historical garb. For linen and hemp fabrics, you should choose pastel tones (pale pink and light yellows, blues, oranges or browns). Linen is difficult to dye and even industrial dyes are not particularly lightfast and fade easily.

Hand-dyed fabrics in natural colours are of course ideal. Some dyers specialize in using traditional methods

and can produce a very uniquely dyed cloth for you. If you are a Living History enthusiast, it might be helpful to learn something of the climate and properties of the soil in the area and period you are depicting so as to have some idea of exactly which dyes might have been used. If you are not certain, choose fabrics in natural colours (see Types of cloth). Natural fabrics are particularly charming when their subdued colours are offset by a colourful tablet-woven band or some nice embroidery.

When choosing fabrics for your clothing, it is best to use colours that are typical for the material you are using. In the

colours

efore settling down to sew the pieces you have just cut out, place a little something for the ner-

ves among the tools you set out. When you have sewn the wrong pieces together, your thread has torn for the third time or you are simply ready to chuck the whole thing across the room, nibble on a few nuts or a square of cho-colate and take a little breather before continuing. Sewing requires practice, and with time you will find that sewing your own historical costume goes ever easier and faster.

Before starting to sew, you should set out the following tools:

dressmaking shears, seam ripper, dressmaker chalk, ruler, French curve, plane angle, measuring tape (with a hole so it can be used as a compass), sewing needles, pins (iron-resistant), ironing board, sleeve ironing board, steam iron, spray bottle for water, and either packing paper, paper tablecloth (in a roll, at least 80 cm wide) or pattern tissue. Treat your tools well so you can sew in peace.

If you are not very familiar with your sewing machine, it is probably better to sew your garments by hand. This is easier on the nerves and makes the garment even more precious with every stitch. For hand-sewing, it is recommended you use thread made of the same material as the fabric you are

sewing. It can be darning yarn or sock wool, or you can use weft threads carefully pooled from a scrap of the cloth you are using. Note that polyester thread cannot be dyed. If you are planning to dye the garment after sewing it, you should always use a natural thread such as cotton.

You should add the following special tools for hand sewing:

darning needles or sharp embroidery needles (better for thicker thread or wool), linen or woollen thread (be sure to check for washability), a pair of small scissors.

Hemming stitch/Slip stitchThis stitch is generally used for securing lining, but it is also ideal for invisible stitches. The slip stitch is better than the herring-bone hem stitch for soft or coarse wool, as it is a concealed stitch along a folded edge; only a few threads of the outer material are caught up by the needle each time so that this stitch is nearly invisible from the right side.

Running stitchNot particularly sturdy, the running stitch is practical for making marks or stitching two pieces together that will not be subjected to stress. It is suitable for basting a pattern together for a first fitting or to produce ruffles or gathers

BackstitchUsed for seams in general. It is sturdy and fairly quick in execution.

Herringbone stitchCan be used to make invisible seams or as a decorative stitch.

Rolled hemThis is a sewing or hemming stitch for very fine fabrics.

Buttonhole stitchThis stitch worked around a small hole in the fabric makes an eyelet, as an oval suitable for buttonholes or small fibulae.

Felled seamThis is not, in fact, a single stitch, but a combination of two steps. First, both pieces are stitched together using a backstitch, leaving 1 cm seam allowance. The lower edge is then cut to 0.5 cm. The upper edge is then folded over and sewn in place with backstitches. This stitch is a particularly firm and sturdy way of joining two pieces of fabric.

Whip stitchUsed to finish edges. If stitched small, can also be used to sew two edges together.

efore settling down to sew the pieces you have sewing. It can be darning yarn or sock wool, or you can

sewinG your GarmentsewinG your GarmentsewinG your Garment

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Before starting to sew, you should set out the following

General remarks

If you are not very familiar with your sewing machine, it is

Hand sewinG

Hand stitches

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Whip stitch Rolled hem

Running stitch Hemming stitch/Slip stitch

Herringbone stitch

Backstitch

Buttonhole stitch

Felled seam

Rolled hemRolled hem

Herringbone stitchHerringbone stitchHerringbone stitch

Backstitch

Sewing your garments Sewing your garments

Before sewing a tablet-woven band on a garment it should be washed and carefully steamed so that it does not shrink after the first washing (thus puckering your garment) or bleed. Ask the weaver if prewashing is necessary.

Tablet-woven bands have to be sewn on by hand. Using a machine spoils the nice effect of the weave’s structure. It

is best to use a thin tapestry needle (with a rounded tip). Work parallel to the weave and stick the needle carefully between two threads, fastening the band on with a running stitch. The thin thread will disappear between the band’s warp threads, leaving its appearance unmarred.

Always sew the outer edges on first, or you might pucker the fabric when stitching the second seam.

Most Viking garments were held in place with belts, fibulae or brooches. But some outer garments had buttons, or are more comfortable to wear with them, such a caftans or wraparound coats.

Next to simply cutting out discs of wood or leather, cloth buttons are very easy to make. The spherical buttons created this way blend harmoniously into the background (at least, if they are made of the same material as the garment itself.)

Paired with these buttons, you can make either hand-sewn buttonholes or button loops. Both are worked in a similar fashion. If you want the loop to disappear in a fold, use buttonhole thread. Otherwise, you can pull a weft thread from a scrap of cloth and use that. When the edges of the garment touch, loops look best, but if you prefer to have them overlapping, it is better to make buttonholes.

When sewing buttonholes by hand, it is important to turn the cloth in such a way that you are always looking at the stitching from the same angle – this makes the stitches more even and helps keep the buttonhole nice and round.

It is also a good idea to hand stitch eyelets if you've chosen to use fibulae to close your garment. The brooch needle can grip more easily through the finished hole instead of through the fabric and prevents the garment from tearing.

Most Viking garments were held in place with belts, fibulae

fasteninGs

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more comfortable to wear with them, such a caftans or wraparound

buttons are very easy to make. The spherical buttons

When sewing buttonholes by hand, it is important to turn the cloth in such a way that you are always looking at the stitching from the same angle – this makes the stitches more even and helps keep the buttonhole nice and round.

It is also a good idea to hand stitch eyelets if you've chosen to use fibulae to close your garment. The brooch needle can grip more easily through the finished hole instead of through the fabric and prevents the garment from tearing.

Button loop

Buttonhole

AuthorThe

www.zauberfeder-verlag.de

Whether you portray a hetman, craftsman, slave, seer or farmer’s wife, Viking Garments offers Viking re-enactors

a handbook for the making of detailed clothing for various roles, time periods and regions. This book contains

numerous basic patterns for men’s, women’s and children’s clothing in many possible combinations. Extensive

additional information on materials and sewing techniques allows even sewing beginners with little experience

to make sturdy clothing for winter and summer.

ISBN 978-3-938922-72-9

9 7 8 3 9 3 8 9 2 2 7 2 9

Carola Adler has been sewing and designing

clothing for over twenty-five years. In 2002 she

decided to turn her hobby into her profession, and

has been running the costume shop Adel und Volk

(www.adelundvolk.de) as a one-woman enterprise

ever since. She offers unique garments, mostly in

fantasy and medieval styles.

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