Leine Experiment

Leine Challenge

The challenge is to make as historically accurate a 16^th century leine as possible using ~20 inch wide fabric and following the sumptuary laws (which limits the shirt to 9 yards) using as close to a historical cut as possible. Machine stitching will be used on the long seams but will not be externally visible.

Assumptions made:

• The width of the fabric was homemade and the width of the person weaving it about 20 inches.
• They would use standard square cut construction to avoid waste.
• Fewer larger pieces are better in construction.
• The sleeves are large and full and hang to around the knee, when hanging, the arm exits the sleeve just below the elbow facing forward, allowing free movement and leaving the forearms free.
• The opening through which the arm extends can be faced and embroidered.
• The neckline is either a boatneck (more common) or a simple keyhole.

Constraints on construction:

• The leine length is to mid-shin on the man wearing it, and would be flared enough at the hem to allow free walking strides.
• It could be pulled up to thigh length and be belted at that height, creating a bloused look but adding as little bulk to the waist as possible. This position should also create a Very pleated look.
• The shape and construction of the piece must have a historical precedent in earlier and contemporary clothing from the region.
• The sleeves are also capable of being attached or contained when the Ionar sleeves are buttoned up at the wrist, causing the sleeve to drape like bunting below the arm.

Sources:

The sources that I will use for this are all drawings and paintings since there are no extant leines from this time period. Artists include Derrick, de Heere, the unknown artist responsible for “Irish chieftains after the Quick,” and Durer. There are also many literary references to the dress of the Irish, these describe the clothing in mostly general terms like full sleeves and lots of pleats. I am trying to remain with period sources (painting and drawings during the time) these are technically secondary sources which causes problems itself.

Upon starting this experiment I heard a lot of talk about how unreliable these sources are since most of them were taken from second hand sources or from first hand but months after seeing the clothing. The complaint was also raised that the drawings were made by the English to make fun of the Irish. This all may be true, the problem is that even if all of that were absolutely true and many other things besides, it ultimately doesn't matter. We have no other sources. There are no extant leines, only a couple of extant Ionars. So unless someone finds a surviving leine then we must use these and attempt to determine what the leinete of the period looked like based on the commonalities of these images. We simply cannot ignore them and claim that they are based on imagination. Distorted through a cultural lens they almost certainly are but they are all we have.

Square Cut Construction:

The construction technique used in this is called Square Cut, and for those unfamiliar with it a short description follows. Square cut construction is a historical technique that uses mostly squares and triangles to construct clothing. As a result of this there is very little waste but there is also very little tailoring, as a result these techniques are used either as a starting point from which further tailoring to bring the garment closer to the shape of the body in employed or it is used on undergarments as is the case here.

Square cut construction can be confusing at first to a person used to working with modern patterns as it really does not use a pattern per say, but it uses a cut diagram based on somewhat generic measurements that are changed if necessary based on the individual. While slightly confusing at first I would HIGHLY recommend that people wishing to recreate historical clothing really assimilate this into their thinking. It helps explain some of the "strange" shapes and seemingly weird seam placement in period clothing. It also uses the fabric most efficiently which keeps materials costs down, but be aware that it can increase construction time or complexity, especially if using a sewing machine. I think that it is worth the effort, I hope that some of you will agree. If you want more information I would recommend:

• Cut my Cote (extant worldwide examples, short but good) http://www.amazon.com/Cut-My-Cote-Dorothy-Burnham/dp/0888540469 ,
• Janet Arnold's Patterns of Fashion #4 (period pieces from Western Europe, focused on underwear) http://www.amazon.com/Patterns-Fashion-Construction-Accessories-1540-1660/dp/0896762629/ref=sr_1_3?s=books&ie=UTF8&qid=1340907677&sr=1-3&keywords=janet+arnold+patterns+of+fashion

Layout & Cutting:

This is laid out for a man about 5'8" and the leine is intended to end mid shin when down. Most of the measurements will work for a few inches of height to either side of this height, then adding a few inches to the length or taking a few off.   

Looking at Fete at Bermondsey

Lets play" Name that UPO" That is Unidentified Painted Object! While Looking at this image the other day for evidence that men's sleeves were tied in (no luck, thank you Daniel Rosen now I have to rebuild most of my wardrobe) I noticed several things that I could not identify for sure. In



http://en.wikipedia.org/wiki/File:Joris_Hoefnagel_Fete_at_Bermondsey_c_1569.png There is a yellow dog, two children and a woman breast feeding, between them is a man with an object on his back. My first thought was that this was a large straw hat tared or dyed black/gray, then I thought Buckler (huge one, perhaps a shield) when I thought that there was a spike in the center of the crown/boss depending.

As I pondered what that object was I looked further at what he is holding in his hand resting on his shoulder. Again at first I thought that it was a sword, that he was holding by the blade (hopefully scabbard-ed) then I saw that he had a rapier at his hip. So what is that thing? There is apparently another one on the shoulder of the man in the background walking next to the couple on the horse. If it is a walking stick then why is the walking man not using it? A torch? Why carry it around? A club? At a Fete? A spindel? Why are two men carrying them at a party?

So I though I would poll the audience and see if anyone can come up with an identification of the shield/hat or the other ball on a stick thing. What do you think?

After discussing it with many people on the Elizabethan costume page, I think that Daniel Rosen has hit on the solution. That the large circular objects are Shields (giant Bucklers if you wish) and the men are servants (presumed partially due to their being in blue) and that they are holding the sword of their Master, standing next to them. Sort of a cross between a bodyguard and a man servant.  Here is an example from another painting.

Thoughts or comments?

Slight Digression

For my Celtic Comrades

Converting the Doublet pattern into an Ionar.

Image Stolen from Clan McColin - the people that this post is mostly for.

This is the Celtic version of a doublet.  It covers the upper body, has Sleeves (sort of) and a sort of skirting around the bottom.  So I think it fits roughly into the category.  That’s my story anyway.

So begin by following the directions for a Basic Doublet (search Doublet or doublet in a week) until you get to step #12 then follow these steps to finish out.  With a slight change in step 2.

You will need to make the following changes to the measurements as given for doublets:

Front Length – FL, should now only go to the belly button (for big guys) or a couple fingers above (for little guys)

Back length – BL, you need to make sure that this ends in the small of the back.  Usually a couple of fingers above the belt line.

Waist – W, moving the other measurements up means that the waist needs to move up as well.  So the Waist is more the Belly (natural waist) than where your jeans go.  So go around through the bellybutton and the small of the back.  Seriously quit sucking it in.

Step 2 – Instead of making line EF 2-3 fingers lower than half of BL make it 1/3 up from B to raise the waistline.

Follow the rest from this modification. Until step 12

Step 12 – Instead of putting point K 2/3 around the armseye put it about at the bottom.

Step 13- measure from the backline ¼ of the new waist (Belly) Connect this point L to point K.

Step 14 – Measure the same distance ¼ Belly to point M, if this does not cross point L (thin guys) then continue to Step 16.

Step 15 – Optional Big guys – Point M and L crossed, Erase point L and M land be glad because you just removed a seam from your Ionar, and made it closer to the Dungiven doublet.  The ionar will now be cut as a single piece.  Measure along BC ½ Belly, to new point N’. 

Step 16 – Measure from G’ down to point N, connect M to N with a line.  If you followed Step 15 then you may need to move point N’ a bit to make it match N. 

Step 17 – Draw a gently curved line from point N to point G, this will cut off point G’. 

Here is the what Step 17 will look like for the Big guys

Finished ionar pattern

Finished Large ionar pattern

Step 18 – Along the selvedge edge of your wool, cut a strip 3x’s the length of the Belly measurement and about, a full hand width (or more to account for seam allowance) wide.  If the selvedge is the same on both edges you can use both sides and cut the pattern from the center.  This is the skirting that will be added to the bottom of the Ionar.  This will be pleated into the bottom edge of the ionar.

Step 19 – Collar edging, According to both the Ashmoleum woodcut and the Derrick woodcuts there is a small collar on the edge of the ionar that runs up the front and around the back of the neck.  Like the skirting this appears to be a thin strip of straight grain fabric, perhaps even a selvedge edge, that is added to the edge and lays flat creating the standup look in the Durer watercolor.  So cut a piece that is the length 2xNG + 2xHA and 3-4 fingers wide (that includes a finger for seam allowance) along the straight of grain.

Preview - Tomorrow

Tomorrow we Cut Fabric so you can get a head start by pre-washing anything that you intend to wash as a garment.  For me that generally means washing everything but silk, in cold or warm water gently.  For linen and cotton warm and dry hot.  I want them to shrink as much as then are going to, before the garment is made.  For wool I wash in cold with a bit of baby shampoo and dry gently.  I don't want to raise that much of the nap, unless I am going for the peasant look, in which case wash warm and dry hot.  Buy extra if you are going to do this as you will loose about a 1/4 yard for every two yards in length.

Doublet in a Week - Day 2 Tabs

Tabs and skirting

Doublets generally have either Tabs or Skirting at the bottom.  Early Elizabethan period tended to be skirting as Doublets evolved from the coats of Henry VIII that had longer skirting.  As time when on it go shorter and shorter until at the beginning of Elizabeth’s reign it was around 3-4 inches wide and divided into 2-3 pieces.  As Her reign went on the skirting was split into more pieces and those pieces changed shape sometimes adding small tabs Leicester was very fond of tiny little tabs added to the bottom of either the Skirting or the Doublet itself.  Until towards the end of the reign there were commonly quite a few 9 or more large tabs or dozens of small (less than 2 inches across.)  There was another type, loops of fabric that also showed up midway through the reign.

The shape of the tabs varied from round to almost diamond shaped, depending on the look that the individual is looking for.  Tabs were usually attached as separate pieces but the skirting was often a part of the doublet body.  Tabs often overlapped and were ornamented to match the doublet. 

Adding the skirting to the doublet pattern is actually quite simply a matter of extending the pattern.  It is a matter of personal preference as to how long the skirting is but I recommend that it be at least 3 inches. 

1. Extend and redraw a smooth curve around the bottom of the doublet pieces. 

2. Make the bottom edge longer, so that it can flair.

3. Angle the front and back of the skirt by 2-3 fingers from both ends.

If you choose to make the skirting separate pieces then the shape changes a little. 

The top edge curves down about 1-2 fingers and the shape evens out, having less of an S curve and more a simple curve.

Tabs – suggested shapes

Make sure that you have enough to go all the way around the waist line of the doublet, I recommend that you make a couple extra and pick the best looking ones to use.

*Note that the tab shapes all taper inwards at the top and thus spread out at the bottom, allowing for spreading. 

Add a fingers worth more to the top end of the tab to account for tucking in to the doublet.

If you are going to over lap the tabs, then make sure that you start at the back and space them evenly around the waistline.  The overlap should be symmetrical from the center back.

Doublet in a Week - Day 2

Some of you may have already begun Day Two with the epaulets and collar, if not Welcome to day two Sleeves and tabs or skirting.  We shall begin with Sleeves.

As was mentioned in the Definitions section, Doublets have Sleeves, if it has no sleeves it is a Jerkin.  The sleeves are the same fabric as the Doublet on all the extant men’s doublets that I have seen, and all the portraits that I have seen.  I have found that when it looks like the sleeves are a different fabric from the body of the doublet it turns out that the outer garment is a jerkin and there is a doublet of the same fabric underneath. 

Many modern renactors will attempt to achieve this look by wearing sleeves of a different color or fabric with a doublet.  If you are going to do this please keep in mind that the doublet underneath is supposed to be the same fabric as the sleeves and that the garment that you are wearing as outer wear is in fact acting as a Jerkin.

I would love to see counter example of this as it would free up men’s clothing possibilities.  So if you have examples that you think are contradicting what is stated here please bring them up.

On to Patterning sleeves.

Sleeves - Two basic types

Measurements Needed:

•                     Armseye - (AS) from the doublet measurement, point of the shoulder under the arm and back, snug but not uncomfortable.

•                     Wrist - (Wr) around the wrist with 1 to 3 fingers under the tape depending on looseness desired and thickness of shirt.

•                     Arm - (Arm) from the point of the shoulder to the Wrist.

Sleeve type A

This sleeve type is designed to be able to be opened in the front and hang at the sides.  It is best mounted to the doublet with point G at the shoulder seam or just in front of it. It may be buttoned closed or sewn closed.  This sleeve type is not only loosely period, and is more designed for those who do events in the heat and want the option of hanging sleeves without the annoyance of them getting in the way all the time.

The design is fairly simple and involves only a couple of seams and a few button holes.  As a point of future interest these sleeves can be modified by making them longer and then they will serve quite well on a scholar’s robe or as hanging sleeves with other sleeves underneath.

1.       Draw line AB the length of the Arm

2.      Square out from A the length of ½ Armseye (AS) to C and D to either side. 

3.      Square out from B ½ of Wrist to points E and F to either side

4.      Connect C to the line squared up from E, similarly connect D to line up from F

5.      Connect F` to B to E` with a curve, edges meeting at 90*.

6.      Half way between A and C, measure up 2 fingers (3-4 for puffy upper sleeves.) G

7.      Halfway between A and D, measure Down 2 fingers (only 2 even for puffy) H

8.      Connect D to H to A to G to C with a smooth curve, ending at 90*.

As with All these patterns there is NO SEAM ALLOWANCE added, You must add it in.

Sleeve type B

This sleeve is tighter fitting and a good generic basic sleeve. Both pieces are laid out as the same shape with a different top curve. These sleeves are what you will find in multiple instances in period sources.  They are sometimes all cut as one piece with the back of the upper arm being left attached, forming a sort of inverted Y shape.  The shape of these sleeves allows for the arms to be held at a naturally bent angle without the wrinkling that would normally happen with a tube sleeve like in sleeve A.  This sleeve is the natural choice for Courtiers and others conscious of their appearance.

When attaching the sleeve, the top of the sleeve should be mounted behind the shoulder seam on the doublet.  This pushes the arms forward where they actually hang, not in some sort of Military parade rest position.

This pattern is a little different from most patterns since you will be creating both the top and bottom pieces on the sleeve on the same piece with a slight change at the top for the top opening.  I find that punching holes along the lower (inner) sleeve line allows for a dotted line to trace over in tracing on the fabric.      

1.      Draw line AB the length of Arm.  As with type A

2.      Mark point C half of Arm

3.      Square out 1/4 of Armseye from point A on both sides , mark F and E.

4.      Measure 2 (3-4 for puffy sleeve tops) fingers up from A, mark this G.

5.      Measure 2 fingers down (always) from point A, mark this H.

6.      Connect F to G to E with smooth curve, and the same with FHE.  If the FHE shape looks more like a Bow (archery not knot) then you will get greater arm movement.

7.      Square out from C, ½ of  1/3 (that is 1/6) of AS to either side.  Label I and J

8.      Square out from B.  Measure 2 fingers up from B, draw a line Perpendicular to line AB.

9.      Measure ½ of Wrist from B to line created in #8.  Label this point D.

10.  Draw a smooth curve from D to I to F, make sure that both ends, end with 90* angles.

11.  Draw a smooth curve from B to J to E, make sure that both ends, end with 90* angles.  Making an Elbow bump near J is very common in period, and allows an easier bend without pulling up the sleeve.

*  Note that line IJ is a guide line as a minimum, your lines can go beyond there, and often should.

Again be sure to add in seam allowance to All your patterns.

Doublet in a week - day 1 continued

Yeah that seems like an oxymoron, but the previous post was getting long.  So here are the instructions for the collar and epaulets.

Epaulets are the wing-like structures that stick out fro the arm hole on a doublet.  They are unique to Doublets (with the exception of some '80 fashion.)  There has been a tendency in some faire costumes for these to become little baseball cap like winglets that are non-historical.  The historical epaulets almost went all the way around the armscye when they existed at all.  There are some examples of doublets, particularly ones that would fit under armour.  

Epaulet construction

1.   Draw a straight line,

2.      Select a distance not less than ½ the Armscye AS. 

3.      Mark T and T’ at either end of your selected distance.

4.      Mark a center line between T and T’

5.      Measure out from this center line 2-4 fingers mark a point

6.      Measure up from T and T’ one finger width, mark these points.

7.      Connect all three points just measured with a gentle curve.  This is the outer edge of the epaulet.

8.      From the center line measure down one thumb width, mark a point

9.      With a gentle curve connect this point to T and T’, this is the inner edge of the epaulet.

Collars

There are two different ways that the collar can be constructed.  Band and Grown in, Band is simply a straight strip of fabric that is the length Neck, so I will walk through how to make a grown in collar.  If you don’t like it or want a simpler solution simply cut or leave it off.  Collars during this time were typically tall to support the typical Ruffs.

Collar construction

1.   From Point H measure up 2-4 fingers, mark point H’, connect H to H’

2.      From point A mark a point one less finger up than you just marked H’, Connect A to A’

3.      Draw a gentle curve connecting H’ to A’,
* Note Rounding the corner at H makes a better fit and eliminates the wrinkles at the back of the neck.

4.      Measure the distance from G to G’, use this distance to draw a straight line for collar A

 5.      Measure up from G the distance from H to H’, mark a point.

6.      Mark a point 2-3 fingers up from point G’

7.      Connect these points with a gentle curve.

8.      *Optional – gently curving the upward lines outward allows for the flaring of a ruffled shirt and tends to fit better.

Note that this pattern Does NOT have seam allowances already added in.  You must add them yourself.

Doublet in a Week - Day 1

Instructions for the construction of a Basic Block Doublet

Original presentation by Jose Fellipe Franciso of the SCA, with thanks for showing me the way of thirds.

Measurements - for a Doublet or Jerkin these are the basics.

·               Front length = FL - From the hollow of the throat to the bottom of the belt (as worn in jeans)

·               Back length = BL – from the top of the neck to the top of the pants.

·               From the neck to the shoulder = S – as close in to the neck as possible to the point of the shoulder (the point that goes up and down when you raise and lower your arm)

·               Around the chest + 3-4 fingers = C

·               Around the belly (quit sucking it in) at the belly button +2-3 fingers = Be

·               Waist at the top of the jeans or pants + 2 fingers = W

·               Neck around with 1 finger under tape +3 fingers = N

·               Armscye = AS – fairly tight in around the armpit from shoulder point and back to shoulder point.  Tighter is better, you can make it bigger not smaller.

Sleeve measurements

·               Arm length from point of shoulder to wrist = A

·               Wrist Circumference = Wr

·               Bicep measurement = B

·               Elbow measurement, distance from shoulder to elbow = E

Layout of basic block

         Quick walk through of how to apply the measurements to the actual pattern.

1.   Draw a rectangle ABCD with the height = BL and the length =½C

2.         Draw line EF 2-3 fingers lower than half of BL

3.   Across line AD mark it into 1/3 and square down to line EF.

4.      Down 2-2 ½ fingers from line AD mark a point I on the front 1/3 mark just drawn.

5.      Down 1 thumb width from line AD mark a point J on the back 1/3 mark.

6.      From point D mark a point G, 1/3 of half (that’s 1/6^th ) the neck N, along line DA

7.      From point D mark a point G’, 1/3 of half (that’s 1/6^th ) the neck N, along line DC

8.      Square in from points G and G’, round the corner of the box formed.

9.      From point A mark a point H, 1/3 of half (that’s 1/6^th ) the neck N.

10.    From point H draw a line towards point J the length of S (shoulder)

11.    From point G draw a line towards point I the length of S (shoulder)

12.       Using measurement AS (Armscye) connect points I and J and touch the line EF.  This line should bulge towards the front, not symmetrically.

 13.    Pick a point on this curve, near line EF and about 2/3 of the way from I to J mark it K

14.    Measure from B 1/3 of half W (the waist), mark this point L.

15.    Connect point K to L.  This line can be curved or straight depending on fit.

16.    Measure from C 2/3 of half W (the waist), mark this point M.

17.    Draw a line from K towards W the length of KL, this line may be curved or straight depending on fit.

18.    Measure from point G’ (the front length) the distance FL mark this point N.

19.    Draw a gentle curve connecting N to M, it should be close to 2/3 of half the Waist.

20.    Measure out from about ½ way between point F and C 1-2 fingers and draw a point.

21.    Connect points G’ and N through this new point out from F, This creates the Peascod.

And darken in the lines of the Doublet Pattern

Note that the Pattern is constructed withOUT seam allowances, so be sure to add them in.