The beginnings of an exploration into French Hoods circa the early-mid 1500's. What pieces were involved, how were they styled, and how wearable and practical are they?

A mash-up of the Captain Marvel costume from the recent movie and Allesandro Allori's 1555 portrait of Isabella de'Medici

Two Gothic style bound books - one completed, one still in progress - first displayed at Ruby Joust X in 2022, which are my first foray into medieval/renaissance bookbinding. They are inspired by, but not replicas of, extant books I've personally observed in the collections of the Morgan Library in New York, NY and the Folger Shakespeare Library in Washington, DC.

What happens when you bring together 4 tailors, a pile of fabric, needles, thread, and give them 24 hours to make something? Answer - a 1520's ensemble suitable for a woman of middling-to-yeoman class! See the documentation and more.

What happens when a SCAdian starts to wonder how she might remix the remix of one of the only images of Anne Boleyn that survives, to see just how close to the portrait she can get? Let's find out!

A French Gown circa 1520's in pale blue silk taffeta with a matching kirtle in deep green silk.

A simple front-lacing Kirtle in teal linen with silk trim, intended for everyday SCA wear. Uses padstitching techniques taught by the Modern Maker to add flexible support to the bodice. Paired with a set of tie-on sleeves in hand-dyed red wool (fabric was dyed by Dame Emma West along with Marguerite and others at a fabric dying event hosted by Drea di' Pellegrini). Entirely hand-sewn.

Based on portraits from ~1580's Venice and executed in red silk, the ensemble consists of a camica, underdress, gown, and inserted placket.