Tuesday, December 16, 2014

Historical Sew Fortnightly #23

So I actually had this challenge completed almost two weeks ago, but I was lazy about taking pictures and writing this post. I knew months ago what I wanted to make for this challenge, and was happy to actually be able to accomplish it. Although most probably wouldn't consider it to be modern wear, I really wanted a short sleeved Viking linen gown to wear as a summer dress. I love the comfort of loosely fitted gowns, and I wanted something long and linen and perfect for the day to day. Here is what I made:
The full gown, still wrinkled from the last time I wore it.
Close up of the embroidery. I intend to do similar embroidery on the sleeves.
Close up of the neckline.
The gown being worn. This is also the best representation of the color.
The gown is a long rectangle, the width of half my bust plus some ease, and folded at the shoulder. It is gored from the low waist down to the hem, adding an extra 26 inches per gore. One gore was pieced to conserve fabric. The sleeves are rectangles, and there are underarm gussets. All seams were flat-felled.

The hem facing, sleeve and neckline detail are mustard colored wool, with the visible edges whipped down with cotton thread over wool yarn as filler thread. The embroidery is chain stitch.

I have worn this dress repeatedly, and I love it. I plan to make a leather vest or waist cincher to wear over it to make it more fitted and more modern looking.

The Breakdown:
The Challenge: #23 Modern History

Fabric: Green linen-blend, yellow wool-blend

Pattern: None, made it myself

Year: 9-13th century

Notions: Cotton thread, cotton embroidery floss, wool yarn

How historically accurate is it? The pattern is good. However both the linen and the wool were blended with rayon, and all of the seams were machine stitched. And besides the underarm gussets, all the flat-felled seams were also machine stitched. The embroidery is my own pattern, so unknown accuracy, but the chain stitch was used. This is probably my worst, say 20%.

Hours to complete: 5 for the dress, 15 for the embroidery

First worn: The day it was finished, to go out to dinner with my husband

Total cost: The wool was a remnant, the embroidery floss was inherited, and the yarn was clearance. All told, I think it was $25-30.

Wednesday, December 3, 2014

Mary of Hapsburg Hemd

So a while ago I came across an image somewhere (I want to say Pinterest, but I don't remember for certain.)
Website with details and other images here
In fact, I'm not entirely certain that this was the view that set me off, all I remember is clicking through and knowing, KNOWING, 'I have to make that!'

But I was in the middle of other projects and thus it remained as a note in the back of my brain. But now? Now I am determined to start it. I had already picked up some thin linen and metallic embroidery thread for the hemd or chemise, so last night I cut the pieces, and today assembly started. The pieces are big. The front and back pieces are 71 inches, and the sleeves are 48 inches. And all of that gets pleated down to the neckline. I thought I was prepared for the amount of work that entailed, but I forgot something. That 6+ yards of fabric needs to be hemmed first, before the smocking can begin. Did I mention I want this outfit to be accurate, and thus handstitched?

What have I got myself into?

Monday, December 1, 2014

Historical Sew Fortnightly #22

After my massive, nearly a year long project was finished (and which I still owe photos), I figured I'd take a break from sewing. Step away from the machine, do other things for a while, and probably let the rest of the challenges slide. I didn't even have an idea for the Gentlemen challenge, so a break would be had. Except, I made that Regency turban. And the burgundy linen was fantastic to work with. And a matching spencer would fit the challenge and be awesome. So within a few days of getting back from BurCon, I was onto my next project.

I didn't have a pattern, but I soon realized that modifying my bustle era bodice would be a lot easier than trying to adapt a modern coat pattern since my bustle bodice already fit and had the curved back seams that were popular from the 1700s through to 1900s. (Possibly earlier, but I haven't really looked at the 1600s.) I extended the front shoulder pieces by two inches, and subtracted them from the back. I cropped it short and added two inches to the hem circumference so it wouldn't be overly tight. I followed Sensibility's instructions for constructing a spencer, but used Tea in a Teacup's idea of interlining it with cotton flannel. (She also gave me the inspiration of adding awesome shoulder thingys.)

The jacket is burgundy linen blend, interlined with cotton flannel and lined with thin muslin.
Close up of shoulder cap, which has brown piping at the shoulder seam and yellow trim along the edge.
Spencer closes with hook and eyes. Front edge is piped in upholstery trim and left over yellow trim from my turban. Buttons are textured metal, and the bottom edge has the burgundy tassel fringe that I tried to use on my turban.
The side back seams are piped in brown, and a tab is piped with the trim from the front edge and sewn down with buttons.
The spencer while worn. The shoulder caps flare out slightly. The sleeves have tabs on them, trimmed in the last of the yellow soutache from the turban and sewn down with buttons. The sleeves are extra long and reach my knuckles, and are finished with brown piping.
The back. I should have added a half inch to the back armscye, as it has a tendency to pull. The back tab pulls in the waist slightly, and the extra fabric is stitched down in pleats to prevent shifting.
With matching turban

I am super proud of this jacket. This is the first time when making my own pattern that I felt like I did everything in the right order. Normally I'll realize I should have done something earlier and have to finagle it to get it to work. The trims went down in the right order, the jacket fits wonderfully, and all the little details really pull it together. I even did a fish eye dart at the elbow of the sleeves, AND clipped the flannel close to the stitching so it isn't bulky. I've taken to wearing this spencer on a regular basis, and have plans for it. I've added buttons to the interior, and plan to pick up more linen, interline it and trim it, and attach it to a band that can be buttoned to the inside for an instant pelisse. I'm also going to make a matching petticoat to combine with the spencer for a period riding habit.

   I apologize for weird formatting, Blogger is being an asshole.
The Challenge: #22 Gentlemen

Fabric: Burgundy linen blend, red and brown cotton flannel remnants, muslin remnant

Pattern: Self made, adapted from my bustle era bodice

Year: 1800-1810. I picked and chose bits from styles I liked for a generally earlier Regency silhouette.

Notions: Cotton thread, metal buttons, polyblend piping, hooks and eyes, four kinds of yellow polyester trim and a burgundy polyester trim.

How historically accurate is it? The style and cut is good. The outer fabric should be pure linen, as should the thread, and I'm not sure how accurate cotton flannel interlining is. All of the trims are polyester, and it was machine stitched. Let's say 40%.

Hours to complete: 20 - 30.

First worn: About a week ago, to the grocery store to get ice cream. Not yet worn as part of a historical costume.

Total cost: The fabric was $11, the interlining was two remnants, total of about $5, the lining was $3. Most of the buttons were bought on clearance, though I did pay full price for one pack, total $5. Trims cost the most, but I think in total the spencer cost me around $40.


Monday, November 24, 2014

And there was much rejoicing; yay.

So the convention was great, all of the bodices were boned in time (Gabriel's being boned on the drive down but finished before first wearing). It was amazing, we went to the panels, the karaoke, the cabaret, and got to meet a few of the actors. We won second place in the costume contest, mostly because Osric Chau personally pushed for us because despite an unenthusiastic response from the crowd he could see how much work went into it. The person who won first place totally had a novel concept behind her idea and was utterly deserving of the first place position. But I'll take it next year ;). I'm still waiting on photos to be able to post shots of the costumes, but they will be coming soon.

It was amazing to be able to spend a weekend with friends. So often when we hang out other things end up happening. Samifer has to go out to the ranch to tend to horses. Gabriel has work to do for school. There was an emergency at the cat shelter and Crowley wasn't able to make it down like she hoped. Castiel has to cover someone's shift. For the first time in ever, the five of us were able to just hang out. No one else, no priorities, no emergencies to be handled, no one to hold ourselves accountable to. We decide to skip a panel and sleep? No big. We all realize we're hungry? There was a fast food village across the street that we tried and graded and ate at when we felt like it. We decided to find a geek shop and pick up new dice for the Dungeons and Dragons game that I was running (only my third time ever GMing) and got to laugh about the faces the men who were there made when almost a half dozen women walked in and made a bee line for the dice. (We did not get the 'women in a comic book store' discount, so they obviously get female patrons, but they were still kind of shocked to see such a large group without any menfolk in sight.)

When I got back my husband had hoped I'd take a break from sewing for a while, but I'm not as burnt out as I thought I'd be. So my piece for the next Sew Historical challenge is already finished, and a post will be forthcoming. A co-worker who went to a Supernatural convention in 2013 said she was already planning to attend this year before the previous con had ended. With my friends, it was the same. By Saturday we were already making plans as to which tickets to get for 2015, things we need to bring, things we didn't end up using, and what the costumes should be.

I'm feeling viped and want to do more. Of everything. And even with working the holiday season and the stress that brings, I'm finding my energy. And it feels good.

Tuesday, November 11, 2014

Convention? Convention!

First of all, let me say:


Secondly: I did it! As of today I sewed the buttons and buttonholes onto Gabriel's bodice, meaning all costumes are officially wearable. Awww yeah! With two more days until the convention, I can bone the bodices that still need bones, add in pockets where I can, and generally take it easy. There are still some minor things: waist tapes that have hooks but still need eyes, Samifer's and maybe Crowley's bodices need hooks to attach bodice to skirt in order to prevent gaps when arms are raised. All little things that can be done day of if needed. I don't have enough boning caps to bone all the bodices, but I'll pick up some heat shrink tubing to cap them with. Castiel has offered to help me sew the boning in, and between the two of us we should be able to get the boning in and the seam allowances whipped. We've also been working on props. She completed stage one of angel blades today, and I've turned two confetti guns into the Colt and Dean's gun.

Gabriel's bodice. This was before the buttons were on; I was checking the overlap to figure out button placement. I also needed to see if the bodice was long enough that I could do a facing or if I needed to bias bind. I was able to do a facing.
Gabriel's bodice was hard to fit as she has 5 gallons of tits. Seriously. So many bust alterations.
The (confetti) Colt. This will be carried by Crowley, since he has the Colt when you first meet him.
Dean's (confetti) gun. Displayed on yarn because it was still drying. I will be carrying it. Also, all of the confetti shots were topped off with glitter, for the ultimate "I will fuck you up"
My Samulet. It has since been painted. It's too big, but still wearable. Apparently my friend ordered one for me online, but if it doesn't arrive in time I will wear the one I made.
I made a little rose pin for Samifer to wear. I was unhappy with the rose selection available, but this turned out well I think.
I actually bought these for a Halloween costume for myself, but I think they'll look great on Samifer.
The piece de resistance. I designed this guy on Cafe Press, and now I finally have an awesome flask. I've been wanting a good one for years, but was never satisfied with the ones I found. This one's smaller than I'd originally hoped, but that makes it perfect to slip in a back pocket. It reads: "Sometimes, wrestling with my demons is the only exercise I get"
Still to come: angel blade pictures, full costume images, and convention weekend photos. This thing I've been planning since January has finally come to fruition. And I still have two more days before we head to Burbank. My head is so full of fuck right now.

Thursday, November 6, 2014

Historical Sew Fortnightly #20

Late post because I was so busy finishing one of the outfits. Current status of the project is two costumes done, two wearable (no boning and the seams aren't whipped down, but not obvious). The fifth bodice mock-up has been stitched (except sleeves, which I will do tomorrow), and I have just about a week to make it. Since I won't actually be able to see Gabriel until Saturday, tomorrow will be spent finishing all the bits I can on the other costumes before putting my nose to the grindstone on the last bodice.

The challenge is the easiest for me since all of the costumes I've been working on qualify. Taking the characters and outfits from the show Supernatural and turning them into late bustle era costumes falls pretty solidly under the header of "Alternative Universe." This particular one is the most recently finished in the line of five costumes: Samifer.

In the show, Lucifer escapes the cage that he has been locked in and starts running amok. Angels don't have a physical form humans can see (and survive), so they possess humans that are strong enough to endure it. One of the main characters, Sam Winchester, is the chosen vessel of Lucifer, and when Lucifer finally gets a hold of him, he is dubbed Samifer (as opposed to the other vessel he was running around in which is just generally called Lucifer). In an episode that takes place in an alternative future we meet Samifer, and he looks like this:
Wearing a white suit in a rose garden, making him the biggest show off in the series. So when it came to making this outfit, it needed to be over the top. Lots of trims, lots of details, and a train. This is someone who knows how to make an entrance. So the skirt is white crepe suiting with cream colored pleats and two different ribbons stacked on top.

And red roses underneath that looks like the flames of hell. The bodice continues the look.
The boob-framing look comes from image I found of a woman who I assume to be an actress wearing a bodice with a similar cut. The sleeves have similar trim to the skirt, cream pleats with a two ribbons sewn on top. The inside edge of the cuff was bias bound with the red rose fabric, to keep up with the rimmed in hellfire look.
Close-up of the bottom. The center fabric has a herringbone weave, and the entire front is trimmed in a box-pleated ribbon with a bit of white and gold cording tucked inside. The bottom cording is off-white and gorgeous.
The false shirt is the same cream as the pleats, and trimmed in one of the ribbons from the skirt along with another trim I had kicking around.
The train is cut as one piece with the back and side back pieces of the bodice using the full width of the fabric. The extra was pleated into inverse box pleats and stitched down, with a decorative antique gold metal rose on top.
The train laid out.
The edges of the train are trimmed with off-white rose lace, and the two ribbons that were used on the skirt. The ribbon hides the selvages, and is box pleated along the bottom to make is easier to curve with the cut of the train. I actually didn't have enough lace for the full train, but I did have the same pattern in a proper white, so I used about 6 inches of that to cover gap left at the very bottom of the train.
I don't have any images of the outfit being worn after the sleeves were finished and the neckline changed, but here's how it looked at the nearly done stages.
Back view, with train down. This was before all the trimming was applied to the train.
Side view, with all the bustle-y goodness. The mock-up sleeve was slit open because it was too tight and I needed to figure out how much to add for movement.
Back view, train up. Since we're going to be at a convention with lots of people walking around, we figured it'd be safer if their was a way to pick the train up at times so it wouldn't get stepped on. The interior has two sets of ties that can to tied together to bustle up the back of the train and prevent it from dragging.

The Breakdown:

The Challenge: #20 Alternative Universe

Fabric: White polyester crepe suiting, muslin, white herringbone suiting, cream cotton sateen, rose printed quilting cotton.

Pattern: Self made

Year: Mid-1880s

Notions: Cotton thread, hooks and eyes for closures, white satin ribbon, white and gold brocade ribbon, lace, white and gold cording, white fringe-y trim, thick off-white twisting piping.

How historically accurate is it? The design is based off of elements I've seen in dresses dating from 1884 to 1888, but this outfit has a lot of polyester elements. 75%, maybe?

Hours to complete: Lots. The pleats on the skirt alone took close to 18 hours, and because Samifer has interesting shoulders I had to do more mock-ups for this outfit than for any other. I'm going to put it in the realm of 50-70 hours.

First worn: Not yet, but the convention begins November 14. Squee!

Total cost: Again, lots. $55 for the suiting, and probably another $20 just for the muslin for mock-ups and flat-lining. At least $40 for ribbons and lace and notions. I'd put it around $150 total, which really isn't that much all things considered.

Thursday, October 23, 2014

Back in the Saddle Again

I just got back from a week and a half long vacation to my uncle-in-law's cabin in Idaho. We drank, we fished, we drank, we hunted, and we drank. Six and a half cases of beer, four bottles of wine, and four or five bottles of tequila and whiskey later, my husband and I, his parents, and his aunt and uncle stumbled off the mountain. I bear the crown the of Fishing Queen, there is now a family feud involving gnomes and trunk nuts, and my husband learned how to butcher a deer.

Now that I'm back in California, I have some sewing to catch up on. Yesterday was spent doing mock-ups on Samifer; I did two but a third will need to be made. Crowley's bodice has its bias binding, and the center panel has been whip stitched in place on one side. Hooks and eyes need to be added to the other side, and sleeves need to be mocked up for her visit this weekend. I also am going to try to get half the boning in, so I can check placement, but I'm working seasonal again this year so I have other things taking up my time.

Right now it's time to make a sandwich before I have to leave for work. Not panicking yet, but I am running out of time.

Tuesday, September 30, 2014

No Historical Sew Fortnightly

I had plans, I found a poem, I was going to make something. But the deadline for the Victorian Femme Supernatural Cosplay is coming up, and with tickets bought, hotel booked, and a week and a half long vacation in the middle I knew I have to get to work.

Castiel's bodice is practically done, I just need her to try it on to see if the bones I put in are good, and finish boning it. Seriously. The closures are done, a pocket was added, it's close. Until that fitting happens, I've been working on her capelet.
This is one half of the back, smocked into a wing. The right side will be the center back seam, and there will be another wing. The capelet will wrap around her shoulders to the front and button on under the collar. It may be done tomorrow; I finished the first piece today even though I didn't start on it until 2pm.

I will also be writing up a post of How I Did It, by Victor Frankenstein.

Tuesday, September 23, 2014

Bodices of friendship

Crowley was down for a recent visit, so I had her try on all of her clothes so I could figure out hemming lengths and button placement and so forth. I also threw my bodice mock-up on her as well, because despite being significantly shorter we have nearly identical measurements. I was able to pin it, mark it, and notate it enough that I'll be able to make her bodice without making another mock-up. In fact, if I'm lucky I'll be able to make all five bodices with only six mock-ups. It took two for me, and I was able to use the revised version to fit Crowley. It took two for Cas, and her bodice is nearly finished. I'll likely need two for Samifer, but I may be able to use the best fit one to figure out Gabriel as she has similar measurements. Even if I need seven mock-ups total, I'll still consider that a win. And now, photos:
Cas in her walking skirt, the day I did the mock-ups for her bodice. Also: eyebrow. Also also: you can see her toesies.
My cat, 'helping' me sew.
Crowley, now with added butt.
Next was the petticoat.
Crowley skirt front
And side. Her boyfriend was surprised at shelf-butt, and tested to see if you can rest a drink on it. Result: you can. If drink had not been a lidded cup of water, added result would have been dead boyfriend.
I went on a trail ride with Cas, Crowley, and Samifer (who owns a trail riding business) on Sunday. This is Athena (left) and Remi (right) flirting.
Stay tuned for pictures of Castiel's bodice, the panicked realization that I only have about a month left until my deadline, and photos of my upcoming trip to Idaho where I will bring lots of things to work on and then spend most of my time drinking and fishing.

Friday, September 19, 2014

Historical Sew Fortnightly #17 Yellow

So I've had this challenge finished for the last couple of days, but I've too lazy too write up the post.

For the tutorial of how I made my Regency turban, click here.

I didn't want to go full yellow on this, but with a yellow plaid band, yellow trim and cording, and yellow tassels, this turban would be boring without. It was difficult to find a way to make yellow work since I tend to avoid it, but I'm happy with my finished project and may end up doing a matching burgundy and yellow pelisse one day.

The Challenge: #17 Yellow

Fabric: Half a yard of burgundy linen, a strip of yellow plaid cotton, and some cotton muslin to line it.

Pattern: Based off of this tutorial from Festive Attyre and this method for making the roll.

Year:1810ish, I didn't really try for a specific year

Notions: Cotton, silk, and polyester thread, brown and yellow polyester trim and cording, two tassels, brown poly-cotton piping, about 180 fake pearls, one paper fedora, polyester ribbon, cotton batting, one metal and one plastic button.

How historically accurate is it? Most of the trims are polyester and I didn't copy a design specifically, but the fabric is okay for the period and I pulled elements directly from fashion plates, not to mention the whole thing is handsewn, so maybe 50-60%?

Hours to complete: 15ish?

First worn: Not yet

Total cost: The linen was $4, the muslin a leftover, hat was $1, plaid was $2.50 a yard, trims were mostly dollar packs but the pearls were $4 a pack so let's say $25 abouts.

Sunday, September 14, 2014

How to Make a Regency Turban

So I said I was going to make a tutorial, and so I am.

My Regency turban was made for the Historical Sew Fortnightly Challenge: Yellow.

I had issues with this challenge, because like many I don't really like yellow. But I do like plaid, so when I found a not horrible yellow plaid, I figured a turban would build my wardrobe, not take too long, and be something I could actually wear.
Not horrible yellow
 So I spent a little time on Pinterest looking at fashion plates and existents, and found that plaid turbans were a thing.
Found on Historical Sewing
This one was probably the best, but it's obviously a wrap turban and would be hard to do as a solid cap.
Ekaterina Karamzina Benner, by Jean Henri Benner
This one isn't bad, but it's a very different kind of plaid.
American Evening Turban, 1823, cotton. MET
This seemed like an okay idea, until I saw the back.

I tried playing around with my fabric to find a way that would work for me, and I couldn't. The plaid was too loud with nothing to offset it. I continued searching, hoping to find something that would allow me to make a yellow plaid turban, when I discovered this:
Yellow jacket and bag, accented with red. A yellow turban might be out, but a red one, with yellow accents? That's more my style.
The turban on the left in the upper picture and top center in the lower picture served as my main inspiration pieces, and I got to work.

I had a half yard of 54 inch wide burgundy linen to serve as the body of the turban cap. At first I played around with a fully fabric cap,
but realized I was going to need some kind of structure. Dollar Store fedora to the rescue!
I cut off the brim and covered the edge and base with a three inch wide strip of linen. The linen was sewn to the inside, even with the edge, folded over to the outside, and tacked down with running stitches. I also cut off the top to make more room for my dreads. That edge was covered with ribbon, folded over the edge and hand sewn.

Dread space
A circle as wide as the fabric would allow was cut and unevenly gathered onto the cap.
Don't look at the camera. Look anywhere but the camera.
The circle was stitched down unevenly, so it would meet the band edge at the top, but come down to the wearing edge at the bottom.

Next came the plaid bit. I had some cotton quilt batting on hand, so I rolled up a log of it about 2 inches in diameter and long enough to fit around the cap.
Loosely rolled batting
This was stitched together to prevent it from unrolling.
A bias strip of plaid wide enough to go around the log (plus seam allowances) and long enough to cover it with overhang was cut, folded in half lengthwise, and stitched.
Looking closely you can see little hand stitches along the top edge.
This was turned rightside-out

the batting attached to a large safety pin for ease

and inserted into the plaid tube

I played around with trims for a while, and finally settled on a brown trim topped with some yellow soutache-like cord.
The trim was pulled tight to cause the plaid tube to puff out in-between, but to avoid looking overly structured it was only stitched together where it met the seam. If you look closely you can see the ends of the white thread where the trim is attached at the seam.

Then some burgundy tassel trim was added where the crown met the brim
and was then completely hidden by the plaid.
I wanted it to peek out like this, but I didn't secure the roll far enough back so the tassel trim became completely hidden. Oh well.
The tube was stitched to hide the seam line all the way around and through all layers.
Trying to let the tassel trim show
There was a casualty.
My needle literally snapped between my fingers as I was trying to maneuver it.
Decorative roll secured, I cut the rest of the linen into 5 inch wide strips
stitching them together into one long tube (so I didn't have to worry about hiding the raw edges), and began playing around.
The bottom of the plaid strip where it extended past the batting was gently knotted, stitched to secure it, and the ends were hemmed. I wanted to have them hang down my back with tassels on the very ends for extra flair.
I still had some of the yellow soutache left, along with some brown cording that matched the trim wrapped around the plaid roll. After a lot of playing around

I finally decided on folding the linen tube in half and braiding it with the two cords. That was tacked on repeatedly until I was happy with the style.

Sorry the pictures are all over, I'm not good at this.

The braid had its center point tacked over the plaid roll, with each end wrapping under the fabric at the back of the head and the ends over each other just behind the plaid roll. This was stitched down here and there, wherever I thought it was necessary (generally wherever I had pinned it during the trying on stage).
Sewing in progress
And stitches nicely hidden. The braid is only stitched to the fabric, not to the structure underneath, to keep it relaxed looking.
The ends of the braid, stitched down on top of one another.
 The extra fabric at the very back
was simply folded over and stitched at the tip.
Please ignore the box of Cheez-its and the raccoon piggy back in the background.

After this more trim was acquired, this time an inch wide yellow upholstery trim. This stitched onto the brim.
And around the point in the back, hiding the cut edges under folds of fabric to make it look continuous.
Next was tassels. The ones I bought were attached to a cord, so first they were freed.
The ends were knotted, the tips of the plaid roll were folded around it, and it was stitched together.

Blurry stitching photo, but you get the idea. The knot gives a nice secure point to stitch around, so I don't have to worry about the cord unravelling.

Brown piping was added around the brim edge, stitched carefully to prevent the thread from showing on the right side.
And pearls were added. Lots of faux pearls.
The strands sink into the cap, to give the appearance of wrapping.
Now I just needed something to cover the point of the pearls, and the ends of the braid. After hating everything I had in my jewelry jar, I eventually some winners in my button bin. A metal crescent moon button (the only one I own) was prefect for the top point, and a different button worked to cover the braid ends.
I think maybe the moon should be pointing the other direction, but I'm too lazy to change it.
And the finished project:

And I can shove the dreads in, though the cap looks a little weird when I do.

Though not weirder than period caps, so I think it works. The only extra not pictured is the strip of muslin hemmed and stitched to the inside to hide stitches and the bits.

I didn't really use a pattern for this cap, and I'm not certain of the period accuracy, but it hides my anachronistic hair and I'm happy with it.

For other tutorials that I used to help me (and that you may want to refer to if I was unclear) Festive Attyre did an excellent post on making hers, and Lynn McMasters has a guide to making the padded roll on the turban.

So there you go, a brick of text and photos. Hope it's helpful!