Kilts and Such: Sporran #2

Whether to Leather
There are a lot of leather sporrans out there. Not that there's anything wrong with that. I'm not a vegetarian and I enjoy venison although I'm not a hunter. My first purchased sporran is made from leather. Aside from the PETA argument, there are many who desire non-leather sporrans, either for the look or just to wear something different.

Leather Alternatives
I started searching the Internet for different sporran construction materials and examples. There a quite a few leather hybrid sporrans with different materials to cover the front panel or the flap. These still are primarily constructed from leather. Sporran Nation has many that are made from a vegan leather called Lorica. Some of the best examples I found were of sporrans either made entirely from tweed or faced with tweed. I've seen humorous and slightly disturbing versions using un-stuffed animals or other toys. Elmo never looked so good!

Tweed
According to Wikipedia, "Tweed is a rough, unfinished woollen fabric, of a soft, open, flexible texture, resembling cheviot or homespun, but more closely woven." It's a twill that is becoming a popular alternative to tartan for kilts. Harris Tweed is, in my opinion, tweed at it's best. Someday I'd love to have a Harris Tweed jacket or three, but it's pretty expensive stuff.

Just $3.00 from the Salvation Army!

I've found an awesome alternative source for tweed - recovered material from used tweed jackets. I can usually find several in excellent shape at the Salvation Army. There's quite a bit of material to be recovered, although the pieces are not large. The sleeves and back provide the most useful material. You do need to check the label to make sure it's 100% wool. Many are a wool blend or polyester.

I haven't run into any Harris Tweed jackets yet. If I did I'd probably put it up on Ebay rather than harvest cloth from it. It'd be a shame to disassemble on.


Sporran #2
My first sporran was a simple Rob Roy style made with pleather. It was okay for my renaissance fair outfit, but isn't going to last very long. For my second sporran, I'm using duck canvas as a foundation for the inner lining, with a plastic canvas interfacing, a tweed outer lining, all sewn together with upholstery thread. The gusset will be a single layer of duck canvas.

Since this is a construction experiment, I'm going to copy the pattern from my cheap stiff leather sporran. It's provided great service for the price, but it's less than a year old and I've already had to re-stitch sections of it.

Interfacing
I traced a pattern from the cheap sporran onto stiff card, cut them out, and used them and an x-acto knife to cut out plastic canvas for the front and back panels. The back panel also includes the top flap.

Pattern and plastic canvas inner lining.

Inner Lining
As with my doublet construction, the same pattern is used to measure the black canvas inner lining adding an extra three quarters of an inch around the pattern to wrap around the plastic canvas.

Duck canvas with pattern traced in chalk. Cut 3/4 inch around markings.

Using barrettes to hold the layers together didn't work as well as with the doublet, due to the inflexibility of the plastic canvas. Later, I brushed a think layer of tacky glue onto the plastic canvas to hold the tweed in place so that it wouldn't distort. If I use this material again, I'll do the same with the duck canvas. However, I may switch to a heavy fusible interfacing.

Sewing the inner layer of duck canvas to the inner lining.

Normally, I'd sew the outer lining to the interfacing with a stitch that's hidden from view. Unfortunately, the plastic canvas doesn't lend itself to this. At least the black duck canvas hides the stitches well. Another reason to use fusible interfacing.

Outer Lining
After stitching the duck canvas, I once again attempted using barrettes on the tweed out lining. With three layers, the barrettes failed to stay closed. The tweed also proved to be so flexible, it distorted while holding it. I removed the barrettes, brushed a thin layer of tacky glue to the plastic canvas, and pressed the tweed down into the correct position. A few minutes later, it was ready to trim and sew.

Tacky Glue to the rescue!

Turn the tweed edge under facing the interfacing layer and stitch the tweed to the duck canvas along the edge. This was much easier than the duck and plastic canvas layer. Instead of the upholstery thread, I used a thinner polyester. A tight whip stitch along the edge took no time at all and is virtually invisible.

Whip stitching the tweed and canvas together.

The finished panel looks pretty good. As I said earlier, I'd rather not show any stitches at all. If I had used thick fusible interfacing or a heavy hair canvas instead of plastic canvas, I could have avoided the stitches in on the inner lining. At least the outer lining hasn't any exposed stitches.

Inner lining in duck canvas. Please ignore the stitching ;-(

Outer lining in tweed

Belt Loop
I considered several options for the belt holder on the back of the sporran. For example, sewing a pair of "D" rings to the back. Since I want to compare the performance of this sporran with my cheap leather one, I decided to construct a belt loop.

I used the same construction as the front and back panels, and attached the loop with the duck canvas facing toward the front of the sporran, assuming it would get the most wear. A double row of upholstery thread sewn through to the six layers of belt loop and back panel should hold. I found sewing through the plastic canvas a bit of a challenge. I tried to follow the curve of the belt loop and kept running into plastic. I was able to reposition the needle most of the time, but with two layers of plastic canvas, the holes sometimes just don't line up where I need them. Yet another reason to use fusible interfacing.

Belt loop attached

Gusset
I've decided to use a button and loop as a latch. I should probably sew them on before sewing the gusset to the back and front. Since my gusset is pretty wide, I'm going to wait so I can optimize their placement.

The gusset is a double layer of duck canvas, sewn together and turned inside out to hide the seam. Although I could have used the sewing machine to do this, the rest of the sporran is hand sewn so I took the time to hand sew it. Didn't take long.

To give me some room for adjustment, I left one end of the gusset unfinished. The gusset is sewn to the front panel so that it can be reversed, giving the front a smooth roll of cloth and a hidden seam. When sewn to the back panel, the gusset forms an "S" shape encouraging it to fold inward when compressed.

Sew the gusset to the outside of the panel

More sewing o' the gusset

After sewing the gusset to the front panel and reversing, I noticed that the rolled edge doesn't stay in place as well as the leather. Normally, when attaching a leather gusset, the leather is dampened to encourage it to stretch and form a nice rolled edge. Which, of course, I cannot do with the duck canvas. I thought it was going to stay once it was sewn to the back panel. I ended up stitching the top portion of the roll to the inside edge of the front panel about half inch an inch down to encourage it to stay rolled. Now would be a good time to do this.

Gusset rolled toward inside of front panel

View of rolled gusset from the front panel

Before sewing the gusset to the back panel you will want to line up the two panels so that they are parallel to each other and not rotated, then mark the top edge of the gussets to the back panel with chalk. I also pinned the gusset to the back panel to keep it from rotating while sewing. It still was off a bit and I had to make some adjustments to the top edge of the gusset to keep it from looking higher on one side relative to the other.

I think it would have been better to have found the exact bottom of the gusset relative to the front panel and started sewing it to the back from their. Using two needles and thread, progressing from the bottom toward the top edge. This would have probably helped keep the finishing position from sliding higher. At least it wasn't too far off.

Finishing the edge of gusset off

Tacking the roll to the panel to encourage it to stay rolled

Wide and deep

Closure
With such a wide gusset I was concerned with latch placement. Sporran #1, the Rob Roy style, has a loop and knot closure that is a bit annoying. To keep it closed, you have to tie the loop, otherwise it cannot be adjusted for the volume of stuff you're carrying around. I was afraid this would be an issue. If you collapse this sporran flat, the top flap extends a good two inches farther down the front panel than when fully extended.

As a compromise, I attached two buttons, one to the flap and one to the front panel just far enough that it won't get in the way when the sporran is fully collapsed. To allow for adjustment, I'll tie a cord to the top button, and loop a cord around both buttons in a figure eight pattern. The friction looks like it will be enough to hold it without a knot. I'll give it a try for a while and see how it works out. I can always change it later.

Two button with cord closure

Renaissance Doublet/Jerkin - Part III: Buttons

This is part of a series following my progress making a doublet. 
Renaissance Doublet/Jerkin - Part I: Getting Started
Renaissance Doublet/Jerkin - Part II: Problems
Renaissance Doublet/Jerkin - Part III: Buttons

Buttoned Up

After solving the problem with the back and collar, I finally started considering my fastening options. Doublets are form fitting, so you need something that will hold up to the stress (especially with my girth.) Historically, you have hooks hidden from sight, laces, or buttons.

I've decided to use buttons. Laces would be easily adjusted and easy to make. Hooks are pretty simple, but my rough highlander outfit probably wouldn't have them. Buttons are more work than laces or hooks, but I like the look.

There are a few websites that suggest several types of buttons. The two most common are a bead covered with thread or gathered fabric. Metal buttons were expensive.

Scott Perkins's blog, Garb for Guys, has several post on making and attaching bead and fabric buttons.

Stitch demo: Handsewn Button Holes
Buttoning Up - Part One
Buttoning Up - Part Two

Marc Carlson's web site has a section called Jennifer's Stuff with Medeval stitches, basic fabric buttons, buttonholes, and attaching buttons.

Sewing Stitches Used in Medieval Clothing
Basic Fabric Buttons
Buttonholes
Attaching Buttons

After considering my options, the fabric buttons looked pretty easy to make. I made a couple of test buttons using three different diameters of circles made from the same fabric as the outer panel material. I practiced making a buttonhole with some scrap farbic.

Buttonholes
My buttonholes are a little rough, but they'll do the job. I should have practiced more. To protect the buttonholes, I used a buttonhole stitch around the slit using three strands of Six Strand Pearl Cotton Size 5 DMC Floss #938. Not knowing how much I'd need for the eleven buttonholes, I purchased ten skeins, but only needed half of them.

I used a bit of scotch tape to help mark the borders for the buttonhole stitching. Unfortunately, they turned out inconsistent and pretty sloppy. I also made a major mistake and put the slits too far away from the edge of the doublet. I re-slit the buttonholes closer to the edge, which made them to wide. After attempting to stitch the excess slit, which looked pretty ugly, I covered them with some floss. It's not pretty, but I didn't have much choice. Lesson learned.

Failed first attempt - too far from the doublet edge for my girth!

Next time I'll make a template I can fix in place to the edge of the doublet, stitch the buttonhole, and move down the edge to the next slit. I might also try using some waste canvas to help guide my stitches. My wife has used it to cross stitching on linen. I don't see why it shouldn't work for guiding buttonhole stitches.

"Rustic" buttonhole and button

Buttons
The process of making buttons is pretty interesting. You need to cut out circles of fabric roughly the diameter of a spool of thread. I had to make a couple of buttons before I had the correct diameter for my buttonholes.

From fabric circle to finished button

1. Thread a needle with a doubled length of thread (so you end up with four strands), run a gather stitch along the edge of the disk.
2. Pull the ends of the gather stitch thread to make a little purse. Tie off the threads.
3. Flatten the purse to form a disk pulling on the edges to get the largest diameter possible.
4. Re-thread your needle and gather stitch a second time along the edge of the disk. Pull the ends of the gather stitch together, keeping the purse top inside the pocket. You'll end up with something that looks like a mushroom cap. You won't be able to close the gap completely, just get it as close as you can and tie off the thread.
5. Re-thread your needle a third time. Work around the edge of the mushroom cap, pulling the puckered edges together until you form a ball. Knot your thread and you'll have a finished button.

You'll end up with buttons that have a "tail" of threads. I left the tails on just to make it easy to keep track of the button. Remember to remove the tail before attaching the button.

Button fabric circles

Gather stitch the fabric circle

Make a purse

Flatten the purse into a disk

Gather the purse into a mushroom cap

Finished buttons with tails!

Attach the Buttons
Once you have the button made, it's time to attach them to the doublet. I lined up the buttonhole side of the doublet over the button side and used the buttonhole to mark the correct location for the button with some chalk.

Thread your needle with three strands of floss and tie the end. Run the needle through the bottom edge of the button where the edges of the mushroom cap are sewn together. Now run the needle through the doublet edge, just shy of a quarter inch from the edge. Leaving about half an inch of thread between the button and the doublet edge, run the needle back through the bottom of the button making a loop. Continue to stitch loops between the button and the doublet about six times.

Now, loop the floss around the loops of thread occasionally running the needle though the strands of the loops, until you have formed a smooth neck. This will shorten the length of the neck between the doublet edge and the button. Knot the floss next to the edge of the doublet and cut.

I'm sorry, but I didn't take any photographs of attaching the buttons to the doublet. The links above have some great photographs if you need a visual reference. 

Buttons attached to doublet edge with a "neck" of floss.

Buttoned Up!