Other Periods 

Wool tunic with Vandyke stitch embroidery

The partially-inset sleeves and sloping shoulders on this wool herringbone garment were  patterned after drawings of 12th and 13th century garments from Herjolfsnes in Greenland, published in Medieval Garments Reconstructed: Norse Clothing Patterns By Lilli Fransen, Anna Nørgård and Else Østergård, Aarhus University Press, 2012 ISBN: 978-87-7934-298-9 

I know, Vandyke was not a period stitch but if you squint it maybe looks like the couched seam-cords that are more documentable?  I also have rather a lot of beautiful herringbone embroidery I'm embarrassed to post pictures of too because, like many  newbie Norse, I herringboned like crazy before I learned it wasn't really a period embellishment...
More importantly (to my priorities anyway), this grey garment is an example of something I particularly enjoy, which is making the most of a remnant. I often make garb out of fabric that is handed down to me or scavenged from remnant tables, second-hand sales, or Ebay, in limited yardage.   I didn't have quite enough of the light-gray base fabric to do what I wanted, so I made it go further by buying a thrift store men's jacket for a few dollars, cutting it up, and using that for the fabric of gores and trim. Not only does working this way render examples to reenactors on a budget, it also enhances my appreciation of the incredibly high value cloth had in a time when every thread was painstakingly processed by hand through hours and hours of skilled labor.

Chinese Medieval

This was a one-off attempt to make a Song Dynasty women's hanfu. It was done in honor of Anglesey's warlord Ying, who celebrates his Chinese heritage through his persona.  We were encouraged to create or obtain Chinese garb to wear in support of him at a household event. I made an attempt and felt very out of my depth and nervous, but it was worth stepping out of my comfort zone to shine a reenactment spotlight on a non-Western culture. This hanfu consisted of a pleated camisole, shirt, pleated wrap skirt with a long distinctively-tied belt, and a coat. People who actually do Eastern garb and research it properly should rightfully be horrified at this, and it is rife with inaccuracies (for example, only the Emperor was allowed to wear yellow).  Ying was gracious and kind about my efforts. An introductory video on Song Dynasty Hanfu can be found here. 

15th century Burgundian

I decided to make a Burgundian gown for fun, not to enter as an A&S project but because I'd always secretly wanted to wear one.  One gown turned into a gown and a partially-lined supportive under-kirtle-- and then there was a hennin for my head, with a frontpiece, and a veil, and I modified a costume brooch..I took some pictures of the process, but this project was really about blowing off steam and taking a break from the Early Period work in which I invest more seriously, so I'm not sharing the step-by-step here.

My laurel friend Countess Gwen in Meridies helped me with the torso patterning.  I played with muslin mockups a bunch trying to get the fit just right, made five different muslin versions before I was happy with it enough to continue. The shoulders still aren't right but they're OK.  Late period patterning is hard.

The bottom hems of all the pieces except the two front panels are angled slightly, to make the shorter front meet up with the longer train in back.  Gwen convinced me to make a separate linen under-kirtle first, lined on the torso with linen canvas, which replaces a modern bra to give a more period silhouette. I wound up learning to sew eyelets because it needed 30 eyelet holes.