Boemio Cloak, c.1580-1640

With most of my early modern events at the hottest time of the year, I've so far avoided making any garment heavier than a wool waistcoat or two. But, after several rainy musters and a chilly faire in early May, I've concluded that some warmer garments are advisable.

I decided to try the Modern Maker's drafting methods this time. For a versatile, wearable garment, I chose the Bohemio: a short, full cloak with standing collar and contrasting lining. It was also one of the few cloak patterns in the book explicitly described as being worn by women.

 

One very full cloak.

 

The personal measuring tapes were a bit time-consuming to make, but fun in their own way. They definitely made the drafting process go smoothly, as each point was simple a matter of measuring to the designated symbol (and sometimes adding/subtracting like Roman numerals). At least on this loose garment, I didn't have to do any alterations after drafting--the cloak is a comfortable length and perfectly fitted at the shoulders and neck.

 

Custom measuring tapes...in abbreviated Spanish.

I wanted a proper piece of outerwear, so I chose a heavily fulled wool broadcloth for the exterior. My regular suppliers were out of the really interesting shades and I had my heart set on Lincoln green, so I opted for an emerald green melton wool from the Dorr Mill Store. For the lining, I selected a bright "weld" yellow mid-weight linen from Fabric-store.com.

 

 

A full circle & then some.

I consulted Patterns of Fashion IV for information about extent short cloaks, and while it mentions green wool among the known cloak materials, and both dyed linen and yellow linings, I do not have any specific evidence for the combination of a green wool exterior with a yellow linen lining (much less one of this particular style). That being said, the material and colors are at least plausible and I like the them together, especially with the contrasting front panel.

I got it into my head that I wanted to sew the whole cloak by hand, which wasn't as bad as it might seem. The main body was four parts (two backs, two fronts), with a two-piece collar. All of those pieces were also lined. I used a double row of running stitches to join the seams, based on an original 18th century cloak that I may have started copying just before this project. Neither book had detailed instructions for lining the garment, so I ended up using the Tudor Tailor's method of sewing the lining separately, turning the raw edges and then slip-stitching the two layers together along the top and sides. The collar (two wool layers) was made up separately and attached to the wool cloak, with its raw edges hidden under the linen lining. The fulled wool was heavy enough that I had to miter the corners to get them laying neatly. Following Quin's advice, I hemmed the two layers separately-- or rather, I hemmed the linen, and left the wool with a raw cut edge, which is a perk of broadcloth. This saved me approximately 3 lifetimes worth of pressing heavy wool, and was definitely the right decision.

 

I get the tiniest stitches working on linen.

Double row of running stitches in black silk.

The Modern Maker instructions do not mention or show any fastener on this cloak. I thought to add one, but have been pleasantly surprised by how much it is not needed. The fabric is well-balanced front and back, so that the cloak stays on whether I'm walking or standing still (with the revers turned back or not). I haven't tried running or anything, but it doesn't have the tendency of my more modern cloaks to slither off at the slightest movement. It also weighs a ton, so I'm glad it's hanging from the shoulders and not a clasp at the throat.