The underdress I made was very similar to the gold one I made a while ago, in fact, I used the neck hole as a template for the white dress. The only difference is that I did sewing machine French seams on this one instead of flat-felling by hand. There is a garment from the Hedeby find where the pieces are sewed together using running stitch, then both raw edges turned toward each other and whip stitched together, giving a very similar appearance to French seams. I wanted something with finished edges without giving up hours and hours of life on something that would never be visible, and it worked as one of my three display pieces at the Artisan's Display I wrote about last month.
So. Anyway. The aqua fabric sat, neglected, for quite a while while I tried to figure out what to do. Then, fortuitously, at the May event (also described below) a friend had some leftover orange linen from a project she'd made for herself, so on a whim, I bought it. It was enough to line a hood or make something with, but one day I saw it sitting next to the aqua in my fabric stash and I really liked the look of the two together..
I made a bliaut similar to the red one I made a few months back, but with much more generous sleeves, opening up from about my elbow (instead of halfway down the forearm), and hanging down nearly to my ankles when my arms were at my sides. I made triangles and sewed them onto my rectangular sleeves, as instructed in the pattern link, but in the future I think I'd just use a single piece of fabric shaped like this to eliminate the unnecessary sewing:
Here's the back, with the train visible, and you can see the side lacing here. This is the circular veil I made in my class at Uprising. Also, my crazy long hair. I like veiling, and find it really comfortable with the wimple, but I hate to hide my pretty hair, which almost always lives in a bun in my mundane life.
Photos are all by Arlen Donald from Artemisia's Coronation of TM Timmur and Sorcha in August 2014.