Another Assassin's Creed - Sofia Sartor + Bonus Project!

[Fonque]

Hello all,
I have been lurking around this site for months like some sort of degenerate and decided it was high time that I actually properly joined in on all the fun. I am a huge fan of Assassin's Creed and was rather taken by the character of Sofia Sartor from AC:Revelations. I have seen some nice versions but I wanted to incorporate a slightly more historically accurate version whilst still retaining the aesthetic of the character design.



I also have given myself an extra challenge by re-purposing an old costume for this project and trying to make it mostly for bobbins. So far I have re-drafted the bodice pattern to have a peplum, turned the sleeve into a puff sleeve and drew out where I wanted the gold portions of the bodice. The inside lining of the bodice is boned with 15 cable ties at strategic points, so I have a nice smooth structure and some support for my, er, decolletage when I'm wearing it. Historically I should wear a corset for the time period but this way I get the look I want without being too uncomfortable. In retrospect I could have sewn the gold portions on top of the green instead of sewing two convex curves together into a seam, I would have done a lot less swearing that way!



This is the main image I'm working from and since I've been playing AC:Revelations again lately I grabbed screen-shots like a crazy woman!
I'm also working on a related accessory from the AC series but you'll have to stay tuned for that later.

Feel free to add for constructive critique.

 

[Fonque]

Progress abounds. With the bodice because it's boned and will be providing some structural support, it needs to lace up like a corset. The reference pics I'm working off it looks like she's wearing buttons and the lace is passing through them but I've seen other cosplay versions of Sofia where there are buttons and are helping keep the garment closed in front but it's pulling the fabric. I've seen something other versions of Sofia that just lace up like a corset but don't have that button detail.

After leaving the bodice alone for a bit to work out a solution. The solution came in the form of a historical sewing tip for stabilising shanked buttons wen they are added onto a garment purely for decorative reasons. Once the shanks are pushed through the fabric and ribbon is passed through the underside along the whole row of buttons and is then secured and stops the buttons wobbling about.

I realised that I could have the buttons 'float' over the corset holes using the same technique but using elastic instead of ribbon, so I could pull the buttons out the way when lacing the bodice and they'd just pop back into the holes when done. Plus since the lace is doing all the support I still retain the functionality that I wanted. Win!


After searching for some appropriate shanked pearl headed buttons (16 of them, which took a long time to find) I made the corset holes and used 2 part eyelets. I then plaited some shearing elastic (which was all I had) the length of the row and then threaded it through a hole, slipped on a button threaded back through the same hole and continued down the line, hand-stitching at the ends to secure.

You can also see that I 've added two rows of trim along the edge of the green/gold seam . A ivory coloured barley twist cord and a pale gold russian soutache beside it and for the line on the front. Puff sleeves are added with a gimp upholstery braid around the cuff. Intitally I toyed with the idea of adding the tight lower part of the sleeve to the bodice but I after five attempts to draft a sleeve that wasn't rubbish I scrapped the idea and decided I cross that bridge when I came to it.

Bonus Project!

If you've ever played AC 2 (and if you haven't why not?) At the very end of the game after you've completed the story line Ezio has a very small addition to his costume, namely a pouch that he carries a special artifact in. The only problem? It's a teeny weeny addition and it's practically impossible to find large images of it. My main reference was this:

So short of getting eye strain I improvised. It's the typical drawstring pattern of a round circle of fabric gathered up at the top. Since I was using up my stash I had to piece to semi-circles together but that proved very fortuitous later on. You can see that I also sewed thin lines of gold thread across the pattern of the outermost fabric, at this point I stoppped as my sewing machine foot pedal started to get rather hot...



The embroidery is obviously not an exact copy because after trying and failing to come up with a workable pattern that didn't cause me to start foaming at the mouth I decided to go for something approximate and was my next best option, iron on appliques! Hand sewn trim at the quarter mark and a tassel added at the bottom, the seam turned out to be quite important because after the trim was added I snipped the tassel tie and pushed them through the seam and tied it inside, the lining hides the top. I fiddled with the pleats at the top of the bag so I would get a flat front to show off the appliques. I've used cone bead caps at the moment to tidy up the cord ends but I'll get some proper aglets later and make a handle.

 

[Fonque]

The front part looks like it alternate between the light green main skirt and a dark colour twice. Other versions of Sofia have been constructed so that element is all of one piece but since Sofia Sartor was supposed to have lived roughly around the Elizabethan age I took that as a key for interpreting the skirt. Elizabethan gowns consisted of a forepart, a triangular ish shaped contrasting and usually embellished fabric that's visible in the front and is separate.


^Not mine but it gives you the idea.


I opted for a lovely dark green upholstery fabric. I wanted it too look separate but still form the front of the skirt, so if its windy I don't have two gaps at the front and the potential to flash my unmentionables. I don't particularly fancy wearing a hooped petticoat under this get up and thankfully Sofia has a softer silhouette than a traditional elizabethan gown. This meant that this piece is essentially a very large, and different coloured, pleat in the front of the skirt. The edges are folded in and stitched so I get a sharp fold.



I had to cut out the original front panel plus a diagonal bit extra on the side so it would fall right. I also re-pleated the waistband and sewed my waistband on. Technically the skirt should be cartridge pleated for the period to pouff out from the waist but since there's about five metres worth of fabric in this sucker I have all the pouffness I require.



The two front flappy bits (techincal term there) were made out of the original front panel of the skirt, each lined with the same apple green cotton I used on the bodice peplum. Hand sewn upholstery trim added to all the edges and inserted when I added the waistband. You can see how I get that look of a separate skirt and forepart even though its all of one piece.

 

[Fonque]

The Plan
Recreate a renaissance/ underwear shift/smock using similar patterns and construction methods (with the aid of sewing machine).
Since Sofia is an Venetian noble woman I'm aiming for an Italian version of a smock called a Camicia.

The Pattern


Fairly simple and all i need to do is french seam the panels together and sew three lines of stitching (by hand) around the inside where my neck goes and pull the threads. 3 hours later and I have some fab tiny gathers around the neck, it is at this point I also realise that the cotton I've used is too thick and bulky to wear under bodice, especially the sleeves. I
really needed to use a very lightweight lawn cotton or linen.

After a trip into town armed with some lighter weight fabric (but not what I really wanted) I try again but since it's such an open weave muslin which I can't sew for toffees.

It's All Gone Horribly Wrong
My intent to go with a more historically accurate chemise has bitten the dust but I still want to incorporate the tiny gathers into the costume as really liked them. Sofia's bodice is worn with a 2 - 3 inch gap in the front so I decide to wing it and cut a shift dress (with my original cotton) with a 25 inch panel in the front. The panel will be gathered down into 4 inches so all the gathers will be visible behind the lacing.

I used french seams because a) it's historically correct, as all the raw edges are sealed inside the seams b) french seams are nice and flat and because this will be worn next to the body there's less possibility to rub and c) I like french seams.

I had hoped to go with a square neckline but Sofia's bodice is a softer shape and it looks better rounded. and the lace is a lovely french tulle lace sandwiched between the 2 layers of the neckline. At this point I thought I try on my hard work and see how it looked.

I Can't Believe I Have to Do it Again.
The dratted neckline is too small, and swallows up my neck. It needs to follow the edge of the bodice when worn. I cut out another U shaped neck piece, thinner and wider, than the original. It is much better this time but I have a problem. I re-purposed the lace on the original collar into lace cuffs for the same outfit which means I have none for the neck. Doh!
I go to my supplier (Fleabay) but I can't find the 2.5 inch deep and ivory coloured lace. So I have to go with a 2 inch and off white one in the same pattern, it's not ideal as the pattern will be proportionally smaller but needs must.

Hooray! I Finally Have a Chemise!


I also decided to attach the tight sleeves of the character design to the chemise. I hate these sleeves with a passion as I drafted a pattern for them about three times. They're made out of the same cotton as the shift but with a layer of brown stretch lace sewn over the top and a cuff in the gold fabric with trim. Hook & eye closure at wrist.

I wanted to attach the sleeves to the bodice but after that several failures I whip stitched them to the chemise.

I've also made the necklace to go with this costume.


Fake pearls from my stash, dark green glass beads, light green with gold fleck beads on tiger tail with a gold clasp. I took some artistic licence with the graduated pearls as I didn't have enough green ones to go completely around my neck.

 

[vonviolet]

This looks absolutely fantastic so far! Everything is so on point, I can't wait to see more. Awesome work!

 

[Fonque]

In what must be the World's Slowest Costume Build, I have finally decided to tackle the belt. And so far it has taken me as long as creating the skirt, chemise, bodice and necklace altogether. I think I've run out of steam.

After going cross eyed staring at my reference pics I decided on the number of panels, measured my waist (in costume) and fudged the figures to fit.I decided to use our old friend Craft Foam for the panels. I have one large central buckle which also is the only piece with a rim and the rest are smaller and flat.

After sealing all the pieces with pva and water mix five times over, I decided I'd had enough of watching glue dry and went on holiday. After drinking Ireland dry I returned and set about painting each piece with a pale gold acrylic for the base. I also glued fabric on the back of each piece to help keep the shape. I also managed to find some fabric trim for the edge of the panels in a twist shape, this also got glued down.

Onto the pattern, which I interpreted liberally and then borrowed a design from some ribbon I had. I traced the design on each piece.

After many tedious traceries it was time to purchase the ultimate weapon in costuming... Puff Paint! Which unfortunately mine did not, and stayed as a blotchy puddle of paint that did not puff! Not wanting to purchase another possibly substandard puff paint product, I used some copper coloured glass leading outliner that comes in a tube, normally it needs to be baked onto glass but I left mine to dry for about 48 hours and it seemed to do the job. Then I painted over it and the trim in the pale gold base colour.

I don't want the panels a uniform pale gold so I busted out a gold pen and decided to darken the outer edges, surprisingly the gold ink in the pen was able to be faded into the centre. It was also at this point the I learnt an important lesson: When tracing your original design use a pencil not a pen as the ink shows through.

After realising my mistake I redrew over any lines of ink in the copper outliner to hide it. I didn't go over the new lines with the pale gold as I quite liked the different toning effect it gave. I then darkened the edges further by drybrushing with copper paint and in a few patches along with the trim. I also used the gold pen ink again to colour in the flower.

I'm hoping to weather the panels a bit more and then I have to work out how I turn 15 individual panels into a belt.

 

[Fonque]

UPDATE!
Belt Progress:
All 15 individual panels have been hand stitched on at the corners onto a long strip of green fabric (same as the bodice).

I thought at this point I should try it on with the outfit to make sure it was the right size, I need to remove two panels to make it fit round my waist and then I need to add a closing mechanism (probably hooks and eyes)

Whilst I had the whole get up on (minus wig) I thought I would post some obligatory dodgy mirror shots for your viewing pleasure.

Sofia's underwear, also includes authentic 18thc jogging pants.

The little brooch is actually a scarf clip with a ribbon threaded through and then stitched on. The lace cuffs are separate from the sleeves as I couldn't bunch that much fabric through the sewing machine.

Although I already had experience with sewing and whatnot, this is the first time I've actually made a replica costume. I really just made it because I really like the Assassin's Creed series and I wanted to see what I could do and I didn't expect to wear it anytime soon but as things would have it if your over in the UK and attending the Sci-Fi Weekender next year I may just bust it out and wear it.