Sunday, January 14, 2018

Quarterly Hat Challenge

In the last couple of years I have been involved with two challenges that I have found to be great sources of motivation and inspiration. The first was the  Camino del Noble Pilgrimage Challenge, which focused on developing many aspects of one's persona and SCA game. It was a great challenge and I am still focusing on many of the aspects of the challenge because I didn't quite achieve everything that I hoped in the time frame I gave myself (- story of my life!)

The other was the A&S Century challenge, where one does a minimum of ten minutes of work on an aspect of SCA every day for one hundred days. This challenge was much easier for me because I was already in this habit anyway. Because of my health issues, I usually can only work on things for short amounts of time, so very short bursts of input on a regular basis is what works for me. I have to budget my energy to accomplish even small things. The real benefit and challenge to me from the A&S Challenge was getting into the habit of taking project progress photos and writing up (at least basic) notes on projects. This is a habit I could use help in getting back into; I hate the write up after the last stitch is done.

The new challenge for 2018 is the Quarterly Hat Challenge: make one item of headwear every three months. I am hoping that I will be able to achieve this goal. There is no set level of complexity, so at the very least I hope to complete some cauls that I have had cut out for quite a while. I would like to attempt something a little more complex and interesting, but I am not making any promises to myself. Cauls are practical, manageable on high pain days, fun to decorate and easy to store.

Some styles of headwear that I would love to make in the future:

Portrait of Bianca Maria Sforza - Attributed to Giovanni Ambrogio de Predis c. 1493
Image from: https://bjws.blogspot.com.au/2011/12/portraits-of-women-attributed-to.html


Portrait of Isabella of Naples, Duchess of Milan by Giovanni Antonio Boltraffio 
Image from: http://jeannedepompadour.blogspot.com.au/2012/08/house-of-sforza-muzio-attendolo-sforza.html?m=1



Portrait of A Lady  - Attributed to Giovanni Ambrogio de Predis  1490
Image from: https://bjws.blogspot.com.au/2011/12/portraits-of-women-attributed-to.html


Portrait of a Lady in Profile by  Bernardino dei Conti
From: http://www.artnet.com/artists/bernardino-dei-conti/portrait-de-jeune-femme-de-profil-%C3%A0-la-coiffure-0UH8PP-XqNpF-F2FIm_qyg2


Portrait of Bianca Sforza c.1500
Image from: http://jeannedepompadour.blogspot.com.au/2012/08/house-of-sforza-muzio-attendolo-sforza.html?m=1


Portrait of a Lady-- Attributed to Domenico Puligo
Image from: http://www.bonhams.com/auctions/20016/lot/51/

Friday, January 5, 2018

Apologies

Checking back through some older posts, I notice that many of the images in older posts are not visible. I'm not very tech-savvy, so it might take me a while to fix the problem.. but I'm working on it.

A Cotton Voile Camicia for Hot Weather

I have a lot of mobility and other health issues which can make dressing in late-period attire harder than it has to be. Putting on gowns with attached or pre-tied sleeves can be a real drama for me, especially if my camicia is particularly full. Recently, I had a challenging event coming up, and I had lent a friend my narrow sleeve camicia, so I was in a bit of a bind.

I raided my stash for some very fine voile (it was going to be hot, and heat tends to affect me very badly. Wise heads out there are probably wondering at this point why I haven't changed my persona to early period Roman.....) Luckily, I had some voile, and I cut it into the usual rectangles and triangles patterns  which I have explored earlier on the blog.

Image result for broider me bethan + chemise
The rough chemise pattern that I follow

Image from: http://www.festiveattyre.com/p/how-to-make-easy-italian-chemise .html


This cutting technique is accurate for many garments over hundreds of years (with some variations on size of pieces and gathering and finishing techniques.) It probably remained popular because it is simple and wastes almost no fabric, which would be ideal when fabric was hugely expensive and/or laboriously handwoven.

Because my hands are bad at the moment, I machine sewed the majority of the seams, leaving small gaps where the gores meet that I could neatly hand finish. This was to make sure the edges met up properly and the stitching was neat. I would have liked to turn all the seam edges under and whip them down for durability, but I did not have enough time, so that will be an ongoing project. I used selvages as edges where I could, and used a zigzag machine stitch on any raw edges for strength in the mean-time. Of course, in the sixteenth century, a fine linen such as handkerchief weight linen would probably have been used for this type of undergarment, but budget and availability make that option impossible for me at the moment, so cotton has to do.

I put some gathering stitches in around the neckline (basically just long running stitches done with durable thread) and gathered the neckline up, trying it on to adjust the width. At this point I measured the length band I thought I would need to keep the neckline at the desired width. I planned to use bias tape to finish the neck edge.

Once I started working on the neck edge, I realised that I didn't have enough wide bias tape (called 'hem bias tape' here). I didn't have time to make my own and wasn't well enough to go out and buy a packet, so I made do with what I had. I had the remnants of an old cotton quilt cover that I bought from a thrift store and used to make a nice soft round necked smock early in 2017. I cut a long strip four times the width that I needed. I ironed it in half and then tucked the raw edges up into the centre fold and ironed again. This gave me a nice soft but firm band.

I also decided that I didn't like the way the gathers looked, so I pulled them out and changed to small pleats. I divided the neckline edge into four even sections and then just pinned and adjusted the pleats by eye so that the neckline looked (reasonably!) even, and was the desired size.

Next I sewed the front edge of the neckband on with tiny whip stitches. Once the band was on (and I had tried it on to make sure the size was correct,) I ran a line of green embroidery floss along the edge in running stitch.) No-one will see the edge, but I liked the look of the tiny bit of decoration. It also makes it easier to find the correct camicia or smock when you are looking through a pile of underpinnings. I left the sleeve edges undecorated because the fabric is very fine and the stitches and knots would show through if I rolled up my sleeves.

Once the decoration was done, I finished of the reverse side of the neck edge, whipping it down with tiny hand stitches again and being careful not to let them show through on the front edge.

I found that when I wore the camicia, the neckband feel forward a little. This is due to the band not being cut on the bias and the two differing weights of fabrics. It is still wearable, and doesn't do it quite as much once I have a pair or bodies/stays on over the top. Next time I would probably but some little tucks on the inside of the band to hold it in more if the band was not cut on the bias.

Over the next weeks (realistically, probably months), I will continue sewing down the seams on the inside for durability. I have worn it twice in hot weather and I am glad I went to the trouble of trying the voile. I will certainly make more in this fabric. They probably won't last for years because it is a delicate fabric, but it is worth the time for a bit of heat relief. Heat relief is a prime concern at this time of year - where I am is predicted to hit 43 degrees Celsius tomorrow.



Thursday, January 4, 2018

Partlet with Green Embroidery

Late last year I started experimenting with different partlet patterns, designs and fabrics. Partlets are a great accessory to have in a sixteenth century wardrobe because they can really change the look of an outfit, and there are so many different styles depicted in portraits. I haven't managed to find that many extant examples of sixteenth century partlets; heavily embroidered coifs and camicias seem to have been saved and treasured more often. But there are some in museums, and some pictoral references to work from.


Note the partlet hanging on the line in this scene painted by Allori in the Palazzo Pitti (c. 1598)
Image from  https://www.uffizi.it/en/artworks/loggetta-dell-allori


I used my trusty, decade old partlet pattern which has seams under the arms and does not need ties or pins. This may not be the most historically accurate partlet pattern, but is very useful when one does not have help to dress.

The embroidery pattern is actually adapted from a pre-sixteenth century embroidery pattern that I just really liked. I adjusted it a little and traced it onto the linen base fabric with a Frixion removable marker. I worked the pattern in stem stitch with DMC cotton floss in green. I usually work my designs prior to cutting and assembling the garment, but in this case I made the partlet up first and then worked the embroidery using a small hoop. It was an experiment to see if using the hoop over seams etc. would distort the fabric or embroidery. I also hoped it would make the design placement (in relation to the edges of the garment) more accurate. I was very careful to make sure that the tension was even when embroidering and that the fabric was not warped, and it held up very well. I was pleased with the result, and would consider working embroidery on partlets this way again (depending on the base fabric used. I don't think a loose weave linen or muslin would stand up well to being put in the hoop.)



I added some commercially produced cotton white bobbin lace along the front edges and whip stitched it down. Then I did a row of small running stitches in green along the edge of the lace. Finally I added little knotted ties of green floss on the edge of the lace to tie the whole design  together. The little ties or tufts were inspired by the portrait below.


Portrait of a Woman by Giovanni Francesco Caroto
Portrait held in the Musée du Louvre, Paris
Image from https://i.pinimg.com/736x/3b/46/31/3b4631909dd5ca29fefd8032c00b4cdd--louvre-paris-the-louvre.jpg


First half of the 16th century Andrea Piccinelli (Andrea del Brescianino) - Italian Young Lady
Portait of a Lady by Andrea Piccinelli 
Image from Pinterest https://www.pinterest.co.uk/pin/556687203919307155/


I was pleased with how the partlet looked and how comfortable it was.


Tuesday, January 2, 2018

Bright start to 2018

Well, I got off to a positive start for the New Year! I had a few hours yesterday where the brain fog eased up a bit, so I took advantage of it and did some online training on food handling and hygiene. I have been planning to do this training for a long time, but never seemed to have the spare cash to pay for the training. I was bemoaning this fact to a friend recently, and she advised that many local councils in my state offer the online training for free. I was so glad I found out before I paid the money!
These sorts of courses are a great idea for anyone who runs feasts, helps in the kitchen or brings food to potlucks. The courses provide great reminders of hygiene principles that are so important when preparing and storing food safely.

Image produced by the World Health Organisation

Sunday, December 31, 2017

Happy New Year 2018

Hippe nieuwjaarskaart met klinkende champagne glazen in en goud gekleurde look. Met feestelijke confetti en hippe brush letters. Deze kaart is verkrijgbaar bij #kaartje2go voor € 1,89
Happy New Year my friends! It is a time of year for nostalgia, new plans, and motivation.
As usual, my To Do list is huge, my ideas list is even more huge, and my pile of UnFinished Objects has not diminished at all (although the items themselves may have altered). I have had many more projects for other people than usual this year, and most will continue over into the New Year.

I feel that I have had a successful year with what I have achieved in 2017, especially considering the health challenges that I have faced. The Camino del Nobles pilgrimage challenge was especially helpful to me, and I am continuing many aspects of it and continuing to develop personally as well as to refine aspects of my persona. The A&S Century challenge also helped me to focus my energies and form useful habits that have continued after the challenge is over. I feel very blessed with what I have achieved and what I have learned in my historical re-creation/SCA life this year and am looking forward to 2018 with positive anticipation.

I am usually a list maker extraordinaire, and at this time of year I tend to list what I want to achieve in the New Year. It can be disheartening when you get to the end of the year and have not ticked everything off though - especially if the lack of action is due to health problems. So, for 2018, I am writing an open-ended, mixed list. It has no due dates, and contains short and medium term ideas as well as goals. Time will tell if it is a useful tool!

Happy New Year to you all and I hope that it brings good health, contentment and peace, as well as plentiful fabric sales, bountiful crafting energy and inspiring friends and events! Thank you for all your support over another year.

Sunday, November 26, 2017

New wools

Even though my hands have been too sore for embroidery lately, I treated myself to some wool skeins from Elizabet's Handspun. I love planning future projects!

Wednesday, November 15, 2017

Chemise gussets

I haven't been well lately, so haven't got much finished.
I need a narrow sleeved chemise for an event that is coming up and have been plodding along working on one for a few days. It is cut from a very fine cotton voile. I must have made fifteen to twenty chemises in my time in the SCA, but putting the armpit gores in always confuses me. 'Brain fog' is a side effect of my illness, and it was in full effect today. I just couldn't seem to get my head around those gussets. Sometimes coffee and chocolate is the answer to the problem!

Thursday, October 19, 2017

Embroidered Pouch with Split Stitch Badge

In August I made a heraldic pouch as a 'gift bag' for a present for my friend. The bag itself is red linen, self-lined. The general shape is based on Elizabethan sweete-bags.  I made little tassels for the bottom corners.






The heraldic design is executed in various types of cotton floss in split stitch. The design was traced onto calico base fabric with a pencil and the panel reinforced with a small piece of iron-on interfacing to minimise warping of the base fabric. After the colours were blocked in, I worked the details. I used a small hoop to maintain the tension.
After the embroidery was finished, I trimmed the interfacing and calico back and whipped the calico down onto the back of the piece.

The bag has eyelets at the top for the cords  to pass through, and the cords are plaited cotton threads in the recipient's heraldic colours.

Tuesday, October 17, 2017

Split-stitch Embroidery on Linen Hoods

Another project for the big event; seam treatments and some embroidery on linen hoods.
The hoods were cut out and sewn up by my friends, I just had to flat fell some seams and do some hemming. Then it was time to mark out the embroidery. The cypher was designed by Sir Eva von Danzig.

 I traced the design onto tracing paper and marked around the outline with a really big needle. This left big holes around the outlines of the letters. I then pinned the tracing paper into place on the hood and drew over the outlines with a Frixion removable pen. The result was a line of dots marking the outline of the letters



The design is worked in split stitch embroidery in DMC cotton floss.









Monday, October 9, 2017

Italian style Tie-On Renaissance Sleeves - Aqua Blue

Okay, one more pair finished from the Huge Unfinished Sleeve Pile. I tried to get a few more pictures to explain the process this time, too.
This is not the aqua blue sleeve, but is the same pattern shape.

The sleeves and linings are sewn up and then I stab-stitch the seams open.

You can see the tiny dots running along the outside of the seam below.


Once the seams are finished, I put the 'good' sides of the sleeve and lining together (so that I can see the messy inner seam on my side) and run a line of stitching around the top of the sleeve to join them together. If there are tabs on the top of the sleeve, you need to position them before you sew this seam, and also make sure that they are positioned so that they won't move around when sewing (and crucially) so that the tabs will be on the outside of the sleeve when you turn it the right way out.

Once this seam is sewn, I put clips in the seam allowance to reduce puckering when the sleeve is turned the right way out.

Next, I turn the sleeve right way out. All seams should be hidden inside the sleeve and only nice finished seams visible when you look inside as well as on the outside. I usually put a line of small whip stitching around the top of the sleeve to make sure the lining doesn't roll out or move.


 Notice the whip stitching around the top of the sleeve.

Making sure that the lining is not tucked up inside and is sitting smoothly, I measure my hem allowance. I also zigzag my edges for durability.

This sleeve has been hemmed; you can just see the tiny dots showing on the outside which is the hemming line. I clip triangles into the outer and inner fabrics to reduce puckering and bunching.


I prefer to hem  my lining separately to reduce puckering. I use a little whip stitch, same as on the fashion layer of fabric.

 The hemmed sleeve showing the lining

Working the eyelets on top of the sleeves: the holes correspond with the ties in the gown. I make a hole with an awl, and then increase the size of the hole with a bigger awl that I made out of a wooden knitting needle. I go around the hole with a line of double running stitch. I usually use four strands of thread for strength. I don't use buttonhole stitch because I think it adds too much bulk on top of the double running stitch - I just go over the edges with satin stitch. The eyelets turn out very durable and are big enough that lucet cords can be threaded through without needing a bodkin. This is important as friends usually lace my sleeves on for me at events and I don't want to make it harder for them than it has to be!


 The completed sleeves, waiting to be tried on.