So, it’s been just over two months since our wedding and I thought it was about time I put up the in progress photos I took.
Each of the photos has a caption with a basic description so you should hopefully not be left too much in the dark. WordPress is failing at letting me move the pictures around so they are unfortunately all jumbled up and out of order.
My previous blogging has fallen down due to attempts to make it about dress diaries. Every time I get involved in a project I lose my camera under the pile of fabric and get too busy sewing to write blog posts then when the project is over I feel overwhelmed by the thought of writing all the missing diary posts.
I have therefore decided to make this a rather more normal run of the mill blog that I use to document my thoughts and any finished projects.
Today’s blog post is, therefore, about some classes I attended over the weekend at the Politarchopolis A&S Collegium http://politcollegium.wordpress.com/.
There were two classes that really stood out for me and made me re-think topics that I thought I already knew.
The first was Mistress Rowan Perigrynne’s class on analysing a costume style. She has codified a series of questions to ask when looking at period sources in order to understand a costume style so that instead of copying one particular painting you can create something new that somebody from that period would recognise as within the spectrum of normal. The class notes are available via the Barony of St Florian’s website where this class has previously been run http://www.sca.org.au/st_florians/university/library/articles-howtos/analysing-a-style.htm Some of the additional suggestions not in the class notes like measuring the proportions of common features (the example she gave was skirt guards) in order to understand the range of normal really sounded helpful. I have been thinking about possibly experimenting with the French or Italian styles of clothing in the first half of the 16th century as a way to make court garb that doesn’t have the inconvenient sleeves of English court garb around this period and I know writing down the answers to these questions will speed up the process of becoming as familiar with this style as the process of just looking at portraits and absorbing information unconsciously that I did to become familiar with my current favourite style of English clothing in the first half of the 16th century.
The other class that also made me think again was Recipe Redaction by Mistress Kiriel du Papillon. This was another class on a topic that I thought I understood, I have cooked from period recipes before so I was confident that this would just be a refresher. However Kiriel’s approach was, again, to question everything about the recipe. The recipe she used as an example was ‘Tart in Ymbre day’ from Forme of Cury. Below is the original recipe:
Tart in Ymbre day
(Curye on Inglysch, Forme of Cury recipe # 173, page 136)
Take and perboile oynoun & erbis & presse out the water & hewe her smale. Take grene chese & bray it in a morter, and temper it up with ayren. Do therto butter, safroun & salt, & raisouns corouns, & a litel sugur with powdour douce, and bake it in a trap, & serue it forth.
This is a recipe I have cooked before but I never actually analysed it. But taking it back to basics the questions start with what sort of onion, red, brown, or even spring onions are possibilities. Then comes the first mistake I have always made, running on automatic I have always cut up the onion and then boiled it where this clearly says to boil it before it says anything about cutting it up. Classes like this that make me open my eyes and make me question my assumptions are hugely valuable in my opinion.
So this post is actually about boy garb as I spent yesterday evening helping my Fiance to fit his wedding doublet.
First up I have photos to illustrate the concept of how the side fastening doublet works (as it may be clearer than my description in the lastpost).
Ignore the fact that it’s on my dummy over the top of a dress this is just an illustration of how it fastens. As you can see the sleeve is sewn into the armhole created by the back and side front peices then the full front piece is brought across to cover it up. Much better for men with broad shoulders than the method I was envisioning of pulling it on over the head and then fasten the side seams (which is how the ladies side lacing kirtle is done.
The other problem was the size of the sleeves, traced from the Tudor Tailor Henrician mens pattern pack the sleeves ere huge. The first step was to take the sleeve up by about 2 inches so it ends at his wrist, not his knuckles.
We liked the fullness in the top of the sleeve but it was getting in the way below elbow level so the second step was to taper it more below the elbow so that in the end the wrist opening was just big enough to fit his hand through comfortably. The next step is cutting silk.
So my updates took longer than the few weeks I was expecting I have made some real progress in the construction of my kirtle, the interlining is cut out as is the lining.
But before I cut the brocade out I need to work out the skirt length, and for that I need to work out my skirt supports.
I already have another Tudor gown and some underpinnings, however the farthingale will need replacing so I put on my old gown and tried all my underpinnings. I was hoping to get away with skipping a farthingale, but looking at a direct comparison using my old Tudor gown there’s no denying that the farthingale makes it look much better.
On a side note I’m also helping my Fiance make his garb for the wedding. He’s up to the doublet stage and I finally had a revelation on how the side fastening doublet goes together. I had initially assumed it was a simple case of front and back pieces with a fastening along the side seam, but then there was a ‘right front’ piece that didn’t make any sense. I finally worked out that it is actually supposed to work like an extreme version of a double breasted jacket. The back is only sewn to the front panel on one side on the other side it is attached to the ‘right front’ and then the front overlaps and is hooked or tied on to the right front.
So I’ve taken the bodice in so it fits and is properly supportive. Based on a properly fitted bodice
I think the smaller ‘cups’ work better. On the side with a larger ‘cup’ I was getting some wrinkling
as my body tried to push it outwards but the fabric isn’t shaped to allow that. The boning covering
just the inch or so where my bust starts to curve outwards has a surprisingly big effect as there’s no
wrinkling on that side.
So now I need to adjust my pattern, to account for the inch or so I’ve taken off each seam (especially
adjusting the armhole curve) and cut new boning for one side of the bodice.
I’ve also been contemplating how to fasten the sleeves. Tudor foresleeves have an opening along
the outside of the arm which is caught together every few inches with the smock (whether real or
faked) puffing through the gaps. The joins in between the puffs of chemise were often decorated in
some way so I need to decide how I’m doing that.
|1. No fastenings – There’s some potraits where you can’t see any sort of fastening (e.g. Lady Guildford).||Very easy just sew the piecestogether.||I’m not a fan of this option though; it looks like you’ve forgotten something.|
|2. The Princess Elizabeth Ouches from Pewter Replicas based on the portrait of Princess Elizabeth c.1545||This is probably the easiest decorative option, just throw money at the problem and it goes away.It fits with the wealth of the fabrics I have chosen. If I’m wearing all the jewels wouldn’t be entirely out of place.||If I’m aiming for a minor nobility impression the jewels worn by the King’s daughter may not be the most appropriate choice.At £3.95 each enough to do both sleeves would cost over $100 plus shipping.|
|3. Tied together with what look like ribbon points. As seen in Holbein’s sketch of an English Woman.||A relatively cheap option and a better fit for my persona’s status.The non-matching colour can be got around by making ribbons out of the fabric and bling can be added with aglets on end of the ribbons.||Finding ribbon that matches my foresleeves/forepart fabric and the lack of bling.|
|4. Just decorative aglets that don’t seem to be attached to ribbons – as seen in portraits like The Portrait of an Unknown Lady by Hans Eworth||A head pin and a set of several tube shaped beads would make nice customised aglets if I don’t need to actually fit a ribbon inside.||This means another thing to make when I’m already in a time crunch.While it seems like it would be cheaper to make it yourself if I buy good quality beads from a local bead shop they are expensive and online shops only sell them in packs of 100 or more.|
So my current project is making a Henrician lady’s outfit based on The Tudor Tailor. This is a picture of our overall plan
As my wedding dress it actually marks a nice transition point for my SCA persona. When I was single
my persona was lady in waiting to the Countess of Worcester (as an explanation for why I didn’t
have male relatives with me wherever I went and was still unmarried in my late 20s) so this outfit
(far richer than either my father or my husband could afford) is her farewell/wedding gift to me.
This is why I have far more brocade than my groom where he has to make do with taffeta (a much
cheaper silk both in period and today). I’m also reflecting real life that I’m unlikely to ever make
another outfit this fancy again.
I’m starting this dress diary partway through the construction process as I think it may work as a
way to motivate myself to get things done. Right now I am up to a partly boned mockup of the kirtle
bodice. I’m starting this diary part way through this process as a way to keep me accountable and
make sure I keep working on this.
Today’s dilemma, how large do you make the ‘cups’ on a Henrician kirtle. The boning is laid out in
a way that leaves an area over the breasts unboned based on the corset in Patterns of Fashion as
worn by Dorothea Sabine von Neuberg
The problem lies in the fact that the pattern in the book is designed for several sizes smaller than
me and I’ve had to grade it up, so I’m not sure where the boning is supposed to sit. Is it supposed to
sit below the breast in the same spot as the underwire on a bra or should it cover the bottom of the
breast so you have more of a smooth line?
As the Tudor Tailor facebook page didn’t provide a definite answer. My solution was to try it both
ways. I tried on the unboned mockup over my bra and marked where the underwire sits, on one side
I cut the bones to that length on the other I cut the bones 1 inch longer so they come up slightly over
When I tried it on I found a more serious problem. It’s too big by about 3 inches I’m really not sure
how this is my second mockup and the other one fit well except for the length so I’m not sure if I lost
weight or I forgot to transfer the adjustments to the new pattern. In contrast to my usual situation
I’m actually hoping that it’s not because I’ve lost weight as I want this outfit to be wearable in August
2013 and I won’t have time available to do the adjustments closer to the date.
With the bodice loose like that I think the full cups work better but I need to check it when the
bodice has been adjusted to the right size.
I have finally found publicly available photograph of an extant muslin Robe à l’Anglaise from the Metropolitan Museum all of the examples I’ve seen so far are embroidered so the fact that I’m using a plain fabric is a variation from the documentation but its a variation I can cope with.
While I was searching the met website I found a lot of portraits that could help with my search for a hairstyle I can imitate (Using the advanced search for the years 1760-1799). I just bought a wig on ebay so I can make an attempt at a good 18th century hairstyle.
My stays are now fully boned. I ran out of artificial whalebone as I didn’t allow enough extra for the fact that the boning I’m using is narrower than the pattern recommends so I ended up finishing the centre front panels with cable ties.
The last few days have been spent looking at 18th century hair. Watching The Duchess helps for 3D images and pictures of the back but nothing beats period images. I’ve been looking at portraits I don’t want seriously high hair but I’m looking at wigs on ebay as I contemplated styling my own hair with rats but decided that a lot of curls down the back of my head would be too much effort. Instead I’m planning to do something based on this tutorial. I’m now in the process of going through a lot of images of later 18th century hairstyles to get some inspiration.
My list of images so far is mostly portraits so you can’t generally see the back of the hairstyle but you get more variation than fashion plates. Here’s my links roughly in the order I discovered them. I haven’t yet gone through them all properly to narrow down a single style.
On a clothing front I have nearly finished boning my stays. This is a photo of the cotton drill interlining of my stays. I bought it mainly because I got about 5 metres for $2 and the pattern is fun. This print will be visible on the inside but the outer layer will be brown linen.
I know its been a long time since I updated and I promised more photos from my holiday but it seems a little late to upload pictures now.
I’ve started a new project for the Earthly Delights ‘Age of Indulgence Chocolate ball’ in July. I’m trying as much as possible to use items from my stash but I don’t have enough brown in my stash to make a gown (except for some taffeta that is set aside for another project) .
Last year I saw a yellow embroidered muslin Robe A l’Anglais at the museum of London (unfortunately this was a behind the scenes tour and I’m not allowed to share the photos) I also saw a white embroidered Robe A l’Anglais at the Hereford Museum (again I’m not allowed to share photos) The only thing I can share with you is this example from the V&A of a ‘Sack back robe’ in sheer cotton. It’s not quite the same but its an example of making a traditional style of gown in the newly fashionable muslin.
So the result of all this is that I have decided to use a purple cotton/silk blend voile as purple is also closely associated with chocolate it’s a close enough association for me.