*** Finally! The "Kirtle of Perpetual Procrastination" is complete! I'm now one step closer to finishing that elusive fitted gown outfit that I started planning an embarrassingly long time ago (like, an absurdly long time ago...to that point that it's getting ridiculous). I first sketched out this version some 3 years ago, but I now know that so much about the outfit --from the materials to the colour scheme-- isn't supported by historical evidence, and as a result it's languished a bit. It seems historical-ish on the surface but I can't find much evidence of a kirtle in this colour, and the material (a mottled wool cashmere) is definitely off for the period. BUT...I had already purchased the fabric --it's been taking up room in my stash for years-- and so I finally decided to commit to finishing the outfit, historically correct or no. In the end I'm really glad I did! It actually turned out much better than I had hoped, and as my first all wool gown it's at least more historically correct in that sense (compared to my earlier outfits which relied heavily on linen outwear). Eventually the kirtle will be worn under a brown wool over-gown (in a darker version of this same wool cashmere fabric) or with separate, detachable sleeves. However, one of those sets of sleeves will be made from the remains of the aforementioned dark brown fabric and so I'm waiting until I finish the over gown to cut those. My second choice would have been to use the grey linen I used as trim, but in the end I only had enough left over for one arm. So for now I remain sleeveless... *** *** This kirtle is very similar in shape and construction to my earlier brown linen kirtle, so if you're looking for a blow by blow Dress Diary please check out that earlier post. Right now I'm just going to focus on areas where I deviated from that process, or go further into depth on steps that I've glossed over in the past...so this might be a bit of a hodgepodge and I apologize in advance for any confusion. First off, a brief history on the evolution of the pattern for kirtle...especially the bodice. As you may remember the pattern for my previous kirtle was adapted from the Tudor Tailor pattern for the Dorothea Sabina von Neuburg corset/bodies I made a few years ago (which I had, in turn, adapted for front lacing). Please ignore the cat...but you get the general idea. Basically the point has been significantly reduced and the straps widened, most noticeably over the shoulders. Almost everything else, including the boning pattern and shoulder placement remain the same. I liked the fit and line of the new bodice, but after a day out at Faire I started to develope some lower back pain. I think this was due in part to the way I divided the skirt pleats (with too much fabric --and therefore weight-- at the centre back) and partly due to the fit of bodice...and especially my posture while wearing it. Of course like most people who work at a computer all day I have terrible posture, but this was not helped by the construction of the bodice and the way I was lacing myself into it. I realized that as I was lacing myself up I was bending over quite far to see the lacing holes, extending my back muscles in the process. Not only that, but I was effectively lacing myself into this unnatural position. This was further exacerbated by the placement of the shoulder seam, which had a tendency to want to slip from the top of the shoulder to the front of my shoulder head, thereby pulling my shoulders down and pinching them inwards...which by extension put more strain on my back. So I moved the shoulder seam to the back of the shoulder head and widened the straps at the back to offer more support. I was also careful to keep my shoulders arched back as I was lacing myself up. The difference is not hugely apparent, but I think you can see the slight change in posture, especially at the shoulders and bust-line. This is much more comfortable! I also converted the back panel to a single piece (as opposed to two pieces with a centre back seam) and curved the straps so they more closely resembled the kirtle pattern found in The Tudor Tailor. This curve will be more evident in later photos of the bodice when laid out flat. Okay! On to the construction! As with my previous version I pad-stitched the layers together, only this time (since I knew I wasn't going to be removing it later) I didn't do such a piss-poor job of it! Also, there are only two layers of fabric as opposed to three, since Hemp Traders finally got their 10.5oz twill back in stock. Pad-stitching is completed on front and back pieces. Boning channels are sewn in at the front, back and sides (though only the front will contain actual bones, the rest are just for extra quilting and support). The boning pattern is also a little different, with the "cups" being smaller and a little shallower than before... I found the cut-out area was too far down my torso in previous versions. The stitching is then removed from the boning area (front pieces only). Now it's time to insert the boning. This is a step that I sort of glossed over before, so I took a few more photos of it this time around. As with the corset and previous kirtle the two channels on either side of the lacing area are boned with 7mm plastic coated spring steel (pre-cut to length). Those are inserted without alteration. The rest of the bodice is boned with 5mm synthetic whalebone, cut to length. The bones are then filed down with a fine metal file (it's best to do this outside or in a well ventilated area...and do wear a mask if possible, you don't want to inhale plastic dust!) They are then checked for fit and inserted between the two inner layers. And here's where things get vague again... The rest of the construction is pretty much identical to the linen kirtle. The outer fabric is basted to the inner shell... ...and the pieces sewn together. The seams are clipped, turned under and stitched down with a tight herringbone stitch. Lastly the hidden lacing strip is added (no photos of this bit, but there are lots on the previous post...and I did correct the eyelet spacing error I made last time!) and shoulders joined. Finally it's time to add the trim! The kirtle is guarded in medium weight (5.5-6.5oz) grey linen. I don't think trimming a wool garment in linen is supported by evidence...except perhaps in the form of woven tape. I really tried to source some silk or wool that I liked as much, but in end I didn't find anything that was as nice a colour as the linen, and since we've already covered the historical issues above I didn't worry too much about it! The bodice is trimmed with 3/4" bias tape, stitched down with a tiny fell (vertical hem) stitch. With the bodice complete it's time to finish the skirt. Like last time the skirt is made up with 3 panels (which is still probably one more than I truly need) but this time they are shaped rather than rectangular. So whereas the last kirtle had a top and bottom circumference of just under 180" this one has a top circumference of about 90" and a bottom of 165" (making each panel 30" at the top and 55" at the bottom). The skirt is attached all around with 1/4" cartridge pleats and hemmed with a strip of self-basic bias tape. Again, please see the earlier kirtle post on how to cartridge pleat to a pointed bodice. EDIT: Actually, DON'T see that earlier post! Or at least not yet...because I botched the skirt rather badly and it ended up a good 2" shorter in the front than the back. The skirt has since been removed and re-leveled but I never explained how I fixed it. I'll do so now... (though I don't know if this way is 100% right either, but it did fix the problem) I didn't take any photos of this process (or none that I can find) so instead I'll demonstrate what I did with the original kirtle and then illustrate where I went wrong. First I placed the bodice on some graph paper and traced the curve from the centre back seam to the front point (A). Then I traced a line across the back seam, and down at a right angle to the point (B) Now, this made good sense to me at the time since the instructions I was using were based on a bodice pattern in which the bottom back and front centre lines were perpendicular to each other. The only problem is that my front and back lines were NOT perpendicular (on account of the bottom back seam being slightly curved). This can clearly be seen once line B is superimposed onto the original placement. The bodice front actually follows a slightly different angle (C)... This is the actual line I should have been using. However, what you DON'T want to do is this (continue the line of the back straight across to the front). This results in a waistline which is just below the bust (and thus clearly wrong). This is because the waistline and centre front should still be perpendicular (at right angles) but by tracing a line straight across you end up with a front angle which is much too acute and therefore too high. Instead you have to treat each bodice piece separately. So using the centre front a guide, draw a perpendicular line just as far as the side seam. Okay, now it's time to divide the skirt into sections. As with before you follow the waistline (Point A to the side seam and then from the side seam to point C), and make perpendicular lines down to the edge of the bodice....in this case I'm dividing the bodice into 2" wide sections. The only slightly tricky bit is at the side seam where the angle changes slightly... to get around this I measured to the side seam (about 1.5") and then continued on the other side (0.5") so that the total measures 2". So far this has solved my leveling problem, but I can't guarantee it will work in all circumstances (say, perhaps with more extreme angles). When you go back and compare line B and C you can see that the difference (D) accounts for the extra 2" I took out of the skirt at the waistline, which resulted in my original skirt being too short in the front Luckily the excess was just folded back rather than cut away, so I was able to take the skirt apart and re-level it using this method. Anyway, that's the fix! You can now reference back to that earlier post for the rest of the skirt pleating and attachment process... So having figured all that out the skirt is cartridge pleated to the edge of the bodice...properly this time. Because the seams are more obvious in this light colour there is no seam down the centre front, instead a 8" slit is made in the fabric. A thread bar is worked at the bottom of the slit to relieve strain at the bottom of the point and to keep it from tearing. Finally, the skirt is guarded with 2 rows of linen bias tape. The top is double the width of the bodice trim at 1.5" and the bottom is slightly wider at 2". Both are attached by hand with a fell stitch. And that's it! Kirtle done, brown fitted gown is next! (probably...) Final thoughts: I couldn't be happier with the overall fit of the bodice! The wool is very forgiving and completely hides the boning channels, creating a really smooth, even line through the torso. With any luck it will prove to be a very handy foundation garment and one that I can easily (and happily) wear on its own during warmer weather...I'm very glad it isn't still languishing in my fabric stash, despite all my earlier misgivings! As a dear friend often says "Done is beautiful!" *** *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern) Fabric: -Dove Beige Cashmere/Wool from Mood Fabrics -Grey "Judy" linen (5.5oz) Gray Line Linen -Hemp/Cotton twill (10.5oz) and Hemp/Cotton "suede" (10.5oz) from Hemp Traders -Muslin for mockup (also from Hemp Traders, but any muslin should do) Thread & Lacing: -Brown silk thread (for channels and seams) -Grey silk buttonhole thread (for eyelets) -Grey silk thread -Linen tape (1/4" for lacing) from WM Booth Draper Boning: -7mm Plastic coated spring steel bones (4) from Vena Cava Design -5mm Synthetic whalebone also from Vena Cava Design Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights -Purple vanishing fabric marker -Blue washable fabric marker -Tapered tailor's awl -Eyelet tape (for mockup) -Small bulldog clips

The arquebus (/ˈɑrkɨbʌs/ ARK-ə-bus or /ˈɑrkwɨbʌs/ AR-kwə-bus) (sometimes spelled harquebus, harkbus or hackbut; from Dutch hakebusse, meaning "hook gun"), or "hook tube", is an early muzzle-loaded firearm used in the 15th to 17th centuries. In distinction from its predecessor the hand cannon, it has a matchlock. Like its successor the musket, it is a smoothbore firearm, but was initially lighter and easier to carry. It is a forerunner of the rifle and other longarm firearms. An improved version

At Kentwell Hall, Suffolk

Explore authenticthreads' 48 photos on Flickr!

Florentine dress 1475-1500 Renaissance

*** I'm not exactly sure what this garment is meant to be... A gown? A kirtle? The inspiration came from the Trevelyon Miscellany of 1608, a collection of images appropriated and later redrawn and coloured by Thomas Trevelyon. I fell in love with this image immediately. It appears to be a single front lacing layer worn over an exposed smock, paired with an apron and a linen partlet with attached or integral ruff. Now, it's never a good idea to take coloured drawings at face value and it's clear that some liberties have been taken with the image when compared to the original, a Dutch engraving from the 1590s. Jacob de Gheyn, 1593-97 Leaving to one side whether or not blue and green were popular colour choices, some fairly glaring differences include the fact that the white linen cap has been turned into a black hood and the overpartlet (probably black and worn over a separate ruff and collar) has been turned into a single linen piece. However, despite the inconsistencies, I still thought it would be fun to reproduce the image as interpreted by Trevelyon. As a starting point I decided to use the late period bodice pattern from The Tudor Tailor, but I knew the most challenging aspect fo the outfit would be the sleeves. First I tried a single piece sleeve pattern since the inspiration images don't seem to show front seams. The sleeve pattern for the late period gown is quite large, so I make a narrower one using the two piece sleeve from the Tudor Tailor women's doublet. Not bad a terrible start, but the bodice need adjusting the sleeves still have too much volume. Next I widen the neckline and try a narrower single piece sleeve and a two piece sleeve with extra volume in the sleeve head. Better, but I'm still worried there's odd tension through the neck and so I think about tweaking the angle for the neckline. With the neckline adjusted I also try adding even more volume to the head of the two piece sleeve. Option B appears to be the closest (especially when worn with a partlet). And while I'm not totally in love with the shape it's not too dissimilar to other Dutch styles from the 1570s. With the mockup done it's time to start the gown in earnest. And since the inspiration is somewhat historically compromised I decide to apply the same approach to the construction! For a while I've wanted a complete outfit that I could wear to Faire that didn't require any additional support layers (for days that the weather was to hot or I too lazy). So be prepared for a lot of very non-historical theatrical cheats. First off, I went back to boning. I'd abandoned bones on my red and tan petticoat bodies to some initial success. However, I later realized that the linen canvas I had chosen was very prone to stretching and that compromised the comfort and fit of the bodice. I'd used the same linen canvas on the early stages of this project, and you can see that even after stabilizing with pad stitching the piece had grown by about 1/2". Now, I know that's no excuse, especially given the obviously creased and natural fit of the gown in the original engraving. I also know in my historical heart that I should transition to the more tailored method popularized by the amazing Mathew Gnagy in the Modern Maker book series. But the truth is I'm used to boning. I know how to make it work...and given a new job, killer commute and limited sewing time I wanted to make something relatively quickly and easily (which I could be reasonably sure I'd get right the first time round). So I cheat. However, I use much less boning than usual; with spring steel along the lacing edge and just a few lengths of 7mm synthetic whalebone through the front of the bodice. The foundation layers are constructed in the same way as my other kirtles, which is to say two moderately heavy layers of hemp/cotton fabric (10.5 oz) pad stitched together with channels sewn in for additional quilting. Again, not saying its right, it's just what I'm used to. Then the bones are inserted. However, at the last minute I decided I needed an extra layer of interlining just to be safe. So to the above pieces I added a third layer of lighter hemp/cotton twill (5.7oz), pad stitching it down and added a couple of additional rows of stitches. Then the outer wool shell is temporarily pad stitched to the foundation layers, so that everything stays lined up and the tension even throughout the construction process. I feel like this is might be quite a lot of unnecessary work. I'm sure a basting stitch would work just as well but I feel like I can get an even tautness with pad stitching, which I hope makes for a smoother final bodice later. Also, I leave quite a large seam allowance along the front edge since I want to fold this back to create extra padding along the front edge where the spring steel is. Then all the seams (except for the shoulder seams) are stitched together. First they are anchored down with wide Holbein stitch along the seam guide I had previously stitched into the foundation layers. The seam is then reenforced with a back stitch. This process is poorly documented, but due to time constraints I din't take may photos along the way...but look back to my past kirtle posts for more in depth steps. Before tacking down the seam allowances I snip out the extra layer of 5.7oz interlining, to reduce bulk at the seams. Then all the seam allowances are clipped and stitched down (except around the back collar and shoulder seams) Then the lining is made up in medium weight blue linen and pinned into place... ...and stitched down (again, the shoulders and collar are pinned in for now but won't be stitched until later). Next the shoulder seams are stitched together (just the wide Holbein stitch for now). Then a temporary lacing strips are added and the bodice tried on for fit. Looks good! You can see there's a larger gap down the centre front compared to the mockup. This is largely due to the fact that the bodice (with is multiple internal layers) has much less give than the muslin. However, during construction I also took in the centre front but an additional 1/2" on either side to more closely approximate the gap in the original etching. With the fit checked the shoulder seams are now reenforced with a backstitch and, as with the body pieces, the 5.7oz lingering is snipped away. Finally, the shoulder and collar seams are stitched down. The corners of the shoulder seams are stitched together to create a more even curve. Since the finished sleeve will be whipstitched to the completed armscye eliminating gaps will be important. Then the lining is stitched down at the shoulder. In order to reduce bulk on the seam itself, the front piece is stitched down flat towards the back of the bodice. Next the back piece is folded over and stitched down (just behind the actual shoulder seam). Finally, the lining around the collar is stitched down. With the bodice assembled it's time to make up the lacing strips. The strips are constructed of a length of linen, folded over twice (so four layers deep altogether) that is stitched along the outer edges. Then holes are poked with an awl and the eyelets worked with a buttonhole stitch. The eyelets are offset for spiral lacing. Before the strips are sewn into the bodice, the wool on the inside of the bodice is stitched down into the empty channel between the two spring steel bones. Normally I'd say be careful not to catch the fabric on outside, but it was so difficult to sew between the bones that I was lucky if I even caught two of the interlining layers. Then the eyelet strips are pinned into place, being careful line up the holes at the top and bottom. Then the strips are stitched down, first with a spaced backstitch 1/8" away from the inside edge and then with a whip stitch. Again, it was very difficult to sew around the bones so the result basically looks like the dog's breakfast. After both stripes are secured the bodice is tried on again. Looks pretty straight! However, aesthetically I think there may be too many rows of lacing, so I may experiment with only lacing every other eyelet. Now the temporary pad stitches are removed from the exterior of the bodice it's time to attach the sleeves. The sleeves are made up separately and completely finished along all edges. (I neglected to document it, but there is additional layer of wool pad stitched to the lining of the top of the sleeve head. Im hoping this will give the pleats a bit more "oomph" and help them stand away from the body.) Then the sleeves are cartridge pleated and pinned into the armscye... ...and whipstitched into place. Finally, it's time to attach the skirt. I didn't document this part of the process at all having gone over it pretty throughly in my petticoat bodies post. I followed the same process for levelling and cartridge pleating the skirt, the only difference is the this time I lined it in linen. Maybe "lined" is not the correct term, because I left it free falling at the bottom. In addition, 4 stripes of worsted wool tape are sewn in around the bottom to give the skirt a little more body, so really it's more of a built in petticoat. Next, ACCESSORIES! First, the parlet. I actually ended up making two. The first was made in a light/medium weight linen (4.5oz) with integral ruffle in a finer 2.8oz linen. It was perfectly nice, but I didn't love all my choices. I had originally wanted a thicker, more opaque linen to fully conceal the neckline of the gown (as in the original) but I think the seams and hemmed edges look too substantial as a result. And of course after looking at the original again the ruff is too regular and set to be passed off as a ruffle. So I decide to make a second version, this time in lighter 2.8oz linen with a narrow 1/8" hems all around and a single felled seam at the shoulder. I also leave the ruffle off so I can pin my small ruff to it later. Next I whip up an apron in heavy green linen. Likely other aprons it's a large rectangle, whipstitched to a waistband (leaving the ends loose). However, in keeping with my other theatrical cheats, I add a small tuck on either side to coax it into the folds seen in the engraving. Lastly, a coif. I've never made a coif before (having purchased all of mine up to this point) so of course I end up choosing an atypical pattern to start with. Most extant examples have the seam at the centre top, but since the inspiration image does not I decide to try my hand at a "Manchester" coif (based on on extend example from the early 17th century) with a seam down the centre back instead. First the pattern is cut in lightweight linen and hemmed all the way around. Then the back seam is whipstitched together and a lacing channel turned and sewn down. The final result has a very 17th century silhouette, but I'm hoping I can mitigate that by starching the front and shaping it over ear irons. And finally, just a few more accessories to finish the look... And that's it! The Trevelyon gown/kirtle-thingy is done! And ended up reasonably close to the inspiration image... Some takeaways... The sleeves are too tight and needed to be opened up at the wrist by about an inch...and even so remain a bit snug. However, the good thing about whip stitching a finished sleeve into the armscye is that it's very easy to swap out later if it really bugs me. As you can see the skirt is far too long. I'd measured it in a shoes with a higher heel, but even taking that into consideration the front could still stand to be shortened by at least 1/2". Finally, the top of the bust is too high and comes to too much of a point...and as usual, my coif is migrating towards the back of my head (since I don't have enough hair to do proper hair taping). But apart from all that I think it turned out okay! *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern) -The Marquess of Winchester Coif #4 Fabric: -Blue worsted wool from B.Blacks & Sons -Dark blue linen from B.Blacks & Sons -Green "Vineyard" linen (7.1oz) from Fabric-Store.com -White linen (2.8oz) from WM Booth Draper -White "Barry" linen (4.5 oz) Gray Line Linen -Hemp/cotton muslin for interlining (10.5) from Hemp Traders -Muslin for mockup (also from Hemp Traders, but any muslin should do) Trim and Notions: -Dark Blue Worsted Wool tape (7/8") from WM Booth Draper -Linen tape (1/4") from WM Booth Draper Thread: -Black silk thread -Blue silk thread -Black buttonhole thread -Green cotton thread -White cotton thread (silk finish) for coif and partlets Boning: -7mm Plastic coated spring steel bones (4) from Vena Cava Design -5mm Synthetic whalebone also from Vena Cava Design Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights -Eyelet tape (for mockup)

This gown or overgown was worn as the outer most piece of full body clothing in the 1540’s to 1560’s by working class Flemish women in Antwerp, the largest city of Flanders at the time. This first …

Well, well, well. Here we are again, staring into the murky recesses of my noggin. Yep, its that time again. I've got some interesting things to share this week, so lets go! What looks to be part of this white and black evening dress is in fact a piece of jewelry. The gold plated aluminum piece is a huge sculpture that frames the model's face in the way that a vast hat might on top of her head. I love the fact that the piece is created to look as though it was caught in mid motion. You can practically feel a breeze. As a side note, do I think that's the right garment to pair with that amazing jewelry? Nope. There are just enough design elements in it to distract from that collar. Plus, the plunging neckline doesn't help. I would have preferred something in a single color, even a very dramatic one, with a high neckline. But none of that stops this collar from being amazing. This is one of those design mash ups that I find intriguing. There are hints of early medieval tunics in the placement of the belt low on the hips, but also whiffs of the 1970s, when belted sweaters were a thing. The broad expanse of man cleavage, framed by that gathered shawl collar takes it to a sexy place, yet the bulk of the sleeves keeps it from going sleazy. Its an interesting concept garment, but probably only for someone as young as this model. I won't be giving this a try, myself. In 1925 Cartier made this remarkable object. Its a vanity case, so it was meant to hold powder, lip rouge, eye liner, and blush. Its made in gold with extensive inlays of mother of pearl in the Chinese Deco design. The black enameled bars separate panels of undulating lines in white enamel, and the twinned ends are domed shapes of coral flowers with pearl and diamond centers, and a scattering of emeralds between. What envious looks the lady who owned this must have gotten in the powder room when she pulled this little item from her bag. Sometimes its technique that takes center stage. In this case Rosie Assouline took the classic methods of chair caning, and translated them into this amazing gold skirt. Trust me when I say there is some pretty impressive math going on here to make this possible. The doubtless hundreds of yards of gold passementerie strips are perfectly connected and woven. this is masterclass stuff. And its one of the few times that the see through thing is not only intentional, but appropriate. Brava! Okay, so this image is a trifle silly, I get that. But what this brought up for me is how potently this image speaks. Its the individual apparel words that drive this picture to the destination it gets to. If not for the combination of elements, from the 18th century styled wig, to the low slung tighties, this would simply be a pretty picture of a pretty man. But layer the disparate messages of each of these apparel words onto him, and there is instantly a great deal more. Its a rather absurdist example of what I mean when I talk about the power of the Attire language to communicate. Dimaneu sent this down the runway recently in their nearly all red and black, profoundly stark collection. Though in other parts of this collection the white Noh theater inspired make up is jarring and overplayed, here it is the perfect, if operatic finishing touch. This is an image that is powerful and fascinating in its impact. The model is an enigma, yet looking away is almost impossible. Working your brand is nothing new. Yves Saint Laurent knew exactly how to forward his work. He wore it himself. This picture, taken at his salon in Paris has him with Betty Catroux, who was his principle muse and one of the house models was done in the 70s, right when he produced a collection of safari inspired clothes that was an enormous hit for the house, and was the beginning point of his clothing moving into all levels of production. Here's another one of those looks that could easily be classed as gender free. Isometric put this out for their 2015 Fall/Winter collection. The pants and shit are of no real note; been there, seen that. Its that oddly dome shaped cape that kept me coming back to this, and finally resulted in my including it here. In particular, I want to know what that cape looks like closed, with that drawstring pulled tight and tied. I would also like to see that same shape and design rendered in another few textiles to see how adaptable it might be. Sometimes an image is so powerful that, even though I don't understand the meaning of the apparel words in play, I am riveted. This 1954 portrait of a woman was done in Nazare', Portugal. I do know that she is wearing the traditional Portuguese widow's cape, so that takes us part of the way there. The severity of the nearly featureless surfaces make her wonderful face stand out so that we are drawn right into her thoughts and emotions. And, I suppose that is what takes us the rest of the way on our journey with her. This is a very well done costume, referencing the style points of the Elizabethan period. In especial the widespread fashion for slashing and pinking is very well rendered here. Slashing, by cutting regularly spaced slits in the surface fabric was meant to emulate the cuts to their clothing that soldiers got during battle. Pinking, the smaller cuts dotting the fabrics surface, was meant to copy the breaks created by swordplay. Modern pinking sheers get their name and purpose from this time and practice. Tailors and dressmakers had special scissors, with different sorts of shaped teeth, to create pinked cuts, and decorative edges to fabrics. These days only the zig zag toothed scissors remain in use. When I clapped eyes on this I gasped at the outrageous amount of material in use here. There have to be a couple of hundred yards of silk chiffon in this layered, ombre', ruffled skirt. Of course, such levels of extremity can only exist within the couture. And I gotta say, pairing it with a 40s inspired head wrap and cap sleeved blouse is cheeky, fun and makes the whole thing considerably less dead serious. Though the technical skill to create that skirt is jaw dropping. This last entry is another dip into our transformational thing. We love it. We love making ourselves over into something else. We love taking our normal real world persona, and subsuming it beneath layers of iconography. This is a Naga man, from the Chin state of Mayanmar. The meanings of all of the elaborate trappings he wears, beautiful and outlandish as they are, are opaque to me, as they would be to most Western viewers. What we do understand though, is that we are seeing something involving ancient traditions, probable rituals, and likely deep spiritual connections or origins. So even though we cannot understand all of the message here conveyed, we still get that part that belongs to the universals within us. Well that does it for this weeks Scatter; so go on out there and have a great weekend!