suicideblonde: Winona Ryder and Gary Oldman in Dracula

Late Middle Ages: 14th and 15th Centuries The dates from 1300 to 1500 are generally considered the late middle ages. It seems that the Italians passed the Late Middle ages in 100 years and were int…

I recently finished (and by recently, I mean within the last 6 months, it has been awhile) a 15th century double apron to go with my Housebook Dress that I made last year. The inspiration for this …

*** Welcome to the photo dump for my new blue kirtle (the construction of which was recently documented in my latest Dress Diary). Based on early 16th century illustrations, the kirtle laces up the front and features short sleeves, a 'V' back, and a shaped skirt (constructed with piecing). It was originally inspired by a page from Catherine de Medici's Book of Hours. Although less popular later in the century, blue seemed to be a fairly ubiquitous colour in the first decades of the 16th century (and earlier). Inspired by period images, it was clear that it could be infinitely adapted by swapping out a few accessories. So first things, first: I whip up some new sleeves! A LOT of sleeves... (so many that I won't be able to get to all the different combination in this post) All the sleeves are 3/4 length and are simple tubes which taper to the wrist. They are lined with various colours of linen (basically whatever I had in my stash) Okay... Let the Mix & Match begin!!! The first look is just the basic kirtle with the addition of a white, un-gathered apron. The result is a sort of low-rent, early 16th c. Belle... Adding on.... A lot of the images of female field workers show blue kirtles and red sleeves, so that seemed a fun place to start. This look incudes a large vintage sunhat. And a leather belt and purse from Karl Robinson - Leatherworker. The next iteration is basically the same, but with the white apron swapped out for a beige one...and a broom! The broom is a one that I picked up at the Renaissance Faire some years ago. It's aggressively rustic in appearance and I love it! Next up...more props! This time, a basket and some fake bread and veg that I picked up at a craft store. Right. These red sleeves are great, but it's getting a bit boring... Let's do it all again, but with green! Next big hat is swapped out for a smaller, conical one and the skirt bustled up for work. (I think this look is just okay...I really needed a partlet or shoulder linen to get closer to the period images.) Okay, field workers are fun, but it's time to dress things up a bit... Let's start with one of the staples of early Tudor fashion: a black, pointy partlet. Details of two Brueghel paintings The partlet is made of black wool and lined in black linen. (The pattern is self drafted.) A small pewter hook from The Tudor Tailor is stitched to the point. This is combined with my black apron. And a large, white, felted hat from Sally Pointer. And finally, a pair of white wool sleeves. I like this look a lot. I feel like you most often see this style of hat worn with a large, linen shoulder square (as in several Holbein paintings and sketches). I did make a linen yard square specifically for that purpose....and then forgot to get any photos of it. Oh, well... Lastly, one of the inspiration images that kicked off the blue kirtle project to begin with: A Witches' Coven! (I mean, who doesn't love a good hexing?) The Witches' Cove, Follower of Jan Mandijn The ensemble uses most of the pieces from the outfit above, but with the white sleeves swapped for light yellow ones. And of course every self-respecting Witch needs a broom! And that's it! Blue kirtle Mix & Match is (sort of) complete! Really, I could have tried even more iterations and combinations but ran out of time. However, I did take a couple of more costume-y variations....but this post was already getting crazy long, so look for that in a separate upload later this week. (NOTE: That post can now be found HERE) ***

Martin Schongauer, n.d.

*** As mentioned in a previous post, I decided to start on an outfit inspired by the Dutch folk hero Kenau Simonsdochter Hasselaer. I go into quite a bit of detail on the planning in that earlier entry, so for this one I'm just going to jump right into the diary! Just a quick summing up...Although many images of her exist (almost all dating to significantly after her lifetime) there definitely seems to be an iconic pose and and outfit. The colour pallet also seems to be fairly consistent. So just for fun I decide that I could easily make BOTH the of the above paintings by just switching out a few accessories. So for this outfit I will need: 1) A reddish brown or rust kirtle, hemmed to just above the ankles and trimmed in black guards. 2) A black long-sleeved wool partlet or jacket (again, more on this on the previous research post) 3) Two silk sashes: one in salmon pink and one in red 4) Two stomachers: one black and one red 5) Two pairs of stockings: again, in black and red 6) A small ruff 7) A white linen cap with split "tails" And finally... 8) A BOAT LOAD of weapons. Fun times! Let's start with the kirtle. This is fairly straightforward and is a based on a pattern I've made twice before for both my blue Trevelyon gown and more recently my green kirtle. For that reason I didn't really document the construction process much at all. The foundation layers are made of two layers of 10.5 oz cotton hemp, pad-stitched together and reinforced with boning channels. The bodice is only partially boned, with spring steel along the front lacing edge and some synthetic whalebone through the front in alternating channels. Then the bodice it covered in a rust brown wool and lined with black linen. It's also trimmed with two rows of narrow cotton ribbon to match the first of my inspiration images. For a blow by blow of the construction process please see the write up for my blue gown, which outlines each step in detail. Like the blue gown, the kirtle also has a hidden lacing strip worked with hand bound eyelets, offset for spiral lacing. Next it's time to make the stomachers. Only instead of making two, I decide to make a single stomacher which is reversible: with black linen on one side and red linen on the other. The base is heavy cotton muslin. (Note: I had originally intended to add some boning down the front, but instead of adding support this actually made the stomachers buckle in strange way and so was later abandoned) Then the black and red linen was flat-lined to the base on either side and bound in black cotton ribbon. Then I tried on the bodice and stomacher combo. Looks good! I actually end up only using every other lacing hole. Out of habit I had placed the eyelets pretty close together and the high contrast zigzag was really overpowering the look. Dropping down to ever other hole is a closer match to my inspiration images. Next the skirt is attached, but again you'll have to reference the older posts for construction. Like the blue gown it has an integral underskirt, this time in black linen. After the skirt is attached (and confirmed to be level) the trim is added. This is a wider version of the same cotton ribbon used on the bodice. Now it's time to move onto the accessories! And it's at this point that I go a little nuts... I figure that since I'm already making two versions of this outfit...why not THREE? As hinted above --and covered more expansively in my research post-- I'm still a little dubious that this long sleeved partlet is actually a thing (super technical historical term). There's still a good chance that what the later sources are misinterpreting a long sleeved kirtle (or gown) and and over partlet. So that's what I decide to make. Sort of... I'm not going to add sleeves to kirtle I've just made and I'm sure as heck not making another one! (despite having tons of leftover wool). Instead I'm to try a totally theatrical cheat and add rust sleeves to a black partlet. This will also be a sort of "proof of concept" for the short black jacket. The black partlet is a pattern I've made previously. It's made of black wool and lined in black linen. It's finished on all sides and the edges whipstitched together under the arms. For the whole process (with photos at each stage) please see the post for my brown linen kirtle. Though it's hard to see, the partlet is also trimmed in narrow black cotton tape. (What can I say? I'm a sucker for black on black trim). With the partlet finished it's time to add the sleeves. These will also be finished on all edges and whip-stitched to the armscye. Now, apologies in advance, because I really didn't take many photos of this next stage (probably because I wasn't entirely convinced it was going to work) but I'll walk through what I have... First, while making up the lining, a strip of black wool is zigzagged stitched to the top of the sleeve head. This will add more oomph to pleats later. Next the sleeve is made up, lined and turned so that all edges are finished. Again, I don't have any photos of this, but it's the same approach as by blue gown, so imagine the below photo, but...you know...brown. Then a row of stitches are run along the sleeve head. These will be pulled to form cartridge pleats. The sleeve is then pinned into the armscye of the partlet and whipstitched in. And that's it! Weird fake partlet thing complete. Like all my other partlets this one doesn't have any front closures and will ultimately be pinned closed . It's also at this point that I decide to whip up another stomacher in matching rust wool just for fun... Now it's time to move into the short black jacket. Originally I debated constructing it more like a short doublet with a separate collar, but as it's a highly conjectural garment anyway I decide to just repeat the process above (but with some minor tweaks). Oddly enough, this second long-sleeved partlet I did document a little more fully. First, the front shape a little different. I wanted more overlap along the center front and so the angle of the curve is reversed. It's also longer in the sides that a regular partlet. I also reenforced the front edge with 1" worsted wool tape (which is stitched to the black wool on the wrong side). This will later be turned under to form the front seam allowance. I also ran a narrower 1/2" along what will become the seam allowance of the collar...again to give it a little more support. Then the partlet is joined at the shoulder seams in both the black wool outer fabric and linen lining. The two are then sewn together (right side facing) on all edges, except for the front and under arms. The seams allowance are clipped, pressed and the two pieces flipped. There is now a finished edge along the bottoms, arms, and collar. Next, the front 1" is folded under and stitched together. This is repeated on the underarms (but with only 1/2" turned) Then the finished underarm seams are whipstitched together (trying to catch as much of the lining and as little of the top fabric as possible) Then the sleeves made up in the same black wool and linen lining. They are also finished on all sides and row of narrow cartridge pleats worked into the the sleeve head. The sleeve is pinned into the finished armscye and whipstitched in. Okay, that's two weird long-sleeved partlet things down! Next it's time to move on to the silk sashes. Now, I'm going to say right up front that I HATE working with silk...or at the very least I hated working with this silk. I'd rather eat my own face with a grapefruit spoon than deal with this fray-factory again. Suffice to say, it was not fun... Let's start with the red one. The sash is made from a single yard of red silk, cut in half (selvage to selvage) and whipstitched together along the selvage edge to create a long rectangle of approximately 17"x 106". Then the raw edges are finished with a small rolled hem. The the red sash appears to be trimmed in gold lace. So I decide to trim in it narrow gold trim along the length and longer, scalloped trim on the ends. Although I prefer the lace on on the right, I decide the proportions of the lace on the left is closer to what I'm after. The selected lace is then stitched to the finished edge with silk thread (with wider lace on the narrow ends and smaller lace along the length). Moving onto the next sash... After finding this higher contrast Alamy image I opt for a more rosy-beige than salmon. But next sash is tricker. Instead of lace it appears to be tasseled. It is constructed it the same way as the red one, only instead of finishing the narrow ends, I pulled individual threads to create an approximately 4" tassel. Now, remember how I said that this silk was a fray factory? Well, that was only along the weft (which made trying to do such a tiny hem super fun). But trying to pull from the warp was like pulling teeth! It took FOREVER. Have I mentioned how much I hate silk....? But it doesn't matter, because these suckers are now done! Next it's time to move on to the white cap... I started a write up for it here, but it sort of ballooned to a ridiculous length and it quickly became very clear that it needed to be its own post (which can be found HERE) Suffice to say, after attempting a few different styles I ended up with a tailed coif that I'm fairly happy with. The final piece is my new small ruff, which was completed for my Aertsen outfit. Next it's time to move on to the non-clothing accessories. Now, I know that any military history buffs are probably going to have a conniption over what I've thrown together...but, hey! If I can get over the weird clothing anachronism in the portraits you can get over my weird 17th c. flintlock! And speaking of which... Okay, I admit...I don't even know enough to appreciate the levels of shear wrongness that this may or may not be. But I tried to for the earliest pistol I could and this was the only style I was able to find with a round, wooden pommel (and being discontinued it was pretty tricky to track down!). Next is a vintage Moroccan powder flask. Wrong? Yup. But it'll do! Don't worry, it gets better from here... Next is a spear. The head is rounded for stage combat and general safety (with my luck I would have dropped it and impaled one of the cats). It's mounted to a stained wooden dowl and finished with a burnt umber silk tassel. And finally is a rapier with a leather hanger, custom made by Jesse Belsky Stage Swords. One last touch is a small medal (which appears in some of the etchings). I was trying to find something with a Dutch lion, but ended up stumbling upon this vintage Renaissance Faire medallion, which I think is from the late 80s or early 90s. I think it’s super charming. And I totally forget to wear it! And that's it! The crazy mix-and match is done...in all of its bonkers glory!!! But then I dropped a PCV pipe on my face trying to set up a backdrop to take photos and split the bridge of my nose (See? I told you I couldn't be trusted with dangerous things...). And so apart for a brief outing at the local Ren Faire (though restyled for early 17th.c) it sat in the closet for the better part of the last year. But now the backdrop is up, and this project is officially finished! *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern as a starting point. Now heavily edited) -The Marquess of Winchester Coif #4 (with significant edits) Fabric: -Rust worsted wool from FB marketplace. -Black "Judy" linen (5.5 oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper -Red and rosy-beige silk from Mood Fabrics -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: -Black Shindo cotton herringbone tape (3mm, 6mm & 15mm) from Ribbons -Gold lace trim from lacetrimwholesalers on Etsy -Linen tape (1/4") from WM Booth Draper Thread: -Black silk thread -Blue silk thread -Black buttonhole thread -Rust cotton -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)

*** Welcome to the photo dump for my new blue kirtle (the construction of which was recently documented in my latest Dress Diary). Based on early 16th century illustrations, the kirtle laces up the front and features short sleeves, a 'V' back, and a shaped skirt (constructed with piecing). It was originally inspired by a page from Catherine de Medici's Book of Hours. Although less popular later in the century, blue seemed to be a fairly ubiquitous colour in the first decades of the 16th century (and earlier). Inspired by period images, it was clear that it could be infinitely adapted by swapping out a few accessories. So first things, first: I whip up some new sleeves! A LOT of sleeves... (so many that I won't be able to get to all the different combination in this post) All the sleeves are 3/4 length and are simple tubes which taper to the wrist. They are lined with various colours of linen (basically whatever I had in my stash) Okay... Let the Mix & Match begin!!! The first look is just the basic kirtle with the addition of a white, un-gathered apron. The result is a sort of low-rent, early 16th c. Belle... Adding on.... A lot of the images of female field workers show blue kirtles and red sleeves, so that seemed a fun place to start. This look incudes a large vintage sunhat. And a leather belt and purse from Karl Robinson - Leatherworker. The next iteration is basically the same, but with the white apron swapped out for a beige one...and a broom! The broom is a one that I picked up at the Renaissance Faire some years ago. It's aggressively rustic in appearance and I love it! Next up...more props! This time, a basket and some fake bread and veg that I picked up at a craft store. Right. These red sleeves are great, but it's getting a bit boring... Let's do it all again, but with green! Next big hat is swapped out for a smaller, conical one and the skirt bustled up for work. (I think this look is just okay...I really needed a partlet or shoulder linen to get closer to the period images.) Okay, field workers are fun, but it's time to dress things up a bit... Let's start with one of the staples of early Tudor fashion: a black, pointy partlet. Details of two Brueghel paintings The partlet is made of black wool and lined in black linen. (The pattern is self drafted.) A small pewter hook from The Tudor Tailor is stitched to the point. This is combined with my black apron. And a large, white, felted hat from Sally Pointer. And finally, a pair of white wool sleeves. I like this look a lot. I feel like you most often see this style of hat worn with a large, linen shoulder square (as in several Holbein paintings and sketches). I did make a linen yard square specifically for that purpose....and then forgot to get any photos of it. Oh, well... Lastly, one of the inspiration images that kicked off the blue kirtle project to begin with: A Witches' Coven! (I mean, who doesn't love a good hexing?) The Witches' Cove, Follower of Jan Mandijn The ensemble uses most of the pieces from the outfit above, but with the white sleeves swapped for light yellow ones. And of course every self-respecting Witch needs a broom! And that's it! Blue kirtle Mix & Match is (sort of) complete! Really, I could have tried even more iterations and combinations but ran out of time. However, I did take a couple of more costume-y variations....but this post was already getting crazy long, so look for that in a separate upload later this week. (NOTE: That post can now be found HERE) ***

Attributed to Master E.S.German (or conceivably Swiss) engraver, Southwestern Germany 1430s-1470 Also attributed to Master bxg , active c. 1470-1490 Pair Of Lovers Master E. S., is derived from the monogram, E. S., which appears on eighteen of his prints. The title, Master, is used for unidentified artists who operated independently. He was probably the first printmaker to place his initials on his work. Remaining signed works by E. S. indicate that he was active in printmaking from 1450 to 1467, the latest date to appear on one of his prints. Attributed to Master E.S.German (or conceivably Swiss) engraver, Southwestern Germany 1430s-1470 Also attributed to Master bxg , active c. 1470-1490 Two Card Players in the Garden Master E. S. probably came from southwestern Germany or Switzerland, as did the engraver called the Master of the Playing Cards. This view rests mainly on stylistic comparisons with the contemporary painting of that region. Although evidence indicates that he was most active in the Upper Rhine region, there also is evidence that he visited Mainz, to the south on the Rhine at the confluence of the Main River opposite Wiesbaden, a major economic & cultural center. Attributed to Master E.S.German (or conceivably Swiss) engraver, Southwestern Germany 1430s-1470 Also attributed to Master bxg , active c. 1470-1490 Playing Music in the Garden E. S. probably came from a background & training as a goldsmith, rather than as a painter. He sometimes used goldsmith punches in his prints & some works are clearly designs for metalwork. He was the first printmaker to sign his prints with an engraved monogram, which was standard practice on significant pieces of metalwork. He engraved 2 images of Saint Eligius, the patron-saint of goldsmiths. He liked to fill his engravings with decorative detail, sometimes overloading the composition, & only slowly does a sense of volume or recession develop in his work. Attributed to Master E.S.German (or conceivably Swiss) engraver, Southwestern Germany 1430s-1470 Also attributed to Master bxg , active c. 1470-1490 Delilah Cutting Sampson’s Hair. c. 1460-1465. Staatliche Kunstsammlungen Dresden. Dresden, Germany. Since his earliest prints show a practiced use of the burin, he is presumed to have worked as a goldsmith for some years before beginning printmaking. His level of production of prints probably means that he worked on these only during his later years. Another important printmaker & goldsmith, Israhel van Meckenem, was probably his leading assistant at the end of his career & 41 of his plates passed to him, being reworked by van Meckenem. Attributed to Master E.S.German (or conceivably Swiss) engraver, Southwestern Germany 1430s-1470 Also attributed to Master bxg , active c. 1470-1490 Lovers On Horseback (Perhaps in a park.) Attributed to Master E.S.German (or to The Master of the Housebook) engraver, Germany. The Garden of Love. Two Lovers in a Garden sitting on a raised bed. The bed is raised inside wood to prevent plants becoming waterlogged, & grass treated as a flowery mead planted with low growing wild flowers plus a clever castle-design flower pot. A bird seems entranced by the courting rituals of the humans or perhaps by the gentleman's pointy-to-the-extreme shoes.

As I have been working my way through the Tudor era I have been doing further research on the puzzling white band that appears in many early Tudor portraits. The result is this rather long post. I …

I FINALLY was able to get pictures of the whole outfit! I'll take detail shots of the garments themselves, but I'm stuck at the Atlanta airport and thought that now was as good a time as any to write this post. :) The waistcoat pattern is based on The Tudor Tailor, altered slightly to fit me better. It is made of white wool flannel from Renaissance Fabrics and lined with natural linen from Burnley and Trowbridge. It closes with brass hooks and eyes also from Burnley and Trowbridge. I also made a linen partlet to wear over the petticoat and under the waistcoat, and linen cuffs for the sleeves. The coif and forehead cloth are also new, but not terribly exciting! I had to play around a lot with the fit of the waistcoat, even painstakingly letting out the center front edges 1/4" on each side so that it would fit PERFECTLY. But I'm a little crazy like that... And very pleased with the effort. When I take detail shots at home, I'll go over my construction choices a bit. There's also a new apron, made of a wool from Burnley and Trowbridge. It's the "dog ear" (my term) style apron, which is just a plain rectangle with ties. This is quite practical because it's easier to fold up or iron without gathers in the waistband. There are only paintings to go by, so it's hard to tell how the ties are attached. In some places it looks like the tie goes all the way across the apron, and in others it doesn't. I chose just to stitch the ties on either side of the apron, letting the "dog ears" flap free. It was the simplest choice, and the most economical in terms of tape usage. Anyway, here are pictures! I'm wearing a pair of the American Duchess "Virginias". They are SO comfy! Go buy them!

*** My first foray into early period! While my heart still belongs to the insanity of the 1590s and beyond, I have to say that I have a soft spot for the simpler, elegant lines of the early 16th c. silhouette. It's just so darn pretty! Having said that, it should come as no surprise that this outfit (as usual) began life as something else. I'd long been planning on making an early-period kirtle inspired by one found in the 1545 Hampton Court painting of The Field of the Cloth of Gold, 1520 (lower right hand corner). I had plenty of red wool left over from my petticoat bodies and always intended to make a kirtle out of it. This seemed like the perfect opportunity! I already had a black apron and partlet, so all I needed was to a half-yard of yellow wool for half-sleeves and I could whip out a fast, easy, summer project! No problem! Well, famous last words...as usual. Right out of the gate I struggled with a mockup. I decided to try a pattern from 'The Queen's Servants' (by The Tudor Tailor), but I ended up falling in between two sizes and really wrestled to get a fit I liked. To be fair, this isn't the fault of the pattern. I become oddly obsessed with folds under the arm, which in all honestly likely would have resolved themselves in the final garment. But I COULD. NOT. LET. IT. GO. After MONTHS of going in circles and countless mockups I finally thought, "This is ridiculous. You have bodice pattern that fits. You've made it three times before. You know it works, for the love of god, stop this insanity and just use that." So I did. But I had to tweak it. The bodice in question is the same pattern I've been using since my blue Trevelyon gown (check out that post of you want a step by step construction of the original bodice). However, this doesn't shape really work for early period. It's too long in the torso and has a fairly long front point. The sides will need to be shortened and the point removed. Also, the neckline should be lower and and a tad wider. Finally, the side-back seams pose a bit of a problem. As you can see, the bodice has a fairly narrow back piece... ...however, I want to add additional seams to mimic the look of gowns seen in Bruegel paintings. (It's not strictly necessary, but my thinking is that I can use this project as a quasi-mockup in preparation for a Bruegel inspired outfit down the road). Adding additional back seams to the current pattern would look cramped and odd. This means the side-back seam needs to be moved to under the arm to make room. Also, I decide to add a 'V' to the back to further mimic the look of the Bruegel paintings. Old back on the left, new 2-piece back on the right The final pattern is adjusted... ...And mocked up! The shape is pretty good, but can you spot the elephant in the room? Yes... I went back to boning. (For EARLY PERIOD! Shock! Horror! Hiss!!!) I know. But at this point I just wanted it done. I can't help myself. This 'summer' project had now been going for the better part of 5 months (and counting) and I wasn't even out of the mockup phase! Boning is my security blanket. However, I do only use it along the lacing edge along with one synthetic whalebone at the side. It's still wrong...but slightly less wrong? Maybe??? ANYWAY... With the pattern more or less working it's time to start on the foundation layers. As usual this is made up of two layers of 10.5oz cotton hemp, pad-stitched together and with additional channels sewn in for support. Now, at this point you're probably wondering where those additional back pieces are? Well observed. But we'll come to that in a moment...because this is the point where the whole project starts to go off the rails. On the verge of cutting the red wool, I stumble upon this image and can't get it out of my head. It's from a book of hours once owned by Catherine de Medici and probably dates to the first half of the 16th c. (roughly 1500-1530) The next thing I know, blue kirtles are popping up everywhere! Maybe it's because it's the shiny new thing. Maybe it's because everyone has red kirtles...but I was suddenly gripped with the need to make this kirtle BLUE. It was also at this point that I realize I'd made a slight mistake in my mockup and foundation layers. I'd made the front close edge to edge, but my inspiration from the Field of Cloth if Gold painting has gap of at least 1.5" which I wanted to honour. Unstitching the channels in the foundation layers to fold back the front edge further and increase the gap would have been possible, but it also would have been a massive pain. That clinched it. I'd do a last minute pivot for this project and save the red wool for a later date. It certainly helped that I'd already found some beautiful blue and violet wool from Dorr Mill fabrics. Okay! So back to the foundation layers... I had wanted to keep the multiple back seams in the final look, but realized that that would get very bulky considering the weight of my foundation layers. So instead I decided to cut the back as a single piece for the internal layers, and then stitch the two back pieces in wool on top of that. Yes, the boning is horribly obvious here. Thankfully it's a lot more subtle when worn. Yes, it's a totally theatrical cheat. I'm not totally in love with the outline of the seam allowance that is visible with the back is pressed...but oh well, that's what I get for cheating. (Thankfully this looks way worse pressed flat than it ultimately will on the body.) The bodice pieces are then joined together and the seam alliances stitched down. It’s then lined in blue linen and the front edges are worked with eyelets (offset for spiral lacing) Next it's time to make up the skirt. For this I returned to 'The Queen's Servants' and used one of the patterns from their gowns rather that the kirtle. I wanted a shaped skirt, but also one that has enough volume in the back to pleat (as seen in my inspiration image). The required quite a lot of piecing, which I had never done in a skirt before but rather liked. In the end the skirt ended up being a tad too voluminous for a lower-class kirtle...but it sure is pretty! The skirt is then shorted by turning under a wide band and hemmed. Finally, short sleeves are lined, finished on all sides and whip-stitched into the finished armscye. (The sleeve pattern is adapted from the gown pattern in The Queen's Servants) Kirtle done! Next it's time for the accessories! For the linen head wrap I used the white trapezoidal veil I recently finished for my linen veil experiment. Then I need a new apron. I already have plenty of white aprons of various widths and lengths, but all are gathered at the waist. So I quickly whip up and un-gathered apron. It's just a large rectangle, approximately 26.6x37", hemmed on all sides and whipstitched to a matching waist band along the top edge (leaving the sides free). Next, the wool sleeves. The pattern is basically a simple wool tube, tapered to the wrists. The sleeves a made of wool and lined in linen. Bur then at the last minute I decided the purple was a little too warm (based on the inspiration image), so I swapped it out for a more thistle shade. Lastly, the shoulder linen. This ends up being tricker than I thought. Originally I figured it was just a square cloth folded into a triangle and worn around the shoulders (sort of like a later fichu) but had a difficult time finding any other examples of that style this early...though it's a very common look into the next century. There are lots of linen squares worn around the shoulders, but not triangles. Conversely, there are a lots of pictorial evidence of pointed black partlets, but not white ones... ...or, again, at least not this early. I can find plenty of later, Italian examples but (so far) nothing for Northern Europe at this time. And of course there is always the possibility that this is just a very low cut, back, as some images seem to suggest. But the (albeit vague) gathers and folds around the neck make make think that's not the case. This also suggests something wrapped around the shoulders that doesn't have a rounded/cut to fit neck. There are examples of white partlets with similar folds, but annoyingly the back is not visible. The only thing that comes close is this image, "Danse des Paysans", by Nicolas Baullery (1560-1630), which appears to be be mid-16th c. but (as is evidenced by his dates) is a later pastiche in the same style as Bruegel. It's not as early as I would like, but it does at least purport to represent an earlier style and seems to show a triangular shoulder linen. It's sheer enough to see that it is being worn OVER a white linen, square partlet, which also suggests it is cut to shape and is not a folded square. On the other hand, this look (with a sort of tassel or something hanging off the point) does definitely seems to be a later style, though these mostly appear to be folded squares. Backing up again... There do seem to be triangular shoulder linens in earlier paintings, but they always seem to be part of a larger head covering. "Battle of Carnival and Lent" by Breughel the Younger (1564-1638), Based on the 1559 painting by Bruegel the Elder Based on that, I decide to stick with a folded linen square...at least until I can find more concrete evidence of anything more specific). This one is 24" square. And with that, the outfit is done! An 'easy' summer project...that only took 8+ months. (Note: I don't know that I'm loving the shoulder linen. Something about it looks sort of wrong. But, oh well! Something to fix for next time!) Final thoughts... I really like the overall silhouette and feel of this outfit. I'm obsessed with the wool and think it's the perfect weight and drape for the skirt. I'm still a little annoyed that I continue to fall back on boning, especially when it's completely inappropriate, but I keep on liking the results...which I guess is why I still think of these as costumes and not clothes. (which is okay) I can definitely see myself coming back to this period. In fact, since I've already started on a second version of this kirtle in red, I can pretty much guarantee it... *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern...but really, the bodice is mostly self drafted at this point) -The Queen's Servants (book and/or ready-made pattern) Fabric: -Blue wool from Dorr Mill -Purple wool from Dorr Mill -Blue "Judy" linen (5.5oz) Gray Line Linen -Natural "Judy" linen (5.5oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper -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: -Linen tape (1/4") for lacing from WM Booth Draper Thread: -Blue silk thread -Purple silk thread -White cotton thread (silk finish) for linens Boning: -7mm Plastic coated spring steel bones (4) from Vena Cava Design -7mm Synthetic whalebone also from Vena Cava Design Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights

Jan Siberechts was a landscape painter, a genre on which he focused from a young age and his earliest known works are of this type...

*** This waistcoat has been on my to do list for a long time... ...and it still is. Kinda. I originally intended this as a quick project, using the exact pattern and construction method as my trusty old blue waistcoat. The only thing I tweaked was the size of the godets. In addition to gaining a bit of weight, my skirts are narrower and less full than the ones I used to make, which means my waist to hip ratio isn't as large as it used to be. As a result I don't need as much of a flare in the waistcoat and wanted to reduce the overall circumference of the bottom edge. However, I did the math wrong and the godet at the back was too small, resulting in some creasing and pulling at the waist. I also somehow managed to put the wings in the wrong way, which is a bit of an embarrassing mistake and definitely the biggest one I've made on any of my recent projects. The wool was also not as high quality as I usually like. It doesn't take pinning very well and so I really struggled with getting the front closure to look correct (and it wrinkles more than I'd like). On top of that I realized that the latest research indicates that this style of garment shouldn't really have godets at all... So long story short, the project didn’t quite go according to plan and I'm planning on making this waistcoat again, without godets and with the lacing front seen in the inspiration image. "The Fish Market" Jacob Gerritsz Cuyp, 1627 I have plenty of wool left over, and though it may not be the best quality it really is a great match colour-wise. I'd been search for ages to find the right rust wool (not too red, not too orange) and really lucked out on both that and the skirt. So, superficially at least, I think this outfit is a success! But where I think this outfit really shines is in the way it can be re-styled for a totally different look! (Which is why waistcoats will always be my first love...) *** Accessories Blackwork coif by Truly Hats Wool flat cap by Sally Pointer Leather belt and purse by Karl Robinson Resources & Materials Pattern: - The Tudor Tailor (book and/or ready-made pattern) -17th Century Women's Dress Patterns Book 1 Fabric: -Rust wool from The Fabric Market -Green Herringbone wool from Mood Fabrics -Cream "Judy" linen (5.5oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper Thread: -Rust Cotton thread -Beige cotton thread -Black cotton thread Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights -3/4" Bias tape maker

(completed May 2014) Photo taken by Claudia Linder. This gown was made to bridge the gap between my peach linen kirtle (warm weather wear) and black wool gown (freezing weather wear), and to b…

Another post already, can you believe it?! Today I got the pictures from the awesome photo shoot I did with Frederick Scholpp, which I posted a teaser of last week. We had a great time, and it was so fun working with someone who has such a great eye for capturing shots and could perfectly understand my inspiration. Both of us being artists in different mediums, I think we worked really well together! I fully intend to do a separate post on the pair of bodies and smock with construction detail pictures and more historical notes, but for now here are "overview" pictures of how the undergarments looks when worn all together. First is the linen smock, completely hand sewn and trimmed with reproduction lace from The Tudor Tailor. The pattern is an amalgamation of shapes from Patterns of Fashion 4. Next is the petticoat, which is red wool broadcloth bound and guarded with black velvet. The waist is bound with red silk taffeta and worked with eyelets so that it can be pointed to the pair of bodies. Based on a few portraits (particularly the Elizabeth Vernon portrait) and a video of Jenni Tiramani showing a reproduction pair of bodies pointed to a matching petticoat, AND this old but very interesting conversation on this question here, I made the decision to do this bodies-pointed-to-petticoat method. It works wonderfully well for helping to support the relatively heavy wool broadcloth. The points were custom made for me by Francis Classe (available through his etsy shop, and I have a pair for my American Duchess Stratfords as well. The pair of bodies are from The Tudor Tailor, the Elizabeth Vernon style. I can't tell you just how incredibly comfortable these are!! I love them so much... They are silk taffeta, interlined with heavy linen and lined with white linen, boned with reed. More info in the construction post, I promise! All of the materials (smock linen, all threads, wool broadcloth, silk taffeta, linen interlining and lining, silk paduasoy ribbon binding), except for the lace, reed, and points, are from Burnley and Trowbridge! I hope you enjoy. :)

@ Hungarian National Museum