It's time for medieval embroidery. German Brick Stitch is an old technique and much easier than it seems. Get to know more about it and see the photos...

I’ve made a lot of basic St. Birgitta style caps without the embroidered band on the center seam of the cap, but finally decided to sit down and figure out the embroidered band recently. I ha…

Many years ago, at the beginning of my living history days, I made a dress inspired by medieval ones. Well, it was quite a bit inspired by pre-Raphaelite and fantasy takes on the Middle Ages as well – it was made to be used at the premiere of The Return of the King after all. It is an interesting mix of period construction (wool fabric; more or less straight panels for the front and back with all shaping in the side and back seams; width given by set in gores; hand stitching; hand made eyelets; felled seams) and not so period elements (a combination of cotton and linen thread; embroidery on a dress style that usually had none, with the embroidery design inspired from the margin of a manuscript – and made in linen, and, what irks me most; cross lacing at the back) that reflects the stage I was at then, having gained some knowledge, but still letting myself be way too influenced by make believe. Still, it’s a very pretty dress I think, worthy of a bit of recognition. Even when the dress was new the sleeves were a bit too tight, making bending the arms uncomfortable. Several years ago I took them of intending to make them wider, but never got round to it. Now, finally, I made the changes by putting in a gusset in each sleeve seam – luckily I had some of the dress fabric left. Thus, this UFO/Make Do and Mend-dress was done in good time for the Fairytale challenge of the Historical Sew Fortnightly. The dress is still too small for me (my figure has changed quite a bit since becoming a mother) so I plan to sell the dress to someone who might give it a proper life – there are some very high quality LARPs and LARPers here in Sweden, and this dress might be perfect in a fantasy lady’s wardrobe. It is modelled by my cousin M, for whose help I’m very grateful, as I never had decent pictures of the dress before. We were both pleased with how her hair came out as well (especially the fact that her fringe did not show at all) – not very medieval to be sure, but good for the “1911-goes-medieval-Sleeping-Beauty”or pre-Raphaelite look I had in mind. The Challenge: #6 Fairytale Fabric: Wool Pattern: none, draped my own Year: “1911 goes medieval” Notions: Cotton and linen thread How historically accurate is it? As a medieval-ish dress – not very much as it’s a blend of period and fantasy. As a 1911 try at medieval – too period correct; it would probably have been constructed differently at that time. Hours to complete: For the changes I made, maybe two or three? First worn: Since changed - for the pictures Total cost: none at this time as everything was in my stash

Ihhh… Nähmaschine Überlegen wir mal kurz: Welche Dinge fallen euch (neben drittklassigem Polyestersamt) ein, die einem Gewandungsstück mal so richtig das ambientige Aussehen zerstören können? Nein, die Springerstiefel meine ich nicht. Auf den Gummizug will ich heute ausnahmsweise auch nicht eingehen. Na? Und? Genau! Maschinennähte! Der Tod der halbwegs authentisch wirkenden, mittelalterlichen Kleidung. Versteht mich … weiterlesen

Crazy stitches, patterns for embroidery

Medeltida broderier - Jag tycker det är jätteroligt att brodera, så jag har en massa planer på olika saker som ska få b...

Rückblick auf die Entstehung eines gestickten Portraits in Opus Anglicanum Technik. Making of a needle-painted medallion in Opus Anglicanum embroidery.

Anglo Saxon fashion history. England c. 460 to 1066. The Saxon civil costume, Saxon tunica, mantles, shoes, jewelry, ornamentation.

Followers of this blog know I have an ongoing fascination with brick stitch embroidery, and used a motif found in Burgundian roof tile as a pattern for one of my embroideries. Last summer we visited the Burgandy region of France, including the medieval walled city of Beause. Oenophiles are familiar with Beaune (and Burgandy) for its excellent wine. We drank as much of it as we could, and also visited the hospice museum (!). L’Hôtel-Dieu was founded in 1443 by Nicholas Rolin and his wife Guigone Salins. Rolin was the chancellor of the Duke of Burgandy, and his and his wife's initials are featured in some of the interior artwork. Much of the interior is restored to its original glory, and is well worth a visit. I just wish I was a better photographer. Interior of the main hospice building, showing the painted ceiling, carved and painted roof supports, a wooden bench, and the painted walls of the altar area (because of course the patient care area is also set up to hold Mass - no excuses for not making it to church!): Last but not least, one of my favorite parts of the exhibit - a display on the traditional Burgundian roof tile, up close: