I decided to try and overdye my velveteen (to extend my skirt panels for my red gown) one more time to get it to move from warm to cool red. It has not entirely worked but I think, I think it’s shifted it just enough for me to use it. So I have ordered some more magenta and also fuchsia Procion and some more soda ash.
I can at least now cut the velveteen to shape, overlock the edges and actually start to get my beloved dress wearable again as it has not been worn since 2006.
Even if I have to tint the original velveteen to match, I do have a really gorgeous rich red still. So time to get my skirt panels out to work on them.
It’s real. But it’s because the rest of the world has discovered all my usually quiet online spaces and filled them with far too much to catch up with. I’ve also not really finished any projects as they are all intensive and difficult and I do not have all the materials I need!
But the Cleves projects are currently my focus as I do not want to be without my Hat and red frock any longer. The Hat was made over twice, but the frock has been in pieces for years. I did though bond the new plush velvet guarding to a light cotton base and have enough to play with if I decide to change some things.
I did start making this over a while back which required cutting new sleeves from a strip of fabric from the back of the skirt as I never found that same red again. With a very recent portrait find I might not have needed to do that but well.. it’s been done.
I need more fabric to add extra width to the skirt back.
Today some red velveteen arrived and it is soooo close but is a shade too light. I’m hoping I can hint it deeper with some cerise red dye. I’m hoping some other velveteen I ordered is a closer match but if not I know I can use this if I can devote a day to working with dye, hot water, and a large container outdoors. It’s a full body experience I really need to prepare for. Fibro and RA are flaring a bit which means more rest and more therapy.
But it is such a relief! I made this not long before I was elevated as a Laurel and it was so different that I am really really really desperate to wear it again after about 14 years! With the return of my Teal frock I’m really feeling the need to get my older work up to date 🙂
One of the aspects I want to discuss is the fabric colour and fabric choices. Red is a very striking choice for a frock. It’s not common, at all, for the decade I made it to reflect.
Everything I’m doing is based on research i have shared sporadically over the years but is taking time to web because to me everything is important so I can’t just share one part.
Okay. I have numbness on the back of my hands so it’s time to rest!
Of special interest is that his appears to be worked in pearls while the previous seem to be woven or embroidered in dark silk on gold, or may even be gold work.
Anne of Cleves has this motto in a similar pattern (capitalised on a geometric scroll effect outline, worked in alternating diagonal directions on a wide band.
Holbein’s portrait quite clearly show the design worked in red on gold. This may be woven as are most bands on hauben from this region. Most commonly they are purely geometric designs but of a similar scale.
Bruyn in particular captures the gold threads of woven patterns of women of Cologne.
St John’s copy of the Bruyn portrait (note the portrait I believe to be the original has a flat pearled baret masking the view of her haube. I believe the copies to not include the hat are copies as they do not perfectly represent the Stickelsche as it appears in work direct from Cologne. )
The design is worked upside down in comparison to all others (and this is repeated in other copies.) It is also worked in a pale colour, in the small digital copies it appears white or off white.
So this leads me to the most recently discovered potential portrait of Anna.
This portrait certainly matches facial features quite closely, and the haube looks the same as those in other Bruyn copies.
However after a decade or more of looking at North Rhine paintings what sticks out to me is that this is absolutely not the clothing of Nobility of Cleves, Julich, and Berg. This is absolutely perfect for middle class clothing of Cologne. Very wealthy but very clearly of someone affected by sumputary laws.
Red velvet sleeves and busttuchs are found repeatedly in inventories/documents of burgersfrau of Cologne.
The pendant is absolutely of a common shape, the girdle of a common type, the single wide chain necklance. Even the black on black fabric of her goller (kleyr) and gown.
The partlet under her gown is likewise of a type that puts her firmly in the city of Cologne.
It is also quite late in style. I would put this at 1550s. But this stage the Hat starts to look like a wing nut with a flat top and not just width at the upper side but lower side and is quite flat in regards to depth.
Commemorative paintings are not unusual, what is unusual is to lower the apparent status of the subject. Gold brocade trim on the gown at the very least would mark the subject as of nobility.
The painting looks from the surface to be from Bruyn’s workshop. The curved top of the canvas, the shaded plain background, the flat table top in front of the subject. These are also seen in the other copies of the other Bruyn painting.
Without access to information about the painting itself this asks many more questions than it answers.
In all the copies the words are upside down and in pale paint on warm gold. Could this indicate they are painted by someone not familiar with the physical properties of these hauben? Could that indicate they are all copies from outside of her homeland?
If so how can the details of this portrait match so well to the garments of burgersfrau of Cologne?
If this is by Bruyn (possibly the younger) does this mean the princesses could have worn clothing not indicative of their wealth? Or is this a deliberate statement?
Or could it be simply a portrait of an unrelated woman from Cologne?
There is very little in the way of imagery of real people from Cleves, Julich, and Berg from this time to be found online or printed in books. I have been very lucky to have a copy of the inventory of Jocabe of Juelich-Kleve-Berg but it is very definitely from a time where the Spanish influence has nearly overwritten the local clothing style. I have also been lucky enough to find/be lead to collections of inventories of women of Cologne.
A future blog post will explore the artwork of the Duchy, specifically those of the Duchess Maria and her Daughters (Sibylla, Amalia, and Anna.)
While putting some more latex on Ahsoka and wetforming the knee cops I got a call to do a photoshoot today. Was able to put it off til tomorrow 🙂 It’s for the Herald article that I did a short interview for 🙂 So I’ve tidied up most of the issues with my frock, just need to whizz the chemise under a sewing machine. Or I can sew by hand for when I do eventually hand finish it. Hmmm…..
I’ve been watching Elementary today to do so and been able to do some back stretches again! Physio for my rib was pretty much to loosen all the muscles that tightened during all the flinching and flu while the break was healing.
I’ve obviously also been very wary of stretching and especially using props due to how I injured my rib in the first place. I’m a bit concerned about bone density as it has been treated before, and has everything to do with medication and disuease full stop.
I’m feeling a little overwhelmed by health and trying to finish any project at all right now. I have a few projects I feel I should finish before starting anything new. But the reality is I have stalled on them for the same reason: health.
This doesn’t make it easier, it feels like more pressure. More pressure to do something really great before I can’t at all. More pressure for each event I miss because I fear I’ll still miss the next. This isn’t FOMO like we know it, this is real, this is genuinely not seeing people I care about due to predicatbly unpredictable health issues.
So what would that be. Do I want that to be a project I have been working on for 10 years or start something new that might be easier or more fulfilling.
I have most of my projects in one place, but I also have the clay and plastic and paint stuff out of sight as it’s winter and my workroom is not fun in winter. Especially not mow!
So Maleficent? Ahsoka? Sunburst? Spanish silver ensemble? The Mina? Elissa… Elissa could work. I finally bought another 10m of netting for the support. Just have to figure out where to put it! Probably another layer of short ruffles. I think that makes it 40m of net in total! And then Maleficent horns. Then it’ll be warm enough to go out and work on Ahsoka. I need to wait until my rib heals before even thinking of The Mina as It really feels like the end of the bone of the rib is exposed.
Do I want a break?
I do want to get my Cleves perfect so I am about to sit up in bed and get warm and watch Netflix. I need to clip fabric from the haube as it’s too bulky and I want to also line the neckline jewels properly. SO happy with how beautifully I finished the gown and sleeves 🙂 Might just do some tidying of the shirt sleeves though.
I was going to do a lot of machine sewing to get her ready for Coronation so I instead took the time I had to sew by hand. Some of it went really welll, some like the haube is fiddly because the accessories are just not the way we are used to. I need to make my haube tie and also make sure all the gathers are near the crown. I may wind up pleating on my head form instead.
There may even be time to get pearls on the partlet. What is weird is I have a very long neck so I can wear my collar and show the full band of gold.
Okay, I now have my second lot of antibiotics 9note, not for the flu but for the secondary bacterial infection I have had since day two of the flu!)
Firstly some headgear progress 🙂 Becase my pearlwork is so dimensional I need a flat brocade front, and then am able to have a flat but slightly more texture brocade for the haub.
Then we have the brocade for the collar and neckline. Yep, pressed the brocade into a curve! Ditto for the piece above actually 🙂
I’m super happy about the collar 🙂 I keep readjusing the neckline though.
I have tried it all on and I think I’ll just do some judicious padding of my inner layers as I am rather not as wide across my chest.
The skirt has a flatlining, and I kind of wish I hadn’t but it would require some serious careful unpicking because I used a triple stitch. This makes the diagonal seams as strong as if I had used a backstitch- I’ve had side seams pop a few times and the weight of this hem would definitely do that!
And yes, I have been working on her distinctive partlet 🙂 Pearling is not going to be fun but what the hey?
I finally bit the bullet and am going to have my own Fealty Chain for the SCA 🙂
I have several enameled medallions on the way to mix in with my hand wired roundels already shared.
These are going to be used to make a full set of neckline jewelery as per the Bruyn and Holbein portraits or Anna von Kleve Julich und Berg 🙂 I’ll be aiming more for the Holbein style as it is very obvious as to the solidity of the border versus the main body. That little wrinkle at her right should (our left) shows this so very well.
I’ve also cleaned brass leaves and flowers and will work on my kranz (wreath) as I should be able to replace nearly all those leaves.
I love this book. It was a very lucky find a good decade ago. It does suffer from an Anglo centric view though. Calling Anna’s clothing unfashionable and not tasteful is just not correct.
She was incredibly stylish.
She just happened to live in a region with nearly equal influence from the Burgundian courts and Saxon courts. And her dress right here? Exactly what you’d expect! The other Bruyn portrait, and less successful copies, also show pretty much what you’d expect!
This is why I love Koehler and Boehn as resources- very continental so you see the general shapes from the Italian states, from the Burgundian/French/English courts, and also Saxon. All those Cranach beauties.
But more to the point there are still assumptions that the annulment was all her fault for not being pretty enough, not being “stylish” enough, not being clever enough.
Need I say more than that she wound up an independent woman with enough money that she was able to spend poorly and still be safe politically and financially? That even though she didn’t know English she managed to survive insulting Henry (by accident but in front of lots of people)?
I suspect then as now it is much easier to understand Dutch if you are used to English and vice versa than it is to speak either. The language Anna spoke is much closer to Dutch than Deutsche then and now.
Sentence structures are so similar I can read personal documents of the region and understand them. Yes I’m looking for clothing terms but I’ve read a heck of a lot of gossip in doing so! And so I think Anna was not only much smarter than the English have made her out to be but understood what was happening right then and there. yes, she would have needed help to write her letters, but she knew the content.
Obviously she couldn’t go back home- but by staying she also had to survive conspiracies. And the court was absolutely full of very dangerous intrigue.
To survive that takes more than just luck or a yielding nature. If she was that easily manipulated she would have been so the rest of her life. And we know she was used politically. A pamphlet written as if it was her was shared on the Continent and yet she survived those too. Not many people survived one bout of politcal manipulations, let alone several attempts to get her back in the marriage game. Yes, there were people who wanted her to be queen long after. In the English court that is.
So no, I don’t think she has had fair shakes!
Okay so this is one of the roundels 🙂 It is a circular pendant with a brass flower in the center, a moonstone bead in the flower, and 6 large pearls around the outside. The laurel medallions are bout the same size so will have the same brass lowers in the centre with garnet beads in the centres. And I’m going to try and get the extra beads and flowers on my stickelsche.
Or I may wind up putting the garnets on these to make them look even less like the white rose used for another order 😉 Six petals vs five and obviously not roses, but sumptuary laws are sumptuary laws.
So I have been thinking a lot about order of sewing, technologies, and workshop roles a lot. I just have forgotten to apply it to my own work and finally made that connection 🙂
I keep stalling hemming because I want it to go fast, it hurts physically so I use long needles so I can reduce stress on any one finger but instead use three fingers and thumb. And I know people expect a “laurel” finish.
Well okay so no my hems don’t look like a master made them.
But they sure as heck look like the real deal because hems weren’t done by a master.
My work looks like it was from a workshop not a single hand. And I like that.
But it took a long time to like that. It’s not about sloppy stitches it’s about practical stitches that are also speedy. I may not have had my daily rations to aim for as a reward but I do get my frock that one step closer when it’s done. So not the same thing and it really does make me appreciate the anonymous workers who made up the garments we now know by the designer or the wearer.
Anyway. So finding that appreciation for my own work again made it much more enjoyable. I stopped making excuses to not do it because it was not good enough. It is.
Now redoing the hemming of my suite of ruffs… I’m not looking forward to that. That does need teeny tiny stitches and having lost TWO(!!!!!!!) ruffs hemmed to ridiculous fineness I also really don’t want to invest in stitching something that will likewise get lost again.
Well okay. Let’s see if I can put the same positive thought process into the hemming of the ruff.
Oh but hemming took about 3 hours as it was so no, I was most definitely not making excuses for my work. It’s a hard task as it was the wool facing that needed stitching- it needed to be caught to match the edge of the gold braid to make sure it didn’t self collapse. And I still need to tack the layers together underneath the row.
I wound up breaking out the overlocker all day instead of working on horns. Which was probably wise. The rain is still leaving everything damp so curing would be risky.
So I zipped around the edges of my Worth sunburst skirt (the satin is so perfectly buttery that it was just nice to do!) and used the drafted bodice pattern from the 1876 tool to trace a new pattern for my new Phantom wedding dress bodice. I did use the vintage organza after all so that leaves some of the crepe for a potential Moulin Rouge dress. If I ever find a trim that works!
So that was tracing and transferring the pattern to a layer of twill, a layer of calico, and a layer of organza then overlocking all the edges tidy.
And then finally I cut the trim for my Cleves sleeves having removed the colour from the silk. And that leaves some softer trim for the undersleeves.
And finally, my last cast from my Ahsoka molds finally worked!