getting there

I have finally made my way into my written references again after taking a short break. I have a few Really Big ideas about some things. So I will continue to get the timeline sorted, because that then helps figure out how much trust to put in Weiditz’s books (hint, lots, really lots even if there is some fudging and errors.)

Meanwhile I have started putting the lining into my Maria of Cleves gown because it’s so gorgeous and because it’s basically everything in my pattern book is going to be a really good example of what it is about 16thC tailoring that has my focus.

Ultimately it’s pretty much the start of large scale production. I mean the dowry of marie Leonore includes fully cut robes, partially cut robes, and fabric for robes.

To me this is absolutely evidence of what I suspected which is that by this stage garments were not as tailor made as we think. All the Spanish manuals give specific layouts and most extant garments have uneven seam allowances in specific places. And these pretty much are the same right up until the 1920s or so when S’ports” clothing became our standard. No fit, all on a straight front line.

Before then you see curved fronts, often with a facing carefully shaped and then sides where the front and back seam allowances do not match.

So what Marie Leonore’s dowry is an outcome of tailors using measurements to get fabric cut to approximate size, sent to embroiderers/trimming or for journeymen to sew down guarding.

Then it’s mostly assembled and final fitting happens at quite specifically side/sideback, and shoulder.

My pattern book is pretty much all based on a well fitting kirtle made from a 4 gore skirt, a single back bodice piece, two front bodice pieces and really importantly separate straps. All of the kirtles in all the books I have are cut off right where I cut mine. I do use a separate shoulder for my sleeved dresses too as it makes for the most amazing stable neckline.

not tube sleeves

So while looking through the tapestry images I did spot two more half length bishop style sleeves. Well… one that appears to be:

And another that I think is a gathered upper to a fitted lower- but it is in a cloth of gold that is so close to mine :):

So I am going to fit and cut the bodice and sleeves this week of my Maria of Cleves gown. But I am also *this* close to making the flaming orange dress because why not.

more curating and a purse frame beginning

I have now only 43 images to try and track down. There is one that was recently sold at auction and it is the only listing not left on the original auction site. I am not guessing why but it means the full sized image is now only for sale from those auction aggregation sites.

But I have all my bildindex images sorted, and that was tough. The new site doesn’t seem to have most NRW images back. But the old site loads faster now so there are definitely improvements behind the scene. I seem to have lost how to get the full sized images but hey, screencaps.

Also the first layer of knead-it has been applies to my purse. Next step, sand that back, including the metal as there is still a gloss on the outer edges.

The linen for the Maria gown has had as much colour removed as is humanly possible. I really need a bluing agent, or it may be a soak in napisan.

So I had a lot of concern with the bleach. From other people. So to explain. I have been using the stuff for a long time as did my parents, as did theirs.

But that means respect and a lot of time practicing with the stuff.

I only do this outside. For two reasons, one it speeds up the process in the sun, but also fumes.

I did wash my fabric immediately but it still probably needs a good hand wash with extra soap. So I’ll get something with a bluing agent for this next step.

This is still cheaper than the cost this fabric would have been at full retail.

https://www.seattletimes.com/life/lifestyle/how-chlorine-bleach-works/

new cleves dress

There are times when you just cannot ignore an opportunity and one arose to get a length of the Sartor reproduction weave of the cloth of gold fabric of the Golden Gown of Margareta in Upsala.

Sartor’s reproduction has a 36cm repeat of the pattern

So, for years I have wanted to recreate Anne of Cleves wedding gown or her black and gold gown. But I just have not found a brocade (or brocotelle, or cloth of gold) that really would match what I have seen or read.

Sartor’s other fabrics are magical, absolutely magical. But this weave, though it is 15th Century is closer to the fabric seen in the guarding of gowns all over the Saxon and Westfalen regions.

The fabric is being woven right now. So it’s not available as pre-order any more. I have enough to make the same style of dress as I have recently made or the same style dress as one of her mother’s gowns.

So this means I also need to publish my information about those images or this is my third pretty dress with no information.

I think I have a way to get through it though. I have a few blog posts already added. I just need to get all the Cologne information out first.

This means all the Bruyn portraits first.

Then I can do the Trachtenbuch information. (I have gone through what I think is finally all the books including the italian. I don’t think I have found any more images.)

Then the inventory information.

Or should I just publish the Cleves stuff. It would be out of context though. right lets see what the gallery functions of my blog can do to make it easier.