liadethornegge: (research)
I've updated the listing of A&S 50 for AS 50 - turns out I've got 45 items listed out of 50. Also there are new handouts under Documentations. Go, check it out.

Continuing from the last post here: no new warm-weather clothes achieved.
liadethornegge: (embroidery)
Below are two close-us of a detail on the coif I'm re-creating. I've currently not really tried to re-create this particular stitch, and if anyone has any suggestions on how to work it, I would be most appreciative! It's all tangled up and almost looks like it's worked in two directions.
I've sort of skipped doing these bits intentionally so far. And on a couple of places replaced it with my version of long-armed cross stitch, or ösenstitch as the viking version has been called.

Anyway, if anyone can decipher the below, please give me a shout!

Oh yes, I'm more than half way done with the metal thread embroidery on the coif. And if I can keep this up I will be finished by Double Wars, which is in one and a half weeks! I am looking forward to this year's Double Wars immensly. I can hardly wait.

From Embroidery

From Embroidery
liadethornegge: (research)
Surprisingly, I didn't buy that many books in the UK. (I usually do).

But I did get home with a bit of light reading.
Item the first, The Prince & The art of War; Machiavelli, Niccolo (Collector's Library)
Item the second, A Guide to Tudor & Jacobean Portraits; Cooper, Tarnya (The National Portrait Gallery/The National Trust)
Item the third, Lambeth Palace Library, Treasures from the collection of the Archbishops of Canterbury; Eds.

The latter two are purely research, the first is in the vein of things I concievaly could have read in period. And which I should have read as a point of history. It's in a pretty binding that wouldn't look entirely wrong at an event either.
liadethornegge: (research)
The tiny brick stitch project I am working on is progressing quite satisfactorily. One side is finished with the red "framework", and on the backside I've done about half of the red. I've also done the central blue squares that will mark the bottom of the finished pouch.

I have used of course, Master Richard Wymarc's excellent research to do this embroidery, changing only the colours I use, because I like them and that's what I had on hand.

Anyway, last week I visited London, and got the opportunity to photograph the original from which mine stems. Tadaa:

From Embroidery
liadethornegge: (embroidery)
Alright - I think I have a good way of describing the "reverse twisted chain stitch" thing I tried to decipher before.

Imageine doing a long-armed cross stitch, except on the "short" leg back never go through the ground, only pick up the two crossed threads created on the previous go round.

For long-armed cross stitch, see here for example. Where insead of in step d going down into the ground, you take the needle a little farther to the left and go underneath the X of threads but over the ground.

It is ingenious and produces just the sort of "plait" look to a single line of loops.

Original coif detail photo Original coif detail photo
The mysterious reverse twisted chain stitch

liadethornegge: (research)
Moahahahha! I am Lia, hear me roar!

I think I managed to come up with a pretty damn good re-creation of a stitch that was used on the coif I am doing.

It turns out, after I got a load of yummy close-ups, that they did not solely use plaited braid stitch. In fact, I see very few places where they used it, instead a number of other stitches seem to be employed. It may be that the plaited braid stitch is a bit too clunky, or wide, for application on such a flexible item as a coif, or it may be the scale of the coif, as compared to a jacket. It's smaller. Or it may just be that this particular pattern calls for narrower coils.

Anyway, there are plainly chain stitches used in lots of details, I can do those easily, but then there are a couple of other types of stitches as well. My roar just now was because I think I figured out one of the others. It is a reverse chain stitch variation, which twists the reversed loop, and does not use the same hole for any of the stitches. It looks good when I did it just now in wool, but when I get back to my coif set I will try it again with the silver thread and see how it stacks up to the original.

Oh, and speaking of the original - I love the SCA.
I wrote to the London shire's email list on Wednesday, asking if anyone could possibly go to the V&A and take close-up photos of the coif in question - and one kind, generous, fantastic lady did! She went there yesterday during her lunch hour and took over a dozen excellent close-ups and sent them on to me that very evening!

I love the SCA, with big fluffy bunny hearts. Research photos for meeeeee! Hurrah!

Of course, now that I have them, I want to do the best possible job copying all the stitches. I may have to scale down my ambition. But still, a reversed twisted chain stitch I can definitely do!
liadethornegge: (Default)
Some more information, re forehead cloth: T.42-1938 at the V&A. I looked at the enlarged photo and it seems to me that the long, front, edge is on the bias, as I suspected, and the shorter edges are on the grain, or nearly so.

This doesn't affect the shape so much as it affects the drape, and how it fits on the head. Ah well, the next attempt will be better and more accurate.

btw: It's snowing here - whee!!!
liadethornegge: (research)
Check this out, headwear in particular:
and this:

Then compare and contrast with this:
and this:

and finally an open liripipe hood a la 15th C. Then extrapolate forward into French Hoods - am I alone in seeing this? Because I think that looks pretty interesting.


Nov. 11th, 2008 12:34 pm
liadethornegge: (research)
I feel I must pimp the worthy effort put forth to translate a 16th Century French "daily book" that can be found here on LJ. Mises et Receptes is again posting daily the translated entries, and it is a joy to read. Research-y goodness.
liadethornegge: (research)
The last shirt I finished, out of the sheer hemp linen cloth, was done even closer to period construction and assembly than my previous ones. I whipstiched the gathered neckline/sleeves into collar and cuffs on both inside and outside. However, upon doing this, it did not quite feel safe enough. So what I did on that shirt was go over the inside edge of collar and cuff with backstitches, through the gathering but not all the way through to the other side. Then I went over the outside of the collar and cuffs, right at the inner edge, with backstitches. I did all this to keep the tubes flat, and to further anchor both collar and cuffs to the shirt.

Now, having read Patterns of Fashion 4 and looked at more images of the Sture shirts and others, I realize that they, too, have a line of backstitching next to the edge of collar and cuffs to keep them neat, and safely anchored. I was doing the "right" and documented thing before I knew it was the right thing to do, because it felt like the shirt needed it.

I'm kind of awestruck.

And I only have the hem and eyelets left on this latest shirt of mine.
liadethornegge: (research)
IIIIH!!!! Patterns of Fashion 4 - in my hands! Right this minute!



A tweak

Aug. 26th, 2008 03:27 pm
liadethornegge: (garb)
I couldn't live with myself knowing I had been too lazy with my Florentine dress diary.

So I went back, edited it, added citations from Moda a Firenze and generally spruced it up with a few more pictures and links. Maybe I'll even get inspired enough to do some sewing next!
liadethornegge: (research)
On my wish list:
Not quite yet, though, but eventually I will own them all.

By the way, I'm getting my very own gothic bench. Nyah, nyah :)
liadethornegge: (research)
What's this nonsense about some sort of strike? Good grief - this isn't a commune. I shall post something just out of spite.

Am now about half way through -reading- Moda a Firenze. I know, I know, but before I only leafed through to look at all the fabulous portraits in there. Now, I am actually reading it, footnotes, references and all, and getting a much better appreciation of the continuity and the changes. It also inspired me to have a good rummage through the Web Gallery of Art. I like that place so very much, it is a gold-mine.
liadethornegge: (scribe)
Oh my word....

I am coming over all faint. My toes are curling and the most salacious groans and sighs are torn from my throat.

No, I am not doing anything x-rated, rather I have just opened the little padded envelope sent to me by [ profile] tedeisenstein free of charge(!) which contained 4 DVDs packed to the brim of photos of actual books and MSS pages. You should all worship him and send him presents. I will have to come up with something, because this is amazing and awesome.

Let me tell you, coming on the heels of the Hardwich Hall book, this is almost too much sheer joy to take. And hence, obscene sounds are the result. I think I'll have a bit of a rest, calm down, and dream lovely research-y dreams.

Today has been a good day.


Jan. 11th, 2008 12:40 am
liadethornegge: (research)
Embroideries at Hardwick Hall, The: A Catalogue ( by Santina M. Levey)

I think I just experienced some kind of embroidery-gasm. And it's available for loan in one of the University libraries in town. I am so there.
liadethornegge: (research)
Check out the eye candy. A portrait in the style of Lavinia Fontana being sold at Sotheby's of a woman in an elaborate white gown.
liadethornegge: (embroidery)
Being quite an impatient person in the wrong circumstances I dove straight into embroidering my apron with one basic diagram of how to work the long-armed cross stitch. I did not take the time to look up further information on how it was actually worked up.

Yes, they did use this stitch to create the kind of borders I am doing, but I was unsure how to deal with the singlet stitches and the diagonal stitches. Also, I decided arbitrarily that the vertical straight rows were done using standard cross stitches.

Tonight, I decided to find some actual documentation and background on the use of long-armed cross stitch and I find that I was partly right. Yes, standard cross stitches were used on the singlet stitches, such as the diagonals. However, the vertical that I have been doing in standard cross stitch I should probably have been doing long-armed as well.

This revelation complicates matters, it also means I would be using up way more thread. I've started them doing only standard cross stitches on the verticals, and the difference is not very great, I think. From a distance of more than one foot, you really can't tell. I've also been careful to do all rows from left to right, so the braiding effect will go in one direction throughout the embroidery. I think I'm right in doing that, and if I'm not, well, it's too bloody late to change it now.

This middle row of this three row pattern is really quite complicated and it's bugging me that I still haven't figured out the "best" path to take to fill in the entire pattern without wasting too much thread on the back. I've so far not had to carry the thread further than maybe 3/4 of an inch, but each time I have to jump more than two "squares" it annoys me. I'd like the back to be as neat as the front! Particularily since this is an apron and they're bound to flip over in any breeze. Compared to the period pieces in the links above my back does not look that bad, but you must remember, I am a reversible blackwork fiend.

I think I maybe bit off too much to handle with the three tier pattern. I'm not sure the silk I have will last the entire width of my apron. I could have skipped the middle row and just done the top and bottom repeats. Well, it's too late to second guess myself on that now. I've just got to keep on working at it and if I run out of thread I'll... well, I'll probably cry.


liadethornegge: (Default)
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