Sunday, July 15, 2012
I'm not getting much lift (I need to try fitting a bodice when it doesn't have lace I care about attached) but even though it's cut extremely low I feel really secure that this neckline isn't going anywhere. It's definitely the best fit I've achieved so far. happiness!
Saturday, July 14, 2012
Thursday, July 12, 2012
Sunday, July 8, 2012
After setting them into the armeye and then setting in the sleeve I have this:
Rather nice, I think. :)
I may decide to attach some of the tabs together near the tips to control the shape they make but I want to give them a bit of time to find their own way. Now on to sewing in the other side!
Saturday, July 7, 2012
Thursday, June 28, 2012
Tuesday, June 26, 2012
I attached the collar to the loose gown and I'm about 1/2 done stitching the fur together at the neck. I've also got the first 2 rows of gold braid pinned in place on the collar--all ready to sew--and the sleeves pined into the armseyes. That part is giving me a bit of trouble. I'm taking out one of the sleeves and repinning it until it hangs the same as the other one. I have a feeling it will take several tries but I know it will be worth the effort when they both *behave properly* when I wear the gown. Once I have the angles of the sleeves correct I'll be sewing in the underpart of the sleeves and then...(cue scary music)...making (up) the shoulder treatments.
I have a tiny little pile of fabric left from which to make something decorative for the shoulders. Well, that little pile and a lot of gold braid. Hmmm....
I'm also considering taking the second band of gold braid and doing something decorative with it as it rounds the collar and reaches the center back...
In the meantime, perhaps you would like to see a picture of my pile of scraps? Um, I mean my shoulder treatment in progress?
Sunday, May 20, 2012
I wonder if it is the heat. Or we have been struck with a collective case of competitiveness that is keeping us from interacting. Or if we are all just too busy, or antisocial, or something...
Perhaps it's just my imagination.
Anyway, although I still have yet to finish a single item on my list--and thus have moments where I seethe with jealousy toward you more prolific types--I'd just like to say that I am following along with interest as we all work on our projects and ...
Nice work. Now to get back to my own. :)
Tuesday, May 15, 2012
Tuesday, May 8, 2012
Saturday, May 5, 2012
I'm using the selvedge along the front opening, whip stitching it on, and then running several rows of stitching to catch the lining to the face fabric so the (very slippery) fur will stay in place. I also stitched the lining to the fabric along the gold trim on the hem. And then I turned the fur and stitched it to the lower edge too.
Friday, May 4, 2012
Instead I've been working on a translation of the text which accompanies the veil images I posted on my "IRCC II - Stitch by Stitch" page. According to google translate the closest I could come to the texts on my ipad translate like this (and I've added my guesses too):
Patrones para "mantellina o rebociño de damasco" calcados del libro de Fracisco de la Rocha de Burgen, Geometria y traca perteneciente al oficio de sastre, Valencia, 1618.
El sastre advierte: "la parte yzquierda ha de yr flores arrba por ocasion que se suele echar por debaxo el braco derecho la una delantera y asi es bien que vaya la parte izquierda flores arriba"..
Patterns for "damask rebociño mantellina or" traced the book Fracisco de la Rocha of Burgen, Geometry and fireworks belonging to a tailor, Valencia, 1618..
The tailor warns, "the flowers r yzquierda must arrba per occasion that is often cast by braco vnder the front and right one is so good to be the top left flowers."
I'm thinking that this has something to do with how the curve of the outer edge would fall in rippling folds on either side if the top center was placed on the head...
Patrones para un "manto de seda para muger". Pagina del libro de Francisco de la Rocha Burguen, Geometria y traca perteneciente al oficio de sastre, Valencia, 1618.
Patterns for a "woman silk robe." Page of the book of Francisco de la Rocha Burguen, Geometry and fireworks belonging to a tailor, Valencia, 1618.
[289 & 290]
Interpretacion de los patrones del manto de seda para mujer de la FIG. 288, siguiendo las instructiones que de el sastre, que tienen algunos puntos oscuros. La pieza de tela extendida, que mide unos once metros de largo, se dobla primero en uno de sus extremos a lo ancho para sacar el patron de la FIG. 289, que resulta duplicado. Despues, doblando varias veces la tela restante a lo largo, se van cortando las piezas que componen el patron de la FIG. 290, igualmente duplicado. Estos patrones resultan, pues, de tela doble, lo cual se explica dado lo extraordinariamente finas y delgadas que eran las sedas empleadas en estos mantos.
Interpretation of the patterns of women's silk mantle of FIG. 288, following the INSTRUCTIONS that of the tailor, who have some dark spots. The piece of cloth extended, which is about eleven meters long, is bent first in one of its ends in width to make the pattern of FIG. 289, which is doubled. Then, bending the fabric several times remaining lengthwise cutting are component parts of the pattern of FIG. 290, also doubled. These patterns are, therefore, double fabric, which can be explained given the extremely fine and thin silks were used in these garments.
Las imagenes de algunos mantos femeninos muy particulares de los que se puede dar por seguro se correspondian con los incluidos por el sastre Rocha Burgen en su libro, nos permiten imaginar como si se disponian los patrones de las FIGS. 289 y 290. El resultado era como si se Ilevasen superpuestos dos mantos de distinta forma, que no sabemos como quedaban unidos; los extremos del que iba encima se unian delante, donde se recogian con una mano (ver FIGS. 292 y 293).
The images of some very particular female garments that can say for certain is corresponded with those chosen by the tailor Rocha Burgen in his book, allow us to imagine as if were preparing patterns of FIGS. 289 and 290. The result was as if two overlapping sheets Ilevasen differently, we do not know and were joined, the ends of which was joined up front, where they gathered with one hand (see FIGS. 292 and 293).
I think it's saying that the big oval veil and the veil shaped like a slice of bread were worn sewn together, the smaller layered on top of the larger whose outer tips were held in one hand. Looking at illustration 292 I can see it as a plausible explanation of that particular veil, but I haven't noticed layered veils in Venice...I'll have to go look!
I'd say there's still a way to go on the translation, but it's a start!
I'm currently leaning towards basing a veil on fig. 287 but I guess we'll just have to wait and see what fabric I come up with since the quantity of veil fabric will have a lot to say about what shape I can make.
Wednesday, May 2, 2012
Do you see what I see? In the lower left section, near the bottom of the lady's skirts...period bustling!
It makes a lot of sense to me that the image comes from a dance manual. What a lovely and sensible way to manage a train.
I hope to have enough fabric for a train on this years gown and if I do I will definitely put in some eyelets for a bustling tie!
(Clicking on the photo will show you the full illustration.)
Sunday, April 29, 2012
If the link above isn't working (it's on and off again for me) just go to the "The Compendium" tab at the top of the sewingacademy's home page, scoll down the page to the Free Patterns for women section, and there the drawers pattern will be.
Saturday, April 21, 2012
As you can see, I've started working on the trim. I'm tilting the inner loops in groups of four and I think the new interaction and rhythmic spacing does just what I wanted in terms of unifying the two small band of trim into a single unit. And it also looks much less modern to my eyes
Both good things!
The question of the moment is, 'Should I go further?'
I could do so many things...tilting the outside loops also, stitching an additional pattern where the four loops meet, pearling or jeweling the trim at the intersections, or in the spaces I've created...
I've yet to commence the work on the frogs and buttons with which to close this puppy so I don't want to go crazy but as we know I'm a 'More is more!' kind of girl...
What do you think?