IRCC II - Tasty Nibble 13: Camica is begun!

Stitching the lace onto the neckline...

DONE, DONE, DONE!

Yippee!

IRCC 2 - Nearing the finish line with the loose gown

After cutting, trimming and hemming the 14 tabs for my shoulders I sorted them by width and separated them into two similar stacks of 7 tabs each. I decided to layer them so I made two off-set stacked strips, three-on-four, and pinned them together.

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!

IRCC 2 - Shoulder tabs are on the way

I've cut shoulder tabs from the leftover strip from the original button placket and pocket flaps of the coat, 14 in all, and am now working on the gold braid.

(Belated) Happy Independence Day!

We were in Minneapolis visiting my father for the holiday. The amazing heat wave drove us inside but it turns out his apartment is a great spot for viewing fireworks!

Update on the bug skirt - Tahdah!

My bug skirt got hustled off into near-oblivion in the great Ack!-Mom-and-Bob-are-coming-and-the-house-CANNOT-be-such-a-shambles! clean-up of 2012 but today I got the itch (to stitch, hee hee) and finished it up.

I've been playing with pleats again but this time I did a flat front with the pleats falling away from the center in both directions. I also played with the waist line a bit. I like the raised waist on the wild pink and black (and brown and gray) print skirt but I'd need to bone the seams for the waist to stay up in the back--which I don't much want to do. On the bug skirt I decided to leave the fabric above the waist line in the front still attached which has the effect of a raised waist but disappears at the back where the other skirt gets all folded up by my rolls.

I followed the same basic process as on the other skirt, basting even pleats down from the top of the fabric to the hipline and then customizing the waist to hip angles of each one individually. I've only stitched the outer edges of the pleats down as far as the waistline. The ones in the front and back fit smoothly over the hips already and I think the slightly puffy pleats on the side back may well lay flat on their own after the skirt has had a bit of time to soften.

What do you think?

IRCC 2 - Inching closer...

The first row of gold trim is all stitched down and together, the second row is down, and the sleeves are pinned in place. I guess I'll have to figure out the shoulder trim any moment now...

IRCC 2 - And here's the proof!

(That would be the collar of my coat as I work on the first row of gold braid.)

IRCC 2 - I'm getting close...

No, really!

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...

Also hmmmmm....

In the meantime, perhaps you would like to see a picture of my pile of scraps? Um, I mean my shoulder treatment in progress?

Woo hoo! I found a fabric store!

I've been in Indiana for nearly a year now and I'm feeling ready to explore. I happened upon a great blog, littleindiana.com which highlights things to do, see, buy and eat in small towns all over the state so I've been thinking about starting to use it as my exploring guidebook...and then came this post: Raders Fabrics in Danville, Indiana.

What a gold mine!

Two sleeves trimmed, on to the fur!

Wax Portrait! Pretty, pretty, pretty

I found the most interesting object while browsing the collection at the Philadelphia Museum of Art today



Portrait of a Woman in Venetian Dress, possibly Bianca Capello

Possibly made in Italy, Europe
Late 16th to early 17th century

http://www.philamuseum.org/collections/permanent/44066.html?mulR=30954|75

I love the wonderful luminosity of the wax.

The Gold is Down

And now I'm working on joining the sets of loops to make my trim pattern. Maybe there's hope I'll finish after all!

On to Sleeve Two

I've turned and hand stitched the edges of the second sleeve and the attachment of enormous quantities of gold braid has commenced.

I still have fantasies of finishing this silly loose gown this weekend...

IRCC II Tasty Nibble 12 - One Sleeve Down(ish)

The gold trim is finished on the first of my hanging sleeves.





I'm kind of tried of the house being coated with bits of faux fur so I think I'll add the gold braid to the other sleeve and both shoulder treatments before I line them all.

Fear Not! I am still working!

Real life has intruded quite a bit lately but I'm taking just a moment to show you my progress on my IRCC loose gown's hanging sleeve.



And, if anyone is interested in 1880's clothing I now have boards for my inspiration for Teslacon outfits on Pinterest.

http://pinterest.com/auroralucia/

So here's the thing...

I have a picture I want to share with you from a costuming perspective but I also find it to be a very disturbing image of institutionalized violence against women.

I've been flipping back and forth about it, but today I decided that our history as humans is what it is--good an bad. That said, I found another very interesting image in that great book I have been looking at lately "El traje y Los tipos socials en El Quijote" by Carmen Bernis.

Bearing in mind that my contemporary Spanish is nearly non-existent and my archaic Spanish even worse, I gather that it is part of a series of mural paintings dating from the early 1600's from a monastery (possibly in Guadalupe), and that this particular scene portrays an incident in 1593 involving the exorcism of a courtesan.

Her clothing is interesting from a historic costumer's perspective but the whole image is so fraught with emotion and layers of meaning that I find it hard to look at.

And that would be my kind of warning regarding Adult Content Ahead

Detail

Curation milagrosa de una endemoniada, comienzos del siglo XVII
Pinturas murals del claustro del monasterio de Guadalupe


Anything I could say about her bodice/corset would only be speculative, but I note that the bottom of my hemp corded bodice behaves in just the same manner as her's is doing, and that the decorative detailing in the bands at the top and center front would be quite supportive if they were actually trapunto.

And trapunto could handle those corners...hmmmm.

IRCC II Tasty Nibble #11 - The seam-y underside of the sleeve

I thought you might like to see the pieced together madness that is my sleeve.

You'll never guess what I've been doing today...

Between bursts of cleaning the house in preparation for Mom and Bob's visit next weekend, and laundry, and reading fanfic, and catching up on some blogs, and watching episodes of Clarence's new show-to-watch "Teen Wolf," and cooking, and scouting the Internet for bloggers working on fancy dresses for Teslacon I've been...

(drumroll........)

Sewing my IRCC project!

Yep, back at work at last. :)

Today I've just been turning and finishing the edges of one of the hanging sleeves for my loose robe but it looks like I'll be ready to start putting on the gold trim soon. Maybe tonight!

The bug skirt continues

So my Clarence gave me a new iPad 3 for an anniversary present (our second) because, as he says, I needed a better camera for my blog. :)

Oh how I love that man!

I did my typical thing of waiting until after dark before deciding to take a picture. And my second usual thing of taking said picture in the totally inadequate lighting of our living room, and yet...

Well see for yourselves.

And isn't the hem on my soon to be finished bug skirt cute?

Steam punk musing continue...

I follow a lovely blog by Wilhelmina (http://wilhelminamarquart.blogspot.com/2010/10/tea-time-with-1870s.html) which is a marvelous source of pretty pictures of dresses and ladies from...well pretty much any time period which takes her fancy. The author doesn't tend to note details on her postings (rats) but the eye candy is fantastic!

I've been on the look-out for some visual sources for ideas for day dresses and I happened on the posting of this charmer

I think it has my name all over it, and I already own the perfect striped linen too.

Thank you, Wilhelmina!

I Did Promise...

Today I was looking at The Purple Files and I ran into another example of a sheer dark colored partlet and headscarf combination.

I've been unable to find it's location (the image is from wikimedia) but the painting is credited as

Guilia Gonzaga in mourning
Cristofano dell Altissimo, 1535









In it's present state I'd hesitate to call the partlet and veil black--they are really more 'dark'--but the transparency of her zebbillini calls into question the changes to the original color that may have occurred due to the deterioration of the paint over time. I hope I get the opportunity to see it in person someday so I can make a better judgement. For now I can quite comfortably assert that it is not white! :)

So that makes two images with a Florentine connection of some sort. (I haven't looked into the connection so I'm not asserting anything, but...) Interesting.

IRCC II - Bodice drafting quandary

I have been looking at patterns and blogs, ect. to gather my ideas and gird my loins (as it were) for the big jump into patterning a more period gown using a minimum quantity of fabric and in the process I've developed a burning question:

Has anyone tried making their shoulder straps with the fabric cut so they head diagonally *in* toward the center of the body (which I see in period tailor's guides) rather than out (which is consistent with modern practice and thus could be an example of 'seeing what we expect to see.'

It occurs to me that a strap cut as a bias strip would be pretty comfortable...but would it be able to stand the stress at the intersection with the bodice? Would it lay funny on the body? Would that strip solve the problems I have of bodice straps which seem to fit while in the sewing process stubbornly falling completely off my shoulder during wearing?

If some period bodices were cut that way, was it only to conserve fabric or is there an underlying logic that we are failing to realize?

Or have I simply missed out on the great resource which discusses strap design in detail?

Your input is invited. Should I try it?

IRCC II - Tasty Nibble #10

A peek at the printed linen for my 'test dress' (which, by the way, I am finally almost comfortable enough to call a sottana.)

IRCC II - Heeelllllllooooooooo out there!

Have you noticed that we are just not as chatty this year?

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 ...

YOU ROCK!

Nice work. Now to get back to my own. :)

IRCC II - Tasty Nibble #9; fuzzy pictures of furry fabulousness!

Closed!

Open!

IRCC II - Tasty Nibble #8

More shopping...

IRCC II - Tasty Nibble #7

After one false start and a bit of experimentation I've gotten the fur lining finished on the left front of my loose gown.



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.

IRCC II - Veil Patterns, Working on a translation

It's amazingly hot here (for the beginning of May) and I melt faster just *thinking* about working on my loose gown. So I'm not!

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):

[287]
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...

[288]
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.

[291]
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.

IRCC II - Tasty Nibble #6

Another find from today's lovely book.

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.)

Steampunk Bustle, Revised

As it turns out, my fabric is not the bright white I thought it was, nor the grey my Mr. C. feared, but a lovely pale straw gold, grey and black. I love it!

But we need new pictures, of course

























And some more inspirational lmages too!











































Aha! This dress lives at the Los Angeles County Art Museum.

Young Woman's Dress, 1878

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=125173;type=101

Steampunk dinner dress!

Behold my new fabric, 13.5 yards of black, white and grey plaid silk dupioni.



I'm thinking 1870s... bustle... and fringe... and pleats... and lace...




Something kinda like this...



Woohoo!

Oooh! On-line instructions for drafting your own drawers.

While the exact shape and technique would need to be modified to make a more 16th century pair of drawers, the ideas and discussion around fit, sizing and body shape are well thought out, easy to understand and very helpful!

http://www.thesewingacademy.com/wp-content/uploads/2011/04/2010Drawers.pdf

Please note:
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.

Blackwork, oh my!

Surely one of us needs this?

I think the universe it trying to tell me something

Like that it's time to be getting started on my camicia!

Have you been reading Baroque Embellishments lately?

I'd call that a sign...

We're going to Teslacon!

I'm so excited I'm practically bursting!

So many new outfits to plan. So many gadgets to consider.

Hmmm....what *is* the appropriate attire for an exploratory day on the moon?

It's giving me something to think about while I work on my IRCC II outfit!

IRCC II - The Question of the Moment

O.K.

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?

IRCC II Tasty Nibble #5 - My Lace

It never fails to amaze me what I can find on e-bay!

iRCC II - Tasty Nibble #4

And on to row four

What the world needs now...is more of THIS DRESS!

Portrait of a lady
Alternate Title: Vittoria Colonna
Near Bronzino, Agnolo, 1503-1572, Italy
2nd half of 16th century
Found online at HOLLIS number: olvwork557680

It's a little early for me, but every detail I look at only makes me like it more!

IRCC II - Tasty Nibble #3

The third row of braid going on

IRCC II -Tasty nibble #2

The second row of trim goes on.

IRCC II -Tasty Nibble 1

The first row of gold trim going onto the front opening of my loose gown


.

IRCC II - Aaaack!

Went to bed last night "OK, the clock is ticking down. 10 hours to go!"

Woke up this morning "But it's IRCC II Start Day! You can't lay about in bed on IRCC II Start Day!"

Was firmly rebuffed by my Clarence who want's another 15 minutes...

Rushed out to the living room, materials in hand, ready to start on layer #3.

Flipped open my computer to see what people are up to.

And found the counter...still...ticking...away...

2 1/2hours! What do you mean there are still 2 1/2 hours to go until IRCC II Start Day!


(Sigh)


It's worse than waiting for Santa!

Oh my. I want these.

I guess I've always been a great believer in the idea that the underclothing makes the girl.

While poking about on the Internet for information about making cloth stockings I came upon what may be the most wonderful pair of stockings ever worn.

How I want a pair like these!

(From the website of The German Hosiery Museum. There's a German hosiery museum...who knew?)

Hmm what do you suppose is the relationship between "strumpet" and "strompf" (with double dots over the o) which appears to be German for stockings or hose? Interesting....

IRCC II - So confused ....

So, when does this thing start anyway?

12:00 a.m. on April 15th, I get that part. But I remember that last year I carefully waited for my clock to say it was time to start, only to find out that other people had been madly working for ages since the contest was running on Australian time!

Does anyone know if we are working with Aussie time or our own local times?

(I kinda want to get started... )

:)

IRCC II - My Silk Came Today

OMG.

Enough said.

IRCC II - The Prep Work Continues

Well, today I ordered linen for my camicia and the lining of my bodice and hem. It was quite nerve wracking to try and color-match the blue silk of my gown fabric when I haven't yet received it but I haven't the patience to wait...and one can always find a use for blue linen.

I've made a bit of progress on my ideas about my under layer too. It's all still in the speculative phase, of course, but I've been contemplating making a second attempt at the more fitted & gored style of camicia. Among other things I have been wondering if it would be possible to use the bust supportive techniques of the Gothic fitted dress in a low-necked camicia. Certainly my bust can use all the support it can get and it does seem like it might make a great combination with a supportive bodice and a partlet...

I hope to actually do some bust support experimenting this time around.

And I may have the beginnings of a workable idea for the embroidery!

IRCC II - So Excited!

I just took a look at the challenge entrants page and we are up to 24 participants! WooHoo! That should make for some really interesting exchanges, and many pretty pictures!

In terms of my own plans, I've been busily reading about padded bodices, and hems, and pondering the need for chopines--and the extra height they bring-- to balance out the deep point of 1590's gowns. (although I really suspect it was the other way round. Longer skirts lead to an increase in the depth of the waist to trick the eye into normalizing the proportions of the figure.)

I think my available fabric will prevent my going for chopines and a train on this gown so I expect to be concentrating on the details of fitting the gown and making fabulous accessories.

Possibly fabulously naughty accessories!

I've yet to explore the Courtesan aspect of my persona in any depth. A shame, really, as there are endless opportunities to spice up my garb in a way that would resonate with Venice in the late 1500's. So, I'm thinking about:

Embroidered drawers - I'll probably leave the entire crotch seam open. For(ahem) convenience. And embroider some truly raunchy period poetry along the opening. I'm thinking one of Arentino's banned works.

Erotic jewelry - years ago I bought a phallus-shaped natural pearl on e-bay with the intention of making it into Courtesan jewelry. I hope to make a classic 'winged phallus' pendant to wear...probably on a gold chain....hmm...maybe even one with a collar and leash?

Figs - as a symbol of the female, figs would be highly appropriate for use as a topic of embroidery on my camicia. And they would be rather easier to wear on my more modest days than the, also tempting to continue, winged phallus theme!

I'm still working on ideas for how to really play up the Courtesan aspect in this outfit. It's especially interesting for me because I find most period 'erotica' to be both misogynistic and sex-negative, at least the written stuff, and yet it can also be so delightfully forthright! I expect I could have a lot of fun putting forward my modern sex-positive, feminist spin with period-sourced words and images.

IRCC 2 Planning. OK, I Admit It. I'm Weak.

Well, many of my 2nd IRCC gown choices have just been decided (by implication, at least) by my purchase of some fabric. Not quite as much as I'd like--there were only 4.75 yards available and I prefer to have 10 yards on hand when I start on a gown--but such stunning fabric that I just couldn't resist any longer!

I am going to make the best outfit I can based on this cloth:





In a way having such a scarcity of cloth feels authentic to me. I'm going to have to wait until it gets here to figure out how to make the best use of the fabric--I certainly don't have any to waste! And this may just be the outfit which makes me let go of my modern insistence on matching the pattern...I guess we'll see!

I have to admit that even the simplest of dresses would be amazing in this fabric.

(And it's mine! All MINE! Bwwahahahahaha!)