This doublet that’s been giving me such problems isn’t what it seems to be. I’ve had images in my head, but I’ve been using a pattern (well, an idea of a pattern from PoF3, the 1580s doublet) that’s based in the wrong time period. Doh! The neckline and sleeves I’ve been fantasizing about are all
After all those muslins, it was time to cut some real fabric. I had a nice mid-weight black wool for the outside (it’ll be interlined with something sturdy and lined with something soft later; I may add boning at the center front to keep the closure tidy and straight too). I sewed up the sides
This is a pretty vague concept so far … I have this unusual black and grey fabric, 100% polyester (because I don’t care!), woven thistle / pomegranate pattern that’s rather 16th-century by way of Art Deco, with a nice supple hand. So far, I’m thinking it’ll be good as a kirtle, perhaps with sleeves. There’s
Pattern-drafting is not my strong suit, but I don’t live near enough to, well, anyone it seems for me to easily beg/barter that service on a regular basis. Thus, I had to start on my own for to make this 16th-century doublet. *sigh.* I was inspired by what I could suss out of the seam
I’ve loved this dress since I first saw the portrait in a book, sometime in the early 1990s. It’s the classic refutation of “pink is not period” for renaissance faire or SCA. It’s super-girly. It’s fantastic! It’s very Pretty Pretty Princess! This has been my dream gown, and dammit, I’m going to make it. So
And then, on the last weekend before the con, I finally made it. Just the wire rebato, not a new outfit (perhaps another day). I decided I could wear it with some 16th-century things in my wardrobe, in particular, the rebato could hold up the 1590s ruff quite well. First, I sketched a design of
This idea is brought to you courtesy of strange dreams about CC27. Kevin and Radar were each trying to get me into their own masquerade entries, both very complicated and strange. Kevin’s had s’thing to do with machinery he was testing for work and demonstrating it on stage with lights and costumes. Radar’s featured interpretive
Closeup of the finished ruff, worn at SCA 12th Night 2009 — complete photos from the event (and full outfit images) on Flickr.
Beading — Hard to tell but the red dots are faux garnet beads between each curl. About a quarter done. Man, iPhone camera blows for macro pix! Looks better in person, promise. But I’m sick of sewing tonight. Gonna finish off this bottle of wine and call it a night 🙂 *sigh* Wish I had
Ruff has been painstakingly heated ‘n pleated. Used a vintage curling iron heated in a dry saucepan (which I might have ruined in the process; should check that) — could get about 8 pleats set until the iron cooled off. Then I could pin down 8 more while the iron heated up again. And I
Ingredients: 4 yards cotton or linen, tightly cartridge-pleated 4 yards lace trim*** (optional, but recommended) cotton or linen neckband to fit sturdy thread 2 cups liquid starch 2 cups water metal safety pins Assemble first four ingredients into ruff. Mix liquids in bowl, and soak ruff in liquid thoroughly. Wring out liquid and let drip-dry
Yes, I’m actually baking my ruff. See page 126 of Patterns of Fashion 4. Hope this works!
Finished hand-sewing gold lace on edge of hemmed fabric strip for 1580s/1590s head-on-a-plate ruff. Now, I guess I start cartridge-pleating the ruff and/or make the neckband — that is to say, assemble the ruff? Later that day… Fingertips iz sore. Finished cartridge-pleating a smidge less than 4 yards into a 16″ neckband. Didn’t attach it
Started working on my ruff for 12th Night. A quarter of the way through applying the lace by hand (ew, but necessary).
Next on the docket, that head-on-a-plate ruff for my 1580s gown. Because I hath seen Patterns of Fashion 4 and it doth rock. Yea verily forsooth!