Teaser: Saffron, a shawl for leaving the Maiden House

The pattern I've been working on for over a year, a screen-accurate copy of the red shawl worn by Saffron in Our Mrs Reynolds, is nearly ready! Watch this blog for updates regarding the release.

Thanks go out to my volunteer tech editor and the brave test knitters in the BigDamnKnitters group at Ravelry.

This pattern will be a free PDF download, available through Ravelry and my document shelf at Scribd. I will make announcements here, at livejournal, and on Ravelry.

Frankenblogging Part 7: Medieval veils and other headwear

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. This one is late! My apologies.


Today's installment is made of a couple of pages from the old site. The first section is the short opinion/advice piece that grew into a larger research project, on 12th Century French women's court headwear, and the second is a set of pieces I wrote about buckram and other materials in making historic hats, closing with a tiny little thing I said once about straw hats.


A short observation on early veils

The early veil (think Norman Conquest - there are two ladies on the Bayeux tapestry wearing something that looks like this) seems to have been a smaller version of the roman matron's veil.

It's a large rectangle, worn by laying the centre of the long side over the head, crossing the ends over the front of the throat, and tossing them over the shoulders. No bands seem to have been worn with this style of veil, but keeping it in place would have definitely been helped by pinning it to braids wrapped around the head. It's very warm, as well, so if you live in a hot place, make it of thin cotton or linen, with a slightly open weave, to let air pass through. For winter, make it of wool or heavy soft silk.

A good place to get inexpensive, high-quality, premade veils (my early veil is exactly this item) is at Dharma Trading Co. They carry them in silk and cotton (though they call them sarongs).


Buckram and Elizabethan Hats
This is OLD, I wasn't as much of an expert as I thought I was, and this wasn't EVER my main focus of research. I can MAKE hats, and I was trained in modern millinery techniques (i.e. 1800s and more recent). Please have a look at the websites of those who do specialize in this period, like Sarah Goodman and Drea Leed.

I trained with a professional milliner (who is now retired) making reproduction hats, using traditional techniques and materials. I've done theatrical costume and I've also been researching and making documented period costume for over 10 years. Much of what is given below is based on my experience with the various materials.  

That last sentence is pretty accurate. It's practical advice on using modern materials, NOT AT ALL a piece on making authentic reproductions. Keep that in mind!

Period Usage of Buckram  No, not really about buckram at all. I didn't find any. See my cautionary note, above, PLEASE! This is another case of "Ive got a BOOK! Look! Expert! ME!" syndrome. 

Sigh.

I have checked my copy of _Queen Elizabeth's Wardrobe Unlock'd_ (Arnold), and it seems that buckram was used in giving body and shape to clothes (as Pellon interfacings are used now), but not to hats, during Elizabeth's time. Stiff felt was used for shaping hats, which would then be covered with the fashion fabrics. I suggest Arnold's _Patterns of Fashion_ for more information (with photos of construction details on an existing example) on at least one hat (my copy is now gone and I have been unable to replace
it). Also, try the Elizabethan Costuming Page, as it focuses more on this period than I do, and may
have more information on where to look. The main downside to felt is that millenery felts are fairly expensive.

Modern Buckram

Modern buckram is made in a similar way to period buckram. 10-years-ago me seems to know SO MUCH about things I haven't really researched personally. Please ask someone who really knows what they are talking about! "Buckram" basically is now defined as a coarse-woven cloth stiffened with starch, and the meaning of the word has not changed very much over the intervening time, save that in the 16th c it also referred to the unstiffened cloth. If you want to use it for hats, you should look for and purchase millinery buckram as it is superior for hatmaking. It should, in any case, be reinforced with a millenery wire frame securely whipped down onto the buckram, in order to produce a reasonably sturdy hat. Buckram's main advantage is that hats made with a wire-and-buckram base are less expensive to make, and are lighter, cooler and tend to breathe better than felt hats.

Other materials (In hatmaking)



This is actually pretty good advice for people wanting to learn how to build hats on the cheap. I've used posterboard, plastic jugs, coathangers, cardboard pizza boxes (unused), cereal boxes, etc. Alternative materials are a great way to learn.


Now, if you are wanting to *practice* making hats (or if cost is an issue), lightweight posterboard is a reasonably cheap and practical alternative for working out shapes and fit before working with an unfamilar (or expensive) material or technique. Also, medium- or heavy-weight posterboard is quite sturdy for costume hats, and is often used for making headwear and props for theatrical productions on a smaller budget. A posterboard base can be covered with fabric and finished just as a buckram-and-wire base can, and I have a few 'practice' or 'stage' hats in my costume closet that are indistinguishable from the 'real' hats to the uninformed. I have found that using an equivalent weight of posterboard for a base structure is almost equally durable as an inexpensive sized felt.

All three materials (sized felt, buckram, and posterboard) are sensitive to moisture and will lose shape if they get wet, are crushed or damaged in any way. I suggest that you start out with posterboard to begin with, and, once you are familiar with the shapes, fitting, etc, you can then move on to a felt base hat. The successful 'practice' hats, if nicely finished, will do nearly as well as felt-based ones would for camping events, loaners, dress-up hats for demos, or other situations where one's best costume isn't really recommended anyway.

On Straw Hats
Wow, actual good advice without too much Authoritative Tone. Straw hats are nice, anyway. 


The basic woven grass/straw 'farmer hat' has been around for at least 2000 years. They are shown in many medieval illuminations of field workers. I have also seen Roman artwork depicting travellers and laborers wearing woven grass or straw hats of a very familiar shape.

I suggest, if you are unsure of whether they were used in your period, that you check contemporary artwork for images of travellers, laborers and other persons who might need protection from the sun.

Resurrecting the Bliaut Project and other signs of activity

So, today I am putting out a call for questions regarding bliauts, handout requests (a few are available online, but I have to mail or fileshare the rest), etc.

If anyone needs or wants copies of my handouts (these are the same ones from KWCS a few years back), pleasego download from Lulu.com (free, may ask you to register) or convince me to post them at Scribd (I have an account and have not yet posted anything). If you have the handouts and want to pick my brains for stuff not in them, please ask!

Direct links to the lulu.com pages:
Introduction to 12th century Western European Clothing for Women and Men
Serpentine Braids or Straight as a Scabbard: Women's Court Hairdressing in 12th Century Europe

I have a couple more that are not yet online, and one that is a handout version of the Adventures In Dagging project, done for a workshop. I will hunt those up and mail out copies on request.

I am also considering reworking my old "bliaut handout" into a more updated version, with the cheats (shortcuts in girdle making, mostly) as a separate section. Any interest?

I am duplicating this post over at my livejournal, so if you subscribe to it as well as read here, ask in one place or I might get confused ;)

Frankenblogging Part 6: Medieval Wire Jewellry

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. Annotations are in this typeface.

I wrote this a long while ago. Please excuse the 10-year-old, grainy, low quality digital photography. 


On Wire Jewellry in the Medieval Period

Good books on the subject:

Welch, Martin Discovering Anglo-Saxon England isbn 0-271-00894-6

has some information on grave-finds, including color pictures of a double pin connected by a chain and spiraled-wire beads. 

Ogden, Jack Ancient Jewellry (from the _Interpreting the Past_ series) by ISBN0-520-08030-0

Slim book, lots of information and illustrations. Ancient wire-making techniques, chains, etc. 

Egan, Geoff and Pritchard, Frances Dress Accessories c1150 - c1450 Medieval Finds from Excavations in London: 3 isbn 0 11 290444 0

In-depth catalogue and study of artefacts from the Museum of London excavations of the London waterfront. Lots of clear photographs, some colour plates, many detail drawings of jewelry, belts, pins and other accesories. Extremely useful to the medieval costumer for all the finishing touches. 


I've copied several pieces from this book, in particular two copper wire annular brooches, shown on p 254,
fig 164, artefacts 1340 and 1341. Descriptions of these artefacts and two further similar pieces (one in gold, from York) are given on p 256. The chapter of Hair Accessories is of especial interest. I've made several
of the decorative u-pins (p295, fig 196), and recreated possible original states of both of the nearly-complete circlets/headdress frames, which are made of silk-covered wire.

There are also spiraled wire beads and of course chains from Anglo-Saxon england, rome, etc, as well as a sort of naalbinding technique used to make chains from viking times to the present (although modern examples
are mostly from the Middle East and North Africa).

This is another clear case of "I've got a BOOK! I'm an EXPERT NOW!!!" I'm sorry. But, that said, these things are both documentable and easy to make with cheap and widely available materials, which makes them kind of fun to have references for. Hence my geeky excitement.

Jewelry and personal items made after items in Dress Accessories

A grouping of homemade reproductions of medieval period items.

Author's note: I took these with a terrible, terrible old digital camera sometime in 1998 or 1999, and the picture quality is just AWFUL. My most heartfelt apologies for that fact. I plan a new post on some of these items with new photos, as I still have most of them.

A grouping of homemade reproductions of medieval period items, this time with a wooden jewelry casket bound in incised leather.

Author's note: This "wooden jewelry casket" is actually a fairly nicely redressed 1950's or 1960's small mass-produced jewelry box. It's lined on the inside with tooled brass sheet and printed cloth. I think it's still neat enough to get its own future post. 

A full-size (1") and a double-size (2") reconstruction of a small double-spiral ornamented ring brooch in Dress Accessories (p 254, fig 164, artefacts 1340 and 1341). There are actually numerous examples of this type of brooch, in base and precious metals.

My versions are all in copper.

A conjectural brooch made with a flattened coil wired to two concentric rings and decorated with flat spirals at the compass points. It is all copper.

A reconstruction of a simple but effective little (1") flattened
coil brooch described and illustrated in Dress Accessories. It has no foundation ring. Mine is copper with an iron pin.

A first attempt to create a period grooming set (earspoon, tweezers and toothpick) after examples shown in Dress  Accessories.

This attempt at reproducing one is made from hammered copper sheet, cut and shaped, with fine brass wire wrapped around to provide grips. it is perforated and strung on a small chain, which depends from a brooch.

Hair or veil pins made after examples shown in Dress Accessories (p295, fig 196). They show the characteristic doubled-spiral decoration. The originals were made in copper, brass, silver and gold (if I recall correctly).

These I made in two sizes, all in copper. I have since made more,
in brass.

A draft of a conjectural recreation of the fragmentary iron wire headgear with silk-wrapped spiral brass wire decoration shown in Dress Accessories. These pictures are larger than the others to attempt to show the detail of the piece.

Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me to get my hands on. The spiral decoration is made of brass wire, wrapped with cotton embroidery floss, which was then formed into the double spiral motif. The base wire was wrapped with the same floss, and this was used to secure the ends of the wire into smoothly covered loops. Finally, the decoration was attached by wrapping on a further layer of floss. The ends were sewn down to secure them. It is held shut with a matching floss tie.

I have not attempted to attach a veil to this piece because I'm saving the good translucent silk for the final product.


It is not known if the original is in fact a circlet or if it is
some other kind of head ornament, such as a veil frame. The original was found to have fragments of a  transparent silk veil attached to the spiral decoration, and one end of was formed into a hook or opened loop. The other end was broken off.

This is a reconstruction of the silk-wrapped iron wire circlet with silk-wrapped square knot decoration in two colors shown in Dress Accessories. Mine is made of heavy copper wire for the base, instead of iron, because it is easier for me find.

The base wire was wrapped with yellow-dyed unspun silk, and this was used to secure the ends of the wire into smoothly covered loops.

The ornamental wires are copper, wrapped with blue and red dyed unspun silk. These were carefully knotted around the base wire so as to form decorative square knots at regular intervals (about 1 inch apart). Once these were attached, red silk was used to smoothly
cover the ends of the decorative wires near the loops. Finally, the circlet is held closed by a silky cord tied through the ends.

The two circlets, together, and another image of the two together, on edge to show details.

Frankenblogging Part 5: 13th century Spanish male court dress

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 

More old content, but this time, it is my notes and illustrations on trying to make heads or tails of some men's clothing in a Spanish museum catalog. The drawings are my drawings made to accompany my notes. I think this was originally written to share my notes with someone working on a reproduction and no access to this one, and at the time, best source.

A suit of Spanish Royal Clothes

These are my observations on a suit of clothes belonging to Fernando de la Cerda and dating to the 13th century.


Note: They are held in the textile collections of the Burgos Museum. The first link has a photo of the Saya sketched below.

Pellote (man's overgown): 

A detail of the fabric and a photo of the item in question before conservation (very sad! only shreds, really) are shown in the catalog, and it does not look as though the fabric is much stiffer than your average brocaded silk, though it may have been lined with something stiffer, perhaps linen, to give it body. There is extensive information with the photos, but I do not read Spanish very well and I can't tell yet if there was any lining, or evidence of a lining, found during the conservation process. I would make a test version out of a stiffish taffeta rather than cotton.

Was there some kind of stiffening to help the pellote hang correctly? The pellotes shown in surviving illuminations hang as if they have support, so I'm supposing there must have been something. This example may have had a two-layer linen facing at the hip, and a linen lining in the body to prevent stretching, but not being able to decipher the description of the pellote, I have no idea if they mention anything. The main thing
I know about grave finds is that any linen (or other vegetable fiber) that might have been there as underclothes or supporting linings tends to vanish. Silks and wools survive, but linen dissolves everywhere except Egypt, glaciers and bogs. 

Saya (man's undertunic):

The sleeve cut is unusual (to me, don't you love my generalizations?). It isn't shaped in any way other than being slightly tapered from shoulder to wrist. The seam is along the back of the arm, presumably so that the seam could be either decorative (as shown in the illuminations) or so that the heraldic brocade of the fabric on this particular item was not obviously broken at the seam when worn. It appears that the sleeve was sewn up first, then slit under the arm and sewn over the shoulder portion of the tunic body.

The rest of the tunic is constructed according to the usual method, except for a gap left on the left side that is laced shut, presumably for a good fit.

Manto (cloak or mantle):

A cloak (manto) made of the same elaborate heraldic brocaded silk, also belonging to Fernando de la Cerda. A discussion of the placement of the ties is (need to link to previous day's post).

Frankenblogging part 4: Medieval Half-Circle Cloaks

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 

More Old Content! Please feel free to post comments, questions, and crticism :)

On the wearing of half-circle mantles

At least one surviving (non-ecclesiastical) example has two ties, one on either side, which are rather farther down than you would expect. This fits with my experience of wearing one, and actually helps to 'fit' the
garment to the body so that it stays.

My heavy, fulled wool, winter mantle is a pure half-circle, calf-length, and is worn opening at the front, clasped with a heavy double pin (bridged  by a chain of approximately 6 inches). It does not tend to slide down the back, but that is because the double brooch is pinned at shoulder level, /after/ arranging the cloak so that the extra cloth wrinkles up at the back of my neck (nice and cozy in cold weather). This is usually
about 16-18 inches down from the crease when the cloak is folded in half.

My summer mantle, being a little shorter and of finer wool, can be pinned to my gown with lighter brooches and doesn't wrinkle up much at the back of my neck because the lighter fabric drapes more easily across my shoulders. It is light enough that it can be comfortably pulled over my head (in the veil/mantle manner) if I need to do so. 

Note: This observation really has not changed at all in the intervening 10 years since I first made it. 

On decorating mantles

Virtually all of the surviving cloaks from period (And yes, I mean the whole 1000+ year stretch) that we have are decorated in some way. Some, like the 'Schnurmantel' and the coronation mantle of Roger II of Sicily are elaborately embroidered with designs that stand out from the base fabric, some are only 'trimmed' with embroidery (the Mammen cloak). The cloak from the Burgos collection is decorated in that it is made of an elaborately patterned textile of Moorish origin.

Due to artistic evidence of undecorated cloaks, I'd venture that lower classes wore them, and that these would be unlikely to have survived as they would be ideal candidates for recycling into other things (and also
because the richer garments were given into the care of the Church after a period of secular use, which helped to preserve them).

Half-circle cloaks were pretty much the norm from about 1100 on, although scattered survivals of the earlier rectangular cloak (mostly among poorer or isolated peoples) continued on for some time. The more extravagant 3/4 and full-circle cloaks seem to have evolved as weaving technology became more efficient, just like the rest of the world's fashion did. If you want easy, rectangular cloaks are very easy and practical, in that
they convert quite easily to blankets.

Frankenblogging Part 2: On facings in Medieval costume

Author's note: The Frankenblogging feature is a republication of older content from my former personal webpage, with some annotations. It occurs every Monday morning. 


 I wrote this a decade or so ago, originally for a post to a discussion list, later re-written for my old website. This is installment 2 of the bits and bobs coming over here from over there. 

On facings

First, for clarity and beacuse the two are often confused:

• Interfacing: A supplemetary layer of fabric, normally placed between the fashion fabric and the lining, or between the fashion fabric and the facing. It is intended to help stiffen or strengthen the fashion garment. In fully lined garments (such as jackets), all stress points may be interfaced, sometimes severaly layers deep, to help the garment keep its designed shape. 
• Facing: A shaped piece of fabric intended to finish a garment edge, often cut as an abbreviated version of the garment piece it matches. This is seamed along the garment edge, turned and either finished and left loose inside, or sometimes sewn down either inside or outside, depending on the design of the garment. 

In modern clothing the facing is often only attached at the garment edge (collar, cuff, placket, hem, etc) and is left to hang loose inside the garment. These loose facings are often interfaced to keep them from crumpling, flopping, or slipping out of the garment edge. Which they always do anyway. Personally, I hate these and I sew them down invisibly inside my garments.

In some eras of period costume, facings are used as a decorative motif, and are often embroidered. They serve a dual purpose, in that they are both a finishing technique (practical) and a form of ornament (decorative).  Where facings are used as a decoration, additional fabric bands may also be applied to continue the ornamental theme across the garment. I do 12thc, and therfore I make use of this decorative technique, and I find that I almost never have to interface my applied facings, *unless* it is a fine or unstable fabric.

On fastening keyhole necklines

I have often been asked how one should fasten a keyhole neckline. The simple, documentably period answer? A brooch.

Author's note: Small brooches are also really useful on regular clothing as well as medieval period clothing. They are also a really nice fashion detail. Every time I've worn a period-costume jewellry item with my everyday clothes, I've been complimented on it.


Medium-sized annular (unbroken ring) brooches with a hook catch on the back to anchor the pin seem to work well, as well as simpler ring- or disc-brooches. It takes a bit of practice to use a pen-annular (broken
ring) brooch to close the corners of a keyhole neckline, but it can be done.

You only need to close up a keyhole neckline if it's cold enough to, or if decency calls for it. If the corners of the neckline like to fly open and you don't want adventurous people looking down the inside of your tunic, pin them together. If you don't want to have to pin them, apply a trim or decorative facing that is fairly stiff.

This type of neck-finish was fashionable in various areas for hundreds of years. Generally speaking, the period way will turn out to be the most practical way, IME. If you are curious about exactly what is right for your persona, look at illuminations and period art for help. 

Frankenblogging Part 1: Some thoughts on the gown in The Accolade

Author's note: Welcome to Frankenblogging! This is a feature in which I comment on my own older web-published advice and reference, as a way to make myself feel better about subjecting folks to new posts of it while I am porting it over here.


I wrote this piece a decade or more ago, originally for a post to a discussion list, later re-written for my old website.  While it is an older opinion, most of what it has in it is still both valid and consistent with my current opinions on the subject of medieval costume in Victorian artworks.

Some thoughts on the gown in The Accolade

I get asked about this every once in awhile, since it's such an attractive painting, and the gown shown is so lovely to the modern eye. Unfortunately, it's also a Victorian fantasy of what a generalized 'medieval' gown would look like. While it would make a nice 19th century theatre costume, fancy dress outfit, or even a modern wedding gown, it isn't really a medieval gown at all. I'm going to go over its various features and analyze them for the reader, based on my background in studying and recreating medieval, rennaisance and Victorian dress.

Image from Wikimedia Commons

What I see in this gown:
It looks to me as though the artist spent a bit of time looking at a couple of costume texts of the day in an effort to get the right feel. However, some of the details are a bit off for the probable intended period, while, at the same time, being right on target for later periods.

12th century elements:
It seems, at first glance, to be a sort of 'Victorianized' bliaut, which probably doesn't help much, if you are at all familiar with the contorversy about how these garments might have been made. Things that make me think it's a bliaut (or just generally intended to be a noble lady in 12th C. dress, which would fit nicely with the knighting motif, and the dress of the rest of the figures):

• The 'V' neck on the overdress
• The tight and wrinkly undersleeves
• The neck of the undergown closed with a brooch
• The bicep trimmings
• The wide sleeves of the overdress,
• The location of the belt.

'Victorianized' theatrical costume book elements:

• The puffy sleeve cap on the overdress sleeves (regency/Victorian)
• The plaque belt (which *is* medeival/rennaisance, but doesn't
  appear until about 100-200 years later than the intended period
  in its earliest form)
• The fact that the belt has no upper loop around the torso
• The overgown and undergown being of the same colors (although
  this is probably both a painterly and a theatrical convention)
• That the torso's silhouette is that of a gently corseted woman
  of about 1880-1900 (which would make sense if he had a model pose
  in a theatre costume to get the light and shadow right - she would
  have worn her stays underneath it).
  

If you compare this to the Chartres statues, you'll see what I mean about the details: (Note: links are dead, I have to replace them - search for "Chartres West Portal" for good images) There are manuscript illustrations as well, but I have no links for those.

I like The Accolade. Really. It's a charming, romantic work, and was the stuff of my knights and princesses fantasies as a child. Plus, the dress is like every little girl's fantasy Medieval queen dress up outfit. It makes a fantastic wedding gown, and a number of custom wedding gown makers have a version in their catalogs. That said, it's a Really Really Bad Historical Reference, don't use it as one.


Also, I've been asked DOZENS of times about how to make this "bliaut" for historical reenactment wear. At the time I wrote this, I had been asked about seven times, and I was already getting kind of burnt out. I think I made up a form letter, actually, then thought better of it and put this on my site and just redirected folks to it.

Some other thoughts on Victorian ideas about Norman dress
Don't blame the painter too much for the dress being wrong, although the subject matter is romantic fantasy. The whole 19th century concept of how Norman court dress was made and worn was very wrongheaded. Much of this had to do with the idea that it had to be constructed in some manner similar to that of formal dress of the time (restrictive, separate bodice, either over or under the gown). Additionally, art and costume historians of the 1800's had little or no archaeological evidence to work from, and this, combined with the lack of clear photographs (most worked from others' redrawings of period artworks) contributed to their ideas about how things must have been made. Unfortunately for the beginning costumer interested in Norman court dress, most costuming books easily available today still use these ideas.

I think the current transmission of these ideas mostly comes through Braun & Schneider and Norris, but originally came from Voillet-Le-Duc (who WASN'T a tailor, and boy did it show - I'm not of the opinion that he was much of an artist, either) when he sketched the statues badly 200 years ago. Montfaucon's (earlier) sketches were much better but are less well known. Interestingly, Strutt wasn't as influenced by Voillet-Le-Duc's ideas, possibly because they were near-contemporaries. Strutt, however is more useful for later eras and leaves much out in his redrawings of clothing of the 12th century, though he does seem to have done them from direct observation of illuminated manuscripts.

This bit is more of an analysis of the whole 19th century take on Medieval dress in general. Still pretty opinionated. 

My creative process has peculiar priorities.

I've been working on making a Cunning Hat in my spare time. I found this very Costumer-OCD analysis of the Hat. And lots of other resources, including this knitting pattern and this more-like-a-recipe one both of which I probably should have also used as additional references.

I decided to use several balls of Knitpicks Palette I had in the yarn hoard and multi-strand it. So far so good. I elected to MAKE a set of size 10.5 circulars because I hate waiting, I know how to make circs, and I despise the cables on all but a couple kinds of circs. My favorite cables are on my homemade needles, anyway. And, see? They're even pretty!

The awful reality of this is that I can't, cannot, just CAN NOT, seem to do anything the easy way. I apparently must HACK EVERYTHING, especially if it has an existing, perfectly good counterpart or decent, easy instructions.

After all that, I worked up one version of the hat, all except the pompon, found it too bright, tea-dyed it, found it lacking, and frogged it. No photos.

I had to small-batch overdye my yarn because it Wasn't Quite Right. *rolls eyes at self*

Got all he yarn dyed to my satisfaction, prepped it into groups of three strands, balled up each color set prestranded (Orange-ish, yellow-ish, rusty red-ish), and finally knitted it up, AGAIN. I even made the ridiculous pompon.


It looks pretty good. But, wait for it:

I didn't fit the thing to Chris's head when I was knitting, and discovered that it's too small. By about, perhaps five stitches in every direction. DER. No photos. He looked even more ridiculous in it than he was supposed to.

I get to start over.

Good thing it knits up fast. Sigh. And good thing it's easy to frog.

FO's

Not all knitting, though. I just finished a lovely arming coat and surcoat for my freind EMT J. That makes 3 items of his medieval fighting outfit done, out of 5 (I'm counting the boots as 1...). I finished the undertunic 2 weeks ago.

I'm making it in return for EMT J helping with our house.

Now the knitted FO: I finished a Hat For Alex. 1 down, 2 to go, but I'm trying to get done before the end of the month, so we'll see if I get more than 1 more finished before then...

To be fair, not everyone self-taught is unqualified

This is sightly edited and reposted from my reply to someone else's comment in another person's (freinds only) lj. I decided that if it was important enough, to me, that I say this, then I should also put it here. And make it public.

The term 'self-taught' usually doesn't mean 'just read some books'. It should not be taken, or used, casually, to mean 'crackpot'. Sometimes one's field of study just _is not_ available in a university setting, so you have to study independently, which can mean a lot of things. Independent study of obscure subjects, if taken seriously, as seriously as any academic study, and held to the same standards (not including academic alphabet soup), if of equal quality, should be given equal respect.

My dad, an internationally recognized authority on folk music, music history and bagpipe resoration, is a good example of this. He could not get what he wanted out of formal eduaction 30+ years ago, and set about doing it himself, at fairly great expense. Dozens of trips throughout the world, to study and collect music firsthand when possible, and the purchase of numerous instruments for study and performance purposes, as well as decades of continuous, intense, research and study have made him what he is. There STILL is no degree program (or even combination of degrees) that could give him the knowledge that he has acquired mostly on his own. He's lectured and performed at museums and restored rare instruments to playable condition for many, including the Smithsonian.

Why does the bias against independent studies make me feel a bit defensive?
I'm mostly self taught as far as the history of clothing is concerned, because I cannot afford the expense of a double degree in Physical Anthropology and Costume (or Fashion) Design, which is as close as I can get to what I need for my research. I have no formal degree in costume.

I have an incomplete Associate of Arts (in Graphic Design - I never took my Gym class). This does not reduce the quality of my own work, or the quality of my research. It does not mean I have not done my own research, nor does it mean that I have not had any training in my chosen field of study. I have studied draping and cutting, apprenticed to a professional milliner and dressmaker, independently studied hundreds of works on modern, early modern, classical and medieval material culture, taken anthropology classes, theatre classes (and worked as a professional costume designer and cutter in theatre and costume shops), volunteered at museums, studied original pieces, made numerous iterations of theoretical pieces to determine possible cuts of now lost garment styles, the list goes on.

I can understand the frustration with people who spout falsehoods (either original or passed on unchecked). I fight against them all the time. I try to counter disinformation and outdated theories (often treated as gospel) with study and the willingness to spread the facts, as they are currently understood, around. It's hard, it's frustrating. it seems like the toils of Sisyphus.

I hope that those who are lucky enough to feasibly afford 'real' academia won't throw us all out with the chaff. Some of us are just poor people who cannot afford the letters after our names to 'prove' our adherence to academic standards. We're out here. Give us a chance.

I'm putting my cards on the table (AIPON)

Okay, since I've been following the vicious screaming matches in AIPON's top 10 pages, I've decided to put my cards on the table, so you all can tell what I've put up (as if anyone cares but me! Hah!)

My entries are (fake drumroll here):
The SRB, which should be obvious. Docs and notes are here.

My Illuminator's Blue Loose Gown No online docs or notes or anything, but I wanted to make a gown that looked like an illumination. The color of the wool is deliberately accurate to an illumination and not to period dye methods. Yes, I know, bad, but fun. Sneakily Not Period. Like unto wearing Loud Silly Undergarments under period clothes.

The Ringer, or my deliberately posted, WAY not period outfit. It's a faire costume, made to the guidelines for St Brigid's at RPFN in 1992 or so. AT THE TIME we were told that we were making non-period theatrical costumes, based somewhat in reality, but mostly intended to convey a vague feeling of "Olde Scottisheness" to the Tourons. I'm amazed by the number of people who think it's African or Middle Eastern simply by virtue of the fact that I've got a pot on my head...
(this bit added acouple of hours later) Oh, another thing. There IS NO gap in the front lacing. The gown is dark yellow wool, laced around lighter wooden buttons (over a hook&eye closure). I'm guessing this is why some people think the front is gapping. It's not a modern cut, either, it's an older interpretation of the Shinrone Gown. (end of later bit)

My German Ren, first copy (I asked that Kirrily remove it, but I guess the request got lost). Not the best image, and I spaced on the auto-resize feature of teh server software, so it got even smaller and less clear than it was. I am amazed at the PURE HOSTILITY of some of the comments, and I'm amazed that anyone could imagine that someone could gain anything by pasting their face on someone else's pic. The other two ladies are two of my best freinds and I did not want to post someone's pic wihtout asking (nor does my very best freind want her face on the web without her permission), and somehow this became an obvious clue that I had edited myself IN the pic. Most interestingly, all the hostile commentary stopped after I posted the second request for emails from people who have issues with me. No emails either.

This is a much fussed with copy of the above image, to show detail better, with my freinds cropped out. No online docs, though once I've got this thing reworked, I'll put up pics of the process and notes on my reasoning for re-doing it. Currently, it's in storage 2000 miles away, so it'll be awhile. Mostly, it will be re-done as a 2-layer gown, kirtle and 1-piece overgown (more like a flemish market outfit, really), instead of a 2-peice bodice and seperate cartridge pleated skirt worn over a petticoat. Much reworking to be done, but the gown is made of the most wonderful brushed wool, so that I feel it's worth saving.

So, those are mine. I may put up a couple of more recent outfits, if I can get photos.

Off to continue the neverending housecleaning...

old site all fixed and other news

Well, my issue with (my old web host) is all cleared up. Seems they changed their rate structure and didn't realize that it might have an effect on old users... Anyway, it's all better now and I'm not going to make (my old website, which is now gone, years later) go away any time soon, though the ads are there to stay. I liked the old teeny ads better, but I can't get them back now. I made the banners as unobtrusive as possible (they are the kind that scroll away after they load).

I'm trying to get ahold of the lady who runs amiperiodornot(dot)com (also long gone) since I've put together a browsable index, but she won't email me back (or my mails keep going astray), so I don't know if it is okay for me to make it public or not. Sigh.

The bliautlady site is up, but not updated. We're expecting houseguests and I've been busy trying to clean around the baby. That means, unfortunately, no sewing either. Argh, I can look at the Eyesore Gown, but no working on it until next week at the earliest. It seems fated to remain a pile of parts for awhile. My head is just bursting with ideas for the new site and improvements to the old one and I have a half-finshed set of illos for Arrianne de Chateau-Michel that I need to ink and scan. Too much to do, not enough me to do it all in time for me to be ahppy with it all.

Oh, go to her site: (website gone, sigh try the archive, here: https://web.archive.org/web/20070928174759/http://www.chateau-michel.org/ ) READ her articles. They are GOOD. She writes as well as I draw, or better.

I'm thinking I might want to make a custom set of moodicons, and make them public, since I'm not so happy with what's there right now. I used to do icon design at Tivoli, so I've certainly got the skillset.

Kid is TEETHING. 2 teeth and counting, he's working on the third and it really hurts him. Left Upper incisor is cutting thru right now, poor thing. We're going at a rate of about 1 every 8-10 days. Yes, before anyone asks, he's been biting, but he always did that, and I'm pretty good at getting him to stop.

Wow, this is my longest entry ever, not counting my project outline. ;)

Hope I have time to update soonish.

Fun with 50megs

Well, as you probably noticed, 50megs made some policy changes (weird) in the past couple of days without telling anyone. So I had to spend an hour or so wrangling my account and I may have to delete http://jauncourt.i8.com entirely if they still want to charge me 24 dollars for my free account.

HOWEVER, They still do free accounts (now with no setup fee...) and I've made a new diary site, just for my 12thCentury stuff. It's kinda fetal right now, but expect updates in the next week.

http://bliautlady.50megs.com

I'll probably set up seperate sites for my personal life and my more general SCA/costuming notes. But that can wait.

Oh, my.

I saw a post on a mailing list asking for information on SCA personas that would be appropriate for a woman with (drumroll please) Knee Length Hair.

Gasp. I have *seen* hair like that in my life, but not since childhood, and not since I began the Great Bliaut Hunt and Research Project.

Never before have I wanted to mug someone for their hair.

Whimper. Mine is only to my hips.

Mmmm. Where to begin?

Wow, another blank page. At least my son is helping me type.. . ;)

Well, this is supposed to be where I'm doing my dress diary thing.

Here's the outline of my eventual research doc (it's been called a book by some sly people...drat, I didn't want to write a book):

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Outline for research paper on Norman dress v1.0

Introduction
Intentions of author
Description of approach
Explanation of techniques used

Section 1: Survey of Sources
Artwork
Stonework: Statuary and Relief Carvings
Painted works: Illuminations and Wall Paintings
Textile works: Tapestries and Embroideries
Graph of characteristics found in contemporary artwork
Textual sources
Fiction: Poetry and Romances
Nonfiction: Biographical Works and Contemporary Letters
Graph of characteristics found in contemporary texts
Archaeological sources
Examples of earlier periods
Examples of the period (fragmentary)
Examples of later periods
Graph of characteristics found in archaeological sources
Conclusions
Overall graph of sources and characteristics
Timeline showing probable evolution of this type of dress
Simplified theory based on research

Section 2: Theories on Construction
How I got here from there: Description of methods used to determine my theories
Logical deduction
Physical experiment (making examples)
General Construction Methods
An Explanation of Rectangular Construction (cutting diagrams)
Measuring and basic cutting
Putting in gores
Putting in gussets
Neckline Types (cutting diagrams)
Slit-v type
Keyhole type
Round type (also called rotated keyhole)
Sleeve Types (cutting diagrams)
Narrow
Maunch type I (turnback)
Maunch Type II (pendant cuff)
Pleated square cuff
'Angelwing'
Knotted (dual-opening sleeve)
Overview of Ornament Placement
Waist seam
Hem
Cuff
Bicep
Neckline
Undergarments 'Chainse'
Description and Explanation of garment
Instructions for making
Cutting Diagrams
Undergown (laced or unlaced)
Description and Explanation of garment
Instructions for making
Cutting Diagrams
Loose (unlaced, pullover type) Gowns
Description and Explanation of garment
Instructions for making
Cutting Diagrams
Laced Overgown Type I 'Bliaut' pleated skirt - earlier?
Description and Explanation of garment
Instructions for making
Cutting Diagrams
Laced Overgown Type II 'Bliaut' gored tunic - later?
Description and Explanation of garment
Instructions for making
Cutting Diagrams

Section 3: Accessories
Mantles
Description and Explanation of garment
Instructions for making
Cutting Diagrams
Girdles 'ceintures'
Description and Explanation of item
Instructions for making
illustrations of patterns shown in artwork
Headdress
Graph of characteristics found in artwork
Descriptions from contemporary texts
Explanation of theories on hairstyles and accessories
Methods and Instructions for hairstyles found
Three-strand Plaits
Two-strand Plaits
Bound Plaits
Theories on hair extensions
Braid weights
Illustrations and descriptions
Graph of occurences and presumed occurences
Use and making of
Veils
Illustrations and descriptions
Graph of occurences of various types
Use and making of
Cutting Diagrams
Fillets and crowns
Illustrations and descriptions
Graph of occurences and presumed occurences
Use and making of
Shoes
Description and Explanation of item
Graph of characteristics found in artwork
Descriptions from contemporary texts
Use and making of
(short overview, notes on where to locate information on making period shoes)
Jewelry
Illustrations and descriptions
Graph of occurences of various types
Use and making of
(short overview, notes on where to locate information on making simple jewelry)

Footnotes
Detailed list of illustrations including sources of originals
Bibliography
Suggested further reading (includes books in Bibliography)
Glossary
Index

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So, am I biting off more than I can chew, or what?