Last night while doing some work on my embroidered jacket I had the mutinous thought that I could just stop with the sleeves. They really would look lovely with my Flanders Gown.  I would be done so much sooner!  Hmmmmm….

The truth is that sometimes you get part way through a project and you make the decision to change it.  It happens and it’s no big deal.  But sometimes those thoughts about changing the project are just our mind’s ways of tricking us into copping out.  In this particular case I think it’s the latter.  I’ve been working on the jacket off and on for a long time now.  I’m not as far along as I would like to be (there’s that “off and on” thing rearing its ugly head) and sometimes I think about other embroidery projects I’d like to be doing.

It’s true that I could finish the sleeves and enjoy wearing them while I finished the rest of the jacket but my fear is that if I did that I would have a much more difficult time time completing the project than if I went on the finish the rest of the embroidery.

And I really do want to finish this project.  Not just the sleeves but the whole thing.  In order to do that I need to dedicate regular time to it and banish those mutinous thoughts.  I’m back to regular embroidery sessions and I just need to keep at it.  Slow and steady may not get things done quickly but it will get them done in the end.  And I really think once I have the sleeves finished it will start to seem like it’s all down hill from there.

So I must banish my mutinous thoughts and complete project!  Even if the sleeves would look totally awesome with my Flanders Gown.  Maybe when the jacket is done I start some scarletwork sleeves for it.

Hmmmmm…scarletwork….

My beloved husband and I will be heading to the beach for the holiday weekend to spend some time with my family.  We plan to do some diving and hopefully get a chance to see the 17th Century shipwreck that was discovered in Corolla this winter!

More importantly though I plan to take my jacket with me so that I may spend several evenings in a row working on it.  If all goes well I’ll be finishing off the first sleeve and the gores buy Monday evening.

Today I wanted to share a YouTube video with you all on the Plaited Braid Stitch.  I originally ran across it when a friend of mine posted it to her live journal.  I’ll be using this stitch on my seams once the jacket is ready to assemble.  I found this tutorial very useful and wanted to share it with you all as well.

Enjoy!


Two posts in one day!

I just wanted to share with you all that the article I was working on last month for Foundations Revealed has been published!  Please feel free to visit their site to see my new tutorial on 14th Century cloth hosen!

I’ve also had two other article proposals accepted for publication this fall and winter so you all will be hearing more about that in the coming months.

We have just returned from our vacation but I wanted to share with you all that the article I was working on last month for Foundations Revealed has been published a month early!  Please feel free to visit their site to see my new tutorial on 16th and early 17th Century cloth stockings!

Last week I finally got off my bum and finished hemming my kirtle and I thought I should post some pictures.  I’m still debating what color I want to use for my guard but otherwise it’s finished!  Pictures are up in my gallery!

Since so many of you have expressed interest in more tutorials and demos I thought I would start off this week with a very simple one that a friend requested on Facebook not too long ago.

The Question: How did I make a pattern for my embroidered forehead cloth?

Forehead cloths are basically triangles of linen that were often worn with coifs to keep hair and sweat out of your eyes.  While they could be plain they were also often decorated with embroidery and there a numerous examples of forehead cloths embroidered to mach coifs.

When I made mine I wanted it to match my scarletwork coif.  (As the embroidery pattern I used to create my coif was made by my dear friend Laura Mellin I would like to take a moment to plug her awesome embroidery patterns. All of her patterns are meticulously researched and based on historical embroidery designs. Her entire line of Extreme Patterns embroidery designs is available online through Reconstructing History.)  

So I started with my coif pattern as the base for creating my forehead cloth pattern.

My basic coif patternTo the left is a sketch of a basic coif pattern.  (Be kind people.  I drew all of this up on MS Paint! :) )  Since I was going to embroider the forehead cloth to match the coif it was important that I use the same embroidery pattern and I wanted to repeats to be the same as well.

The first thing I did was find the center of the pattern (indicated in the sketch to the right as the dashed line.  I then selected the point on that center line where I wanted the bottom of the point of my forehead cloth to fall and drew two equal lines from it to the top points of the coif.  This formed an upside down isosceles triangle.  At that point I basically had my pattern. 

Cut out a mockup from a scrap of muslin to make sure it fits the way you want it to.  Once you have your forehead cloth pattern traced out onto your fabric you can begin transfering the embroidery design.  I just traced my pattern out on linen, laid it over my coif pattern making sure to line up the top line and center my pattern and simply transfered my embroidery pattern directly from the coif.

In the end mine turned out like this:

If you are interested in making a coif or forehead cloth for yourself please let me highly recommend Laura’s pattterns which, as I said earlier, are available online through Reconstructing History.

*I am always happy to accept requests for tutorials.  If you have a suggestion or a request please feel free to email me or leave a comment.  My contact information is readily available on my Bio page.

I know that I have been quieter than usual this month. I’ve been working on a rather large project which has nothing to do with my Flanders Gown. :) I have decided to take the plunge and open an Etsy shop selling cloth and thread wrapped buttons. I’m very excited but also more than a little nervous.

The shop, Wrapped And Stuffed Buttons, is coming along. It’s mostly up and I hope to have buttons available by the end of January/early February. I’ve really been having a lot of fun with this project and I’m excited to get it up and running.

I know that many of you have also been following the creation of the Plimoth Jacket at Thistle-Threads.com.  Yesterday they posted pictures of their model wearing the finished jacket!!!  It’s just gorgeous!  A truly amazing project that I have really enjoyed following.  Go check it out!

A lot of times in historical sewing circles we get caught up in finding “the right way” to make a gown, doublet, or piece of clothing.  It comes from a good place.  We love historical clothing.  We love recreating patterns, researching stitching techniques, and doing everything we can to make sure our piece is right.  But many times that love and our very best intentions can lead us to place where we start to believe clothing was nearly always made the same way.  “Gowns always laced up the back or fastened with hooks and eyes in the front”, “All jackets have 5 gores”, “Elizabethans only used two part sleeves”, “All embroidery was vine work and flowers”.  You come across these ideas all the time.  And in a way they are right.  There are a lot of two part sleeves in Elizabethan Fashion and vine and flower designs were extremely popular in Elizabethan and early Stuart embroidery.  But in the end they are not fully correct.  Clothing was not only made one way.  Gowns and kirtles closed several different ways including (but not limited to) lacing up the back, lacing up the sides, fastening up the front with hooks and eyes, buttons, and frogs.

A blackwork jacket in the Manchester Art Gallery

A blackwork jacket in the Manchester Art Gallery

An excellent example is the embroidered jackets of the late 16th and early 17th centuries.  Many of the jackets you see in portraiture and museums are embroidered in polychrome silks in flower and vine patterns.  However, that is not the only way they were made.  One example of a jacket created using different methods is the gorgeous jacket at the Manchester Art Gallery.  It is embroidered in a flower and chevron design rather than intertwining vines.  It’s also a monochrome embroidery, embroidered in black silk, with the larger flowers filled with diaper patterns.  Jackets also varied with respect to the number of gores, stitches used, and whether the closed with ties, hooks and eyes, or other methods.

There is a wide and rich variety to the way fashion was made during the Elizabethan period.  Some methods were more popular than others but that did not mean they were the only methods used at all.  When you are working on clothing projects take some time to enjoy and experiment with the wide variety of clothing styles and sewing methods used through out your period of study.  I think you will be pleasantly surprised by the wide variety available to you.

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