Showing posts with label Très Riches Heures gown. Show all posts
Showing posts with label Très Riches Heures gown. Show all posts
12 January 2009
Finished 'fleur-de-lys' gown with hat
I really had a great time at 12th Night in this outfit; the hat especially is just so much fun (and other people seemed to think so too, which always makes my day).
Final wrap-up on the project:
The dress I am mostly happy with, although it's been a long road with some serious doubts along the way. It doesn't look quite as nice as I originally imagined in my head, but it does still look good. The fabric, a rare find I just couldn't pass up, has a bit too much body to it to drape quite right. Coupled with my decision to go with a pullover style and skip a long opening, and you can't get the body-skimming fit and soft folds that the inspiration has. If I was doing this dress again, I'd either pick a fabric with a softer hand (let me know if you find any wool brocade, mmmkay?), or I'd put an invisible zipper in one of the side seams under the arm. Plausibly, the original might have been laced (front, back, or side, there's no way to know), but I just couldn't picture it, and the thought of putting stress-bearing eyelets into satin makes me want to run screaming.
The hat I'm more positive on; essentially my only reservation is that it's a little larger than I intended. I failed to account for the extra volume taken up by the covering of feathers, which was just a silly oversight. So it's even more over-the-top, and I can hardly be sad about that. My technique at sewing feathers has improved quite a bit too - it's harder to do on a solid base like this than a flat hat like the Tellebarrett where you can work from both the top and the bottom.
07 January 2009
Feathered hat progress
There's nothing like a deadline to get you moving on a project. I really want this hat finished for 12th Night, which is this weekend, as it will really make or break the outfit. It's looking good from the top, but the side shows the truth. And yes, it will be completely covered in feathers, aside from the inside band. Actually, I'm a bit further along, since I took these pictures before working on it last night. The bottom edge is now covered in as well, and I'm just starting to work on filling in the middle, overlapping feathers so the change in direction isn't so obvious. (For comfort, I've kept the stiff root end of the quills always away from the head opening, which means that the top and the bottom have feathers going in different directions.)
The large string of beads from the original inspiration will probably be a miss for this weekend because of time constraints, although I would still like to make it. I do, however, have a new pair of appropriate shoes that I got for Christmas, which makes me very happy.
The large string of beads from the original inspiration will probably be a miss for this weekend because of time constraints, although I would still like to make it. I do, however, have a new pair of appropriate shoes that I got for Christmas, which makes me very happy.
02 December 2008
Hats of Unusual Size
Very few historical outfits are complete without the appropriate headgear. Even when hats or veils aren't particularly called for, the right hairstyle can really put the finishing touch on an ensemble. And since I'm primarily working in the 15th century, I have a delightful variety of outlandish hats to choose from.
The hat I am working on at the moment will accompany the fleur-de-lys gown in the style from the Très Riches Heures. At its core, its really just a padded roll, albeit a very large one and extensively decorated. Because of this, it doesn't call for the wires or stiffening usually associated with hatmaking - just fabric, stuffing, and ordinary sewing tools.
Very narrow padded rolls can be made with just a straight tube of fabric, particularly if it is cut on the bias. As it is bent around the head, the inner portion of the ring automatically forms small folds. However, as they become larger, it becomes necessary to shape the fabric for the roll, as the folding and bunching would become excessive. In making my roll, I still started with a straight rectangle of fabric. I decided that the lengthwise seam would go along the outer edge, and then I put tucks in at even intervals such that the center line of the piece (which becomes the head opening, the smallest point) was much shorter than the two edges. If you're having trouble picturing that, here's how it works in practice: fold the fabric cross-wise at the point you want to put in the tuck. Stitch from edge to edge in a sideways V shape: very close to the fold at each end, and farther away at the center line. Carefully stitch the long edge, leaving an opening so that you don't form a donut which can't be turned rightside out. Stuff, pin or baste the opening closed, and try on. It may require several tests to get it right - expect the tucks to become more severe to shrink the head opening. It's also easy to add additional pieces to the end if the overall size is not big enough; just shape the seam like the other tucks. Starting with a long arc (2, really, for top and bottom) rather than a straight piece would probably reduce the need for tucks, but would also require being close to the correct size and shape from the first cut, as it would be more difficult to adjust.
I like a soft wool for the outer material; it has some give and provides a smooth silhouette. Many people go for cotton, but it can produce sharp creases and puckers which I think detract from the overall look. As for stuffing, while unspun wool seems the most likely candidate for an authentic material, polyester fiberfill is cheap, light, and readily available if you're working on a deadline. It is worth spending a little bit more to get the extra soft stuff, though. Keep in mind that it does have a tendency to poke through most materials if they are not very tightly woven - your particular design will dictate whether this will be a problem or not. Mine will be entirely hidden under the embellishment, so I'm not worried.
The hat I am working on at the moment will accompany the fleur-de-lys gown in the style from the Très Riches Heures. At its core, its really just a padded roll, albeit a very large one and extensively decorated. Because of this, it doesn't call for the wires or stiffening usually associated with hatmaking - just fabric, stuffing, and ordinary sewing tools.
Very narrow padded rolls can be made with just a straight tube of fabric, particularly if it is cut on the bias. As it is bent around the head, the inner portion of the ring automatically forms small folds. However, as they become larger, it becomes necessary to shape the fabric for the roll, as the folding and bunching would become excessive. In making my roll, I still started with a straight rectangle of fabric. I decided that the lengthwise seam would go along the outer edge, and then I put tucks in at even intervals such that the center line of the piece (which becomes the head opening, the smallest point) was much shorter than the two edges. If you're having trouble picturing that, here's how it works in practice: fold the fabric cross-wise at the point you want to put in the tuck. Stitch from edge to edge in a sideways V shape: very close to the fold at each end, and farther away at the center line. Carefully stitch the long edge, leaving an opening so that you don't form a donut which can't be turned rightside out. Stuff, pin or baste the opening closed, and try on. It may require several tests to get it right - expect the tucks to become more severe to shrink the head opening. It's also easy to add additional pieces to the end if the overall size is not big enough; just shape the seam like the other tucks. Starting with a long arc (2, really, for top and bottom) rather than a straight piece would probably reduce the need for tucks, but would also require being close to the correct size and shape from the first cut, as it would be more difficult to adjust.
I like a soft wool for the outer material; it has some give and provides a smooth silhouette. Many people go for cotton, but it can produce sharp creases and puckers which I think detract from the overall look. As for stuffing, while unspun wool seems the most likely candidate for an authentic material, polyester fiberfill is cheap, light, and readily available if you're working on a deadline. It is worth spending a little bit more to get the extra soft stuff, though. Keep in mind that it does have a tendency to poke through most materials if they are not very tightly woven - your particular design will dictate whether this will be a problem or not. Mine will be entirely hidden under the embellishment, so I'm not worried.
16 November 2008
The finish line
Over the past week or so, I've slowly finished the hemming on this gown - both for the contrast band and the inner lining - and secured the lining to the main fabric around the bottom edge. Which means that it is finally, completely finished! I'm planning to wear this to 12th Night, so I probably won't get any 'all dressed up' pictures until then. Accessories have yet to be finished, although I've started on the hat. I do already have a middle layer gown to wear with this, although in the long term I'm planning to replace it with a nicer one, for which I already have the fabric. It's doubtful that I'll get that done soon, though.
26 October 2008
A tale of two hems
Sometimes you've just got to put your butt in the chair and work on things, even if you're not inspired.
I realized I had a whole day for projects, with nothing planned, and I figured I'd just start working on this dress again so that I can get it off my 'in-progress' list. I still hadn't decided on a floor-skimming vs. a puddling-on-the-floor length, but after trimming the main fabric so it was even, it became obvious that I didn't have enough length to puddle convincingly anyway. So I trimmed off another 4 cm or so, and zig-zagged a 1 cm hem to keep the fabric in check while I worked on the rest.
The turned-up contrast of the lining fabric I've decided to do as an applied band rather than actually turning up the lining (which you can see hanging down in the center of the photo). There are four thicknesses total - 2 lengths of fabric, folded over and pressed at the top of the band. The bottom two layers are sewn to the very edge of the dress to secure them, and the upper layers have extra length which will be folded under and tacked on the inside.
Of course, since the band is straight and the skirt is flared, it is inevitably a bit too wide at the top. My current debate is whether to ease the extra through the entire width (on the right on the photo), or to keep it as smooth as possible and take a few darts in the section over the gores as necessary (on the left). I'm strongly leaning toward the latter, but I'm going to stare at it for a day or two before I commit to one or the other.
I realized I had a whole day for projects, with nothing planned, and I figured I'd just start working on this dress again so that I can get it off my 'in-progress' list. I still hadn't decided on a floor-skimming vs. a puddling-on-the-floor length, but after trimming the main fabric so it was even, it became obvious that I didn't have enough length to puddle convincingly anyway. So I trimmed off another 4 cm or so, and zig-zagged a 1 cm hem to keep the fabric in check while I worked on the rest.
The turned-up contrast of the lining fabric I've decided to do as an applied band rather than actually turning up the lining (which you can see hanging down in the center of the photo). There are four thicknesses total - 2 lengths of fabric, folded over and pressed at the top of the band. The bottom two layers are sewn to the very edge of the dress to secure them, and the upper layers have extra length which will be folded under and tacked on the inside.
Of course, since the band is straight and the skirt is flared, it is inevitably a bit too wide at the top. My current debate is whether to ease the extra through the entire width (on the right on the photo), or to keep it as smooth as possible and take a few darts in the section over the gores as necessary (on the left). I'm strongly leaning toward the latter, but I'm going to stare at it for a day or two before I commit to one or the other.
24 August 2008
Continuing progress on Très Riches Heures gown
Neither I nor this dress are dead yet. I've just set in the sleeves and started attaching the lining.
24 June 2008
Gown assembly
A bit of progress on the Très Riches Heures gown: I've done the preliminary fitting, so it's not quite so oversized. I cut back the lining to match the adjustments to the fashion fabric, and started assembling that. I went back and cut the gores for the lining as well, since I had neglected to do that originally. It may still need to be taken in further, but its starting to shape up. Once I finish assembling the lining, I should be able to set in the neckline and armholes.
As it currently stands, the gown is cut a bit beyond floor length, the idea being that it would puddle on the ground, but the fabric just has too much body to 'puddle' properly. I'm debating trimming the hem down to just barely floor length in the hopes that it might drape better (and be more likely to be worn, honestly), but it might actually make things worse instead. Looks like I'll be perching on stacks of books in the near future to get an idea of how it would behave.
This is probably a bad sign, but I've starting thinking about contingency plans for what I could re-cut the fabric into if this gown doesn't work. A late 16th century forepart skirt is near the top of that list.
As it currently stands, the gown is cut a bit beyond floor length, the idea being that it would puddle on the ground, but the fabric just has too much body to 'puddle' properly. I'm debating trimming the hem down to just barely floor length in the hopes that it might drape better (and be more likely to be worn, honestly), but it might actually make things worse instead. Looks like I'll be perching on stacks of books in the near future to get an idea of how it would behave.
This is probably a bad sign, but I've starting thinking about contingency plans for what I could re-cut the fabric into if this gown doesn't work. A late 16th century forepart skirt is near the top of that list.
10 May 2008
Pushing forward: sleeves done
I've now finished both sleeves, shown in extreme close-up here. Next up is going to be fitting the main gown - I left a lot of ease when I did the cutting, so it's approximately the right shape but rather oversized. Combined with the strong hand of the fabric, it looks like its wearing me rather than vice versa. Pulling it in to be more body skimming should (hopefully) bring that under control.
09 May 2008
WIP, or just a UFO?
I'm very slowly making progress on my Très Riches Heures gown (no pictures right now), but it's beginning to feel like less of a work in progress and more like a (perpetually) unfinished object. The distinction being the optimism, or lack thereof, about whether it will ever be finished. The lining is very thin, which by itself isn't a problem, but when I turned and pressed the first sleeve, the seam allowances and the fray-prevention zigzag on them showed through in a very unattractive way. I unpicked the zigzag all the way around, painstakingly trying not to create any snags or pulls in the satin. Then I re-bound the edges, using an extra fold and much lighter thread, and re-pressed it all once again. It looks much better now, and I know how to handle the second sleeve now, but it was frustrating to spend an entire long evening on the project just to get back to where I started in terms of assembly progress.
I'm also worried that the fabric ultimately won't drape right at all. Heavy satins drape very differently on the grain and the cross-grain (e.g., do the floats run vertical or horizontal on the garment), and I'm afraid I'm going to end up with something that stands out stiffly rather than falling in nice folds. From the moment I saw it, this fabric insisted it wanted to be this gown, but I'm beginning to think that it lied.
I'm also worried that the fabric ultimately won't drape right at all. Heavy satins drape very differently on the grain and the cross-grain (e.g., do the floats run vertical or horizontal on the garment), and I'm afraid I'm going to end up with something that stands out stiffly rather than falling in nice folds. From the moment I saw it, this fabric insisted it wanted to be this gown, but I'm beginning to think that it lied.
30 January 2008
Talking the talk, and cutting the fabric
Way back in April of last year, I mentioned plans for a court gown based on one in Très Riches Heures. Nine months later, I have finally convinced myself to cut into the very expensive fabric I'm using for the project. I'm using a very simple cut for the gown, to make best use of my limited yardage (6 yards, but only 30 inches wide, with a directional pattern to boot). The front and back are each cut in a single piece, the full width of the fabric - no center front or center back seams. All the shaping will be in the side seams. Triangular gores for the side seams finish out the width of the skirt. I've got enough room to adjust still that I could add center front and back seams, if I find that I need shaping there, but my muslin seemed okay without them and I'm hoping to avoid that if possible. The gown will be a pull-over-the-head style, more body-skimming than tight. Working with heavy satin is hard enough without having to mess with eyelets or buttons or even zippers. The 'sleeves' are completely open, just draped from the armscye. At the top, I've got essentially half of the typical sleevehead shape, just a simple arc, and they gradually widen out to 15 inches by about halfway down, and are straight from there to the bottom. I've decided on a white silk broadcloth for the lining, which will be cut the same way except longer in the body, so I can turn it up on the outside for the contrast hem. The illumination seems to show a patterned edge to the hemline; I'm still thinking about whether to attempt that or to go for a much simpler straight edge.
02 April 2007
Calm before the storm
My sewing room has been rather quiet for the last month, but I've been making plans for the new season. I've made a list of things I want to make this year, and it's a long one! Hopefully, real life won't interfere too much, although it's threatening.
Top on my list is more low-maintenance clothes for camping events this summer - simple linen tunic-dresses mostly, and a lot more stockings, as I've destroyed most of mine over the past couple years. I'd also like to do an apron-dress and pull together some Norse-appropriate accessories to dress up some of those tunic dresses a bit - probably aiming for the late end of that era.
Then I've got big plans for a new court dress - the blue dress from the April calendar page of Les Très Riches Heures du Duc de Berry. I've got a navy silk-faced satin brocade with gold fleur-de-lys, which I think should be about perfect. Unfortunately, the gold is poly, which means that the fabric is entirely and heavily backed with polyester, but I doubt I'll ever find anything better. I'm not completely sure what I'll use for the lining/contrast yet, but I do have plenty of white silk broadcloth that might work. Of course, I'll need to do a long sleeve cote first, to fit it over, which is just as well. I've been meaning to for years, but I still haven't made a long-sleeved layer to do late 14th c. stuff.
As a side project, I'd like to really finish my Persian ensemble. The coats are essentially fine (although one needs loops or buttonholes or something to go with its buttons), but I still need to make a pirahan (chemise-type layer), salwar (pants), and a hat. The pirahan will probably be white lightweight linen, which I always have on hand, but I'd need to find fabric for the salwar. The hat would be the style that Roxane Farabi calls a broom hat, which should be pretty simple once I figure out what kind of feather to use. (Incidentally, the look and color scheme of my coats is very similar to the figure in the lower left of the first picture at that link.)
If all that wasn't enough, I've also got a mid 14th c. gown with proto-tippets in the back of my head. Plus a bunch of mending and finishing on projects that should have been done by now. And I should probably make some clothes for my guy, since he's not likely to get around to doing it himself.
The picture above is the fabric I had intended to use for that Norse apron dress, before and after washing. (Note that the colors are mangled - it's actually purple and navy, and rather dark at that.) I hadn't expected it to react that badly to water, and sadly I threw my whole piece in (the remaining piece belongs to the guy, since we went in on the purchase). I don't know what I'll be doing with it now, since it doesn't seem at all appropriate for what I had planned. There's a lesson here about always washing a test swatch first, even if you think you know how it'll behave, and it's a lesson I really should have learned by now. Hopefully I'll remember this (rather expensive!) mistake next time : (
Top on my list is more low-maintenance clothes for camping events this summer - simple linen tunic-dresses mostly, and a lot more stockings, as I've destroyed most of mine over the past couple years. I'd also like to do an apron-dress and pull together some Norse-appropriate accessories to dress up some of those tunic dresses a bit - probably aiming for the late end of that era.
Then I've got big plans for a new court dress - the blue dress from the April calendar page of Les Très Riches Heures du Duc de Berry. I've got a navy silk-faced satin brocade with gold fleur-de-lys, which I think should be about perfect. Unfortunately, the gold is poly, which means that the fabric is entirely and heavily backed with polyester, but I doubt I'll ever find anything better. I'm not completely sure what I'll use for the lining/contrast yet, but I do have plenty of white silk broadcloth that might work. Of course, I'll need to do a long sleeve cote first, to fit it over, which is just as well. I've been meaning to for years, but I still haven't made a long-sleeved layer to do late 14th c. stuff.
As a side project, I'd like to really finish my Persian ensemble. The coats are essentially fine (although one needs loops or buttonholes or something to go with its buttons), but I still need to make a pirahan (chemise-type layer), salwar (pants), and a hat. The pirahan will probably be white lightweight linen, which I always have on hand, but I'd need to find fabric for the salwar. The hat would be the style that Roxane Farabi calls a broom hat, which should be pretty simple once I figure out what kind of feather to use. (Incidentally, the look and color scheme of my coats is very similar to the figure in the lower left of the first picture at that link.)
If all that wasn't enough, I've also got a mid 14th c. gown with proto-tippets in the back of my head. Plus a bunch of mending and finishing on projects that should have been done by now. And I should probably make some clothes for my guy, since he's not likely to get around to doing it himself.
The picture above is the fabric I had intended to use for that Norse apron dress, before and after washing. (Note that the colors are mangled - it's actually purple and navy, and rather dark at that.) I hadn't expected it to react that badly to water, and sadly I threw my whole piece in (the remaining piece belongs to the guy, since we went in on the purchase). I don't know what I'll be doing with it now, since it doesn't seem at all appropriate for what I had planned. There's a lesson here about always washing a test swatch first, even if you think you know how it'll behave, and it's a lesson I really should have learned by now. Hopefully I'll remember this (rather expensive!) mistake next time : (
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