|Composition de la sainte Écriture, Bibliothèque nationale de France, MS Français 425, circa 1400-1410, fol.115r.|
Sunday, November 27, 2016
Today we come to the end of our look at the things that distinguish an early 15th Century (French/English) outfit from the periods of fashion surrounding it. Last time, we looked at upper class headdress and identified the general zones in which late 14th Century, and mid-15th Century hats occupied, and how the upper class styles between them sat in a transitional space between them. This week, we end by looking at the headdress of the lower classes: open hood and veiling.
Sunday, November 13, 2016
So now we've come to the third part of my mini-series on what distinguishes early 15th Century women's clothing from the styles before and after it. I've been looking primarily at French clothing, as that's my area of study, but there is room for some of what we've looked at to apply beyond France's borders. In Part 1, we discovered that the later Gothic 15th Century silhouette is generally curvier. In Part 2, we determined that either no lacing, or at least inconspicuous dress lacing will provide a more accurate look than visible lacing. Today we'll take a look at headdress.
Sunday, October 23, 2016
|Notice something missing? (Source)|
Sunday, October 9, 2016
|The Book of the Queen (BL MS Harley 4431) fol. 290|
Sunday, September 25, 2016
I, like many modern medieval sewers, often use my sewing machine to sew the pieces of my dresses together. These are referred to as the "construction" seams, and are, for the most part, considered "non-visible" since the thread used for these seams is not seen. While it's possible to sew and entire dress by machine (construction and finishing), this doesn't provide the hand-made quality that gives the garment a medieval character. So once the garment is assembled into its raw form, whether by machine or by hand, I will do most of the rest of the work, the finishing, by hand.
Sunday, September 11, 2016
Particular to Germany in the 14th & 15th centuries, the pair of counted-stitch embroidery techniques we call brick stitch are found on many extant purses, and were used as a graphic technique within wall hangings. In nearly every extant case, brightly dyed silks were used on linen ground fabrics. When we recreate these techniques, evenweave cloth is used. Using set lengths, stitches are worked strictly in one direction (most often vertically), so that lines and shapes are created to form repeating patterns.
Sunday, August 28, 2016
|One of my selfie outtakes from Pennsic.|