my IRCC6 outfit

You can see my full write up and check ins for this years competition here.

I learned a lot this year, and really tried to stretch my abilities a lot.

I am really proud of the red over gown that I drafted from Fransico de la Rocha de Burguen’s Geometic y Traca Perteneciente. It was such a simple pattern that I was unsure if it would work but the result is so comfortable and the lines are just so nice I love it. I can see it being made again and again.

 

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IRCC6 sneaky peak of the final completed outfit

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About me and my SCA life

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SCA life and times of

Mandy L’Estrelle

aka

The Honourable Lady Ydeneya de Baillencourt

Name: Ydeneya de Baillencourt

registered with the Lochac College of Herald in October 2008

Device:

Purpure, a unicorn couchant and on a chief argent, five mascles vert.

Registered with the Lochac College of Heralds in August 2011

Persona Story:

I was born in the middle of the 16h century in France, near the Abbey of Messines.

My father, Pierre, being the youngest son of a noble family, had little fortune and so became a merchant trader. On one of his many trips to England he met a young Yorkshire lass named Ydeneya Wills, whom he fell in love with and married. He brought her back to live in Messines.

I was born a goodly time later and my father named me for my mother who unfortunately did not survive long after my birth. Sadly when I was still quite young my father also died whilst on one of his trading expeditions, and I was sent by my aunt Jeanne, who was the abbess of Messines, to live with her distant cousin Guido in Florence Italy.

My cousin was quite a wealthy man, although his character may not be quite reputable, but I have had the fortune to be introduced into the Doges court and enjoy all the quality of life therein.

I am fortunate that my dear father and uncle have left me quite prosperous, with villas in both Venice and Florence, so I spend my time where I wish, and with little inducements to marry, I run my own household, however I do favour to spend some of my time with a gentleman of good character and suitable rank, Lord Hadrian de Listrille.

Groups:

My Sca life began with the discovery of the SCA at the Perth Medieval Faire in 2006, I began participating with the formation of the Shire of Dragon’s Bay, in 2007 where I was on the council as Reeve and Chatelaine.

In 2009 to widen our horizons we moved our participation to the then Canton of Abertridwr, where again I served as Chatelaine then Reeve. As the canton was part of the Barony of Aneala, many of the events were baronial.

House Annwn was created by myself and two other ladies, Lady Rosamond de Montfort and Lady Rosalind de Peregrine (sadly Lady Rosalind has since left the household)as a result of regular sewing get togethers, when I had the crazy idea that we should become a household. I researched and came across the name Annwn.

The name Annwn is taken from “Preiddeu Annwn” a cryptic early Welsh poem of sixty lines from the “Book of Taliesin”. The text recounts an expedition of King Arthur to Annwn, the Welsh other world, a world of delights and eternal youth where disease is absent and food is ever abundant.

This description was accepted as very appropriate for our household.

The household motto originally chosen was “subsisto somnium” which translates loosely as “stop the nonsense”. It relates to encouraging household members to not become embroiled in the disagreements that can bring the game into a bad state. There has been some discussion recently to change this motto to something more fitting along the lines of “contagiosus est precario” which translates as “Courtesy is Contagious”.

House Annwn

Since 2011 I have been official Head of House Annwn, and this entails trying to give direction and purpose to our household, by running events as a household and encouraging each other with our goals and aspirations. The household has expanded to hold about 15 members.

Recognition and Awards:

In the Kingdom of Lochac:

Award of Arms

given by Berenger I and Bethan I,

on 5 July 2008,

at Lochac Midwinter Coronation

Order of the Golden Tear

given by Gabriel II and Constanzia II,

on 6 June 2011,

at Pencampwr

Royal Cypher

given by Gabriel II and Constanzia II,

on 2 July 2011,

at Midwinter Coronation

Order of the Star and Lily

given by Alfar III and Angharat I,

on 10 May 2014,

at May Crown Tourney AS XLIX

Order of the Silver Pegasus

given by Steffan and Branwen

on 27 September 2015,

at Anealan Baronial Championship

Order of the Prometheus

given by Gilbert and Bethony

on 20 January 2016

at Canterbury Faire

In the Barony of Aneala:

Order of the Golden Swan

Given By: Lachlahn and Jane

On: 25/07/2009

Order of the Demi-sun

Given By: Branwen and Kilic

On: 26/09/2010

Baronesses favour

Given By: Branwen

On: 27/9/2011

Other achievements:

2010: Arobryn of Abertridwr

The Arobryn is the A&S Champion of Abertridwr. The Arobryn must to be able to demonstrate skills in a variety of different areas in the arts and sciences. It is therefore not enough to simply excel at one type of skill but to demonstrate excellence across at least 3 separate areas. I entered a cornucopia made from pastry, a painted pavise and an Italian style gown.

2014: Aneala Baronial Arts and Sciences Champion

This championship is held over the period of 12 months, and artisans must have entered a minimum of 3 pieces over that period to be considered.

2014: Kingdom of Lochac Arts and Sciences Champion

The Arts and Sciences Champion of Lochac is the gentle with the highest accumulated score over a year of Kingdom A&S Competitions from May Crown to Twelfth Night.

Involvement in the SCA:

Events:

25-26 Jun 2016

AUTOCRAT The Inaugural Golden thimble competition Aneala

21 May 2016

AUTOCRAT May in the Bay Royal visit

June 2015

A&S co-ordinator and teacher

Pencampwr XXI June 2014

A&S teacher

May 2014 May Crown,

Hall steward, lunch feastocrat

March 2014

Autocrat Ull’s Arrow

September 2013 27th-30th – Anealan Championship Weekend at Balingup

Feastocrat

July 2013 Saturday 20th –

Not As It Seems Feast Hall steward

June 2013 Weekend 31st – 3rd June – PENCAMPWR IX

kitchen duties

January 2013 Sunday 13th – onwards

Autocrat Costuming Workshop (an 8 week course)

June 2012 Weekend 1st-4th –

PENCAMPWR VIII Kitchen duties

December 2011 Sunday 4th –

Toys For Tots co-autocrat

October 2011 Sunday 9th –

Arabian Nights Autocrat

March 2011 Sunday 13th –

Queens Guard Challenge Constable

December 2010 Sunday 12th –

Toys For Tots sub Autocrat

November 2010 Weekend 5th-7th – Lochac Crown Tourney – hosted by Aneala

Feastocrat

June 2010 Weekend 4th-7th PENCAMPWR VI

Autocrating team member

December 2008 Yule feast

Autocrat and Hall steward

August 2009 Sunday 9th – Newcomers Collegia

Autocrat

June 15th-16th – Sausage Sizzle at Bunning’s O’Connor

team member

2007 EVENTS

Sunday 9th – Dragon’s Bay Inaugural Archery Day

list keeper

My Interests in the SCA:

I have a great range of interests in the arts and sciences. I love to paint and have been designing and painting scrolls as part og the College of scribes. Costuming is my greatest passion and I am working on improving my skills in pattern drafting and construction methods, mainly in the area of late 16th century Italian garb but I also dabble in other times and cultures as the mood takes me. I make jewellery and allt he accessories to go with the garb as well. I sometimes have a go at archery and might one day get brave enough to try some rapier, if I can get my health issues under control enough.

The Italian Renaissance Costuming Challenge:

I have entered this challenge each year for the six years it has been run by The Realm of Venus website. It is a four month long challenge to create a complete outfit including underwear and accessories. I have learned an incredible amount through participating in this challenge, through researching and construction. I push myself every year to try something new and to make the outfit better than the previous years. It has almost motivated me to accumulate a good library of resource books and websites to continue to grow my knowledge and skills.

Each year my placings in the overall points tally has improved and in 2015 I placed second overall.

In 2016 I was the Overall winner and also won the Best Historically Accurate Design and Best Historically Accurate Construction.

In the last 3 years I have also mentored  a number of other participants who successfully completed the challenge, it was wonderful to help them and encourage them and see them happy with their final results.

I look forward to taking part again if the challenge continues to be run.

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So what to sew next?

I have so many ideas I just don’t know where to start! Perhaps by tidying up my sewing room would be a good idea as it is kind of trashed after the IRCC and then championship sewing.

Anyways watch this space, I will be starting on my next sewing adventure very soon, and I promise to try to keep this blog moving along.

I did make something since the IRCC. A black saio for my beloved husband. It was the first one of it’s kind, a prototype you might say. He loves it and says it’s very comfortable, so the design only needs minor tweaking. Below is a picture of him in it escorting me into court, I think he looks rather smashing in it🙂

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Let all the fabrics be free from persecution!

I often see many articles or blog posts telling costumers that they MUST use natural fibre fabrics. Well OK that’s really nice BUT….not necessarily true.

I love using silk and thanks to a wonderful husband who works extreme hours to earn us a good living I am able to afford to buy silk whenever I need it, however this was not always the case and I am still very reticent to always use silk because it is expensive.

I often find exquisite colours and patterns that are entirely suitable for my main interest area in costuming, the Italian Renaissance, but they are often polyester blends, so do I buy them and use them? Yes I do and I always will. Why? Because let’s face it, no fabric produced today is 100% historically accurate anyway, even the silks, wools and cotton are different as genetic changes in the animals and plants that produce the products have changed the fibres, and the way they are spun and woven are different to earlier practices. But what about the ever-so-hated man made fabrics like rayon and poly blends? Why do I use them? Well basically I am really not precious about my garb, I love to make things that are inspired by the portraits I see, and I will try my best to make them in almost period techniques, well hey I do use my sewing machine because of my shonky hands, but hand finishing is done as much as possible. Many fabrics in my stash are polyester, and they will become gowns or other garb at some stage. I won’t try to say to anyone, hey that’s silk! When it obviously isn’t, and I am well aware of the fire risks involved, and will make sure I stay well away from naked flames when wearing such fabrics.

Another reason I will use them is because  they are substantially cheaper than the natural fibres. My costuming is a learning process. Each piece is a lesson to me personally, and I will tweak and change the process for each piece as I learn. If i am trying a whole new pattern, I am more likely to try it out on my inexpensive polyester or blend fabrics than reaching straight for my silks. I don’t make what many call “muslins”, making a piece out of calico or similar just to test the pattern out. I make walking trials i.e. I will complete the piece and wear it a few times to events just to see how it goes and wears, if I am not happy with it I will either alter it or sell it off  and start working on another piece with the lesson I have learned from it. I would find it to be very wasteful to use the expensive fabrics when I am not confident I am going to get the piece right and use it many times. I have done this is the past and now find it sad that I wasted such pretty fabrics, many of these pieces are in my “to be fixed” pile.

On a note about linen and wool. I am contact sensitive to both these fibres. If I wear them directly touching my skin I soon develop a lovely red rash of hives and start itching. Thankfully I can tolerate cotton/linen blend and cotton, so my underpinnings are made from these fabrics. I don’t use a lot of linen but do have a couple of gowns that are linen, and I am just careful not to put it where it can touch my skin too much. Also this is a good thing because the cotton/linen bland and cotton fabrics are generally substantially cheaper than the linen, however I have had many comments regarding my chemises not being linen by the more purist costumers, but once I explain about my allergy most seem content with that reasoning. Wool I can only use as top most garments such as cloaks, so I have few woolen items, and I tend to overheat easily and these few items rarely get used anyhow.

So my advice to anyone out there who may read this. If you are a starting out costumer, or someone just sewing for enjoyment, use what you can afford and what you like, if anyone approaches you to criticize your choices, ask them about their early garb. Was it all pure fibres? Was it all perfectly tailored? Or even better still ignore the negativity and ENJOY your costuming! Have fun with it! Not historically accurate? Oh well, does it really need to be? If so, then well you’ll have to go down that wicked windy path of deciding on which expensive fabric to use, and whether or not to machine sew. But if you are just having fun wearing pretty garb, and enjoying yourself. then LET ALL THE FABRICS FREE no matter what their content might be.

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So the IRCC 2015 is all over

I have totally enjoyed participating in the IRCC again this year, I am the only person who has completed it every year of the five years it has run and I am quite proud of that! I am also very proud of the fact that over those five years I have learned so much and improved my sewing skills dramatically, now I just need to work on my confidence I guess, LOL that will never happen!

anyways I came in second overall in the points, up from third last year, and I also won Best Historically Accurate Design, so I am quite pleased overall.

 

Of course looking at the outfit I am already planning on how I can imporve things for the next one I make, whether that is another IRCC or not remains to be seen, but as always I will push myself to learn better techniques and grow as a costumer.

Next on my agenda is a nice black Spanish Saio with black venetian styled pants and new white linen shirt with honeycomb smocked cuffs and collar for Adrian, then heaps of new fun garb for Miss Hannah who just keeps growing out of her garb!

I have to mention I am really proud of my household girls who also managed to complete the IRCC this year!

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Italian renaissance Costume Challenge 2015- Full Final write up

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Layer 1:
chemise side
Chemise
My chemise was loosely based on an extant example found in Museo del Prato , which is described as “suitable for wearing with a squared necked petticoat.”
The design is one I have used previously based on this historical evidence and I have found it sits quite well around the neckline and doesn’t add too much bulk in the body, it is very comfortable. Instead of inserting gores I have flared the cut of the body of the chemise to make best use of the very wide fabric. Once the soprana (over gown) was completed, I did find the sleeves of the chemise were too long and much too bulky, so I went back and unpicked the chemise and removed the extra fabric and reattached the cuffs, the fit is now much better. It will be a chemise that is used quite a lot in the cooler months although I believe it will be too warm for me in the warmer months. I am extremely please with the edging I used around the neckline and have plans to make another and also add some embroidery.
Layer 2:
sottana front
Sottana
My sottana was made from a lovely cotton brocade in a nice neutral off white/cream colour. The design is based on the red gown held at the Museo di Palazzo Reale, commonly known as the “Pisa” gown. The bodice pattern has been one I drafted based on this gown and have been working with and tweaking for a number of projects and I am almost happy with the fit, however due to my weight fluctuations I think I will never get it completely right. The bodice has been stiffened, as it is evident that most Italian gowns were stiffened and the use of corsets was minimal, probably due to the heat. The internal layers of canvas give support to the boning, in this case I have used cable ties as they were handy and inexpensive. Also I already had them in my stash and my other challenge for this IRCC was to use mostly my stash and not purchase too much new. The skirt is gathered and sewn onto the bodice, and the bodice is fully lined, only the long seams are done on the machine the rest is all hand finished. The skirt has a wool felt skirt guard to both stiffen and protect the brocade, I have found this method to work very well and gives the skirt enough weight to move out of the way when walking minimising the trip hazard as I am known to fall over anything! The skirt also has some bands of velvet ribbon both for decorative purposed and to help in the stiffening. The bodice is laced through sewn eyelets on the side, slightly towards the back, with a cotton cord in a spiral manner which is evident in many paintings of the era. It is a lacing that enables me to get into and out of the gown unassisted and gives good support and is easily loosened or tightened when required. I think this gown will become a standard underdress for my wardrobe as it is very comfortable and gives a great base for my growing number of soprani (over gowns).
Layer 3:
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Soprana
I was inspired to make this particular style of soprana after completing the coverciere (partlet)  from the Maria de Medici portrait. I chose a teal green silk that had been lurking in my stash for way too long as it toned in nicely with the purple and green embroidery I had already completed. The design for the bodice is one I had drafted for a previous gown from a pattern in Alcega, of course mine never come out looking much like those in the book due to my body proportions being radically different to those shown in the book. The internal layers of the bodice section are a cotton canvas that give a nice amount of support to the standing collar once they have all been sewn together to add stiffening. I have lined the bodice section with a matching cotton fabric to give some breathability to it and I find silk can be very warm to wear. The edges of the soprana all feature hand made and slashed bindings which I find give a nice finish to the gown, this binding continues all down the open front and around the hem of the soprana. The binding was all cut using a chisel and mallet which is as close to period tools as I am able to afford at this time, they prove to be most effective and easy to master. Both the upper and lower sleeves are inspired by different portraits as I have previously mentioned. The lower sleeves I am extremely proud to have completed and believe I shall make them again in another colour for another gown I have in the planning stages. Also I have been asked to teach a class on how to make them, so will be working on a tutorial on them. All the trim on the gown bodice has been hand beaded with small gold filled seed beads and real pearls, the pearls on the cutwork sleeves however are not real ones as these were a better size for the trim than any of the real ones I have in my stash. all the trim was hand sewn on. The bodice closes with hooks and eyes and over these I have added some buttons that look like pearl clusters, again because I had them in my stash to be used and they looked nice. I am very finicky over the internal finishes of all my pieces and will not settle any raw or unfinished edges to be left, so the skirt has French seams, and the lining of the bodice is hand sewn down over all seams to give a nice neat finish.
Layer 4:  Maximum number of 4 accessories
accessory 1:
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Coverciere or partlet
This piece was my starting point for the whole outfit. I have loved this collar ever since I first saw the portrait, but not having any confidence in my embroidery skills I was reticent to give it a try. this year I decided it was time. I drew out the design as best as I could make it out from the picture, simplifying it a little due to my lack of skills in the embroidery area.  I am extremely proud of myself for pushing outside my comfort zone on this piece. the entire piece except a couple of seams has been done by hands, and I have even hand couched down the strings of pearls and gold cording and added pearl clusters to the gold lace, which proved to be extremely fiddly! My hands went on strike and were very painful for days after completing this piece but I am so happy I managed to finish it.
accessory 2:  handkerchief
handkerchief
At an event  I was lucky enough to attend a class on drawn thread work, and even though I has zero confidence in my embroidery skills I thought I would give it a go. I was very surprised at how easy the technique was even though it did take me quite some time to complete it as I was so slow.  The handkerchief it made from an even weave linen and the sewing has been completed using a cotton thread. Drawn thread work has been done over many centuries and was known in Italy and Spain as Punto Tagliato.  I am happy with how it turned out and have been considering trying this method on a coverciere in the future.
accessory 3: Fan
 fan
I started this piece as a flag fan, but was not please with what I had managed to make and turned instead to making a fan from the feathers and handle I already had in my stash. The silver handle required quite a lot of gentle pounding with a rubber mallet to make it flat, it was round. Once I had it flattened I used pliers to gently straighten the sides where I had bashed it a little too much and it had gone wonky, luckily I managed it without splitting the metal! The feathers I bought a number of years ago, they are emu, peacock and some plain white. I laid them all out and then trimmed them down to size. The next step was to get them to stay in the handle, I tried a number of glues which didn’t work until I got out my hot glue gun, which I used by quickly laying in some glue and pressing in the feathers in a line, then another layer of glues then the next layer of feathers until I had all the rows in place. The glue styed malleable enough for some last minute adjusting but dried quickly enough that they stayed in place whilst the next row was added. I left it on my desk to dry over night only to come the next morning to find a helpful kitty had “killed” it for me and it was in a heap on the floor! Luckily only one feather was bent beyond help and had to be trimmed out, the rest I was able to gently rearrange into looking like a fan again. The fan now has a box to keep it safe from any future attacks.
Accessory 4: necklace and earrings.
necklace and earrings
The jewellery I made for this outfit are a necklace and earrings. They feature natural pearls, obsidian beads and teal Swarovski crystal beads. I had hoped to find a natural teal coloured bead to complete this piece but couldn’t find anything in the shade I wanted, the crystals were already in my stash so I went with them. They have been strung on strong jewellery thread and have a magnetic closure to make it easy for me to put them on and off by myself. also by using a magnetic clip, should the necklace become caught on anything the magnet will release rather than break the necklace. The earrings are simple pearl and gold bead drops, as pearl drop earrings are featured in many Italian portraits of this era. I also have a very long strand of natural pearls that I will wear with the outfit.
Other items:
coif top
I also made a ribbon woven and beaded coif which I intended to wear with this outfit, however due to the beading on the partlet and the open nature of the ribbons on the coif, when worn together they catch together making  it uncomfortable and the coif is pulled off in the process. I will be making a new caul to wear with the outfit, probably from from fine silk I have on hand or possible an offcut of the teal silk.
dolly
I am also working on a mini me doll just for fun! So far I have painted on her face and sewn in her woollen hair. She has a camicia and a sottana. Her outfit will be completed with the appropriate partlet and soprana, also jewellery, hose and shoes.
I also made a beaded belt to wear with the outfit using fake pearls, black, green and gold beads. Unfortunately I left this item on my dressmakers dummy and one of my cats decided to kill it for me and it broke scattering beads everywhere, I have not had an opportunity to restring the piece as yet. So in the photos I am wearing a silk belt that featured gold filigree work and pearl beads closed with a decorative hook closure.
I am thoroughly enjoyed taking part in the IRCC for a fifth straight year. I am over joyed to have also been able to help and encourage 3 other participants to successfully complete the challenge as well. I have again learnt more skills and have ended up with and outfit I am quite pleases with.
I wish to thank Bella for running this challenge again, for all her many hours of hard work and patience, we all really appreciate the opportunity you provide for us.
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