IRCC 10 Pants….

June:

This month I managed a pair and a half of pants for my husbands outfit. I had a load of pain and movement issues so sewing was very sporadic. Also photos are crap as my old phone has died and my tablet does not take good pictures, I will replace the photos once I get a new phone.

The pattern was one I drafted in the first month of this challenge from the Modern Maker book, The Freyle 1588 Calcon.

I cut them out of a heavy drill for the first pair, my husband has requested two pairs, one for general day wear and another for nicer occasions.The drill was not wide enough, and there was no option for more fabric so I took out some of the width and they are just not quite as full. Once these were constructed, I tried them on him he was very happy and now the second pair are from another, mystery fibre content fabric from my stash, but this pair will be lined with some red cotton.

 

July:

 

I finished off the Second pair of pants as well. Yay  things are happening! Might get totally motivated and get onto the doublet soonish

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updating the Blog and an awwwww moment

So in uploading pictures to update this blog I had a total awww moment in looking at how much my sweet Hannah has grown up during our years in the SCA

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IRCC 10 The second outfit

OK. Then came May!

We had to move house again so I lost almost 3 weeks of sewing time.

With only ten days remaining I decided to make a shirt for my husband whose outfit is next on my plan.

He wanted bear blackwork embroidery to reflect his personal SCA heraldry, so I designed some simple collar and cuffs and then spent 10 hours over 2 days embroidering them. Did I mention I don’t enjoy embroidery? Anyways once I could move my arms again, shirt was cut out following the same pattern I used fro my daughters, obviously much larger though.

Once constructed the collar and cuffs needed something more, so I did the needle lace in black this time. Nice but not enough so black thread wrapped buttons, and then more embroidery around the seams happened, also hand made button loops and that little bar thingy on the front opening to help prevent tearing.

So it’s complete, yay I made something this month!

Next month, pants! And maybe more….once I decide on the inspiration portrait for this outfit.

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IRCC 10 the finished Miss Hannah outfit

So now that IRCC  has moved completely onto Facebook.

It occurred to me that many of you are not members of the book of face and won’t be able to see whats going on, which is a shame.

Anyways here is Miss Hannah’s completed outfit, I did the whole thing in the first two months.

of course I am still working on more for the challenge, now I have moved onto an outfit for Adrian.  This wil be in the next blog post 🙂

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And so it begins…IRCC 10 The Big One

This year is the tenth  Italian Renaissance Costuming Challenge and the tenth time I have entered, I am the only person worldwide insane enough to have entered every year. Also this year the challenge has been extended from four months to ten months and requirements expanded from four items to ten!

So of course I am totally up for the challenge! This year I set my sights on making not one but three outfits for myself, my husband and my youngest daughter.

Outfit 1 of 3: based on portrait Sisters playing chess by Sofonisba Aguissola

Sofonisba-Anguissola-Drei-Schwestern-beim-Schachspiel

First up is one for my youngest daughter.
I started with designing the black work for her shirt which is chemise length. She requested a design based on the symbols in her favourite book series, and so I drew up the design and embroidered it by hand using a double running stitch. After constructing the collar and cuffs I added some simple needle lace to give a nice edge. The shirt was constructed and I finished with hand worked buttons and strengthening bar and button loops on the neck opening and cuffs.
The pattern for the shirt was based on one I have used before which is found on The Elizabethan Costuming page

Next up was a simple pleated underskirt made in a blue indigo linen. It features a tuck and nice trim lined with felt to give a stiffened hem. The skirt is simply box pleated to the waist band which closes with a hook and eye.


I spent a couple of days making Bara tapes for the three people I am sewing for, so used these tapes to draft patterns from the Modern Maker volume 2.
The fabric my daughter selected for her sottana was a lovely silk sari in dark red with gold pattern and blue stripes.
I constructed the bodice with a lining of red linen two internal layers of denim and then the outer layer of silk. The denim is the only stiffening in the bodice as my daughter was adamant she did not want any boning.


The skirt is a simple gathered skirt attached to the bodice, the hem features the nice gold sari edge and a black velveteen skirt guard for strength and length. The sottana is machine sewn internally but all finished by hand where the sewing is visible, sides are closed using spiral lacing.


Sleeves for the sottana were cut carefully from the sari end that had the blue stripes so that the stripes form bands around the arms. I carefully used a double needle to sew the sleeve pieces to linen lining to highlight the stripes and also give strength to the very fine silk. The cuffs are finished with black velveteen ribbon to reflect the skirt guard. The baragoni were shown in the portrait being scalloped pattern topped with small rolls so I created small scalloped strips which were hand manipulated and sewn to reflect the portrait. The sleeves tie to rings sewn under the straps of the sottana by hand made ties finished with brass aglets.

 


The overgown is currently underway.

20200421_105507

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IRCC9 All the final write up

Month 1
Item completed Camicia
pair of handkerchiefs accessory
The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added. The extant example shows goes added to give the fullness in the body however the fabric I chose was wide enough that I could simply cut the width rather than add it in.
I have attempted to stay as true to the extant example as I could.
The pair of handkerchiefs were simply off cuts from the camicia, and some of the lace that was left over. It is seen in a number of 16th century portraits that ladies did use lace edged hand kerchiefs.
Items completed in month 2
Sottana with optional removable sleeves in the style of Eleanora di Toledo
Beaded girdle belt- accessory 2
This sottana serves multiple purposes. It will be worn as an under gown as it is padded and boned as a supportive layer to wear with the veste and giubonne over the top in the style Lavinia Fontana’s self portrait of 1575. The sottana can also be worn with it’s optional removable paned sleeves in the style of  the portrait Eleanora di Toledo of 1545. This style of Sottana spanned a number of years and styles in the 16th century ladies styles, beginning as an under gown, then becoming a gown in it’s own right with removable, optional and interchangeable sleeves, and then it moved back to being an under gown again with the incoming veste and giubonne styles later in the century. I look forward to wearing this very comfortable gown with or without sleeves, and also under it’s over layers, it will be a very  flexible addition to my ever growing renaissance wardrobe. The design and pattern was originally based upon an Alcega  that I adapted over time to best fit my ample proportions ans alter over different gowns to be most comfortable but still in keeping with the period design, with it’s side back lacing being reachable and able to be laced on my own without assistance when necessary. The skirt on this gown was not cut with the additional side gores as per Alcega due to  the minimal amount of fabric I had, however the skirt if still very full and in keeping with the style I was trying to achieve. The skirt has been hand gathered onto the bodice and carefully enclosed between layers as it was very frayable and was worried it may give way without support. The hem has been thickened with an added layer of felted wool and some beige fabric I had on hand. I have always found this to be very helpful in keeping moisture from wicking up skirts and also to keep skirts from wrapping around ankles causing tripping which I am inclined to do. Both the front and back of the bodice were boned and padded to given the nice flat stiffed look and be very supportive giving a good base for the over layers to come.
The sleeves were created by using a normal straight sleeves pattern which was divied into several pieces, cut and sewn together with it’s lining. These panes are then turned in the right way and ironed, then the long process of hand sewing these panes together and adding the beading at each catch point. There is also lace with hand beaded added at the wrists and the tops of the panes are gathered onto tapes and then again sewn to each other to create the scrunchy baragoni. The ties for the sleeves are made from folded hand cut silk bias tape, I prefer these on the sleeves not the gown,they also feature lovely cast brass aiglets from the style of the 16th century, these pass through brass rings sewn on the underside of the straps of the gown, making them very easy to put on and take off and very secure once on. The construction and beading of these sleeves took a lot of hand work and tie but they are certainly work the effort.

Items completed month 3

giubonne with much handworking
accessories 3 Jewellery set consisting of two short necklaces, one pair of earring and a long coral necklace. One necklace to be worn with the sottana and sleeves option, the other two, being the real pearl and real coral ones, for the multi layered outfit. Earrings obviously can be worn for both

The third, but not final layer of my Lavinia Fontana inspired outfit is the giubonne (doublet) layer. It is based on a blend of a Alcega pattern and the waist coat pattern from the Tudor Tailor.I made a giubonne in last years IRCC and I started with that pattern but then I went on drafting several patterns to get this one sitting just as I wanted it to but without being overly tight as I find it too constricting due to health issues. It also needs to to be able to be buttoned up completed or left with the collar open depending on which style I am opting for on that day. For this outfit it will be worn collar open. The sleeves in the Fontana portrait are shown with quite full tops coming down to tight forearm so I added flare to my sleeve pattern and made the forearm into a style that is buttoned almost to the elbow.

The sleeve pattern was drawn up  onto a piece of calico and I then drew the cutting pattern onto this. It features diagonal cuts in a star pattern and small holes in lines. It was difficult to make out the actual pattern from the portrait but this seemed fairly close. I cut the silk for the sleeves, NOT on the bias but on the straight grain this time. The three pieces were pinned down to a sheet of plywood and I cut the slashes with a small wood chisel, new so that it was very sharp. The small hole were punched through with a paper hole cutter I had in my kit from paper crafting days. It did not cut very well but enough that I could then careful trim the holes with small scissors. I then hand beaded small groups of seed beads into the middle of the slashing pattern. This was a very long piece of hand working but again very worth the time and effort. he more the silk has been manipulated during the sewing process the more the slashes and hoes have started to fray and open up showing the lovely cutting pattern and also the gold silk I used as a middle layer in the sleeves. The internal layer is simply a cotton. The cuffs of or the giubonne feature hand made slashed binding in the same silk as the body of the piece. this just gives a nice finish to the cuffs and reflects those shown in the portrait. the buttons for the sleeves and front are small pearl buttons carefully chosen to tone in with the ivory silk. This layer is very comfortable and I am glad I took the extra time to get the fit as I wanted it as another tight layer would have not worked for me. I am especially pleased with how the hand working had added subtle interest to this middle layer, those many hours were worth it.
The giubonne does not fit over the optional sottana paned sleeves these have to be removed when the outer layers are worn, so two outfits in one really depending on how many layers you want to wear.
The giubonne took a lot of my limited hand strength so in between layers I played making up the jewellery sets fro this outfit. I have a collection of jewellery making supplies which include old pieces that I pull apart and remake in renaissance styles. The necklace and earring for the sottana alone set were made in this fashion. I disassembled some items and played around until I got the look I was after. The short real two colour pearls and very long real coral pieces were simply strung from pearls and coral I bought for this particular purpose. They are strung on very strong wire to ensure no breakages.
I did begin on the put layer veste by starting the cutting out and making the hand cut bias for the edging.

So the final parts of my outfit

The overgown or veste- extra layer
the lace collared partlet – extra layer

the woven garters acessory 4

The outer most layer of this ensemble is the pinkish silk veste, with it’s two layered ruffled and pointed baragoni and very long hanging sleeves. This is a mixture of two portraits, the Lavinia Fontana one and one by Zuccari of alady seated in a yellow veste. The two portraits ar of a very close time frame and both artists were active in the same area so it stand to reason the styles are very similar, both have the ruffles but one has the long sleeves and the other the second row of baragoni, I have simply added both extra features into one gown.The Zuccari veste shows a loose back to the gown but it is hard to make out the fit in the Fontana portrait but it looks like a fitted back, for my own comfort and preference I have opted for the loose mongil style back  as I already made this style and had previously drafted my pattern from one in Alcega I simple use this rather than reinvent the wheel. I had also previously mage the hanging sleeves and had a pattern for those saving myself a lot of time. Time that I sued to careful hand bead and attach the many many metres of trim that went onto this veste.  The beading took a couple of days of many hours to complete but really made the trim much nicer. Again though the extra time and pain I put my hands through is well worth the effort and it really adds interest  to the piece.
The baragoni themselves did not take too long to actually create. The ruffles were simple box pleated and the points were cut in half oval shape, sewn turned, ironed and more beading. I sewed the two layers together to stablise them before fitting them in the armhole along with the hanging sleeves, this did give many layers to sew through but thankfully my machine is made for the heavier duty sewing. This year I chose to completely line the veste and I hand sewed this lining in with invisible stitches. The body is lined with a cotton/linen blend that tones in with the silk, the handing sleeves are lined with a golden silk. All the edge seams also feature hand made and slashed binding. The top front of the sleeves have a hanging pearl where they finish in a point.
I had intended on make silk button for the veste but on making a few I did not like the ook of them, so I went rummaging around my stasha nad found some pearl cluster beads, caps and eye pins, and created 42 buttons for the front of the gown, As these are purely decorative they did not need to be be very strong. The gown is closed in front with hidden hooks and eyes.I really enjoyed hand making the buttons and already have plans to make more for future projects. The veste has very small openings in the side seams to allow the belt to be worn without holding the loose back in.
The partlet was actually fairly simple. I used my regular partlet pattern, or I should be calling it a coverciere, pattern. The lace was a wide lace I found in my stash. I hand pleated it and added temporary stitches to hold in shape, the ends I add some thin lave to give a nicer finish. The lace I box pleated onto the collar piece and sewed onto the partlet. The temporary stitches were then removed. The lace is stiff enough to keep the shape by itself. I am still not quite convinced I like how wide the lace is and might trim it in thinner in the future sometime but for now it is a lovely finish to all the layers of this outfit.
Although made last the partlet is worn under the giubonne.
The last item made was my final accessory, a pair of woven garters. I used my new inkle loom with some lovely silk thread alternated with some gold tone cotton. I created the pattern using an online inkle loom pattern generator which made warping the loom much easier. I used the silk as the weft thread as well, and as this was quite a thick thread the weaving was quite a lot quicker than I though only taking me a few days to complete. I sewed the weft thread back into the weaving to finish the ends off nicely. I did weave the whole warp in one go and the cut this in half to create two garters, I thought these would be long enough and they do work but I would like some slightly longer and will make another pair sometime in the future maybe. I do love the softness that the silk thread bought to these though and they are very comfortable.
The only day I had set aside to take my final portraits and it was teeming down with rain so we made the best of it and headed to the Arts centre which provided a nice background and enough protection so I did not get too damp.
I am so pleased that I finished this again, nine years! I look forward to next year being the tenth, and for me probably final, but who knows I may not be able to break the habit!
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Only days away from IRCC9

not sure what I had here but sorry it was hacked and it’s gone

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Found another Purple one!

Ok well the sleeves are purple-ish anyways. I like it though, especially the tall hat! 1576 Bartolomeo Passarotti - Pietro Annibale Bargellini

1576 Bartolomeo Passarotti – Pietro Annibale Bargellini

The hat seems to be a Bolognese regional style, may have to make one for my hubby.

 

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My Red Allessandro Allori gown

I have wanted to do a version of this outfit for a number of years and finally earlier this year all the pieces came together and it happened

 

Allessandro allori Portrait of a Lady Florence 1560

A few years back I stumbled across a number of beautiful dark red damask tablecloths that had a nice bold design that were on sale so I bought quite a few of them with this gown in mind.

1 april 2018 019.JPG

The partlet fabric was a piece in a throw out bin for only a couple of dollars and I really reminded me of the texture of the one in the Allori portrait, so finally the fabrics has come together.

Usually I would tend towards silk and cotton, not linen I’m allegeric, and these fabric are man made fibres but they just spoke to me ans had to be sewn.

1 april 2018 016.JPG

The bodice has cable ties for boning in front and none in the back as due to a back problem I can’t tolerate boning in the back of bodices, I know it makes them not sit flat like they should but my pain levels are more important to me. The cable ties are encased in channels sewn in canvas, the lining is a red cotton fabric and the outer is the red damask, cut carefully so the big design is centred on the middle. The bodice is laced on both side/backs.

The skirt is a simple tube cut but then trimmed at the hem to give a very slight train, not too long as to trip over my consort. The hem is stiffened with a layer of felt and cotton.

1 april 2018 012

The sleeves were the biggest challenge with their unsual slashing pattern. I make a mock up out of a normal sleeve pattern and found that if I made the seam of the sleeve at the top instead of underneath it served as the main vertical slash quite nicely, then the others were cut on a 45 degree angle. The top part are the sleeve was cut off in order for the paned section, in which I have insert faux puffs in a white cotton. The slahes are all hand sewn to the lining with bias binding cut off the main fabric inserted between the layers, This binding was then slashed using a craft knife. This slashed bias binding is also used around the neckline of the bodice. The openings in the sleeve were sewn together at intervals and small knots of red cord to serve as the decoration. The head of the sleeve is bound and ties attached to make the sleeves removeable. I have sewn lacing rings under the straps of the bodice which these tie too.

The partlet is just a simple design which I have added a collar too with four ties.

1 april 2018 0081 april 2018 021

 

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Cosimo in purple…the collection continues

Cosimo I de’ Medici (1519–1574), Grand Duke of Tuscany Agnolo Bronzino (1503–1572) (after) National Trust, Overbeck’s

Cosimo I de' Medici (1519–1574), Grand Duke of Tuscany Agnolo Bronzino (1503–1572) (after) National Trust, Overbeck's

Alessandro Allori (1535-1607) Portrait of Cosimo I de Medici,oil on poplar panel,86 x 65 cm. Source-Dickinson Gallery,London and New York.

Alessandro Allori (1535-1607) Portrait of Cosimo I de Medici,oil on poplar panel,86 x 65 cm. Source-Dickinson Gallery,London and New York.

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