Embroidery for Master Joel Messerer

Master Joel Messerer was elevated to the Order of the Pelican this weekend at The Sign of the Dancing Fox. As part of his elevation, I was asked to create an embroidered medallion for his cloak. The medallion art was taken from a scroll created for Master Joel's Pine (the Barony of Concordia's service award).

I was provided a photo of the art to be embroidered, a 6" square of cream wool, a 6" square of cream linen, red silk, and black silk. Due to a miscommunication, some of the other medallions were done on the linen side, while others were done on the wool side. To help with visual balance between the fabrics, I was asked to create my medallion with the linen square facing up. 

The first task was to transfer the design to the fabric. As the design was a different size than the requested circle, there were a few different options for this:

• Resize the image and utilize a light box to trace the image.
• Freehand the image on the fabric.
• Grid the fabric and the design, and scale based on the grid lines.

As I am a mathematically-inclined individual, I chose the grid option. Below are the step-by-step instructions for the grid transfer. 

1. Draw a vertical and a horizontal line through the center of the image. 
2. Draw a vertical line halfway between the center line and the edge of the pattern. 
3. Repeat this on the other side of the center line
4. Draw a horizontal line halfway between the center line and the edge of the pattern.
5. Repeat this on the other side of the center line.
6. If you need more grid lines, continue drawing lines between the existing lines until you have the desired size grid squares. 
7. Repeat steps 1-6 on the fabric. 
8. Using the grid boxes as guides, draw the image on the fabric lightly, with pencil or fabric pen, making adjustments as necessary, to get the desired look. Remember the grids are not perfect, so you may need to make some minor adjustments to get the image to look right. 
9. When you are satisfied with the image, go over it again with slightly darker lines. 
10. Now you're ready to sew!

Personally, I find the grid method to be the easiest, as it breaks the image up into manageable chunks. Scaling with a light box can also be fairly simple if you are decent with scaling. Additionally, I chose to do this portion of the art as an approximation, as they would not have calculated perfection of reproductions in period. 

As the other embroideries were done entirely in split stitch, I used this stitch for conformity. Were I given an option, I would have likely chosen chain stitch for the circles, and split stitch for the design, as I prefer the look of chain stitch on circles. Below are the final front and back photos of the medallion. 

A Lily Pride Azure - Part 2: The Gilding

Click here to read Part 1: The Acquisition.

In Part 1 of our journey, we learned I was able to acquire 8 yards of blue cotton velvet, 3.5 yards of synthetic, but deliciously rich green and gold brocade, and approximately 1.5 - 2 yards of silk satin for the gown. While not all of these are period appropriate, the period correct fabrics are not currently in my budget. 

Most people might start with construction of the gown, when working on a project of this magnitude. Not I. Instead, I decided to start with the show piece. I cut a piece large enough for a stomacher, of the synthetic, but deliciously rich green and gold brocade with a medallion piece to embroider. I chose a cream silk embroidery floss (splendor silk) that matched the luscious wedding gown silk for the embroidery. I chose a split stitch for the design. Split stitch can be found in extant examples in Opus Anglicanum and is thereby, period-appropriate for 1560 England. 

About 1/4 of the way through the design, I decided the deliciously rich gold was not gold enough. It needed spangles. 

Now is the moment I will take to give a brief history/fashion lesson(ish): spangles vs. paillettes vs. sequins. This topic has plagued fashion historians for some time, as, from what I have found, there is no truly globally accepted, definitive definition for any of these terms. Generally, what I have found is "sequins" covers the gamut of small sparkly adornments which are individually attached to garments and other pieces of decorative fabric. Sequins can be metal or plastic; they can be round or square, or any other shape; they can be flat a faceted. Spangles are usually round, flat, and most often made of metal (again, this is not universal). Paillettes are also typically round and flat, but can be made of any material. 

 Back to the task at hand. I ordered spangles from Hedgehog Handworks (I'm so sad they're closing!). I ordered sizes #12 and #14. I decided to put #12's at the end points and #14's at the intersecting points. It was a ton of work, but also a ton of sparkle. And this project is ALLL about sparkle!!! The center medallion has approximately 20g of gilt paillettes. It was worth every hour of work, every stitch. 

My next step would be the trim. But, before I create the trim, I aught to determine how much I would be needing. So, I suppose it's time to create the gown. Though, if I'm going to be creating the gown, I may as well compile the correct documentation. (Yes, I realize how backward this is...now!) I suppose it's time for a trip to the University at Albany Library. 

Every Journey Begins Somewhere

People often complement my garb and level of authenticity in it. I've heard people say they wish they could make garb like mine. I've heard people say they don't have the talent to make clothes like mine. However, I didn't start with this garb. It's taken years of practice, research, and more practice, to get where I am.

Let's start with a picture for some perspective, shall we? This is me just before I began in the SCA. When I began, I didn't know what a 16th century English woman would wear, let alone what fabrics or construction techniques she would use. I didn't know that linen and wool were the fabrics of choice. I had never even considered embroidering anything. To be quite frank, I didn't care know, either. I could sew a straight line with a machine, and I could darn a sock, but I did not hand-sew things by choice.

When I first joined the SCA, I joined as a "Rennie" (as we are referred to). I wanted a place to wear more fun Renaissance clothing. I was young and shiny, and knew nothing about the Society. After joining, I was given both positive and negative feedback on my clothing choices, among other things.. Very quickly, I realized there was more to the SCA than just wearing the clothing I love. I began to look through paintings. I began to read about fabrics, techniques, trim, accessories, etc....

I made gown after gown, researching more and more after each one - changing and improving, making each piece a little more accurate. I fell in love with the Armada Portrait and began working to put the pattern from the sleeves onto a red velvet stomacher (after learning what a stomacher is, of course).  I used couched bead-work to create the effect, though I didn't know that's what it was called until many years later. I did it because I though it looked cool. Would I make that same choice today? I'm not sure. I'd need to look into the fabrics and applications of patterns first. Though, with what I know now, I believe it is plausible, given: we know the pattern existed in period, velvets were used in period (though the one used here is synthetic - sometimes compromises must be made due to budgetary constraints), and couched bead-work is prevalent in the mid 16th century as well.

I continue to learn and grow, just as we all do. I am happy to share when I am able. I find teachers and students in nearly every person I meet.

The next time you look at someone and feel overwhelmed by the authenticity of their garb, or the terminology they use, or the knowledge of their art, or their skill with a weapon; remember they, too, started somewhere. They did not join the society as a Master, Mistress, Baron, Baroness, Duke, Dutchess, etc; they began as a bright-eyed, eager student, excited to do something that makes their heart light up. I bet if you ask them about their craft (whatever form it may take), their heart will still light up.

We love to share our crafts, and we share our crafts with love. 

I Came for the Clothing; I Stayed for the People.

Greetings and salutations! Before we explore all of the fascinating exploits of this modern Elizabethan, let me tell you a bit about myself.

I am Lady Olivia Baker of the Barony of Concordia of the Snows of the East Kingdom of the Society for Creative Anachronism (SCA). I was introduced to the SCA in August of 2007. It was pitched to me as, "a place where we can dress up year-round!" You see, before I found the SCA, I was a renaissance festival patron (commonly referred to as a "Rennie"). I had these lovely Elizabethan outfits that I would get to wear once or twice/year and I wanted more. So, I happily attended my first event, Harper's Retreat, in the Barony of Stonemarche (in NH), wearing one of my aforementioned outfits. Some people were kind and complementary. Others just stared in disgust at the audacity of someone to wear such an outspoken frock. Overall, the positive outweighed the negative, so I attended several more events and eventually found Concordia.

I came for the clothing. I stayed for the people.

So, then, what is it that makes me tick? What keeps my fires burning? It all starts with the clothing. When I first stepped into the SCA, it was my love of the dramatic Elizabethan style that brought me. I make all of the clothing I wear, as well as my hats. Sewing and embroidery are my home. They are where it all began.

My second flame is music. Music makes my soul fly. It brings light where there is dark. It paints my sepia life in technicolor. To say that I love to sing would be a gross understatement. I don't love to sing. I live to sing; I sing to live. It's said that when an artist paints, he leaves bits of his soul on the canvas. When I sing, my soul echoes through the rafters. It's a gift I have not previously shared freely. Though, now that I'm Concordia's Bardic Champion, I suppose I will have to share it upon the request of our new Baron and Baroness.

Last, but never least, I am, by trade, a baker. I own a bakery in Albany, NY. While I am not classically trained in the art and science, I have learned through many years of working in kitchens, starting as a dishwasher and ending as a pastry chef. I have just recently begun venturing into the realm of period pastry. You should expect to see a great deal more on this in the future.

In all that I do, there is one common thread: beauty. It's been said that I have an aptitude for creating beauty in all things. I can take the purely mundane and make it extraordinary. I can transform the extraordinary into the exquisite. The lily is stunning on its own. I gild it.

So, there you have it. I have laid the primer. What will come next? Walk with me and we shall learn together.