A Lily Pride Azure - Part 3: The Cognizance

Click here to read Part 2: The Gilding

There I was, sitting in the University at Albany library, with a stack of 12 or so books, and a picture in my head of what I was trying to find. The idea, as you may recall from Part 1: The Acquisition, was an overly ornate stomacher and forepart, with paned sleeves, an Elizabethan tall hat, and a train. I started with the first book, flipping through, scrutinizing each painting. looking at each detail of the gown: the overskirt, the forepart, the bodice, the partlet, the hat, the jewelry, the gloves. I looked at each detail, sure I would find documentation for this gown I had dreamed up. Painting after painting, book after book, and each time I found something resembling what I wanted, it was from late 1570's or later. I could not find a single picture with an ornate stomacher on a bodice from the 1560's. There were brocade or otherwise patterned jackets with adorned stomachers, paired with contrasting closed-front skirts. There were also split-front skirts with unadorned matching bodices.

Nothing. There was nothing that would document what I drew. I also quickly became cognizant of the fact that I do not own a single Court gown that actually fits my persona. I have to change every single Court gown I own, to make them accurate to my persona. Every. Single. Gown.

After closing the final book in my stack, and taking a moment to mourn this new realization, I picked up my pencil and began to redraw my gown. I took out the stomacher and replaced it with a triangular design of sharply contrasting trim¹, adorned with pearls and spangles. I also removed the tabs I had at the waist, as these were only seen on jackets. The Spanish sleeves also were removed. I added a 2nd layer of tabs at the shoulders¹. Finally, I added the same sharply contrasting trim from the bodice, to trim the split front and the hem of the skirt².

As this gown was being created for an event in the Barony of Concordia of the Snows, I designed the contrasting trim with a center bead and six beads surrounding it, as an allusion to the Concordian snowflake.

Next step: to create the remainder of the gown, in 5 weeks.

¹Roy Strong, The English Icon: Elizabethan & Jacobean Portraiture (New Haven: Yale University Press, 1969)
²Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd (Oxford: Routledge, 2015), 113

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. 

A Lily Pride Azure - Part 1: The Acquisition

There is no denying my most recent project is a peacocking project. There is nothing subtle or subdued about this gown. It is, in fact, my most ostentatious piece. And, I love it.

As they say, the beginning is a very good place to start. for 4 years, I had plotted and planned an immersion Elizabethan feast event. I knew I wanted to create a new outfit to showcase at this event. It had to be amazing. It had to be blue, preferable with white and gold, as those are our Baronial heraldic colors. It would be a work of art. 

I had a general idea in my mind of the design I wanted. (I wish I had taken pictures of the many, many sketches and modifications I made to this gown throughout the process. There were SO MANY iterations.) From the onset, the idea was an overly ornate stomacher and forepart, with paned sleeves, an Elizabethan tall hat, and a train. I know, you're thinking, "that's definitely not what's pictured" and you're right. That was the first iteration. We'll talk more about this later. 

So, off I went to find fabric. First and foremost, let's talk about the correct fabric choices. From my 9 SCAdian years of knowledge accumulation, I've determined silk, wool, and linen were the primary fibers used in 1560 England. (For sources, open any book that discusses Elizabethan clothing, agriculture, merchant trade, etc.) I also know brocade and velvet fabrics were available at the time. ** Through my travels I determined silk velvet ($18.00/yard was the least expensive I found it), and silk brocade ($52.00/yard in a pattern and color I liked) were not possible. That said, If you have never had an opportunity to pet silk velvet, you absolutely need to do this. Trust me. 

Moving on, I was gifted some stunning green (acrylic?) velvet by Mistress Annastrina, with whom I am apprenticed. I absolutely love it, but it isn't the blue I was hoping for. So, I kept putting off the gown. And putting it off. And putting it off.... I got a message one day from a friend who was heading to an estate sale. Though, this was not just an estate sale. It was an estate sale for a civil war costume shop (bare with me here) that was going out of business. Well, if anyone was going to have the fabric at an affordable price, it would be them. Upon my arrival I immediately bypassed the 30 or so other bins of fabric, and headed straight for the lone velvet bin. They had brown, red (nope, I don't need to buy more red. I have plenty of red!), navy. I took out the navy to see how much there was. It was still not the ideal color, but we were now 4 months from the event and I NEEDED to start making this gown. There were only 4 yards of navy blue. I was sad, nearly defeated. There was an extra piece of brown under the blue. It seemed to be on the bottom. I picked it up to confirm.

There. Under the brown. A small bundle of a brilliant cobalt blue. This would surely not be enough to make a full gown, but I was once again hopeful. I took this 3 yard segment out of the bin. Then, the next bin over was labled "scrap velvet" THERE! More of the blue! a 4 yard "scrap" and a 1 yard scrap! This would be enough! I would make this work! I was, of course, hoping for 10-12 yards to make an appropriate fullness of my skirt. However, I would take the 8 yards and be happy. 

The next fabric I needed was that for my stomacher and forepart. I ventured out to Springfield, MA to head to Osgood's. After an hour and a half walking through the warehouse, I made my way to the clearance bin. I pawed through lots and lots of different bins until I came across this green and gold bundle of some kind of synthetic, but deliciously rich chenille and satin brocade. I picked it up  and said, This doesn't go at all, but I want to embroider and bead this like crazy! Mistress Annastrina, who had come on the trip with me, replied, "Why doesn't it go? Ignore your modern sensibilities for a moment. Put some white embroidery on it, and white trim on the gown. It will go beautifully." I thought to myself, "You know, I think she might be right!" 

The only thing left, fabric-wise was the trim. How fortunate am I to have such a kind and generous Laurel! She had a vintage cream silk wedding gown she was planning to use to trim her gown and said I could have a chunk of it for my gown as well! 

So, I had acquired 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 cream silk. The total cost for all of this was around $40.00! 

Now, the real challenge would begin!

Click here to read Part 2: The Gilding.

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. 

The Lily and the Peacock

I am happy and proud to announce I have taken a student in the area of clothing research and construction. At Wars of the Roses, it was officially announced, Lady Anne de Basillon is formally my student. I have committed to impart my knowledge to her and to learn and grow with her.

If you see her doing something well, please tell us both. If you see something that may need improvement, please tell me. I thrilled about this next step in our relationship and excited to see what the future holds for us both. 

The First Cut

Five or so years ago, I was browsing through the clearance section of a big box fabric store. Now, when I browse through the clearance section of fabric, I don't simply walk by, looking at things. No, I dig around, move bolts, crawl on the floor in an effort to see the bottom shelf more clearly; all in an effort to find that gem. On the bottom shelf, buried under some rather okay looking upholstery fabric was a bolt of crimson red velvet. Mind you, not the highest quality velvet, but a nice medium quality, nonetheless. It had been marked down from $28.00/yard, to $6.00/yard. As I danced my way to the cutting counter, many of  the other patrons ogled my luscious find. As I was standing in line on this very busy holiday weekend, one lady behind me commented on my lovely fabric.
     "That's beautiful fabric! How much is it?"
     "$6.00/yard! I can't believe there's so much of it here!"

     "Wow! I'll take whatever you're not taking."

     "Oh, I'm sorry, I'll be taking it all."

     "What could you possibly do with that much red velvet?"

     "I create Elizabethan court gowns."

The woman at the counter starts to measure out the fabric. 

     "2...3...4..."

     "Are you sure you need all if it? I'd be fine with just a yard or two for some throw pillows." says the woman behind me, still staring at the velvety pool at the end of the cutting table.

     "6...7...8..."

     "I'm sure. I'll use most of it for the gown and the rest for accessories. It takes a lot of fabric to create a gown with a proper train."

The woman in line behind her chimes in. 

     "What about just 1/2 of a yard? I would love to use just a little of it as a trim. There's so much there!"

     "10..11...12..."

I stare, smiling, at the garden of fabric piled on the counter, envisioning the gown that will eventually blossom from this plush bed of rose. "I'm sorry, ladies." 

In all, there were just over 13 yards of fabric. When I went to pay, the new associate at the register allowed me to use a 50% off coupon, leaving me with balance of less than $40.00!

This rather large preface leads me to my actual purpose of this post: my new partlet. (Eventually I'll have a better picture.) I had been wanting to make a partlet for some time. I knew what I wanted, I just needed to get up the nerve to take scissors to the velvet. 

I pulled out The Tudor Tailor and turned to page 70, a page I had visited and read many times before. Having had very little experience with upscaling patterns (and not wanting to risk wasting any of my velvet), I decided to first make a 1:1 muslin of the pattern in the book. I held the muslin to myself and determined that it was far too small. I then took measurements and determined the scale I needed and again cut a muslin pattern. While I realize the first muslin was completely unnecessary, I also realize I was putting off that inevitable moment when the crimson threads would finally be broken. 

Then came the big moment; the one I had waited for, for 5 years: time to cut the velvet! Now, typically this moment in a blog post would say something like, "I cut the fabric." However, this is not a typical blog post. Nor is it typical fabric. I brought the bolt upstairs and laid it on the floor, gently unrolling it a few turns. I pinned the muslin and knelt in front of the fabric with my scissors. 

*deep breath* 

Then, I cut. 

Okay, it wasn't so bad. It was only a small bit of fabric. 

I cut the black linen for the lining and ties, then sewed it all together. I did make one small mistake. I forgot that velvet can't be ironed normally. Whoops! So, now the velvet is slightly crushed in a small area. Though, I'm told it's hardly noticeable. 

Overall, I'm satisfied with the outcome. The pattern was simple to follow & upscale. I've re-learned that you don't iron velvet the way you iron everything else. It will also be easier to upscale a pattern next time I need to. 

Next up: a linen partlet (or 4) for warmer weather. 

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.