ACC Wrap-up Post

I have neglected to write my wrap-up post regarding the Artemisian Costuming Challenge, so let's get that done, shall we?  Links will take you to tagged blog posts for more information on my process and documentation.

Layer #1 (Skin) - Linen Camicia, hand sewn and embroidered in silk. 

 

Layer #1 Budget - $0 spent.  All materials came from my stash, including silk floss and beeswax for embroidery.

Layer #2 (main gown) - Damask sottana and silk sleeves.

Layer #2 Budget - This is where I splurged. 
$25.20 on beads for the sleeves.
$23.98 on silk fabric
$8.99 on satin ribbons to attach sleeves
All other materials are from my stash.

Layer #3 (Accessory) - Partlet

Layer #3 Budget - $0 spent.  All materials from stash.

I had a lot of grandiose plans for a beaded/couched partlet, but due to time constraints, I made a simple Florentine partlet.  It is cut out of one piece of fabric, and ties under the arms to hold it in place.  It's designed based on a combination of these two portraits, both by Bronzino, wherein the first clearly has no shoulder seams, and the second has an added collar.  I will still be doing a more fancy partlet, but at a later date with no time restrictions.

Layer #4 (Warmth) - Fur-lined muff with gold-worked trim, hand sewn

Layer #4 Budget - $12.00 for thrift store fur coat to reinvent.  All other materials from stash.

I had intended mantelinne or Dutch Cloak for my warmth layer, but burned out, so I'm calling this my final layer.  It's for warmth, right?  My late start in the challenge due to scribal activities put me behind schedule, and I simply couldn't sacrifice my sanity over the holidays to rush making another layer.

Total budget -  $70.17

My overall experience was a good one.  I finally used some of my stash materials, and have a pretty new gown for the court season.  I do intend to add pieces to this for versatility, including a silk veste, beaded partlet, netted caul, and long pearl necklaces.  I have already secured most of the materials needed for these, so you can look forward to seeing them in the future.

Thank you, Maestra Bianca for spearheading this challenge and inspiring so many people.

Butter Yellow Damask Sottana - Complete!

My sottana is complete!  Joyous noise!

I was up until about midnight Friday night, doing finishing touches on the sleeves, and attaching lacing rings for said sleeves.  I was determined to get them done so I could the new gown to Solstice Court.

The event was beautiful, the company was divine, and everyone looked magnificent.  I feel so blessed to live among such wonderful, talented people.  Noelle, you always leave me in awe with your elegance and generosity.

So enough with the talk, it's time to see what I did!

The sleeves are a warm golden yellow silk taffeta, flat-lined with linen to add some durability, and lined in ivory silk taffeta.  Strips were assembled into a chevron pattern, resulting in looking a bit like a pseudo-spiral sleeve.  I won't say much about my construction techniques on them, as you can buy Lynn McMaster's spiral sleeve pattern.  I used her instructions, with my own sleeve pattern.  My arms never fit commercial patterns.

While I haven't strictly found portraiture of spiral or chevron sleeves exactly like this in Florence, this portrait of Isabel de Valois clearly has spiral sleeves, and the below portrait of Laudomia de Medici has chevron-esque sleeves.  I feel confident that extrapolation of these to what I created is well within the realm of what could have been done.

Isabel de Valois

Laudomia de Medici

My partlet was a simple straightforward partlet to use until I get a fancy couched and beaded one done.  I may be adding some gold lace to the edges of this to fancy it up a bit, but I was relatively pleased with how quickly it came together.  This was cut as one solid piece (no shoulder seams), which made the stripes end up in a fun diagonal bias angle.  I kind of like that.  This partlet was sewn 100% by hand. 

Enzo, the melancholy zibillino was made by the ever fabulous Holly/Aine of The Sable Greyhound.  Her work is always marvelous, and you should go check out her shop at the link above.  She also has an etsy shop.  Okay, enough with the crass commercial announcements.  I just love sharing her with the world because everything she's made for me is amazingly beautiful.  She also made the necklace, earrings, and girdle belt I wore to Solstice.

Photo by Kao Martin and blatantly stolen by me.

I was lazy and didn't take a camera, so I'm forced to thieve this picture taken by Kao.  I haven't seen any full length photos pop up anywhere either, so this will have to do for now.  I'll try to get more images taken at 12th Night.

Progression

My Sottana is progressing nicely, if slowly.  Them hem turned out a smidge shorter than I wanted, but it is passable. Apparently my dress form settled down a little and is now a bit shorter than me.  Didn't think that would be possible.

As you can see, the padded hem holds the hem out in a pretty graceful line despite how flimsy and drapey (is drapey a word?) this fabric is.  I would definitely do it again, but next time in an even stiffer fabric.  This is simply a strip of felt tucked into the fashion fabric as it's turned under, resulting in about three layers of the fashion fabric, and one layer of felt.  This damask is a pain in that it does not hold crisp lines, so despite the steaming and pressing I did, it still looks somewhat unpressed at the hem.  I'll give it another go to see if I can clean it up further.

As you can see, I have added a bit of ivory braid to the neckline in order to try to give it a more finished look.  I was unhappy with it previously due to the aforementioned problem with it not pressing well.  Yes, the skirt is hanging funny in the front.  This is largely due to the felt padding in the pleats.  It looks different on my body than on this skinny form.  I do need to do some alteration at the flat/unpleated section in the front though, as it is pulling to one side.  Not too pleased about that one, but c'est la vie.

I have made a decision about my sleeves, and did the necessary patterning for them last night.

I spent the weekend fighting with my partlet.  My silk organza is not as stiff as I'd liked, and my plans to hold it to a stretch frame without damaging the delicate fabric ended up less than successful.  I also struggled with getting my pattern laid onto the fabric, which resulted in lines which were less than straight as I couched my silk cords down. After some exhaustion in fighting with the thing, I have put that on the back burner while I do my sleeves and a quick "alternate" partlet, using the same pattern with different fabric.  It's good to test the pattern anyway, right?  And who doesn't need more partlets?

I had hoped to have everything done and ready to wear to Solstice Court, and that's not looking feasible at this point.  However, perhaps I will have enough done to be dressed in an entirely new gown, even if it's not in line with my original vision.

ACC Partlet and Sottana Update

I had some misgivings about my standing collar partlet, mainly about the heavy embellishment and how that would on both the inside and outside of the collar. My examples of full partlets with high collars do not have heavy embellishment like this on the inside of the neck.  This appears to only occur when worn with a high necked doublet or veste.  I had concerns about it damaging the inside of my veste if I did a full scale embroidered/beaded partlet that is not just the inside of the collar.  It is logical that different partlets existed to go with specific types of gowns. So after a nice brain licking session with Noelle (mainly to see if she saw the same issues I did and justified my changing directions), I have come up with a "plan B."

I will still be making my standing collar partlet, but not for wearing sans veste.  Speaking of standing collar partlet, I picked Holly's brain on doing something to get the star shaped "goldwork" effect without actually doing goldwork, and came up with an awesome plan.  I'm excited to share that with you too, when I am ready to go on it.  But, that's on the back-burner for the moment as I will focus on making a partlet more suitable for wearing just with the sottana:

Eleonora di Toledo, 1543
Agnolo Bronzino

Always remember, it's your prerogative to change your mind/plan a zillion times as an artist of any sort, including costuming.

For now, I'm focusing on finishing up my padded hem.  I'm about 3/4 finished with it... have I mentioned how HUGE this skirt is?  Pretty sure I hemmed for three hours last night.  I measured my hem using my dress form, which is more scientific than what I've done in the past (ball park eyeball, guess, and pray).  I've gotten lucky in the past with only having hems that are a smidge too long, which is a better problem to have than too short.  Let's all pray I get lucky again.

While I was hanging out with Noelle, I was reminded of how awesome it is to be with her and her little family.  Such snuggle-butts.

Supplies!

This is a very quick post - images of some of the supplies for the ACC.

Silk organza, black swarovski pearls, and brass spangles for the parlet, and large pearls for the long dangling necklace.

The red linen beneath these supplies is the linen for Sven's new Norse tunic, that he's patiently waited a year for. I've promised to have it done for Midge Marsh Melee, so that will be my focus for the next few weeks.

I also owe you a post about Serafina's laurel scroll, and you shall have it soon. It was a fabulous day, but more on that later.

Partlet Documentation

As I said in my previous post about the ACC Partlet, There are portraits indicating Florentine high necked partlets without an overgown.

For example,

Italian, Florentine - Portrait of a Lady (1555-60)
Image Source Link

or:

Portait of a Florentine Noblewoman, 1540
Image Source Link

Therefore, I'm using these as precedent to turn my inspiration partlet into something that is wearable with and without an overdress/zimarra.

ACC - The Partlet

The partlet I want to make for the ACC is this beauty, thought to be Maria de Medici, painted by Alessandro Allori, 1555-57, Florence (Moda a Firenze). Eleonora di Toledo is painted quite often with high-necked partlets, and there are numerous paintings of this period with ladies wearing high necked partlets with and without overgowns.

I fell in love with this partlet when researching ideas for my elevation gown, but opted for a collarless partlet at that time in order to not feel silly wearing a Florentine partlet with a Venetian gown. It was a painful choice (but the right one! Serafina and Janeanne did an AMAZING job on it). But now, I get to make my partlet.

I have ordered some adornment items such as black pearls and spangles; I have some gold cord which will hopefully service as couching cord. The original gems may have been jet (or something else altogether), not black pearl, but for the sake of cost that was my choice. It should have the right luster to feel right. I am a little concerned about the goldwork, but I'll do some tests to see if I can make it look right. There's also some gold needle-lace at the edge of the ruffle that makes me nervous.

I have the silk organza I want to use, but it looks like the embroidered part is backed by something, presumably to help the weight and stiffness - I have some buckram that might do the trick. I'll have to test how it looks under the silk and see how it reacts to embroidery to know for sure.