* * * This is a diary where I try to keep track of my sewing projects in the hopes that possible public scrutiny would help me work faster. As with my regular diary, newest entries are on top. * * *Here you can see some of the finished costumes I've made for others. 02 Sep 07: Gold Silk Cote For Moira (And Old Projects Of The Summer Completely forgot to update this in July. I haven't really made much anything for myself, but a few things for others, which was good, because many of those were old projects. In June, I made string-waisted pants out of navy linen for a ten-year-old boy, a simple sideless surcote out of my old purple-red wool (that had been my oldest peplos, which I hadn't really worn because of the too-rich colour), and a simple, lightly fitted undergown out of the pale-green wool I washed and dyed some time last year. These were all for the same person, to be used in long games in Sweden that she travels to, with her son and other families (well, obviously the pants were for the son). I really liked how the sideless surcote came out, particularly when I finished the edges with bright orange wool stitch and a matching trim (red-black-orangeyellow) at the hem. In July, I made a new houppelande for Master Juhana, out of gray wool that Mistress Jaelle provided, and using his older linen houppelande as a model. It was an interesting experience, because I'd never done sleeves like that, and deducing the pattern from the finished, gathered shape was a challenge for my untrained eye. And also because I'm rather bad at setting collars and cuffs, and this one had both. It turned out acceptably, in the end, or at least the client seemed satisfied. :) I also finished - finally - Wolven's knee-length, half-padded doublet variation and the detachable houppe-type sleeves. It was torture to sew, and since I was stupid and didn't think which way it would be easier to attach the fur edgings, I ended up having to do the handstitching half on the worse side - the incredibly thickly woven synthetic faux-suede/velveteen. But now it's done, and off my hands! And then I had a project that took a bit longer than I thought - Antti K's wedding ensemble, which consisted of a velvet doublet with full guards of another velvet and trip out of brocade strips, a silk shirt with full pirate sleeves, braies out of linen, and hose out of thin wool. I was finishing these other things a little longer than I thought, too, so I ended up spending the first half of Cudgel War, our SCA branch summer camp, sewing (thankfully, I was able to drag the sewing machine along). Since there were so many layers to the doublet, I had to do a lot of fussing and finishing by hand. I even cut sleeves for it, but I screwed up the slits for the shoulder and elbow, and anyway they would have taken forever, so in the end I just gave up on them - and that was the right choice, I feel, since the groom looked just fantastic at the wedding. The only thing I wasn't happy with were the hose: I did fit them properly, but I must have done something at the stage of finishing the cut of the ankle and foot, because they ended up a little shorter than I'd planned, and the braies peeked out at the back of the leg. But all in all, the complete end result was suitably fantasy-pirate-elven-prince. (That was only partly due to the costume, though. Must have been the most beautiful bridal couple I've ever seen, anywhere.) After that was done, I was pretty much worn out of costuming for a while. I did get the new tabletwoven trim attached to my Viking-Finn peplos, but not much else. At the Saltvik viking market, I worked on my new apron, but the bronze spiral trim I've chosen will take some time to complete yet. I am very happy with the wool twill I found for the apron - it dyed very nicely to a pretty good approximation of natural indigo, so once I get the spiral decoration done, it'll be really nice. But after that, I had neither the time, the energy or the inclination to sew anything special for Ropecon. Besides, even if I'd wanted to, it turned out that I needed to do quite a bit of work repairing the costumes I'd promised for the costume show - which turned out mostly a showcase for the games, not the costumes. I don't see myself going to that trouble again, if the format continues the same (who would bother, really, when you get only the name of the game up, and your own won't even be mentioned among the thirty or so others? well, the organisers of those games probably, yes). I had a costume in three of the entries, and I needed to prep my two models, and make sure I got myself out of my dance project costume and into my Sarah-Bernhardt-goes-Eleanor-of-Aquitane dress in the allotted interval... And that was simply too much. (And yes, actually my name was mentioned in the program, because I'd been helping to plan the gala, so I should not complain. Maybe my costumes were considered sort of part of the help; I could see that. But what of the others who were not helping and might have elaborate costumes shown that they could not wear themselves for some reason? No-one would know who to ask about something they really liked and wanted to know more about.) (I actually think there should be a proper costume presentation at the con: one where the catwalk part would be about the costumes and about how they are made and for what purpose, and then there would be a free mingling of the dress presenters and other costume enthusiasta where people could ask questions face-to-face. Not that I want to be the one to run it.) Well, at least I got to show the Sarah Bernhardt/Eleanor costume, of which I am quite enthusiastically proud, and which was doomed for modification anyway - because as it was, it would have no use in the SCA. For another game that I planned to go to right before Ropecon, I needed a red crushed velvet robe, but I'd only got started when I was felled by a migraine, which prevented me from going to the game at all. For my quick visit to Calbourne VI (which clashed with my cousin Reetta's wedding), I just threw together some stuff from the closets, so the Venetian courtesan/noble is still waiting. Finally, for this weekend, I made the fitted cote for Moira that I'd been planning for a long time, out of the second half of that gold silk that I used for the Eleanor costume. Because of shifting schedules, we never got to have a fitting, but I had the green cote that I made in the spring for a final check on the original pattern pieces, and it seemed to work. The bodice of the dress is lined in linen, which I hope won't stretch too much (it's rather soft, but that's why it's so nice). I made it as a bag lining, which made for a quick and neat finish for the neckline and front opening, and stitched the lining to the gold at the armscye seam. I put some of that red-and-gold trim that Mirka and I found in Tallinn at the hem and above the wrists (I still have plenty for myself!). I managed not to make the sleeves too tight this time around (though they might be even a little too wide now, we'll have to check later); and the neckline sits better under the red&white velvet than the green version. I didn't get to do the lacing yet, so it had to be sewn shut for the first wearing - but that's period, anyway. And it fit! It needs some seam finishes yet, besides the lacing holes, but otherwise, it works. 28 Jun 07: New Bliaut So, I went to the Drachenwald Coronation on the second weekend of June, with a sizable contingent of other Aarnimetsäns. I didn't want to wear my Finnish Viking dress(es), because I wanted to match with Moira at least somewhat, and besides, it's obviously all wool wool wool and the weather was very hot. So I'd been eyeing this gorgeously red bourette silk at Stockmann's for a long time, and now it was on a special offer, too... However, Mom's wedding the weekend before and then recovering from it made all sewing impossible, so I just went and bought the coveted fabric and optimistically decided to make the dress on the way to the event. And I did, too! I got it wearable on Saturday afternoon, just in time to change away from my best bliaut after the morning Coronation court! How on earth? Well, see, I took the ferry from Turku to Stockholm and then flew from Skavsta (100km south of Stockholm) to Lubeck with RyanAir. I cut the dress late Thursday night in my cabin, at the ship, then sewed at every possible opportunity - such as sitting on the Slussen Square in Stockholm in the early morning sun, waiting for some shops, any shops, to open. On the airport I even asked if I could take my needle on the flight and go on sewing, and they were so baffled by my request that they acceded. And so I did, and so finally, I was able to wear it when I really needed it. As luck would have it, it turned out pretty much exactly like I wanted it to, and it looks very, very authentic. It's got a V neck, blue-black-cream bands at neck and bicep, moderate angel sleeves and (the one indulgence) very wide gores in the skirt. The sides are laced in spirals. It wrinkles just right at the bodice, and the colour is basically my favourite ever - a strong, deep strawberry red. I have one partial picture somewhere; I'll try to upload it soon. (My one fear is that I spilled some Diet Coke on it and don't yet know if it will come off properly. Will be able to wash it tomorrow, because there's no vinegar in the house right now.) 25 Apr 07: GFD Finished, Moderately Acceptable Moira's green fitted undergown and white-and-red particoloured velvet overgown are basically done; she wore them last weekend at court in the Aarnimetsä Academy. They turned out rather nicely, except that machine-sewn buttonholes for lacing are ugly, and my handsewn ones were not much better. The biggest problem is that I was too careful with the fit - the undergown is comfortable, but not tight and supportive enough. Shouldn't have curved the front as much, I suppose. Now I'll have to see what I can do to tighten it from the sides and back. Also, the undergown shows at the sides of the neckline, which it should not do, and that's really not fixable, so it bugs me the most. I also think we should put in linings for the sleeves, but I had no fabric of the right colours in my stash. The gold buttons are lovely, though, and it's not too bad all in all. 15 Apr 07: GFD Actually Proceeding Moira was here yesterday for the fitting of her green fitted undergown and velvet overgown. I need to take the undergown in here and there and make very slight adjustments to the overgown, but all in all, they seem to be coming together reasonably well. And the colours are fabulous together. The one thing that I always seem to screw up is sleeves: I just can't pattern and cut sleeves that would fit well - or fit at all! My most common problem is making them too tight at the elbow and right below it, the second most common is making them too short. And I also have difficulties in curving them properly to the armhole... I hope I can fix the problems this time, but it's certainly my cardinal sin. I'm not looking forward to making twenty or so buttonholes by hand and forty or so by machine, but I am eagerly looking forward to the final result. 13 Apr 07: GFD Proceeding; Other Plans I did get myself an outfit for Rotan vuosi; unfortunately, I was too preoccupied with my usual fuss before the game to get any pictures of it. Or maybe not so unfortunately, as I don't think I've ever made anything as poorly as the wool tunic I decided upon instead of an overcoat! It's really fancy: lovely, heavy-suit-weight twill in deep navy, with wide skirts just past my knee, split in the middle for possible riding, with wide guards of bright yellow silk twill that are edged with 1cm wide red-black-yellow trim all over. But as I was in a hurry, I tried to make do with just one machine stitch to attach the trim over the edges of the yellow silk, and naturally it looks sloppy and the silk frays and pulls out. It was made worse by the fact I made the tunic just a bit too tight around the chest, so I kept pulling at the neck slit, and so the neck decoration was particularly bad. Luckily, most of the time, I wore either a fur vest or an Arabian jacket on top of it, so I could hide the worst problems... Just have to redo the trims at some time, and replace the underarm gussets with bigger ones. I also made a pair of pants out of a thin wool blend with a small dark brown and copper motif - just simple, wide drawstring pants really, worn with fur leggings with tabletwoven leg bands. My favourite part of the outfit were my long braies: I finally hardened my heart and made something useful out of the old white silk-linen blend of Kawa's hakama. They were awfully comfortable, and they'll be useful in the future, as well. And so will my off-white knee-high wool socks: I've cut them off from an old pair of wool pantyhose and attached tabletwoven bands to tie them to the knee. No-one saw either the braies or the socks during the game, but I knew they were there. Didn't have the time to get that fur-lined cloak done even then, so just wore my old red near-full-circle and the dark blue hood. Just last weekend, however, I finally got rid of that cloak and so absolutely must make a new one to replace it, so it may finally happen! So far, my plans for future sewing for myself include: And then, of course, I need to finally finish several unfinished projects for other people in May and June. Quite a full schedule, actually. However, all my own projects are subject to negotiation! I can manage with half that much, if need be. Right now, this feels like fun. 06 Mar 07: Plans For GFDs and 13th-c. Travelling Clothes I didn't manage to find the energy or the inspiration to make any Italian dress for the Hucca Spring Ball, but that couldn't be helped this time, and besides, my bliaut was pretty enough, even if it didn't fit the period of the dances. Suvi has made me the tabletwoven band for the edge of the new peplos, which is great, because I didn't have time for that either, not now, and because she does very nice tabletweaving. It's the authentic pattern for that particular peplos dress, too, which is also great (thanks to Tofa for a copy of the instructions). My plans right now include Gothic Fitted Dresses for Moira: two new undergowns and a lovely particoloured overgown. We finally found the time to fit the mockup on her this Sunday! I'm making a fitted undergown out of leaf-green silk noil ("raw silk"), lined in the upper part with green linen, and the overgown, which is red and white velvet, for her to wear in the Aarnimetsä Academy at the end of April. The other undergown is planned for the Coronation trip in June. I just hope I can make them fit the way they should... GFDs look lovely on curvy women, but it is a challenge to find the right fit that both drapes nicely and gives good support. Right now, I'm making a more-or-less complete set of male clothes for myself for Rotan vuosi: a tunic and maybe an overcoat with open sleeves; wide pants; and that fur-lined cloak. Simple sewing as such, and I do have all the wool pieces I need and then some. I just need to decide on something and then stick to it... I'm still not sure what to do with head coverings, as it seems hoods only came into fashion after the thirteenth century (as they are nowhere in evidence in the Manex Codesse or the Maciejowski Bible). And I haven't quite decided on which piece to use for which item. Besides the cloak, so I've begun with that one. Hope to have pictures after the weekend. 20 Feb 07: Less Stress, More Accomplishment I managed to dye my new Viking Finn peplos in time for the Midwinter Feast a few weeks ago, and temporarily embellished it with the old red and yellow tabletwoven band, but Suvi has promised to make me a new band to my specifications, and I chose the pattern in the Mikkeli dress, which is nicely simple. The peplos is a little closer to red than it was supposed to be - in bright daylight and strong tubelight it is a soft strawberry - but in candlelight it comes off as the perfect reddish orange. The effect's probably due to having had to dye it twice, and with different shades to approximate the final shade, but it's okay, and at least it doesn't look too artificially bright. I also got Tofa's approval for my apron fabric - sky-blue, rather coarse wool - and will work that one as authentically as possible, but in my own time. For last weekend's Belle Epoque game where I was cast as Sarah Bernhardt (!!!) and which was a masquerade ball among the elite and artistic circles of Paris in 1899-1900, I managed to make the most outrageously over-the-top historical fantasy dress - a 1899s and theatre diva version of the bliaut and Eleanor of Aquitane. Think of the Preraphaelite painting "The Accolade" by Edward Leighton? Now change the hair into auburn (and more curly), raise the crown by five inches, and change the dress into gold, with red-and-gold trim (doubled, with some wine brocade in between, for the bicep trim). And I mean gold - silk-lamee blend. I also used the old wine-red half-circle silk cape, with some white fake fur added to the hem. I'll post pictures once I find some. Since the period required a heavily cinching corset, I reworked the old corsetlike thing mercilessly and was rather happy with my waistline in the end, but a new corset is definitely high in the list of things to start - so I can have the time to do it in leisure. 26 Jan 07: Sewing Has To Give Way To Studying I had to engage myself in quite a bit of soul-searching when I realised I was trying to do far too much in far too little time. Studying is, must be, my number one priority right now, so any sewing will only happen occasionally, and without stress. I'll try not to make so many plans with so many tight deadlines. We'll see what happens. I have, however, finally found a solution to the cloak problem. I will use some very sturdy cotton from the forgotten piles for interlining, which will be the part that carries the weight of the stitches and the fur. Once I've got that done, I'll decide whether to use the old dark-red dupioni for the outside, or one of my thinner wools. So it may even happen now. I found a fantastic fabric today, but couldn't justify buying it - yet. I will, though. It's just unbelievably perfect. 02 Jan 07: Sewing Plans For New Year I didn't get that fur-lined cloak done for St. Homobonus, so the next possible deadline is Humalasalo's Winter Eve in less than two weeks. Not that there's much incentive, what with the warmest winter ever measured here... but on the other hand, rain is cold, too, and fur keeps warm even when moist. However, I still haven't decided on which wool piece to use for it... Anyway, even more urgent is that new Viking Finn peplos, for which I need to dye a piece of coarse wool blanket I bought for two euros at the fleamarket. And I need new tabletwoven edges for it, too, which means I have to get busy! I also have a couple of clothes for other people that I want to finish ASAP, mainly the mock-gambeson doublet and the sage silk Florentine. It would be great to have them done before Winter Eve as well, because the University term begins the Monday after, and I'd feel better starting the year with less old stuff weighing on me. It may be a bit too much, but I could try as much as I can, at least. All it takes is being determined and doing sewing in the evenings instead of reading fiction, as I've been doing lately. After the cloak and the peplos (plus a new apron with bronze spirals to wear with it) I'll get to the Italian fashions I've so dreamed of... And just today it struck me that I've been an idiot, waffling unhappily with the old pink velvet in the rework pile, never thinking I could dye it like so many other things!! So it's going to be red at some time or another, with the wide muted-gold trimwork that I've got, for my Venetian gown, and that'll leave the Chinese brocade for the Florentine giornea (though I might like to try and do something more with the gamurra silk, which is now a dull mauve). And then there's the quick fix for last autumn's game that might also be reworked for a proper Italian... Also, I need to vote in the Rose Awards at the Realm of Venus (choose the best of last year's Italian Showcase costumes), and it feels awfully difficult, particularly in the later category! All the costumes are so beautiful and of such high craftsmanship that I can't decide between them! I do have my favourites decided in the earlier category - mostly - but the later dresses are so very similar in look, too... Oh well, I have a month to decide. 05 Nov 06: Must Have Fur-lined Cloak I've been planning that fur-lined half-circle cloak for years. Now I really need to make it, as I've promised to herald the tourney at next weekend's event, and the weather's going to be around the point of freezing. If we're lucky, it'll be below it, and we won't get sleet... So, now it's going to happen. Except... I have a roomful - an actual roomful - of fabric odds and ends, and nothing I could use for a cloak!! The finer pieces or wool are either too thin, or there's not enough. Then there's two pieces of such coarse weave that they'd look ridiculous in a fur- lined cloak (one of them's a bit better, but altogether too heavy to go with a fur lining, and I don't like the colour). And two pieces of very, very dark army green of slightly differing shades, which is just totally not what I'm going to have for a cloak that I'm going to have to bear for years, and one piece of black with a nice weave - except it's interwoven with a pink so bright it almost looks metallic. And there's so much of the latter that I sort of planned to save it for a regular winter coat with a wide skirt, or a houppelande. What am I going to do? And why does it always have to get this complicated? Also, I'd like to have a dressier wool dress than my basic Viking undergown, as there's going to be dancing outside (weather permitting). That's not quite as crucial as the fur cloak, but I'd like it anyway. And need to choose, and again, most of the nicer wool pieces are too small to make a whole dress, or I have planned a specific use for them. GAAAH! Choices, too many choices... And too many fabrics that were great finds as such, but I can't really find a use for them! (I need more orders, I guess.) But I will make something for the event, so stay tuned! 04 Nov 06: Reality Check On Latest Costume What I am thinking here: "How adorable is it that grown-ups get to have sweet romance?!" What I should be thinking: "GAH! I need a new corset, like, yesterday!" (And my hair was a mess, after all the trouble I went through for it! And my forehead was about as shiny as a new kettle. Oh well... Pride before a fall...) But yes, those are my boobs, and that white thing under them is part of the windowframe. No, I had no idea. I'm used to the stupid things, I don't notice whether they stick out or don't (except when the corset was new and nearly straight at the front seams, at which time I could practically rest my chin on them... and I still can't figure out how it could have stretched so much, no matter what the age or use). But I'm seriously embarrassed now. And yes, in need to build a new corset. There is a lesson here: underbust bodices are for slender women only. QED. 30 Oct 06: What I've Fiddled With Lately I made another big, vaguely medieval overcoat for a man to throw over other clothes, this time mainly to cover mundane clothes underneath. I used the same general shape as the last one: ankle length, straight body pieces (or slightly gored towards hem), open front, deep pleats at the shoulder seam, but sewn in only at that seam, so they puff out a bit and add nice bulk to shoulders. The shape is flattering on very different body types, so it's very handy. This time, I didn't make open hanging sleeves, but full-length flaring ones, for better cover. The fabric was the last of the navy-blue short-nap velvet(een??) that I had in my stash, and I edged the neck, front and wrists with a bit of real fur (recycled, of course). This was a very quick job, so it could have been more finished, but the recipient was supposedly quite happy with it, so I'm happy, too. For the Hucca Autumn Fair, I fixed an older sideless surcote that I made Baroness Moira some years ago. The skirt was slightly too narrow from the beginning, so I added extra gores to the sides, and now it flares very nicely, not too voluminously (so she can dance in it), but still enough for the drape to be pretty. The skirt is off-white cotton velvet, the upper body is black imitation bearskin lined with white cotton canvas. I also fixed the decorative strip at the very centre front and added a couple of pearls to the centres of the four flower shapes in it. Now she really needs the new undergown we're planning - some colour would really bring this particular dress out. I wanted to make a new, more period-correct peplos gown for my Finnish Viking wardrobe to wear to the Autumn Fair, but didn't have the time or the means yet. Maybe for St. Anne's Day in Poukka in December (for St. Homobonus's Feast in November, the long-planned fur-lined cloak takes precedence!!). Last weekend was my only LARP for the whole autumn, and since it was a big renaissance-ish court game in a gorgeous location, I really wanted something nice, so of course I was nearly paralysed by too many design and fabric choices, none of which seemed perfect, and because of that (and let's be fair, life-related reasons), I ended up doing what I do too often: working feverishly to the very last minute. I simply couldn't have finished the dress in time if Eveliina Kiuru, who played one of my daughters, wouldn't have helped me selflessly at the game site - I owe her great thanks and my (and probably many others') peace of mind completely. And the dress turned out much, much better and prettier than I thought it would, hurried fix or not! See?! The picture's pre-game, so my hair's not yet done (and I'm hunching oddly because I'm embarrassed for not being quite ready), but I know there will be a picture or two where I'm completely in character in a bit. (The picture is a crop from a larger one, taken by Pekka Väisänen.) The dress is made of a pair of old velvet curtains that were originally a caramel brown; I overdyed them with a packet of fuchsia, but should have used two, as I was aiming for true dark red. Oh well, the red-brown result was not too bad, particularly with the matching trim that I scavenged from an organza scarf bought at the UFF sales just two weeks ago. The style advice for the game suggested emphasis for high waists, but as we have seen, true high-waisted lines look terrible on me, so I settled for a compromise solution from the designs: an underbust corset bodice with an undergown, over a chemise and corset. The bodice is lined with the leftovers of the brick-red linen for Salla's Italian gamurra (which she was actually wearing for the game, and looked lovely in it!). I didn't have time for any boning, though it could have used some to stay nice and smooth. I planned to sew the front shut from the beginning, because I wanted a clean, unbroken line (and again, owe thanks to the dear people who helped me with that particular bit of sewing, and tightened my old corset when we saw that the waist was cut just a bit too small...). The shoulder straps kept slipping, so for future use I'll have to see if i can narrow the fit at the back neckline. The skirt is gored slightly, more at the back, knife-pleated, and has a very slight train. The chemise I've planned for a long time, and only did a temporary neckline finish for it for this particular usage (for SCA use I will bind it with lace or smock and goldwork it, but here the lace would have been too much and smocking takes time). My feel is that it's a silk-cotton mix, so it feels subtly luxurious, and I'm in love with it already. The undergown is my old gold one. The Italian- style sleeves are heavily embroidered petrol-blue silk, a lovely piece I've had for years and could not find any worthy use for - until now! I love how they turned out! They are straight pieces open at the back seam and gathered at wrists (heavily) with narrow gold lace and at shoulders (just slightly), and some more of the lace ties them to the shoulder straps. I debated over the bust strip: whether to leave the pale gold of the undergown showing, or to use the last strip of the silk. Both were nice, but the ladies' consensus decided on the silk, and I think it was the right choice. I am completely in love with the way this outfit came to look, and I can't wait to finish it properly so that I can wear it elsewhere, too! 18 Sep 06: A Couple of Pictures I added two pictures of dresses I've made for others into the gallery page - Auri's GFD and Lin's GFD-from-Herjolfsnes-patterns. Also, fixed the links to Realm of Venus. 12 Sep 06: GFG For Hourglass Finished! I finished and delivered the Gothic Fitted Gown tonight! It turned out very pretty - the shape is really, really lovely on my friend's figure; the front seam brings beautiful attention to the flatness of her stomach and the back lacing emphasizes her tiny waist; and the dark pink crepe-y-turned silk looks nice and luxurious. She seemed happy with it as well, now that it was finished and the gold-and-dark-red trim sewed to the neckline and wrists (it took some time for her to wrap her head around the dress colour). And I'm glad to have been able to finish another project completely, totally, absolutely! I didn't have time for the overcoat for her husband, though, but no that the school's begun, I just have to accept that time is limited. I may soon be able to make something for myself, finally! Not quite yet, though. 10 Sep 06: Gothic Fitted Gown For An Hourglass Figure Sorry for the lack of updates - have been busy and sort of unmotivated. The tunic and overcoat combination for a big man was very well received, which is awfully nice (I had people come and compliment me on it and comment on how proud the wearer was, several times after the event). Salla's Florentine was Showcased, and the pictures turned out really pretty. Ropecon happened, and I got rid of some old clothes, but not at all as many as I hoped for (should have found the time to go and lower my prices on Sunday, but it didn't happen, and that's that). Now I've been busy with a Gothic Fitted Gown for a wedding - only for a guest, but even so, it has to look nice to mundane eyes as well. And the friend I'm making it for is the most extreme hourglass shape that I've ever seen, so fitting the gown has been a real challenge! However, the fitting didn't turn out the be the biggest pain in the butt - no, it was dyeing, which generally has worked well for me. This time, everything went wrong, and we even had to give up on the first fabric (a strong silk gabardine) and use the silk that the Q's got me from Singapore. I put it in the washing-machine to get an even colour, and it survived the process, though the pattern in the weave came out, so it's no longer sleek and shiny. Also, even now I got a different colour from what I intended (a light raspberry, when I hoped for a deep red). Still, it's acceptable, it's been cut, sewn together and tried on, the correct seams have been unpicked to perfect the fit, some trim from my stash hhas been found acceptable, and it should work out now. The deadline is Wednesday night, so I'll be reporting on the final result soon enough, I hope. If everything works out, I'm going to put together a loose overcoat for her husband in the same style as the one for the big man, from some dark blue rayon velveteen and a bit of fur around the neck and front. I'm going to overdye the silk gabardine and use it for my own basic Florentine gamurra: this is a good excuse to get it done soon (maybe even before the Hucca Autumn Fair in October). 07 Aug 06: Generic Late-medieval Clothing, Some Finished Projects I've made a couple of things in the past weeks. First, I managed to finish the reworking of Salla's Florentine - a bit late for the next Showcase, but that couldn't be helped. Still waiting for it to show up, though as I said, the delay is my fault. I also presented the gamurra (the structured underdress) without sleeves and the camicia (the loose, puffy shirt) for the Arts and Sciences competition at Cudgel Wars, and I'm very proud of myself for having dared to do that. I got a lot of nice feedback and great advice (for example, now I know there's documentation for silk camicias, so I can definitely use both my old and new camicias confidently!). I also finished the trims and forepart for QHeli's blue velvet Italian, and the adjustments to Topsu's doublet, for them to wear at Fantasiapidot last weekend. I'm also nearly finished with Wolven's multi-purpose gambeson-like reversible doublet with detachable sleeves. Hope to finish it tonight, actually. I've learned a lot from it as well, particularly in regards to padding and quilting clothes. The big project was a tunic and a long overcoat for an aqcuaintance, a big man who wanted something nice to wear at Fantasiapidot and was not awfully concerned with historical authenticity. I had snagged some of that lovely, thick silk twill out of the sales bin of Eurokangas in Savonlinna, and coloured it a nice, dusky blue (sort of soft, muted sky-blue; Dylon Universal in Navy, about half the amount proposed for that amount of fabric). I hand-dyed it, but instead of just rinsing it, I put it in the washing-machine with Wool settings and added a good portion of vinegar into the last rinse. Worked out really well: it kept both the softness and the slight sheen. I made the tunic from straight pieces, with a V neck, and sewed three deep pleats over the shoulder and down to the waist, and there's two pleats right in the middle of the back (and a small pleat at the front). The elbow-length sleeves are slightly gathered at the shoulder.The overcoat is long, open at the front, and the long sleeves are open all the way at the top and rounded at the end. It's midnight-blue heavy cotton, and it's edged with a 10-cm guard in black velvet. There are pleats at the shoulder, but they are only sewn down right at the shoulder seam, and there are gores at the sides up to the armpit. I think the whole came out rather nicely, but I have to ask how it worked in actual use. 20 Jul 06: Featured So, it's out now: this month's Italian Showcase at the Realm of Venus, where Heli is modelling the Venetian gown I made for her. I'd like to note that this gown is not made to historical specifications, but for live-action purposes. What it means mostly is that most of the trim is machine-sewn (the stitch disappears into the trim almost completely, anyway), and I definitely won't be showing anyone all of its insides. Furthermore, I didn't try either cartridge pleating or the V-shape at the back, because I didn't have to (the fabric was thin enough to do knife pleats, stacked at the back). The way the velvet guards are set is also anachronistic for Venetian at the time, at least according to pictorial evidence, but I wanted it all to go together with the Dangerous Beauty-style sleeves and so used more of the velvet. In any case, Heli is happy with it, looks gorgeous in it, and it has already received lots of compliments at games and elsewhere. So I'm not quite dissatisfied! 18 Jul 06: Satisfaction: Tomi's Ensemble, Tabletweaving, Venetian Finally, finally able to get things finished and off my hands! At the beginning of this month, I delivered the rest of Tomi's outfit, though the pants were a simpler model (I just couldn't figure out the paned slops after all). I hope to get pictures of him wearing it at Ropecon, the roleplaying convention in mid-August. Last weekend, while working at a boffer fighting event, I completed the other tabletwoven leg band for Jaakko's viking outfit - that one was another delayed project, because I ran out of the right colour of wool while drawing the threads. I have also made considerable progress with Wolven's multi-purpose late-medieval doublet, Mikis's dark-blue velveteen doublet with blue silk guards, and Heli's new sleeves for the Venetian dress (as well as another false-camicia forepart). Actually, the sleeves are wearable, as you'll get to see in a few days, but I still need to fiddle with them a bit to finish off some rough fixes. I also made a small partlet out of the embroidered ivory silk organza from an old (but little worn) fancy skirt, but that one will have to wait for my own Venetian, once I get to it... My new camicia out of the ivory mystery silk (that resembles nothing as much as cotton satin, but clearly feels, sounds and smells like silk and has the muted, rich sheen too) is half-completed, but the false forepart makes the old, much-worn excuse for a chemise (the white dupioni one) wearable again. I'll have to see how these other projects progress this week, so I might even have something Italian to wear to the SCA camp next week... 05 Jun 06: Disappointment On Sunday, I finally finished Tomi's renaissance doublet and detachable sleeves for him to take home, but didn't quite get the cloak and hat to go at the same time. All I needed was two more hours (to finish cartridge-pleating the bowl of the hat to the band, and half of the handstitching on the decorative band at the cloak's front edges), but I really should have taken those hours before Saturday's party to be sure, and not leave any stuff, even stuff that seemed quick, for the last minute. So I'm rather angry with myself. And the slops are still only halfway done. Oh well. At least the doublet part got done. 02 Jun 06: Actually Getting To Finish Stuff On Tuesday, finally delivered QHeli's blue velvet gamurra with its first pair of sleeves - the ones made of the blue silk brocade out of the Indian cocktail dress. Will add the other sleeves (that match Topsu's doublet) and the two interchangeable foreparts (blue brocade and white jacquard) soon. Next Firefly session, will finish the gamurra's bodice with simple guards of narrow dark-gold cord. Am also finishing parts of the forever project - Tomi's ensemble. Only the slops will probably be delivered a bit later. Note to Self: proper slops with the outer layer made of lined brocade strips are more time-consuming than they're worth, in any circumstances imaginable. 12 Mar 06: More Fiddling, Slow Going Been sewing in the lacing loops for the skirt front of Heli's gamurra (by hand because I was stupid enough not to think of doing those by machine and only then hemming the edge by hand, which would have hid the machine stitches). It's slow, but have finished one side of the split skirt. Started drawing the warp threads for the tabletwoven leg band needed to complete Jaakko's Viking outfit, but after four hours of work (and half the blue threads still undrawn), ran out of green wool yarn. There's got to be faster and easier ways of drawing the warp, or no-one would ever get any tabletweaving done. 28 Feb 06: Fiddling Reattached the skirt of Heli's velvet gamurra properly by pleating it to the velvet of the bodice, and have nearly finished handstitching the lining+interlining to seam allowance of the velvet. Then only lacing loops for sleeves and skirt front - everything else is optional. After taking apart Salla's hastily finished gamurra, am now stitching the mustard-green guards back by hand. Will then iron the skirt, zigzag the waist edge and pleat it to the bodice; then attach the brick-red linen lining for the bodice by hand, to make it properly reversible. Also took apart the side seams of Topsu's doublet, so I can widen it. Still unclear on how to best lengthen the sleeves - probably at shoulder, anyway. Took apart half of the half-sleeves of Tomi's cloak, because the seams pulled and it bothered me. After that, need to reattach them to the armholes, restitch shoulders and put in the striped piece from the sari for the front edges of the cloak and some sort of fastening, and then it's done. Am overwhelmed by all the half-done projects. 25 Feb 06: Cool News! Really exciting news at the sewing front! I finally got myself to send in applications for the Italian Showcase at one of my favourite costume interest sites, The Realm of Venus, and... both of my applications (Heli's Venetian and Salla's Florentine) were accepted. Oh dear... this means a lot of finalising work on both gowns - they're nice and pretty, but the detailing is definitely not up to the usual level at the site - yet. On the other hand, I always wanted to do that for my own peace of mind, anyway. Still, it's more than a little cool to be accepted. I'm quite baffled, but - well, what can I say? It's a fact. Wednesday night, I finished a short, sleeveless nightgown for Lissu out of a piece of soft, black silk jacquard I've been hoarding for ages. It's a loosely fitted cut with a flaring above-the-knee skirt, but otherwise it's extremely simple. It was a much-delayed birthday (and Christmas) present, so I'm glad I could get it delivered, and she seemed to like it. 19 Feb 06: The Confusing Names of Silk (I haven't accomplished as much as I hoped, due to reasons set down in the general diary.) The blue velvet gamurra was a good fit on Heli. Now I need to take the skirt off and set it again more neatly, finish the front edges of the split skirt, and set lacing loops into armholes and the skirt front (I considered using Velcro, for the front edges, for ease of switching, as the split is not historically correct anyway, but finally decided against it), fiddle with the sleeves and forepart, and then at least one version is done. I've been studying descriptions of different sorts of silk, so I could call my Singapore present by its right name, but the terms vary in a most inconsistent manner from site to site, even with professional merchants. My best guess at the correct term is Thai silk (which actually is what the Q's were told as well), but this does not mean what it means in general Finnish usage. It has the same weight (medium), drape (crisp) and muted sheen as dupion, which I've seen referred to as Thai silk here, but it's smooth, without the slubs that are associated with dupion. This sort of smooth silk I've seen named "high-quality dupion", but it seems dupion by default is slubbed, because of the sort of silk thread used for it (except some sites say the defining element of dupion is different-coloured warp and weft). I guess the safest would be to call it "unshiny silk taffeta", though I'm unclear on the actual definition of taffeta, silk of otherwise... and it's not exactly un-shiny, just not as shiny as satin, or peau de soie (and yes, I got the Whedonspeak association). Anyway, it's altogether lovely, and I can't wait to start working on it! And they also brought me this incredible decorative ribbon that makes it absolutely necessary for me to make another bliaut as soon as possible (after a silk gamurra, and a silk brocade Venetian dress or possibly giornea - I'm uncedided on the Chinese brocade - and a new tabletwoven band for my Finnish dress, and all the projects for others...). 14 Feb 06: Taking Things Apart Is Oddly Satisfying Last night while watching figure skating, I took off the quickly-sewn blue-and-silver forepart from Heli's blue Italian, for interchangeable attachment, and also those unsatisfactory silver shoulder ribbons. Also took out this lovely muted-gold lace ribbon from a Neareastern cloak kindly donated by Mili (her aunt actually) - the cloak is thin wool felt and functions quite well with less embellishment, while the ribbon is wide and intricate and better suited for much fancier purposes. Today I started on the long-avoided whipstitching of the collar to Tomi's doublet (I seem to come up with every possible way to find something else to do on this ensemble besides finishing one part completely, but as everything is now nearing complete finish, this must end). I'm trying to get that one, and at least one other part, done for next weekend. Finally found some of the same silk twill we bought for Tiina's high-waisted Italian (that is another unfinished project). Now I'll know where to get it when, later, I hopefully have some money for my own Italian. I've given up on the wonderful wool-silk jacquard I drooled over before Christmas: first, I only found it in brown and then black, and second, mixed fabrics were decidedly less highly regarded in Italy during the Renaissance than pure ones. Besides, the pattern is a bit too small and rectangular for the period. It's luscious, but it neither gives the right impression nor is quite right. But this pure silk twill... this one is sheer lust. Apropos lust, it still rankles my luxury-loving little soul that I saw a long, full fur coat of white fox at UFF (second-hand store), at half-price from their regular price even... and could not afford it even then. It would have been perfect for my half-circle cloak, as I already have a short coat of white fox that I've taken apart for just that use. With this one, I'd have had enough for a full half-circle. Or it would have been lovely just by itself for winter games - not at all modern-looking. But I had to be sensible: I owe so many people right now (not much to anyone, but still), and have very little money coming in the immediate future. I'm sure it's no longer there, as it was in good shape and really luxurious, and it does bother me to have to let it slip. But I have to learn self-control sometimes! 12 Feb 06: Belated Small Updates: bliaut neckline, some Italian The weekend before last, at Midwinter, I managed to take apart the red silk bliaut's neckline and attach the rest of the pre-embroidered pieces to make the neckline band doubly as wide as it was, and looking more balanced (it also sits better now). I also sewed the lower sleeves into the upper arm band as they should be, and made a quick belt out of that band I built out of silver-and-black lace embroidery and gold lame for the old black-and-burgundy mock-Italian velvet. The belt worked well, though for the future it needs a proper, strong backing. The dress proved to have a slight problem: I can't wear a false braid or any sort of long hair with the bands, as it all gets stuck in the pearls and the tiny metal spirals in them. Oh well. Must put my hair up and wear a veil then. I also managed to do maybe half of a small gift project that I'll describe once it's done. For this weekend, I dug out the white, silver and purple giornea I whipped together for Calbourne III and bound the unfinished neckline with the same silver lame used in the outside edges. I'll have to take off the silver and replace it with something more acceptable if I'm to wear it for SCA events, but for now it was at least neat. I also - finally - put together Q's blue velvet Italian and shamelessly borrowed it to wear under the giornea. It was actually a useful test run in two senses. For the dress itself, I know now that silver ribbons don't look nice for sleeve ties, and will use something else, and I saw I have to fiddle with the upper end of the blue-and-silver sleeves just a bit. Also, the blue-and-silver forepart is a bit too wide, so when I take it off and make it changeable (didn't have time for that yet), I'll know to narrow it a bit. The bodice seemed strong enough and supportive enough all by itself, and the front lacing worked with simply one very tightly sewn band for loops. And I finally know how to decorate the dress itself (and have the decorative band for it). The other thing the test proved is that if and when I make an Italian for myself, a high-waisted bodice just won't do. I hoped it would, but it won't. The gamurra needs to go down to the proper waist, or with my heavy upper body I'll look enormous (and no diet will change that - it's about general balance in body shape). I just saw a picture from the game that proves this. Tomi's ensemble progresses with baby steps - too slowly. Everything's just more complicated than I thought, especially since it needs to be really good (so it could be a proud example of the kind of work I can do). 27 Jan 06: A Tidbit of Learning A couple of days ago, I learned better on particoloured gowns: I always thought they were more of a "boxwork" in construction, but actually the correct way is to make one side wholly in one and the same colour. I suppose it may be different if the gown is quartered instead of halved, but I don't remember more than one single instance of a quartered gown anyway - and even that may have been a sideless surcote. Even so, I still want a particoloured gown. There's no way I could fit that into any version of my SCA persona, so I'll just have to hope for that remotely possible game in the Avalon saga where it would be just the thing... 23 Jan 06: A Bit More Work on Mid'1500's Male, And General Update Attached the collar on Tomi's doublet (but did not stitch the right side yet), and attached the decorative band at the front edges to the ends of the skirt. So now all that is left on the doublet is whipstitching the very front edges and attaching lacings or hooks for closing. Fiddled with cloak, but only minimally. Only small projects done in the past month: I really hope to get the most immediate of these old jobs done quickly, so I could have some time next week to make a new winter cloak with a fur lining (finally). Anyone want to buy a red nearly-full-circle unlined wool cloak, somewhat worn? For that matter, anyone in need of a Renaissance bodice-and-skirt(-plussomesleeves) dress of caramel-brown velvet? I have one half-cut that I'm not going to finish for myself, that's certain now. 20 Dec 05: Inching Towards Completion of Mid-1500's Male Ensemble I have spent most of the past seven days agonizing over Tomi's Renaissance ensemble - first, I've still been more tired and much slower while working than I hoped, and second, it's a ridiculous amount of work for the compensation we agreed on (and third, no matter how good the intentions, there's always a bit less opportunity for work when visiting, even with immediate family). I just wanted to get it over with, but it keeps on taking longer than any estimations... and longer... and longer. No, I cannot really complain, since it's taken me quite long stretches of procrastination in between periods of progress, so Tomi's been forced to wait rather unreasonably long - but even so, it doesn't exactly make me feel any more charitably disposed towards the whole costume itself. So what's it consist of? A doublet with a fitted upper bodice and box-pleated short hem, shoulder caps, standing collar and detachable sleeves, of half-transparent burgundy silk with 6-inch deep woven gold borders all around (a silk sari from UFF), interlined with yellow linen (to shade the burgundy towards brown) and lined with dark-red cotton satin. A half-cloak with fitted shoulders, arm openings with open half-sleeves on top and an approximately half-circle hem, of the same materials as the doublet except the lining is heavy caramel-brown cotton-viscose satin (yellow-ish geometric jacquard for the open half-sleeves). Slops with caramel-brown lining and strips of black-and-brown geometric brocade lined with more satin. A bonnet of heavy upholstery velvet in deep burgundy brown. One single seam on the visible side that isn't handsewn, and even that really drowns in the edgings (which is the only reason I ever did it that way). At least 45 hours of work, and that's not counting shopping for fabrics, and only a fraction of the time I actually spent drafting the cutting diagrams (I can't remember what it was exactly, but I only counted an hour and a half for that part, thinking that if I were a trained seamstress, I might not have needed longer). I still need to finish some edges on all of the parts. Another to file under "learning experiences with friends", I suppose. Let's hope we can take nice pictures in the near future... and that these "finishing touches" really won't turn out to take longer than that. I know I'm whining like a ...whining thing? It's just that right at the moment I'm so exhausted with this particular project that I could scream. That's not to say I won't consider another job like this for a friend, but I'll warn you now that I'm better informed that negotiations may be tough, even for friends. Also designed and mostly cut a piecemeal brocade-and-velveteen tablecloth for a Christmas present - which will now be finished and delivered afterwards. I hate being such a hemming-and-hawing perfectionist. And I hate that I still don't have the strength to work very fast. 13 Dec 05: Waaahnnttt!! So I was not supposed to buy or even consider any fabric until I've seriously whittled down my current piles, right? Neither those "but-it-was-such-a-find" brocade scraps from fleamarkets nor any luxury fabrics that I covet but don't need, as I already have perfectly acceptable alternative options in the stash. Several. Perfectly acceptable. But. I found the perfect fabric for that perfect, multi-variable Italian Renaissance dress that I need for the SCA. I don't want to make a whole wardrobe of Italian Ren dresses, as I sort of have an earlier persona, but I'm so desperately in love with them I can't be stopped anyway, and if one has to fall, then the fall might as well be spectacular. So I want to make a reversible gamurra that can pass for a 1480's Florentine undergown as well as a mid-1500's sole gown, with just a change of sleeves and lacing and accessories (including a Chinese red-and-gold lotus brocade for a giornea). I already have more than serviceable choices for the fabrics, but I've always felt they are somewhat... well, just not quite right. Not quite the thing. Which may be why they continue to sit indefinitely in the future plans pile. This particular fabric, however, is perfect. Just... perfect for this project. Not flashy at all, just so fitting I don't even dare describe it here, for fear that someone currently better provided might get interested and go snap it up (there's only the one roll, and not that much left). And not even impossibly expensive. Not cheap either, but certainly within reason. If only I had any money at all. And I certainly don't need it. I have fabrics that would serve, even if they are simple and unpatterned and boring and... Waaaahhhh!! When did I turn into such a fabric snob? Also, at least I finally got that zipper in Paula's winter coat replaced, and delivered it, too. I had to do both sides twice, which is rather rare for me these days, but it should do now. At least I hope so. Oh, I waaaaaaannnttt... 09-10 Dec 05: The Old Fleur-de-lys Silk Medieval Haven't been productive in these past couple of weeks - too tired to sew or do much anything. The renaissance dress plan fell, ending in cut pattern pieces on the living-room floor (though luckily a friend saved me by the graceful loan of a German-type dress). The upside of that is that now I don't have to take it apart and remake it from Swedish 1520s (which was interesting to research, I tell you!) to Italian something, but can proceed straight to Italian. Anyway, finally kicked myself enough to put the much-beloved dusty red fleur-de-lys silk medieval (mentioned in the costuming meme as the ever-looming unfinished project) back together for Avalon V. I had enough of the fabric left for those late-12th-c. bell sleeves and for new shoulder caps for the sleeves (the old ones were too narrow, from the time the dress was off-the-shouder). I finally found use for one of the numerous sparkly finds in my stash: a Near-Eastern tunic of heavily pearl-embroidered navy silk. I cut the borders off and turned them into wide bands for the upper arms of the fleur-de-lys, and a slightly narrower band for the neckline, forcing the tunic's narrow sweetheart neckline wide by hand-stitching and then attaching the rest of the neckline (invisibly) by machine. I still have some of the edging left, and plan to use it for a belt, with the help of pearl string and some silver braid. It also needs something for the undecorated lower edge of the bands, but it did quite acceptably for the game. I wore it with my old bell-sleeved white undergown and jeweled belt (though it'll look much, much better once I get the matching belt made). So, now the eternity project is (nearly) wearable. The neckline is somewhat wider than acceptable for a bliaut, and it isn't built for substantial wrinkles in the bodice, but it does wrinkle a bit on its own, and I can always wear it with an undergown with a closer, decorated neckline (which means I need to make one!). However, while on the process of deciding what to wear, I got bored of my even-older blue wool gown with wide black fake-fur bands, ripped those off (except for the hem, where the 20cm band of fur is necessary for length and looks quite okay, too) and thus condemned the only ready-to-wear high-medieval dress I still had to the revamping bin. I'll see about it once I'm back to a size where I can wear it without a gap in the back. I also have far too many second-hand and scrap finds that would make great, great particoloured gowns if I ever got around to needing one... 29 Nov 05: Baby Steps Bought cream braid for Q's dress; decided finally that that was exactly not what I wanted. Need a few metres of gold braid, and that should do it. Decided on both pairs of sleeves - those with the pale blue brocade will be lined with cream cotton satin and the vertical edges bound with the blue velvet from the gown, then everything edged with either the cream or the gold braid. Cut the poly satin lining for the silk sleeves. Got those front ties for Topsu's tunic sewn lengthwise; will attach them tomorrow and then it's done (though I'd like to make aiglets for the ties, and still ache for something nice for where they attach...) Yesterday, forgot two very urgent plans for this week: Paula's coat zipper and Auri's peasant-style skirt (Irre's skirt next week). Must go to Kerava for the former; can probably do it tomorrow. Am unsure of how much time the latter will take. Still unclear on which pattern to use for this weekend's dress: should use a half-circle skirt, but that wastes so much fabric and is not at all necessary for Italian! Also worried about needing to buy more proper boning. 28 Nov 05: Fiddling Finally, got back to my projects and have at least a tiny update. I have a confession to make: I hate finishing things. It's not only that I have the moment when I have to admit that something is complete and shall therefore be judged as is (as nothing is ever perfect, this is to be dreaded). More visibly, the syndrome turns into perfectionism in the finishing details like decoration or fastenings: I want them to look nice, but often feel I don't have enough inspiration or artistic vision to make them really distinctive - you know, properly oohh-able? Anyway, I tacked this fear a bit by finally finishing the last few inches of edging Topsu's long-awaited doublet with silver braid. Still could not find anything nice to decorate the ribbon ties, but started to sew them in half lengthwise. After a few times of the thread getting lost in the sewing-machine (once pulling the ribbon with it), I gave up. Have to think of something else, or give in and do the lengthwise doubling by hand. Aside from those front ties, the doublet is finished... Tackled the sleeves of Q's Italian next. Sewed the necessary gore pieces to the blue-and-silver Oriental silk sleeves; tried to find lining fabric for them and cursed all the miles and miles of fabric that still isn't perfect for what I need at any given time. Chose dark indigo polyester satin (yes, it's synthetic, but the sleeve is one piece, and I plan not to leave it open all the way, and want it to slide easily over the camicia), but didn't get to cutting and sewing it yet. Re-cut the velvet-and-brocade turnable, two-piece sleeves (too narrow), but probably don't have enough of the velvet now. Must sleep over whether to have the upper arm made of several small pieces or whether to just abandon the turning option altogether. At least the brocade side of the sleeves got cut. And I still haven't received that divine inspiration that would tell me how to make the dress itself extra special. Must make this week: A Renaissance dress for myself, out of some velvet curtains, in a style that is completely new to me but so that I can then modify it for Italian later. A new corset. Other plans for this week: finish the Q's garb!!! Finish Wolven's jacket. Make progress on Tomi's doublet (I just figured out how to get the armseye done more simply than I saw before!). 25 Nov 05: A Costuming Meme I'll kick these notes off with a meme I found while browsing costuming diaries: 1. What is the unfinished project that looms over you? Bonus points if you can remember how long you have been avoiding it. The revamping of my generic-high-medieval dress with gores and side lacings in dusty red-and-gold 100% silk brocade with a small fleur-de-lys pattern. I made the first version to wear at the shooting of "Siamin tytöt" (the ball scenes in particular) in 1999. Then I learned more and grew more particular about what goes together at which time period, and decided to take it apart and turn it into a proper 12th-century bliaut with long wide sleeves and a more fitted decorative band at the neckline. I think that might have been towards the end of 2000... and it's still in pieces. 2. What is your secret sewing vice? It could be anything from not pressing seams to cutting against the grain. It's the thing you do that's wrong - and you don't care! I don't draw paper patterns. I always draw my pattern on the fabric (though on the lining to be sure). 3. Which of your sewing friends do you envy and why? Tofa, because her knowledge is just astonishing. 4. If you could steal any costume sewn by anyone you know (and that includes in the LJ sense of the word) what would it be and who made it? Probably Petra Lehtoruusu's exquisite wine-and-black Elizabethan dress from Calbourne III, based on the picture of an unknown girl (possibly Lady Helena Snakenborg) from 1569. The detail, but also the FABRIC! Silk samite... mmmMMMM... Of course, it wouldn't fit me. (I'm not even going to start with the costumers I read about on the web!) 5. You're stumped about how to proceed on a project, so you ask for advice from your pin posse. What is the WORST advice you received? "Maybe if you just left something out and made it simpler..." (Not that I have a pin posse. This is the worst advice, anyway.) 6. You worked hard on the costume, got it finished, and now you hate it and never wear it. What is it? Had some, but sold them away. One was a plum-purple wool dress with white gold-edged velvet at neck and sleeves and lacings at the sides, but on top of the fabric, just to pull it into shape. It was regal, it was warm, it was multi-purpose, it had emotional history... and I looked terrible in it. Finally, it shrank enough in the wash that I had an excuse to sell it to a much smaller woman. 7. Have you ever had a costume you made implode - while you were wearing it? Do tell! Once or twice - corset holes mostly. One was at "Tanssikaamme vielä", and it took helpful people at least an hour to fix something together... but it worked (thank you!). One was just before a Ropecon dance performance, but luckily my other corset could be reached in time for the actual show (it hampered movement, though, being longer). 8. You know you shouldn't wear it - the costume is soooo unflattering - but you love it and wear it anyway. What is it? Haven't got any. I am too neurotic about my appearance to wear unflattering clothes. Unless Viking Finnish counts (it could be more flattering, but it's not that bad, and it's more a choice of persona than love of the dress)? 9. Complete the sentence: I know I'm a costume whore because...? - I read forums where I find memes like this. 10. You are at some kind of costumed event. You are trussed up in the pranciest of your prancy costumes. You are wearing a wig. And feathers. You see a work colleague. Do you step forward boldly and claim your geekitude, or do you flee? Depends on the colleague, but probably step forward. |
You can still contact me at svaha at iki dot fi |
