My 17th c. bodice left me with questions about whether I was fitting it correctly, so I called Bauhausfrau today over my lunch hour, since I knew she'd already started the same pattern. When I got her on the phone, I realized that my own motivation for this gown before CC was perhaps not as strong as it should be towards finishing it over the next two weeks. My excuse was clear: without the trims, attempting this wasn't realistic.

Then I got home from work today...

I not only got some exceptionally gorgeous doll fabric and doll trims, but half of my order of silver trims for my Charles II mistress gown. So, I'm forced out of merely rationalizing an excuse. Shall I try to sew it...or not.

I have to admit, the more I look at this trim (which is just fantastically awesome), the more I feel I just have to go for it. So, let's see how far I get tonight.

Plan B is to drape a new 18th c gown out of the discount silk I got online ($35 for 5 yard of some impressively gorgeous stuff). However, I could do that rather rapidly, since I can drape those fast. So, let's see how far I can get this week...

Last week, I rough fit my Chas II bodice. I'm using the Reconstructing History pattern, fwiw.

It took a bit of fiddling, several nights of cutting out cardboard, but I think it's close, which will do (though I'm still a bit concerned about it being too l ong waisted). Finally, Saturday night, I made it to my cutting table. I used random bits of fabric, marked it at will, since these layers are going to be completely encased when it's done. I then took a break from the instructions and sewed boning channels in each piece separately, then basted the pieces together (I like doing stays that way better, because it's easier to alter). It looks pretty good, but I don't know if I'll have this done by the end of the month.

I have a couple of issues generating my uncertainty about finishing--first, I'm not visualizing how the sleeves will turn out, though I'm pretty sure I could resolve that with a mockup. Also, I am waiting for trim to arrive...so go figure there. Finally, I am having sewing machine issues.

Once again, the tension is out of whack on my sewing machine. My results are ok for boning channels, but not acceptable for the rest of the garment. I will see tonight if my backup machine--a featherlight--is up to the job. I'll take my machine to the shop this week.

After sewing, I sat down with DH and explained my dilemma. He agreed that after resolving some debts, I could start shopping for a new one. I told him it would be expensive and he said OK. I'm not sure he understood how expensive. I'm leaning towards the Bernina Auroroa 430--a mid-line workhorse that can be expanded to embroidery capabilities. I also like Elna, for it's built-in walking foot and tight edge sewing foot--but their line doesn't seem to have a modular expansion capability. I think the sewing machine salespeople expect me to want to "trade up," just like with cars. Little do they know we tend to drive (or sew) both our cars and sewing machines until they die.

But right now, that's kind of moot. Well, gotta get off to work!

Well, Sunday night I just couldn't sleep. After tossing and turning, I went down to my work room and started mucking with a Soom Namu practice head that I'd bought some months back. To be honest, it wasn't a head I really liked--it was scratched, it had the pointiest nose and distinct eyefolds. But I got it inexpensively, so I figured it was a good piece to start on--I could improvise with abandon.

This is not my doll, but it give an idea of the pointiness of the nose...imagine this, with a bad faceup. Luckily, the face cleaned up easily.

The first thing I did was haul out the dremel--and slice down that nose. Using a very fine bit, I found it easy to get a rough cut on a nose shape I liked. I started fine sanding with a nail board, then I remembered I had a set of Japanese polishing papers that I'd bought for PMC clay. I tried that--and got amazing results. Feeling my success on the nose, I refined the shape of the eyelid, then I used the polishing papers to work off the scratches on the head.

What I ended up with was a face that looked like new--and in my eyes, much better than the original sculpt. It was pretty amazing how great it looked. I was truly surprised to see how much working it with very fine abrasives improved it. I was lucky--the head was not discolored, either.

Then I moved on to adding color. This time, I went for a very natural face. I felt that I was getting the hang of the technique of painting (my airbrush is not set up with a compressor yet)--but I am still stymied by caking of color--though now I'm careful to brush off any excess build up.


This evening, I put the doll on the only SD body I have--an Elfdoll. Unfortunately, the Soom resin is much lighter and greener. Still, I was amazed at how great it looked. I didn't do much to photograph it but use my point and shoot and it looked great. Here is the doll, wearing the gorgeous dress Bauhausfrau gave me last month for my b'day...I love the first wig, especially...and the green eyes look fabulous in person.


Which brings me to a dilemma. This was supposed to be a disposeable head that I could use to practice on, then pass along. Though I don't see this as a final faceup, my success is leaving me quite attached to her. However, she needs a body that matches her face.

Of course, none of this leaves me craving that Alice in Labyrinth face any less...c'est la vie, huh?

I'm back from Atlantic City...and Antiques Roadshow!

This was my second time going to the Roadshow. Some stats from the local paper: 6,000 are lucky to win the lottery for entry passes. 95% of appraisals are under $100 and only a handful of entries get filmed.

We lucked out. We got 8:00 am entry tickets. The box o' documents about slavery that I brought got a very high appraisal ($8-10k) but the auctioneer reviewing thought of trying to get me on tv, but the other assessors felt the collection was too broad to make it past the producers (though they urged me to submit it to the History Detectives).

As if that weren't amazing enough, the girlfriend who went with me hit pay dirt! She brought a book autographed by Walt Whitman, got selected for getting on TV and got interviewed by the Philadelphia Inquirer about the experience. So, I got the chance to hang out in the green room all day, which was pretty fun. The coolest part was that the executive producer came back for coffee and sat with me for an hour. I got him to tell about how he brought the concept to the US and how he transformed it from a snooty show appealing to the silver haired set to mass markets. It was really fun--and he gave me his card and shirt as a souvenir!

In the green room, we could watch the filming, which, interestingly enough, was edited as it was filmed (except retakes). Only people in the green room could see what was going on, though. Surprisingly, companions had the best situation--the folks selected for on-air appraisals had to stay seated at separate tables and could not speak with anyone. Companions were allowed to roam, talk and have fun. Since we were there for hours and hours (though we could visit the floor any time we wanted), there was this odd bonding experience--it was tons of fun.

The person who really seemed to hold the production together was the floor director, who has an amazing talent for putting guests at ease. The appraisers (who have to volunteer as triage appraisers to get the chance to compete to be floor appraisers--at their own expense--with odds against them for getting air time)--were mostly a very fun bunch (well, they were very happy if they got to the green room), though those new at it were very nervous.

Highlights from the show--the very adorable but nervous Jean, who called her miniature highboy chest a "highball" to Leigh Keno (to which her great niece, sitting next to me in the green room said, "after this, I'm ready to down a couple of those!"), the appraiser who looked like Mark Twain who valued a banjo and the fake--a guy who was sure his Chinese lantern was ancient (it was pretty obviously fishy--it looked like airport art).

So, it was totally a blast. I got home and zonked out, though!

I got back from my journey to MA last night, after losing my car keys, then finding out (after 3 hours of searching) that they'd fallen out of my purse and rolled far under the car seat (an unexpected dimensions of my keyless auto systems is having keys in the car, but out of pickup range).

As for the jacket project, I ended up starting on it at the final work session. It was rather awkward fitting into a project that had been underway for two years, but my work was needed, so I came out feeling accomplished. I started with sewing on spangles (or oes or pailettes, depending on who is speaking). At first, I felt very hesitant and worked slowly. Then I was switched to embroidering curliques on the golden stems. Real gold embroidery! I loved it! The need to make progress infiltrated my brain and soon I was cranking. At the end, they doubled us up for a time on frames and I went back to sewing spangles. Oddly, sharing a canvass gave me more confidence. I was cranking. My work was tidy. Then other folks left early, I got a frame to myself again and I started whipping those things on. I know I hit about 80 per hour, maybe more--I just managed to finish spangling the piece I was working on.


My take-away was a whole lot more confidence in my embroidery capabilities and a lot of creative inspiration for new items. I think I will try to make a coif inspired by--but not copying--the jacket (named "Faith"). I also am inspired by the 3-D design possibilities of stumpwork. A veteran stitcher from the project brought in an amazing stumpwork lamb that she'd sewn--seeing her effort left me thinking of designing my own creations. I'd love to make a sewing accoutrement like the needlelace thimble holders and needlebooks of the period. Only the design I have in mind is a bit fanciful...

Well, that is an idea for another day. Right now, I need to get cracking on my UFOs!

Meanwhile, thanks for all the comments from before. I wasn't able to respond, mostly since I never got online!  Life was very busy, but very fun!

Greetings from Mass.!  I am here, it's freezing cold up here, but it's a fun time as I got started with work on the Jacket Project. Today I spent the day sewing paillettes (ahem, o'es, as they say in 17th century speak) and just had the most fun time meeting and chatting with the other sewers. I have taken a bunch of photos, but I am going to wait to post them because my camera is in the car (and it's too cold to run out for it). Also, I want to be sure what I can and cannot post online.

Anyhow, it's a great learning experience. First, I got to hold the pieces in my own hands. My breath pretty much sucked completely out of my chest when I saw it. It is such incredibly fine work. The photos don't capture how amazingly small the work is. Those flowers are incredibly tiny. The jacket is really small. Those stitches are incredibly even and miniscule. At first I could only just trace my (newly cleaned) hands over the piece.

Wow.

The highlight of the day was when we got a backstage tour of the private collection, which includes three precious samplers. It was such a privilege to see the museums treasures--and to see the work close up that women worked so hard to make in the past. Unfortunately, two need preservation--and one is starting to show signs of deterioration. That sampler is a later one, but made by a descendent of pilgrim Miles Standish in the very early 1800s. It is unique since the girl who sewed it brought perspective into the house she portrayed. It also has, to my delight, a dog with lips! They are going to start fundraising as soon as possible to get it stabilized.

Then (squee!) shopping! I got to stock up on nifty items for my own embroidery supplies, too. The project leaders have some of the finest possble supplies available, including handmade needles (kinder on threads), gilt silk twist and gold threads! I am in love with my new items!  Even my teenaged nephews thought my loot was impressive, even though it all fit in a tiny little bag. Now, to sew something wonderful...like one of Laura's coif patterns!

Thanks to all who asked about my drive. Despite a long backup as crossing the Bronx, the ride up to New England went smoothly. Actually, the delay worked in my favor--as I turned off the exit to my sister's house (comfortably at 9:30), the audio book I'd been listening to all day concluded. Perfect timing!

Thanks to jehanni (who came over Tuesday night and helped me figure what I was doing wrong with the spiral stitch), I am almost done with the sampler (required for participation in the 17th Century Jacket Project) and it's finally looking the way it's supposed to!


Now I'm getting ready to drive to Mass. I still have to pack the car, get gas, then I hit the road. Snacks and audio books are all ready to go. Fortunately, my two sisters & father live only two towns over from Plymouth (Duxbury, where I grew up)--and it's only about a five mile drive (on the freeway, no less) to reach Plimoth Plantation, where I'll be working on the jacket this weekend.

Oh--and my sister the dentist promised to teach me a better way to make fangs!

Then we're planning the sister's night out--we're thinking of beers, fried fish and onion rings at the Lobster Hut. Cheap, tasty eats and lots of gossip on a wharf over looking Plymouth harbor. Heaven.

So, I'm quite psyched to hit the road! Have Prius, will travel!

I'm taking a bit of time off sewing to get ready to head to New England on Thursday to work on the Plimoth Plantation jacket project. I'm far behind schedule completing the sampler required for participating on the project, so I'm pressing to finish it this weekend. I'm not happy with my stitching on the embroidery stitches, so I'm expecting that I won't be doing that (I'm figuring I'll do the easier job of sewing on paillettes). However, I do hope I can learn what I'm doing wrong with the stitches (especially the spiral, which I've redone many, many times).


Oh, well, phooey.

I also purchased a lace sample kit, even though the actual lace for the project was done. I have gone through phases of lacemaking in the past and I've wanted to try 16th century techniques. So, for the first time in years, I pulled out a lace pillow and started hacking my way through the pattern. While I found the directions a bit confusing, it's a fairly simple pattern and the techniques came back to me rapidly as I started playing with my bobbins.

My experience with bobbin lacemaking is one of the strangest experiences. It's a totally intiutive experience--I don't think I could explain much of how I do it.  I can follow patterns, but I don't understand how those women in the lace guild can just look at a pricking (a diagram showing pin configuration) and know immediately how many bobbins to use, where to start and what options they have for execution). I expect that comes with experience, but getting my brain around that essential part of the craft is totally baffling to me. Still, I was pretty happy I could figure my way through this simple pattern.


The kit actually calls for making a sample using gold and silver threads and paillettes (provided). Since I wasn't confident about remembering my skills, I did a test run using linen and other paillettes I had around the house. I was pretty happy with the result, though I will have to work at this new way of making picots (they are all there, but they tend to twist oddly). However, I cannot say if I will use the kit materials--I'm not sure if they really want more samples, since the jacket project lace is completed--and given my druthers, I'd like to work on some lace I could use for a costuming project.

Anyhow, the effort left me remembering how lacemaking is a perfect filler project. Once a pattern is set up, it's a perfect little occupation for doing while watching tv--rather like knitting, but with prettier results.

My first impression: ROTFLMAO...


My second thought is--now that's a press secretary who really wants credit for writing the funny speech Obama gave at the White House Correspondent's Dinner.


Hmmm, I wonder if Cody's already sent his resume to Comedy Central?

Hat toss to heatermcca  for bringing this to my attention.

Ok, as said, I drafted this pattern a year ago. This morning I basted on eye tape and laced it up. It went on, but it really felt funny. So then I loosened it and flipped it to the back.

Crikey, it's back lacing! I'm grinning here from combined embarrassment and relief!

Well, no harm done. Doesn't it look great with the tie dye?

It fits marvelously, giving lots of support (nb, this is a first layer over my shift). I think it's going to have to have some more canvass and wadding in the front to smooth it out (note the wrinkle by my left elbow).  I'm considering boning it as well. Also, fixing the straps to the back will help, too.

Crisis averted!

Yesterday I looked at this project with new eyes. Something is wonky with the fit, so I got DH to help me try to get it on. He must be absorbing this (he's become quite helpful with fitting!), but he immediately concluded--too small in the bust. Other than that, it fits fine. I know I used a pattern I drafted a year ago--and come to think of it, I gained weight this past year (yes, I'm counting points too). Grrr.

So, now I'm thinking of adding a stomacher, which will make it more Tudor than Italian, but it saves the project from total failure.

Today I think I will baste in eye tape to try to get a feeling for how I want it to fit. I'm also considering adding boning channels to the front and maybe another layer of canvas (though it will be 4 layers thick at that point!). I'll try taking pics when I make progress.

The other thing--I think I also want to line the skirt. It will mean ripping out and resewing the bottom binding, but I think it will fall much better. I just hope I have natural linen in the stash!

It seems that every time I put down a project, it gets better when I return to it...so long as I do return to it!

I posted about half of my Costume Con photos last week, before getting swamped by recent dental woes. This morning I formatted the rest and posted them all...enjoy!

Late yesterday I got news about a friend who I've come to know as a fellow volunteer in my work with persons of disability. Friday he was laid off his job, after more than two decades of work for the American Bar Association. The part that is most difficult is the timing. He's got a particularly nasty kind of blood cancer and had returned to work after completing the latest in a series of treatments (small bone marrow transplants, which he has been responding to). He can manage without the job, but he can't carry COBRA and the components not covered by insurance for long.

So, losing his job ends up being a virtual death warrant.

This morning, I decided it's time to pull political favors that I've never used. I'm asking every lawyer I know to contact ABA for his immediate reinstatement for humanitarian reasons. So far, everyone is responding favorably. My network is largely Democratic, though a friend of mine who is a retired Republican Governor is trying to work his network, too.

So...if anyone reading this is a lawyer or has top legal contacts--PM me. I'll give you details.

The highlight of CostumeCon are the elaborate masquerades that cap the event. These involve the competitive presentation of costumes in a stage environment. This year, I was fortunate to have a front-row seat at the historic masquerade, thanks to a very thoughtful companion who saved me a seat while I changed clothes. I tried to take photos and pictures of all, but due to technical problems, I missed the first masquerade.

I took videos of many historic masquerades. Bear in mind that I was shooting with the video setting on a regular digital camera--not a real video camera. But it should give you a flavor of what the masquerades are like. Click below the cut for your viewing pleasure!

p.s. Pardon me if I get the names of the masquerades wrong. I did this from memory!

( Click to go to video! )

I'm in the process of posting the videos and photos I took at CostumeCon. It's taking quite a while...

My overall impression of the event is marvelous! I loved the company, catching up with old friends and the amazing workmanship on stage and in the hallways. I made a point of dipping my feet in the sci-fi/fantasy water by taking a fang workshop. There were two dramas (my course fee was stolen and a discussion I had led someone to make injurious remarks about another costumer after I'd left) but these hiccups couldn't hurt the generally happy experience I had. I left feeling inspired and creatively stimulated, which is always the best takeaway!

To get started, here is a video of the Simplicity fashion show, showing the display of the new Wizard of Oz patterns:

Whhheeee! I've been away to New Orleans (Jazzfest still rocks!) and now at Costume Con.

Somewhere in my travels, my sewing mojo disappeared. Then, doh, it hit me! What was I dieting for the past month? To fit my costumes...I have a whole closet full of costumes. I made a selection, then got rather caught up in life's stupid details. After fussing through things like bills, laundry and picking up prescriptions, I hit the road, got caught in a gignormous traffic delay, but made it to Costume Con with time to relax and catch up before the Friday Social.

This was the highlight then...A presentation called "Herding Cats."




Yesterday--an awesome workshop on Jacobean Embroidery, the Sci Fi Masquerade and lots of catching up with old friends. I stayed up way too late, but am cranked to go to the Sunday undies!

More later!

I'm about off to drive from Virginia to New Orleans, LA tomorrow. I've been to NOLA several times, but this my first time driving there. Does anyone know of any "must sees" (or "must shops") in Knoxville, Chattanooga, Birmingham or Hattiesville?

I have been completely distracted from sewing!

Presentation's from last year's Janet Arnold costume colloquium in Florence, Italy are online here. Registration is required--but it's well worth it! The presentations are sensational, although be warned--the Italian ones do not have translation (although if you do know some Italian, do try it--most speakers made extra efforts to speak slowly and clearly). I've got a long entry after the jump--but if you like the Renassance or murder mysteries, it's totally fascinating stuff. ( Follow jump for a bit of eyecandy and a juicy murder mystery! )

For me, this was an engaging bit of research that kept me up late last night and reading through this morning! I'm surprised none of this has ever made press in the US, since it's kind of a fun bit of historic mystery--and well as a stunning costume discoveries. Thank you to fiofiorina for pointing me to the conference presentations!

Thanks to the oracle that is LJ, I settled on an inspiration for my kirtle--a detail of a servant in an altar painting in Bergamo (as usual, click to embiggen)! Is this not fantastic??? Subconsciously, this is exactly what I was aiming towards. My wool (for those who asked, I got it a few years ago from Burnley & Trowbridge--it's supposed to look like walnut dyed wool) But achieving this look requires more wool trim.

I finally completed my work yesterday by 2:30 pm and zoomed off to Needle & Thread (Gettysburg, PA) by way of Discount Fabrics (Thurmont, MD). My first stop was less inspired. I found good deals at Discount Fabrics--just nothing I really wanted. Ok, I'll be honest, I did drool over several of the silks and gawked at the huge leather skins they had--and then moved on. I was under the gun to get to Gettysburg with enough time to shop Needle & Thread.

While Burnley and Trowbridge is my all time favorite supplier, I do enjoy my visits to Needle and Thread. It  is an old fashioned, homey fabric store (complete with a Apocalyptically-inspired clerk that just amused the heck out of me) that caters to quilters and civil war reenactors. My first objective was to get more wool twill tape to match the other twill tape that I'd got out of the stash. The tape I'd had was a rather harsh tone of yellow, so I'd dyed it to get it to a lovely scarlet color. I was pretty sure we had picked up the original wool twill from Wooded Hamlet--a vendor who had left sutlering and sold off her business to Needle and Thread. To my surprise, the scarlet braid they had in stock was close in color--but lacked the muted variation I'd achieved in my hand dyed stuff. So, I bought the desired yardage in same the harsh yellow I'd started with, which was also in stock.   I also got some other miscellaneous tapes, wool cording, a bit of vintage lace and a half yard of some very cute quilting cotton for a doll dress.  I was quite pleased. Here is the stash, minus the tape (angldst --the baggie of buttons is the grab bag I got for you)...



BTW--the wool tape isn't there because I immediately put it to simmer in the dye I had left over from the first bit of tape.

Since I tend to discount shop, I am a fairly frequent re-dyer, especially of the trims and embroidery floss that I pick up on sale. For living history demos, I love natural dyeing, but for day-to-day sewing, I tend towards the convenience of fiber reactive dyes. For this project, I used a combo of Pro-Chemical's Polar Red and a little bottle of Jacquard's Poppy Red silk dye, along with a good dollop of white vinegar. Pro-Chemical sells neat little sample kits, which are perfect to keep on hand for small jobs like trimmings--I keep mixed up concentrate batches in the basement fridge, so I can just do small jobs on whim.

I soaked it in a water, vinegar and dish soap solution, put it in my dye pot to simmer for a couple of hours (no stirring!), then let it cool down and rinsed it. This morning I determined I hadn't left it in long enough (it looked a little too tomato-ish) so I resoaked it, then put it back to simmer.  Here is a photo before I returned it to the pot (this time, I corrected the colors, so that is the correct color for the kirtle).



Please note--my dye pot is hardly optimal. It is a very inexpensive old tin candlewax pot. The metal of the pot may very likely mute the brightness of the colors, but for my purpose, that's fine. Better than that, there's a safety consideration. Because he knows I've used it in the past to melt wax, my dear husband is unlikely to appropriate this pot when he next craves a dish of ramen noodles. Why  men would rather use cheap tin pots over good quality kitchen wear is something I've never understood (is it a chromisone thing?)--but this is always a consideration when I select pots (I hide my good steel dye pot that I use outdoors so he's never tempted).



While writing this, the lace I scored on Ebay when my sewing group visited the other day arrived in the mail. It is lovely--and interesting to compare with the lace I bought yesterday. The ebay lace is stunningly fine chemical lace, probably from the 1920s. The coarser lace I got yesterday may be a little older. It's machine bobbin lace with re-embroidery (apparently, by hand). The embroidery makes it look more like needle lace, so I'm leaning towards using it for my Charles II mistress gown, even though it's less refined. I have another idea for the finer lace...

I got a bunch of awesome ideas for my renaissance dress--and I'm buzzing through chores to try to haul butt to Gettysburg this afternoon...

However, while reading responses last night, I got inspired to make an English coif (I know, I know, my goal is Florentine--but I do like the coifs, too). So, I turned to Drea's outstanding tutorial on making coifs, printed the pattern, cut it out and got to handwork. Once I was nearly done, I realized I totally mangled the pattern. Ergh. Some folk can ignore instructions. I am not one of them.

Oh, well, it's not impossible to fix (I'll just take out the stitches, press it and repeat on the other sides). However, realizing I made such a pissant mistake is frustratingly irksome. I crumpled the darn thing into a ball and threw it at Muffy the cat, who was busy hissing at Scout the cat (because he was rolling on his back and looking cute).

Today, I will not work on it. I have enough other projects. On the plus side--I can say positively that if you have stuff on hand and follow directions, it's an easy project that can be completed in a night's work.

I did not follow directions. But goshdarnitall, my handwork looks good on it!

I am a numbskull. I can live with it. Over and out, got to do errands!