More Pelicans! A Hood for his most excellent Excellency Xavier

This time I created a hood for Master Juan Lazaro Ramirez Xavier- former Baron of Stonemarche and my SCA big brother.

Xavier, as he's known, with his beautiful wife Maria were brought before the king at Great Northeastern War and given writs to contemplate joining the Order of the Pelican.

I would not be in the SCA without Xavier.

My household, House Strangewayes, would not exist without Xavier.

It was Xavier and Maria's wedding that a young Mistress Iulia Agricola (formerly Elinor Strangewayes) attended which hooked her, then her childhood friend Simona, and then Simona's work friend me on the SCA. And it's been encouragement and support for us and a legion of other newcomers that he and Maria undertook during their decade as Baron and Baroness Stonemarche.

You know those posts I have about Palio? Palio is his idea. His baby. They also established the newcomer tour at Birka. They first introduced me to Sir Kyppen's YouTube videos on being a chatelaine by holding a class about these videos at Harper's Retreat.

So needless to say we wanted to give back. Stonemarche is the home of our hearts, and a huge reason for that is Xavier and Maria's work as Baron and Baronessa.

So on to the project! He wanted a hood, as he overheats easily, instead of a full cloak and cap of maintenance. We also had a two week window due to Pennsic. So I sent him a sketch of what I was thinking:

Red linen hood, with gold silk lining and red jewels and embroidered pelicans.


A simple hood with red cabochons for the blood drops around the hem and two embroidered pelican roundels



We made a few modifications, he was worried that the red jewels would not stand out against the red linen so he suggested gold balls behind the jewels as gold balls are part of his heraldry.

AND BECAUSE I LOVE MY FRIEND I AGREED TO APPLIQUE CIRCLES

 

 

Pennsic gave me a chance to shop for materials. The gold silk which was too heavy to line the hood was perfect for the gold silk Pelican giornea which Lady Simona bat Leon was making for Maria from the lovely new fabric and notions vendor in Poison Pen Press's old spot. Booth 63 I believe. Instead I got the silk at home at Sewfisticated and Xavier ordered the red linen from fabric-store.com.

 

The things that make this hood are the jewels, which I got at Cabochons on Bow Street #19. Run by the amazing (Mistress, Countess, all around awesomeness) Arastorm the Golden and her daughters Willow and Kat. They had not just teardrop jewels, but I could pick from red faceted jewels or red cabochons! They came with the fittings and Willow gave me a crash course in sewing them on. Plus, they are from Stonemarche!

Layout

I copied a hood that he already had which was made based on Cynthia Virtue's hood pattern. The one he had the buttons were sewn on the very edge and the buttonholes handsewn through both layers.

I basically cut the same shapes for the outside as the lining. On the lining squared off the back of the hood instead of making a tail. The only thing that wasn't fully lined was the liripipe (the long tail) which we measured at 41" long on him, to give just the right amount of drape when the tail is tucked into his belt. So I cut a 4 1/2 inch wide by 42" strip for the liripipe. More on the liripipe later.

The hardest part of this were the appliques. The thing that made the hood though, were the appliques.

I first cut out a template out of a folder for the heavier paper weight the finished size of my circles. I then cut out ten circles with a quarter of an inch seam allowance around the edges. I then proceeded to use ALL THE STEAM! I wet down the circle, placed the template in the center and folded up the steam allowance carefully and ironed it down around the edges. (Pictures forthcoming) I take this technique from quilting circles.

The first one I serged around in red, but there were two difficulties in that. First, serging tiny circles is a maddening task, and second, the serging didn't do what I wanted it to, which was give me an even guide to hand sew against. Instead, it betrayed me and showed in an ugly manner around the ironed edge. So I banished that circle and cut a new one.



The finished ironed silk circles

Then I added the findings, snussled the jewels into them, and played around more with placement.

More spaced out. Less work. I felt it didn't look right.

More circles! This is the right look!

Then I got to hand sew around the wee little balls.

 

Here are the mistakes I made doing this:

1. I should have sewed the gores in first, but I was intimidated to do that, so I procrastinated.
2. I didn't use silk pins so I then had the smooth out the silk from the fat quilter's pins I used.
3. I agreed to applique circles in the first place.

 

Finished sewing on the circle! Now to embellish

How it looked from the back... at first.

The finished applique

 

After the stitching around it, I did a back stitch in gold and whipped around it in white.

Due to the different fabrics they sort of "puffed" when I finished them. So I put a circle of red wool felt (left over from Viking Sailor Moon) behind it to keep the convex shape and give more of a "ball" look to the appliques.

A note on the motivational cocktail:

It's a motivational cocktail! A Fortune must while sewing!

Syele von Heidelberg made me an awesome boozy milkshake from vanilla ice cream, cocoa and cookie butter from Trader Joe's and vodka! And it had a cool straw!

I sew (on a deadline) better when a little buzzed, it gets me over some of my hesitations and have Brilliant Ideas (tm)! (I once came back tipsy from a Halloween party, drafted and made a Venetian gown and wore it to Crown Tourney the next morning. I looked FABULOUS)

In this case I had a Brilliant Idea (tm) about the liripipe. Xavier, for all his noble qualities also has a great sense of fun and whimsy. So I was determined to hid the squeaker from a squeaky toy in the tip of the liripipe.

Which of course meant I got to go to Wal-Mart and look like a lunatic squeaking various items in the pet toy aisle to find the right pitch of squeak.

Turns out - squeaky toys are harder to open than you'd think.

The way my mother's 8 lbs Malte-Poo goes through them I figured no problem, this thing will give up it's squeaker easy. NOPE. I had to eventually stab it to death.



Squeaky squeaky murder

Back to assembly!

I have done these hoods before - but every time I get intimidated by the gores, look up Alysaundre's Perfectly Pointed Gore Technique and wonder why I get intimidated by the gores. They came out perfectly, no having to rip out and try again on any of the four gores.

I stitched the long liripipe strip to the outer hood, folded everything and ironed it, sketched a half moon shape at the tip and stitched up the liripipe and down the center back.

I stitched the tip of the back of the hood together, left a generous 6 inch space and then stitched down the back of the neck as well. I then matched them both up and stitcked around the edge of the hood and around the cape edge. This uses a lot of pins, but worked out really well. Then I pulled it right side out through the slit and sewed that up by hand. Now it's more ironing, because linen NEEDS to be ironed and silk takes so beautifully to an iron.

It came to the night before and I sewed on the buttons which I'd found at a local Jo-Ann's which looked like period metal buttons. The young lady at the checkout also let me use every coupon they had going so it cost me about $5 for $20 worth of buttons. I stitched them to the edge of the fabric about every inch, tightening to ever 3/4 of an inch around the curve of the neck.

The intention was to do handsewn buttonholes through the fabric. But... that looked terrible and I was doing it on site the date of the event. For some reason the silk and linen did not want to cooperate and it looked like a small rodent had chewed a hold through the garb.

So I changed tactics. I had three hours, and I had seen a technique for turkish garb making thick thread loops and doing a buttonhole stitch around it. This site calls it the buttonhole bar stitch.

From rocksea.org Sarah's Hand Embroidery Tutorials

Instead of doing it here in the middle of the fabric I did it on the very edge with red embroidery floss and when done correctly the loops don't even twist!

I was able to get the loops done in plenty of time for court and they looked fabulous!

The below photos are from Lady Estefania del Bosque who did a magnificent job photographing the day.



Her Majesty places the hood around his shoulders



Xavier, His Majesty Omega, and Her Majesty Ethedreda



Xavier, Maria (and her gorgeous gold giornea), His Majesty Omega and her Majesty Etheldreda

 

Master Juan Lazaro Ramirez Xavier

Here you can see the one handbound buttonhole I managed to finish. The Pelican embroidery did not make it to the event, but will be added later.

I didn't tell him ahead of time about the squeaker. I told a couple other people, but not him. So after he was done with court some rapscallion squeaked him. It was huge hit.

More about the event:

It was a beautiful day at King's and Queen's Equestrian.

Inspired by Pennsic my cohort Lady Bianca Anguisola and I made a big effort to have as much of a period pavilion as possible.


Isn't she just lovely folks?

We borrowed the tent from a friend of Simona's and brought our wood tables, wood benches and period servingware. We served a simple but period lunch and had some great fellowship.

And aside from the vigils we were the place to be

It helps to have a war kitten!
Zeus (the cat) and Munchkin (the dog) were great entertainment

Lady Este offered to do a photoshoot with us so... we couldn't resist.

Some of House Strangewayes: Lady Lysken die Waeyer, Lady Cecily Wyndham, Lady Elvira Ballesteros, Myself- Lady Fortune St Keyne, and Lady Bianca Anguisola

Things quickly escalated...


Drama Queens



The Hills are Alliiiiiiiiiiive!!!!!!!!

 



As you can see, my household are a super serious bunch.

 

My dress is based off several portraits in the 1520s made for Pennsic out of some wonderfully soft lurex striped fabric from Jo-Ann's and the lower sleeves are out of velvet. The camicia is from my Birka dress for the Queen's Celestial Challenge - which reminds me I need to do a post on that dress. Bianca has a 1550s back side lace gown and her dramatic walking veil. Elvira is in a 1530s gown which is scandelously under dressed without sleeves (the hussy!). Cecilly is in a similar dress out of gold key because she wanted to be in on the Italian flavor of the day and Lysken, who has to be different, is in a Roman outfit, while technically still Italian from several hundred years in the past.

 

A wonderful day all the way around!

Pelicans and Great Northeastern War - Mistress Deirdre de Planchette

Years ago, a friend was making a Pelican cloak for someone, and the full elevation outfit, and vending GNE and time was running out for it to be finished, so I spent a dreary overcast Saturday morning sewing down trim and adding the little garnet blood droplets to the Pelican cloak to be presented to Master Peter the Red.

I didn't know Peter then, I knew his wife a little, but I knew of his reputation in the archery community as a teacher and master of his craft. Since then, Peter has become my friend and I was reminded of that overcast Saturday as I sat this past year in my encampment finishing a dress for another Pelican-to-be.



Mistress Deirdre de Planchette with their Majesties Omega and Etheldreda
Great Northeastern War 2015

Let me tell you about Deirdre. Lady Deirdre de Planchette was the Exchequer of the Barony of Stonemarche for a LOOOOOOOOONG time. Which means she's been the person getting the 2,000 SCAdian cats who attend Birka swiftly, accurately, and efficiently through gate each year. (The folks from Pennsic Troll came up to Stonemarche and modeled Pennsic's system after hers)

And you never see her. She sits in the back room counting, sorting paperwork, making sure everything one else has breaks and has everything they need. Not to mention being responsible for the funds it takes to run such an event, and all the other events held in Stonemarche.

She has given to the Society in more ways, fostering newcomers, fostering the arts, and never seeking attention to herself, just doing and doing well.

So when the call went out from her daughter to help out with Deirdre's vigil and Pelican ceremony my household wanted to help. So Simona bat Leon and I volunteered to make her dress.

Deirdre's colors are blue and red so a bliaut was born: baby blue summer weight wool with red silk dupioni lined sleeves, red silk neckline yoke and trim. Lady Anastasia of the Oaks made the most gorgeous red and white silk trim for the dress and belt. (I kept petting it, it was so soft).

A quietly elegant dress for a quietly elegant lady.

I used a variation on this bliaut pattern by Adrienne Dandy. The pattern is simple but striking and I wanted the fabric to speak for itself.

We cut the fabric out on the Camelot Common House pool table (I'm sure that's why they got that thing, for fabric cutting). The edges are all serged inside and the lower sleeve is entirely lined in the red silk.



Full length shot of the dress with my lovely assistant Simona bat Leon

A shot of the silk trim being applied

The trim was terrifying to cut, as I know how hard Anastasia worked on it. But it looks so magnificent on the red silk backdrop. The trick is sewing across the trim first in two parallel lines and cutting between them.

Simona and the sleeve - what ironing! And she's a serging machine!

The sleeve is in two parts, the top portion is a trapezoid for the upper arm and I sewed down a strip of silk there at the top edge of the arm band then folded it back over the sewn edge, applied the trim and zig-zagged down the part that would be in the selvedge attached to the lower fuller sleeve.
 At some point I will do a keyhole neckline tutorial. Today is not that day, I'm sorry darlings.

The silk facing applied to the neckhole

Handsewing down the neckline facing

Adding a little hint of embroidery around the edges to pull in the red and white of the trim

 The embellishment was done by backstitching in red using 3 strands of embroidery floss around the edges and whip stitching white around those back stitches, just like I did with the bow on my Viking Sailor Moon dress. I'm a novice at embroidery and am a bit of a one trick pony right now.
 

Finished!

Simona and I presented the dress to Deirdre during her vigil during Saturday of the war. (Once we were done hemming it in camp...)

The evening court (there were like 5 courts at the three day war) they inducted her as a Pelican. The bycocket was made by her daughter Kiaya based on Agnolo Gaddi's fresco of the Legend of the True Cross in the Basilica di Santa Croce in Florence circa 1380. It's her first bycocket!

You have to look hard for her - for a while I was calling her "St Helena Not Appearing in this Fresco"

Deirdre and Baroness Megan Laine, first Baroness Stonemarche



You may now greet your order - shot of the back of the dress

The scroll was a happy accident - it features what looks like the dress - but no one had seen it yet! The choice for light blue wool was made very late in the game due to fabric availablity. Mistress Eleanore did a fabulous job on it. 


Illumination by Lady Eleanore MacCarthaigh

I'm very pleased with this project and of the inclusion of this lovely lady into the Order of the Pelican.

Oh, and while we were in court - two rapscallions named Juan Lazaro Ramirez Xavier and Maria Pagani were given writs to go on vigil for inclusion in the Order of the Pelican themselves... so guess who got to make more Pelican regalia? Simona and I!

But that's for another post tentatively titled - Love is Appliqueing Circles

Scandelously Practical: Italian Drawers - Class Handout

This is the handout for my most recent version of this class taught at Pennsic 46.

I had never taught before at Pennsic and was very nervous. Then I kept watching people show up for my class... and got even more nervous. Laurel wreaths.... terrifying laurel wreaths were adorning (turned out to be LOVELY) people attending MY CLASS.

It was a packed house and both sessions I taught this had at least one male in the room (you go guys!). I've had some discussions on drawers with people both in class and out and will be updating and further researching as well.

And yes, Lady Urtatim, I took out the word Turkish.

Scandalously Practical: 

Italian Drawers

 

Baroness Fortune St.Keyne

Shire of Quintavia,East Kingdom

Saint Fortune @ gmail.com

 

Venetian Courtesan DiversarumNationum Habitus (Padua, 1589) by Pietro Bertelli

According to Cesare Vecellio in his Clothing of the World (c.1590) once dress styles were more influenced by Spanish fashion and the skirts came out further from the body through the use of stiffened petticoats or farthingales (verdugado), the trend of wearing linen or silk drawers began.

How precisely this developed is unknown, but courtesans were known for adopting Islamic styles and men’s-styles. For example, one extant pair housed at the Prado are patterned after men’s style breeches, embroidered with mottos such as “voglio il core” or “I want the heart”, but unlike the example seen above do not have slashes.

Drawers, also called calze or brache, quickly caught on for the more respectable ladies. In Mode a Firenze it is mentioned that Eleanor of Toledo (1522 –1562) possessed a pair of drawers in red silk taffeta, and Maria de' Medici (1573 –1642) had many pairs were made up in splendid gold brocade as the new Queen of France (1610). Englishman Fynes Moryson observed in his travels in Europe (May 1591 to May 1595) that “city” virgins and gentlewomen of many places wear silk and linen “breeches” under their skirts, published in his Itinerary (1617). By 1625 according to Mary Laven's Virgins of Venice nuns were wearing drawers.

Since the origins are murky I’ve looked into what very bare evidence of Ottoman and other Near/Middle Eastern undergarments for women were. The pants worn under clothing have many names: Shalwar, salwar, or Sarwal/Serouel all are similar in cut and seem to have evolved into drawers, as evidenced by the wide stance. Often these were of thin fabric for women and white, but no slit that we know of. These are believed to have been linen or cotton and are depicted as being very light or sheer.

The extant examples included here are from the early 1600s, so we can only speculate on earlier uses of these garments. However, if study of period costume has taught me one thing: our ancestors were far cleverer than we give them credit for.  

A note on the above illustration: I believe is happening in the above woodcut is more titillation than actual underwear. The cortigiana di lume, the lamppost courtesans or streetwalkers, were known to wear men’s clothing to arouse interest in clients. Girls wearing men’s clothing has long been sexy. Vecellio even speaks of courtesans wearing “men’s style” breeches under their skirts.

It could also be a bit of a commentary on the courtesan’s rights in society, being more on par with a man, “wearing the pants” literally. There is a woodcut of a german woman wearing braes with a message about the woman ruling the husband. So we’re going to base the patterns used here on the few extant examples.

 

A Short Note on Men’s Underwear:

The Met extant drawers are described as being for men, but the period male “brache” or “mutande” have a different stance, and seem to be constructed with a full strip of fabric between the legs instead of a gusset. They also appear in depictions as shorter, closer to modern boxer shorts. You can see an example of men running in their underwear in the Triumph of April fresco in the Salon dei Mesi of the Palazzo Schifanoia in Ferrara from the mid-1400s. The women in that fresco are wearing only chemises to run, and are thought to be prostitutes, you can see right up one of their skirts. (Nice banquet hall, Cardinal).

 

 

Period Drawers –

 

·         Wide stance, much wider than modern pants (see extant)

·         Gathered into a thin waistband with a tie through eyelets, descriptions of Spanish drawers list the ties and agelets separately

·         The Prado example is buttoned at the waistband with a fabric button

·         Either gathered into a thin bias cuff at the bottom or embellished with bobbin lace

·         Embroidery is both monochrome and polychrome

·         Decoration on the slit (seems impractical…)

·         Slit goes from the front, about half way around on the two Met examples, the Prado example has a smaller slit.

The Split:

I am not fully convinced that extant example #3 here was ever fully sewn up the center. You’ll notice it is not fully sewn all the way up in the front or back. I suspect these were independent tubes held together on a single drawstring waistband. This is the method I use to make mine, and it works really well for me.

 

Why Drawers?

Now, let’s talk about why you should wear them: because most people have thighs that touch. Drawers, especially split drawers, are a more porta-privvy friendly option to bike shorts and they can be made of natural fibers. 

 

Personally, I have one pair for every day of an event. Since, you know, they are underwear!

 

Period Pattern:

Janet Arnold has a pattern for drawers in Patterns of Fashion 3 based on one of the below examples from the Met.

Depending on how familiar you are with pattern making, you’ll notice this looks a lot like a modern pants pattern, but instead of being cut in its entirety, the flares of the crotch seam are added with gussets. It is very important if you are using the period drawers layout to do flat felled seams so there is a smoother surface on your inner thigh. I promise you.

 

Cutting Layout:

 

Take your waist measurement and multiply it 1 ½ times. Divide this number by 4. This is measurement 1 on the diagram.

 

Take a measurement around leg just below the knee, add 2 inches, divide by 2, this is measurement 2 on the diagram. If binding your cuffs multiply the measurement 1 ½ times and then divide by 2.

 

Take a measurement from your waist to just below your knee, add 1 inch for gathered and bound waist, 3 inches for a drawstring, this is measurement 3.

The gussets are from what is left, generally around 8 or so inches. You will need four triangles about 4 by 4 by 6 inches, or you can make two 4 inch squares. If you are sewing by hand, it won’t matter, if you are doing it by machine, then do the triangles.

 

If you are doing a gathered and bias bound waistband cut out a strip three inches wide by your waist plus 1 inch. Iron in half, then fold up the raw edges to the ironed fold and iron those in. Iron the raw edges in half an inch and set aside. If you are binding your bottom cuffs do the same but using your below the knee measurement and adding 25 inches for ties each leg.

Sew your legs together on the long side using a flat-felled seam. Again, you want your seams as flat as possible.

 

Curve one side (mirroring on each leg) of the leg piece in slightly, about an inch and a half, and then attach the gussets to either side of the leg piece as shown in the first Period Pattern diagram.

 

Sew the legs together from the tip of the gusset to the end, or 3 inches before the bottom cuff if you are binding the cuffs. Again, flat-felling the seams, and if you’re really fancy, to the right side.

 

TURN ONLY ONE LEG INSIDE OUT. Nest the two legs together and sew from the BACK to the far side of the gusset. Leave the rest open. Hem the front opening.

 

Hem the bottom slit and cuffs. Bind the bottom cuffs if that is your desire. Embellish the bottom cuffs otherwise with lace or embroidery. These were not dainty embellishments, they are 3-4 inches deep, so go to town.

 

Gather the waistband and fold over if doing a drawstring or bind in the waist binding you made earlier. If you are doing a waist bound top, you will need to make two eyelets on either side about an inch and a half down from the top and an inch and a half in slit. You will pass a silk ribbon or some finger-loop braid through here as your tie.

 

Congratulations on your new set of drawers, I hope they bring you light, happiness, and no thigh chafing!

 

 

 

 

 

Now, for those of you more afraid of pattern drafting and are willing to cut corners, read on for my quick method drawers:

 

 

How I Do It Quickly– (aka Pennsic is in a week and a half, let’s not kid ourselves here)

Meet your new friend, the Pajama Pants pattern!

Youneed an easy, no frills, pajama pant pattern. No pockets, not for stretch fabric

·        ButterickB5829

o   Includes apattern for cloth slippers (period looking for shoes!)

·        McCall’sM2476

·        McCall’sM6252 

·        Simplicity5314 (plus size)

Yardage: I usually purchase 3 yards of fabric, but I am a bigger girl, am tall and a lot of that height is leg. I use the leftover to make a simple fabric pouch to tuck the dirty pair in once worn and toss that pouch into my garb bin.

Cutout the pattern at least one size larger than you would normally wear, you wanta little room, but these aren’t harem pants, don’t go crazy.

Measurefrom your waist to about your knees, or a few inches longer, add 2 inches tothis measurement and fold up the pants pattern at this measurement (measuringon the pattern from the markings for the waistband.

Ignorethe layout on how to cut them out on fabric. Be a rebel!

 

 Layout:

Lineup the inner thigh portion with the fold, this is important. You don’t want aseam here, it’s not a terrible thing, but it will improve the experience. Add acouple inches to the top (dashed lines), this is for adjustment later.

Cutout the two legs, You’ll have two pieces with a U shape in the middle. Finishthe U shape first, either with a strip of bias tape or by folding over thecenter.

 

Seweach leg to itself along the long side. You’ll end up with two tubes.

 

Now,the goofy step! You’re going to put them on without the waistband.

Cuta strip of elastic so it’s comfortable for your waist. I recommend non-rollelastic. Put on your two leg tubes, put the elastic around your waist over thetubes and safety pin, and adjust at will! You will likely end up with moreexcess at the front than the back. Go through the rhythms of daily life, walk,sit, squat, make sure it doesn’t pull overmuch. Leave the crotch loose, nottight up against the body, but not to your knees, both situations will leaveyou uncomfortable.

Oncethe waist is adjusted, mark with chalk and cut off the excess. Leave 3 inchesor so to fold over to create a casing to house the elastic, this depends on thewidth of your elastic, I usually use 1-1 ½ inch wide. I always recommend usingelastic as a backup for drawstring pants. No one needs the drawstring to failsay, when running to court.

Thereare two ways you can do this next step, you can either have each leg be independent on the elastic waistband–or– stitch together the first 4 inches at the center front and at the center back, do a tight zigzag at thesplit to reinforce this spot. Add two button holes or thread eyelets to runyour drawstring through.

Doublecheck the bottom measurement and adjust and finish the cuffs. Add thedrawstring and elastic Add bobbin lace for fun. Embroider the cuffs. Writecheeky sayings!

Now, if you’re more advanced at pattern drafting…

Lay out yourpieces (or just draft pant legs) with a wider stance to mimic extant garments.(That’s the goal eventually right?)

 

And if you really want to go crazy –

A pattern forsalwar from Master Rashid of the East:

Pattern my Master Rashid for Salwar from Dar Anahita:

http://home.earthlink.net/~lilinah/Rashid/salwar.gif

Extant Drawers (also calledCalze or Brache) –

 

1.   Museodel Tessuto, Prato c. 1630

 

Extant Drawers 1: "I Want The Heart"



Embroidered with words and a double eagle blue on white linen and the bottom of the leg bound

·        Linenbreeches embroidered with the words 'voglio il core' (I want the heart) indouble running stitch in blue linen thread

·        Theleg is bound with a blue ribbon (probably linen) and the opening is on theinside leg

 

2.    MetropolitanMuseum of Art, New York

c.1600

Accession Number: 10.124.4

 

Due to the slit stopping halfway down, could have been mens (or a helpful later "fix")

Detail of the polychrome and metallic embroidery

 

·        Linendrawers with embroidered border in silver and silver-gilt

·        Atthe bottom of the legs bobbin lace worked in metal threads and two differentbrown silks

·         Embroideredopening from waistband to crotch

3.    MetropolitanMuseum of Art, New York c.1600

Accession Number: 10.124.3

 

If you are looking for these, the Met calls them "trousers", because that makes sense to them....

Detail of the embroidery

 

·        Thispair is marked as being "possibly for a man"

·        Linendrawers embroidered with polychrome and metal threads, some of which aremissing, showing the original ink used to mark the pattern

·        Polychromebobbin lace at the bottom of the leg opening

·        Drawstringwaist, missing the cord

Resources:

Books:

Patterns ofFashion 4, JanetArnold, Macmillan, London, 2008.

 

IMestieri della Moda a Venezia dal XIII al XVIII Secolo(The Crafts of the Venetian Fashion Industry from the Thirteenth to theEighteenth Century)

TheClothing of the Renaissance World: Europe - Asia - Africa - The Americas,translated work of Cesare Vecellio, Ann RosalindJones, Margaret F. Rosenthal, Thames & Hudson, 2008

Modaa Firenze 1540 - 1580, Roberta Orsi Landini and BrunaNiccoli, Edizioni Polistampa, Florence, 2005

Virginsof Venice: Broken Vows and Cloistered Lives in the Renaissance, Mary Laven. Convent Hardcover 2003

Extant Drawers:

 http://realmofvenus.renaissanceitaly.net/workbox/extdraw2.htm

 

Pattern my Master Rashid forSalwar from Dar Anahita:

 http://home.earthlink.net/~lilinah/Rashid/salwar.gif

Middle Eastern Garb:

PersianUnderwear by Baroness Rozalynd of Thornabee on Tees:

 http://www.scapersianu.com/Class%20Notes/Persian%20Underwear%20-%202009.pdf

Turkish Garb Overview by Baroness Katja Davidova Orlova Khazarina:

 http://www.katjaorlova.com/FemaleTurkishGarb.pdf

 

MaghribiWomen's Costume (Spain to Tunisia) by Urtatim bint 'abd al-Karim al-hakimal-Fassi        

 http://home.earthlink.net/~lilinah/Costuming/MaghribiWomensCostume.html#13th3

 

Pattern from a Civil Warre-enactor:

 http://www.thesewingacademy.com/wp-content/uploads/2011/04/2010Drawers.pdf

 

Additional :

Articleon Courtesans and their clothing quoting Margaret F. Rosenthal:

http://www.usc.edu/uscnews/stories/1091.html