Maroon Balzo

 I recently finished this balzo. It was an easy make, but sewing all the little beads on took quite a long time.

Construction is relatively simple; make a long fabric tube big enough to go around your head and allow ease and add about an inch/2.5cm extra on each end (this is to allow for the end to be turned under).

Stuff the tube with fibrefill or pillow stuffing until it is moderately stiff but still flexible enough to bend around your head.

Turn the end of one end of the tube under and pin it over the other end, creating a donut shape. Pin securely. Try it on to make sure it fits. Adjust if necessary, and hand sew the opening securely closed.

Next, you are going to use the donut as a pattern for the lid. There are hats like this which are just the donut shape, but I prefer the covered sort to protect from scalp sunburn.

Using a large piece of wrapping paper or old sheet etc, cut out the rough shape of the donut leaving about 5cm extra all the way around. We are aiming to cut out a lid shape.

Put the lid shape toile over the donut to make sure it will fit, and that there is enough fabric to turn a hem under. Make any adjustments necessary and then cut out your fashion fabric.

Hand sew the 'lid' onto the donut, turning a hem under as you go. You don't want it drum tight; there should be a little bit of ease as the lid will sit against the back of your head/hair.

Add trims as desired.

This particular balzo was inspired by this portrait below:

'Portrait of a Lady with a G*psy' by the Italian School, 15th C

Image from: ://www.mutualart.com/Artwork/PORTRAIT-OF-A-LADY-WITH-A-GYPSY/05D83263A5F30FD8

Italian School, 15th Century | PORTRAIT OF A LADY WITH A GYPSY | MutualArt

But there are many similar ones to be seen in portraiture from the sixteenth century, including this one: 

Vincenzo Pagani (1490-1568) - Annunciation (1532) - Palazzo Ducale Urbino - Galleria Nazionale delle Marche, image found via: //au.pinterest.com/pin/1337074878802655/

Broderie Anglaise Partlet

I found a broderie anglaise skirt at the Op Shop (Thrift Store) for $2 and thought how pretty it would be as a partlet. I wasn't sure if there would be enough fabric, but I thought that it was worth the risk for $2.

Now, I know that broderie anglaise is a more modern style of embroidered decoration, and that this was made by machine, but I thought it probably wouldn't be too obviously modern if trimmed as a partlet. After all, cutwork and pulled work were done in the sixteenth century. 

I used my trusty collarless partlet pattern and cut the pieces out. As usual, I french seamed the sides and shoulder seams, and hand finished them. I did a narrow zigzag around all the edges, but the cut outs in the embroidery meant that there were shaggy edges even after finishing. I was disheartened, and put the piece aside for (mumble, mumble,) an unspecified amount of time.

Then last year I started working on my WIPs and UFOs again and pulled the partlet out. I decided to use a faux silk (polyester) bias binding to trim the edges. I machined the outer seam and hand sewed everything else.

I liked the way the binding tidied up the edges, but it just looked too shiny in outside light. So I went through my stash looking for some lace that could go over the bias to tone down the shiny and add a bit more to the piece. When I found a suitable cotton lace, I hand sewed it on.

I toyed with the idea of embroidering along the front of the lace with embroidery floss but didn't like the way it looked. It feels like it needs a little something to elevate it a bit, but I'm not sure what. I have some gilt cord, but it is not especially durable and I throw my partlets in the washing machine after wearing. I'll stew on it a bit and see if anything jumps out at me next time I am rummaging through my stash.

RHCC: Layer One (Detachable Sleeves) - Complete

 The first official layer - Accessories - of my entry into the River Haven Clothing Challenge is complete.

Two pairs of tie-on sleeves down; one undergarment layer and one outer layer still to go.

RHCC: Layer One (Detachable Sleeves) - Blue Sleeves

I used my existing sleeve pattern and cut the blue fabric and cotton lining. I machine zig zag stitched the edges and then sewed up the seam that runs down the back of the arm on both the blue fashion fabric and the lining. I stab stitched the arm back sleeve open on lining and fashion layers.

I put the right sides of the lining and fashion fabric tubes together (with a lot of double checking to make sure I was sewing the correct pieces) and machine stitched around the top of the armscye. I then clipped the curves to make sure the top of the sleeve would sit nicely and not be bulky, and then I turned it all right side out. I whip stitched around the top edge of the sleeve to make sure that the lining didn't roll out at any stage. I embroidered an 'L' inside the left sleeve to make dressing in a hurry easier.

I marked 1.5cm seam allowance on the fashion fabric and turned the hem under at the wrist and stab stitched it down. (I also stab stitched my finger a couple of times.)

I turned the lining hem up inside the sleeve slightly more (around 1.75cm) and whip stitched that into place. There were a couple of spots where I clipped a little triangle where the fabric was a bit tight and pulling. I used to sew the hem and lining together in one step, but I found that often the lining and fashion fabric would stretch at different rates and sometimes the lining would start to poke out a bit, so now I hem the two layers seperately.

  

The final step after pressing the hem with an iron was to mark and sew five eyelets in each sleeve head. I opened the fabric up with an awl, went around the hole with a double running stitch and then enclosed the hole with a ring of satin stitch.

I think this fabric might be digitally printed. I have never worked with fabric like this before. I noticed that a part of the design seems to have lifted where a pin stuck it.

RHCC: Layer One (Detachable Sleeves) - Cream Sleeves

If you have been following me for any length of time, you would know that I love Renaissance accessories, and I love the flexibility that tie-on sleeves provide. It won't come as a shock that I have been working on the 'Accessories' layer of the River Haven Clothing Challenge.

I'd love to do all accessories, but my plan is to start with two pairs of detachable sleeves.

My sleeve fabric

I used my trusty old sleeve pattern and cut into the cream fabric first. I also cut the cotton lining. I zig zag stitched by machine around all the edges and then sewed up the seam that runs down the back of the arm on both the fashion fabric and the lining.

  
I trimmed one side of the seam overhang on the fashion fabric main seam and tucked the other side under and sewed it down to enclose the raw edges. I also stab stitched the seams of the lining flat to reduce bulk.

  

I put the right sides of the lining and fashion fabric tubes together (with a lot of double checking to make sure I was sewing the correct pieces) and machine stitched around the top of the armscye. I then clipped the curves to make sure the top of the sleeve would sit nicely and not be bulky, and then I turned it all right side out. I whip stitched around the top edge of the sleeve to make sure that the lining didn't roll out at any stage.

At this point I quickly embroidered an 'L' inside the left sleeve on the lining to help save time when lacing on sleeves on busy event days.

I marked 1.5cm seam allowance on the fashion fabric and turned the hem under at the wrist and stab stitched it down. Then I turned the lining hem up inside the sleeve slightly more (around 1.75cm) and whip stitched that into place. There were a couple of spots where I clipped a little triangle where the fabric was a bit tight and pulling. I once used to sew the hem and lining together in one step, but I found that often the lining and fashion fabric would stretch at different rates and sometimes the lining would start to poke out a bit.

The final step after pressing the hem with an iron was to mark and sew five eyelets in each sleeve head. I opened the fabric up with an awl, went around the hole with a double running stitch and then enclosed the hole with a ring of satin stitch.

This sleeve pattern is nice and roomy. I have seen slightly more narrow sleeves as well as wider ones in portraits from the 1530s-1550s, so there does seem some leeway in designs.

Image from: mid-1530s Paris Bordone - Portrait of a Lady with... (tumblr.com)

I love this portrait of Lady with a Boy by Paris Bordogne. 

The dress is the style I like to wear and her sleeves are beautiful; I'd love the whole outfit. I do wonder if a single fastening on that cut-away style of sleeve is practical for someone who doesn't have a maid to do her lifting and carrying, however. (It may also just be artistic licence on the part of Bordogne.) Hopefully I will have time in the future to play around with my pattern and possibly modify it slightly to try and achieve the general look of that sleeve, but with a stronger attachment point.

Making the Purple patterned, Italian Style Caul

It has been a while since I posted a how-to on making a caul, so I thought I would share my technique. The photos and description refer specifically to the purple patterned caul that I finished recently, but my technique is pretty much the same for all my cauls, with minor changes to allow for different styles and head/hair sizes.

For this caul, I started out with a circle of pre-washed and ironed fabric. I prefer natural fabrics because they tend to breathe better than synthetics and are not as hot or as much of a fire risk. In period, this type of headwear would most likely have been silk, linen or possibly a fine wool or cloth of gold or silver. Budget is an issue for me, so sale cotton is my go-to. I prefer fabrics with a bit of body so that the hat won't look too limp. I love the way cotton velveteen sits when made up in this style. This particular fabric is a quilting cotton that I picked up on sale last year. The printed gold pattern adds a bit of stiffness.

Cutting out a plain fabric with the same pattern

The size of the circle that you use as your pattern really depends on three things:
How pouffy you want your caul to be
How big your head is
How much hair you have.

This image gives you an idea of the size circle I prefer for my large head

I tend to prefer a pouffy caul because I can just plait my hair and shove it in there without worrying about elaborate hair -dos. It also allows for when my hair is long or short, thick or thin. I have quite a bit of variation in my hair depending on which medications I am on etc. so a bit of extra space works for me. I usually use a large wire ring that I think is designed to be a wreath base.

You also have an option to make your base fabric an ova shape rather than a rectangle. Doing an oval shape tends to result in a bit more fabric around the ear area which reminds me quite a lot of the cauls that sixteenth century German ladies are shown wearing.

Once you have decided on shape, cut out your pattern piece. You will also need to cut out a piece of fabric to make the band, if you are making it out of the same fabric. I usually make my band the same length as the measurement around the head vertically, with 0.5cm allowed for ease plus seam allowance. I make the piece double the width that I want plus seam allowance and just fold it in half, but you could make the inside/lining part out of a different fabric if you wanted to. (For instance, making the lining piece out of velveteen might help it grip the hair better.)

At this point, you will need to add any decorations such as beads, ribbons, etc. I added a gold bead in the centre of each main motif,
If you are not adding extra decoration, give it the fabric a press. I usually run a zigzag stitch around the edge on the machine also, just to give it a bit more strength.

Next, run nice, even stitches all the way around your circle panel to allow you to gather it up into the headband. I actually do my gathering stitches in two separate lots to make it easier to get the gathers 'just right'. I usually mark the centre of the circle perimeter at top and bottom and run my threads between those points. On this particular caul I decided to try something different and to not gather the section on the top of my head in front of where my jewelled billiments sit, to reduce the pouf level at that point. Don't make your stitches too big or your gathers will be correspondingly large and the hat will not sit nicely. I prefer smaller gathers.

You will also need to sew the headband part. If you have cut a single piece, you'll need to sew the ends together so it is a joined piece like a ring of fabric. Then fold it in half and fold the seam allowances under, pressing or finger-pressing as you go. (Some people make the band a little shorter than they need and pop a piece of elastic in between the ends of the band. This is (obviously) not historically accurate. I don't find it necessary as I use clips to keep the caul on. I have also seen the ends of the band hemmed individually and ties or ribbons attached to tie it onto the head.)

Once your headband is sewn, gently pull up the gathering stitches until the circle (or oval) of fabric is the same size as the band. This is the part where you start adjusting the gathers so they look nice and even. Just gently move the gathers around until they look even and the bulk of fabric is evenly distributed.

I pin my gathers into place and handsew them on the inside and the outside. You could do this by machine if you prefer, I just don't like seeing visible stitching.

Once the band is on, you could call the hat finished. I thought it was lacking something at this stage though, and so experimented with different types of trim and ribbon. I chose this thin metallic ribbon and hand sewed it on to finish off the band.

 

The last thing that I do is add a metal hair comb at the centre front, sewn into the band. Some of my cauls have a wig clip sewn in at around the ear point. If you decide to do this, experiment to find out where it sits comfortably. On others I have made a little buttonole loop behind the ear to slip a bobby pin/kirby grip through to help it hold in place. You may not need this, but I have very slippery, fly -away hair, so this works for me. (I love a netted caul, but by the end of the day I have bits sticking out all over the place, despite how much product I use.) This is also why I make my bands quite wide. I have used bias binding for bands to more accurately match the portraiture, but the bigger bands work better with my difficult hair.

There is quite a lot of variation in the size of cauls depending upon the decade, as these portraits suggest:

 Titian's La Shiavona (Portrait of a Lady) 1510 held by National Portrait Gallery UK. Image from: https://en.wikipedia.org/wiki/La_Schiavona

Bellini's Portrait of a Naked Woman In Front Of Her Mirror c. 1515,  Image from: https://en.wikipedia.org/wiki/Naked_Young_Woman_in_Front_of_a_Mirror#/media/File:Giovanni_Bellini_-_Giovane_donna_nuda_allo_specchio.jpg

Portrait of a Woman by Vincenzo Catena c. 1520
Image from: https://www.italianways.com/the-venetian-portrait-painter-vincenzo-catena/















I've been tempted to make a caul that sits further back on my head like these, but I'm not sure how comfortable I would find it. I like having the bulk sit higher up on my head and not feel like it is pulling my head back.

Portrait of a Venetian Woman c. 1505 by Albrecht Durer
Image from: https://en.wikipedia.org/wiki/File:Albrecht_D%C3%BCrer_089b.jpg

Hem Finishing - Brown Dress

I have been working on the final stages of a brown tourney dress that I made early last year. I didn't finish it at the time I made it because I made an error with my Frixion marker that stained the bodice and I have been trying to find a way to fix it. The dress needed hemming, trim and tucks at the hem and some internal finishing and sleeve ties.

                                                                Sewing the seams flat

The hem tucks are tacked and then stitched down by hand

Applying trim at the hem

This is a project that I am working on amongst other things. I would like to add some shoulder puffs too, if I can find the leftover scraps from cutting out the bodice.

Girl's Italian Gown

Today I finished the girl's Italian gown that I have been working on. It is a gift for a little friend's birthday this weekend, so I just scraped it in in time. It is cotton broadcloth with commercially produced pink gimp braid. The Birthday Girl loves pink, but her mum hates the colour. So this dress  is a compromise. It has cap sleeves with fabric puffs, because the Birthday Girl usually wears only a chemise underneath. It has a couple of tucks in the hem to allow for growth, which also helps to hold the hem out. It is a size 8 so that she will get (hopefully) at least two or three years worth of wear out of it.

This is the third or fourth gown that I have finished this year - I really must try to blog some dress diaries soon. Hopefully I can get some nice shots of the recipient wearing the dress.

Odd jobs

The corset bones I have been waiting for still have not arrived so I have been doing a few odd jobs this week. I found an unfinished short pair of bodies to finish off. I also finished the internal layer of my IRCC dress bodice.

The inside layer of the IRCC4 dress bodice

 

The completed lightly boned short pair of bodies (super comfortable!)

 

 

And I finally added the second layer of trim to my tourney dress:

 

 

 

 The dress with the second layer of trim added