Italian Renaissance Hair Jewellery

Yet another hair band, with pieces from two different filigree bracelets sewn onto a velvet ribbon band and backed with grosgrain ribbon to reduce slippage. I used three wig clips on the back for extra security.

Italian Renaissance Hair Jewellery

 Another hair band this week, constructed in the same way as the previous ones. This one has necklace components sewn on to the velvet ribbon. Probably too sparkly to really be appropriate for sixteenth century, but I couldn't resist it!

This one has 2mm seed beads sewn along the edges. I recently saw a beading technique demonstrated on Instagram that might be useful for this sort or project - I will let you know how I go.

Italian Renaissance Hair Jewellery

I recently finished another billament/hair accessory. This one has been sitting around in a half-finished state for literally years because I wasn't super happy with how it looked.

The flower shaped findings came to be with a 'patina' that I wasn't delighted about, and when I made the band up, it just seemed to look a bit shabby and be lacking something. So it sat in the UFO pile for a long time.

I resolved to finish it as part of my recent UFO completion drive, and I added matte gold seed beads (4mm) on the joins between the flat findings, to disguise the stitches and give add a bit of textural variety. I then started sewing the grosgrain ribbon on the back, and added white tiny seed beads as I went. When that was complete, I added three wig clips on the back to hold it in my hair.

It is still not my favourite accessory that I have ever made, but I am pleased that it is finished. Hopefully it will look nice when worn.

 

This image (a detail of Sister Minerva from 'Portrait of the family of the artist' by Sofonisba Anguissola) shows how the band will be worn; either in front of dressed hair such as hair taping, or in front of a caul. Image from: Sofonisba Anguissola Portrait of the family of the artist. Fragment. Sister minerva, 1568, 122×157 cm: Description of the artwork | Arthive

Here is the full painting:

(from Sofonisba Anguissola | Europeana)

Italian Renaissance Hair Jewellery

I'm having a break from boring sleeve sewing and finishing up some headwear that has been sitting around for a long time.

I really like the Italian style of wearing a necklace or decorated band in the hair in front of the braid like in this portrait by Sofonisba Anguissola

Image from: Sofonisba Anguissola - Portrait of the Artist's Sisters Playing Chess - WGA00697 - The Game of Chess (Sofonisba Anguissola) - Wikipedia

Since a lot of our SCA events are outside in public places, I don't feel confident pinning jewellery to my hair, and instead have been sewing jewellery components and beads to velvet bands that are secured into the hair with wig clips.

It is fiddly work, doesn't take up much room to store, and very easy to put off for another day!

I recently finished this one, which has bracelet pieces sewn onto a velvet band and separated with gold coils. The edges have tiny gold seed beads sewn on, and the back is faced with grosgrain ribbon (which helps grip the hair). I use a central wig clip and one at each end to secure.

I got a lot of elements suitable for this type of band from shops like Lovisa, Diva and Collete pre-Covid. I don't really go shopping like I used to, but thrift stores and op shops can be a good place to pick up old bracelets that you can break down to make this style of headwear.

Red Velveteen Caul with Gold Trim

I was so pleased with the grey velveteen caul that I decided to do another one.

This one is made of a remnant of red cotton velveteen. I cut the basic circle pattern out last year when I cut out all those sleeve pieces. I tend to zig zag the edges of my patttern pieces for stability and protection, especially since it so often takes me a long time to finish these projects.

You may remember that my pattern is traced around the top edge of a bucket to get a nice circle. Another option is to use an oval shape to get more of a German-style caul with a bit more body at the back of the head towards the nape of the neck.

This embroidered caul that I finished in 2017 has an oval shaped bag pattern and is wider at the back of the head

On my circle bag/piece I marked out a grid pattern but only sewed down my ribbon where it intersected. I hoped that this would create a nice visual effect as the ribbon puffed up a bit.

At the intersections of the ribbon I added a glass bead.

I didn't think there was a need to line this caul; I tend to get overheated rather than cold and the velveteen is quite bulky.

I put gathering stitches around the edge of the circle/bag piece. I used to do one unbroken line of gathering stitches, but I now do two lines that each go roughly half way around the circle/bag piece. This allows me to better control the gathers and even up any areas where the gathers look a little bulky.

For the last few cauls I have been leaving an ungathered section across the top of my head. I think it is more flattering and looks more like the portraits from the time.

Once the gathering stitches are in the circle/bag part, I prepare the band. It is a rectangular piece the length around my head plus seam allowance on both ends. I join the short ends so that I have a continuous band. (I also usually stab stitch the seam allowance down flat to reduce bulk, especially when using thick fabrics like velveteen.) I then fold the band in half and iron a crease into it. Then I fold the two outside edges into the centre crease and tack them into place. This gives a narrow band with the raw edges fully enclosed inside the band.

Slide the edge of the circle/bag piece inside the band so that the edge of the circle bag piece butts up against the crease. I usually start by matching the centre top of the circle/bag piece and the centre top of the band and pinning it into place. Do the same at the bottom centre - it will help you to keep the gathers even.

Then start drawing up your gathering threads. I adjust my gathers by eye, and pin them into place as I go. I double check again before stitching to make sure that they look even. 

The next step is to start hand stitching the band into place. Stitch around the band on the outside (the part you will see); I use a small whip stitch.

Now turn the hat inside out and pin the gathers down on the inside of the band and stitch around again, securing the inside of the gathers as you go. Use very small stitches as you don't want any to show on the outside of the hat if you stitch beyond the band.

Your hat is done! At this stage  I add a metal comb in the centre front and a wig clip in the area of the band that sits behind my ear. This is not authentic and simply helps to keep the caul on my head and stop wispy bits of hair escaping as the day wears on.

On the red velveteen caul, I decided to add some commercial trim around the band at the last minute because it looked a bit bare. It is hand-stitched down. You could also add beads or embroider a design onto the band before sewing it to the circle/bag pattern piece.

The inspiration portrait-

The Judgement of Paris (detail), Attributed to Antonio da Vendri

Image from https://www.rijksmuseum.nl/en/collection/SK-A-1296

This project has inspired more ideas, including a caul with different coloured panels like the one above, and one decorated with little tufts of thread (inspired by the inside of this caul)-

I'll keep you posted on the results!