After four years in the DFW area, we finally made it down to The Scarborough Renaissance Faire in Waxahachie this year... and we did it in style!
|Thank you for the picture, Andrea!|
I knew it was going to be hot, but convinced that I would be happier going in garb, I decided to see what I could do with what I had on hand. I had some orange linen blend fabric left over from Mom's Age of Exploration unit, and some white muslin left over from another previous project.
And the underdress? Well, if it's not quite right for the picture, then I'm not terribly concerned. You can't see much of the underdress in the paining for one, and then... well, it was the absolute first complete piece of SCA garb I ever made, sewn entirely by hand back in 2001. I'm just stoked it's survived this long - and that I can still wear it! I freshened it up with some new ribbon for the drawstring neckline and sleeves, and it was good to go!
In the end, I created a lovely linen dress from a measly three yards of linen, scrap muslin, and the three purchases I did have to make: 1/4 yard of black linen (for the big stripe and sash), 1 spool of linen weaving thread for weaving the thin stripe and top-stitching, and the black ribbon for lacing it up the back.
I Googled around, and discovered that it was supposed to be a Florentine design. Well, that cinched it. I adored the time Jake and I spent in Florence, and the idea that my dress design lived there hundreds of years ago was just too cool to pass up.
Finally, it came time to sew the straps together. I pulled one inside the other - wrong side out - and then matched up the black stripes as best as I could. There was a little adjustment to be made, but overall it went swimmingly!
Here's a better view of the dress. I love it!
At some point I may the black stripe around the bottom, but for right now it's a wonderful, wearable piece that makes me feel pretty!
Please note that this was intended as a heat-influenced homage and not an actual documentable piece. I did apply my knowledge of stitching types and lacing eyelets, but this owes too much to modern influences to be anything but that. Both the underdress and the overdress originated with commercial patterns.
Arnold, Janet. Patterns of Fashion: The Cut and Construction of Clothes for Men and Women c. 1560-1620. McMillan London Limited, Hong Kong: 1989. Figures 128, 137, 163, 163 and 164. (For eyelet/lacing details)
Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland. "Sewing Techniques and Tailoring." Museum of London: Textiles and Clothing c1150-1450. The Boydell Press, Woodbridge: 2002. Page 150-164.