A New Crinoline And 1850s Petticoats

Working on a new set of breeches for M. I completely mucked up the first attempt, so I had to cut out a new front and start over. Things have gone pretty smoothly since then. The only quibble I have with the pattern is that there aren’t any bands at the leg hems, and all the extant examples I’ve seen have bands. Shouldn’t be too difficult to add, though!

Day Dress

c.1855

England

This type of widely protruding skirt that appeared around the middle of the 19th century came to be known later under the name of the "crinoline style." As can be seen with this dress, large design motifs proved immensely effective on these voluminous skirts. The border pattern here is wood-block printed and repeats every 20.6 cm. Compared to small-scale designs, large patterns require a solid technique to avoid misalignment of the print colors. Considering that this mixed fabric of silk and wool is a material hard to print on, this dress with its bright and cheerful colors is a particularly fine example on how much cloth printing techniques had evolved.

The Kyoto Costume Institute

I never did update when this got finished last summer, did I?

Happy with how it turned out, even if it does take some serious hairpin architecture to construct a bun that'll hold the hat steady - it's a little heavier (and a lot more ready to blow around in the wind) than anticipated.

When I started choosing embroidery patterns for my store, I was really focused on relatively small, simple designs. Things that would be quick and easy for beginners. But honestly... I think I underestimated just how easy the printed interfacing would be, since it's the needlework version of completing a dot-to-dot patterns. They take time, but none of the constant counting and ripping stitches out.

So that meant I've started to get ambitious. Little designs are still great, but what about a few designs that are dazzling from the other side of the room? As a treat?

Maybe just one of Giovanni Ostaus's shirt opening border designs from 1561?

Some fancy chickens and um... tulips? pomegranates? water fountains?

And just for me, a pattern you won't find in any history book, a little confection I made that I like to call: "Strawberry Fieldmice Forever"

That's only like, half of them. I just dumped a whole bunch onto my Etsy.

Interested?

Beginner-friendly historical and fantasy embroidery patterns, right this way!

This hits so many of my niche interests, it's perfect. ♥

Bookbinding: A Stitch in Time

My mom has been hoping to get her hands on a hard copy of A Stitch in Time, which, as I'm sure most of you are aware, tends to be pricey if you can find it. (It's currently listed for ~$115 on eBay, and more expensive elsewhere.)

So, I decided to put my bookbinding skills to use and make her one for her birthday.

Notes on the design and construction:

The cover design was inspired by (or rather adapted from via considerable photoshopping) this book cover from 1901 that happened to cross my dashboard in a post with a bunch of other cool old book covers:

I created the Cardassian building silhouettes based on a screencap, and the DS9 silhouette is borrowed from the Niners logo. The orchid on the back cover emerging from the Obsidian Order logo is one I found in Cricut Design Space.

(Feel free to use these in your own projects, if you like.)

The bookcloth is by BOOKCRAFTSUPPLYCO on Etsy (dark green). The cover designs are HTV, Cricut Everyday Iron-On (black), Cricut Foil Iron-On (gold), and Vinyl Frog Metallic Foil (holographic silver). The Cardassian Union logos on the end pages were done using Cricut's foil transfer system (gold). The fonts on the cover are DS9 Title and DS9 Credits from st-minutiae.com.

ⓘ A sewing machine is a device that provides a several-fold increase of the speed at which you can make mistakes

The stripes! Why are stripes always *so* good? ♥

Le Follet, 1855, No. 1971 : Chapeaux Mme Naudé (…), anonymous, after Anaïs Colin-Toudouze, 1855 (x)

Jacket

1590-1630

Great Britain

This simple unlined jacket represents an informal style of clothing worn by women in the early 17th century. Unlike more fitted waistcoats, this loose, unshaped jacket may have been worn during pregnancy. A repeating pattern of curving scrolls covers the linen from which spring sweet peas, oak leaves, acorns, columbine, lilies, pansies, borage, hawthorn, strawberries and honeysuckle embroidered in coloured silks, silver and silver-gilt threads. The embroidery stitches include chain, stem, satin, dot and double-plait stitch, as well as knots and couching of the metal threads. Sleeves and sides are embroidered together with an insertion stitch in two shades of green instead of a conventionally sewn seam. Although exquisitely worked, this jacket is crudely cut from a single layer of linen, indicating the work of a seamstress or embroiderer, someone without a tailor's training. It has no cuffs, collar or lining, and the sleeves are cut in one piece. The jacket was later altered to fit a thinner person. The sleeves were taken off, the armholes re-shaped, the sides cut down, and the sleeves set in again.

The Victoria & Albert Museum (Accession number: 919-1873)

Trying to chart out a border element from embroidery in a historical context

Accidentally created Godzilla instead

Happy National Bat Day! Here’s a happy little bat embroidery pattern from the 1632 pattern book “The Schole-House for the Needle.”