The second part in my video diary series on reconstructing a 15th century gown from a portrait.
-References to archaeological findings are sourced from ‘Textiles and Clothing 1150 - 1450’ and ‘Dress Accessories 1150 - 1450’ from the Museum of London (see below for full citations).
-Wool: A&K Fabrics, NYC. 9 yards
-Orange silk lining: Bazar Fabrics, NYC. 2 yards
-Green under sleeves: Bazar Fabrics, NYC. 1 yard
-Cast buttons: Toho Shoji, NYC. 16 pieces
-Trimming: M&J Trimming, NYC. 1.5 yards
-Clasps: Daytona Trimming, NYC. 4 pairs
-Linen thread: Burnley & Trowbridge [https://www.burnleyandtrowbridge.com/linenthread.aspx]
-Silk thread: Sil Thread, NYC
-Embroidery floss: Daytona Trimming, NYC
-Aglets (35 mm): Pimp Your Garb, Etsy [https://www.etsy.com/listing/473128156/new-10-aglets-medievalrenaissance?ref=shop_home_active_3]. 4 pieces
Useful Tools for Those So Inclined:
(Please note that these are affiliate links)
-Clear 18-inch ruler: https://amzn.to/2DIdRrh
-Steel-headed straight pins: https://amzn.to/2ByJUaQ
-Every size & weight needle you will probably ever need: https://amzn.to/2Sd76R7
-My most favorite (& stupidly fiddly) #10 sharps, the tiniest needles: https://amzn.to/2SaZEGf
-Ye Trusty Olde 8” shears (tartan ribbon not included): https://amzn.to/2DXkUft
-Those wee bird snips that literally everyone seems to have: https://amzn.to/2zu9vzY
-(But I’ve also just found these that are a unicorn and I am severely tempted; I should not be trusted with Amazon: https://amzn.to/2KvXGgX)
-Crowfoot, Elisabeth; Pritchard, Frances; Staniland, Kay. Textiles and Clothing 1150-1450. Museum of London. https://museumoflondonshop.co.uk/collections/book-1/products/textiles-clothing-1150-1450
-Egan, Geoff and Pritchard, Frances. Dress Accessories 1150 - 1450. Museum of London. https://museumoflondonshop.co.uk/collections/book-1/products/dress-accessories-1150-1450
-Nørlund, Poul. Buried Norsemen at Herjolsfnes: an Archaeological and Historical Study. http://www.press.uchicago.edu/ucp/books/book/distributed/B/bo26785756.html
1. “Saint George Slaying the Dragon” by Jost Haller. Unterlinden Museum. Digital image from Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Jost_Haller_-_Saint_George_slaying_the_dragon,_Unterlinden_Museum,_Colmar.jpg
2. “Le Livre des faiz monseigneur saint Loys, composé à la requête du « cardinal de Bourbon et de la duchesse de Bourbonnois”. Detail from a manuscript, c. 1401-1500. BnF Gallica. https://gallica.bnf.fr/ark:/12148/btv1b6000784s/f178.zoom.r=%20Le%20Livre
Additional cinematography and finished gown photographs by Hana DeHart
Intro: Crunk Knight by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
Background: Folk Round by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
End bit: “Yonder Hill and Dale” by Aaron Kenny
Portals to Other Realms:
Instagram, for real-time progress: instagram.com/bernadettebanner (@bernadettebanner)
Patreon, for more vloggish and bloggish content: patreon.com/bernadettebanner
Ko-Fi, if that’s more your thing: ko-fi.com/bernadettebanner
Prints of costume renderings: https://www.etsy.com/shop/bernadettebanner
For business enquiries only, please:
Wow, I adore this. I appreciate the attention to detail that went into making this dress! I recently started sewing, and I am mostly interested in sewing vintage and historical clothing. Your videos are fascinating and I am looking forward to more! They inspire me even more to begin creating my own historical costumes. What advice would you have for a beginner venturing into the world of historical costuming?
WOW! Thank you so so so much for your reply. This was so encouraging to read and absolutely what I needed to hear! I will definitely heed your advice, and I'm going to head to the university library today (as well as research some books online) and read up on things! I also need to brush up on my hand-sewing techniques. You are so kind, I can't wait to get involved in the community and hopefully start my own YouTube channel! <3
Hello and welcome to the wonderful world of historical dress! Grab yourself a snack and put the kettle on, because we’re going to have a nice little pep-talk.
You may scoff to hear that I too still consider myself a beginner with all of this; the truth is that there is so much we still don’t know about how things were made and worn throughout history. New discoveries are always being made, new theories presented, and new ideas tested every day, so there are always things to be learned—even by those who call themselves ‘experts’! The best advice I can give is this:
1) Get involved with the historical costumer’s/dress historian's communities online; this is one of the most helpful things I did. They (we!) are some of the most encouraging and inspiring people you will get to interact with, and you will not only learn so much from them, but they will constantly inspire you to keep going, to try harder, and to produce work better than you thought possible. I’m really quite partial to the crowd over on Instagram, but there are also some fantastic Facebook groups for specific and wider periods of dress, depending on where your interests lie. (I'm not on any other social media so can't advise there, but perhaps someone else may chime in.) Don’t be shy, and do n o t feel intimidated! People are almost always willing to bestow their wisdom upon you because the only thing better than having knowledge is sharing it.
2 ) Read. Read read readreadreadread r e a d. The purpose of publication is to share knowledge and information that others may not have access to, or to consolidate years of detailed research that not everyone has the time to conduct; for example, those with connections to museums are able to go and study objects, and can publish notes and patterns for those who aren’t able to get appointments for these things. Someone may have spent a decade investigating the history of lace and published years of findings in a book that you can reference to find that perfect bobbin lace pattern for your 18th century gown.
But primary research (that is, consulting sources, objects, texts, portraits, &c.) that originate from the period you are working in are really the best place to gain the most information. Because the other thing about reading is that you must, MUST read critically: question where someone has gotten their information from, and decide whether you can trust it. It is very easy to misinterpret a fold in a portrait, or to mis-measure an old, rotted, warped sleeve on an extant garment. (Or to just run illogically wild with a theory; I've seen it happen!) Trust your instincts based on evidence you yourself have seen and deemed valid. When in doubt, go back to the contemporary source if it’s available to you. Ultimately we’re all working from the same original material, so don’t hesitate to look at surviving evidence and draw your own conclusions; they may be just as accurate (and valid!) as those of someone with a fancy academic title.
In my opinion, some of the most detailed and thorough research on extant clothing to date can be found in Janet Arnold's Patterns of Fashion series, as well as the V&A series on 17th Century Dress.
Blogs are great for getting an idea of how people have problem solved in their own interpretations of projects, but they should not be used as the sole source for research. (Likewise with my videos! Let them stand as documentation of my experience on a reconstruction, but do make use of my sources and references to verify evidence and to direct you in your own specific areas of interest.)
3 ) Have patience. This is one of the most important lessons Original Practice reconstruction will teach you (if you let it!) Even if you do choose to work by machine, the construction of a historical garment takes far longer than that of modern garments. Take the time, do NOT rush things; you will gain so much insight into the construction process, the meaning of a pattern shape, the layering of garments, by sitting and sort of meditating with a garment for a while. Make mockups, test out samples of techniques before applying them to your final project. It’s also extraordinarily helpful, if you’re a bit daunted by, say, the strange shapes of 18th century stays, to photocopy a Janet Arnold pattern, cut out the pieces, and tape them together just to see how they translate into three dimensions. It all takes time.
However I have witnessed firsthand that the folks starting nowadays are learning S O much quicker, only because there is so much more easily accessible information readily available. I have personally witnessed those who are diligent, who put in regular hours (even if only one or two per day) show extraordinary growth in just a single year. It's really astonishing what a little bit of regular practice can accomplish over time!
Also, do feel free to ask around if you have questions! If there’s someone who’s done a particular technique that you’re curious about, don’t hesitate to strike up a chat! Chances are, they’ll be more than happy to write you an article on how they did it (case in point: ;D). Post in a Facebook group, send someone an Instagram message, comment on their blog (hey). Just imagine that you’ve spent a great deal of time perfecting your sleeve setting method, and someone’s seen the picture of your gown and asked how on earth you’ve done it. Most likely, after a small squee of excitement, you’re going to cast aside that voiceover script you’re working on and write out a novel’s length reply. ;)
Anyway, I hope all that might be useful and that it wasn't all too daunting! Really, as with anything, the only way to begin--and to improve--at anything is to just do it. I wish you all the best of luck, and I look forward to seeing your glorious historical creations floating about the internet soon!
I am so happy I did find these videos! I have to tell my little story because I am so over the moon. I now live in northern Italy and had love sewing. I met a young Italian family with 2 daughters ( 2 and 4 y o). As soon as I met them I knew that I was going to sew Renaissance costume for them! I had a used curtain panel in taffeta and velvet that I was keeping for no special reason. I have now finish all petit coat, all skirts and all tops. The thing is that family has been owning one of the nicest Palazzo in the old town. They have been living in it for 350 years. The family has been (name for a lack of word) Conte (count and countess) because of a favor for a prince at that time. Ciao
If ever you visit England recommend you stay at Littlecote House Hotel, which has a fabulous period garden, and was a real home from the Roman period, unfortunately Peter de Savary sold off alot of the genuine furniture when he bought it in 1985.
Wonderful vid,the dress was beautifully made & finished ! Ppl that don't sew have zero clue how truly laborious a process making clothes,(esp elaborate historical ones !)fully sewn by hand is.
On the buttons,a cpl great resources for metal buttons,besides eBay/test,ect, are Military & Native American trader supply companies.( I esp love Russian/French/Chinese/Japanese historical ones,they KNOW & LOVE their opulence,even in something as small as a button,lol)They'll often have wonderful,hand hammered ones,in many designs...but they also sell beautifully cut,finished hammered edged ones w/centers blank..allowing you to customise them using metal/hardwood stamps:)
I loved when you were making the over-sleeves that you made,in your words, "a wee sample piece" pattern for them,as I have always done that when creating historical pieces,before making full size Brown paper & muslin ones. I have 3(+) dolls I use,depending on costume,one is traditional barbie(plus a Barbie w/her boobs flattened,lol),then 2 from my childhood I believe aren't sold anymore. Francine,who is built w/more normal proportions..Madge,an older woman doll,w/normal,but more stocky build & Midge,what I use for kids/preteen pieces.A few weeks ago I decided to fully catalogue,photo,all my patterns,by era,sex,type/(& time of day,peasant/merchant/nobility,ect,an immense undertaking !What cracked me up when seeing your mini sleeve pattern is it reminding me that when all patterns were laid& piled up,I had this huge pile of mini pieces too...I never realised how many I truly had done before this,I had over 200 sleeve patterns alone ! I could put out a comprehensive book of historical doll-clothes patterns,hehe.
Your long delicate fingers are mesmerizing to watch as you sew your seams with perfect tiny stitches. You are so fun to watch and so entertaining to listen to. I started sewing at a very young age and learned on my grandmother’s old treadle Singer sewing machine. I loved making clothes for my Barbie doll (the original one with the ponytail and black and white chevron bathing suit)...made all my own patterns. She was my tiny mannequin. Now I am almost 70 years old and still love to sew and collect fabric and antique buttons.You are so accomplished for your young age...and so knowledgeable and so adorable. I am so happy I found your channel.🧵💞
The "sorcery used to apply the perfectly smooth sleeves and bodice" is called artistic interpretation. Don't feel bad - this guy just painted the princess to look pretty, not to design a genuine dress that is wearable! Your dress is absolutely gorgeous, and I'm definitely gonna use some of the patterning that you've shown when I next need to create a cosplay of a similar period (but I'm gonna sew with my machine - the 21st century is good for something!) <3
"wathever sorcery was applied to achieve those perfectly smooth sleeves and bodice" --> maybe it's only this perfect in the painting, the old times photoshop x)
But seriously, your work is amazing !!! I just discovered your channel but I am eager to discover all its content !
On attaching the buttons. The only thing I would have changed is instead of poking one hole, I would have poked two. One a few threads away from the next. Split the button tails into 2 groups (one group to be threaded through each hole). Then tie the knot on the inside like you showed in the video. Tying the button tails around fibers of the sleeve, the knots cannot pop through the hole... It's the common problem found when sewing French knots. If after tying your French knot you place the needle in exactly the same hole the knot may pop through, however, if you go down a thread or two over, the knot cannot ever pop through and you have a lovely embroidery. ❤🌅🌵
Stunning. Very skilled and patient. I'm such a lazy sewer I cut corners to make my projects go faster!.
Hope you aren't doing all that sewing on the floor though, you need to be careful for your back!!
This is beautiful. Btw I want to make this and I don’t know how many meters of fabric to buy I was thinking about 9, 10 meters with the dress and the sleeves would that do and like 2 meters if the pink silk with 1 meter of the green silk
I have been sewing since I could thread a needle and that is a long time now. I've made costumes for community theater, for costume shops, and for myself and on one occasion for an author who was touring to promote his book and wanted to be accompanied by costumed characters from the story and not once did I sew anything completely by hand. I write this to say that I can appreciate just how much time and effort goes into such an endeavor as recreating an authentic period costume. Your are my heroine.
I completely speechless!! What you did a true art piece!! i'm so happy I foudn this channel. I love historical costuming and styling and I never seem to find a place where I can fit. Thanks for your videos!!
As a thought, if you full the fabric, the ravelling stops and the seams can be set down with running stitches. If only I'd seen this sooner I could have sent you to a place that makes proper buttons and lacing tabs. I've also always run the seam for the oversleeves down the front to avoif the excess of finishing needed .
This is such a lovely dress, it looks great on you ! For the green sleeves maybe if you had cut them on the biais of the fabric you would have been able to have more fitted sleeves like you wanted (the biais of the fabric is basically the spandex of historical garments ;) ). Also your recreation from a painting made me think about that mini series I watched a few months ago it's called "a stitch in time" it was originally made for the bbc but I was able to find it on Youtube. There are 6 episodes and in each one they recreate a garment from a painting using historical methods, I thought that is something you could like if you haven't watched it already. Have a nice day !
Anunciado durante a Gamescom 2017, uma das maiores feiras de videogame do mundo, o remake de Secret of Mana é, desde o início, um projeto pensado para agradar aos fãs de longa data e atrair jogadores novatos com um gameplay mais acessível.
Não se engane: a versão 2018 de Secret of Mana está mais para uma recriação do que uma mera remasterização com pequeno ajustes gráficos. O que temos aqui é um jogo completamente atualizado, com personagens redesenhados que ganharam nova vida graças à estética cartunesca.
Se, por um lado, as mudanças visuais foram projetadas para atrair novatos, por outro, algumas pessoas podem torcer o nariz pela simplicidade da nova abordagem - especialmente no que diz respeito aos cenários e criaturas do mundo.
Os cenários coloridos, por exemplo, ainda que estejam bem representados, trazem pouca variedade e deixam game com cara de “jogo de celular”. Isso fica mais evidente pela estrutura do game, já que muitas áreas estão completamente vazias e monótonas. Nesse quesito, Secret of Mana não tem vantagem em ter o fator nostalgia a seu favor.
O remake utiliza a clássica perspectiva de visão aérea, com a câmera posicionada acima dos personagens. É possível arrastar as bordas da tela manualmente para ter uma visão mais ampla do ambiente, o que é bastante útil para momentos de exploração.
O brilho da era noventista, mas com ressalvas.
Antes de tudo, é importante ressaltar que não há legendas em português, então o melhor a fazer é jogar com textos em inglês. A história continua sendo o ponto mais alto de Secret of Mana e, novamente, coloca o jogador no controle de três adoráveis personagens: Randi, Primm e Popoi - é possível jogar em modo cooperativo local para até três usuários.
O objetivo do grupo é lutar contra um império traidor ao mesmo tempo em que tenta recuperar o poder da Mana para restaurar a paz. O grande problema é que, embora os gráficos estejam atualizados, as animações ficaram presas ao passado. Em vez de despertar o sentimento de nostalgia, a falta de capricho passa a impressão de que o remake foi feito às pressas.
A jogabilidade à la Zelda foi aprimorada e permite desferir ataques de qualquer ângulo. Os inimigos também demonstram mais inteligência, uma vez que agora eles têm a opção de atacar a partir de qualquer ponto do cenário.
Ainda que a movimentação esteja mais fluida, parece haver algum problema técnico relacionado ao impacto dos golpes. Isso porque há momentos em que o personagem simplesmente não acerta o ataque, mesmo posicionado a uma distância razoável do oponente.
Além disso, a interface dos menus ficou bem aquém do esperado, com abas confusas e muito mal posicionadas. Há, no entanto, uma opção de mapear os itens essenciais nos botões do joystick ou teclado, o que facilita muito a organização na hora de combates mais exigentes.
O remake de Secret of Mana mantém a essência da pérola dos RPGs de ação dos anos 90, mas comete muitos deslizes ao tentar mexer em time que está ganhando. Menus engessados, sistema de combate com problemas técnicos e animações presas ao passado impedem o relançamento de ser a experiência definitiva, apesar de que possa valer para quem nunca experimentou o jogo original.