Project next
I'm thinking I may finally tackle the Spanish overgown I've been wanting to do for a while. I want something new and spiff for St Andrews but I don't want to spent every waking moment of the next month working on it.
I'll be making it to wear over my Venetian style kirtles, but I've only found one example (Anonymous Brescian Artist, c 1570: Portrait of a Lady) of that kind of gown worn with the Venetian V front dress, but the dress is not quite the same style I prefer and I don't much like the shape of the overgown so I'm likely going to cheat a bit and make something a bit more like the English interpretation of the style (much crisper and structured looking) and maybe claim it as a gift from relatives in England. The pink gown from Elizabeth R and Mary Hill, Mrs. Mackwillian by the Master of the Countess of Warwick: 1567 are pretty good examples of what I'm looking to do.
Domenico Riccio (Il Brusasorci), before 1567: Portrait of a Lady is also a pretty close example of the line I'm looking for. Bonus: it's on a woman from a Venetian province at that so I don't feel like it's as much of a reach, and I can use it to inform some of the cut/fit details.
I have eventual plans to do one based around some black faux curly lamb fur I have had waiting for ages, but I don't really want to use that as the guinea pig fabric. I have several heavy satins I may use for this. Main contenders are a wine satin, a black satin, and a midnight blue velveteen. It's mostly BIG pieces and not very fitted, so satin is not going to be quite as horrific as it can be in more fussy projects. I expect I'll also be using a lot of bias binding for finishing as I have about 50 yds of it in a nice black satin and that will speed construction up considerably. As much as I want to go for black for the body colour I think I may save that for use with the lamb (also the black binding will look nicer against another colour). Alternately I do have a couple of other pieces of less exciting fake fur I haven't poked at in a while, that may not be the worst dry run for the curly lamb.
Now that I have some idea what's represented in the portraiture... to the Janet Arnold and Juan de Alcega!
***Mostly tossed in for later reference: Mary Denton aged fifteen attributed to George Gower: 1573 is an utterly fascinating and highly fitted take on the style which reads as much later then the portrait is attributed. I may want to tackle something like that at a later date.
I'll be making it to wear over my Venetian style kirtles, but I've only found one example (Anonymous Brescian Artist, c 1570: Portrait of a Lady) of that kind of gown worn with the Venetian V front dress, but the dress is not quite the same style I prefer and I don't much like the shape of the overgown so I'm likely going to cheat a bit and make something a bit more like the English interpretation of the style (much crisper and structured looking) and maybe claim it as a gift from relatives in England. The pink gown from Elizabeth R and Mary Hill, Mrs. Mackwillian by the Master of the Countess of Warwick: 1567 are pretty good examples of what I'm looking to do.
Domenico Riccio (Il Brusasorci), before 1567: Portrait of a Lady is also a pretty close example of the line I'm looking for. Bonus: it's on a woman from a Venetian province at that so I don't feel like it's as much of a reach, and I can use it to inform some of the cut/fit details.
I have eventual plans to do one based around some black faux curly lamb fur I have had waiting for ages, but I don't really want to use that as the guinea pig fabric. I have several heavy satins I may use for this. Main contenders are a wine satin, a black satin, and a midnight blue velveteen. It's mostly BIG pieces and not very fitted, so satin is not going to be quite as horrific as it can be in more fussy projects. I expect I'll also be using a lot of bias binding for finishing as I have about 50 yds of it in a nice black satin and that will speed construction up considerably. As much as I want to go for black for the body colour I think I may save that for use with the lamb (also the black binding will look nicer against another colour). Alternately I do have a couple of other pieces of less exciting fake fur I haven't poked at in a while, that may not be the worst dry run for the curly lamb.
Now that I have some idea what's represented in the portraiture... to the Janet Arnold and Juan de Alcega!
***Mostly tossed in for later reference: Mary Denton aged fifteen attributed to George Gower: 1573 is an utterly fascinating and highly fitted take on the style which reads as much later then the portrait is attributed. I may want to tackle something like that at a later date.
