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A loose ends lucet cord

While working on my medieval gown, I struggled with a lacing cord for it.  There isn’t much that is suitable in Wellington, and I didn’t really have time to order something in.

I used a simple linen cord to hold it the dress together while I was working on it, but it started fraying pretty quickly, and also made the dress look a little too Friar Tuck robe-ish.

1350s-70s gown fitting & details thedreamstress.com10

I researched  cord options  and  came across lucet cords.  I read a couple of tutorials (I’m all about reading tutorials, youtube is not my thing) and realised that lucet cord is basically a two-finger yarn lei – and I know how to make yarn leis!

Unfortunately along with a dearth of period-appropriate cording in Wellington, I haven’t been able to source a lucet fork in NZ.

I started out really make do: with a plastic fork with the middle tines broken out, and linen thread.  The resulting cord was beautiful, but the making process was rather unsatisfactory.  I was only able to make rate at about 2cm an hour, and the thread kept slipping off and then I would have to unravel to get to a point where I could be sure I was at the right place to restart, and it was all quite discouraging.

I was also slightly worried that the cord was going to be so tiny and delicate that it wouldn’t be strong enough to lace my dress.

So I went and found some wider linen cord, and I improvised a lucet fork:

Felicity the cat thedreamstress.com9

Or, as Mr D puts it, in tones of scandalised horror worthy of the primmest spinster headmistress “You broke a fork!”

Felicity the cat thedreamstress.com8

I keep trying to convince him that the fork was already broken (it had a bent tine), I just improved the break into something useful, but every time he sees it he mutters about breaking  forks.

With a better fork, and bigger starter cord, my lucet cording went along quite speedily.  Unfortunately I quickly discovered that it was going to be too thick  for lacing, but I persevered, figuring I could use it as a belt.

And then, when it was almost done, a bit more research on medieval cording suggested that while it may  (note emphasis!) have been done in the very early medieval period,  there is no evidence for  lucet cording in  the 14th century, and I really should have done finger weaving.

So now I have a length of lucet cord with no obvious use.

Felicity, however, loves it, as did a friend’s cat.  Felicity wants to just hold it and rub her face against it (she’s all about texture) and Poh the cat adored  chasing it.  It pulls and moves quite satisfactorily.  So, I have a historical (for the 18th century, if nothing else), elaborate, expensive, cat toy?

Hey...what's this?

Hey…what’s this?

I like it! It shall be mine!

I like it! It shall be mine!

I shall bite it...

I shall bite it…

And wrestle it, and play with it...

And wrestle it, and play with it…

Until it stages a cowardly rear attack and entraps me...

Until it stages a cowardly rear attack and entraps me…

But in the end, I shall persevere, and kill it dead.

But in the end, I shall persevere, and kill it dead!

The Challenge:  #9 Brown

Fabric:  NA

Pattern:  Based on the tutorial at Rosalie’s Medieval Woman.

Year:  10th-12th centuries (possibly), or 17th-18th centuries (definitely – and what I’ll most likely end up using it for)

Notions:  12m of linen  cord

How historically accurate is it?:  The end result is probably not accurate for the period I wanted it to be for (14th century), but possibly accurate for earlier periods, and definitely accurate for later.  Obviously my metal fork is not period!

Hours to complete:  about  3 hours, all done while hanging out with friends or watching TV.

First worn:  It’s getting plenty of wear as a cat toy, but nothing else!

Total cost:   about $7.

I may not like YouTube tutorials, but I’m learning to embrace it in other ways, because look:

Felicity makes her film debut!

Rate the Dress: 1770s pretty in prints

Last week I showed you an 1880s gown in persimmon orange brocade with a slightly historical flavour.  While orange can be tricky, the fabric was generally popular.  The sleeves, however, were generally un-popular, and most opinions found it very nice, but not spectacular.  A few of you loved it, but a few of you hated it, balancing the rating at a 7.1 out of 10 – which seems a pretty fair assessment of the general feeling toward it.

Since the warm persimmon orange of last week’s frock was so popular last week, I thought I’d stay in the warm, autumn-y colour range for this week’s Rate the Dress.  This ca. 1775 robe a la francaise  from the MFA Boston features a busy cotton print with a dark red ground.  The MFA have chosen to pair the dress with a cream border printed (or painted) cotton petticoat.

Cotton was still a luxury fabric in the last quarter of the 18th century, and  the heavy glazed cotton  of this dress was likely to have been a particularly expensive cotton: dark red grounds were generally more expensive than light coloured grounds.  The very desirable fabric may explain the unusual juxtaposition of the fabric and the more formal dress style: cotton robe a la francaise are quite rare compared to silk.  Cotton fabric was more likely to be used for slightly less formal dress styles, like robe a la anglaise.

While the petticoat that the MFA have paired the gown with was probably not worn with it originally, it’s in keeping with the luxurious gown: the border printed fabric of the petticoat would have been equally expensive, and equally exotic and novel.

The mannequin may be slightly distracting, but hopefully you can look past it to envision what the ensemble might have looked like in 1775.  With that in mind, what do you think of  it?  Beautiful use of a busy but very ‘of its time’ pattern, or cluttered and fussy?

Rate the Dress on a Scale of 1 to 10

The HSF/M: Favourites for Challenge #6: Out of Your Comfort Zone

We pick all of the challenges for the HSM in the hope that people will use them to push their boundaries: to sew better, to learn more, and to try new things, but the Out of Your Comfort Zone challenge was picked in the hope that everyone would take this to a whole new level, and for the most part, you really did.  There were so many amazing things: people trying new periods, people making things that challenged them from a personal aesthetic level, and people trying things that really challenged their skills and patience.  I was so proud and inspired!

My own entry for the OOYCZ challenge ended up being quite easy: I made cloth buttons for my medieval gown.  I’d been intimidated by the buttons for years, and  was afraid they would be really hard, but they turned out to be really fun, and really easy, which is a great lesson for out of your comfort zone: you don’t know if something will be hard until you try it.

For my favourites  I select items that really represent the spirit of the challenge: the more something pushed your comfort zone, the more it impressed me.  My favourites all demonstrate research, daring, and a willingness to really challenge yourself.  We’re all starting from different levels, so a challenge isn’t always something  that looks hard: it’s about something that pushed the maker personally.

There are always amazing things that I can’t show you (because almost all the submissions were AMAZING)  I do recommend you check out the comments under  the blog post  and  the photos in the FB  album  (yep, you do have to be a member to see it, yep, if you ask to be a member we’re going to ask you some questions, and yep, it might take us a few days to answer, but if you are really interested in the HSF, as a participant or  active  cheerleader, we’d LOVE to have you) to see the rest of the fabulous  things that were made.

Without further ado, my  favourites!    Entries with photos link to FB, entries without link to the blog post of the maker.

  1. Caitlin’s mid-18th c stays.  These is the first garment she has ever sewed.  Ever.  Need I say more!
    6 Catilin's mid 18th c stays for the Historical Sew Monthly
  2. Urban Simple Life’s embroidered 1920s dress:  She tackled a new period (and one that she wasn’t comfortable with as a look), adapted a pattern to do so, did a bunch of research on it, and the end result is gorgeous (plus, it’s one of three items she did for this challenge!)
  3. Trumpets & Trimmings 1740s waistcoat:    She tackled a new era, a bit of pattern alterations, total handsewing, and a few techniques that are totally new or terrify her, and the end result is great, so all in all, very impressive!
  4. Cate’s 1720s-40s jacket:    Janet Arnold is practically the patron saint of historical costuming post 1500, but her scaled patterns can be a bit daunting.  Cate tackled scaling up an Arnold pattern for the first time, and the end result is beautiful:
    6 Cate's 1720-40s jacket
  5. Christina’s 1860s breakfast  cap.    Christina really challenged herself to thoroughly research this item, so that she understood both its construction, and implications as a garment, and to make it as close to period accurate as possible.  It’s a challenge we should all aspire to!  Just look how much it looks like the fashion plate:
    6 Christina's 1860s breakfast cap for the Historical Sew Monthly

For the rest of the favourites posts see:

Favourites for  Challenge #5:  Practicality

Favourites for  Challenge #4: War & Peace

Favourites for  Challenge #3: Stashbusting

Favourites for  Challenge #2: Blue

Favourites for  Challenge #1: Foundations