Recreating a 17th-century embroidered jacket, The Embroiderers' Story chronicles its progress.

Everyone’s helping, and beginner lace kits

September 12th, 2007 by Jill Hall
Kathy sent out two more kits today. One went to Australia. Australia! That is really and truly the other side of the world. How cool is that? Apparently Carol in Australia (Hi, Carol!) felt she wasn’t able to contribute to the project because she’s so far away. Au contraire! (I’ve now exhausted the sum total of four years of high school French classes. Well, that and Non. As in Non, I don’t speak any French.)
 
Carol, and everyone else who has ordered a kit, has contributed to the effort financially ($20 tax-deductible donation is included in the kit price); in spirit, by showing just how much interest and excitement there is in the needlework world for a project of this scope; and tangibly, by returning your sample even if you can’t come stitch in person. When you send your sample back, your stitching IS part of the project. We’re already using a sample or two in the Crafts Center, where Kate has been embroidering on the coif for Plimoth’s visitors a day or two a week since the last session. We’ll be using more of the samples in the finished exhibit for all kinds of good learning purposes.
 
Speaking of stitching in person, session three begins bright & early tomorrow. We’ve got a busy four days and I’ve promised you to take more pictures this time, so I’m going to bed early. See you tomorrow.
 
Oh, almost forgot. I think Linda (in the comments the other day) was mostly teasing me about picking up another hobby that has lots of fun equipment. I already have a whole room, in my defense the smallest room, but still, completely devoted to my “stuff” for knitting, quilting, dyeing, spinning, embroidery, and sewing. I had to kick out the floor loom – a little one! – and I’m not having any luck moving my daughter’s beading stuff in there, so I’m not so much in need of more specialized fiber equipment. Anyway, Robbin and Carolyn pointed out in the comments that Linda might have more success with a different kit. Fortunately, on Friday Carolyn’s going to visit the embroidery bee and demonstrate some lace, and she’s bringing a special pillow set up for newbies to try. Maybe we’ll both get hooked. I think if I move the niddy-noddy and the extra heddles there’s some room on top of the bookcase….

New Session Dates

September 11th, 2007 by Jill Hall
 
No samples came in but FIVE kits went out! It is absolutely not too late to participate, so if you’ve been thinking about ordering a kit, now is the time. Call Kathy at 508-746-1622 X 8114 or email at kroncarati@plimoth.org  
 
Get a kit now and join us to embroider in December and January. October and November are full, but these sessions still have room.
 
            Tuesday, December 11 – Friday, December 14
            Tuesday, January 8 – Friday, January 11
            Friday, January 11 – Monday, January 14
            Sunday, January 20 – Wednesday, January 23
            Wednesday, January 23 – Sunday, January 27
            Friday, February 8 – Monday, February 11
            Monday, February 11 – Thursday, February 14
            Friday, February 29 – Monday, March 3
            Monday, March 3 – Thursday, March 6
 
As you can see, we’re running overlapping sessions in the winter. This will maximize efficiency and minimize the number of less productive days (the first and last day of each session). You are welcome to stay through two consecutive sessions, just make sure we know that’s what you want to do.
 
These sessions are filling quickly, so let me know as soon as possible what your choice is. You can reserve a spot in a session even if you haven’t finished your sample yet. Write to me at jhall@plimoth.org
 
I’m looking forward to the beginning of this session on Thursday, and meeting in person several embroiderers I’ve spoken with on the phone or emailed. I’m also eager to talk with Carolyn on Friday about the lace trials she’s been doing. She’s sent us an excellent picture, though. Bloggie can only handle so much, though, so SEE A BETTER PHOTO HERE.
 
As far as the bobbin lace goes, I’m going to heed Linda’s advice from yesterday’s comments:
 
Bobbin lace? Run the other way! The bobbins don’t stay in place, they conspire together, they whisper about you behind your back. You place the pins in the proper places, make the prescribed twists, passes, and crosses and the bobbins undo your work as soon as you glance the other way. Patterns dissolve into masses of string with no purpose other than to taunt your hopes of creating delicate, magical webs.
 
Sometimes the fiber isn’t so much calling your name as mocking you.

Question Answered

September 10th, 2007 by Jill Hall
Today Shaina checked the lacing in all the frames, tightening and replacing where necessary. She also whipped up a new cover or two. Last time Tricia brought two new framed pieces and they needed their own covers.
 
I guess the lace trials are going OK. This is part of a message I got from Carolyn today:
I am so excited!  This lace is going to be so fantastic!  I’ve just finished doing three repeats of the lace from the thread that Robbin gave me yesterday, and I think it looks fabulous (no, not my lacemaking — the interplay of the silver and gold threads!)  This is so different from anything most of us have ever done — I have a feeling I’m stepping through
a window of time right back to when the jacket was new.
 
Actually, I’m pretty confident her lacemaking is also fabulous. I can’t wait to see the samples on Friday, when Carolyn joins us at the session to talk over the particulars. I think many of us who have worked with or on the Jacket have had that same feeling. We can’t go back of course, but we’re getting as close as anyone has for hundreds of years. Pretty neat.
 
The other day a friend of mine who is not (currently) an embroiderer or lacer or other fiber artist (self-described, although she’s recently knitted a scarf so she’s perhaps not as fiber naïve as she claims) asked about how the holes stay in the lace after you get the pins out. As I thought about it later, I was really pleased that she asked. With this project we were hoping to capitalize on the opportunity to interest non-practitioners in various fiber arts, including historic clothing, embroidery, lace, you name it. One leads to the other. Not even necessarily in trying these techniques, but just knowing about them and appreciating their existence. Perhaps she started reading the blog because she’s a friend of mine and wonders just what is it I do all day but we’ve captured her imagination. Stuff like that makes the drudge work worth it. And here, friend, is the answer, kindly left by Robbin:
 
I may not be the best to answer, but I’ll give this one a try. What really creates the holes in lace is either the twists or the threads. At its most basic, lace is made up of crosses and twists. These together can make braids, a thick cloth area, or just a fine twisting of threads together. But all of these twists (even if they’re crosses) make two or more threads move together. You can only fit so many in so much space, so they naturally force areas apart.

In some ways, pins really are used to let the threads in lace change directions and to create tension. Bobbin lace is a weaving technique (unlike tatting, for example, which is knotted). Unlike typical weaving, where one thread does the weaving, in lace the ‘weaver’ changes many times. And the pins help let different threads become the weaver.

The person who asked the question is right — the holes made by pins often do close up when the pins are removed. This is actually very important in some laces. (For example, Torchon lace has a spider stitch that uses a pin in the center and one at the bottom. That pin lets you get good tension and then take threads out in different directions. But once they are secure, you remove the pin and you want the hole to go away.)

In the enlargement of the Laton lace sample, you can see some of the holes that were actually made by pins. This may be in part because the pins of that time period were not fine, but it is also likely due to the nature of metallic threads. They don’t have the give that other fibers have that let them move to close up the holes. (We noticed the same thing in a way with the new metallic wrapped silk being used on the Jacket — the thread was much more likely to stay where it was put when you made a buttonhole stitch than when you worked the same stitch with silk which slides easily. It’s a good and bad feature.)

So in summary, the holes happen because the tension on the threads pulls them in different directions, and eventually they change directions and are locked into place. In addition, the twists don’t let them move back to fill in the gaps. But in ‘cloth’ stitches your pin holes do tend to fill in and that’s what you want.

 
I was just thinking about threads mushing together when put in the wash. Lace can definitely lose its crispness when washed, and the picots (twisted threads in this case which are locked in to form little loops on the edge of lace) can sometimes get a bit messy. Lacemakers will often pin out their lace after it’s washed to get the nice form again. And the lace ruffs and collars that were meant to stand up were almost certainly heavily starched to achieve those effects.
 
Robbin’s right, those collars were starched. I’ll have to remember to do a post about starch sometime soon. And many thanks for the great explanation of what’s going on.
 
BUT, and this will probably make my family cringe, now that Robbin’s explained lacemaking as like weaving, it may be starting to whisper to me. Just what I need. A new hobby with another whole set of specialized ­­toys tools.

Successful Soiree

September 9th, 2007 by Jill Hall
I have successfully soirée’d. It was a fun evening, more so than I thought it would be. I hadn’t been to one before and it’s not that I thought it wouldn’t be fun. It’s just that in order to meet new people I sort of have to gather myself up to it. I get much more nervous about meeting a number of new people individually than I do when talking to a large group. But I got over it, saw some old friends (whse friendly, familiar faces I was positively grateful for), met lots of very nice people, and most of the evening got to talk about some of my favorite things – 17th century New England history, historic clothing, and needlework. Plus I had a lovely dinner (with a half cup of caffeinated coffee – wheee!) and my grown-up shoes with the heels didn’t smoosh my toes hardly at all. An unqualified success, I’d say. 
 
AND I got pictures. There was a tiny little glitch when we got there to set up; a table with food was only a foot or two from the chair Carrie was to sit at to work at the embroidery. Fortunately everyone was very understanding about my NO FOOD NEAR THE EMBROIDERY thing (maybe understanding is not quite the word, maybe it was more like very humoring of my terror of cheese and crackers and fruit) but the end result was the same. The food table was quickly exchanged with an empty table a few feet further away, and we were off.
 
Carrie not only looked just as perfect in 21st century dress-up clothes as she does in 18th century ones, but she charmingly demonstrated her heart out and actually got stuff done. I pretty much had my back to her for a solid hour, engaging many people in conversation, some who started out interested in the embroidery/adornment exhibit thing and some who didn’t realize how fascinating it all was until they were accosted – I mean introduced to the idea. When the crowd cleared a bit and I turned around Carrie was just finishing the wings of a round-winged butterfly. I was amazed. I’d heard her talking plenty, too, there behind me.
 
Tricia was on the other side of Carrie, also talking for a solid hour. I forgot to mention, the piece Carrie was working was the back, the piece that has the most work in it already, probably 300-400 hours or so, the piece which if even a speck of red wine got on it the top of my head would surely fly off. But it came through the evening just as clean as it went in and at the end went home with Tricia, along with the spool of the special sparkly thread.
 
Notice Tricia’s striped jacket, which has very similar lines to the 17th century jacket. It’s got a little peplum sort of like the gussets create, and a ruffle over the shoulders like wings. The stand-up collar on the jacket recalls some of the smock/shift collars with the ruffled bands. Nice touch. She’s holding an imaginary wineglass there. I was so glad she was able to come.
 
Shaina and our newest tailor Penny were also there, and I have to remember to ask them if they wore black and white on purpose to complement the decorations or if it was an accident.  They were excellent at politely asking the guests to park their snacks before approaching Carrie. I took a picture but unfortunately it didn’t come out well at all so I won’t post it.
 
Third picture is a close up of Tricia’s blackwork purse, very appropriate to the occasion. There’s also a picture of another purse in colored silks, also Tricia’s. It was a great evening, the weather was perfect and the guests seemed to be having an excellent time. The whole evening was a success. I wonder if, now that the soiree is over, the dancing people can move over here. I really like them.

Lace Trials

September 7th, 2007 by Jill Hall
Sample arrived today from Linda V.
 
I got a question and am throwing it to our experienced lace makers. If the pins hold the twist or mark where the holes are going to be in the lace, what holds the holes open when you remove the pins? Why don’t the threads just mush together like they do if you wear a brooch on a blouse and then take it off and run the blouse through the wash?
 
The bobbin lace group has been very busy. Scans and photos of samples as well as prickings have been flying back and forth the last couple of days.
 
Robbin will give Carolyn some metallic thread samples tomorrow so Carolyn can sample them. These threads are synthetic, not real gold.
 
According to Tricia, though, they are the best quality synthetics on the market and should enable us to make some determinations regarding a suitable thread weight.
 
This is important not just for the lace but also for the gold work on the jacket. We may be able to use the same thread for both.
 
First up is one of Carolyn’s samples. She used different colors of thread in order to see how the bobbin pairs move through the lace. The thread path is important because the original lace on the Laton jacket is made of silver and silver-gilt thread; two different kinds. If you look carefully, especially at the photos in Fashion in Detail, you can see the two threads.
 
Next is another of Carolyn’s samples, this time in heavy linen thread.
 
Third is one of Catherine’s. We’re debating about the proper width of the lace. Janet Arnold in Patterns of Fashion says it is 1 ¼” wide. Compared to the whole jacket, though, it looks wider – more like 2”. This sample is at the 1 ¼” width.
 
I debated about covering this in a post; I wondered if it would be interesting. We don’t have any answers; we’re not really ready to make any decisions yet. As we were going through this part of the process with the jacket, though, the blog wasn’t up yet, so it sort of looked like we knew right where to go from the beginning. Posting this may be a good way to document the kind of trial-and-error research we did with the jacket and, actually, that we at Plimoth Plantation do in several fields on all kinds of projects. Of course I’ll let you know what happens next.

September schedule, and Carol’s leaves

September 6th, 2007 by Jill Hall
In answer to a comment left yesterday, the silk thread has an S twist.
Sample received today from Sharon W, who cannot travel to embroider but was very kind to complete the sample and send it in. Even if you can’t come, we’d really like to have as many samples as possible so we can include them in the finished exhibit.
 
Today I sent out a schedule of events for the September embroidery bee. Here it is. I hope if you’re thinking about signing up for a January session, this convinces you it will be fun and absolutely worth traveling to Plymouth in winter. If you just can’t come I hope it doesn’t make you feel left out. I’ll take better pictures this time (I didn’t get very many during the August session) and take excellent notes so you’ll hear about everything.
 
Thursday, September 13
9:00 meet in Accomack, introductions and a short "point to perfection" stitching instruction with Tricia Wilson Nguyen. Everyone will receive assignments and then stitch until lunch. Snacks will be available all day, and stitchers will please break as they desire and as is convenient to the work.
1:00 lunch with Kathleen Curtin, Plimoth Plantation foodways historian and author of Giving Thanks. Kathleen will give us a fun presentation on the history of Thanksgiving foods. You may be surprised by what your Thanksgiving dishes reveal about your family’s history.
2:00 – 5:30 Stitching, break as needed.
5:30 walk to the behind-the-scenes workshop of the Colonial Wardrobe department for a tour.
Dinner on your own.
 
Friday, September 14
9:00 stitching in Accomack. Early risers are welcome to begin as early as 8:30.
11:00 collections tour with Karin Goldstein, curator of originals for Plimoth Plantation. Karin will show us Plymouth’s two 17th century samplers and some needlework tools.
12:00 – 1:00 show and tell and lace demonstration. Carolyn Hastings, vice-president of the New England Lace Group, will be with us this morning. Carolyn is part of a group of lacers working on creating appropriate metal bobbin lace to trim the finished jacket.
1:00 lunch
2:00 – end of day stitching, with breaks as necessary.
Dinner on your own.
 
Saturday, September 15
9:00 or as early as 8:30 begin stitching
1:00 lunch
2:00 special souvenir needlework project donated by Tokens & Trifles and taught by Wendy White
then stitching until 5:30. Stitchers should please take a long break either this afternoon or Sunday morning to see the museum and/or shop. We’ll have a hearty snack on hand this afternoon if you’d like to see the movie before a late dinner.
5:30 & 8:30 Plimoth cinema – an exciting brand-new venture for Plimoth Plantation. Showings of art-house type movies are scheduled throughout the fall, but this is the very first one. There will be two showings of La Vie en RosePlymouth’s state-of-the-art theater. Tickets are $6 for volunteers, which you are, and snacks will also be available for purchase at the theater. in
 
Sunday, September 16
9:00 Conversation with Peter Follansbee at the Crafts Center. Peter is a scholar of 17th century furniture and trades, and is Plimoth Plantation’s joiner.
10:00 stitching in Accomack or visiting the museum sites & shopping
1:00 lunch
stitching until 5:00 or early departures to aid travel plans
 
Today, Carol traveled to Plimoth Plantation from her home in New Hampshire to spend the day stitching. It usually takes her over an hour to get here; today she sat in traffic on I-93 for almost an hour. Although she must have been exhausted by the drive, she embroidered these leaves. I’m sorry about the picture quality. I tried several times but this was the best I could do. These leaves are on the left sleeve.

The Swanky Soiree

September 5th, 2007 by Jill Hall

 EESH. I better create a section where I just correct mistakes, like the “oops” part of my favorite knitting magazine. I messed up the initials of Carolyn’s lace group – they are the New England Lace Group and can be found at www.nelg.us And thanks for the offer, Carolyn, I think it would be great to have a brief lace demonstration for the embroiderers on Friday. Now back to our regularly scheduled post.

 Plimoth Plantation holds an annual fundraising party called the Soirée. Each year the proceeds are dedicated to a particular project or department of the museum. Last year the Soirée was “Seaworthy” and the funds supported the celebration of the 50th anniversary of Mayflower II’s arrival in the US. This year the Soirée is “Swanky” and will support the adornment exhibit, particularly the production of The Jacket and the Wampanoag turkey feather mantle (co-centerpieces of the planned exhibit on the history of personal adornment). The Soirée is this Saturday, and you can imagine there’s a lot of last-minute preparations going on. Here’s some information on the big party and what’s involved. Do you just love the dancing people?
 
A late entry to the festivities will be Carrie, one of our June volunteers, demonstrating some embroidery on the jacket – during the cocktail hour. I know, but I think I have that problem under control. Carrie’s floor stand and work table will be behind a gentle barrier, like a velvet rope or something similar. Some person knowledgeable about the embroidery project will be at hand to help talk about it and to keep a weather eye out for contraband. On the other side of the barrier at a small distance we’ll have another table for leaving drinks before approaching the embroidery. Another person will be there, politely but firmly offering to watch anything that needs to be put down. Should be OK. And it’s only for 1 ½ hours. I’d like to send a big thank you to Carrie for agreeing to do this on extremely short notice. You can find Carrie at Cherry Dawson, Milliner. Go say hi.
 
Today I needed to help polish some copy about the Plantation’s wardrobe departments (colonial and Native) and what we do to put in the program for the evening. Then I needed to rustle up some pretty period clothes with which to decorate the silent auction venue. Both were fun and instant gratification (done quickly and off the list). I expect it will be an enjoyable evening – as you can tell I love talking about my work and that’s really all I have to do. That and make sure no snacks or wine go near the embroidery demonstration area!
 
I have two “before” pictures, one is the WHOLE LEFT SIDE of the front, and the other is a detail of that same piece. See you tomorrow.

Lace II

September 4th, 2007 by Jill Hall
OOPS. I mistakenly described bobbin lace incorrectly yesterday. See, I’m really not on speaking terms with this art. After the threads are twisted (by moving the bobbins around, I mean you put the bobbins over or under or around and then slide the resulting twist all the way up to where the lace is actually being made, yes?) then you put a pin in the hole in the pricking (see below) to hold the twist. Thanks for jumping in, everyone. (see yesterday’s comments; and let me say how happy I was to see that they were all real comments, and not medicine spam – ugh.)
 
When I felt the embroidery portion of the project was well underway, I got in touch with Holly Van Sciver, of Van Sciver Bobbin Lace to launch the bobbin lace portion. For years, as I’ve mentioned before, I’ve been buying linen threads and brass pins from Holly for Plimoth Plantation’s sewing program. If you’d like to find out more about bobbin lace, there’s lots of information on the web. There are lots of good books, too. Like embroiderers, bobbin lacemakers (also known as lacers) are eager to share their interest and passion.
 
Holly gave me some ideas and suggestions, and introduced me to Carolyn, vice-president of the New England Lacers’ Guild. Carolyn tapped Robbin, who I know from the embroidery sessions. I only recently found out she’s also a talented lacer. Holly mentioned the project to a member of her guild out in NY, Shirley, who has jumped in with both feet. I met with Carolyn and Robbin and all of us have been carrying on an email conversation about how to proceed. Well. Let me clarify. Robbin, Carolyn and Shirley are conversing, and I’m listening, and keeping up pretty well. I’ve also been listening to Catherine, an embroiderer and lacer with a lot of ideas and energy. I have introduced Catherine to the discussion so everyone can share ideas directly.
 
Oh, here’s news. Several weeks ago Kate (Kate the embroiderer and lacer and silk knitter and most recently the electric guitar player) and I chose a pattern out of Le Pompe to use for the bobbin lace for the jacket. After Carolyn played with it a bit, we started to think that it wasn’t really big/wide enough to balance the jacket. Also, Carolyn and Shirley thought it would be possible to develop a workable pricking of the lace on the Laton jacket. (Go see – here’s the MAP of how to get there.) I was surprised; I didn’t think the photos were clear enough and there’s no opportunity to get more or better photos, but they’ve been working on it. So now we’re thinking we’ll use that one, the lace on the actual jacket, if at all possible, and only fall back on another pattern if we have to.
 
For layfolk like me, a pricking is the recipe for making the lace. It looks like a line drawing of the lace, life-size, with little holes in it where the pins go. It is made of stiff paper or lightweight card. I learned the other day, though, that even with the same thread and pricking different lacers might come up with different lace. Kandy mentioned in the comments that that possibility can be compensated for by clarifying certain things ahead of time, which I did understand from my conversation with Carolyn and Robbin. I just hadn’t known there were variables. That was one thing I wanted to understand, so we could figure out how to compensate as we go forward to the production part of the project.
 
Here’s another interesting bit of information – if Carolyn, Shirley, Catherine, or anybody else comes up with a pricking of the Laton lace, it will belong to the V&A, who owns the jacket. I am in the process of obtaining permission to use such a pricking to make lace to use on the jacket. I don’t think that will be a problem since Susan North, the curator of 17th & 18th century textiles, has been immensely supportive of this project. However, any other use of such a pricking, like publishing in a guild newsletter or posting on a blog, would be subject to approval and a licensing agreement with the V&A. Of course I’ll look into that, too, lots of you have already asked if we’d make a pricking available. Which is why I’m letting you know this part up front.

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