…opened with a flurry of getting settled, again. Thursday night we brought everything up to the Wardrobe Department work room, but didn’t set up. Friday morning everyone found a table, chair and frame stand to suit and we ran extension cords and power strips again. A few stitchers found the overhead daylight fluorescent lights so bright they didn’t need a task lamp.

We weren’t able to accommodate every stitcher in the department’s big workroom, so we spilled over into the adjacent large office. That was where we’d planned to set up the snacks and lunch, so the food had to be pushed back to a small alcove. We also set up the invisible barrier which prevents food & coffee-carrying people from crossing through the doorway into the work rooms.

Late morning, everyone walked over to the collections storage area, where Karin Goldstein graciously gave the group a show & tell talk about the sewing-related artifacts in Plimoth Plantation’s originals collection, and displayed the two 17^th-century samplers we have.

Another guest, Joanna, a textiles conservator, had brought a special treat for everyone to see: a 17^th-century stumpwork picture. Some pictures posted here (click on the image for more views).

So where to have lunch? It was a gorgeous clear sunny day, so Laura swept the courtyard and put tablecloths on two picnic tables. I was going to take a picture, but decided to eat first. Just as I sat down (one of the last), a dark cloud blew in. “Hey, it’s getting pretty dark” someone remarked. “Is that rain?” The words were hardly out when a clap of thunder opened the floodgates. We finished lunch standing around in the hallways, squished as far away from the frames as possible. By the time the stitchers were settling down to work again, the sun was breaking through. No picture of happy embroiderers lunching al fresco.

After lunch the stitchers began finishing their work for this session. Tricia’s organized mind has established an amazing record-keeping system. We’ll be able to track and analyze all sorts of data based on the notes the embroiderers are keeping as they work.

One element of the system makes it possible to record exactly which elements are worked by whom. For this, Laura photocopied the master embroidery pattern. Each embroiderer then signs the individual motifs she has worked. The first picture is Pat, carefully matching the worked motif to the pattern (it’s easy to get turned around, with all the swirls). The second picture is Ann (in the background) and Carol sorting out what they stitched on the sleeves. Another part of the plan has two embroiderers with similar hands working on the mirrored pieces, like sleeves and fronts, and switching frames partway through the session to further meld the styles. Ann and Carol were both working on sleeve pieces this week.

We had little thank-you gifts for the embroiderers who participated this time. Everyone received a copy of Plimoth Life, Plimoth Plantation’s magazine. This issue contains an article about the jacket, as well as others on the 50^th anniversary of Mayflower II’sarrival in the US, and Plimoth Plantation’s mission to become a bicultural institution. Thanks to the skilled Kristen, one of the Crafts Center’s potters, we also gave everyone a hand thrown cup. My daughter’s hand is in the picture for scale.

The hard part of this day was the farewells. In only a few days we’d formed a team, a community. Some renewed old friendships, others made new ones. We all enjoyed the company and conversation of others who are passionate about embroidery.

When considering this project and beginning the planning, I knew it would be a huge undertaking, that it would be at times exhausting, that there would be unforeseen difficulties and comparable triumphs. But I never imagined how personally rewarding it would be to meet so many talented people who are so generous with their time and skill. It was a pleasure getting to know the ladies who participated in session one. I’m looking forward to meeting many more of you in the coming months.

See you here tomorrow.

…was a long one, and eventful and productive. I got home late, although that wasn’t the reason for no blog entry. The thunderstorm I whirled home in was; I thought it unwise to turn on the computer. I think it’s going to take me a few days to catch you up on what’s been going on.

First, let’s go back to Day One, specifically to the Dead Bird conversation. I was in it, so no pictures, but Robbin cleverly caught the whole thing. Here I am, feeling awful about having to break the news to Tricia that her design is upside down. She’s got the reference books out, attempting to convince us all that it’s fine and she doesn’t need to trash two or three hours of work. Wendy’s trying to be diplomatic.

Seeing is believing as they say, so we taped the paper together in order to demonstrate how a coif sits on your head (sort of). Wouldn’t she make a sweet colonist? Thanks so much for these pictures, Robbin.

Day Three (yesterday, Thursday) was busy. The Needle Arts Studio crew started filming in the 1627 English Village shortly after 9:00 AM, then to the Wampanoag Homesite to capture some images of Native women making traditional textiles. They got a lovely shot of milkweed plants, an important source of fiber for cordage and textiles, in the foreground, and a woman working in the background.

Then to Accomack, to interview Tricia about the project and get some pictures of the work, and of Kris’ hands executing detached buttonhole stitch. That was a bonus; we didn’t think we’d have time or the proper equipment to capture that. The filming wrapped up shortly after 2:00.

Below is another picture from Robbin, of Tricia explaining the plan for tackling this project.

Later, the participants were treated to a presentation on the history of Thanksgiving – the holiday and the food – by Plimoth Plantation’s Foodways Historian Kathleen Curtin. After asking everyone to name their special, traditional Thanksgiving dishes, she explained how and when each was added to the menu and how the food reflected the changing nature of the holiday. You can get the same entertaining presentation of the food and the history in Kathleen’s book, Giving Thanks.

Next Kathleen and I went to scout our next location. Remember the One Big Glitch, having to move shop from Accomack to make room for a previously booked event? We were able to reserve another space on the grounds, but when we went to see if there were sufficient tables and chairs (there were) we discovered that it was just too warm to be comfortable for embroidering.

After a hasty conference, we decided to move to the Wardrobe Department’s workshop. I had thoughtfully invited several of the museum’s interns (read: willing helpers) to join us for supper, and after plying them with Marcia’s yummy food they swiftly and efficiently helped us transfer embroidery frames, floor stands, lamps & magnifiers, and all the food service supplies to the Wardrobe office. Thank you, Laura, Kate, Kassie, Mirelle, and Jessy and Ryan, who arrived too late for supper but were bribed — I mean thanked — with dessert for their help.

We spilled out of the Wardrobe office, occupying nearly the whole building (thanks to our co-workers for their hospitality!). The lighting and layout of the Wardrobe office proved very suitable for about four or five embroiderers. This was a happy discovery, as a few local embroiderers are interested in volunteering a day here and there rather than coming for three or four days together. Now I know we can accommodate an embroiderer or two in the office on occasion.

After The Move we repaired to the Crafts Center for a presentation by Peter Follansbee, joiner and historian, on 17^th century furniture, the craft of the joiner, and the process of historical research. And a few comments on how lots of birds feed upside down and if its feet were on a branch maybe it wasn’t dead…. Peter’s conversation was thoroughly enjoyed and, if we didn’t need to walk back before night fell completely, we would have kept him longer.

Thus endeth Day Three. I did manage to take a few pictures today, which I will share with you tomorrow night, the computer and camera being willing. I’ll also mention our special guests, and maybe have some pictures of them, if Tricia has a chance to send them over.

We got a new comment from Crystal, who is both sharp-eyed and curious:

Since the majority of the embroidery is being done with one strand of the soie perlee, how will you be handling the parts that are embroidered with two or more colours mixed (such as on some of the butterfly wings and some parts of the leaves).
If I recall, I remember seeing a blue/white/gold and some green/yellow blends.

And some pink and white. Glad you asked. Tricia’s been conducting some research and development (how can I get this effect? Try this? No? Try something else?) and will post about her results soon.

Day Two is in the books. I’m amazed at how quickly some of the stitching is going; one embroiderer has completed everything that can be done on her frame (it was one of the smaller ones, but still!). Some parts can’t be worked until the threads arrive, and all the goldwork has to wait till last. So she’s sharing a frame – two people working on opposite ends of one of the larger frames. I’ll try to get a picture of that tomorrow.

A huge thank you goes to Tricia Wilson Nguyen, Wendy White, and Justyna Teverovsky of Tokens and Trifles for donating kits for this sweet needlebook to all the stitchers. This project was designed by Wendy using motifs adapted from one of Plimoth Plantation’s samplers, which we’ll see Friday.

Another huge thank you goes to Ann Blalock of Coats & Clark, for donating the threads for the kits, and supporting embroidery outreach in general. Tokens and Trifles plans to donate kits for all the stitching sessions, ‘personalized’ with the dates of each session, as you can see on the back here.

Thank you doesn’t even approach what is due Kathy and Laura. Wendy nicknamed Laura ‘our girl Friday’ because she’s everywhere something needs to be done. This whole week would be impossible without Laura’s good humor and willing hands and Kathy’s quiet attention to every detail.

Here are a few pictures of the progressing embroidery. My photography doesn’t do them justice. The bits of embroidery look like little jewels on the mostly-still-black-and-white pieces. Every day there are more jewels. The stitchers are now working mostly on their own, giving Tricia time to trace off a right-side-up coif pattern, and transfer it to linen. No silly paper hats today.

Wendy and Kris bagged the next batch of kits, which are waiting for one more element and then should go out Monday.

I have been taking notes on what’s working schedule-wise. I’m thinking next time we’ll have to build in a time for show & tell. Several people have brought in original embroidered pieces or latest new creations for us all to admire during breaks.

I spent quite a bit of time walking around in the humidity, planning tomorrow’s Needle Arts Studio filming. It should be a great show. I’ll post the airdate when we know it. Likely it will air in early 2008.

See you tomorrow.

First, the new arrivals: samples came today from Irene A, Ann B, and Patricia E.

Today Tricia and Kris brought down everything else we needed for tomorrow. Wendy, Kris and Ann showed up (or were drafted) a day early to help. Most of the day we worked in the Colonial Wardrobe Department’s big workroom.

Lots happened today: pieces of linen with patterns drawn in ink were stitched to the canvas strips of slate frames (here’s Laura working on that);

The frames were assembled and the linen pieces laced onto the side bars of the frames to maintain correct working tension (Kris in the foreground lacing, Wendy on the other end of the couch stitching linen to a frame);

Tricia traced a section of the master pattern onto a triangle-shaped piece of paper so we can make that forehead cloth I told you about last week. A little later, she transferred the pattern from the paper to a piece of linen, which was then sewn & laced into a frame.

Late in the afternoon, we moved to Accomack, which is where we’ll be working most of this week.

Here’s Kris & Laura putting together some floor stands. These will hold the framed pieces of linen. The stands are adjustable for height and angle of working to suit the embroiderer. Those boxes on the table on the right hold four daylight lamps with magnifiers; we unpacked them a few minutes later.

Ann sorted the spools of silk into boxes. The boxes will go on the tables so supplies are in easy reach. Don’t they look like bags of candy?

I didn’t get any pictures of it, but Kathy and Laura moved all the supplies we’ll need for coffee & tea breaks and meals to Accomack, and set everything up. It looks beautiful.

We left Accomack by 6:00 pm, well ahead of schedule. Tricia referred to doing things at the last minute a couple of times today. I’ve seen The Last Minute (remember those ambitious exhibits I told you about?) and this wasn’t it. I even got home in time to post tonight. We’ll all be back by 9:30 tomorrow morning to meet the rest of this session’s embroiderers.

Kathleen Wall, Plimoth Plantation’s Colonial Foodways Manager (which doesn’t begin to capture all she does), attended the 2007 ALHFAM (Association of Living History Farms and Museums) annual conference, which was in Santa Fe, New Mexico. Seems in Santa Fe, they have patron saints for everything, and have plaques, or tiles, or pictures, or MAGNETS honoring these many saints. Kathleen thoughtfully brought us a magnet of St. Rose of Lima, the patron saint of Needleworkers, Embroiders (or Embroiderers) and Quilters, just in case we might need some patronage. I was just delighted – not only by the thought but by the attractive, colorful image. Right now St. Rose is stuck to a metal desk in the office, but next week she’ll move with us over to Accomack. Just in case. Thanks so much, Kathleen.

One sample today – Judy L’s. Laura’s out of town with her family and Kathy suggested I might want to process the sample (Laura’s got a system of filing and recording, and all sorts of efficiency). I decided to take some pictures instead. Here’s Judy’s worm. Don’t you just love the worms?

Here’s a question for you. We have embroidery bees scheduled for August, September and October. We have to skip November; we get kind of busy around here in November, (massive understatement) what with Thanksgiving and all. I’ve been wondering about December. Would anybody be interested in a bee in December, or is it too close to the holidays with all the travel and visiting and other activities? We could skip December too and schedule the next ones for January & February. Let me know.

That’s about it from here today.

“So, want to make a coif and forehead cloth to go with the jacket?” Tricia asked me that a few weeks ago, during the time that she was wrestling with how to get all the jacket pieces out of one piece of linen and still be able to fit the pieces into the frames we had (or thought we could get). My first thought was that the stress of the impossible puzzle had finally sent her around the bend. In my mind the jacket alone was still looming as a gargantuan goal and a logistical nightmare. This coif & forehead cloth wasn’t exactly a new idea, though. Months before, when we were laying out this project in broad strokes, one of the goals I outlined was to increase the embroidery skills and knowledge base of the Colonial Wardrobe Dept staff. Expanding skills is a worthy object on its own, but ultimately I was intending to create a coif and forehead cloth to match the jacket, like the suite of entirely metal thread embroidered jacket, coif, and forehead cloth in the collection of Boston’s Museum of Fine Arts. So my second thought was “why not?” Why not indeed. So we’ll be working on a coif and forehead cloth too, over these next months. Why not.

Thanks to Libbet, who left a comment confirming my suspicion that an embroidered coif & forehead cloth in the Burrell Collection is displayed upside down and backwards. I was hesitant to say so definitely, only having seen it in a photograph, but it is put together upside down and the forehead cloth is sewn on with the point going the wrong way. This is an easy mistake to make, especially if one has never tried to wear a coif; yet another example of how doing can teach you things even long and careful looking won’t reveal.

A forehead cloth, or in some period records, a cross cloth, is a triangle with tape or ties on two points. It is like the kerchiefs that were popular a few years ago and in the 1970s. It was worn in the 17^th century over a coif, with the point facing forward, towards the forehead. They seem to have been part of informal wear, sometimes worn to bed.

Thanks also to the several ambitious embroiderers, some working solo, some in teams, who have left comments or sent notes to say that they are also working on embroidered jackets. If you send me some pictures (less than 3MB each) I’ll post some, so we can see what you’re doing and cheer you on.

Most of the daily work on this project right now is focused on getting ready for the first bee, which will start in less than a week (really? Next week already?). Much of what we’re doing, while necessary, is unglamorous and doesn’t seem particularly blog-worthy. For instance, today Kathy, Laura and I decided how many of each kind of table (small round and long rectangular) we’ll need, and in what arrangement. Not very exciting, but needed to be done. We’ve made lists of supplies we need – power strips, extension cords, nametags, coffee mugs. We’ve ordered a bunch of stuff and are crossing our fingers that it will all arrive in time, including daylight lamps, boxes to store supplies on the stitching tables, scissors for those boxes, and frame parts. I know Tricia is working on the master instruction book, which will have all the motifs and what colors & stitches they should be worked in.

I haven’t received any samples since Friday; I’ll keep noting here when I do so you’ll know yours arrived safely.

Tonight Tricia continues the story of how we chose which jacket to recreate. What have I been doing while she’s blogging? Well, taking pictures of Laura, for one. Here’s Laura in her first completed reproduction garment – a man’s shirt, which was basically underwear in the period. She did a great job and is now more than halfway through a cassock (outer garment) to go with. Laura is this year’s summer intern with the Colonial Wardrobe & Textiles Department (which right now consists of just the two of us and some dedicated volunteers). Talk about being thrown in at the deep end! Besides making new clothes, she’s spending a fair amount of time helping Kathy process kit orders, and as of today, keeping track of returned samples! Drumroll….we now have TWO completed samples in hand! I won’t mention last names here, but Wendy & Robbin, your samples safely arrived and are just beautiful.

Here’s Tricia:
A great off-shoot of making all the calculations from the last blog entry was the realization that each stitch type has its own materials cost and labor cost. So if you were a professional workshop of the past, the stitches chosen for a motif can dramatically change the cost to produce the jacket. Therefore, knowing these numbers could give us a ‘yard stick’ to use to evaluate historic pieces for their possible relative expense to one another. As an example spiral trellis takes a lot more silk than detached buttonhole or trellis stitch to work.

This came home to me when we were evaluating which jacket we would adapt. We were visiting a piece at the MET and it was beautiful Jill was struck by the gold thread stitch used for the vine, something I will call here “ladder stitch with zigzag interlacing”. It was dramatic and she was convinced that we should abandon the dreaded plaited braid in favor of this beautiful stitch. Having just taught this stitch on a piece the week before – I was horrified. The stitch consumed an enormous amount of thread, was worked in two passes, and took forever to work an inch. It made plaited braid look like a cake walk. So I convinced her to abandon this idea. (Yes, I gave up the idea, but in my defense, is that not a GORGEOUS stitch? JMH)But then the light bulb went off, why did the professionals use this stitch for this particular jacket? It must have been very expensive to work as it used more thread and more time. So who was the jacket made for? Did everyone who looked at the jacket when worn realize that it was more expensive and so it became a status symbol? When we have the chance some day to show pictures of the jacket, we can discuss why we think the piece may have been made for a child or very young girl. If so, why go to the expense? Who was she?

Another factor to consider was that jackets of this type were made over a 30 year time frame. Was this jacket early or late compared to others? And what was inflation like at that time? The materials and labor costs could be quite different along that spectrum of time, making something less or more expensive to produce depending on when it was made.

This was exciting. I plan to work a sample with rectangle samples and lengths of stitches of the period to measure the relative times and materials costs in the near future to give a more accurate set of data to use for these types of material culture investigations. Part of the purpose of the project has been to examine the past through the eyes of those that ‘did’. I think we are uncovering a lot of insights as we do so!

Tricia