really IS gold, in this case.

The gold thread for the coiling vines is real gold, and, like the gilt sylke twist, was purpose-made for this project by Bill Barnes of Golden Threads in the UK. It is a gold wire wrapped around two ends of yellow silk thread. I know the next question is whether any is available for sale, and the answer is, maybe. Right now we’re tracking how much thread it takes to embroider the coils and counting spools of thread. If there’s any left over, it will certainly be made available. If there isn’t, and there is huge demand, well, look what happened with the GST. Every time I check, new colors have been added to the line, and two sessions ago there was great excitement when Tricia brought out spools for sale. Not one person around the table said “I want this color”, or “I’d like to have this one”; it was all “I need this one. And this one. And … this one.”

So.

This past weekend’s experiment was exceedingly successful. Judy, who worked mostly at Tricia’s last week, arrived on Friday not babbling incoherently from too much gold work. She was still smiling and stitching and enjoying. Lyn J from Canada, Debbie A and Carli D from the NYC area all stepped up to the guinea pig table and took instruction from Tricia before practicing, comparing, and practicing some more.

Debbie reported that the gold is Not a pain to work with, in fact it is quite durable. She used one length for practice and was able to pick out mistakes several times and reuse the same length without trouble. The end you have to thread through the needle frays a bit, but Wendy reports that if you chew on it a little you can shape it up to re-thread.

Even after four days of coiling vine after coiling vine, Lyn, Carli and Debbie were still enjoying the work. I asked them if it seemed to take forever, because just watching them, to me, it seemed to go much more quickly than I’d thought (feared). They said that in the working it seemed to go slowly, but whenever they sat back to look, more was done than they expected, and less time expired. Lyn claimed to be Princess Slow-poke, but she accomplished several coils and none of the rest of us thought she was going slowly. I think she’s just accustomed to working more quickly than most and so this felt slow.

Here are pictures of Debbie and Carli’s pieces. Lyn was working well past the final bell on Monday, and Wendy didn’t remember to photograph her piece before we put it away. We will take a photo to post on Thursday, when we’re taking some studio photos of individual motifs. I think Carli was working on the right front and Debbie on the back.

Do you want to work some of the coiling vines? Our test group did so well we’re going to do it again. If you’re free the weekend of 11/21-24 (this is the weekend BEFORE Thanksgiving - I offered to run a session over Thanksgiving, pointing out that Pen and I will be here anyway, but got no takers), either have practiced the plaited braid according to Leon Conrad’s instructions as amplified and illustrated by Linda Connors, and are willing to work on matching gauge and stitch density, send me a note jhall@plimoth.org We can take 3-4 people to work vines, and a couple more to work silk or GST on the coif & forehead cloth.

We are “pushing” the jacket to completion this winter, in time for display at the beginning of May. I am worried about the winter weather too, look at last year! but look for more sessions in January and February. If you want to suggest dates, send me a note.

In addition to the gold workers, we had three lace makers this weekend. Sue, Linda and Colleen nearly finished the last short piece - the second cuff, as well as the long piece. Colleen also managed to do some embroidery on the coif. There are two new plans afoot - to develop some patterns for white lace to adorn the smocks, coifs, cuffs, and collars of certain characters on our living history sites, and to develop a smaller spangled lace suitable for trimming the coif and forehead cloth. If you’re a lacer and weren’t interested in working metal but might want to do some white lace, let me know and I’ll keep you apprised of progress.

I don’t have much news on the symposium, mostly because I’ve been focusing on getting the interpreters what they need to finish the season. I have a couple of firm commitments from speakers, one probable yes, and I have to get back to the couple I haven’t heard from; the biggest news is that the registration will open first to those who have worked on the piece. They’ll get a 5-week headstart to register and then we will open the registration to everyone. We plan to start this in December, and of course news will appear here and in an email blast to the stitchers/lacers. SO please update your contact information. I know there are some who have changed email/moved etc since coming. If you know someone in that situation, please ask him/her to contact us in order to stay informed. You can update by sending me or Kathy an email or calling 508-746-1622 X 8248 (Penny), X 8119 (me), or X 8114 (Kathy).

As it happens when researching these things, one ah-ha leads to many questions. I am blogging all this so I don’t forget anything and so please forgive my rambling from one subject to another. So after I went “oh crud”  and joked about a lot of stitching in front of American
football to make those covered seams, I started to think about the order of
things. This was great as I verbalized it to Susan and she went and got a
colleague of hers who is working on the pattern book and had been thinking
about exactly these questions about the Laton jacket.

So the back
seam on the arm would have to be joined and then embroidered upon. Also
the godets or gussets would have to be installed on the fronts and backs
and then embroidered. Also the fronts would need to be joined to the back
along the side seams and then embroidered. Then the rest of the seams could be made along with the cuffs, collar and wings being installed.
Again the vertical integration idea came up.  Well, I asked, then who sewed
the initial seams? A tailor on-site with the embroiderers or the
embroiderers themselves? Or could the tailor embroider plaited braid. Susan and her colleague felt that the well known tailors guild and
embroiderers guild meant that the people were separate and the pieces would
have been turned over. The implication was that the initial seams were done by the embroiderers and then the partially completed jacket was turned over to a tailor’s shop who finished it.

They brought up that
the bespoke (English for Custom-Made) nature of the jackets meant that the
tailor had made a muslin for the person or had modified a general pattern
they had using measurements they had made of the person. They mentioned
that measurements weren’t like we make them, in inches, but more like
positions on a tape. The order would then have been to draw the outline of
the pattern pieces on pieces of linen to then send to the embroiderer’s
workshop for design application and embroidery.  They mentioned evidence
from inventory books that the commissioner may have supplied the linen
themselves to the tailor.  (This brought up the question about suppling
embroidery threads too). Certainly we can see on many jackets that the embroidery was worked to the pattern outline and stopped and that on many jackets the outline is visible and so hasn’t been altered. I had asked if they thought that there could have been an industry supplying partially completed jackets for final construction after purchase. I mentioned this in light of the comment in ‘The French Garden’ about embroidered jackets for sale in the Royal Exchange, implying ‘Ready-Made’. Susan and her colleague really felt that the jackets were commissioned bespoke. And certainly there is plenty of evidence from the garments themselves to support that along with the great cost we now know in making them on risk of having a buyer.

More tomorrow
about the linen and pattern making.

Tricia

The panel at the Embroiderers’ Guild has often been referred to in some texts as a coif. The confusion may have occurred because the dimensions (width and height) are similar to many coifs. But it is a panel. We took a look at the edges and it was obvious that the piece was in its entirety and not cut from something larger. The small amount of linen around it had either nail marks or holes from being stretched on a frame. There was an embroidered stem stitch outline around the four sides and the embroidery appropriately started or ended at the boundaries if the motif was cut by the boundary.

Other details that are different from the jacket: there are less flowers, only nine types instead of the 11 borage being repeated twice) of the jacket. (I had to read this twice, my brain doesn’t move as fast as Tricia’s. The jacket master repeat is 3 x 4, therefore 12 motifs, but there are two borage so only 11 different motifs.) The borage and strawberries are missing. The blue and red flowers (carnation, gillyflower, or cornflower?) on the pieces are different between the two pieces, but not much different in terms of tracing. Just embroidered differently.

The calyx of the foxglove is stitched in silk and not gold. There is a different technique used for the detached pea pod parts, detached buttonhole in silver strip wrapped silk on the jacket and silk buttonhole over a gold thread (return) for the panel. The roses have an extra set of detached petals. Some of the thistles have an extra layer of detached buttonhole. The coiling stem is also a different stitch. On the jacket it is plaited braid whereas on the panel the stitch is ladder with wheat sheath. This stitch is much slower to work than plaited braid and done in two passes. Overall, the panel has a higher level of detail work which is absent from the jacket.

Tricia

We haven’t worked the birds on the piece yet as we had questions about some of the detailing and were awaiting my trip to examine the EG piece closer. The birds on the EG piece are in yellows and greens with blue beak and feet. The jacket has red, green, pink and yellow as the color scheme. But the left over silk that had degraded from the beaks and feet were in a tan color.

The one bird on the EG panel has a complete set of feet and beak. I was happy to find a combination of reverse chain and stem stitch on the feet and a heavy ceylon for the beak. All set, I thought. But when I saw the jacket the next day, there was a beak on one bird. Worked in trellis stitch. The legs were a little different too. Reverse chain and satin stitch at the top to help give the impression of a thigh.

Another thing I noted was the use of the blended thread for the motifs. It shows up in the bird to make transitions between the stripes of color in the body and head. The body is worked in trellis
and the head in spiral trellis. The wings were another spot where we had questions. The wings are made of of segments of stitches worked in different colors of silk and silver gilt thread. The segments are outlined in black. Two birds were worked with heavy chain and ceylon, but the third had more variety with plaited braid and a fly stitch thrown in.

On the EG panel, the wings segments were worked with plaited braid and heavy twisted chain all in silver gilt and silver threads. It is interesting to see how the same overall scheme is used on both pieces and motif to motif but there are slight variations. I am not sure if this is hand differences or just bored embroiderers. The black outline seems to be a combination of stem stitch and reverse chain. Hard to tell if one or both were used as the black thread gets brittle and pieces snap away, leaving just holes in many areas.

To give you some eye candy - here you see the time trial piece I stitched from the book photos of the jacket.  From afar, the stitches on the bird wings appeared to be the braid stitch/knot stitch. Now we know it is different. For all of you who slaved over learning this stitch in the sample kit, sorry!

Tricia

Tricia writes:

Today we took a deep breath and started the goldwork on the jacket. I am in town all week working and couldn’t wait to start putting the gold to the jacket and making it come alive. I picked the collar as the silk work was all done on it. Here you can see part of a line
worked and on the second photo, you can see the coil done and a few tendrils worked in reverse chain.

To get going, I had to do a few tests to figure out what spacing we would use between repeats of the plaited braid. On the original jacket, the “v” is deeper than our version. I find when working with this stitch that the stitch width can be modified and the V is either
shallow or exaggerated. While one of the tests was able to get the same elongated V as the original piece, it seemed a bit sparse but worked faster and easier!. We don’t know exactly how thick the original thread was but I suspect it was thicker than what we are working with, which would have covered better even when worked with a larger spacing. I also suspect that it was more ductile and their needle had a larger eye but thinner shank. We had to change parameters on the thread to get it to work well and couldn’t use such a thick thread. We will work ours more shallow to get a nice coverage with our (I think) thinner version of the gold thread.

Jill said it was much more bright and sparkly than she had imagined!

Tricia