RE: [WKneedle] Re: Class: Recreating late 16th-early 17th c. woman's jacket
- That was a great read!
Thank you so much for share that with us. I really want to make a road trip to the Plimoth plantation as they have actual Elizabethan and Jacobean gloves in house and I would love to just sit and get to know every millimeter of them. :)
Maybe we can all plan a trip out that way this summer. I do have a couple of pairs of gloves to deliver to them :D
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> -----Original Message-----
> From: WKneedle@yahoogroups.com [mailto:WKneedle@yahoogroups.com] On
> Behalf Of lilinah@...
> Sent: Saturday, April 25, 2009 1:01 PM
> To: WKneedle@yahoogroups.com; ClothiersGuild@yahoogroups.com
> Subject: [WKneedle] Re: Class: Recreating late 16th-early 17th c.
> woman's jacket
> I attended the lecture "The Plimoth Jacket - A Paradise in Silk and
> Gold" given by Tricia Wilson Nguyen on Saturday, April 18th, at Needle
> in a Haystack in Alameda.
> This is the much blogged about, and almost ill-fated, reproduction of a
> 1620s era embroidered English woman's waistcoat, embellished with
> coiling patterns, flowers, and insects in gold and silk. I love these
> coats, although i don't have a persona who'd wear them.
> It was great to see the slides of several existing jackets and learn
> how the project was planned and carried out. Those of us there also got
> to sew gold spangles onto the coif and forehead cloth - so we could
> hold in our hands and see the amazing work. This project actually saved
> a silk thread manufacturer (for which we should be grateful) and
> resulted in the commercial production of reproduction threads that
> blend silk with silver or gold threads (i've got to go back and buy
> some) and some wonderful gold threads reproduced in a more period
> fashion than many commonly available.
> Of great value (especially to us in the SCA) was learning how they
> recreated the pattern through an analysis of existing embroidered items
> - to which they were given access by the curator at the V&A, how
> commercial/professional embroiderers' workshops worked, and the
> repeated use of prepared pattern grids. And it was heartening to learn
> how people in the SCA and our form of "experimental archaeology" was
> useful. In fact, while the American museum community at first was
> skeptical of the project, a curator at the V&A in England was a great
> help, and the project has been so successful in ways they did not first
> imagine, that the American museum community is now very interested in
> and supportive of it.
> And it was exciting to learn about plans for two books, one to be a
> coffee-table art book on this type of embroidery and the items adorned
> with it, the other with detailed information about the stitches used,
> threads, and more of interest to embroiderers.
> There was also some more inside information about the changes at
> Plimoth Plantation which almost killed the jacket project, how the
> project was saved, and what is going on with it now.
> Also, we learned that the Layton jacket has been removed from display
> at the V&A because it is suffering from deterioration due to being on
> display so long, and when it may go back up, if ever, is uncertain.
> Some of the information about the project is at:
> Urtatim (that's err-tah-TEEM)
> the persona formerly known as Anahita
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