@theartofmadeline
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@papookcrafts
Recently finished projects:
-Dustland shawl
-a bra
Current projects:
-baby legwarmers and cap for sister #3
-needlepoint pillow for sister #2
-woven table runner
Future projects:
-bra #2
-baby legwarmers and cap for sister #2
-a dress or two for the days I can't be bothered with waistbands
-seasonal pillow shams for the couch pillows
-crazy quilt cushions for the porch chairs, made out of scraps
-sachets with mint and lavender
-knitted socks
-mending. Soooooo much mending.
Got the weaving itch again so I'm making a table runner. 5/2 bamboo yarn in Birch and Charcoal, 3.75 yards of warp.
Got the warp sleyed in the reed (I'm using a 10 dent reed) and put up my threading diagram. Time for threading the heddles!
Got everything threaded and tied on, discovered two crossed threads and a sleying error, fixed those, started weaving, and.....
This is the pattern draft.
The section at the bottom is how it turned out when I started weaving.
Not exactly how I wanted it to turn out!
I then tried a straight draw treadling (the chevrons) and weaving it like overshot with a light or a dark ground weave. I want a balanced pattern, not an elongated one, so none of these options are working for me. I think I'll try overshot one more time with sewing thread for the ground weave, to see if that fixes things, but if that doesn't work I need to figure something else out.
After some more fiddling and some research, I realized that yes, this is in fact an overshot draft, no the setup is not right for it and neither is the yarn, and I don't want to expend the energy to make it work as an overshot piece. If I'm going to deal with the faff of overshot I'm going to do it RIGHT. So I'm just going to weave this with a straight draw treadling and embrace the chevron look.
Added some lease sticks as spacers to create enough length for the fringe
It took a hot minute to remember how to hemstitch but I did it. I do love how tidy hemstitching turns out!
Got the weaving itch again so I'm making a table runner. 5/2 bamboo yarn in Birch and Charcoal, 3.75 yards of warp.
Got the warp sleyed in the reed (I'm using a 10 dent reed) and put up my threading diagram. Time for threading the heddles!
Got everything threaded and tied on, discovered two crossed threads and a sleying error, fixed those, started weaving, and.....
This is the pattern draft.
The section at the bottom is how it turned out when I started weaving.
Not exactly how I wanted it to turn out!
I then tried a straight draw treadling (the chevrons) and weaving it like overshot with a light or a dark ground weave. I want a balanced pattern, not an elongated one, so none of these options are working for me. I think I'll try overshot one more time with sewing thread for the ground weave, to see if that fixes things, but if that doesn't work I need to figure something else out.
Got the weaving itch again so I'm making a table runner. 5/2 bamboo yarn in Birch and Charcoal, 3.75 yards of warp.
Got the warp sleyed in the reed (I'm using a 10 dent reed) and put up my threading diagram. Time for threading the heddles!
Got the weaving itch again so I'm making a table runner. 5/2 bamboo yarn in Birch and Charcoal, 3.75 yards of warp.
Craft Project Photo Dump
Got wildly behind on updating this blog so I'm just gonna slap all recent projects on here with no regard to organization. It's my blog, I do what I want.
Most recent project: I made a bra! I've never had a bra that actually fit and I got so fed up with trying to find one that I bought a kit and made one. It's a finicky bit of sewing but not insanely difficult and it resulted in a bra that fit! There are definitely some changes I'll make to the next one I do, and I'd like to try some different materials, but overall I am very pleased.
I started this knit shawl back in August with yarn I bought for my birthday, and got it off the needles in January. It is very soft and squishy and Texture. Pattern is Dustland by Stephen West. This was my first time doing an I-cord bind off and I love how it looks. My phone camera sucks at colors but in real life it's the same deep copper as an aged penny. This is definitely the biggest thing I've ever knitted and I'm quite delighted by it.
This was an act of hubris and helped give me an RSI. I procrastinated on figuring out what to make my dad for Christmas until the beginning of December and then decided to speedrun a colorwork beanie knit with sock yarn. That was dumb. But by knitting furiously for three weeks I got it done in time and Dad enjoyed it.
I made an old dress shirt of my father-in-laws into a sundress for my daughter. The cuffs went for the dress straps, the bodice and skirt came from the body of the shirt, and the bodice lining and the ruffles came from the sleeves. It was very fun to do, even if the ruffles took a million years to make.
I wove fabric for cushion covers more than 6 months ago and have just... not done anything else with it. I will wash it, buy suitable inserts (and possibly backing fabric), and sew at least 1 of the 3 covers.
Cushion covers! With self-woven fabric! @batbetbitbotbut, how did it go?
What is this blog? | Submit to get Killie another egg
I did it! An egg, an egg!
I would have liked yellow piping+zip but navy blue was the only colour (of premade piping) that the fabric shop had. It's recognisably a cushion and it's so squishy and the raised texture of the fabric is really satisfying under your hand.
I had no pattern and had never sewn a zip or piping before in my life. Very proud to have machine sewn it as I get intimidated by that - I think it might be the first Object I have made on a sewing machine, as opposed to just turning hems. The piping is far away from the seam so I am waiting on a zipper foot to arrive before I sew the other two cushions, which are of a slightly different batch of fabric.
The black box nature of eggs for killie was very motivating as I had no idea when it would come due. Did I send that ask yesterday? Did I send it 29 days ago? No idea, better keep working just in case, oh look it's already finished.
Great job!
Also, if you don't know when your egg is due, feel free to send an ask, or message, and I'll let you know, but, if you don't want to know, that's a perfectly valid way to egg.
embroidered and beaded dress borders, french c. 1800s.
I've been working on the dress shirt for my husband over the past few weeks. I thought I would get it finished today, but when I got out the buttons I bought for it they really didn't match, so I'll have to find a new set of buttons. I am, however, very pleased with the finishing and detail work I've done. The edge stitching foot is my new best friend.
A very tidy pocket and button band.
Putting a sleeve in. I probably could have used more pins.
Flat felled armscye and sleeve seams. More work, but so nicely finished.
Sleeve cuffs, after I put one on backwards and had to redo it. At least I didn't put the sleeves in backwards this time.
The shirt is finished! (The shirt has been finished for weeks but I finally took a picture)
Jess over on insta has finished stitching up her Blackwork Inner Solar System from my pattern.
Her work is meticulous, and she has changed a few things up to make this her own rendition (which I highly encourage!). The end product is just glorious.
It fills me with joy every time someone shares stitching from one of my designs or workshops. Textile love for everyone!
(Sorry if this is a bit spammy, I'm very excited.)
Knitted socks for my dad! The point of this was two-fold: one, socks; and two, using up the bits and bobs of leftover sport weight yarn I had. So of course, I ran out of two colors before I was done and had to improvise. My dad is a computer guy so I told him the one sock was glitching out. I used the Fibonnaci sequence for the width of the stripes and various sport weight superwash merino yarns from Plymouth yarns.
I decided I needed a pen case for my craft bag so that I could contain all my pens and not have to go searching for them in the depths. I also decided that my plain handsewing needed work, so the whole thing is handsewn. Made out of a scrap of cotton batik I've had for years. It took maybe two hours? I didn't time it because I just worked on it in scraps of time, which seems fitting.
I like to reuse my husband's old shirts for clothes for my kids. He's enormous, so there's lots of good fabric to be used.
A pair of sleep shorts for my eldest, made out of an old athletic shirt
Youngest got a dress made out of an old work polo
Collection
My whole life I've known that you must leave at least one mistake in your knitting or crochet or tapestry, because spirits/demons can get lost in the perfection of the stitches and be unable to find their way out.
If you don't want a haunted scarf, you have to leave a mistake as an exit point.
This is beautiful but I can't help but think that at least one of these originated with like, someone who fucked up their knitting and managed to convince everyone else it was intentional.
I'm almost certain this is what happened. Because whenever I am close to finishing a crochet project, especially something in the round where each row is more work than the last, and I find a mistake in the last row as I'm stitching into it
The closer I am to finishing and not wanting to undo 2h worth of work to change that one single into a double, the more likely I am to go "well. That's the demons stitch then isn't it", and leave it be.
The demon stitch absolutely gives my ocd toxic perfectionism a loophole to allow something to remain a mistake, which is why I choose to believe in it.
THIS, writers. Unless your characters are very wealthy (can pay people to be very industrious in growing, spinning, weaving, sewing on their behalf) or live in a post-textile-industrial-revolution world (aka modern/futuristic), they're not going to have that many clothes.
What they will have is protective outerwear. Aprons are a very real necessity for a lot of jobs, from cooking to blacksmithing and beyond.
Women wore aprons and housecoats into the 1940s and 1950s when doing cooking & cleaning because it was still a bit expensive to own a lot of clothes...so this is within 100 years. Within living memory for many folks.
Coveralls were created to protect clothing, and were handed out as uniforms by factories because the workers complained that their own clothes were getting damaged by their workplace. (Unions helped with this, strongly encouraging the companies doing the damage to their regular clothes to step up with replacement garments that could get damaged and then replaced by the company whose work was damaging them.)
Businesses started having their employees wear uniforms to make them look good and as a signature of their company (UPS brown, for example), but unless the design teams are idiots, those outfits are going to be stitched in ways that you can move easily & comfortably while doing your assigned tasks.
In corporate culture in Japan, the salarywomen are often given a uniform dress to wear, and I know of one business that held a work-slowdown because the way the sleeves of those dresses were cut and stitched, they literally couldn't bring their arms forward to type on their computers in a comfortable way. The company balked at replacing the uniforms, until a section manager agreed to let his female workers wear their own "office-dressy" clothes for a day...and productivity leaped forward by over 200%, literally because they could move their arms and position them comfortably.
Another example of those who effed it up are the officers' uniforms for the Germans during WWII, which were focused on looking fashionable--and they were!--but were horrible to don quickly, awkward wear in actual combat, etc, and it took them far too long to "drop trousers" to use the bushes in a swift, efficient, and safe manner. (Not saying they didn't deserve to be shot for supporting such an evil regime, but you should be able to go to the bathroom without worrying that it'll take you over a minute to put your clothes back together enough to run for cover in summer.)
Prior to the 1700s, servants in manor houses & noble estates often did not wear a uniform; they just wore whatever they had, and depended on aprons and watchcoats and whatever to protect their clothes. Then it became a status symbol to put one's servants into uniforms, also known as livery. If you could afford to do that then, by gum-golly, you were wealthy, and people could literally see that you were wealthy!
As for those famous black maid's dresses with white aprons that every manga loves to draw? Black dye was still a bit expensive, but black hid most stains. White aprons were protective, and were to be changed out frequently...and it was far easier to bleach cloth than it was to dye it black, plus the stark contrast was very eye-catching, and since the aprons could be swapped out frequently (very small amount of cloth compared to a whole dress), the fact that your maidstaff were wearing clean aprons was another sign of how wealthy you were, rather than just making the maid wear the apron all day long, progressively getting dirtier and dirtier.
With all this said, how valuable clothing was also affected how armies moved. Throughout most of recorded history, armies were composed primarily of men...but there were almost always 2 categories of women who followed them on the campaign trail. One, of course, was sex workers (for obvious reasons), but the other was Laundresses...and the laundresses would be ransomed first, ahead of the sex workers, if captured by enemy forces. (Not all were women by any means, btw, but the majority were, so I stuck with that gender.)
They worked hard to get the clothing clean, helped with getting leather armor clean, and provided other grooming services such as lice-combing. "But Jean, why would getting the soldiers' clothing clean be that important?" Dudes, dudes, my dudes...if you need to take a piss or a shit, combat will not stop for you. Peristalsis will happen mid-sword-swing. This was one of the sources of "deadly infections killed many of the fighters who went to war," and laundresses literally cleaned that shit up.
When you're a warrior in an army, marching off through the forests of Gaul, you can only carry so many spare sets of clothes because you're also carrying your armor, your weapons, and your rations, etc, etc. You will want to take care of your clothes, because you don't have many replacements, and you won't get many replacements.
So, writers, when you're writing about pre-industrialized cultures...go easy on how many clothes people own. Also realize that accessorizing can make an old outfit look new, which includes small parts of the clothing that can be swapped out for other pieces in a mix-and-match style.
...One last note:
The most expensive, time-consuming part of building a Norse ship to go a-viking on wasn't the actual ship, which took many men 2+ years to craft. It was the sails, which took many people, males and females, 3+ years to spin and weave and stitch together. There are literal stories of brash sailors robbing other norsemen of their sails because thieving it was faster & easier. (It also explains a lot of the fury of certain blood feuds between clans & holdings, if you think about it.)
Bringing this back to writers again, your period fantasy or historic characters are also going to know how to do upkeep and basic repairs on their own clothing. Laundries and tailors might be a thing in their world, but spot-cleaning and being able to mend small tears before they become big ones is crucial when off doing quests or campaigns or world-saving missions or what have you. Garments are expensive to replace. It may be sexy to have your hero discard their bloody, torn, and ruined shirt after a fight, but even if the garment is ruined beyond repair or wearability, woven cloth is still so valuable that it's worth keeping and cleaning to be turned into something else (legwraps, bandages, resewn into a hat, or used as patches to repair other garments, etc.).
We live in an unprecedented era of wastefulness, where our clothing is often so cheap (and cheaply made) that it's barely worth the efgort of repairing once it begins to wear out, and so easy to replace that we end up amassing more than we need of it. Even less than a hundred years ago, this kind of frivolity was reserved for the EXCEPTIONALLY wealthy. Even fairly well off people would continually recycle their old garments again and again. (Think of Cinderella's mice making that old pink dress into something new with just bits and pieces of the sisters' discarded accessories.... taking ribbons or lace or whole sections of an old dress to use in a new one was very common until quite recently!)
And never underestimate the usefulness of rags. If the clothing is beyond all repair or salvage, it has a new life as rags. You can wrap food in them, stuff them in your shoes for warmth and fit, pad your pillow with them, use them for cleaning, for bandages, for tying and belting your drawers, for patches.... rags are invaluable in a world where paper towels and disposable hygiene products do not exist.
This, and I'll add, vast secondhand market in clothing. That one simple tunic would cost the equivalent-in-labor of a new car today, and it would change hands as many times as one.
People in Ye Olden Times--the earliest garments we have evidence of, up through the middle ages (and well beyond, for all but the wealthiest people)--didn't wear simple, box-shaped garments because they didn't know how to sew anything fancier.
They did so because a Big Rectangle had the most resale/re-use value, since it could be tied, laced, belted, or otherwise fastened to fit a wide range of bodies. The same garment could be worn throughout pregnancy, as well as before and after. If it was no longer needed, it could be passed down or sold to virtually anyone. And when it became worn at the seams or hems, it could be re-sewn as a slightly smaller rectangle, and still fit a lot of people.
In Renaissance Europe, clothing got a lot more structured--and to a significant degree, this was as a status symbol. If you wore a fitted, short jacket over tights and those silly-looking puffy shorts (or a doublet, nether-hose and trunk hose), everybody who saw you would know that you could afford to buy all that fabric and then waste a bunch of it by cutting it into very specific shapes.
And if it fit well, then they'd also know that you were (probably) the first owner of said garments. Because the clothes were still expensive, they'd still be passed down, but there was a lot more need for clothing resellers, where secondhand clothes could wait for a buyer whose body they would fit. (Used clothing was a common gift or tip for servants, and if it was something they couldn't wear, they'd sell it.) In this way, clothing styles would percolate their way down the class ladder, both in the form of actual garments that had once belonged to a very rich person, and dupes made with simpler/cheaper materials and techniques, and perhaps modified for practicality.
And that's how you get fashion cycles: once something starts showing up on too many of the common people, the rich would move on, either exaggerating the trend to a point that, outside of that fashion context, looks ridiculous--
Like these silly, silly shoes:
(Note: these are probably exaggerated; the name of this picture is "Young Man Meeting Death," and we're presumably supposed to see him as a frivolous type of person who is about to find out why he should have lived a more serious and pious life.)
--or going in a different direction entirely.
So yeah, if you're writing secondary-world fantasy, give some thought to where the clothes are coming from, and how that's going to affect the styles and choices the characters make. If your working-class character in a Vaguely Medieval Fantasy Land is wearing fitted clothing, either that society has magic spinning and weaving technology, or your character is a serious fashionista/o, who is putting in a lot of time and effort into the project.
Similarly, if that type of setting has courtiers in a dazzling variety of impractical and elaborate garments--and several different outfits of it apiece--that implies a significant degree of urbanization and upward mobility, driving a secondhand market for those items, as well as providing the skilled labor to make and maintain those types of clothes. (You know these?
There was an entire trade centered on washing & ironing these things. Separate from actually making them, I mean. It involved tiny, specially shaped irons, and buckets of starch. Royalty or major nobility might have a servant dedicated to this highly specialized labor, and people a little lower on the ladder would send them out to be done. Ideally, you'd have each of your ruffs washed and re-set every time you wore it; people did re-wear them to save money, but they got droopy fast--hence the emphasis, in paintings featuring this trend, of crisp stiffness.)
How would this all compare to leather and hide based clothing? As the material doesn't need spinning and weaving, only tanning, cutting and sewing would it be cheaper and more common?
So. Not a tanner or a cloth maker here but - tanning can be very chemically specific. For those curious my perspective is of an animal pathologist's assistant. I have cut up several cows.
You do have the opportunity to amass a lot of leather if you hunt large animals, but post the adoption of farming and herding, most people are not feeding themselves that way. And there is just more small game overall. Leather is not necessarily easier, quicker, or less expensive to make than cloth, it just depends on what resources you have that are most abundant.
So the steps to making leather are as follows:
(Under the cut because, uh. I know this stuff from my job, which is âopen a dead animal and let the doctor see whatâs wrong with itâ and most of it is messy.)
Addendum to the leather reblog above, but salt is also historically very expensive, and pretty crucial to most of the older European methods of hide treatment I was able to find when reading up on tanning a few months ago. I can't remember if you still need it if you're using alum, but alum is still something you're going to have to buy in order to process your skins. (From what I read, tanning with brains was an Indigenous American technique, which was rapidly adopted by the colonisers bc of its efficient use of resources that are easy to hand, but modern American sources tend to drown out everything else when looking at historical stuff online without institution access, so I wouldn't state that categorically.)
The original thread is why I cringe every time I read a fic in my home fandom â which is roughly Fantasy Medieval/Renaissance in technology â that has main characters tear each other's clothing to show how excited they are for boning down.
In a premodern context, if someone tore my clothing carelessly, let alone deliberately, we're not fucking. We're no longer on speaking terms. They're dead to me. A shirt is bad enough; at least those were comparatively disposable, and could probably be repaired in a way that's unnoticeable when you wear it (shirts in most premodern European societies are underwear, not outerwear), but a doublet? Fuck right off into the sun.
âOoh, you can tell how ~horny~ I am for you because I crashed your car in order to get into your pants.â That's what you sound like. Tear your own fucking shirt if you're that keen.
It's such an incredibly modern trope to me. I could MAYBE understand it if it's supposed to be a flex on how wealthy someone is, but my poor as shit blorbo with his hand-to-mouth existence who owns three shirts MAXIMUM should not be doing this. Would not be doing this.
The earliest I could see that trope as plausible in my mind is the Victorian period. There was still a healthy second-hand market for clothing, but clothing production had become far more mechanised than it ever had been before, and tearing a shirt probably wouldn't send you to the poor house. (But please still don't tear a suit jacket or a woman's bodice. That's hours of sewing work alone, even after the advent of treadle sewing machines. What's wrong with you.)
Don't forget dyeing, which had to be re-done and was itself a whole fucking profession.
Indigo is one of the hardest natural dyes to start a pot of, especially without a thermometer or indigo white, so once you got that pot started you kept it going. Indigo also has to be processed into a water-soluble form by treating it with ammonia. How do you source ammonia in a pre-industrial world? Well, the local piss barrel at the tavern is full of something that will certainly turn into ammonia if you let it sit. There were almost wars over the argument of whether the dyers should have to pay money to take the piss from the tavern or whether the publican should pay THEM for the SERVICE of taking away the piss, which after all is garbage.
Dark or vivid colours are expensive, and natural dyes are not fast--that is, they fade with washing and sunlight and wear, so you have to keep re-dying them every so often. Black in particular was VERY expensive, moreso than ANY other colour. Certain fibers dye very well and certain ones do not.
Yellow and green were favourite colours of the common folk--bright yellows in particular were very easy to get with cheap dyestuffs, and you see bright sunshine yellow very often in medieval art of ordinary folks. Denim blue was middling expensive. Purple, pink, and orange did not exist as perceived colours--remember, colour is a function of language. Meaning if you don't have a word for the colour, you don't perceive it. Red was difficult and the only thing more expensive than red was, as I said, black.
Dyers and fullers had smelly jobs and worked with piss--their workshops were, like the tanner's, on the edge of town, and downwind if possible.
Oh yes, what's a fuller. Well, wool is full of oils and stuff from the ship, and you need to eliminate those if you want the fabric to be thick and warm and insulating. So you need to soak it in urine and use your feet to rub it over a special textured surface to get all the oils out and shrink and felt the fabric. Loden, felt, and duffel are all fabrics that require fulling in order to become.
Spinning was done by most everybody all the time every day; that's why you see pictures of women with long distaffs leaning on their shoulders as they go about, in some art of ordinary life in the middle ages. You could spin all day while doing everything else. Weaving, however, was a profession, usually male, and weavers were very respected people in all societies that had them.
Pulling the fleece was an activity that you had to do before the wool could be spun. The process for turning a sheep's wool into a garment consisted of many more steps than shear, spin, weave, sew.
Shear
Pull the fleece: this involved sitting around with everyone and pulling the long guard hairs away from the undercoat. A lot of stories, songs, and gossip happened during this process. It also leaves you with very nice soft hands from all the lanolin.
Comb the undercoat hairs with a brush or comb to line up all the fibres in the same direction. This leaves you with rolags or roving.
Spin using a distaff and drop spindle. This takes forever. But there was a very important, revolutionary machine that came up the silk road to Europe and changed--and I cannot emphasise this enough--EVERYTHING.
This machine eliminated the drudgery of spinning, spreading from the East to Europe starting in the late 1200s. It freed up women's time to do more, and made spinning itself a job you could make money doing--the word "spinster" is the term for that profession, and elderly women suddenly could have money of their own, support themselves. This was very important!! This was a labour-saving machine that gave more power to women in Europe and made the making of fabric and fiber faster and easier than ever before!
5. Dye the threads. It's much easier to dye skeins of yarn than it is to dye fabric or garments in pre-industrial ages, so dyeing would be done at the yarn stage. Dyeing the yarn also means you can do things like have the weft be one colour and the warp another. This results in some of the most exciting and beautiful fabric in existence:
6. Weave the fabric. The loom was another piece of technology that was constantly being improved upon, because society was built on looms. In fact, the predecessor to the computer was the loom! Look up a video of a jaquard loom sometime, you'll see it uses punchcards to "program" in the different patterns of the fabric it produces. The song "four loom weaver" is actually "power loom weaver". Power looms were another improvement that made weaving faster. The luddites were the first labour strike and organization, and it was about? That's right, WEAVING.
7. Fulling, polishing, and other finishing techniques. Moire is made by calendaring. Felt is made by fulling. Polishing, waxing, and all kinds of other techniques are used to make all the different varieties of fabric that exist. The way we live now is sad and pathetic, we don't come into contact with much in the way of variety of fabric anymore. Everything is disposable, paperthin and made of plastic or cotton or bamboo, knits mostly. When you get into historical costuming, you meet all kinds of fabrics--lush brocades, velvets, and coutils, and silk. But it's NOTHING compared to the hand-woven fabrics of times past.
Machines can make fabric fast, but it's looser than when a human is doing it. The density of some hand-woven fabrics is so great that you don't need to hem them! Likewise, the translucency of some ancient linens made in Egypt is still a mystery we're trying to figure out how to reproduce, because machine-spinning and machine-weaving meant we LOST these techniques. People who spin and weave and hand-make fiber their whole lives can make it as thin as a spider's gossamer, and not even machines can do that today. Machines are wonderful and humans should not have to labour so much if a machine can do it, but it's worth noting that just because it's made by machine doesn't mean that it's better quality, just that its cheaper and faster to make. I'm sure if we tried, we'd find ways of machines being able to do it, especially with the "sort things and detect things" algorithmic programs software engineers have come up with, the ones that detect cancer and so on.
8. Sewing the garment. I'm putting a note here for sewing bc sewing by hand is a lot easier and faster and better than by machine sometimes. I hand-sewed an entire pair of pants and the hems were utterly invisible when I was finished, it was astonishing. I also used a running stitch for most of it and that's. That's the normal stitch to use, you just backstitch every ten stitches or so and then keep going. It wastes far less thread than a sewing machine. To make those pants I only needed three stitches: running, backstitch, and whipstitch. And I learned by watching Nicole Rudolph when she's sewing, she does the same stitches for the most part! There's speciality stitches for locking in the ends of corset bones (flossing) and so on, but the majority of the long seams are just the running stitch! Needles and pins were precious commodities in pre-industrial times, and there are letters between John Adams and his wife Abigail that illustrate this, which were famously made into the latter half of the song "Piddle, Twiddle and Resolve" in the 1969 musical 1776.
Needles were at first made of bone, hand-carved, in very ancient times; but needles and pines of steel and brass were also produced later on as metalworking tech started being able to do so. These were very precious, and the little tiny strawberry that hangs off a traditional tomato pincushion, the one full of what feels like sand? That was for cleaning the rust and tarnish off your needle, so it would go through the fabric easier. You can still buy bone and brass needles in the traditional style from historical merchants, and try for yourself sewing the historical way!
Many people in fact already practise an ancient form of fabric and garment-making: Knitting and crochet! There's a much older predecessor to these, called nalbinding, that is very interesting and practised with roving rather than spun and plied yarn, and uses a flat wooden or bone needle. It creates very dense, not very stretchy things, and was used by the Norse. Nalbound things are VERY cold-proof, and eventually felt--and that's a good thing, felt is very warm stuff! My mom made me a nalbound hat once and I miss it every winter.
Now, garments were not just fabric of course. People have liked decorating everything since time immemorial, and embroidery, buttons, beads, and other things were used. Another type of decoration, one very popular in the SCA, is TRIM! Trim is made by weaving on an inkle loom, which looks like this:
This one doesn't have the cards visble, but the pattern can be produced with cards that can be turned:
This produces a brocade, and yes, you can weave letters or all kinds of patterns into the "tape" that is produced. Depending on what fiber you use, and how fine the threads, these can be trims or hair-ribbons or shoulder-straps or all kinds of things!
Lace was also a very precious and complex form of decoration, and pieces of lace were so incredibly expensive and treasured that they were passed down as heirlooms. We're used to lace being white or maybe cream, but at certain points in France, blue lace could be found. And nothing is really stopping you from dyeing your lace, or using dyed threads to make it, other than fashion and convention.
Of course, places outside Europe (which is my speciality and has been my whole life) have their own fabric and decoration techniques, from the wax resist of batik to the special tie-dye from Japan called Shibori, to ikat, to the quilling of many North American Indigenous people (not to mention wampum beads, hand-carved of shells!). Everyone likes to decorate themselves and their clothing!
@elodieunderglass, this seems right up your alley, at least in the latter parts.
Thank you so much!
i love having the hubris to go 'sure i'll try that, how hard can it be' about every creative skill under the sun. jack of all trades master of shit fuck but who says you have to be a master??? maybe i want to sew a mediocre plushie and code a janky mod and write a bland song. im having fun. im in my lane. im learning and im thriving.
Redditorâs wife knitted a beautiful star chart shawl.
The pattern isnât actually horrifically hard. It was the first project I made after not knitting in years.
Itâs called Celestarium, and there is a matching southern hemisphere shawl by the same designer.
