Spanish 15th Century Cap, black cotton/linen cap with silver trim (2011)
3.2 – Execution
1.
Cut all planning pieces from the required materials
based on planning (see 3.1 - Planning).
2.
Cut interlining for the band out of denim to stiffen
the velveteen band and sew the interlining to the band (overlock the velveteen
seam in on one side (the inside facing side, that will touch the head). The denim is measured as just one length and
width with no seam allowance because it will be totally encased in the
velveteen band. The velveteen band works
out as two widths of the desired band width plus the seam allowance (this means
the velveteen is on the inside and outside of the band, with a fold along the
edge).
3. Chalk
the bias lines on the head piece as per the planning phase (see 3.1 Planning). Pin
on one piece of satin bias tape with the edge lined up with the chalk line and
sew in crease of bias on machine - I found machine sewing one side in the
crease of the bias quite time consuming to achieve accurate results, but compared
to the time it would take to hand sew the whole thing this was much faster.
4. Hand
sew down the second side of the bias and repeat step 3 and 4 until all bias
lines are sewn on to the head piece.
Only catch one thread of the black and run the stitch instead the bias
to avoid being able to see the sewing line. Sew all bias running parallel one direction
before moving on to sewing the perpendicular lines on to save time constantly
changing direction.
5. Blind
hem the seams in where the tranzada will go and also from this to where the
band will go.
6. Pin
the pleats into the head piece and onto the band – machine sew this seam and
fold in the band.
7. Blind
hem (hand-sew) the inside of the band to the head piece.
8. Hand
sew the hooks and eyes to the band and the head piece (for under the tranzada).
9. It
is now finished
4.0 – Self Critique
The things I would do
differently-
1.
Use some sort of non-slip cord, possibly lucet cord, to
attach the bottom-side of the head piece together. The hook and eyes just come loose, but
stating that it does not effect the way it looks on, hooks and eyes attached or
not.
2.
The pattern itself is in fact not quite right. The portraits appear to have very little extra
fabric under the tranzada, but mine does. I think if I was to make another I would angle
the straight line on the pattern up so there was less bulk around the back of
the head and to give a better, smoother look.
I’m actually
pretty happy with the way it turned out and the comfort of wearing the
item. It also means at festival when
hair may not be so clean, that it can be hidden.
5.0 - Photo Archive
Figure 1.1
Pinturicchio
(Bernardino di Biagio lived - c.1454-1513), 1415-93. Aeneas Sylvius Piccolomini (1405-64),
presents Eleonora of Aragon to Frederick III.
Fresco located at Piccolomini Library, Duomo,
Figure 1.2
García de Benabarre, Pedro. 1470-1480, Retable of St. John the Baptist, location:
Figure1.3
Predis,
Ambrogio de, 1493. Bianca Maria Sforza
1493, location National Gallery Washington DC.
Image found at http://theborgias.wetpaint.com/photo/9951539/Bianca+Maria+Sforza+(Ambrogio+de+Predis,+1493)
#fbid=7kZ8PTgqh2Z
Figure 1.4
Weiditz, C,
1994. Everyday Dress of the Renaissance
– All 154 Plates from the “Trachtenbuch”, Dover Publications Inc,
6.0 –
Bibliography
Anderson,
R. 1979, Hispanic Costume 1480-1530, The Hispanic Society of
7.0 – Wearing the item
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