Wednesday, May 2, 2012
I also have about 6 yards of edging that is going to be soaked and sunned to see if it will approach white again. Then I can agonize over whether it will be part of the camicia, the apron, or if I have enough for the ruff. And I can feel guilty about plans to cut it too.
But, back to my table runner. The plan for it is to turn it into a stomacher (for lack of a better word.) In looking at several of the open front Venetian gowns, there is something going on in the V that looks either like lace or embroidery. It is especially evident in this Montemezzano.
There's no denying that that is a lace overlay covering either a red undergarment, possibly a stomach band, or a red insert. There are several others that are not as visibly lace but certainly have the same look. Veronese's "Lady with a Heron" and the super yummy seashell ultimate extreme dress, Veronese's "Woman Holding Gloves," both have something that sure looks lacey-ish. While these don't have the falling ruff and shoulder ruffs I want for my dress, there are some woodcuts that seem to have something other than plain white camicia happening in the open front, so I'm hoping I'm not mixing up decades too much.
Italian lace cuffs at the Met. (Thanks to Ashan Ekins and her Pinterest board.)
In looking at a variety of portraits, many of the straight sleeves for the open front gowns have buttons along the lower arm. I rather like the idea of delicate buttons on sleeves and on lace cuffs. We'll see how they go and if they're more bother than they are worth. I'm certainly going to be doing buttonhole stitches for the next little while as a fix brides, create new edges for old lace, and make little button loops. Should be fun.
Just to prove that I actually have gotten a few things done, here's a look at my new necklace. It's just a strung selection of goldtone beads and a rather interesting blue jasper with gold veining. Many of the open front Venetian gowns have 2 or three graduated necklaces. There is the ever present pearl choker, sometimes a medium one and then a longer one with a large pendant either free hanging or pinned to the open lacing (or closed bodice depending.) The majority are either pearls or gold chain, but there were a couple of woodcuts and a few paintings that seem to show something other than that. This is sort of loosely based on Moroni's Portrait of Isotta Brembati. Hers has the colored stones and rice shaped gold. I had the seashelly flourishes that I substituted for plain rounds. The pendant isn't as large as I would have preferred, but it matched. I've got some silk ribbon I'm going to use for bows on some earrings and I am considering making a little bow brooch for use to pin the necklace onto the bodice like Isotta's.