Her story starts at her lower back where the Tully fish and Stark Direwolf entwine as we move round to the front the Lannister Lion is becoming dominant over the Direwolf and at the back neck the Lions head is stamped onto Sansa. The dress colour was still very much Sansa Stark and the embroidery had pale golden tones but woven through the story are ripe red pomegranates, the red colour symbolising the growing Lannister influence over her.
For Cersei’s wedding outfit the designer Michele Clapton had some rich dark red velvet printed with a gold design of the house of Lannister. I echoed this design which has 2 rampant lions but scaled it up to fit in a band around the top of the arm. I painted the design onto some gold organza and then started to embroider into it building up layers and texture. I used threads, small pearls, Swarovski crystals, metal beads, Italian tubular mesh wire, closed jump rings, and fine metal purl. Once the motifs were embroidered I cut the organza away and then stitched the embroidery onto the costume.
Cersei had a new kimono style costume and for this dress the designer Michele Clapton wanted lions embroidered on the sleeves and wanted it to be bolder and more armour like. For this costume I embroidered stumpwork lions heads so they we particularly 3D and the decoration around was metallic and heavily encrusted with beads and metal rings
For this dress the designer Michele Clapton wanted a dragonscale like textured embroidery that starts to emerge on Daenerys’s costume and becomes heavier and more pronounced, growing and evolving as the season progresses.
To create this I used a North American smocking stitch. I then used a metallic thread combined with blue embroidery thread to do a stitch called “lock stitch” (a good book to find this in is "A Tale of Two Stitches" by Jan Beaney & Jean Littlejohn) in a random manner to fix and blend the smocked dragonscale onto the dress.
On the second dress I used much more of the lock stitch and started to grow the decoration down the dress.
The third and final dress is in a paper silk so has more sheen, again I applied smocked pieces to the shoulders, but add more down across the bust. Again I add the lock stitch in between, also adding pieces of Italian tubular mesh wire, which I open up slightly and use a lock stitch over the top. The decoration is heavier than on the previous dresses and grows further down trailing off down the skirt panels. The final embellishment is a few Miyuki Tila beads and Miyuki drops in matt metal patina iris on the edge of the sleeve and neck adding another scale like texture.
I have spent the entire season of Game of Thrones waiting for The Red Wedding (and for the fallout on social media) and I have to say that I have never been more disappointed. The book had me sobbing at Clapham Junction last year so hard a police officer came to talk to me and then when he found out the reason he said “OH NO! Why would you read this in PUBLIC!?”
When watching the scene obviously I knew what was coming, I’ve had 9 episodes to prepare myself. The moment I started to cry was when Catelyn started talking. Her last paragraph in this chapter broke my heart watching such a strong character shatter. I have been waiting since last year to see how the book would translate to real life, particularly this scene and it just didn’t happen for me.
It just fell flat and I think personally that was more upsetting than the actual Wedding.
Embroidered details in Game of Thrones
‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.
After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.
The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.
As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.
Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.
Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’
Text and images from http://www.michelecarragherembroidery.com
Extreme emotional trauma will be involved and I will be pulling the classic Cersei move
I went through this alone last year at Clapham Junction. I was crying so hard I just collapsed against a wall in a pitiful huddle and a police officer came rushing up to me asking if I was ok. I thumped the book on his chest and he goes “Oh no! You read it in PUBLIC!?!! Don’t you know you are supposed to do this at HOME!”
I have been waiting for this for an entire year so bring on the RW and the therapy.
(This GIF is courtesy the internet, if anyone knows who made it please give me the link and I will give you credit for being amazing).
The 48 hour marker is fast approaching.
I’m going through my suitcase and I can’t help but wonder what the TSA agent who goes through it is going to think. I have about two different centuries worth of undergarments accompanied by their matching outer garments (future reference 18th century petticoats take up TOO much space), too many Regency costumes, fabric, two centuries worth of footwear, one bergère, two bonnets, fabric, a CRAZY amount of potentially suspicious looking sewing paraphernalia, fabric, food, and maybe normal clothing crammed in if I find room.
oh. and fabric.
Will it be more of a Simon look:
Or more King of the North?
Of course whatever the look is I’ll be all like:
Now if I can figure out how to get about 40 costume and fashion books back to London I’ll be doing good!