This definitely reminds me of one of my best friends.
Museo del Traje
Disclaimer: I don’t speak Spanish, Castilian or otherwise. All typos are courtesy of Google Translate.
Shawl or wrap - from Spain Chal de seda amarilla ribeteado con una aplicación de tejido de seda en color salmón, dispuesto a modo de dientes de sierra, fijado con un galón de seda verde y rematado por una cinta, también de seda verde. Los picos exteriores terminan en pompones de seda, al igual que el campo central que va sembrado de idénticos pompones. 1801-1810 Donación de María Bonat, viuda de D. José Mélida, 1943 INVENTARIO: MT09309
Shawl or wrap - from Spain yellow silk shawl trimmed with silk fabric application in Salmon, ready to sawtooth mode, set with a gallon of green silk and topped by a ribbon, also green silk. Peaks outer end in bobbles silk, like the central field is identical strewn pompons. Donation of Mary Bonat 1801-1810, widow of D. José Melida, 1943 INVENTORY: MT09309
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.
"Wedding Bodice, Weeks, Chicago: 1896, silk taffeta, silk satin, tulle, silk floss, silver mesh, rhinestone, pearl, silver cording. “Worn as part of wedding ensemble by the donor’s mother (née Florence Sanger Pullman, b. 8/11/1868, d. 6/5/1937) on April 29, 1896 on the occasion of her marriage to Frank Orren Lowden (b. 1/26/1896, d. 3/20/1943)."
That is some of the best pattern matching I have ever seen.
Robe à la française
Inventory Number(s): AC11075 2004-2AB
Interesting story behind this gown courtesy of KCI: A gown made from a stunning textile featuring multi-colored bouquets and fur patterns elaborately interwoven into the ground textile canelé. This textile with its complex weave pattern also features a variety of different threads including chenille, silk floss and twisted yarn for motifs. It shows of the outstanding skills made in Lyons, famed in the height of quality and design.
This garment was worn by Madame Oberkampf, whose husband established the modern printing industry in Jouy-en-Josas in the suburbs of Paris, when she had an audience with Queen Marie Antoinette in 1775.
I’ve been meaning to post this for some time now but I kept forgetting to share it.
I came across this fashion plate and immediately recognized the gown.
Costume Parisien 1810
Evening dress worn by the Countess of Palfi, date missing (1810’s?), Châteaux de Malmaison et Bois-Préau Malmaison.