So sorry CMS weirdness means my posts for the last few months get cross-posted (previews anyway) but my post itself not showing up on my own site? What? (Thank you to those who ask if me and my sites are okay, it’s really appreciated.)

I wish I had the money to throw at a host to do all of this work it’s honestly finally cheap enough that it’s an option for new builds. I’ve had my web presence entirely to pass on my research, share the research of others and to generally pay it forward.

Anyway. My issue in my early-mid years was in low resolution heavily curated books that were Anglo-Franco centric and the need to get to the physical library.

Now? The efforts to prevent digitisation and offering previews is what’s a barrier combined with how do you get to a digital archive when search engines refuse to show you the results?

So yes, please let me know if my site isn’t showing up, my public profiles are public for a reason.

And yes, I have a fairly large update coming but this testing my site and shuffling around and protecting a steroid injection to be able to walk has taken up a lot of my time. I thought I’d protected my injection well, but I’m feeling the effects of a needle going a few times each side of my tendon. I also forgot how painful they are.

But for a day I felt so good….

It’s the boiled frog metaphor.

Pain that accumulates can be very hard to accept as pain. You tell yourself it’s your fault, you’re not working hard enough.

So when it was safe to put weight on my foot I got carried away and, walked around the house, washed some fabric and then crashed again today.

It’s not okay, but like realising my RA in general is doing weird stuff, and that my fibro was not controlled enough? Narratives about chronic pain are so powerful that even with 20 years of experience it’s easy to blame yourself.

And that’s another reason I have my site. I want people who tend to do this too to brush some of that off their own shoulders, not because *I* try to, but because yes, this is what we tend to do. And I want all of us to have our best chances.

Never, ever, make tough choices under pressure. And especially not when your self esteem is low. It’s too easy to transfer that into your work and when you are dealing with cutting materials it can leave you in a worse position.

But I think I can do what I need with what I have and even retain era appropriate piecing. Not my preferred era appropriate piecing but still, provable.

It’s not that “piecing is period” (although it is) but the manuals are very clear about how to piece, and you can work out why when you have the text and fabric widths to go by.

When it comes to the most precious fabrics you get more piecing, which is frustrating for a modern aesthetic, but was just how it was for a tailor who was allowed to keep scraps (and cloth of gold could be melted down) but was constrained by mercantile practices and sumptuary laws.

My skirt back panel needs a wedge shaped piece at the side. I can either cut that with a horizontal cut through it, or I can cut it off the grain.

Excuse my really rough editing here, I plan on making a nice version of this whole process for my own book.

I’ve used dark pink to show the piecings for the side piece for the front skirt, and blue for the back skirt. Piece “c” overlaps piece “b” and there are rules about what is prioritised and here it’s piece “c” because it only overlaps at the hem of piece “b” which can be easily hidden.

So that’s an example of cutting pieces horizontally. We tend to think of Vasquina as under garments but this is velvet, and so meant to be seen front and back.

By the 1600s there are more books full of more garments and this layout from Burguen overlaps even bigger pieces but doesn’t show how to cut them, they were cut as needed from what little is left over.

The Northern European books have fewer examples of frocks but in both the Enns and Swabian books the upper puffs of sleeves are cut off the grain. These match the sleeves of the 1578 loose gown in Patterns of Fashion though the grain is indicated as true.

The same gown even has a huge notch in the back, and a girls loose gown even has a join across the front and back a little below the armscye.

Most of the really intense piecing is in cloaks, this one from the Swabian book I suspect was covered in trim like many of the examples in art and as extant garments. I think the piecings wind up only on the right back.

I’ve chosen to ignore recycled garments, though I’m essentially doing exactly that…. Okay. I’m going to imagine I’m a tailor charged with updating a frock for a new style- which is absolutely what I am doing. While my inspiration frocks were later I made a slightly earlier style.

My velveteen is so dense that I should be able to get away with a different direction, and my sleeves are going to hide a lot of the side anyway.

Okay.

So what I really need to do now is remove the fused fabric on the back of the liste and bortgin as far too rigid. It’ll be a bit of time with the iron and careful peeling back as I go, so a bit of pinning.

I may need to use my studio table for this. It’s a nice day so it’ll get a nice bit of airing too.

I’ve been thinking about how to actually write up how to use my book, and use it to teach at the same time. Now that I have the extant patterns to fill in gaps where extant garments don’t exist and vice versa I think my instinct to call my entire pattern collection (including my Victorian era ones) as The Modular Frock.

I want to use this book for my love of printed works and I now have a hook. I think. I really wanted to get some travel in as well because artist travel sketchbooks and personal costume books reveal so much. Sometimes they reveal what local artists omit through familiarity (often seams and stitching) and often reveal what they find challenging through a lack of familiarity.

But obviously my own files of these works has been A Lot to go through, even though it’s been worth it.

This comes back to the tailoring manuals as each guild recorded instructions differently. Trying to work out where they use shortcuts, or even deliberate obfuscation, is a little hard. It’s easier when there are multiple art forms and extant garments of the same type. Even then when you spot that a document does not work as it is you need to work out why.

Meanwhile I’m still stalling all my frocks because fatigue and pain just keep interfering and then everything I need to deal with that is not predictable. I need to be careful to not rupture my achilles tendons so I need to tape and have physio and steroids. The steroids are working on some of the RA pain but doesn’t do anything for fibro. Getting my inflammation settled will eventually work on fibro pain as it won’t be constantly triggered. Fibro works the other way too through time and under treatment.

Yes I’m back in my files and have had a massive burst to do so by finally relenting and listing to Six the Musical. I tend to dread reading or watching or listening to anything related to Anna as it’s pretty hard having this very unique viewpoint. But I’m in love with what everyone from the costume workshop, design, script, music, directors have done they all present the Anna I know from trying to undo my own mistake that has since been part of the misinformation about her.

To be honest I could do a line by line reaction video that would explain all of my work that because I’m not sure how many people realise just how much is condensed into a single song, and some of the roasting/competition each side of it.

So for anyone who wants to play along:

Haus of Holbein:

The introduction to Anna:

Get Down, Anna’s solo:

And the V&A has collected the Aragon costume and I have to admit it’s really got to me. I love it!

So I haven’t shared the Cleves costume- or costumes as it has undergone so many changes- because I’m trying to cite the images to the workshops and the designer and the photographers.

I’m a bit scared to look at my non-historic costumes. In the last year or so all the PVC I have in the form of tape, left over fabric etc, has turned brittle. On fabric this means splitting. The fabric I was going to make my Pink Diamonds gloves from is the same as my Liara Shadowbroker outfit. So I think that’s now a sticky mess like the left over fabric. It’s been gut wrenching to just be in this this position of some of my best work disintegrating. And it’s a rolling thing. It’s why I’m not working on my ToTo costume with all the piping. I know it’s going to do the same thing eventually.

What’s making this harder is how much harder every day tasks are with an ever decreasing set of tools to help.

What I really need is time.

I have 3 monthly blood tests and last week my blood tests all came back bad. Oh no, the stuff I’m personally in control of is actually making me smile. Hello yes, I’ll take nicely shaped red blood cells holding tightly to haem as a very very very VERY good thing. I couldn’t work our why I’m still so exhausted though until I saw my CRP had leapt to 9 along with a leap in white blood cells. So that’s an infection.

Problem is?

I develop walking pneumonia so often that I can’t tell when it happens.

And it’s happened a number of times.

The same is true for new pain.

And I have to accept that actually, we’re not on top of my pain.

My RA didn’t protect me from Fibro, and neither have protected me from Carpel Tunnel Syndrome.

RA is “known” to not affect the spine- usually blood markers and expression of erosion differentiates between RA and AS.

But.

It doesn’t protect me from other forms of erosion.

And I have a little compression in my lower spine.

Right where I experience pain that doesn’t fit my RA or fibro experience.

It has left me in tears, and I didn’t realise I have held back on saying my pain interferes for most of every day.

It’s extremely hard to bring up pain you think is unrelated because it’s such a short precious time you get with your team that you don’t want to waste their time. We *know* how hard our teams work not just for us but all patients.

Crying from pain is not that common for me considering, but my back pain got me there. It feels like my vertebra have been filed sharp and so those edges are pressing into surrounding tissue.

So I have to summon the courage.

It’s scary.

It really is.

But the extreme numbness in my entire legs I get from the same part of my spine means I really have to ask for help.

I realised my little hook into drafting patterns is really has even more applications to really get into understanding the manuals- including the written only sections. But my book was already heading that way because of how I drew the patterns. It’s always the same though. I take a break and focus on something else and then *poof* epiphany!