Esterházy torte is one of Hungarian cuisine’s most prestigious desserts, on par with Dobos torte and Sacher torte. It is among the famous pastries that draw their origins back to the time of the Habsburg monarchy, and which still make up a consistently substantial portion of pastries offered by Hungarian confectioneries today. Its original creator […]

Vintage Palestinian thoub made with silk threads stitched on whitw fabric. Original tatreez patterns and design. >50 yeas old. Dressed with added volumes from the waist to knees. Elegant, ascetic, and historic. Message for Measurnments Embroidery thread designs inspired by authentic Palestinian artists. This thoub (palestinian dress) incorporates modern elements to create a unique and eclectic style. It features a combination of traditional embroidery with contemporary cuts on innovative fabrics, offering a fresh interpretation of the Palestinian thoub that appeals to whoever connects to it.

Mittelalterliche Schnitte so originalgetreu wie möglich nacharbeiten kann zu einem echten Abenteuer werden. So eins erlebte ich mit dem „Moy Bog“-Kleid – einem textilen Fund aus d…

Das C.P. Company Herren-T-Shirt ist ein einzigartiges Kleidungsstück, das klassischen Stil mit einem einzigartigen, historisch inspirierten Design verbindet. Aus weichem Baumwolljersey gefertigt, bietet es einen hohen Tragekomfort und ist perfekt für jeden Anlass. Auf der Vorderseite befindet sich ein Aufdruck mit der Darstellung eines britischen Seemanns, der ihm einen einzigartigen Charakter verleiht. C.P. Company-Logo, platziert unter den Grafiken. Das T-Shirt hat einen klassischen Schnitt mit Rundhalsausschnitt, wodurch es sich perfekt an die Figur anpasst und gleichzeitig Bewegungsfreiheit gewährleistet. Dank seiner universellen Farbe lässt es sich leicht mit verschiedenen Kleidungsstücken kombinieren – von Jeans bis zu Jogginghosen – und sorgt so für einen stilvollen und lässigen Look. Es ist die perfekte Wahl für Männer, die Mode mit Charakter schätzen und ihrem Alltags-Styling eine einzigartige Note verleihen möchten.

Talk about Titanic Panic! Work had to begin on the gown! Gowns had begun to change in a new and different way during 1908. Waistlines suddenly rose. Skirts suddenly clung to the legs. And an entire…

Frühmittelalterliche Bundschuhe mit Gummisohle, 6. Jahrhundert   Bundschuhe aus einem Stück Leder wurden schwerpunktmäßig in der Antike getragen. Es handelte sich um sogenannte Carbatinae. Der Begriff Bundschuh hat sich im Mittelalter gewandelt und bezeichnete im späten Mittelalter gebundene geschlossene Schuhe aus Leder. In der Antike und bis ins Frühmittelalter hinein jedoch bezeichnet der Begriff Bundschuh eine Sandale aus einem Stück Leder. Der Schnitt dieses Schuhs beruht auf der Vorlage eines germanischen Bundschuhfundes aus dem 6. Jahrhundert aus Oberflacht. Für eine verbesserte Haltbarkeit auf modernen Gehwegen haben wir den Schuh mit einer Gummisohle ausgestattet. Material: Obermaterial: Leder Innenmaterial: Leder Sohle: Gummi Farbe: Dunkelbraun Sohlenstärke: 2mm Zur Größe: Bundschuhe sind gemäß ihrer Machart in der Größe je nach Bindung variabel, sodass die angegebene Größe passend sein sollte, jedoch ebenso eine Größe kleiner gewählt werden kann. Lieferumfang: 1 Paar frühmittelalterliche Bundschuhe mit Gummisohle

In 2009 I was asked to help judge the Association of Sewing and Design Professionals/Threads Challenge. The challenge that year was all about seams. Judging was blind, meaning that the names of the contestants were removed from the final garments, only numbers were attached. For the judging, we were supposed to have a dressform, but none was available, so guess what!!!, I became the dressform! It was such a great experience and I loved seeing the creativity and ingenuity of the garments. The garment that stood out to me was a bias cut garment with mesh inserts. I was amazed by how beautifully the garment fell over my body and the precise execution of the seams, and especially the mesh inserts. There were a number of garments that made it to the final cut, but I fought hard for the bias dress. The mesh inserts and the precise execution, I felt, deserved the Best Overall distinction. A picture of the dress is included below. I was not able to stay for the evening fashion show, so I had no idea who the bias dress belonged to. It wasn't until a few years later when I attended a workshop in San Francisco hosted by Sandra Ericson that I met Julianne Bramson of Fashion In Harmony. I still had no idea that she created the bias dress. At some point during the workshop, something was said about bias garments and Sandra brought up Julianne's dress. It was then that I was able to put a face to this beautiful design. What a pleasure it was to finally meet her. I was all the more excited when Sew News accepted my recommendation to include the Magic Bias Dress in this year's line up of sew along patterns. I think you too are going to enjoy the simplicity and elegance of this dress. I am especially pleased to have the opportunity to introduce you to Julianne and let you take a peek into how her mind works. From Julianne, My primary source of inspiration for all of my designs is the pioneering work of Madeleine Vionnet. Her designs, most especially those that utilize geometric shapes placed on the bias, have been a constant source of inspiration for me since I was first introduced to them by Sandra Ericson at the 2006 Association of Sewing and Design Professionals conference in San Francisco, CA. Below is the garment that started my obsession with bias cut garments. Ironically, I studied Vionnet in college and even based my senior project on a Vionnet inspired design, but it was the math, the geometry that drew me into Sandra's class. The 2009 Association of Sewing and Design Professionals Threads Challenge was all about seams. I wanted to make a dress that would have mesh seams so it would look as if it was held together by air, by nothing. I wanted seams that were sturdy, but in no way hindered the amazing drape of the velvet fabric. I knew that making the dress on the bias would put the seams in interesting places. My first dress was of a cream print silk charmeuse with ivory mesh for the seams. I had planned to use nude mesh, but thought it looked a bit too "lingerie" for my taste. The ivory was better, but the way I attached the mesh did not result in the professional look that I desired. And, the whole dress ended up looking more boudoir and less evening. By the time I decided it was a dud, and I needed a new approach, I was running out of time. That is why the velvet dress is constructed of several different fabrics, I simply did not have time to purchase more fabric. As a result, I think it is much more interesting. I love how it looks with the bright orange slip. Necessity truly is the mother of invention! Below is the dress, featured in thread's Magazine. The seaming in detail. As to the design of the velvet dress, it is all geometry. I was inspired by two different patterns I found in my obsessive hunt for all things bias-cut and geometric. One is a page from a vintage magazine about making a bias-cut slip using squares and quarter circles. I used that for the inspiration for the squares at the waist and also for the skirt, although I instead used half-circles. The upper portion of the dress was inspired by a pinwheel top pattern I found in a weaving magazine. I omitted the triangles at the wrist and turned the triangles at the waist into full squares to create seams to attach the skirt pieces. It is an amazingly simple design. What I love about it is how it fits so many different shapes and sizes of people. Bias cut garments truly are amazing and magical! Thank you so much Julianne for sharing your design process with us. Remember, I will be giving away a Magic Bias Dress pattern tomorrow, March 31, 2016. You have until tonight at midnight to get your name in for the drawing, so don't delay! If you would like a chance to win the pattern, leave a message HERE. One last treat, if you are making the Magic Bias Dress, but would rather a different sleeve, you can find a free downloadable pattern for a Flitter Sleeve on the Fashion In Harmony website. Just click HERE. Enjoy! Rhonda

Klassisches Kinder Mittelalter-Hemd Colin mit Schnürung und Stehkragen in natur für den authentischen Look auf dem Mittelaltermarkt.

I call this dress Lady Edith - inspired by Downton Abbey obviously - I am great fan of the series. Or alternatively as a few of my customers say - Rose's dress from Titanic. This is beautiful dress for any great event - wedding - for bridesmaids or a bride as an alternative wedding dress. Dor wedding anniversary, for Mother of the Bride/Groom. For prom, period ball, role play event, Titanic dinner or Somewhere in time promenade dress. My customers have ordered this dress for all the occasions above. When I designed this dress in burgundy as an affordable Titanic Rose dress, I had no idea it was going to be worn by many ladies to many different events. You could even see it it some plays and in Titanic ballet in Boston. Made to order according to your measurements. Standard total length is 60" The dress is made of eggplant/aubergine taffeta, the bodice is lined with satin and the skirt just regular lining to make it lighter. I could underline it with the satin as well for more luxurious feel but it would be heavier and stiffer - if you wish to change it, please let me know. You can see hand embroidery on the bodice - silver thread and Swarovski crystals. The lace covering the shoulders gives you the Edwardian elegance and modesty at the same time. And the lace at the hem is the Edwardian touch as well. Matching hair comb can be purchased here

Mittelalter Carmen-Bluse, weiß Entdecke die zeitlose Eleganz unserer Mittelalter Carmen-Bluse in Weiß. Diese feminine Bluse, aus hochwertiger Baumwolle gefertigt, besticht durch ihren lockeren Schnitt und den schulterfreien Stil. Mit elastischer Raffung für einen perfekten Sitz und seitlichen Schlitzen für maximalen Tragekomfort. Kombiniere sie vielseitig für einen authentischen mittelalterlichen Look – ob zu einem Rock und Mieder oder im Alltag zur Jeans. Mit unserer Bluse wirst du zum Blickfang bei jedem Anlass. Blusen sind zwar historisch gesehen nicht dem Mittelalter, sondern der Renaissance zuzuordnen, ergeben aber in Kombination mit Rock und Mieder bzw. Miedergürtel einen schönen mittelalterlichen Look. Auch zu einem ärmellosen oder kurzärmeligen Kleid lassen sich Blusen besonders gut kombinieren. Bitte beachten: Es wird hier nur die Bluse verkauft! Der Rock und die Accessoires sind separat in unserem Online-Shop erhältlich.Details:- Lieferbare Größen: S, M L, XL, XXL- Farbe: weiß (ebenfalls erhältlich: natur, schwarz)- Material: 100% Baumwolle- Gesamtlänge bei Größe M: ca. 68 cm (gemessen vom höchsten Schulterpunkt)- Pflegehinweise: Maschinenwäsche bei 40°C, Schonwaschgang, nicht trocknergeeignet Größentabelle - Damen - Bluse Größe S M L XL XXL Brustumfang (in cm) 88 96 104 116 128 So findest Du die richtige Größe:- Um Deine Kleidergröße anhand Deiner Körpermaße zu bestimmen, miss bitte horizontal an der stärksten Stelle.- Für Kleider und Blusen orientiere Dich bitte an Deinem Brustumfang.- Solltest Du zwischen zwei Größen liegen, empfehlen wir Dir, die größere Größe zu wählen.- Bequemlichkeitszugaben sind im Schnitt enthalten.

I recently decided to try something new in my historical clothing journey. Accessories is an area that I have wanted to focus on for a while now, but I have been busy with making the basics of a wardrobe. That is a time consuming process when dressing for different periods. It has always upset me that I still do not have a fully finished mid Victorian outfit and accessories do make an outfit. I have been focusing on researching outerwear and found many photos of women wearing sontags. While I have read blogs about how many people wear these in the states, I had never seen one worn in Australia. I am not sure if this is because my group represents a more social elite or because most of our events are in summer. It seemed perfect for me, however, as it gets very cold where I live in the hills. It was also a great idea as I could knit it on the bus on my way to university. There was one problem though, I didn't know how to knit. I showed the January of 1860s Godey's Sontag pattern on Ragged Soldier to Jessie and she was kind enough to give me a basic lesson in knitting. I did have problems with working out what needles and wool to use. It turns out that UK, USA and Australia have different needle sizes. This was very frustrating for a beginner. In the end I used 4mm needle with 8 ply wool. To finish it I used two rows of single crochet (this is double crochet in the USA, so another conversion issue) and then a shell boarder to finish it. Jessie and a friend of hers also taught me how to crochet. To finish it I googled how to make dorset buttons. I did not feel that any other button would be suitable. This was a great learning project and I hope to continue developing both my new skills. Thankfully, I keep getting told I am a fast learner so it only took two weeks from start to finish. The finished sontag laid flat Front View Tied Up Back View Tied Up Close up of the Dorset Button The crocheted tie and tassel It is very comfortable and easy to wear. I am now collecting CDVs and dreaming of the next one I plan to make, so watch my knitting space... The Challenge 20# Outerwear 1860s Sontag Fabric: 100% Wool in two colours, 4 balls of tan and 2 of dark red Notions: Bone Ring for Button Pattern: Godey's Ladies Magazine and Ragged Soldier Year: 1860 How historically accurate is it? I think it should be fairly good. I tried to keep the dye choices natural based. I am not sure about the crochet shell boarder though. Hours to complete: Two weeks of bus rides First worn: 22nd September Total cost: The wool was about $35 in total

I have written quite a lot about the basic 1920's so called '1 hour' dress pattern, and that is because it's super easy to make both the pattern and the dress itself! I have several of them now, and as a curvier gal I like to spread the gospel that 1920's styles are for everyone, not just the thin boyish figures of 1920's fashion plates. It can be next to impossible to find original 1920's garments, let alone affordable wearable ones (they would be nearly 100 years old these days!), so DIY is the best option for 1920's fashions. The 1 hour dress also happens to work quite well as a "modern" dress now in 2016. I thought as I had some fabric waiting to become another one of these dresses I'd document the process in a short series of posts so you all can see how truly easy it is to put one of these dresses together! First lets look at a few historical images of a basic or '1 hour' 1920's dress pattern... This "Cottage Frock" is only one piece! But that piece is basically the 1 hour dress pattern with the shoulder seam eliminated but cutting it in one. They add pockets to the front of this dress too, and the sleeves, neckline, and pockets look like they are finished with bias tape. Most of the styles above can be made with the basic 1 hour dress pattern with a few modifications. One has buttons down the entire center front, easy enough to separate the front piece and add a button placket. Another has a fuller gathered skirt, simple just separate the "bodice" and skirt portions of the 1 hour dress and make the skirt wider, gather it to the bodice to get this look. This time the instructions are in French, but the pattern is still very similar! I have explained this pattern once before here on the blog in this post, but I wanted to have another crack at it for (hopefully) more clarity. Here is a quick sketch of the finished dress on the left and the pattern I use to make it on the right. Now lets label that pattern so we can chat about how to draft one for yourself. The most important measurements are going to be your bust measurement and your desired length of the total dress, so have those at the ready. Measurement A above is the main width of the dress and is your bust measurement. If you were to draw a rectangle with measurement A (bust) as the width and the length of your total dress (from the top of your shoulder to the desired hem length) as the length of the rectangle, that would be the very simple start to drafting this pattern! (fig. 1 below). The skirt extensions start wherever you want your classic 20's drop waist to start, measure from your shoulder to where you want the drop waist (mine is 22" down from the shoulder). Since my hip measurement is 44" I added 8" total (4" each side) to my pattern for plenty of room in the skirt to move. This fullness gets pleated or gathered to the waist for that sleek 20's column look. If your hip measurement is significantly larger than your bust measurement you may want to account for this by modifying the side seams like in the drawing on the right above but it is not usually necessary. The sleeves are created by measuring 10" down from the top (you can do less, you can do more, this is a really versatile pattern but 10" is a good place to start). I added a very slight sleeve of only 3" each side. These are the exact measurements of the floral dress at the very start of this post by the way :) Of course you also need to add seam allowance to this finished pattern! I add a half inch seam allowance all the way around, but use what you work with most often or need based on how you like to finish your inside seams. I'll be using this same pattern for the next dress I make, and I'll take photos of how I make it along the way. My hope is that a few of you who are beginner seamstresses or just scared of drafting your own dress patterns may give the 1 hour dress a try! (My original 1 hour dress post) (Post about my different 1 hour dresses) (Cutting Out the Dress & Starting the Sewing) (Sewing and Finishing) (Controlling the Hip Fullness)

See how to sew a headband - four free tutorials all sewn up and tested. Fun free headband patterns for women in four different styles!

Pattern: 1775-80 Robe a l'Anglaise, from The Cut of Women's Clothes, by Norah Waugh. Diagram XXII. HIGHLY RECOMMENDED. I love this pattern and will definitely be making it up again =) Fabric: 100% Cotton, drapery weight. Pattern is a dark blue background with a pattern of orchids and small birds in shades of blue, grey, and white. Alterations: None. I added seam allowances to the pieces (which you have to do for all the Waugh patterns, but otherwise this is made true to the size and specifications in the book. The gown is surprisingly large for an extant piece *see size below Finished Measurements: Chest: 39" Waist: 34" Hip: Free Hem: 45" at back, drag length. Upper arm circumference: 13" There was no much information in the Waugh book on construction methods, so I went with methods I'm already familiar with when making this style dress. The description does state that the original was flat-lined in the bodice, so I did that (even though I don't really like exposed seams. The original diagram in the book does not have a grid. I added the grid to make drafting easier. So what's up with the dart? In the original pattern, it shows the front section of the skirt with a rather deep dart. I questions some of the experts in one of my Facebook groups, and many were also confused at it's presence. It's certainly not standard, but it was on the original garment, so I decided to go with it. In the final result, I think the dart actually helped with the rounded shaping over the hip at that point. I might be imaging it, but it certainly didn't harm anything, so I see no reason not to do it =) The top of the skirt is shaped to accommodate the curve in the hip and the point at the center back of the bodice. I attached the skirt is small backward facing pleats I hand stitched the boning channels over the back seams so that I could have visible top-stitching on the outside. I could have just sewn the channels to the seam allowances, but I wanted the more defined look at the back that comes with top stitching through all layers The Ruching This was actually the first time I ever made rushing with the "unruffled edge". Meaning, with the stitching right at the very edge. I love the result, but it was a lot of work. I didn't want machine stitching showing anywhere, so I had to apply it all by hand. All told, making the ruching and applying it by hand was about 15 solid hours of labor. The ruching is 100% silk dupioni, but the weave is pretty tight and you can't see much slubbing when it's all ruffled up this way. The Petticoat There's really nothing special about the petticoat. It's a unshaped panel of silver-white silk, laundered, with a drawstring waist. It isn't as wide as it should be for the period, but since only the front of the petticoat is visible during wear, it really wasn't an issue. I considered making a matching petticoat for this dress, but since the pattern is already so bold and busy, I felt it would be too much visually. LOL. Below you can see my rather shoddy methods for giving my modern dress form a more 18th century silhouette. The ideal method would have been to put stays on the dress form, but I don't happen to have any at the moment, so felt and pieces of form had to do. =) As for the foundation garments, this dress is shown over a padded rump/hip pad I devised some time back. It wasn't quite full enough for this small dress form (which lacks the hips and backside of an actual wearer), so I compensating by stuffing some foam pieces under the rump pad. ~Finished!~ The fichu shown here is 100% silk gauze. I was very lucky to run across this fabric years ago. It is so delicate, it's like working with spider webs. If I had to guess, I would say the thread I used to hem the edges weighs more than the fichu itself!

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