This is a pink wool flannel cotehardie I made for Ymir in 2008.
I love pink, especially madder shades - which can range from a light rose to a coral, to a deep orange (which I suppose isn't technically pink, but I still love it) - and when I get the chance, I go for it.
There's nothing particularly outstanding or amazing about this dress, I just like it. And the wool flannel is incredibly soft without being annoyingly fluffy like modern flannel.
Picture copyright 2005, B. Caswell
Fall, 2005. I love this dress - I made it because I felt some strange need to have a dress that sort of matched my SCA heraldry, but it makes me look really slim, which, if you do Elizabethan much, is a nice change (all those layers, you know).
It's linen, and the design is stenciled on with - eek! - acrylic paint. Want to make something of it, beezatches? Yeah, I didn't think so. I ever so briefly considered embroidering the design, and quickly came to my senses, reserving my energy for insane projects within my chosen era (see the rest of the gallery).
The hood (the hood part is behind me, so you can't see it, but it is a hood, not a collar) was made for me by Mistress Theodora, and features my very own "skeleton spike" design alternated with laurel wreaths. It's not period, no, but I have those days when I don't care, you know?
Hey, at least my hair is up.
It's great to have an apprentice you can dress up in your clothes - at least, I think so. This was for an event in 2005. Lisette is in the cotehardie I made for court wear while I was Baroness of Lochmere - I was determined to make something without crabs on it because 1. I'm not a huge fan of crabs, except in cake form, and 2. I wanted to be able to wear it after the reign. Lisette looked marvelous in it - there are advantages to us both being redheads, too.
The cote itself is linen, and decorated in the same way as the black and yellow cote - I cut a stencil the size and design I liked, and stenciled the whole thing on with acrylic paint.
Two things to remember when stenciling: 1. It's easier to do the stenciling before the pieces are sewn together, and 2. Be careful where you stencil the design.
I almost ended up with two carefully placed boob-wreaths.
Picture stolen from J. Thies
This is me in the green cotehardie I mention (in positive terms!) on the Page of Shame - ignore the belt, please. This was taken at Kingdom Crusades in 1999 (eek!), and the reason my face looks shiny and my hair is down is because I'm covered in gold glitter - I'm playing the Goddess of Discord (some bastard said at the time "that's a good role for you", so I killed him and ate him).
I had minions in fairy wings and flower wreaths, and everything. That thing I'm sitting in is a sedan chair - I had four guys carry me into court to make the presentation of the golden apple (we were promo-ing an event), and there was a brief but heated discussion about whether my chair bearers would be shirtless or not. They wore their shirts (pout).
I *love* this dress - it's just so simple, yet so flattering. And it goes with the red hair. And it makes me look thinner and taller than my Elizabethan stuff.
Why do I do late period? Oh, yes - the bling. Gotta have the bling.
I made this outfit for a Christmas performance Lost Cause (www.musicbylostcause) did in 2004. It's Dupioni silk, was drafted by eyeballing and changing an Elizabethan pattern, and is vaguely based on a dress from the 1870s in the Victoria & Albert Museum, London.
I've worn it since then at a Cowboy Action Shooting event. I don't really know what to say about it except that the ruffles were an absolute bear to stop from crawling all over the place, and I hate sewing ruffles. It's machine sewn, has a Fredericks of Hollywood "corset" for support, and I got a nice pair of bloomers from www.Devalifewear.com. It's pretty comfortable for a Victorian outfit.
Text and images copyright L. Mellin, 2000-2008, except where noted. All rights reserved.