FOUNDATIONS REVEALED COMPETITION ENTRY
Historical Entwife
(click images to to enlarge)
Other Credits
Ariana Streblow, Eric White, and Olivia White for photography and photo editing
Outline the story …
Because I like to set myself impossible challenges, I asked myself, if Tolkien’s Entwives, from "The Lord of the Rings" wore clothes (though they didn’t), and if those clothes were from a particular historical period known to us (though it wasn’t), what might those clothes be like? Word limits constrain me too much to explain here what an Entwife is; if you need a refresher, do see my blog, where I explain everything in excruciating detail. Cottonwoods are my favourite tree, and I chose a cottonwood Entwife originally; but the text mentions no cottonwoods, and as the project went along I grew increasingly fond of the idea of warped and curvy apple trees being like the “bent and browned” Entwives after they became associated with orchards, and as apples definitely exist in Middle-earth, halfway through I decided on that instead. In the end it didn’t change many of the motifs.
Gardeners (as the Entwives became) need certain things from their clothes: practicality in movement, something to carry things in, a shield from sun and other hostile elements. Thirteenth-century fashion provides all of these, and my source pictures, from the Rutland Psalter and others, include many agricultural scenes. In keeping with the sylvan and not entirely tame aesthetics of the Entwives (and with my limited sewing skills in mind), I also looked for a period whose tastes in dress did not run to extreme tailoring or the overly civilized. The era’s designs must leave room for wildness, and so I arrived at the thirteenth century.
Outline the construction…
For the first time ever, I was able to look at extant objects in my research, which was thrilling! The striped linen gown is patterned off a diagram of St Clare of Assisi’s surviving tunic, the cap based on St Birgitta’s, and the bag on a reliquary pouch. Only the sideless had to depend on art for documentation, but I was able to find plenty of that. I used handspun wool thread for everything except the embroidery, and handsewed everything.
I had never made a garment more fitted than a t-tunic before, so starting off with a gown of 16 pattern pieces was a bit of a shock. I did all the seams in running stitch, with occasional backstitch where I distrusted my thread more than usual or where a seam needed reinforcement, such as in the armholes, and then finished the seams in running stitch, raw edges folded inward.
The cap pattern I eyeballed by looking at pictures of the original and blog posts by re-creators. I made it out of thrifted cotton flannel, embroidery in perle cotton (because budget restraints yet wanting the perfect colours). The sideless is an old wool tunic I took the sleeves off of and added shoulder seams to, so most of the work was already done. The linen bag uses thread I made by splitting silk knitting yarn I already had. The original is goldwork, for which I had neither money nor skill, so I did ordinary embroidery stitches that approximated the look.
The result is very successful and the very open brief you gave yourself is so exciting! I like that you also incorporated the requirements of practical gardening clothes into your challenge, that is so well thought through.
Thanks! I don’t have a garden myself (the joys of apartment life), but if I ever do I’ll want to wear these to garden in and see how practical they actually are.
I love the research you did. And the gold work on the bag is most beautifully made.
Thank you! The bag I made doesn’t actually have goldwork on it (I didn’t have the budget or the skills, and by the time I got there the deadline was scarily close), but the original does. And it’s survived, and it’s gorgeous: http://previous.bildindex.de/bilder/fmlac10477_11a.jpg.
the cap and purse are purely magnifiscent (especially the cap, oh wow)
Also I love that silhouette, very pure and subtle.
The cap is actually the part i’m the least pleased with of all of them, so I’m glad someone really likes it!
I too have always been of what the entwives looked like. You nailed it. I love your thought process of who they might be. The construction is just lovely.
Thank you so much!
A super neat interpretation. I really love the details.
Thank you! And thanks for taking the time to look so closely!
(I love your profile pic by the way.)
I love the soft colors and details. It looks very comfortable and practical for the story background. Gardening is also a kind of magic and that linen bag also seems magical. The embroidery is so charming and sensitively honest with each stitch. It makes me want one. Everything is nicely sewn and the cap is very adorable.
I want you to know I have been carrying your lovely comment around in my heart for the last several days. You are so sweet.
It is also all extremely comfortable; the sideless gown in particular is probably the comfiest thing I own.
I love the idea you had of personifying the Entwines! Such a creative concept! I also really enjoyed reading your entry and about all the research that went into creating that outfit, and appreciate the love and care that went into hand making everything. My personal favourite piece is the linen bag, I love the colour and the embroidery is absolutely stunning! Great work!
Thank you so much! I enjoyed writing the research too. And while I hand-sewed everything partly because I can’t work a machine, I really enjoy that part of it too — something about the tactile process. About 50 hours of work went into the bag’s embroidery alone, so I’m glad it shows!
Thank you so much! I enjoyed writing the research too. And while I hand-sewed everything partly because I can’t work a machine, I really enjoy that part of it too — something about the tactile process. About 50 hours of work went into the bag’s embroidery alone, so I’m glad it shows!
I love this so much *_* The attention to research and details is admirable, and I LOVE the striped linen gown!! More👏stripes👏in👏medieval👏looks👏<3
I am ALL FOR medieval stripes! I think there’s a bit of a stigma against them among re-creators because of the perceived stigma against them in the period, which my research suggests may not have been so pervasive.