Files: Linen Sottana using period construction techniques
Experiments for sleeve slashing.
Recreated by La Signora Onorata Katerina da Brescia.
To achieve my one of the goals, on this outfit, I will have to use the following techniques:
sleeves with small baragoni (so Zimarra can be worn over to complete the outfit) and slashing, tied or buttoned onto the imbusto.
To achieve this I have cut the sleeve on the bias, as seen on the right. This will help to reduce the fraying.
However, as the sleeves get wear and tear, I wanted to find a further way to reduce the fraying .
I have read about beeswax being used to prevent fraying
(I used this on velvet when making a pouch and it worked well.) However
this will wash out with any sort of heat (as in washing). Also I found
that beeswax 'stained' the front of the material.
I had some fabric glue (wash proof) and thought I would try this.
Below are the results of my experiment.
- I placed the glue on the back of the material (linen in this case) to reduce the 'staining' visible on the front
- I made slashes on the bias (Pics 1 and 3) and
on the straight grain (pics 2 and 4), to compare the amount of fraying
by cutting alone
- I rubbed each of the slashes roughly with my fingernail for 30 seconds to simuate 'wear and tear'.
1. top: single slash on bias - no fabric glue/ 2 slashes on bias - fabric glue. (from back)
2. top: single slash on straight - no fabric glue/ single slash on bias - fabric glue. (from back)
3. top right: single slash on bias - no fabric glue/ below and left:2 slashes on bias - fabric glue. (from front)
4. top: single slash on straight - no fabric glue/ single slash on bias - fabric glue. (from front)
Results and Discussion:
From the above, it can be seen that:
- the bias cutting does produce less fraying than cutting on the straight grain.
- applying glue from the back does mean no visibility on the front of the material.
- the glue reduced the fraying in both situations.
This shows that the bias does cut and the glue produces the least
amount of fraying was seen. So this is the method I will be using on my
- Alcega, Juan.The Tailor's Pattern Book, 1589 Facimile, Ruth Bean, Carlton,
- Arnold, Janet Patterns of Fashion, MacMillan, London, 1985. ISBN: 0-333-38284-6
- Kovesi Killerby, Catherine, Sumptuary Law in Italy 1200-1500, Oxford
University Press. NY. 2002. ISBN:0-19-924793-5
- Crowfoot E, Pritchard F & Staniland K, Textiles and Clothing
1150-1450, Boydell Press, Woodridge, 2001 (ed) ISBN: 0-85115-840-4
- Frick, Carole Collier. Dressing Renaissance Florence.: Families Fortunes
& Clothing. John Hopkins University Press. Baltimore. 2002. ISBN:
- Orsi Landini, Roberta & Niccoli, Bruna. La Moda a Fioenze 1540-1580.
Pagliai Polistampa, Firenze, 2005. ISBN: 88-8304-867-9
- Veccellio, Cesare. Vecellio's renaissance Costume Book. Dover
Publications. NY. 1977. ISBN: 0 48623441X
- Medici Archive Project: www.medici.org/ (1/06)
- Web Gallery: Medici portraits by Bronzino. http://www.kfki.hu/~/arthp/html/b/bronzino/1/index.html
- Archeological Sewing by Heather Rose Jones (2001) http://heatherrosejones.com/archaeologicalsewing/index.html (new adsottana: 8/06)
- Sewing Stitches Used in Medieval Clothing: http://www.personal.utulsa.edu/~marc-carlson/cloth/stitches.htm
- Archive of Stitches from Extant
All intellectual content, photos and layout are copyright to La
Signora Onorata Katerina da Brescia (K Carlisle), except those
original renaissance artworks and extant articles whose copyright
remains with the current owner.
If you would like to use something from
this site, please contact me, and cite this website reference.