and
It's one of the most famous Ottoman caftans, it shows up in most books on Ottoman art and I've loved it forever. The ornament of crescents and tulips is huge in scale and amazing and characteristic of a deliberate Ottoman movement to differentiate Ottoman design from the broader background of Central Asian textile design.(Book recommendation: if you want to know more about how Ottoman textile design became distinctly Ottoman read this:
The Sultan's Garden: The Blossoming of Ottoman Art
This caftan is unusual in that the ornament is appliqued onto the crimson ground fabric instead of being woven in like most other examples. So it's an example of all the design elements that make Ottoman design distinctly Ottoman, but it is also unusual.
This caftan makes a wonderful jumping off point for giving you an analysis of the all the Ottoman caftan patterns I've gotten to see. We have more extant caftans from the 15th and 16th century Ottoman Empire than pretty much anywhere else so we have the opportunity to compare more examples and see what general cutting patterns and sewing techniques show up most often and how they change across time and space.
This particular caftan was exhibited widely in the 1980s before museum professionals understood the damage bright lighting does to textiles and so it is a sad echo of its former glory. Although the Turkish government is currently having it conserved and restored, so I have hopes...
This is what it looks like currently. It makes my heart hurt.
It's one of the most famous Ottoman caftans, it shows up in most books on Ottoman art and I've loved it forever. The ornament of crescents and tulips is huge in scale and amazing and characteristic of a deliberate Ottoman movement to differentiate Ottoman design from the broader background of Central Asian textile design.(Book recommendation: if you want to know more about how Ottoman textile design became distinctly Ottoman read this:
The Sultan's Garden: The Blossoming of Ottoman Art
This caftan is unusual in that the ornament is appliqued onto the crimson ground fabric instead of being woven in like most other examples. So it's an example of all the design elements that make Ottoman design distinctly Ottoman, but it is also unusual.
This caftan makes a wonderful jumping off point for giving you an analysis of the all the Ottoman caftan patterns I've gotten to see. We have more extant caftans from the 15th and 16th century Ottoman Empire than pretty much anywhere else so we have the opportunity to compare more examples and see what general cutting patterns and sewing techniques show up most often and how they change across time and space.
This particular caftan was exhibited widely in the 1980s before museum professionals understood the damage bright lighting does to textiles and so it is a sad echo of its former glory. Although the Turkish government is currently having it conserved and restored, so I have hopes...
This is what it looks like currently. It makes my heart hurt.
So I am working from multiple photos as well as my pattern notes, photos and diagrams from many other caftans of the same Ottoman 16th royal workshop provenance. Basically I'm using this particular reconstruction as a way to analyze and categorize 16th century Ottoman caftan patterns.
And I get to do lots of applique, which I adore. I was able to find really good red silk taffeta, and more astonishingly, good silver silk taffeta.
Studio update: what I'm working on Etsy shop link
And I get to do lots of applique, which I adore. I was able to find really good red silk taffeta, and more astonishingly, good silver silk taffeta.
Studio update: what I'm working on Etsy shop link
I love being a merchant in the SCA, I really, really do. But one of the side effects is that Christmas becomes a sort of 'bump in the road on the way to' whatever the first big event of the season is. In this case, Gulf Wars.
Last year was really great for me as a merchant, but I went in woefully under-stocked, particularly on garments and hats. So I've been working like crazy on hats, and on garments to a lesser extent.
I've gone down a Byzantine rabbit-hole, thanks to research I did to make a Laurel hat for my SCA sister Kerstyn
Last year was really great for me as a merchant, but I went in woefully under-stocked, particularly on garments and hats. So I've been working like crazy on hats, and on garments to a lesser extent.
I've gone down a Byzantine rabbit-hole, thanks to research I did to make a Laurel hat for my SCA sister Kerstyn
So there were a couple of results of this rabbit hole. I've added this Byzantine 'halo' style hat with the temple pendants as well as the framed pillbox style, also with temple pendants.
St. Constantine and St. Helen 1478 ad National Museum of Germany, Nurenberg
Also, my research has really focused on the Silk Road across Central Asia and parts south. The crazy Caucasus caftan (you will be hearing lots more about this amazing thing later) got me interested in how Eastern Europe connects to the Silk Road.
Looking at all these Byzantine images led me to seeing other connections with northern Asia, and connections among Russia, Eastern Europe, the Byzantine Empire and the Silk Road.
For years, I've said that the Persian taj that I make so many of are just Persian because that's the documentation I had. Now I'm seeing all these connections with the Byzantine halo style and with later Russian kokoshniks. My current theory is that the kokoshniks developed under the combined influence of hat shapes from both the Byzantine and Persian cultural spheres.
This is just the beginning of a research project for me, if you have opinions or sources you'd like to share, please comment on this post or send me a message.
At the other end of the Silk Road, I've started making Mongolian hats again too. I used to make them a lot when I lived out west where it gets cold but didn't have much need for them in the south.
I've got some really excellent vintage furs that are waiting to become more hat brims and I've dug out my felting supplies for wool Mongol and Viking hats. I've also made some Mongol temple pendants that will appear soon as well.
It's been really fun working on the temple pendants from both ends of the Silk Road at the same time. The traditions developed independently and it's been interesting making comparisons about aesthetics, technique etc.
I also acquired a couple of Indian-made garments that are brilliant. One is very Mongol...
It's been really fun working on the temple pendants from both ends of the Silk Road at the same time. The traditions developed independently and it's been interesting making comparisons about aesthetics, technique etc.
I also acquired a couple of Indian-made garments that are brilliant. One is very Mongol...
The other is so Byzantine it hurts. It was made in India for the Muslim market in Kuwait and it came out... Byzantine? I don't understand it, but I like it.
Here's a link to the Etsy shop if you are interested.
Jadi's Silk Road
New skills/experiments:
When I made the first couple of Byzantine halos, I used wire and pearl vinework from the bridal department of the local craft store. But of course, like re-enactors and crafty people everywhere I thought: Hey, I can do that.
Jadi's Silk Road
New skills/experiments:
When I made the first couple of Byzantine halos, I used wire and pearl vinework from the bridal department of the local craft store. But of course, like re-enactors and crafty people everywhere I thought: Hey, I can do that.
So I did. I've been experimenting with brass wire, real pearls and other gemstone beads and various glass beads and having a blast. Between this project and all the temple pendants I can legitimately say: I am running out of beads. I need more beads. Actually, literally NEED.
These will be up on Etsy in the next week or two, they need fabulous veils and feathers.
Fortunately there is a bead show in Atlanta this weekend and I have a list. I've been to this show quite a few times and it's small but good.
I also have a cool website to share.
I also have a cool website to share.
http://skinddragter.natmus.dk/
from the home page:
"The website “Skin Clothing Online” is a collaborative project between the National Museum of Denmark, Greenland National Museum & Archives and Cultural History Museum in Oslo.
Here you will find unique, high-resolution, 360 degree rotation photos and detailed information about the National Museum of Denmark’s and the National Museum of Greenland's collections of fur clothing from indigenous peoples in Greenland, North America, Siberia and North Scandinavia from 2500 BC to the present day."
Advantage: lots of photos that show construction and technique.
Disadvantage: not many firmly dated period garments.
Wait, wut? Entire garments make of fish skins. I did not know such a thing was possible.
from the home page:
"The website “Skin Clothing Online” is a collaborative project between the National Museum of Denmark, Greenland National Museum & Archives and Cultural History Museum in Oslo.
Here you will find unique, high-resolution, 360 degree rotation photos and detailed information about the National Museum of Denmark’s and the National Museum of Greenland's collections of fur clothing from indigenous peoples in Greenland, North America, Siberia and North Scandinavia from 2500 BC to the present day."
Advantage: lots of photos that show construction and technique.
Disadvantage: not many firmly dated period garments.
Wait, wut? Entire garments make of fish skins. I did not know such a thing was possible.
I promise I will update next week and show you my bead show loot! I need more pearls. Lots. and. Lots. of. Pearls.
