SCA: 2026 Summer Project, Phase IV (Tablet Weaving)

The fourth component in my summer project is the tablet weaving.  At Bryndum in grave G12, a wool apron dress was discovered which had straps and loops made of tablet woven bands - the first time tablet weaving has ever been discovered to have been used in this way.  That BLEW MY MIND and I've been super excited about this project just because of that ever since I read the original ATR article in December.  

The thing is, the tablet-woven straps from G12 were so mineralized and degraded that no chemical analysis could be done on them.  Which means that while we know a lot about how the straps were woven - number of threads, number of threads per card, direction of the cards turning - we don't know what colors were used, and we can't tell what the pattern was because the colors aren't there. 

Here's what we do know: 

• There were at least 13 cards:  10 central pattern cards, and 3 border cards (2 on one side and 1 on the other, and there may have been a 4th border card which has disintegrated but there's no way of knowing) 
• The 10 pattern cards moved both forwards and backwards; the  border cards only moved forwards
• The border cards were threaded with 4 threads each; the central pattern cards only 2 threads each - it's a skip-hole pattern!  

Here's something else I know:  I've only tried a skip-hole pattern once before and it went so miserably that I basically rage-quit and threw the whole thing in the trash.  

The problem with skip-hole patterns is the balance of the warp threads.  On a card threaded with 4 threads, one in each hole, the warp tension holds the card sort of upright and square, and it stays where you put it.  On a card threaded with 2 threads, one in every other hole, the tension wants to hold the card on the diagonal between the two threads, meaning the 2-hole cards skew out of place and won't stay square with the 4-card threads.  This means you basically have to have your hands on the cards at all times to keep them aligned.  The first time I tried this I found it to be impossible to wrangle. 

This time is going better, however, and I have to thank L. Elewys von Finchingfield of An Tir for that - her video weaving tutorials are solid gold and I love watching them.  More specifically, however, the pattern that I'm using for my project is one that she designed, and her video on it solved my problem with turning the cards - she uses a pencil or skewer stuck through the holes in the cards to keep them aligned so she can let go of them when she needs to, which is genius and works unbelievably well.   I've also found that I can use the pencil to turn the forwards-moving cards with one hand while holding the backwards-moving cards with my other hand, so that things don't get all fouled up.  Aha!  

The pattern I'm using for this project is Lady Elewys' design, called "Mammen Mia", which is based on motifs from one of the tablet woven bands found at Mammen, Denmark, from the 10th century.  I used this design because, since we don't know what pattern was used at Bryndum, it was important to me to use something from the region that someone from Bryndum might have actually seen or used.  Mammen is close by, and its designs are beautiful, so I chose this one. 

This pattern contains more threads than the original - 12 pattern cards and 4 borders - but since I'm using #10 cotton weaving thread, which is only 8/4 and far lighter weight than wool threads/yarn, the band is coming out very narrow. The original band is 1.4cm (about half an inch); my band is about .6cm - much smaller.  But, because of the way these straps are constructed, I think they should be plenty strong enough.  

You see, the original straps are not just lengths of tablet weaving sewn onto the dress.  Each strap is made of TWO lengths of tablet weaving, sewn together on the vertical to create a sort of thin tube, and then that tube is sewn to the dress to be used as a strap.  The ATR paper didn't specify exactly how the bands were sewn together or how they were pinned by the bronze brooches found in the grave; I opted to fold a single long band in half and sew it along the long sides, leaving a bit of unsewn loop at one end through which to pass the needle of a brooch.  The smaller front loops are made the same way. 

Binding off the cut end of a tablet woven band can be tricky.  Sewing through a band is not always easy to do securely, and folding the end of a band in order to conceal the cut ends creates a very bulky rolled end.  To avoid this, I  wrapped each cut end in a little square of fabric and sewed it to the strap, and then sewed THAT to the dress, rather than trying to sew the band itself to the fabric, leaving the cut end raw or folded and bulky.  Is it period? Who the heck knows.  I like the solution and plan to use it again in the future.   

And with that, this project is finally finished!  I'm so excited to be DONE with this thing and see it all put together.  I'll show you the whole thing in my next post.  

Regency: Blue “Elinor” Dress

After all the work I spent March and April doing on that blue Norse dress, I was ready for a Regency palate-cleanser to reset my brain. 

In February I bought two more packs of IKEA’s “Matilda” sheer cotton curtains on clearance that I planned to use for a new  gown, but at the time I wasn’t exactly sure what to do with it - until I watched the 1995 Sense & Sensibility for the hundredth time and saw this: 

Yes, that’s a photograph of my television, lol. I THOUGHT that I couldn’t find a pic of this dress anywhere online, so I watched the miniseries again (oh no!) and took this picture. It turns out that the reason I couldn’t find it was because this is a green dress, but in this particular scene it looks so perfectly gray-blue, like a stormy sky, and THAT is what I wanted. 

bodice front before dyeing

I used the Simplicity S8941 for this one, just like the white one I made in 2022. I love the way the dress feels, and the way it fits me; this time I made the skirt a bit longer (the 2022 dress was too short and I had to add a panel at the bottom), and I made the sleeves full length this time, which took a bit of re-drafting. Most of the dress is machine-sewn; although I did finish the hems and sleeve cuffs by hand. 

Once it was finished, I dyed the whole thing. I opted to dye it after I made it because I wanted the white cotton twill tape drawstrings to be dyed as well, and I didn’t feel like trying to dye them separately - I didn’t want to risk messing up the color. I used Rit Dye’s Pearl Grey and Evening Blue (2:1), with a couple of capfuls of Teal thrown in to warm up the color just a bit. I’m super happy with the way the color came out: 

The color didn’t come out exactly 100% the way I was envisioning; but I LOVE the color I ended up with SO MUCH.

All done! This was pretty quick - it only took me about two days to sew; the dyeing process was done in the washing machine and took about half an hour and then a complete wash cycle to finish it off. 

I think for my next Regency trick I’ll make myself a new hat. I’ve always wanted Marianne’s big hat from the 2005 S&S with Kate Winslet. More S&S! Yay! Stay tuned… 

Regency: Blue Floral Wrap Dress

My latest Regency creation: 

This is a wrap-front dress made from LM’s (#129) Spencer pattern, to which I added rectangular skirt panels like I did for my velveteen pelisse last year. I also widened the neckline a bit, and shortened the sleeves to 3/4 length. The fronts close with cotton twill tape ties, which are hidden by the white sash wrapped around the waistline. 

The fabric is from a set of cotton sheets I had in my stash. The floral pattern isn’t 100% period, but it’s close enough, I think. The lace itself is polyester, found on Etsy and trimmed to make the design work for this neckline. 

The dress took me just a couple of afternoons in late July to put together, but I had to wait for the lace to arrive in the mail, which took two weeks, so I just finished it today. 

I added a little button placket to the back, just so the back wouldn’t be totally plain. Nom-functional, but cute! 

This was originally inspired by this dress of Elinor Dashwood’s in Sense & Sensibility 

Other inspirations include: 

From Galleries of Fashion, 1796

Henri-Pierre Danloux, unsure of the date

unknown fashion plate

This project was a nice breath of fresh air in the midst of what has been an absolutely insane summer for me - I’ve been working my butt off in just about every possible way. SCA event season starts up in a month, and I still have a lot of preparation to do for all of that - I really needed a break to work on something utterly frivolous to rest my mind a bit. I love this dress! 

Final note: the newly-refitted dressmaker’s dummy was fantastic to use for this project. I was able to size and drape and fit this dress wholly on the mannequin, and it fits *perfectly*.  Granted, this was a very simple pattern, but it was a good test run for the “new” dummy and I’m very pleased with how it went. 

Regency: Teal Cotton Open Robe

After working my butt off on SCA projects since Thanksgiving, I needed a creative palate-cleanser project - and I was itching to do something new with Regency stuff (besides the apron, that was actually a functional thing I needed).  So my first “real” project of 2024 is this teal open robe, along with a new shawl and some new jewelry to go  with it: 

I had this teal cotton in my stash for years, and I'd originally intended to do a Really Awesome Regency Dress with it (like this one), but after chipping little bits off of it here and there over the years for small projects, it ended up only 3 yards long - not enough for something big and fancy.  But it was, I realized recently, exactly enough to make a short-sleeved open robe to wear over my white 1800s gown.  

My inspiration for the color palette for this outfit was this painting of Princess Amelia (youngest daughter of King George III and Queen Charlotte) by Sir William Beechey (1797).   While I didn't want to recreate this exact outfit, I did want to do something with the same color scheme, with which I am in LOVE - the teal dress with the delicate little silver/white designs, the rust/burnt orange shawl and gold sash and armband. She also wears long strands of clear (I'm assuming rock crystal) beads - which you don't see in Regency art very often - and which sort of pick up on the look of the little silver/white dots on her dress. 

The teal dress in the inspiration picture has some sort of white/silver design on it - it’s probably sprigged - and I’m not sure what the design is actually supposed to be. Stars, dots, probably little flowers? I decorated my fabric with little trios of silver dots, which is a design I’ve used before for Medieval stuff; I really like the look of it, it’s delicate and subtle. I chalked out grid lines on the fabric every 6” and then dotted the intersections and centers of the grid with a silver paint pen: 

The robe is about half machine sewn and half hand sewn - I did the primary construction of the bodice and bodice lining on the machine; but the lining is inserted and the skirt attached by hand, and all the hemming and edging is down by hand as well. 

There's a wee bit of a train on the back, too, for the lovely drape it gives when one walks or the wind blows.  

ACCESSORIES

SHAWL

I made the shawl for this dress out of an old SCA costume. The fabric is a soft, lightweight silk twill, in a deep russet color. The SCA costume was a 12th century *cyclas*, which was just made of two rectangles and some triangular gores, so I removed the gores and the neckline and joined the two rectangles together (flat felled seam + rolled hem edge) to make this shawl. 

SASH

The sash in the inspiration painting looks to me like a dark dusty gold, possibly with some kind of print or embroidery on it, but I suppose it could be brown? Mine is a length of gold poly satin, purchased from Etsy as a “bridal sash” and tied around the waistline of the robe. The color is way too light - I wanted a darker gold, almost bronze - but it’ll do for now. I think eventually I’ll get some nice silk and make a new sash for this outfit. 

JEWELRY

I LOVE the rock crystal bead jewelry in the inspiration painting so much! I haven’t seen clear crystal jewelry much in Regency paintings - usually you see pearls or coral, or colored gemstones with fancier outfits.  My beads are glass (for budget reasons), 14mm round, and strung in two 16” strands. Yes, the bead strands should be waaaay longer than they are in order to look more like the inspiration pic, but I used what I had.  

*

Yay! This was a quick, simple project, and a much-needed break from SCA stuff for a minute.  It's easy to wear, and versatile. 

And I have no idea what's next!  I have LOTS of ideas for new Regency costumes, new Viking stuff and weaving projects, and even a dip into Victorian for the first time (maybe), but where to start?  I think I need a break…I’m also refinishing an old wooden table right now, but I’ll be back soon. 

 

SCA: A 15th-Century Velvet Houppelande

At my very first Gulf Wars, someone lent me a giant flannel houppelande on a cold night, which I threw on over my cotehardie, and I have wanted one ever since.  So comfy!  So voluminous!  It's like wearing blankets!  This year I finally made one for myself, since War of the Rams (BAM) in November is likely to be pretty cold in the evenings.  

This houpelande is made of the same cotton velveteen Ikea curtain panels that I used for my Regency pelisse, back in June.  Last year I acquired a huge box of these curtain panels from my local neighborhood swap group for free, and I still had 4 of them left (about 10 yards of fabric) - they were perfect for this project.  

I didn't have enough of the velveteen to make a full circle houppelande, so I used a simple A-line cut for the body of the dress, (adapted from a vintage 80s dress pattern) with side gores for as much fullness as I could pack into this thing.  The sleeves are D-shaped, and come to a short cuff at the wrist.  

The houppelande is unlined - I didn't have any fabric to use as lining, and I figured this velveteen would likely be heavy enough to keep me warm when worn over my other clothes. After it was put together I dyed the entire piece with teal and charcoal Rit dye, which gave the aqua-blue fabric a lovely medium blue-ish-gray color: 

After dyeing the whole thing, I added a collar and cuffs of white faux fur from my stash: 

 

The belt is one I made for a Burgundian gown that I made several years ago and never got around to wearing (oops). I had to move the hooks out several inches from where they were to get it to fit, but thankfully, the belt was long enough that I had plenty of space to work with.  The hooks themselves are gold-colored plastic highlighted with green nail polish to mimic an enamel look; I forget where I bought them originally, I've had them for aeons. 

The padded roll hat in the first picture is one I made many years ago.  It's nothing fancy, just a stuffed roll of damask upholstery fabric with pearl beads sewn on, worn with a netted/beaded snood and a couple of lightweight veils pinned onto it.  

So there's a big, new, warm outfit for BAM that I can wear on cold nights.  I also have my linen coat to wear over my Viking outfits, which won't be terribly warm on its own, but which I can wear with layers of hoods and caps, and my wool shoulder cloak.  

Edit:  It turns out the weather at BAM wasn't cold at all - mid-70s during the day, and only into the 60s at night, so I didn't get a chance to wear this at the event at all.  Maybe next year.  

Regency: Lavender Striped Drop-Front Dress

I LOVE striped Regency dresses. I keep thinking about making one, but I had no fabric to use …but wait, I thought - don’t I have a lavender striped cotton duvet cover in storage not being used for anything? 

I’d seen people use duvet covers and sheets for regency dresses before (I've even made a dress out of a pair of curtains myself); but I was worried it wouldn’t be enough fabric, but it turned out, the duvet cover was exactly enough for what I needed. (And to tell you how old this thing is, I got it at Linens N Things - remember them? It’s old but it’s in great shape).  

I used my Reconstructing History pattern for this dress, because I wanted the flat front and bib to show off the stripes. I was leery about using the pattern again, as the first time through was a nightmare - but when I made it before, I knew exactly squat about the construction and fitting of Regency dresses, and now I have more experience and a much better idea of what I'm doing now, and this went together really easily. 

 

I drafted new sleeves for the dress, since I wanted a straight long sleeve, and the pattern only had a short sleeve or a double sleeve option. (The double sleeves are neat, but I have broad, square shoulders, and puffy shoulders make me look like a linebacker, so I wanted a more streamlined silhouette there). I measured all the sleeve pieces from the pattern and then drew out my own sleeves based on that, adjusting the fit a bit for slightly-larger-than-usual upper arms. I also added a thin wrist band with a hook on it to close the sleeve around the wrist: 

I started this project and got about halfway through it when I realized I was going to have to make a new corset to go with it.  You can read about that in my previous post here.  

*

But wait, you say, isn't lavender/purple a mourning color?  Yes and no. From what I've read, in full mourning (the period right after a person's death) one would wear black or as near to it as was feasible (gray, dark gray, black accessories if you didn't have/couldn't afford a new black dress, etc.).  In half-mourning (the later half of the mourning period, designed to transition you away from all-black and back into more cheerful colors), softer, muted colors like gray and lavender and purple became acceptable.  You could always wear purple any time you wanted, of course - it wasn't strictly reserved for half-mourning.  The folks in the Regency weren't nearly as strict about these things as the Victorians were.  

That said, if I wanted this dress to be a half-mourning outfit, I could always accessorize it with my black crocheted mitts and a sheer black shawl: 

I love my new dress, and I plan to wear it this weekend: the local JASNA is having their annual Box Hill Picnic near Austin, and so I’m grabbing a couple of Regency-friendly friends and we’re headed down!  I’ve never been to a JASNA or Regency-themed event before - I did check to make sure costumes are allowed, and was told that yes, some people wear Regency attire to the picnic. Now I just have to figure out what to bring to eat for lunch. And what to do with my hair! And - where the heck are my white gloves?? 

Regency: Mitts!

Mitts are neat.  After making the crocheted fingerless gloves last week, I decided I needed some longer, fabric ones.  You see them a lot in 18th and early 19th century costumes; they show up again later at various points in the Victorian ages, and are popular even now as crocheted and knitted "wrist warmers."  I’ve seen several Regency sets around the internet on museum site and on other blogs, and Fanny Dashwood wears black mitts to the wedding with her gorgeous half-mourning lavender outfit in Sense & Sensibility: 

Here are some extant mitts I found on various museum websites: 

Blue leather mitts, late 18th century or early 19th, Boston MFA

Embroidered/bejeweled mitts, early 19th century, MMOA

The first pair I made are a little wonky. I used the remainder of the green embroidered (polyester) taffeta fabric that I used for my green reticule. The fabric is very stiff, so they don’t conform well to my hands (even though they were cut on the bias), and the edges stand out a bit. I made these entirely by hand the other day when my power was out due to the ice storms: 

My second pair is made of cotton voile, very light and sheer, and they hug my hand very well. They were also cut on the bias, and this time I made them as tight as I dared. I made these a little longer, and re-shaped the hand and elbows a bit to correct those protruding edges. I sewed these on the machine with little tiny French seams, because of the way this fabric frays; and finished them by hand. I love the sheerness of the fabric here; I’m always secretly pleased when you can see my tattoos through my frilly white Regency things, hehe. 

You’ll notice I didn’t put any actual thumbs into this pattern  I admit to being a little afraid of them. Working with such tiny pieces and tight spaces is hard for my hands, and to be honest, I’m okay with just thumb holes. 

Because it cracks me up, I’d like to show you the paper pattern I made for these once I had them fitted properly: 

Don’t worry, there are no Cowboys fans in this house,  or even any football fans. I bought this paper as a gag to wrap a birthday gift in for a friend who hates the Cowboys, many years ago, and as I am currently out of pattern paper, well, you see what happened.  Wrapping paper is *horrible* for patterning, as it rips very easily and wants to curl, but you gotta make do where you can sometimes.  

SCA: 1520s Venetian - Brown Dress

So, I'm a Viking pretty much full-time, but we have an Italian-themed event coming up in October, so I thought I'd drag out my old Florentine wardrobe and see if it still fit.  

Reader, it did not.  I'm a bit larger than I was when I made these outfits - ten years ago!  The corset, first of all, rides up over my belly into my armpits, so it's not workable at all. Thankfully, the two dresses fit well enough if I lace them wide open (they used to close in the front), and can be laced tightly enough that they're supportive, so I don't need the corset. All of my old sleeves are also too tight.  I wanted to replace them with bag sleeves, but between that idea and the fronts being laced wide, I was getting pretty far away from the 1490s Florentine style that these dresses were originally supposed to be. 

Enter Palma Vecchio and his contemporaries.  I found the following paintings online, from 1510s-1520s Venice: 

Cariani, 1520

Unknown, 1520s

These Venetian dresses are laced wide (tied, actually), and shown with baggy oversleeves.  That's exactly what I wanted!  Now I know it's actually a thing.  (Mind you, I have no actual research to back this up, just a few paintings to go off of). 

The first thing I did was to dye my old brown dress.  It was badly faded after all this time, and needed the color refreshed.  Rather than overdye it with brown (I hate Rit's browns), I combined a wine color with an eggplant color, just like I did with the cotehardie I dyed two years ago, and it came out beautifully: 

Then I created some bag sleeves for it out of a blue linen, dyed to match (eh, they mostly match. They’re a little lighter, but then the original color was very pale).  I had to improvise the pattern:  all I had to go on was a pin from Pinterest with a broken link; I couldn't find any 1520s Venetian sleeve patterns anywhere else.  I copied the shape as best I could, and the sleeves came out just fine. 

 

my version

 

The only problem I had with dyeing this dress is that for some reason I originally attached the skirt with dark gray thread. It didn’t show much against the brown linen, but now that it’s red, it stuck out like a sore thumb.  So, I took the skirt off and put it back on with thread that matches.  Not a huge deal, but kind of a pain in the butt. 

So now I have a new dress to wear to the event. I have a black one to re-work as well, and a court gown to fix up. I’ll show you those soon. 

Regency: White Ikea Dress

 Long time no see! It’s been about a year since my last entry. Dunno if anyone will even read this, but blogging is fun whether you have an audience or not. ;)

So, I’m still in the SCA and still making Viking clothing. I haven’t done much new since the last time I was here, in that vein - I made a new apron dress because I outgrew my old ones (again!), but I don’t have pics for you at this time. 

What I do have is a buttload of new Regency/Empire stuff, starting with this white round gown: 

This was made with Simplicity’s S8941 pattern, by American Duchess. It’s a 1790s-early 1800 round gown with a drawstring closing front.  The pattern is designed for a woman of about 5’4”, and I’m 5’9”, so I did a lot of adjusting and lengthening. The biggest changes I made were to the bust, where the pattern was too small for my rather ample bosom; and to the overall length, because of the height thing.  (American Duchess has a great post about fitting this pattern).

The fabric is from an old set of IKEA’s Matilda sheer curtains. It’s basically a cotton voile with a woven stripe and dot pattern. It’s very sheer, so I wear it over a long full petticoat; eventually I intend to create a couple of new busted petticoats in different colors so I can alter the feel of the dress. 

I love the way the dress came out. It fits perfectly, and it feels great to wear. I think the only thing I don’t like is the way the back of the bodice is pointed in the back - it’s totally apropos for a 1790s gown; but I think the next time I make this pattern, I’ll straighten out the back. 

A Regency Petticoat

 The new white Regency dress I'm working on is VERY SHEER.  I needed some proper undergarments to wear underneath it for modesty's sake.  I have a chemise, but Regency chemises only come down to about mid-thigh; the stays will only offer protection around the bust area.  

So over the weekend I made myself a long petticoat to wear under the dress:  

I based the pattern off of basically every Regency petticoat I've seen online, both extant examples and bloggers' recreations.  It's a simple column, wider towards the bottom.  The top of it sits at the underbust, and 1" straps hold it up.  

Because the shape was so similar, I used part of my basic Viking apron dress pattern to shape the body and skirts, because it's what I had and I didn't feel like starting from scratch.   

At first, I accidentally made the thing WAY too short - what good would it do me if it barely went past my knees?  So I eyeballed it and added an 18" panel at the bottom.  

Then it was too long, because eyeballing is not measuring.  I took a 1-1/8" deep hem, and then added a 1" pleat about 1" above the hemline, to shorten it.  Now it's the perfect length.  

The front closes with a tie that I can tuck inside the petticoat.

In this picture, the waistline is pinned to my dress form to hold it up - I really need to find the time to alter my dress form to be actually shaped like me.  It's close in size, but not remotely similar in shape.  

The cotton voile is itself very sheer;  I'm hoping that the voile and the dress fabric (also a very sheer cotton) are enough together that I'm not flashing the whole world when I wear this outfit.  I've also noticed that the voile clings to everything it touches - I hope I don't have that problem with the petticoat and the dress! 

So that's the petticoat done. Technically my underwear is all finished now, although I really do need to replace my stays.  The current set is too big, and while it does the job, it doesn't do the job well.  I need to make a smaller set.  

But for now - on to the dress!  I'll show you when it's done.  

 

1831 Pink Reticule

You know how much I love making little bags.  Here's a new one, not exactly Regency style but close enough:  

I used this pattern, from 1831, from this website.  A little old for Regency, but I figure the design probably goes back a ways.  And if not, it's still a pretty shape and a neat design.  The bag is triangular - three sides, which come to a point on the bottom.

My fabric, a cotton sateen with a pink and gold embroidery, was taken from an old Elizabethan coif I made for the SCA approximately one million years ago.  There was no way I was going to wear this thing;  I basically just made it for the exercise of learning the pattern.  Once I took it apart and ironed it out flat, the fabric was just enough to do this three-sided bag.  

Isn't that pretty?  I've always loved this fabric.  I got about a third of a yard of it from a friend forever ago, and have used it for small projects off and on, including the Elizabethan coif - that was the last thing.  With three sides, it was a little tricky putting the drawstring in, but I figured it out.   

Here's the finished bag.  Tada!  I love the shape, it's so unique.  The ribbon and tassels are the same shade of green;  the ribbon looks brighter because it's reflecting the light really strongly in this pic.  I love the green ribbon and tassels with the pink and gold embroidery.  I'm working on a white-and-blue Regency outfit at the moment, and I wanted something that wasn't blue to go with it, to add something that helps the outfit not be so monochromatic.  I'll show you that soon!  

Regency Spencer Jacket

I made a Regency era Spencer jacket: 

It's made of a very dark green polyester fabric with a low-pile nap, almost like a shaved velvet, but the fabric isn't nearly as heavy as that.  I got it from a friend who was de-stashing, so I don't know what it's called or where it came from.  I knew it was enough for this Spencer, though, and that's all I needed.  

I used a polyester coat lining to line the inside of the jacket.  It was cheap and on sale to boot, and since I was using a polyester, non-period fabric on the outside, I didn't feel the need to go big on the inside.  

I used Laughing Moon #129 for this, although I switched things up a bit:  I used the neck ruffle from one view along with the back ruffle from another view. I wanted RUFFLES EVERYWHERE. I don't even know what's wrong with me - I'm not a ruffles person.  Anyway, I've had problems before with non-standard patterns from the internet, but I'm happy to say that this pattern worked really, really well. The instructions were clear, the pattern pieces were marked very well, and I didn't hit any snags or gaps in understanding as I went along at all.  I will definitely be using LM's patterns again.  

I thought the dark green would look lovely against blue, so I draped my dress form in a length of sheer blue cotton that I have...and then I realized my walls in the sewing room are blue, too.  I feel like it makes the whole photo look washed out and discolored, but I promise, the color in the pics is true.  I'm considering repainting that room, though.  This has been a problem before.  

Incidentally, "Spencer" jackets were originally a tailless men's jacket meant for light outdoor wear.  They take their name from George Spencer, 2nd Earl of Spencer, who, it is said, had his tailed coat altered after the tails were burned by coals.  Because Spencer jackets were originally modeled after menswear, many were designed with structured collars and lapels, or even accent you'd find on military dress like bars, braids, and epaulets.  None for me, thanks.  RUFFLES.  

My jacket won't be worn with the dress I made in November. The greens are just too different, they look horrible together.  But I am planning another Regency dress as soon as I can manage it, as well as an open coat and a hat.  Soon!  

P.S.:  this was the first real trial run of the new sewing machine, and it worked PERFECTLY.  It was a dream to sew on, so smooth and powerful and quiet.  My only complaint is with the thread lock function where it locks down the thread at the end of your seam. It's SO SLOW.  But other than that, I really love working on this machine.