Medieval Goldwork Course: update

Finally the start of my medieval goldwork course! For years in my head, for months in the making and now at last the first lesson has been released to the first group of students. My husband and I celebrated with pizza and cake for lunch :). But now it is back to work again. As my research is very much ongoing, future versions of the course will require constant updating. Not in the least because certain materials are no longer available or a better alternative has finally been found. I'll share one such update with you below. But first: have s sneak peek at the current course contents in the short video below.

As I want my medieval goldwork course to be as authentic as possible, I search high and low for the correct materials. For some things that's surprisingly easy as the climate crisis leads people to rediscover natural materials. In other cases, it is a bit more trial and error. Take the luxury silken fabrics. Samite is rare as hen's teeth. This is a heavy silk fabric with a marked twill weave. It is a joy to stitch on. God only knows why it is no longer the embroidery fabric of choice. Luckily, I knew where to buy some: Sartor in the Czech Republic. They specialise in the re-creation of historical fabrics. Unfortunately, each run is a one-off. And since I had no idea if my course would be popular and samite is not a cheap fabric, I did not buy a huge amount. This means I can probably run the course twice more as is and then I will at least need to change the design of lesson 2. It will be such a burden to stitch another design on yet another piece of this heavenly fabric :).

Not as rare as hen's teeth is silk twill. You can have silk twill by the shipload. Just not the one you need if you want to recreate Opus Anglicanum :). To stay with the teeth: you have a choice between dentures and the real deal. Lots of dentures out there. You can have very light-weight silk twill in any colour your heart desires. But it is oh so flimsy. Oh, and the colours are very bright and so not medieval-y either. In the end, I went with a madder-dyed flimsy version for the first run of the course. At least it had the right colour. And although it is so very flimsy, it does survive underside couching surprisingly well. But what I really wanted was a firm version of silk twill. And lo and behold, Sartor came to the rescue again.

The lovely ladies who run this excellent fabric business have recently revamped their website. And among the normal silk twill, they now carry two heavier versions too. They arrived on Saturday and I cannot wait to start underside couching on them. Unfortunately, the one my gut feeling says is the right weight, has the wrong colour: petrol. Ah, well. A born-again medieval goldwork embroideress just cannot have it all!

These two examples show that running my medieval goldwork course is not like serial production. Before I announce the next run, I want to be sure that I can actually run it again. And run it well.