The weekend of March 2-3 I took a course sponsored by the School of Historical Dress: Historical Stitching and Decorative Techniques on Leather 1400 -1600, taught by Karl Robinson. The class was small, just six students, and over the two days I made a belt, man’s purse, woman’s purse, and some samples showing stitching techniques used on leather jerkins. This was an introductory course, although our progress was made easier by the uniformly high skill set of the participants. So many factors played into making this weekend fantastic that I hardly know which to describe first.
We met at Sands Films, a company that supplies historic costumes to films. We spent most of our days in their Laundry (virtual tour here) where they dye. This company is serious about its historic costumes. They keep a research picture library that is open to the public; although I walked through, I never had time to pull any of the folios off shelves. Currently the library also has an exhibit of embroidery done for them by a recently deceased gentleman. Truly magnificent stuff.
The tutor for the class was a member of the Tudor Group, which looks like the sort of reenactment organization I’d want to belong to if I were staying in London. Serious about their authenticity. It pleased me that although many classmates had professional standing, titles or academic degrees that laid out clearly their skill set and qualifications, our teacher came to his skill through his hobby. Like me. He’d once wanted a leather item that he couldn’t afford to buy…someone showed him a thing or two…and now he sews and sells his own leather goods.
The social aspects of the class were fun; intelligent peers are a real plus. I also greatly enjoyed the company and commentary of Jenny Tirimani, who as a director of the School of Historical Dress was constantly hovering around the class, seeing how it was going (this is the first time this class has been offered — the school is just getting started). Our hosts at Sands Films outdid themselves in the hospitality department. We were regularly offered tea and biscuits, were served lovely soups and breads and puddings both days, and were given a tour of the studios after classes ended Sunday.
I liked getting to see the assorted artifacts offered. Both Jenny and Karl have collections of antique metal things — purse hangers, decorative studs, buckles, and the like — that have been found and are freely available for purchase. These aren’t incredible, belongs-in-a-museum pieces, but still…I am so unaccustomed to being around truly old things, the idea of owning such treasures is a tiny bit frightening. But the thrill of finding them calls to me. If I weren’t so busy, I’d pay attention to the tides on the Thames and try a bit of mudlarking myself.
Jenny also shared some reconstructed leather clothing she’d made or commissioned for the theater. Fantastic stuff. The leather hosen particularly caught my eye…wouldn’t that be perfect for rapier armor?
The most important lesson I took home, though, is the answer to why I don’t sew leather. Simple! I don’t own the right tools. Give me the custom commissioned knives, the cutting mats, the clamp that goes between my knees and is such a fantastic third hand, the leather needles, the different awls and punches, the special conditioning blend for softening the leather, the proper vegetable tanned leather itself — give me those things, and I’ll sew you something. Give me those things and some time to practice, and I might even make something nice. For now, though, I’ll buy my shoes and belts, and thank the artisans who make them for the time, frustration, and sore fingers that they’re saving me.
I’d leap at the chance to go mudlarking. There’s a person on FB (I think I found his page through you) who publishes photos of things he’s found. It looks like a fun thing to do on some warm afternoon, provided one has wellies!