2013 sai ette võetud teha endale korralikum uhkem kleit, mis käiks minu sinnamaani uhkema pruunika kleidi peale. Silma olid hakanud erinevad mustrid kleidiäärtel, mille ümber kleiti üles sai hakatud ehitama. Soovitud ajavahemikku sobituvaid konkreetseid mustreid leidsin vähe ja nii said kaelaaugu, varukaotse ja kleidi alumise ääre tikandid tehtud järgmiste maalide põhjal. / In 2013 I started making a nicer fancier dress. I had seen some patterns on the edge of dresses on a number of medieval paintings and wanted to make something like that - that is where the dress started evolving from.The paintings with that kind of patters from the exact time period I wanted to make were not very plentiful so the embroidery on the edges of the dress was based on the following paintings:
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| 1334 Taddeo Gaddi, Triptühhon |
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1415-20, Nürnberg,
Meister der Deichsler Altars |
Ja kuna see kleit pidi minema mu nööbitud varukatega kleidi peale, siis pidid nööbid ju näidatavad olema. Muidugi pidi piisavalt ruumi tikandi näitamiseks olema, nii et kleidi lõige sai võetud järgmiste maalide järgi. / And since the dress was supposed to go on a dress with buttoned sleeves, they had to show from under it. Of course there also had to be place for the embroidery to actually show, so the cut of the dress was based on the following paintings.
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| Christine de Pisan, 1410-14, Paris - Pygmalion and Venus |
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| Christine de Pisan, 1410-14, Paris - Diana and maidens hunting |
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| 1395-1400 Gentile da Fabriano, Thronende Maria mit dem Kind |
Kokku tuli küll väike kompott allikatest, aga ise olen tulemusega vähemalt rahul. / It ended up as a mix of sources, but at least I am myself pleased with the result.
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