DIY Quilt Generator from the Victoria and Albert Museum.This is a flexible quilt generator: you upload your artwork/photo and then decide what shape you want it to be and crop accordingly. You then get to decide how many colors you want to use and the quilt difficulty level. You can download a PDF that tells you what color to use and how many of each to cut. You can use gorgeous images from the V&A Museum or your own. First seen at MAKE.
Spent the afternoon at the V&A Museum. This gorgeous creation, the Organza Origami dress by Lie Sang Bong, always caught my eye the past few months whenever I saw it in the Korea room. Today I finally took the time to sketch it.
Harriett Sams’ Wedding Dress, 1899, British V&A Museum
This crisply tailored purple silk dress was made and worn by Harriett Joyce for her marriage to Percy Raven Sams at St Andrew’s Church, Earlsfield, Middlesex. Harriett worked as a lady’s maid, while Percy worked for the London Water Board. Harriett chose to wear purple, as at 35, she considered herself too old for a traditional white gown. However, she trimmed her hat with wax orange-blossom, which was worn by brides for their first marriage.
The availability of sewing machines, commercially printed dress patterns and affordable but good-quality machine-woven silks and trimmings enabled skilled needlewomen to make sophisticated gowns at home like this dress. As a lady’s maid, Harriett had excellent sewing skills, enabling her to finish her dress to a very high standard. A coloured day dress that could be worn for best after the ceremony was an extremely practical option for brides of limited means. Soon after the wedding, Harriett slightly altered the skirt, removing two side panels to create a narrower, more fashionable silhouette. She also added purple silk braid to the skirt-front so it could be worn separately with a blouse.
Cast-iron jewellery was an inexpensive but fashionable novelty for consumers in Europe and America from around 1800 to 1860. Developed in Germany in 1806–7 and often worn during mourning, it became the symbol of Prussian patriotism and resistance to Napoleon I in the Prussian War of Liberation fought from 1813-15. Women donated gold jewellery to their country in exchange for iron inscribed ‘I gave gold for iron’.
The transformation of cast iron, a dark metal of little value, into a fashionable product was an important Prussian manufacturing success. Factories became adept at casting small, delicate parts which could be assembled to create the jewellery. A renewed interest in the Medieval past throughout Europe brought stylistic change. After 1815, the Neo-classical designs of earlier Berlin ironwork were replaced by Gothic motifs such as the trefoil, quatrefoil, and fine pointed arches. The jewellery quickly gained an international profile. Demand peaked in the 1830s, when Berlin alone had 27 foundries and manufacture spread to France and Austria.