# I’m Making a Joan of Arc Armor Gown | Episode 1

## Метаданные

- **Канал:** Bernadette Banner
- **YouTube:** https://www.youtube.com/watch?v=JFVU5qOEm40
- **Источник:** https://ekstraktznaniy.ru/video/44424

## Транскрипт

### Segment 1 (00:00 - 05:00) []

What is the point of studying history? I often ask myself if not to use the information that you learn and the connections and the realizations that you make in order to help us improve our current practices whether it is through durability, consumption, sustainability, etc. But this video is not about fast fashion. In fact, this video is about very, very slow fashion because the other thing I love using history for is to inform art, history as an artistic medium, if you will. There is a fantastic embroidery house here in London called Hand and Lock, who have been doing just really exquisite, primarily military and ceremonial embroidery since about the 18th century, and who I commissioned last year for an 18th century waist coat reconstruction. This year they reached out and asked if I would be potentially interested in doing another collaboration where we take the design and wisdom of medieval armor and translate that into an artistic depiction of Jon of Arc. I don't think I had even finished reading the email before I had already replied and said yes. So, I started out with some reading, a lot of reading about Joan, her trials and visions to whatever degree we can trust the trial transcripts about continental European armor styles and the armor trade. And based on the shapes that I was seeing and the functionality of the plates, I started cutting out some shapes on the form to start getting a sense of how things could go together. I think the main thing that I wanted to play with here is making essentially a suit of armor out of fabric. Using fabric that's stiff enough to mold and to shape. Then I can think about how the plates will move and interact, but it'll be a dress. Not quite a replica of 15th century armor, but taking inspiration from its design and functionality to make something that I hope will capture Joan's spirit. So, I'm going to go back to Hand and Lock and I'm going to run these ideas by them and just see what they're interested in pursuing here. — Where are my keys? — Goblin Bernardet here. She's going to be searching for a hot minute. So, allow me to take this time to tell you about a much more enjoyable way to spend your time searching, and that is by playing June's Journey, the delightful hidden objects mystery game, who are also the sponsor of today's video. The story begins as our main character, June, seeks to uncover the mystery of who killed her sister. She becomes a whole detective and starts solving all sorts of mysteries, not only in her native jazz age in New York, but also she flies all over the world. So, you get to explore and go along on all her adventures with her. I find June's Journey such a relaxing way to unwind at the end of a day or when I need a brain break to escape with over lunch. The art, the scenery, the music, the vibes. Not only is it a captivating hidden objects game where you get to search for items as well as clues that progress you through the storyline, there are also tons of special events and sub games, so there's always something exciting going on if you want to shake up your gameplay a bit. Plus, as you play, you earn coins which you can spend on decorations to kit out your own little island. And I challenge any of you to out island my island. You can download June's Journey for free by scanning the QR code on screen or by clicking the link in the description box below. June's Journey is available on iOS and Android mobile devices as well as on PC. With some ideas rattling around in my head, I headed into Hands and Lock to bounce around some ideas. — And you could almost do the embroideries and then frame them as a series. — It could be really cool if each one it's almost like a bit of a story. — I do think that like a story board of interest variety. Maybe one's actually sat on a horse with a sword in the air. Maybe one like that with the flag — with the flag. — The other thing that I thought was really cool, the makers of the armor in this period, they would stamp each plate with a makaker mark like this just to show who was making the armor. Usually, it's some stylized form of like medieval lettering, which could be kind of cool. — We could do some sort of crest in that part that maybe has like a bit of your logo, bit of our logo, or whether we keep that more to her. I'm thinking all tonal. I think this sort of different silvers and grays, but then I guess if we were going to use anything else, we'd use gold. Like the gold does work really nicely for like suns and halos and like — While I was there, Alice brought out this remnant that they had from a previous commission that I believe was possibly handbags. It was this super heavyweight Duchess satin fused to a heavy cotton or linen backing with a glue. I took home a little square of it to do some tests. It was really stiff. We weren't 100% sure it was going to work for a garment. It took a bit of getting used to, but with enough hand strength and a lot of heat and pressing, I got it to work actually really beautifully. And not only does this save

### Segment 2 (05:00 - 10:00) [5:00]

us on materials, it's also going to be awesome to get to use up some remnant material that otherwise would have gone to waste. So, I think the layering is where I'm really trying to stay true to the history and that the base layer, the skin layer, is kind of going to be a combination of chain mail, like the male that you might wear in the softer parts under the plate mail, but I'm going to construct that garment in the shape of a medieval smok. Granted, these would have been made out of linen, but I'm going to combine these two garments into a chain mail like smok. I think it's a really strong, stable foundation garment that again I'm going to take a couple of artistic liberties with, but the actual foundation of it is going to stick to the history. The smok would be embroidered with some texture that might evoke chain mail to sort of contrast a smoother polished armor effect of the actual plate. My prototyping from earlier gave me a pretty good idea of what my shapes are going to look like. One thing that I was finding pretty consistent throughout armor of this period is this sort of segmented chest plate that has these peaks at the front. So how they like come up like that and this one's got this scalloped situation. This guy's got a lot of scalloping situation. This is what I'm trying to echo here with this. I'll do something with the plates on the shoulders to mimic the puldrons that again would have been a thing in this period. They call each of these strips of plates, whether they're on the hip or the shoulder, they call them lames. What I found really interesting looking at armor from this period is that a lot of Jon of Arc interpretations that have come out through modern designers and modern art and modern fashion, the layering of the plates is always going downward. The plates underlap each other. But all of the examples of armor I have seen from the 15th century, the plates are layered upwards. And when you think about it, like it's kind of more practical that way. When you raise your shoulder, the plates fold upwards instead of having to tuck themselves under themselves. Again, like I don't have much experience wearing armor, so I can't say for certain, but like this is the evidence that I'm seeing historically. I'm sure there was a reason why they were doing it this way. So anyway, that is something that I'm going to play with on this particular design. Finally, we have these tacets, these little leg plates that are hinged to the bottom to the last final lame on the hip. There are two of these in the front and back. These are present on armor of this period. The whole situation where you have the like upside down U curve around the crotch, that's very much a later period thing, a 17th century, late 16th century type thing. From what I'm seeing, the early 15th century when Joan is sort of at her peak doing her thing in 1428, 29,30, there does seem to be a significant shape and a silhouette shift in the mid 15th century. more doing the rows of the lames with tacets hooked onto the bottom here. I mean, I guess they could be really short, but mine are quite long coming down to like mid thigh. So, these tacets down here, this is like a perfect opportunity, a blank slate, if you will, to put some decorations, an extreme embroidery moment that hand and lock, I feel like, can really showcase themselves. And so I've done sort of a a vague mockup of Joan's crest here with the sword and the crown. Just synthesizing some ideas here, taking from what history might hypothesize was going on here. I just need to do a little bit of trueing up to make sure all the plates match up and there aren't any weird gaps anywhere. The other thing that I thought would be really cool to play with is to incorporate some actual plate mail. Granted, we're not making a full suit of armor here, but I thought it would just kind of be cool to pull in that craft. I think we could have two little leg slits and then from either side are two fully plate mailed legs and of course pointy sabatons. Not to the extent of like the full Timothy Shalam, if you will. Has anyone seen that meme? Please tell me you've seen that meme. Danny, can you put that meme on screen? A little bit of fierceness, if you will. done. It's done. — Then once all 26 pattern pieces are drafted onto paper, I can mark out everything on the fabrics so that the embroiderers know where to work. However, upon unrolling the fabric, I wasn't wholly confident that we would have enough, especially because many of these pieces are doubled or even quadrupled in the case of the tacets. But after 3 hours of playing pattern chicken, I was in fact the victor. We had just barely enough. The armor pieces are now ready for embroidery. And I wanted to run these over to hand and lock ASAP since this hand embroidery is going to be the time-consuming part. Of course, this is an absolute ton of

### Segment 3 (10:00 - 15:00) [10:00]

embroidery work because all these plates could have detailing. There's so much we could do here. This design admittedly is going to be a little bit pie in the sky. I'm going to do like lots of ideas, lots of embroidery, and I'm just going to see how much Hand and Lock feel like taking on. — It looks almost like a blueprint, doesn't it? Like a plane or something. — Much to my surprise, Hand and Lock took a look at this sketch. They got very excited about the ideas. They had plenty of fantastic ideas of their own. — These were just different options to try and give the appearance of chain mail. — But much to my surprise, they wanted to do it all. the chain mail smock texture. They had all sorts of ideas of etching and full panel scenes from Joan's life that they want to incorporate into the plate mail. So basically all of the ideas, my entire pie in the sky plan here, they want to do it all, which is thrilling. And also on behalf of them, I'm a little bit terrified. So anyway, we have a lot of work to do. Ah, I missed. — I missed the tape. — I'm now going to draft up the underdress. All of these pattern pieces are essentially lifted straight from history. This fundamental sort of smok shift shmese design. Honestly, it doesn't change very much between the centuries, between the genders. All I really need is the body piece, which I'm cutting all in one, front and back with no shoulder seam, gores on either side to add some skirt flare. Two sleeves and two gussets. So, four pattern pieces in total. I'm going to make it out of an organza. And of course, it's going to be covered in this chain mail- like embroidery. just really sort of embraced the combination of the soft and the wispy and the diiaaphinous and the sort of ethereal mythology that Joan has become over the years along with the rigidity and the strength that is inherently arming wear. One more trip over to hand and lock with the smok pattern and to take a look at some final samples that have come in. In terms of the ones that we liked the best, we really like this texture because we felt that it feels like quite armory. — We do also really like this detail. — Yeah. This looks like the rivets. — Which is so cool. — Yeah. We were thinking to do kind of like a combination between those two. — Yeah. — This sort of textured bullion but still having that line down the center with these fangles. — And then with the chain mail, we did another test in like a running stitch. It's now much softer. So, yeah, let me know what you think in terms of the feel and if you think that's going to be fluid enough. — It feels quite crispy. — Whereas, I think with a rayon thread, if we're looking for more of just like a general texture, the rayon thread will still have a shine. It will just not have the tendency to kind of get caught up in the way that it can with metallic. — Okay. Yeah. — Yeah. I mean, the good thing about this is because it's a single color and because it's kind of like a connected pattern, it's a fairly straightforward machine embroidery. Obviously, it will take time, but once we've got the pattern and the color down, then it should be fairly easy, — right? Oh, so exciting. — Obviously, this will do a couple more tests in a few different colors and then maybe when we've done all of that, we can have a look at like specific areas where we might want to add the flirtily and maybe on the faces. Yeah. — Yeah. I think there's still some amendments that we're probably going to make to these ones. Um, so I can send that back across as soon as they're done. — With the specific design stuff, I'm sort of inclined to let you do your own artistic thing. You know, it will be cool for me to see it and just be like, oo, — okay, great. — All right. Let's go. Go team. — And now we wait. Hand and Lock are going to spend the next few weeks hand embroidering the armor plates and running the long shmese pieces through the machine. And me, I'm going to get on with other projects in the meanwhile, but there will be loads more to do once these pieces start coming back into our workshop. So, if you're not already, hit that subscribe button if you wish YouTube to notify you when we put out the construction phase. If you want to catch up on some of my past big project builds, there will be a playlist popping up on screen for you to peruse in the meanwhile. And of course, don't forget to check out June's Journey link in the description box below. See you soon.

### Segment 4 (15:00 - 15:00) [15:00]

These are all helms. Why are there so many helms? Oh, that's a good one. Many helms. Okay, here we go. Oh, these are still helms, bro. This whole book is just helms.