At the end of the third article in this series, I alluded to the fact that creating your own patterned fabric was a very viable option for getting the right look for Ottoman garb and for avoiding the over-wrought look of patterning in most modern fabrics. This post will show some examples of fabulous work done by other members of the SCA who are exploring these methods of fabric ornamentation.
Weaving your own textiles is quite feasible for someone pursuing other areas of interest in the SCA (such as Norse), but it would be an immense undertaking (financially and in terms of time) to do so for Ottoman fabrics. There are, however, other ways to get that "look" without creating the fabric from scratch. Some of these methods are stenciling, block printing, debossing, applique and gilding. Some of these techniques are period (gilding, debossing and applique) and others just help us to achieve fabrics patterned with appropriately period motifs.
I also have to take a moment to note that any of these methods make it easy to achieve the really BOLD look of period patterning without the superfluous squiggly design elements that tend to show up in our modern printed fabrics. Busy and Bold are not necessarily the same thing, and learning to see the separation in the two is key to recognizing the more period looking fabrics.
Weaving your own textiles is quite feasible for someone pursuing other areas of interest in the SCA (such as Norse), but it would be an immense undertaking (financially and in terms of time) to do so for Ottoman fabrics. There are, however, other ways to get that "look" without creating the fabric from scratch. Some of these methods are stenciling, block printing, debossing, applique and gilding. Some of these techniques are period (gilding, debossing and applique) and others just help us to achieve fabrics patterned with appropriately period motifs.
I also have to take a moment to note that any of these methods make it easy to achieve the really BOLD look of period patterning without the superfluous squiggly design elements that tend to show up in our modern printed fabrics. Busy and Bold are not necessarily the same thing, and learning to see the separation in the two is key to recognizing the more period looking fabrics.
Stenciling
Photo credit: Mery of Ellersly I have stenciled textiles before and find the process to be a relatively simple one that offers excellent results. I have not, however, done fully stenciled fabric for Ottoman costuming so will feature here a very lovely piece by Mery of Ellersly. I think this piece is a great example of the contrast and scale you often see in period Ottoman textiles. Further, it is linen, so the garment will be quite comfortable and likely will get plenty of wear at SCA events. Typical Ottoman motifs such as crescents, cintamani, 'tiger stripes', and stylized tulips can easily create bold forms and make for excellent garb fabric.
Stencil Planet also has several large-scale motifs meant for covering walls that I think would work splendidly for Ottoman garb. Below left are two that I particularly like (I own one of them... just need the time to use it)! This store also does custom orders for those not willing to cut out their own stencils. They are fast and do a great job with this (I have used them before for custom Viking stencils).
Stencil Library is another source of stencils that has a broad selection that includes some that would work well for garb. Below right is just one of the lovely designs they offer.
Sites such as Dharma Trading carries textiles paints suitable for stenciling techniques.
Stencil Planet also has several large-scale motifs meant for covering walls that I think would work splendidly for Ottoman garb. Below left are two that I particularly like (I own one of them... just need the time to use it)! This store also does custom orders for those not willing to cut out their own stencils. They are fast and do a great job with this (I have used them before for custom Viking stencils).
Stencil Library is another source of stencils that has a broad selection that includes some that would work well for garb. Below right is just one of the lovely designs they offer.
Sites such as Dharma Trading carries textiles paints suitable for stenciling techniques.
  |  |
 Image of an extant velvet with the cintamani and tiger stripe pattern. |  Another simple pattern that would lend itself well to the stenciling technique. |
Block Printing
Photo credit: Bushra al Jaserii bint El Nahr Bushra al Jaserii bint El Nahr, Avacal An Tir, has been working with block printing fabrics and has created some very appealing textiles that favor the bold, stylize motifs that are so common in the Ottoman world. A PDF of her tutorial can be found at the link above the images of her fabulous fabrics pictured below!
Blocks for printing can be self-made or purchased online at a variety of places, including Etsy (there are some vendors that will even create custom stamps for you). Look for large scale, bold designs when purchasing a stamp, or ask to have one custom made in a pattern that you know is period.
http://www.etsy.com/shop/BlackleafArt
http://www.etsy.com/shop/charancreations
Sites such as Dharma Trading has information on fabric painting and decoration and can be a great resource for supplies.
Blocks for printing can be self-made or purchased online at a variety of places, including Etsy (there are some vendors that will even create custom stamps for you). Look for large scale, bold designs when purchasing a stamp, or ask to have one custom made in a pattern that you know is period.
http://www.etsy.com/shop/BlackleafArt
http://www.etsy.com/shop/charancreations
Sites such as Dharma Trading has information on fabric painting and decoration and can be a great resource for supplies.
| how_to_block_print_fabric_tutorial.pdf |
 Photo credit: Bushra al Jaserii bint El Nahr |  Photo credit: Bushra al Jaserii bint El Nahr |
 Extant caftan from 1512-1520 that has a pattern that would lend itself well to block printing. |  Caftan from Murat III (1574-1595) that has a stylize tulip motif that might work well in a block print. |
Gilding
Photo credit: Lady Behiye bint Kismet Another option that was used in our time period is gilding of fabric.
Lady Behiye bint Kismet is working out the process to lay silver onto fabric to reproduce a period caftan that is attributed to a daughter of Murad III. I understand the garment will be finished this winter and I quite look forward to seeing the results. You can follow her progress on her blog here:
http://behiyebintkismet.wordpress.com/2013/08/27/silver-gilding-on-silk-gilding/
Lady Behiye bint Kismet is working out the process to lay silver onto fabric to reproduce a period caftan that is attributed to a daughter of Murad III. I understand the garment will be finished this winter and I quite look forward to seeing the results. You can follow her progress on her blog here:
http://behiyebintkismet.wordpress.com/2013/08/27/silver-gilding-on-silk-gilding/
 Late 16th Century coat. |  Late 16th Century coat. |
Appliqué and Debossing
There are two other techniques that I have seen in period examples that I hope to see eventually done in the SCA.
 Creating designs out of one fabric and applying it to another is applique. Fabric can also be used as an inlay where the designs but in the fabric reveal the pattern fabric underneath. This coat is an example of an garment created with this techniques. Note that the design here tends to be large in scale and very stylized, typical of many Ottoman textiles.  Wonderful appliqued coats. Photo used with permission of Duchess Faizah al-Zarqa. |  Debossing is a technique that allows a stamped impression to be preserved in the textile. The fabric itself remains monochromatic but it now has a subtle texture that reveals a pattern. Typically this was done on a satin fabric. This was also sometimes done on the silk facing in imperial caftans as can be seen in the extant caftan above. |
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