Category: Full Entry

Female, Full Entry

1450 CE Female Burgundian Gown 1

deveretallier
Title1450 CE Female Burgundian Gown 1
Entry #GGB2021.067
Alternate Names V neck gown, gown
Year1450
Time range1450-1500
EraLate Medieval
GenderFemale
regionNorthern Europe
Countries/culturesFrance
MakerJehanne Bening
Difficulty3
ConfidenceImage Examples

Intro:

“A” shaped dress with “V” shaped neckline, fitted in the torso and spreading widely, often with train from the waist.  Wide belt at waist.  Worn over fitted kirtle.

Description:

One of the garments that there are many image examples for as this is a time of many surviving artworks.  A style of dress seen in many Flemish paintings that show a common set of features including fitted torso with deeply plunging neckline and collar with contrasting fabric or fur lining. The deep neckline displayed an under placket or partlet or kirtle, some displayed without.  Sleeves often shown with lined cuffs that are rolled back on the sleeve.  Most show no seam at waist or a wide belt covering any such seam.  More examples of images showing the waist seam appear closer to 1500CE. Many are displayed as being lined

Under layers would commonly include a shift, slip or some form of underdress, covered by a fitted kirtle and then covered by the gown. 

Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate. 

This is a more simple form of the dress and worn on a warmer day.  The under layers are simplified and the dress is not as full. Made out of brocaded cotton fabric with a black velvet collar and the red placket exposed by the neckline.

Inspiration Images

Common Materials

  • Fabrics:
    • Gown –
      • wools,
      • finely woven wools,
      • brocaded or patterned cloths.  Rich textiles,
      • collars featuring velvets and furs. 
      • Fur trim
    • Kirtle –
      • wool
      • linen
    • Underclothes
      • linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • Gown
      • Some cottons
      • linens
      • Linen blends wool blends
      • brocades
      • some poly/cotton upholstery fabrics to achieve the woven in patterns. 
    • Kirtle
      • Linen and linen blends
      • some cottons to lighten the under layers
    • Underclothes
      • Linen
      • Linen blends
      • cottons
  • Ornamentation:

Ensemble Components

  • Under layers – shift/slip or some form of underdress
  • gown. 

  • fitted kirtle

Accessories

  • Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate. 
  • This is the time of the Henin hat that becomes the stereotypical ‘princess’ hat, various low shoes or slippers, pouches or purses.

Source/Links

http://cadieux.mediumaevum.com/burgundian-gown.html

https://adamselindisdress.blog/2014/06/02/how-to-make-a-kirtle-and-a-burgundian-gown/

https://dawnsdressdiary.wordpress.com/2018/01/25/burgundian-v-neck-gown-research/

Version2
date3/2/2021
Source of Period PicThe Whore of Babylon. 1470. Pierpont Morgan MS M.68. Saint Catherine converting the Scholars. Walters Art Museum 37.2487.
Model Jehanne Bening
PhotographerVincent De Vere
  

Female, Full Entry

1450 CE Female Burgundian Gown 2

deveretallier
Title1450 CE Female Burgundian Gown 2
Entry #GGB2021.068
Alternate Names V neck gown, gown
Year1450
Time range1450-1500
EraLate Medieval
GenderFemale
regionNorthern Europe
Countries/culturesFrance
MakerVincent de Vere
Difficulty3
ConfidenceImage Examples

Intro:

“A” shaped dress with “V” shaped neckline, fitted in the torso and spreading widely, often with train from the waist.  Wide belt at waist.  Worn over fitted kirtle.

Additional Images of the completed garment:

Description:

One of the garments that there are many image examples for as this is a time of many surviving artworks.  A style of dress seen in many Flemish paintings that show a common set of features including fitted torso with deeply plunging neckline and collar with contrasting fabric or fur lining. The deep neckline displayed an under placket or partlet or kirtle, some displayed without.  Sleeves often shown with lined cuffs that are rolled back on the sleeve.  Most show no seam at waist or a wide belt covering any such seam.  More examples of images showing the waist seam appear closer to 1500CE. Many are displayed as being lined

Under layers would commonly include a shift, slip or some form of underdress, covered by a fitted kirtle and then covered by the gown. 

Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate. 

This dress is poly cotton blend brocade with cotton velvet collar and cuffs, red linen kirtle, white linen shift. A yellow silk placket covers most of the red kirtle at the plunging neckline

Inspiration Images

Common Materials

  • Fabrics:
    • Gown –
      • wools,
      • finely woven wools,
      • brocaded or patterned cloths.  Rich textiles,
      • collars featuring velvets and furs. 
      • Fur trim
    • Kirtle –
      • wool
      • linen
    • Underclothes
      • linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • Gown
      • Some cottons
      • linens
      • Linen blends wool blends
      • brocades
      • some poly/cotton upholstery fabrics to achieve the woven in patterns. 
    • Kirtle
      • Linen and linen blends
      • some cottons to lighten the under layers
    • Underclothes
      • Linen
      • Linen blends
      • cottons
  • Ornamentation:

Ensemble Components

  • Under layers – shift/slip or some form of underdress
  • gown. 

  • fitted kirtle

Accessories

  • Key accessories include the wide belt often made from fabrics as well as many examples of different styles of hats, many becoming elaborate. 
  • This is the time of the Henin hat that becomes the stereotypical ‘princess’ hat, various low shoes or slippers, pouches or purses.

Source/Links

http://cadieux.mediumaevum.com/burgundian-gown.html

https://adamselindisdress.blog/2014/06/02/how-to-make-a-kirtle-and-a-burgundian-gown/

https://dawnsdressdiary.wordpress.com/2018/01/25/burgundian-v-neck-gown-research/

Version2
date3/2/2021
Source of Period PicThe Whore of Babylon. 1470. Pierpont Morgan MS M.68. Saint Catherine converting the Scholars. Walters Art Museum 37.2487.
ModelKristen Wereszynski
PhotographerVincent De Vere
  

Female, Full Entry

1490 CE German Female Housebook Dress

deveretallier
Title1490 CE German Female Housebook Dress
Entry #GGB2021.071
Alternate Names 
Year1490
Time range1480-1500
EraLate medieval
GenderFemale
regionCentral europe
Countries/culturesGermany
MakerAmira bint Timurhan
Difficulty3
ConfidenceImage Example

Intro:

Dress with front and back pleated section. Most often portrayed in the a book of engravings by the Master of the Housebook.

Description:

This dress is commonly known as a housebook dress because it was frequently portrayed in a book of engravings called the Housebook. It is a dress with pleated inset in both front and back with fall into the fullness of the skirt. The haub is a pleated rectangle of fabric (I use linen) which is wound about the head to produce is shape. The tail of the haub can be tucked back into it, wound around your neck and simply left to hang.

Inspiration Images

Common Materials

  • Fabrics:
    • Gown – wools, finely woven wools, brocaded or patterned cloths.  Rich textiles, collars featuring velvets and furs.  Fur trim
    • Kirtle – wools lined in linen
    • Underclothes – Linen
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • Gown – Some cottons, linens, Linen blends wool blends, brocades, some poly/cotton upholstery fabrics to achieve the woven in patterns. 
    • Kirtle – Linen and linen blends, some cottons to lighten the under layers
    • Underclothes – Linen, linen blends, cottons
  • Ornamentation:

Ensemble Components

  • Haube
  • chemise
  • hosen

  • pointed shoes
  • housebook dress

Accessories

  • thin leather belt
  • mantle (short cloak)
  • schaube (heavy long coat)
  • purse
  • apron

Source/Links

http://myra.hem.nu/costume/images/HousebookMaster/LL%28FiledtKoko1985%29/MH.StCatherine%28LLcat47%29.jpg

http://craftyagatha.com/wp-content/uploads/2011/06/pleat-detail3.png (detail of back pleats) http://employees.oneonta.edu/farberas/arth/Images/ARTH_214images/prints/housebook_aristotle_and_phyllis.jpg

http://myra.hem.nu/costume/Documentation/Documentation.htm

Version2
date3/2/2021
Source of Period Pichttps://commons.wikimedia.org/wiki/File:Durer,_Portrait_of_a_Young_F%C3%BCrleger_with_Her_Hair_Done_Up.jpg
ModelAmira bint Timurhan
PhotographerVincent De Vere
  

Female, Full Entry

1495 CE Venetian (Italian) Gown

deveretallier
Title1495 CE Venetian (Italian) Gown
Entry #GGB2021.072
Alternate Names Italian Gown
Year1495
Time range1495
EraLate medieval/Italian Renaissance
GenderFemale
regionSouthern Europe
Countries/cultures Italy, Venice
MakerKristine nic Tallier and Vincent De Vere
Difficulty3
ConfidenceImages

Intro:

A gown consisting of shift, under dress, over gown and pinned on sleeves based on image from Vittore Carpaccio, 1495: Meeting of the Betrothed Couple

Description:

Basic linen shift base layer

Under dress with decorative front panel of a gold brocaded material

Blue velvet over dress with short sleeves revealing a false later of white linen below

Pinned on red silk sleeves in slits revealing a white linen false sleeve below.

Inspiration Images

Common Materials

  • Fabrics:
  • Ornamentation:

Effective Substitutions

  • Fabrics:
  • Ornamentation:

Ensemble Components

  • Basic linen shift base layer
  • Under dress with decorative front panel of a gold brocaded material

  • Blue velvet over dress with short sleeves revealing a false later of white linen below
  • Pinned on red silk sleeves in slits revealing a white linen false sleeve below.

Accessories

Source/Links

Version2
date3/6/2021
Source of Period PicVenice, Republic of VeniceVittore Carpaccio, 1495: Meeting of the Betrothed Couple
Model 
PhotographerVincent De Vere
  

Full Entry, Male

1300 CE Male Parti colored Linen Cote

deveretallier
Title: 1300 CE Male Parti colored Linen Cote
Entry #: GGB2021.046
Alternate Names: Gown, Frock coat, Tunic, over tunic, 
Year: 1300 CE
Time range: 1100-1400 CE
Era: High medieval
Gender: Male
region: Europe
Countries/cultures: Europe
Maker: Vincent De Vere
Difficulty: 2
Confidence: Image Examples

Intro:

A loose tunic like garment with buttons at the neck and cuffs bloused over a belt. Extending from below the waste to below the knee with long sleeves.

Description:

This garment, or variations of it can be seen in many paintings and illustrations that cross over several regions and time frames.  People from many stations in society use this functional garment, from laborers to merchants and higher. Varying slightly from its beginnings before 1100CE and fading in fashion for all but laborers late in period.

In general it is slightly more tailored tunic with the neck hole held closed by use of buttons rather than the earlier broaches.  Buttons may just close the neck hole, extend part way down the chest or to the bottom of the garment.  The cut is usually full producing a baggy garment belted at the waste and bloused over the belt.  Some assign the length of the garment to station, with average workmen wearing it shorter to the more wealthy merchants wearing a longer garment.

Likely worn with an undershirt and in some cases a simple doublet as well as hosen or trews.

Sometimes underrepresented in the SCA, cotes can easily produce a medieval look with an easily constructed garment.

This example is a light loose parti colored cote with buttons down the whole length

Inspiration Images

Common Materials

  • Fabrics:
    • wool
    • linen
    • brocades
  • Ornamentation:

Effective Substitutions

  • Fabrics:
    • wool blends
    • linen blends
    • cottons
    • lighter weight upholstery fabrics that simulate period patterns
  • Ornamentation:

Ensemble Components

  • Cote
  • under tunic
  • possibly a doublet

  • pants or breis/hosen
  • Could be covered by a surcote

Accessories

  • hat
  • shoes
  • belt
  • pouch

Source/Links

Version: 2
date: 2/25/2021
Source of Period Pic: http://en.wikipedia.org/wiki/File:48-aspetti_di_vita_quotidiana_ubriachezza_Taccuino_Sanitatis_Shoes.jpg
Model:
Photographer: Vincent de Vere
  

Female, Full Entry

1550 Female German Cranach Gown 4

deveretallier
Title: 1550 Female German Cranach Gown 4
Entry #: GGB2021.077
Alternate Names: Kampfrau, Trossfrau, Cranach, Saxony Court gown 
Year: 1550
Time range: 1470-1550
Era: Late medieval
Gender: Female
region: Central europe
Countries/cultures: Germany/Switzerland 
Maker: Katherine de Heilige
Difficulty: 5
Confidence: Image Example

Intro:

The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces.  (May imply someone with a dubious occupation.) 

Description:

Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.

Many of the outer garments were made from wool.  Contrasting color collars and cuffs, bight colors, rich fabrics.  No two looking the same.  Bodice laced shut exposing layers underneath.  Some necklines are very wide creating garments nearly falling off the shoulders.  Long and short sleeves are seen.  Many garments ‘slashed’ to expose layers underneath sleeves

Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts.   Patterned stockings are seen in some illustrations.  “Cow mouth” shoes with a wide toe area.

Note on Names:

Cranach – last name or two painters associated with this style

Tross – the camp followers of the mercenaries

Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries

It’s cool but read up on the culture before deciding to make one.

Inspiration Images

Common Materials

  • Fabrics:
    • Wool main garments in bright colors, vivid patterns, rich fabrics added as trim. 
    • Silks, velvets,
    • A lot of fabric to make the dresses. 
  • Ornamentation:
    • Knitted stockings
    • linen undergarments

Effective Substitutions

  • Fabrics:
    • Some poly/cotton brocades to simulate the rich fabrics. 
    • Wool blends are easier to find. 
    • Linen blends and cottons for undergarments. 
    • Very hard to make these dresses look right without investing in the right materials.
  • Ornamentation:

Ensemble Components

  • Gown – bodice and attached skirt
  • Placket over breasts
  • underdress

  • stockings
  • hats, including large, feathered hats

Accessories

  • Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
  • Belts
  • pouch/purse.

Source/Links

https://historical.chantellegerrard.com/the-kampfrau-or-trossfrau-dress-under-construction/

https://sophie-stitches.weebly.com/german-saxon-cranach-gown.html

Version: 2
date: 3/2/21
Source of Period Pic: Women and Knaves, 1530CE Max Geisberg, Army Train, 1532CE Edhard Schoen
Model: Katherine de Heilige
Photographer: Vincent De Vere
  

Female, Full Entry

1550 Female German Cranach Gown 3

deveretallier
Title: 1550 Female German Cranach Gown 3
Entry #: GGB2021.075
Alternate Names: Kampfrau, Trossfrau, Cranach, Saxony Court gown 
Year: 1550
Time range: 1470-1550
Era: Late medieval
Gender: Female
region: Central europe
Countries/cultures: Germany/Switzerland 
Maker: Katherine de Heilige
Difficulty: 5
Confidence: Image Example

Intro:

The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces.  (May imply someone with a dubious occupation.) 

Description:

Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.

Many of the outer garments were made from wool.  Contrasting color collars and cuffs, bight colors, rich fabrics.  No two looking the same.  Bodice laced shut exposing layers underneath.  Some necklines are very wide creating garments nearly falling off the shoulders.  Long and short sleeves are seen.  Many garments ‘slashed’ to expose layers underneath sleeves

Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts.   Patterned stockings are seen in some illustrations.  “Cow mouth” shoes with a wide toe area.

Note on Names:

Cranach – last name or two painters associated with this style

Tross – the camp followers of the mercenaries

Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries

It’s cool but read up on the culture before deciding to make one.

Inspiration Images

Common Materials

  • Fabrics:
    • Wool main garments in bright colors, vivid patterns, rich fabrics added as trim. 
    • Silks, velvets,
    • A lot of fabric to make the dresses. 
  • Ornamentation:
    • Knitted stockings
    • linen undergarments

Effective Substitutions

  • Fabrics:
    • Some poly/cotton brocades to simulate the rich fabrics. 
    • Wool blends are easier to find. 
    • Linen blends and cottons for undergarments. 
    • Very hard to make these dresses look right without investing in the right materials.
  • Ornamentation:

Ensemble Components

  • Gown – bodice and attached skirt
  • Placket over breasts
  • underdress

  • stockings
  • hats, including large, feathered hats

Accessories

  • Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
  • Belts
  • pouch/purse.

Source/Links

The ‘Kampfrau’ or ‘Trossfrau’ Dress…..under construction.

https://sophie-stitches.weebly.com/german-saxon-cranach-gown.html

Version: 2
date: 3/2/21
Source of Period Pic: Women and Knaves, 1530CE Max Geisberg, Army Train, 1532CE Edhard Schoen
Model: Emma Ness
Photographer: Vincent De Vere
  

Female, Full Entry

1550 Female German Cranach Gown 2

deveretallier
Title: 1550 Female German Cranach Gown 2
Entry #: GGB2021.075
Alternate Names: Kampfrau, Trossfrau, Cranach, Saxony Court gown 
Year: 1550
Time range: 1470-1550
Era: Late medieval
Gender: Female
region: Central europe
Countries/cultures: Germany/Switzerland 
Maker: Appolonia von Bremen
Difficulty: 5
Confidence: Image Example

Intro:

The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces.  (May imply someone with a dubious occupation.) 

Description:

Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.

Many of the outer garments were made from wool.  Contrasting color collars and cuffs, bight colors, rich fabrics.  No two looking the same.  Bodice laced shut exposing layers underneath.  Some necklines are very wide creating garments nearly falling off the shoulders.  Long and short sleeves are seen.  Many garments ‘slashed’ to expose layers underneath sleeves

Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts.   Patterned stockings are seen in some illustrations.  “Cow mouth” shoes with a wide toe area.

Note on Names:

Cranach – last name or two painters associated with this style

Tross – the camp followers of the mercenaries

Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries

It’s cool but read up on the culture before deciding to make one.

Inspiration Images

Common Materials

  • Fabrics:
    • Wool main garments in bright colors, vivid patterns, rich fabrics added as trim. 
    • Silks, velvets,
    • A lot of fabric to make the dresses. 
  • Ornamentation:
    • Knitted stockings
    • linen undergarments

Effective Substitutions

  • Fabrics:
    • Some poly/cotton brocades to simulate the rich fabrics. 
    • Wool blends are easier to find. 
    • Linen blends and cottons for undergarments. 
    • Very hard to make these dresses look right without investing in the right materials.
  • Ornamentation:

Ensemble Components

  • Gown – bodice and attached skirt
  • Placket over breasts
  • underdress

  • stockings
  • hats, including large, feathered hats

Accessories

  • Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
  • Belts
  • pouch/purse.

Source/Links

The ‘Kampfrau’ or ‘Trossfrau’ Dress…..under construction.

https://sophie-stitches.weebly.com/german-saxon-cranach-gown.html

Version: 2
date: 3/2/21
Source of Period Pic: Women and Knaves, 1530CE Max Geisberg, Army Train, 1532CE Edhard Schoen
Model: Bearcat
Photographer: Vincent De Vere
  

Female, Full Entry

1550 Female German Cranach Gown 1

deveretallier
Title: 1550 Female German Cranach Gown 1
Entry #: GGB2021.074
Alternate Names: Kampfrau, Trossfrau, Cranach, Saxony Court gown 
Year: 1550
Time range: 1470-1550
Era: Late medieval
Gender: Female
region: Central europe
Countries/cultures: Germany/Switzerland 
Maker: Bearcat
Difficulty: 5
Confidence: Image Example

Intro:

The very stylized and flamboyant dress style seen in the SCA related to the Saxony (German) and Swiss court gowns worn by the women who followed the Landsknecht mercenary forces.  (May imply someone with a dubious occupation.) 

Description:

Highly ornamented and fanciful takes on the German and Saxony court dresses worn by flamboyant camp followers living off the spoils of war. Landsknechts and their women were not constrained by (or ignored) some of the sumptuary laws governing what people can wear.

Many of the outer garments were made from wool.  Contrasting color collars and cuffs, bight colors, rich fabrics.  No two looking the same.  Bodice laced shut exposing layers underneath.  Some necklines are very wide creating garments nearly falling off the shoulders.  Long and short sleeves are seen.  Many garments ‘slashed’ to expose layers underneath sleeves

Roll pleated skirt which could be hiked up into the belt for ease of movement but also exposing their legs. Many illustrations also show stripes of fabric parallel to the hem line on the skirts.   Patterned stockings are seen in some illustrations.  “Cow mouth” shoes with a wide toe area.

Note on Names:

Cranach – last name or two painters associated with this style

Tross – the camp followers of the mercenaries

Trossfrau/kampfrau – (maybe) a modern name given to the ‘wives’ of the mercenaries

It’s cool but read up on the culture before deciding to make one.

Inspiration Images

Common Materials

  • Fabrics:
    • Wool main garments in bright colors, vivid patterns, rich fabrics added as trim. 
    • Silks, velvets,
    • A lot of fabric to make the dresses. 
  • Ornamentation:
    • Knitted stockings
    • linen undergarments

Effective Substitutions

  • Fabrics:
    • Some poly/cotton brocades to simulate the rich fabrics. 
    • Wool blends are easier to find. 
    • Linen blends and cottons for undergarments. 
    • Very hard to make these dresses look right without investing in the right materials.
  • Ornamentation:

Ensemble Components

  • Gown – bodice and attached skirt
  • Placket over breasts
  • underdress

  • stockings
  • hats, including large, feathered hats

Accessories

  • Retailers catering to reenactors sell the cow mouth shoes and striped stockings in vibrant colors
  • Belts
  • pouch/purse.

Source/Links

The ‘Kampfrau’ or ‘Trossfrau’ Dress…..under construction.

https://sophie-stitches.weebly.com/german-saxon-cranach-gown.html

Version: 2
date: 3/2/21
Source of Period Pic: Women and Knaves, 1530CE Max Geisberg, Army Train, 1532CE Edhard Schoen
Model: Bearcat
Photographer: Vincent De Vere
  

Female, Full Entry

1550 CE English Female Henrician Gown 1

deveretallier
Title1550 CE English Female Henrician Gown 1
Entry #GGB2021.093
Alternate Names Tudor Gown
Year1550
Time range1530-1575 CE
EraHenrician
GenderFemale
regionWestern Europe
Countries/culturesEnglish
MakerJacquette de Brackeleire
Difficulty3
ConfidenceImage Examples

Intro:

Hourglass Shaped Gown with Large Sleeves & Detachable Under Sleeves

Description:

Main Body:

 This style of dress is an evolutionary phase within the 16th century that is influenced by Spanish and German styles.  The silhouette has an hourglass shape: the bodice narrowed to a small waistline and the skirt gradually expanding into an inverted cone shape. Many of these dresses were floor length and without a train. 

To achieve the cone shaped appearance required a supportive layer called the Spanish farthingale which was worn over the chemise. A pair of bodies was worn with the farthingale and over the chemise.  The front of the overdress would have an inverted V opening and the neckline was square with highly decorative jewels or trim on the edging.  The sleeves were narrowed at the shoulder and expanded outward (normally a wide square cuff) that was turned back on itself.  This cuff could be made of fur or brocade.  A detachable, false sleeve was worn underneath and was decorated with panes and slashes through which the chemise could be seen or pulled through.

Inspiration Images

Common Materials

  • Fabrics:
    • Linen, Cotton, Wool, Silk, Brocade, Jacquard, Satin, and Taffeta*
    • *Some of the materials refer to weave structure and would have been made from natural fibers.
  • Additional:
    • Whalebone, cane, or steel for farthingale. Leather for shoes.

Effective Substitutions

  • Fabrics:
    • Some Polyester/cotton blended brocade, jacquard, satin, and taffeta.
    • linen blends and cottons for under layers
  • Additional:
    • Plastic, zip ties, and metal for boning.

Ensemble Components

  • Chemise: undermost garment that is cut full and gathered into a round or square neckline; with full, gathered sleeves and ruffled cuff.
  • Spanish Farthingale: a skirt separate or sewn to petticoat with hoops that gradient in size from the waist to floor.  Constructed with whalebone, cane, or steel hoops.
  • Pair of Bodies: corset or under bodice that has stays (boning) laced together at the front, back, or both.
  • Petticoat: an underskirt that is made with elaborate fabric which can be seen in the front opening of overdress.
  • Overdress/Bodice: narrowed, stiff, and flat with an elongated V that dips at the natural waist.
  • Overdress/Skirt: combined with the bodice; very full and gathered made of similar fabric to overdress bodice.
  • Head wear: Coif, French Hood, Square Hood
  • Shoes:  Fabric or leather square-toe.

Accessories

  • Needlepoint/bobbin lace
  • Embroidery/Blackwork
  • jewels/trim
  • jeweled belt
  • brooches
  • purses suspended from belt
  • squared or feather fans.

Source/Links

Tortora, P. (2010). Survey of Historic Costume. New York: Fairchild Books.

https://adamselindisdress.blog/tag/henrician-dress/

Version2
date3/2/2021
Source of Period Pichttps://www.wga.hu/html_m/h/holbein/hans_y/1535h/02seymou.html
ModelJacquette de Brackeleire
PhotographerAlan Smith of Darkdale