All together now

Just realized it has been a month since I have posted.  The dress is now together.  The skirt was Cartridge pleated and then sewn onto the Bodice. 

The skirt is so nice and full.  Downside, it is heavy.  I have always worn my farthingale, made with rigid tubes, under my skirts, and the ribs did not show.  For some strange reason they show through with this skirt.  I think because the skirt is so heavy it is laying against the ribs and not just flowing out.  So I have come up with a solution, which is most likely not period.  Instead of making a heavy underskirt, say of wool, which would pad the farthingale, and be heavier still, and hotter.  I have bought some light weight quilted material.  It is cotton on both sides with a light padding between.  I am making an over skirt for the farthingale to cover it.  This will hide the ribs, and support the heavy skirt.  I actually saw this done for costumes from a movie site.  The movie was Elizabeth with Cate Blanchette.  I was looking at the back stage pictures, and the skirts of the dresses were all hiked up (probably to protect them) and under what showed were these hugh quilted Skirts.  These were much bigger then I even plan on doing.  Of course that was theatre, but in many respects what I'm doing here is theatre also.  In period, the ruling party, and especially Elizabeth, dressed to the nines to show off.  I read that Elizabeth would come out every day onto the upper Walkway (ran between two of the Palace buildings).  She would parade in one of her beautiful gowns.  All the people could come and watch, wave to her, and at time talk with her.  This was one of the qualities that endured Elizabeth to her people.  It was theatre, for the people.  But I'm wandering off, where I like to go. 

The Partlett is coming along quickly.  It is simple, in a way.  One layer of this wonderful material I found at Loraine fabric, in their Discount loft no less (1.99 a yard).  It is Cotton lawn.  Embroidered on it is a white and pink pattern. 

The edge is done with a Pearl piping.  Can't see that too well.  Then I am going to wire this with Milliner wire so it stand out and frames the neck/face.  I see these standing partlets in Moda a Firenze and like them.  If this works I may make a more elaborate one with ruffles on the edge, not pearls. But I wanted a simple yet eloquent look for this partlet, and feel I will achieve it.  This material will be sheer enough so that the blackwork on the Chemise underneath will show through. 

As to the blackwork neck edging.  That is 90% done.  A couple more sessions with the needle should finish it.  Then I plan on tuning the edges. and then Gathering, or pleating, the linen for the chemise to it.  This will be a very full chemise.  The sleeves especially will be extra full, so I can Pouffe out the material.

After that is the Hem on the dress.   Closing fast now.

Getting close

The Bodice, is now done.

There are part I am so impressed with myself with and parts I would have done differently.  But overall it came out very good. 

The bodice itself was too loose on the sides.  I ended up taking it in about 2 inches, one to each side.  I took in only one of the side seams (there are two) to keep the back in the proper slant.  The Bodice is now tight to my sides, and look a lot better when on. 

The sleeves are very heavy.  They pull the shoulders out wider then I planned the top to be, but looks correct when worn.  The panels on the sleeves are too wide.  The sleeves do not give the "Tight" look I was looking for.  I went over all my measurements, and I believe I gave myself too much EASE in the sleeves for movement.  A lot of this extra space will be taken up by the Chemise.  I plan on making the these sleeves very wide so I can puff them out. 

Bottom of the Bodice has been turned and slipped stitched.  I will hang the skirt from this.  It is a strong edge.  This was important because....

There is a lot of skirt.  I have four full 55 inch wide panels, and side gores, which are a full 55 inch at the bottom.  So the full width of the bottom of the skirt is 330 inches. 
The gore panels I made with a flat top section, they do not come up to a point. This is a divergence from following the more Period style of skirt that is shown in the design of Eleanor of Toledo Burial Gown.  Those gores do no go to the top of the skirt, start lower on the side.  I had some problem with this design.  First this gown was not as full a skirt as the Pisa dress.  I would not get the fullness I was looking for.  Also this was more of a under dress/Kirtle, then the Pisa dress. No sleeves were ever made nor planned on for this dress.  If I was making an underskirt, I would use this cut.  But I felt this was not correct for this dress.  Looking closely at the photo's of the Pisa dress, it shows a fuller in the front skirt then the ET Burial.   Since I was not copying the ET skirt, I made the top of the gores  six inches wide.  This extend down for four inches before I started cutting the flare.  I did this to make Cartridge pleating easier. So maybe I cheated a little, but after turning and gathering you cannot tell.

I turned down two inches, and tucked under the edge.  I then hand sewed with a fine button hole stitch the turned edge to the skirt.  This edge is now done in one inch cartridge pleats.  Again, since this is a front closure bodice, the skirt also needs to be front closing.  I will have to sew on numerous, and I mean many, closures along the front edge of the skirt.  By doing this I will also be able to wear this Skirt open in the front with a nice underskirt with Forepart.  (I'm planning another set of sleeves for this dress, so I could use it as English also.  Maybe a set of Black Velvet sleeves, and matching Forepart  But I dream ...) 

Next to attach all this skirt to the Bodice.

This is the cartridge pleated skirt laying on top of the Bodice for measuring.  IT FITS.  Now for another several hours of hand sewing.

The Chemise.   Looking at several portraits in the Eleanor of Toledo book I noticed that many of the gown show an embroidered neck on the chemise showing under the gown.  OH BOY  I get to do some black work.  But this neck need to be the right size.  So some careful measurement.  Some looking at my pattern books.  And thinking a one inch wide blackwork design would be nice, I came up with ...

Getting the corners right took some counting, but I'm off and running.  Of course I could have picked an easy quick pattern.  But that isn't me.  The pattern is from my new favorite book,  Bands from Hans Hofer's New Formbuch'len, Augsberg 1545  Charted and plotted for reversible stitching by Linn R Skinner.  This band will show nicely in the neck.  The Partlett over will be sheer enough (fingers crossed) so you will see it. 

The partlett will be the last piece.  The fabric is cotton lawn with a nice pink and green flower embroidered on it.  I found this fabric at the Lorraine Mills in E Prov. RI.  It was only 1.99 a yard on their discount floor.  It is fancy yet suttle.  Hopefully it will work.  About now I'm just praying it does  because I'm getting tired of looking for fabric that will work with this dress and NOT be another two month of sewing (which a partlett, a fancy fancy partlett could be.)

A Little Crazy

Work proceeds on the Bodice Top.  There is a lot of detail work that needs doing.  I have finished sewing in the lining.  The Bodice is front closing.  I used hook and eyes for the closure.  I have seen this done in Janet Arnold's books, and also Eleanor of Toledo's Corset was closed using hook and eyes.  To get a tight fit I have used 20 Sets of Hook and Eyes, "A Little Crazy".  They were tough sewing because they had to be very accurate as to spacing and depth.  Too close to edge and bodice has a gap, to far from edge and it overlaps. Also had to be directly across from each other, or they would pull.  They were also very tiny to hold in place. Only had to resew a couple to make me happy.

The front closure is nice and tight now.  I'm a little concerned about actually hooking them when I put the dress on.  It will be a case of patience I'm sure.
I have sewed on 5 lacing ring to each side of the shoulder/sleeve opening.  The sleeves will be tied on with ribbons.  I purchased some very decorative tips for the ribbons, but ended up being short two, so need to get some more from Guendilina.  I went from thinking of doing only 4 per side to doing 5.  After reading some posts on Margo Anderson's chat regarding a person who wanted to attach some sleeves to an existing bodice (small world) most of the good responders advocated 5 rings, the fifth being center shoulder.  That made sense to me. 

I next need to sew in the ribbons to the sleeve tops.  Next the sleeve panes will be held together with buttons.  I had debated between silver button or jewels in mountings.  Since the sleeves width is more then I want now, I am doing the buttons which will not separate the panes as much.  Now to figure out how and where - spacing - to sew the buttons.

The bottom of the sleeves have now yet been cut to length, I was waiting to fit them into the bodice first and see how they fall. 
There was a lot of finish work on the bodice.  All the small details should add up. 

Bodice top

I have piped the top with a lighter rose color.  I debated about doing this.  What I have found is it has actually made the top larger.  The way I have sewed the piping on there is not a full 1/2 seam.  It looks good.  This may be a good thing.  I really did not allow for the Italian chemise I am wearing (to be made) under the dress.  Since this will be gathered and large, this will hopefully take up the little bit of extra width I am experiencing. 

The lining has been added to the bodice.  Next I piped the outer arm holes.  Then the lining was hand sewn in.  
The sleeves have been finished.  The paned sleeve heads are done.  The paned sleeves panes have  been hand sewn to the inside top of the sleeve heads.  There are three seperate pieces for each sleeve.  They fit perfectly to the sleeve heads.  Hurray, I figure and figure, and when it works you go yeahhhhhh.  I will now add ribbons for ties.  I am thinking of four ties on each bodice side. These sleeves are heavy.  I am adding rings to the inside of the bodice arm holes to tie too.  These sleeves can now be removed for hot days.

My mind is now working on the Chemise.  I would really like to smock the top, but since I have never smocked this may be too ambitious for a first attempt.  Simple gathering is what is commonly seen in portraits.  The pattern I have is from the "Realms of Venus" web site.  This style will be easier to fit to the gown. 

The other project will be the Partlet.  For some reason my mind wants to do a pure white lace partlet.  I want to do the Eleanor of Toledo Gold and pearl partlett, but feel it will not go with this gown.  The gown is Rose velvet with silver toned trim.  Will spend the afternoon looking at pictures and going to Lorraine Fabric's and imagining different finds as to how they will look as a partlet.  FUN, YES. 

The skirt needs to be done.  This will be mostly a straight forward project.  Cut panel, add gores, add trim, make Cartridge pleats, add to bodice.  Still a lot of work, by not mind bending.  I have over 8 yards of velvet left, so there will be lots of skirt.  The Bodice is strong, and hanging that much material onto it, I will need to reinforce the lower Edge of bodice some.  Maybe pipe it also.  ????  Will cross that bridge when I get to it. 

Fall start

Fall has arrived, and with it and attempt to get sewing again.

The last several weeks have been spent helping a fellow SCAdian make a dress. She is making a Tudor period dress for her "Hand fasting". She was given 10 yards of a nice cream linen, so that is the base for the dress. Her finance is having an outfit made in purple. They have this purple with gold trim that will be on both outfits. Her dress is loosely based on an Princess Elizabeth dress from when she was 13 yrs old. The turn back sleeves are the same color as the dress, the under dress and under arms are of a beautiful gold fabric, and the dress is trimmed in that Purple/gold trim. Christine sewn before, but never something this hard. She is learning to do hand sewing, whip stitch and button hole stitch. Seeing how the pieces go together she has difficulty. So I do a lot of showing her this, but make sure she does the actual sewing. I have a problem not taking charge and just doing doing it, but that does not teach her. So I make sure it is her work, not mine. I don't think she truly understood the amount of work these dresses require. She has dreams of finishing the dress, making a French Hood to match, and making a Chemise for under it all before 9/22. At this point just getting the dress done on time will be an accomplishment.

The last few rainy days I started back on my dress. I have debated over to Pipe the edges or not. I have looked in Janet Arnold's books and piping seems to have been done in Period. You can see on the edges of many of the existing pieces what looks like edges. In a couple of pieces this was twisted pieces of silk, stitches to edges and slashed. Some look like cords. In Margo Anderson's documentation she clearly states that there is no clear evidence as to whether or not they did or did not use piping. I finally decided to Pipe for looks. I stitched the lining onto the edges with Piping and without the piping. I like the clean look of the edges with Piping. This has added an entire extra layer of sewing to the outfit, but the looks is outstanding. What I have found though is by adding the piping the piece is actually larger, as the piping sticks out. So have to adjust.

 

 

 

The top picture shows two pieces of the panned sleeve, left has piping the right does not.  One of the things I learned was that the piping actually makes the piece wider.  So I have to adjust.  The bottom photo shows the pane sleeve top being assembled,.  This is being made following Margo Anderson's pattern.  In the Pisa dress you cannot see any padding.  But in the dresses in Moda a Frienze you can clearly see padded shoulders.  It could be theorized that the padding has disappeared through time, or never existed in the first place.  I had decided to go with the first argument and this design.  It looks good when held up to the Bodice,  and with all the work/time I've invested, it's a go. 

 

 

 

What I am attempting to create.

I have been asked.  "What are you making"  a legitimate question. 

This is know as the Red Pisa Dress, Early 1560.  It is cut in the style of Eleanor of Toledo.  This dress was not found in the inventory of Eleanor's dresses when she died in 1562.  It is thought to be one of the dresses made for Eleanor's Ladies in Waiting (13 of them) on the occassion of the ceremonial trips to Siena and Rome in 1560.  Most likely they were made in the workshop of her tailor, Mastro Agostino, and mostly he followed the same pattern and techniques as the court gowns he made Eleanor.  The gown had been donated to an Adjacent Convent, San Matteo, where it was on a wooden Statue of the Virgin May.  This gown has now been restored and is on display at the Museo di Plazzo Reale in Pisa.

This is a petticoat.  In Italy the Petticoat would have been worn under the gown.  But in the period of time between 1540 and 1560, when Eleanor was preeminent, the petticoat came out into it's own or out from under the gown.  In the late 1560 it again moved back under the gown. 

http://aneafiles.webs.com/renaissancegallery/extant.html

The above site contain many of the existant Italian pieces, and more detailed information can be found here. 

This dress can also be found in the book  Moda a Firenze 1540 - 1580.  It is often shown with Eleanor's funeral dress, which was able to be partially restored.

What I am doing same/different from this dress.

First I am making a front closing Bodice.  Dispite being an Lady in the SCA, have a dresser is not always available. 

I have worked on the Bodice and Sleeves so far.  I do not have enough trim to effect the double row of trim effect.  But the Trim I am using is wide, and gives a fair representation.  The petticoat is in Rose Cotton Velvet.  The trim is commercial, but accents the Rose color.  The dress is being lined in White Duck.  There is evidence that these dresses had interlining.  Janet Arnold mentions this in her Book "Pattern of Fashion 1560-1620"  A coarse Linen was believed to have been used.  The White duck will provide the strength and form I believe the dress needs. 

The sleeves are paned.  This design is from Margo Anderson's  Patterns.  Looking at the sleeve, and knowing by ability, I decided I could obtain the same look by making these.  I need to modify the top of the Panes now to encoporate the open tabs that can be seen. 

"And so it begins"

The sewing bug has finally bit.  Hot steamy weather has sent me to the cellar sewing room. 

Bodice.  Worked on the fitting some more.  Was not happy with how the shoulder connected.  Ended up attaching the should straps of the white structure material by laying on top and over sewing.  I then used it as a guide and cut out a new velvet bodice piece, and new lining piece with the shoulder straps as part of the front.  ( for clarity purposes.  Bodice is composed of three pieces. 1) Velvet outside.  2) white duck structure  3) pink lining material-should be silk but is poly for price reasons)  After I did all that I discovered I had misjuded the Velvet bodice back, and cut it too small.  Had to recut that piece also.  Waste of velvet.  '
First I worked on the trim for the front and back of the bodice. 

After this was sewn on, I flatlined the structre material, which has the boning channel in the front sewn into it, to the velvet, then I sewed the Bodice together.

The back came out looking to angular, but it follows the straight line of the trim from the shoulders down.  And is equi distant from the side seam,

Next I were the Paned Sleeves.  I made these out of three layers, Velvet, white duck, and pink lining.

see and so it begins take two for the rest of the story.