Gentle colour Renaissance dress will be perfect for a period photosession, ball or wedding. It was designed according to the 1500s - 1520s Italian fashion. This kind of design with puffy sleeves and low decollete is often represented on Bronzino's paintings. The combination of shady rose and deep bottle green shades is quite fashionable for the Renaissance period in Italian fashion. The dress closes with lacing on both sides. Please, be aware, that the 'chemise' elements you see on decollete line are 'false'. For purchasing the full length batiste chemise, please, choose the appropriate option. Costume copy of different materials and different colours is available

MAESTRO DAGLI OCCHI SPALANCATI "Visitazione, Natività del Battista, Martirio dei SS. Pietro e Paolo" Tempera su tavola, 1470 c. prov. Monastero di S. Antonio in Polesine, Ferrara coll. Pinacoteca Nazionale di Ferrara (inv. 328)

E: Quasi vero! The old stage costumes Today I'll tell you about another outfit from the show ,, Quasi vero! The old stage costumes ''... Exhibition reconstruction of costumes from the period from the fourth to the twentieth century, we had the great pleasure to see. Costumes realized by Studio costumes Academy of Fine Arts in Bari. Exhibition organized as part of the sixteenth edition of the Week of the Italian Language in the World and organized by the Department of Italian at the University of Szczecin and the Foundation of Nikolaos of Bari. in cooperation with the Castle of the Pomeranian Dukes in Szczecin and the Academy of Fine Arts in Bari. Today's costume are: P: Quasi vero! Dawne kostiumy sceniczne Dzisiaj Ci opowiem o kolejnym stroju z wystawy ,, Quasi vero! Dawne kostiumy sceniczne''. Wystawa rekonstrukcji strojów z okresu od IV do XX wieku, którą miałam ogromną przyjemność obejrzeć. Stroje zrealizowane przez Pracownię kostiumograficzną Akademii Sztuk Pięknych w Bari. Wystawa przygotowana w ramach XVI edycji Tygodnia Języka Włoskiego na Świecie oraz zorganizowana przez Katedrę Italianistyki Uniwersytetu Szczecińskiego oraz Fundację Nikolaos z Bari. we współpracy z Zamkiem Książąt Pomorskich w Szczecinie i Akademią Sztuk Pięknych w Bari. Dzisiejszy kostium to: Dress for Bona Sforza, queen of Polish and Princess Bari, the first twenty years of the sixteenth century. Dress with gold satin with painted motifs palm trees, with wide sleeves style French lined with dark blue silk. White linen shirt. Costume reconstructed as described Passero with wedding adoption held in Naples in 1517, when Bona Sforza married by proxy of King Sigismund I the Old. Strój dla Bony Sforzy, królowej Polski i księżnej Bari, pierwsze dwudziestolecie XVI wieku. Suknia ze złotej satyny z namalowanymi motywami palmy, z szerokimi rękawami na styl francuski podszyta ciemno błękitnym jedwabiem. Koszula płócienna biała. Strój zrekonstruowany według opisu Passero ze ślubnego przyjęcia, które odbyło się w Neapolu w 1517 roku, kiedy Bona Sforza poślubiła per procura (tzn. przez pełnomocnika) króla Zygmunta I Starego.

Having fallen in love with a green kersey wool I ordered on impulse from Burnley & Trowbridge, I decided it simply had to be something 16th century. I really enjoy the idea of having a variable…

So, today we come to the last leg of our look at women's clothing in the early 15th century, as depicted in the handful of manuscripts I've been studying. In part one we looked at the two dress layers all women shared, in part two we looked at the fashionable dress layers for the three lower groups of women on the social class ladder. Today, we'll look at fashionable dress for the noble and royal classes. Source Nobles & Royals The women who make up the top two class groups are sometimes difficult to differentiate from each other. It doesn't appear to have been the fashion for royals in this period to wear crowns or coronets except for ceremonial purposes, so when they are shown in manuscripts (which isn't all that often), it's really only the context of their appearance that allows us to distinguish them. One of the best examples is the scene below from The Queen's Book (British Library MS Harley 4431) showing Queen Isabeau of France receiving the book from the author, Christine de Pisan, among her daughters, and attendants. Source The other interesting thing about the nobles is that there can be a fairly good amount of fantasy or general uniqueness in the depictions of this group across the board, so it's important to take into consideration the contexts of the manuscripts within which they appear. In two stylistically different copies of The Comedies of Terence, noblewomen are depicted in a way that suggests an almost comical sumptuousness. And that makes sense when you consider the source and that the characters are peripheral to the townsman/bourgeois context. That said, the gowns are still mostly categorical. For example, below are two examples of a noblewoman wearing a fitted dress that falls into the long-streamer sleeve category, but with dagging, which is not typical. Source | Source Possibly more realistic depictions appear in the manuscripts in which noble women (or women of note who may have been regarded as noble) are the general subject. The biggest problem there is that women of ancient times, or women from mythology or biblical stories dominate these types of manuscripts. For my purposes, I've weeded out depictions in which the female subject was obviously allegorical in nature (nondescript robes and halos being the biggest giveaways), leaving me with a selection of depictions of women at the top that are either shown with a crown or without. While it may not reflect reality, there are definite categories that appear over and over across different manuscripts with these two groups. Combined with what we see in the rare images like that of Queen Isabeau above, we can be reasonably sure that, allegorical or not, these are the ways that women of nobility were seen to be ideally dressed. Source In addition to the fitted gown, with either long sleeves or with long streamer sleeves, noble women introduce another category of fitted gown- the angel wing. Long, open sleeves don't appear until you reach this level on your way up the social strata, primarily because of the cost of fabric. It takes a lot of extra yardage to create sleeves of that volume compared to the tightly-fitted long sleeve seen across the classes. It is almost always worn with a bourrelet (padded roll) headdress or crown, or less commonly, a horned veil. Source It is also in this class that we see the pinnacle of 15th century fashion- the houppelande. At this time, the fashion, which is only a decade or so old, is pretty exclusively about extravagance. Where the angel wing fitted gown stops, the high-collared, full-bodied, angel wing houppelande picks up. This gown is depicted as a fur lined garment belted high, just under the bust, making the hips look full. The collar is fashioned in several ways. Buttoned up, it frames the woman's chin. Unbuttoned, the collar flairs open slightly, creating a deep, narrow V. In some cases, we see collars worn flat against the shoulders. The affect of this look is that the collar was so sumptuously high, it can't stay up on its own. Source Symbolic Royals When the depicted woman is a royal of fame, usually crowned royals of the past, she may be shown wearing a sideless surcoat over a long sleeve fitted gown. The medieval fashion historian Robin Netherton has theorized that by this point in time, this iconic garment is only meant to be seen as symbolic and was used to designate a monarch. This sort of visual tagging exists in other ways throughout the period (and throughout the manuscripts I'm currently using), but the sideless surcoat sort of takes the cake. There are, however, lots of beautiful examples of this garment, and it's worth counting it in with a caveat. Source So that completes the quick tour through early 15th century French women's clothing. Please keep an eye out for much more on this topic and the full findings of my research later this spring.

I recently became highly obsessed with the TV show The Borgias, so when it came time for me to make my monthly Thrifty Thursday purchase all I could think about were Italian Renaissance dresses. Just look at these dresses! They may not be 100% historically accurate, but it is impossible to deny that they are pieces of art. Can you see why I was inspired? I got one white sheet, a pillow case that I stole the trim from, an opulent bed skirt, four pieces of light brown fabric, and a pearl necklace from Goodwill. In total it came to $16. I started by doing some further research. I know quite a bit about English Renaissance dresses, but Italian? Stumped. The Borgias takes place in 1492, all my costuming books skip this period and move straight from Medieval into the 16th century. Even Janet Arnold's AMAZING books had nothing on this period. I wept and turned to the internet, which was absolutely zero help. Forums and forums of people arguing whether ladies wore corsets or not...where they laced the dresses, what fabric they used. Almost no one agreed with each other. So I decided to just make up my own mind based on paintings- and if it wasn't historically accurate...well I would learn for the next time. I pinned a bunch of paintings to my Pinterest board, but these were a few of my favorites. This dress is a dress from a bit later in the Renaissance, but it showed the lacing of the dress up the side which was supremely helpful. I decided to make a really weird corset that would simply give me the correct shape I needed, rather than being historically accurate. Why? Because I could find NO visual examples of an early Renaissance corset. It didn't make sense to me that the same corset they use for later in the period, when the waist drops, would be used in this period when the waist is so high. So I made this...thing. Half Tudor, half Regency...it is 100% inaccurate. But hey, it gave me the right shape. I made a chemise out of the white sheet and added gold trim on the neckline. Technically this would have been gold embroidery...but I didn't have time for that. I figured gold trim was a nice compromise. You wish your undies were as awesome as mine! So together- I needed lots of help getting dressed- it was no easy task. The dress tied up the side rather than lace. I tried adding hooks for lacing, but couldn't pull the bodice closed enough. So I tied it instead. The sleeves all tied on as well. My hair got SUPER messy during this dressing period. Note- do your hair AFTER you get dressed. Not before. Then I dragged my mother out into our park to take some pictures in the few spots that actually had green grass still. I made a gold cap for my hair, and added my hair extensions. While I have quite long, thick hair, I don't have THAT much hair. Oops...my sleeve broke. Shh. This project was fun. So much fun that I want to make several more dresses and just wear these all the time. Going to the grocery store, the library, to work- Italian Renaissance style. Thanks for reading! If you have any comments, suggestions for the next Thrifty Thursday, or information on ways I could be more historically accurate next time I make something from this period- please leave me a comment!

Explore spookykitten's 1719 photos on Flickr!

A lady would not go out in just her gamurra and there were many options of over dress for her to wear. A cioppa is one of these options. You can see the glossary page for Cioppa here. There were m…

An upper class early 16th century German Unterrock (kirtle) with a brocade hem, to support a noble class gown. I needed a new underdress to provide support and shaping under my planned pink brocade gown. I had decided to make…

Source Source Probably a waistcoat worn over a petticoat. Source Although the garment has been finished for over a week, I've been putting off writing this post because there is SO much to say! Support garments in the 16th (and early 17th; to the 1620s for my purposes) century are a very complex, tricky subject. Part of the problem is that there are so few extant garments, compared to the 18th century for example, to work from. Elizabethans also weren't always clear in some of their terminology, much to the frustration of clothing historians! One thing that is clear--or I should say, has become clear in the past few years--is that most women in the Elizabethan period probably did not wear a separate boned garment under their gowns, at least until the very end of the century (and then by mainly fashionable women--well get into that later!). I know, I know. If you made an outfit for a Renaissance faire in the past 20... 30 years, you probably made a boned corset for your outfit. I did! But current research now suggests that this probably was not the most likely garment for women to be wearing in this period. It's probably more common for a woman to wear a petticoat and/or kirtle consisting of a bodice attached to a skirt (we'll get into petticoat vs. kirtle later as well!). The bodice--often called "upperbodies" or "bodies" in period document--most likely did not rely on boning for support and shape in the way that boning is used later in the 17th century and on into the 18th and 19th centuries. Instead, layers of padstitched canvas and buckram and a proper fit could provide support for the female figure. It's certainly possible that other forms of stiffening were being used, perhaps bents (dried sea grass), pasteboard, or cording, since we see them in other applications like whalebone and bents in the large "farthingale" sleeves of the 1590s. Today we associate "petticoat" with just a skirt, but for Elizabethan women it most likely had an attached bodice. In the written record, authors specifically mention when petticoats are "without bodies" instead of the other way around. Even though the bodies and skirt were attached, wardrobe accounts and tailors bills often talk about making the pieces separately, or enlarging or making new bodies as a woman's body changed. Bodies and skirt did not have to be of the same fabric. For example, clothing was provided for the poor of Ipswich, and this entry mentions canvas for the bodies of petticoats: "More, payde for ii yardes iii qtrs. of canves for iii upper bodies for iii of the grete wenches' petticottes and for the strengthening of ther wastcottes, at xd. per yarde iis iiid" The woman in the middle of the painting with her back to us wear a petticoat with a brown bodice and red skirt. Red was an extremely common color for petticoats (but that's a discussion for another day!). Kirtles could also feature expensive fabric for the parts that would show and cheaper fabric for those that would not. Now let's discuss petticoat vs. kirtle. They both seem to consist of a bodice and skirt. The bodices may or may not have been the support layer. I mean to say that if you had a supportive petticoat, your kirtle didn't need to be supportive as well--or vice versa. If your kirtle bodies are supportive, your petticoat doesn't need a supportive bodice. The Tudor Tailor by Jane Malcolm-Davies and Ninya Mikhaila puts the issue of petticoat vs. kirtle better than I ever could, so I will quote from them directly: "A woman's outer clothes consisted of various combinations of petticoat, kirtle, gown, and jacket. Which of these she wore, and how many of them at one time, depended on her rank, the weather, the occasion, and the gradual evolution of fahsion through the century." (Mikhaila and Malcom-Davies, pg. 20) "The garment worn by all women over the smock consisted of a fitted bodice with attached skirt. In the early Tudor period, this was called a kirtle. By the 1550s, the word 'petticoat' was being used to describe this item of clohthing and 'kirtle' referred to a garment that was worn over, or instead of, a petticoat by wealthier, more fashionable women."(Mikhaila and Malcolm-Davies, pg 64) The last page of Kimiko's article quotes an online discussion with Ninya Mikhaila further elaborating the evolution of petticoat and kirtle terminology. So what about the Elizabeth I "effigy" bodies, or the Pzalgrafin bodies in Patterns of Fashion? Yes, boned support garments did exist. But you'll notice that both of those garments come from the very end of the 16th century and beginning of the 17th century, and they belonged to royal women. The Tudor Tailor notes that in their survey of Essex wills, only four pairs of bodies are mentioned in the last quarter of the 16th century, almost all of them belonging to women of the upper classes (Mikhaila and Malcolm-Davies, pg. 23). At that time period, boned bodies are becoming fashionable among the elite and working their way down through society. Those bodies could be tied or "pointed" to a skirt-only petticoat (also becoming more fashionable in this period). If you zoom in on the portrait of Elizabeth Vernon en dishabille, you'll be able to make out the pretty matching pink points tying her bodies to her gorgeous petticoat. It's a bit tricky because she has a sheer apron tied around her waist, but they're there! I did this on my silk bodies and scarlet broadcloth petticoat, which will be the foundation garments for the silk 1610s gown I have fabric for... There are paintings of women in the early 17th century, just about all Flemish, working in kitchens with bodies that clearly have stitching lines to possibly hold some kind of boning. It's been pointed out in discussions in the Elizabethan Costuming group on Facebook (a really excellent community, by the way! Lots of very knowledgeable and kind folks) that these are often allegorical paintings. And many of the women are also wearing pretty fashionable neckwear which doesn't seem terribly practical for doing kitchen work! I do want to acknowledge those images, although I don't feel they are the norm for common women of the period. That is of course not to say that lower and middle class women couldn't have had such a garment, but it seems less likely than their having a petticoat or kirtle. Other lovely folks have written some great stuff on this subject, so I will post links to their work at this time: http://www.elizabethancostume.net/petticoat.html https://www.facebook.com/media/set/?set=a.953475971345501.1073741850.697208360305598&type=3 If you want more primary accounts describing petticoats, search "petticoat bodies" in the killer Elizabethan wardrobe account database! And please check out the amazing people at The Tudor Tailor for books, patterns, supplies, information, and inspiration! Petticoats didn't disappear with the new century, though. They were definitely worn into the first few decades 17th century by common women. The women who came to Jamestown in Virginia in 1621 were provided some clothing by the Virginia Company, including one petticoat, one waistcoat, and two smocks. There is no mention of a separate pair of bodies, though, so it's my belief that they were given typical petticoats with attached supportive upperbodies. So of course I had to have one! This will serve as my supportive layer for my forthcoming 1560s ensemble, and for a set of common woman's clothing for my interpretive work at early 17th century Virignia sites like Henricus and Jamestown. I have a 17th century event coming up next month, and I hope to have a low-neck smock, partlet, and waistcoat finished for that! Easy, right? ;-) My petticoat is made of wool and has two layers of heavyweight, coarse linen padstitched together for the bodies, then lined in linen--no boning! Skirt was squeezed out of two yards of red wool flannel (yay piecing!) and bound in black wool tape. Eyelets and skirt opening. The skirt top edge is folded over and whipped to the bottom edge of the bodies, which have been completely finished by stitching the lining in. More eyelets :) A bit of the piecing, and the wool tape binding. I purposefully chose to do all of the stitching in unbleached linen thread. A shot of the "guts". The seam allowance is stitched down with a herringbone stitch. I only did padstitching on the fronts, and then only on half of each side. I could have done more, but... meh!

Explore Andrea Carloni (Rimini)'s 46385 photos on Flickr!

Selling Points 1. Style: Renaissance Medieval 2. What's in the box: Dress Specifications Gender: Women's, Types: Masquerade, Prom Dress, Characters: Outlander, Material: Polyester, Style: Vintage Dress, Cocktail Dress, Renaissance, Medieval, Sleeve Length: Long Sleeve, Look After Me: Machine wash, Wet and Dry Cleaning, Washable, Sleeve Length (cm): S:64;M:65;L:66;XL:67;XXL:68;3XL:69;4XL:70;5XL:71, Holiday: Masquerade, Carnival, Halloween, Occasion: Party / Evening, Festival, Age Group: Adults', What's in the box: Dress, Photos Size Chart Inches Centimeters Size Clothing Length Bust Sleeve Length S 137 84 64 M 138 88 65 L 139 92 66 XL 140 96 67 XXL 141 100 68 3XL 142 104 69 4XL 143 108 70 5XL 144 112 71 Before Purchasing: Our size chart may be a little bit different from your local standard. You can find measuring guide and size chart in product details. Please follow the guide and chart to determine the best fitting size.

I recently became highly obsessed with the TV show The Borgias, so when it came time for me to make my monthly Thrifty Thursday purchase all I could think about were Italian Renaissance dresses. Just look at these dresses! They may not be 100% historically accurate, but it is impossible to deny that they are pieces of art. Can you see why I was inspired? I got one white sheet, a pillow case that I stole the trim from, an opulent bed skirt, four pieces of light brown fabric, and a pearl necklace from Goodwill. In total it came to $16. I started by doing some further research. I know quite a bit about English Renaissance dresses, but Italian? Stumped. The Borgias takes place in 1492, all my costuming books skip this period and move straight from Medieval into the 16th century. Even Janet Arnold's AMAZING books had nothing on this period. I wept and turned to the internet, which was absolutely zero help. Forums and forums of people arguing whether ladies wore corsets or not...where they laced the dresses, what fabric they used. Almost no one agreed with each other. So I decided to just make up my own mind based on paintings- and if it wasn't historically accurate...well I would learn for the next time. I pinned a bunch of paintings to my Pinterest board, but these were a few of my favorites. This dress is a dress from a bit later in the Renaissance, but it showed the lacing of the dress up the side which was supremely helpful. I decided to make a really weird corset that would simply give me the correct shape I needed, rather than being historically accurate. Why? Because I could find NO visual examples of an early Renaissance corset. It didn't make sense to me that the same corset they use for later in the period, when the waist drops, would be used in this period when the waist is so high. So I made this...thing. Half Tudor, half Regency...it is 100% inaccurate. But hey, it gave me the right shape. I made a chemise out of the white sheet and added gold trim on the neckline. Technically this would have been gold embroidery...but I didn't have time for that. I figured gold trim was a nice compromise. You wish your undies were as awesome as mine! So together- I needed lots of help getting dressed- it was no easy task. The dress tied up the side rather than lace. I tried adding hooks for lacing, but couldn't pull the bodice closed enough. So I tied it instead. The sleeves all tied on as well. My hair got SUPER messy during this dressing period. Note- do your hair AFTER you get dressed. Not before. Then I dragged my mother out into our park to take some pictures in the few spots that actually had green grass still. I made a gold cap for my hair, and added my hair extensions. While I have quite long, thick hair, I don't have THAT much hair. Oops...my sleeve broke. Shh. This project was fun. So much fun that I want to make several more dresses and just wear these all the time. Going to the grocery store, the library, to work- Italian Renaissance style. Thanks for reading! If you have any comments, suggestions for the next Thrifty Thursday, or information on ways I could be more historically accurate next time I make something from this period- please leave me a comment!