Medieval Dress / Gothic Fitted Gown PDF This is a Daisy Viktoria original sewing tutorial. Perfect for your next fantasy or reenactment event! This listing is for a Pattern Drafting and Sewing Tutorial that includes directions to create a medieval gown or kirtle. Because you will be drafting your pattern based on our layout and your measurements, it can fit any size. You can use this to achieve an absolutely perfect fit! In your download you will receive: + 42 Page Tutorial Book (with photographic instructions) + Supplies & Vendors List *We also have a tutorial for medieval fabric buttons, which are a historically accurate and lovely addition to this dress! https://daisyviktoria.com/product/medieval-fabric-buttons-middle-ages-14th-century-costume-larp-sca-pdf-tutorial/ Download link will pop up once you complete your order. You will also receive an email containing your download link. If you do not see the email in your inbox, please check your spam folder.
I've been in love with Medieval fashion ever since 2015, when I made my first 1360s gown. Five years later is time for a new one!
I made my first attempt at a 14th century dress four years ago. I wanted a lightweight dress to wear to summer events, and none of my 16th ...
So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always been so - I did a lot of fitted gothic dresses in the late 1990s. Then it was a fairly unusual style in Sweden. However, soon it became fashionable, to the extent that many people today equate "medieval" and "the period ca 1360-1410". And I've never been good at following fashions within the re-enactment community - when something becomes that fashionable I jsut want to make something else. It also rubs me the wrong way that the reason that many people like the late 14th century fashions is because it conforms to what is considered a sexually attractive body today. I want my historical fashion to be beautiful on its own terms, and a bit odd, if that's what it is :) Of course it may also be that I'm now a bit too fat to pull off that style, but I didn't wear it 25 kilos ago either, so I don't think its that. After all, I make 12th century which is just as tight. Anyway, just because I don't wear it doesn't mean that I can't appreciate the art of the period, and the gowns worn in it. So, here are some of my favourite patterned gothic fitted dresses and tunics: Catalonia, second half of the 14th century From Bellatory Tapestry from Padua ca 1400. From the very nice blog "A Commonplace Book" From an Italian manuscript of the Quest for the Holy Grail and Tristan of Lyonesse, 1380-85. taken from Manuscript Miniatures. "Roman d'Alexandre", 1338-1344. One of the loveliest manuscripts there are. It's at the Bodleian Library in Oxford. Here. More checks, this time italian, mid-14th century. Guillaume de Digulleville, "Le Pèlerinage de la Vie humaine". At Bibliothèque Sainte-Geneviève in Paris. These two are from La Quête du Saint Graal et la Mort d'Arthus, de Gautier Map. 1380-90s. From BNF, here. Martyrdom of Saint Agnes. "Missale ad usum fratrum minorum", c.1385-1390, Latin 757, f. 298r, Bibliothèque nationale de France. The resurrection, 1361-62, Museum of Zaragoza, Spain. Image taken from this blog. St. Catherine of Alexandria. Italian 1360s. From wikimedia The Smithfield Decretals ca 1330s-40s. Can be found digitised on the British Library's web site. Italian Manuscript of "Guiron le Courtois". 1380s. All three images from Manuscript Miniatures. c.1385 St. Stephen Altarpiece Church of Santa Maria de Gualter (Noguera) Musuem of Catalan Art, Barcelona From this site. St. Urusla and her virgin companions. Italian manuscript 1380s-90s I got it from Mistress Mathildes site "By my measure" The death and coronation of St. Clare. German 1360-70. Link to a photo by Lady Petronilla on Flickr.
****THIS IS NOT A PHYSICAL OBJECT!! YOU WILL RECEIVE A PDF TEMPLATE FILE.*** Medieval Fabric Buttons Tutorial This technique is used to create fabric buttons, based on historical examples from the 14th century. These buttons may be used on medieval and fantasy projects, SCA and larp costumes, and even modern fashion designs! This project is perfect for your next reenactment or fantasy project! This listing is for a PDF tutorial with photographic steps. These buttons are accurate to historical clothing research.** Please note this tutorial is for the buttons only. If you need help creating button holes, please seek further guidance. In your download you will receive: + PDF tutorial for medieval fabric buttons ** Daisy Viktoria is also known as Mistress Medb ingen Echuid in the Society For Creative Anachronism. She is a costuming laurel with extensive experience in researching, creating patterns based on both archaeological and pictorial evidence, and recreating historical clothing. Once ordered/downloaded, there are no returns, refunds, or exchanges. ****THIS IS NOT A FINISHED COSTUME! YOU WILL RECEIVE A PDF TUTORIAL. YOU ARE RESPONSIBLE FOR PURCHASING FABRIC AND MATERIALS AND ASSEMBLING YOUR COSTUME.**** *Please see our shop for a tutorial on creating the medieval gown worn with these buttons. https://www.etsy.com/listing/689517837/medieval-dress-kirtle-cotehardie-gothic © Daisy Viktoria 2019 This template is intended for personal use only and may not be used commercially or for profit.This template may not be reprinted/copied for distribution or resale, according to US Copyright law. See more of my accessories tutorials here: https://www.etsy.com/shop/daisyviktoriacouture?section_id=34729304 See the rest of my shop here: https://www.etsy.com/shop/daisyviktoriacouture You will be able to access your download through the confirmation email and also through your completed orders. Etsy's digital download guide: help.etsy.com/hc/en-us/articles/115013328108-Downloading-a-Digital-Item
Thank you Pazzolina!
As I promised earlier, I scanned some of the best of the paper dolls to visually show the styles of the nobility/middle class from around 1200-1450 in Western Europe, especially England and France.…
After several days of searching through 15th century Dutch painters, I think I found what I am looking for. Side-laced No waist-line I was so excited last night when I found the picture. I just sat…
Här är de kläder och saker jag använder för tillfället. Länkarna kommer ta dig till blogginlägg om saken i fråga. Here are the things I'm using at the moment. The links will take you to the blog post about the item in question. My Herjolfsnes dress, D10584 My tasseled damask purse My buttoned London-hood The Amber dress The madder-dyed London hood The blue surcot with detachable tippets The grey, laced kirtle The sleeveless surcote My open hood dyed with walnut shells Woolen hoses Pattens My pilgrims bag A simple shift A rosary made of quartz A simple rosary My self-made dresspins St. Birgittas cap Tabletwoven garters Bathing shift My furlined hood My Herjolfsnes no 66
****THIS IS NOT A PHYSICAL OBJECT!! YOU WILL RECEIVE A PDF TEMPLATE FILE.*** Medieval Fabric Buttons Tutorial This technique is used to create fabric buttons, based on historical examples from the 14th century. These buttons may be used on medieval and fantasy projects, SCA and larp costumes, and even modern fashion designs! This project is perfect for your next reenactment or fantasy project! This listing is for a PDF tutorial with photographic steps. These buttons are accurate to historical clothing research.** Please note this tutorial is for the buttons only. If you need help creating button holes, please seek further guidance. In your download you will receive: + PDF tutorial for medieval fabric buttons ** Daisy Viktoria is also known as Mistress Medb ingen Echuid in the Society For Creative Anachronism. She is a costuming laurel with extensive experience in researching, creating patterns based on both archaeological and pictorial evidence, and recreating historical clothing. Once ordered/downloaded, there are no returns, refunds, or exchanges. ****THIS IS NOT A FINISHED COSTUME! YOU WILL RECEIVE A PDF TUTORIAL. YOU ARE RESPONSIBLE FOR PURCHASING FABRIC AND MATERIALS AND ASSEMBLING YOUR COSTUME.**** *Please see our shop for a tutorial on creating the medieval gown worn with these buttons. https://www.etsy.com/listing/689517837/medieval-dress-kirtle-cotehardie-gothic © Daisy Viktoria 2019 This template is intended for personal use only and may not be used commercially or for profit.This template may not be reprinted/copied for distribution or resale, according to US Copyright law. See more of my accessories tutorials here: https://www.etsy.com/shop/daisyviktoriacouture?section_id=34729304 See the rest of my shop here: https://www.etsy.com/shop/daisyviktoriacouture You will be able to access your download through the confirmation email and also through your completed orders. Etsy's digital download guide: help.etsy.com/hc/en-us/articles/115013328108-Downloading-a-Digital-Item
Medieval Europe fashion of 14th century. Dress made from brocade Fabric and cotton Velvet Fabric. The front part is button fastening. Buttons are hand made from Fabric. Buttonhole embroidered by hand. Hat is decorated with pearls and Veil.
*** As mentioned in a previous post, I decided to start on an outfit inspired by the Dutch folk hero Kenau Simonsdochter Hasselaer. I go into quite a bit of detail on the planning in that earlier entry, so for this one I'm just going to jump right into the diary! Just a quick summing up...Although many images of her exist (almost all dating to significantly after her lifetime) there definitely seems to be an iconic pose and and outfit. The colour pallet also seems to be fairly consistent. So just for fun I decide that I could easily make BOTH the of the above paintings by just switching out a few accessories. So for this outfit I will need: 1) A reddish brown or rust kirtle, hemmed to just above the ankles and trimmed in black guards. 2) A black long-sleeved wool partlet or jacket (again, more on this on the previous research post) 3) Two silk sashes: one in salmon pink and one in red 4) Two stomachers: one black and one red 5) Two pairs of stockings: again, in black and red 6) A small ruff 7) A white linen cap with split "tails" And finally... 8) A BOAT LOAD of weapons. Fun times! Let's start with the kirtle. This is fairly straightforward and is a based on a pattern I've made twice before for both my blue Trevelyon gown and more recently my green kirtle. For that reason I didn't really document the construction process much at all. The foundation layers are made of two layers of 10.5 oz cotton hemp, pad-stitched together and reinforced with boning channels. The bodice is only partially boned, with spring steel along the front lacing edge and some synthetic whalebone through the front in alternating channels. Then the bodice it covered in a rust brown wool and lined with black linen. It's also trimmed with two rows of narrow cotton ribbon to match the first of my inspiration images. For a blow by blow of the construction process please see the write up for my blue gown, which outlines each step in detail. Like the blue gown, the kirtle also has a hidden lacing strip worked with hand bound eyelets, offset for spiral lacing. Next it's time to make the stomachers. Only instead of making two, I decide to make a single stomacher which is reversible: with black linen on one side and red linen on the other. The base is heavy cotton muslin. (Note: I had originally intended to add some boning down the front, but instead of adding support this actually made the stomachers buckle in strange way and so was later abandoned) Then the black and red linen was flat-lined to the base on either side and bound in black cotton ribbon. Then I tried on the bodice and stomacher combo. Looks good! I actually end up only using every other lacing hole. Out of habit I had placed the eyelets pretty close together and the high contrast zigzag was really overpowering the look. Dropping down to ever other hole is a closer match to my inspiration images. Next the skirt is attached, but again you'll have to reference the older posts for construction. Like the blue gown it has an integral underskirt, this time in black linen. After the skirt is attached (and confirmed to be level) the trim is added. This is a wider version of the same cotton ribbon used on the bodice. Now it's time to move onto the accessories! And it's at this point that I go a little nuts... I figure that since I'm already making two versions of this outfit...why not THREE? As hinted above --and covered more expansively in my research post-- I'm still a little dubious that this long sleeved partlet is actually a thing (super technical historical term). There's still a good chance that what the later sources are misinterpreting a long sleeved kirtle (or gown) and and over partlet. So that's what I decide to make. Sort of... I'm not going to add sleeves to kirtle I've just made and I'm sure as heck not making another one! (despite having tons of leftover wool). Instead I'm to try a totally theatrical cheat and add rust sleeves to a black partlet. This will also be a sort of "proof of concept" for the short black jacket. The black partlet is a pattern I've made previously. It's made of black wool and lined in black linen. It's finished on all sides and the edges whipstitched together under the arms. For the whole process (with photos at each stage) please see the post for my brown linen kirtle. Though it's hard to see, the partlet is also trimmed in narrow black cotton tape. (What can I say? I'm a sucker for black on black trim). With the partlet finished it's time to add the sleeves. These will also be finished on all edges and whip-stitched to the armscye. Now, apologies in advance, because I really didn't take many photos of this next stage (probably because I wasn't entirely convinced it was going to work) but I'll walk through what I have... First, while making up the lining, a strip of black wool is zigzagged stitched to the top of the sleeve head. This will add more oomph to pleats later. Next the sleeve is made up, lined and turned so that all edges are finished. Again, I don't have any photos of this, but it's the same approach as by blue gown, so imagine the below photo, but...you know...brown. Then a row of stitches are run along the sleeve head. These will be pulled to form cartridge pleats. The sleeve is then pinned into the armscye of the partlet and whipstitched in. And that's it! Weird fake partlet thing complete. Like all my other partlets this one doesn't have any front closures and will ultimately be pinned closed . It's also at this point that I decide to whip up another stomacher in matching rust wool just for fun... Now it's time to move into the short black jacket. Originally I debated constructing it more like a short doublet with a separate collar, but as it's a highly conjectural garment anyway I decide to just repeat the process above (but with some minor tweaks). Oddly enough, this second long-sleeved partlet I did document a little more fully. First, the front shape a little different. I wanted more overlap along the center front and so the angle of the curve is reversed. It's also longer in the sides that a regular partlet. I also reenforced the front edge with 1" worsted wool tape (which is stitched to the black wool on the wrong side). This will later be turned under to form the front seam allowance. I also ran a narrower 1/2" along what will become the seam allowance of the collar...again to give it a little more support. Then the partlet is joined at the shoulder seams in both the black wool outer fabric and linen lining. The two are then sewn together (right side facing) on all edges, except for the front and under arms. The seams allowance are clipped, pressed and the two pieces flipped. There is now a finished edge along the bottoms, arms, and collar. Next, the front 1" is folded under and stitched together. This is repeated on the underarms (but with only 1/2" turned) Then the finished underarm seams are whipstitched together (trying to catch as much of the lining and as little of the top fabric as possible) Then the sleeves made up in the same black wool and linen lining. They are also finished on all sides and row of narrow cartridge pleats worked into the the sleeve head. The sleeve is pinned into the finished armscye and whipstitched in. Okay, that's two weird long-sleeved partlet things down! Next it's time to move on to the silk sashes. Now, I'm going to say right up front that I HATE working with silk...or at the very least I hated working with this silk. I'd rather eat my own face with a grapefruit spoon than deal with this fray-factory again. Suffice to say, it was not fun... Let's start with the red one. The sash is made from a single yard of red silk, cut in half (selvage to selvage) and whipstitched together along the selvage edge to create a long rectangle of approximately 17"x 106". Then the raw edges are finished with a small rolled hem. The the red sash appears to be trimmed in gold lace. So I decide to trim in it narrow gold trim along the length and longer, scalloped trim on the ends. Although I prefer the lace on on the right, I decide the proportions of the lace on the left is closer to what I'm after. The selected lace is then stitched to the finished edge with silk thread (with wider lace on the narrow ends and smaller lace along the length). Moving onto the next sash... After finding this higher contrast Alamy image I opt for a more rosy-beige than salmon. But next sash is tricker. Instead of lace it appears to be tasseled. It is constructed it the same way as the red one, only instead of finishing the narrow ends, I pulled individual threads to create an approximately 4" tassel. Now, remember how I said that this silk was a fray factory? Well, that was only along the weft (which made trying to do such a tiny hem super fun). But trying to pull from the warp was like pulling teeth! It took FOREVER. Have I mentioned how much I hate silk....? But it doesn't matter, because these suckers are now done! Next it's time to move on to the white cap... I started a write up for it here, but it sort of ballooned to a ridiculous length and it quickly became very clear that it needed to be its own post (which can be found HERE) Suffice to say, after attempting a few different styles I ended up with a tailed coif that I'm fairly happy with. The final piece is my new small ruff, which was completed for my Aertsen outfit. Next it's time to move on to the non-clothing accessories. Now, I know that any military history buffs are probably going to have a conniption over what I've thrown together...but, hey! If I can get over the weird clothing anachronism in the portraits you can get over my weird 17th c. flintlock! And speaking of which... Okay, I admit...I don't even know enough to appreciate the levels of shear wrongness that this may or may not be. But I tried to for the earliest pistol I could and this was the only style I was able to find with a round, wooden pommel (and being discontinued it was pretty tricky to track down!). Next is a vintage Moroccan powder flask. Wrong? Yup. But it'll do! Don't worry, it gets better from here... Next is a spear. The head is rounded for stage combat and general safety (with my luck I would have dropped it and impaled one of the cats). It's mounted to a stained wooden dowl and finished with a burnt umber silk tassel. And finally is a rapier with a leather hanger, custom made by Jesse Belsky Stage Swords. One last touch is a small medal (which appears in some of the etchings). I was trying to find something with a Dutch lion, but ended up stumbling upon this vintage Renaissance Faire medallion, which I think is from the late 80s or early 90s. I think it’s super charming. And I totally forget to wear it! And that's it! The crazy mix-and match is done...in all of its bonkers glory!!! But then I dropped a PCV pipe on my face trying to set up a backdrop to take photos and split the bridge of my nose (See? I told you I couldn't be trusted with dangerous things...). And so apart for a brief outing at the local Ren Faire (though restyled for early 17th.c) it sat in the closet for the better part of the last year. But now the backdrop is up, and this project is officially finished! *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern as a starting point. Now heavily edited) -The Marquess of Winchester Coif #4 (with significant edits) Fabric: -Rust worsted wool from FB marketplace. -Black "Judy" linen (5.5 oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper -Red and rosy-beige silk from Mood Fabrics -Hemp/cotton muslin for interlining (10.5) from Hemp Traders -Muslin for mockup (also from Hemp Traders, but any muslin should do) Trim and Notions: -Black Shindo cotton herringbone tape (3mm, 6mm & 15mm) from Ribbons -Gold lace trim from lacetrimwholesalers on Etsy -Linen tape (1/4") from WM Booth Draper Thread: -Black silk thread -Blue silk thread -Black buttonhole thread -Rust cotton -White cotton thread (silk finish) for coif and partlets Boning: -7mm Plastic coated spring steel bones (4) from Vena Cava Design -5mm Synthetic whalebone also from Vena Cava Design Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights -Eyelet tape (for mockup)
we NEED to bring this shit back. ive had enough. we as a people need to be wearing silly hats again
English and German medieval clothing. Castle woman, knight in hunting dress, Nobleman, English noblewomen, English princess. English prince and Page.
So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...
Sometimes we are ears deep in projects, and then a fabric comes across your path, and it demands to be made into something right away. Somet...
Sometimes we are ears deep in projects, and then a fabric comes across your path, and it demands to be made into something right away. Somet...
Explore bigcats1934's 975 photos on Flickr!
So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...
