ONLY FOR ORDER NOT READY TO WEAR dress inspired by the 1600s. taffeta yellow and colorful floral fabric. silk ribbons. bodice with balloon sleeves. stomacher and padded fence. It can be made of any fabric, color and size. completely handmade in every detail pay attention, before purchasing please contact me to check availability of fabric and processing time. pay attention, before purchasing please contact me to check availability of fabric and processing time.

I have always had a fondness for Dutch paintings from the 1650's and the 1660's. My favorite is Ter Borch, but Gabriël Metsu has painted my favorite dress and that became the dress my project was mainly based on. I also found the 1660's bodice pattern and construction notes on the book Seventeenth-Century Women's Dress Patterns: Book 2 extremely useful. The dress is completely hand sewn from duchess silk satin, linen canvas, mid weight linen and a finer white linen using linen and silk threads. I'm wearing it over a shift, a linen petticoat and a rump. I plan on making the appropriate shoes with the square pointy toes and colored stockings soon, but I want to make sure I get my other Costume College dresses done before that. Meanwhile I wore it with my 18th century shoes and stockings. And a fun artsy photo taken with a phone application. Construction: The panels are two layers of thick and stiff linen. They have seam allowances only where they are joined to other pieces and the seam allowances are folded inside before joining the two sides together. The channels are stitched with a spaced back stitch. The pattern is based on the 1660's bodice in Seventeenth-Century Women's Dress Patterns: Book 2 The panels are whip stitched together and boned with cane, except the two CB bones that needed to be very narrow but durable. I used the spring steel strips from windshield wipers that keep the rubber parts in form. They are only 2 mm wide but durable and bendy. And won't rust. The project continued by completing the middle layer. The original had all kinds of small fabric pieces scattered around and even paper, but for simplicity I just cut the pieces in same shapes (without seam allowances and tabs) than the boned layer and used only one kind of mid weight linen. In the picture below I have also already added the silk layer on top of back panels and made the lacing holes. Then I covered the rest of the bodice with silk. I stab stitched all seams through the boned layer. Then I bound the neck edge and tried it on. The I made the wings and the sleeves. The sleeves have an inner layer of linen canvas, doubled in the top half. They have silk on top and are lined with fine linen. One sleeve cartrige pleated and bound and a finished wing. The wings are two layers of linen canvas wrapped in silk from the underside. And then with an added layer on top, stitched from the right side. The underside: The wings were back stitched to the edge. And the sleeves whip stitched and back stitched on the bodice. Some time before I had bound the tabs with silk grosgrain and lined them individually. After whip stitching in the lining, the bodice was finished. I loved the construction on Kendra's skirt so I pleated and bound the waist the same way. There is a small train to the skirt. Otherwise it's just straight panels running stitched together.

My newest commission! DesignsFromTime - Etsy

17th century fashion. Noblewoman in 1650. French baroque fashion. 17th century. Ancien Régime court dress. Sheets for costume design by Franz Lipperheide

Costume Dame de Toulouse. Bourgeois women from Toulouse in the fashion of 1538. Renaissance period. Costumes historiques par Achille Devéria

*** This waistcoat has been on my to do list for a long time... ...and it still is. Kinda. I originally intended this as a quick project, using the exact pattern and construction method as my trusty old blue waistcoat. The only thing I tweaked was the size of the godets. In addition to gaining a bit of weight, my skirts are narrower and less full than the ones I used to make, which means my waist to hip ratio isn't as large as it used to be. As a result I don't need as much of a flare in the waistcoat and wanted to reduce the overall circumference of the bottom edge. However, I did the math wrong and the godet at the back was too small, resulting in some creasing and pulling at the waist. I also somehow managed to put the wings in the wrong way, which is a bit of an embarrassing mistake and definitely the biggest one I've made on any of my recent projects. The wool was also not as high quality as I usually like. It doesn't take pinning very well and so I really struggled with getting the front closure to look correct (and it wrinkles more than I'd like). On top of that I realized that the latest research indicates that this style of garment shouldn't really have godets at all... So long story short, the project didn’t quite go according to plan and I'm planning on making this waistcoat again, without godets and with the lacing front seen in the inspiration image. "The Fish Market" Jacob Gerritsz Cuyp, 1627 I have plenty of wool left over, and though it may not be the best quality it really is a great match colour-wise. I'd been search for ages to find the right rust wool (not too red, not too orange) and really lucked out on both that and the skirt. So, superficially at least, I think this outfit is a success! But where I think this outfit really shines is in the way it can be re-styled for a totally different look! (Which is why waistcoats will always be my first love...) *** Accessories Blackwork coif by Truly Hats Wool flat cap by Sally Pointer Leather belt and purse by Karl Robinson Resources & Materials Pattern: - The Tudor Tailor (book and/or ready-made pattern) -17th Century Women's Dress Patterns Book 1 Fabric: -Rust wool from The Fabric Market -Green Herringbone wool from Mood Fabrics -Cream "Judy" linen (5.5oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper Thread: -Rust Cotton thread -Beige cotton thread -Black cotton thread Other Supplies: -Swedish pattern paper from Amazon. (This stuff is great! You can iron it!) -Pattern weights -3/4" Bias tape maker

History of costumes in chronological development. Fashion from Ancient to the 19th century. The Munich Picture Gallery 1848 to 1898.

Step back in time and transform yourself with our Renaissance Fair Costume in Rust Orange and Brown Linen. This meticulously handcrafted ensemble is perfect for those who appreciate authenticity, creativity, and a touch of historical elegance. Whether you're attending a Renaissance fair, a Medieval themed event, or even just dressing up for a special occasion, this unique costume will undoubtedly turn heads. The ensemble begins with a stunning Renaissance corset in a vibrant rust orange color. Made from high-quality linen, the corset features adjustable straps ensuring a perfect fit for all body types. The front opening with a modesty panel adds a touch of historical authenticity, while the lace-up design provides a snug yet comfortable fit. Paired with the corset is a genuine historical skirt in a rich chocolate linen. The skirt boasts two pleated panels, adding a touch of volume and movement to the piece. The fall colors of rust orange and brown blend harmoniously, creating a warm, earthy palette reminiscent of the Renaissance era. Complimenting the corset and skirt is a beautiful blouse crafted from light cotton. The blouse’s airy fabric and comfortable fit make it perfect for long days at the fair or nights of festive celebration. This Renaissance Fair Costume in Rust Orange and Brown Linen is not just clothing, but a piece of wearable art, handcrafted with attention to detail and a passion for historical authenticity. To care for your costume, we recommend hand washing and line drying to preserve its vibrant colors and delicate fabric. Embrace your inner medieval maiden, pirate, or hobbit with this one-of-a-kind costume. Every stitch, every pleat, every lace speaks of a time gone by, bringing history to life in the most beautiful way. Experience the handcrafted quality, creativity, and authenticity that Etsy stands for with this Renaissance Fair Costume in Rust Orange and Brown Linen. The basic set consists of the following pieces: 1) A Rust Orange linen Renaissance corset 2) A long chocolate linen skirt 3) A white cotton blouse 🌸🌸 SIZING 🌸🌸 Our medieval clothing outfit is available in 9 sizes and is very feminine and exquisitely elegant. If you doubt sizes, feel free to contact us. Your Renaissance Corset can be made to your measurements without extra cost. Just add your measurements (waist and bust) to the customization fiel 🌸🌸 CORSET 🌸🌸 Created in a peasant and fairycore spirit, this corset is made of two layers of fabric. The outer fabric is a medium weight pre-washed linen of a very nice quality, while the lining is made of raw cotton. For a perfect fit, the corset is boned at the back seam, side seams, and front opening. You can also adjust the height of the straps and the front opening with a drawstring to slide between eyelets. The modesty panel is removable. You can also wear your corset without this piece to show your chemise. 🌸🌸 SKIRT 🌸🌸 - chocolate color - medium weight pre-washed linen - 2 pleated linen panels sewn on the sides - span 3 meters - 95 cm long 🌸🌸 BLOUSE 🌸🌸 - White cotton voile - gusseted sleeves for comfort - drawstring all around the neckline for a perfect fit - length: knee 🌸🌸 COMPLETE YOUR COSTUME 🌸🌸 You can complete your Renaissance Fair Costume with the following options: + A white linen apron + A black linen underskirt + The apron + the petticoat

*** A peak into the underwear drawer... So I was taking some photos for another big "Mix & Match" (that I have planned for the future), when I realized that I don't have many --if any-- photos of what I'm wearing these days as foundation garments. So here they are! Over the linen smock are my trusty black pair o' bodies and a red wool petticoat (with black worsted wool guards). The bodies are loosely based on the 1598 "Dorothea" bodies, but adapted for front lacing. The pattern was once the Tudor Tailor (but has been altered significantly) and is constructed in the same way as my earlier grey linen bodies. (Well, now I'm certainly regretting not ironing my smock before deciding to take photos of it!) The bodies are worn with a red petticoat and a small-ish bum roll. The petticoat was (once upon a time) a part of my petticoat bodies... ...however the bodice never really fit properly so some years ago the skirt was removed and converted into a stand-alone petticoat (with knife pleats rather than cartridge pleats). The petticoat works well enough as an undergarment, but the pleats on the sides bulge awkwardly, so I'm considering re-pleating it to a waistband for use as a visible skirt (if and when the need arises). And that's it! A little mini update until I've got the rest of the up-coming post photographed and written up. ***

I have only made one 17th century gown and I loved it. It was polyester satin and featured spray-painted lace, but I adored that gown. Somebody else is adoring it now, and it's time to make a new one. I recently acquired an enormous amount of