For the HSF Challenge 3: Under It All, back in february, I decided to start the foundation on my planed 1550s dress (which I still haven’t gotten around to make). So I decided to make a corse…

One of the challenges in the HSF I found the most interesting was the nr 5 Peasants and Pioneres back in Mars. Since I’m obviosly a “princess” when it comes to historical costumin…

Bracelets with miniature portraits of the Duchesses de Nemours and d'Aumale, 1840 and 1846, respectively

Last week I showed you a 1920s dress in aqua and gold lace with velvet poppies trim, and you DID NOT LIKE IT. Ok, a rare few of you loved it, but most of you didn’t: you had trouble envisioning it as it would have been worn in the ’20s (yes, it would have had a slip, almost certainly in a slightly paler shade of aqua), you found the poppies too heavy and clashing, and didn’t like the transition from lace to satin. For general dislike, the dress came in at an extremely disappointing 4.7 out of 10. This week to make it easy to visualise the whole picture, here is a whole picture: We don’t know who the artist of this portrait is, or who the subject is, but the portrait does give us all the details of her ivory and pink dress. The dress features heavy ivory overskirts, lined in carnation pink, with border of brocaded patterned trim that extend up on to the bodice in stripes. The same fabric forms slashed shoulder …

Even museums with large collections will have very few garments from the 1500's-1600's. 1. Gown of Mary of Hapsburg, 1520's Hungarian National Museum, Budapest, Hungary The

Explore arthistory390's 19696 photos on Flickr!

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

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16th century Circle of Antonis Mor van Dashorst - Portrait of a Spanish Nobleman (National Museum of Fine Arts, Stockholm)

This is a post about (one of) my 16th century outfits; and due to several years of research, work and sewing experiences it will probably be more than one post, with different subjects. In this, I …

The costume consists of: a dress, an undershirt. The original purple velvet fabric is out of stock! The dress will be made in other similar fabric. We offer five standard sizes to choose from. If these sizes are suitable for you, you can place an order with one of them and text us your height. If your height is not specified, we will consider it to be a standard height e.g. 165 centimeters / 5’5’’. If you want us to make it with your specific measurements - place an order and we will make a dress without additional charges for you. Dress Size: XS: Chest/Bust 33 in / 86 cm, Waist 24.5 in / 62 cm S: Chest/Bust 35 in / 90 cm, Waist 27 in / 68 cm M: Chest/Bust 37 in / 94 cm, Waist 29,5 in / 75 cm L: Chest/Bust 40 in / 101 cm, Waist 32 in / 80 cm XL: Chest/Bust 43 in / 109 cm, Waist 35 in / 89 cm Production time is around a 2-3 weeks + shipping (approx. 10-14 days). Also this dress can be made of other fabrics, colors and trims. You can contact us directly and we will provide you all options. This dress is a vivid example of Italian fashion of the 16th century. The dress is perfect for a photo shoot, performance or historical ball. The fabric is plain thick cotton and velvet. The dress has a high waistline and voluminous sleeves. To complete the look, wear a sheer chiffon shirt with ruffled sleeves under the dress. The dress is embellished with gold lace and braid. Drawstring fastening at the back. Thanks to this, the dress fits perfectly on the figure and it is possible to adjust the size.

1570 Venetian Noble Women at Age 18 by Giovanni Antonio Fasolo ca. 1595 Catherine Killigrew by ? (Colchester and Ipswich Museums Service Lady Catherine wears ‘high’ Elizabethan dress wi…

*** Well, it's been a hot minute but I finally have an update for this (very neglected) blog! It's been a year (or three) of starts and stops. Despite the radio silence I've actually been working on quite a few slow-burn projects, including two that didn't quite go to plan. First, I was in an early-period mood after re-watching the excellent "Tudor Monastery Farm" and managed to source some absolutely lovely wool for a Brueghel inspired outfit... But shortly after I started patterning, Samantha Bullat, of the Couture Courtesan, posted her AMAZING recreation of the same gown (seriously, go watch the video if you haven't. It's fantastic) Now, that's not a comparison I'm eager to invite. Having said that, I spent WAY too much on fabric to abandon the idea completely so I will definitely be coming back to it at some point the future...but for now I decided to switch gears and shift focus to another outfit which --at the time-- I'd been planning for about 2 years: Lucas de Heere's market woman. (which was suddenly very pandemic/PPE appropriate) Again, I found some great fabric and --I kid you not-- the day after it arrived the Tudor Tailor ladies posted their stunning interpretation (Though, given the situation in 2020 I suspect more than a few people had the same idea). So that one also went on the back burner. And with my rolodex of inspiration quickly running low, I finally turned to the painting I'd been wanting to reproduce since the moment I first saw it: Pieter Aertsen's Market Scene (specifically the woman in the green kirtle). Pieter Aertsen, Market Scene circa 1560-65 Now, I'm a sucker for green outfits and had been on the lookout for the right wool for at least the last couple of years. I finally found it at Renaissance Fabrics; a lightly brushed olive green twill in a light to medium/light weight. And I jumped right in. To begin with, the painting is rather unclear as to what the front of the kirtle looks like. There seems to be low, white linen partlet which may or may not tie under the arms. Over this a black partlet (possibly with a rounded front and low back) is likely pinned. But as to the closures and the front of the gown, that remains obscured...at least in the images I was able to find. Unfortunately I was never able to locate a high-res version which may have hinted at more details. Many of Aertsen's other market and kitchen scenes feature women with wide lacing kirtles and (often) a contrasting stomacher. However, this was a road I didn't really want to go down. A large part of what attracted me to this image in the first place was the green kirtle and red sleeves; complimentary colours that literally could not be better suited to each other. Combined with the brown apron and stark black and white of the partlets, the outfit seemed very visually balanced and I didn't want to expand the palette any further. So instead I decided to take a cue from the woman in the back of the painting. She's wearing a simple tawny kirtle which laces at the front. It has a slight gap but no stomacher. And let's be honest, it was also a style of kirtle I'd made previously and knew I could knock out relatively quickly... Unfortunately, I was in such a rush to finish that I don't really have any process pictures at all. It's basically the same pattern as my blue Trevelyon gown but with the sleeves left off. Like the Trevelyon gown, the front is boned with spring steal at the lacing edge and synthetic whalebone (intermittently, skipping ever other channel). I also shortened the front point and added about 1/2" to either side of the front opening with the intention that it would close completely. But then lockdown (and lockdown snacking) continued and it, well...didn't. Oh, well. You can see that, unlike the blue gown (and many of my other kirtles), this doesn't have hidden internal lacing strips. Instead, the eyelets are worked directly into the kirtle between two boning channels (again, see previous post for rough boning layout). The eyelets are off-set for spiral lacing. The kirtle is lined in brown linen cannibalized from my first brown kirtle (which sadly did not survive a stint in the washer/dryer...back in the day when I thought you had to completely launder your costumes). As with the Trevelyon gown, the lining of the skirt is free-falling, effectively creating an integral linen underskirt. Other accessories include a pair of wool pin-on sleeves: Well, I say pin-on... In truth I've never had any luck with pins and sleeves (they usually result in stabbing and sore shoulders), so instead I cheated with set of hook and eyes. The sleeves also have a fold permanently worked into the sleeve head; both to help with the drape over the shoulder and as a theatrical cheat to more closely resemble the folds of the sleeves in the original painting. The sleeves are hooked into an eye set behind the shoulder seam (though I added two since I wasn't sure where the sleeve would sit more comfortably). Next up is brown linen apron. It's a 26.5"x 36.5" rectangle, finished on all sides and with the middle 16" whip stitched to a matching 1/4" band. Also making an appearance is my trusty white partlet. As seen in period images, this style of partlet is pinned at the front corners and then ties (attached to the back corners) are wrapped around and tied across the chest. Joachim Anthonisz Wtewael, circa 1620-25 A small ruff is pinned or basted to the collar of the partlet. This ruff is 1" deep with 3/8" sets, but it really should be quite a bit smaller to match the portrait. Next is a black wool partlet lined in white linen. Because I couldn't quite tell what was going in with the over-partlet in the painting I decided to just be lazy and use my old one, despite the fact that the painting definitely doesn't show a partlet that connects under the arms. Again, lazy. (though technically this partlet is also new-ish since the original suffered a little accident...) Topping it all off is a veil which is just a 20"x24" linen rectangle, worn over a close fitting coif. The front 6-8” (framing the face) is starched. It’s then folded in half lengthwise and a crease is ironed into the starched section. Then it’s flipped over and pinned to the coif on top of the head and at the ears to push the sides up into a “heart” shape. Then the sides are folded back, under the drape of the veil and pinned behind the head. And that's it! My White Whale is done! And then it sat on the shelf for months... Unfortunately, I recently moved and so the trusty, neutral cement wall that served as my photo backdrop for so many years is no more! And with lockdown restrictions still in place at the time, the only blank wall to be had within my apartment was behind the bedroom door. Not bad, all things considered. But something was still missing... THE CHICKEN! I feel like poultry are central to so many of the images I want to reproduce. So the hunt began. And I have to say, it's actually really difficult to source a convincing chicken...and especially one that has to play dead. In the end I stumbled upon Hansa, a stuffed toy company who makes several very good options, though it took a few tries to find a chicken of the right size and proportions. Consequently I now have quite a few stuffed chickens adorning the background of all my Zoom meeting (Like, way too many. Enough that it causes comment. A lot). (No, seriously...this isn't even all of them...) Fast forward another 10 months. I'm now in possession of a chicken and a makeshift photo backdrop (though ironically, on a sunny day the bounce light from the janky behind-the-door setup was actually way more even and flattering...) So let's document this thing! And finally, the obligatory side by side (colour adjusted to more closely match the original). And that's it for this one! Still a couple tweaks I need to make. The kirtle is a tad long, especially in flat shoes, so I might have to take it up a couple of inches. I also set the veil a little too "heart-shaped" and so will pin it closer to the head in future. But all in all, very happy with how it turned out! Now, I've got quite the backlog of half-finished costumes to work through, so with any luck it won't be another three years before I post another update... *** Resources & Materials Pattern: -The Tudor Tailor (book and/or ready-made pattern) Fabric: -Green wool flannel from Renaissance Fabrics -Brown "Judy" linen (5.5oz) Gray Line Linen -Red "Judy" linen (5.5oz) Gray Line Linen -White linen (2.8oz) from WM Booth Draper -Red worsted wool from the Historical Costuming Fabric & Trim Buy/Sell (Facebook Group) -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: -Linen tape (1/4") for lacing from WM Booth Draper Thread: -Green silk thread -Brown silk thread -Red silk thread -White cotton thread (silk finish) for veil 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

Costume examples focusing on France, England, Germany and Italy in the 16th century. Clothing of the aristocracy, the military, citizens and peasants.

First, all the photos! This project started several months ago before I moved, got married and several life thing reared their head. So my recollection of the construction process is a little fuzzy. After a few late night fb conversations, a friend of a friend needed better clothing for 16th century interpretations. I needed

Examples of dress from the 1500s: Click on any image for a larger picture. Part One Here and Part Two Here There is a lot more I could explore throughout these eras, I mean I don’t even consi…

The tony elixir killed elites looking for youthful complexions.

Thank goodness for Rate the Dress! It means that I have a definite excuse to focus entirely on historical fashions at least once a week! We were having such a good run on Rate the Dress: so many 8+ ratings in a row! And then I posted the pink, pigeon breasted, ruffle-dy, smock-dy, totally over-the-top 1900s frock-dy last week. Pop! There went the high ratings bubble! It wasn’t too terrible: there were a lot of 6s, and just enough 8s and 9s to bring it up to a nice, round 7 out of 10. For this week’s Rate the Dress, we’re looking at a period I’m not such an expert on, and going back to the mid 16th century, to a ‘Portrait of a Lady’ by Peter de Kempeneer (Pedro Campaña). Though de Kempeneer was Flemish, he mainly worked in Spain or Italy, and this portrait probably depicts a wealthy Italian noblewoman from Ferrara The sitters gown makes striking use of gold striping to emphasise the cut of the gown, and the fashionable features. The …

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Costume German aristocratic woman. Renaissance fashion period. Sheets for costume design: historical and folk costumes by Franz Lipperheide.

Renaissance Chemise / 16th century shift PDF This is a costume tutorial, with instructions to draft and sew your very own 16th century Renaissance chemise, with the option of regular or gathered / cuffed sleeves. This project is perfect for your next fantasy or reenactment event! This listing is for a Pattern Drafting and Sewing Tutorial that includes directions to create a Renaissance chemise. 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: + 16 Page Tutorial Book (with photographic instructions) + Supplies & Vendors List 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.

Early 16th century italian gown, made to measure. The gown includes: one embroidered linen or cotton smock (=shirt), one gamurra (=kirtle) made of silk taffeta or dupioni, one underskirt made of silk taffeta or dupioni, and pair of sleeves made of silk taffeta/dupioni or cotton velvet. The gamurra/kirtle bodice is reinforced with spiral steel bones (not visible), lined with fabric made by natural fibers and has a spiral lacing on the sides. The eyelets can be - hand sewn with linen thread - hand sewn with silk thread - metal eyelet hand-covered with thread (please note: this option isn't recommended if you prefer an accurate historical gown) The gamurra/kirtle skirt it's pleated, and lined. The smock (=shirt) can be: -hand embroidered (blackwork / redwork on the neck line, sleeve and cuff, to see the samples of the embroidery which you can choose, please send a message) -or machine-embroidered (like in the pictures on the neck line, sleeve and cuff) -or without any embroidery Corset and understructures are not included in this listing, but they can be requested: see the following “custom orders” section. Please note: this type of dress requires the correct corset and petticoat to achieve the correct silhouette. The gown and embroidery will be made in the color/colors of your choice: please send a message to know the available combinations or if you want/prefer another type of fabric. *fabric or color availability depends on the suppliers and can change from season to season* Any design/fabric change and/or any addition of decorative details must be requested before purchase; your fabric choice must be communicated before purchase. A diagram to take the necessary measurements will be sent to you after the purchase. Custom orders: any request of -design changes of the gown design or fabric -design changes of decorative elements (more or different embroidery, etc) -made to measure corset/petticoat/understructure must be requested before purchase, because they involve a variation in costs and processing time. For an estimate, please send a message or an email at elainecouture.info [!at] gmail.com Processing time: After the purchase, the fabric selection and receiving your measurements it takes about 2 / 3 month for the gown to be completed. Your bespoke gown will take part of a production cycle in which other garments and accessories are created. For this reason it's recommended to order your gown in advance of your event/historical re-enactment/wedding date because not always it will be possible to speed your custom order. Shipping: This gown will be shipped via DHL Express. Shipping is always tracked but it's recommended to choose the insured shipping. Shipping for EU countries takes 2 business days. Shipping for non EU countries takes from 3 to 6 business days. For countries outside the European Union: custom charges are not included in the shipping or item price. Customs charges are to be covered by the customer at delivery. Company policy: the item is non-refundable and non retournable: please be careful while taking your measurements and follow the diagram that will be provided to you. (The embroidery design on the smock in the picture are by ArtEmbroidery and stitched by Elaine's Couture)

So I have spoken about my new 16th century German chemise/shirt, and I have also documented the whole process of making it so that I can show you how it is made. This hemd goes under the name of …

Soft blue color Renaissance gown by Italian late XV-century fashion. Dress without a corset with a bit overestimated waist. The hard bodice performs the corset function. The gown has detachable sleeves from 2 parts, that are fastened with decorative cords and beads. The lacing is on the back. This Medieval gown will be perfect for a Renaissance fair or another historical event. It will be wonderful for the character of the Renaissance princess of the XV-century Queen. Dress made from three kinds of decorative fabric: blue with monograms - bodice, sleeves, and front part of skirt; soft blue - skirt; dark blue velvet - sides and back of bodice. This Medieval dress has a deep square neckline of the dress that is typical for the Italian Renaissance. Costume includes chemise (shirt). It is made from 100% natural cotton. !Cuffs on the shirt without lace! !ATTENTION! As it is an old model I use now a bit of another fabric for this dress. Examples you can see in the photo. !!! Dear Friends, as it is a handmade item and manufactured to order, please note that it can be a bit different from the picture!!! Please get in touch with us if You have any questions. We will be glad to help you. Another product of our shop here https://www.etsy.com/shop/AlentradaSHOP Best regards!

Worn in courts across Europe primarily in the 16th century, codpieces were a potent symbol of their wearer’s masculinity and virility. Less than subtle even when in fashion, these flagrant accessories can be unsettlingly prominent to the modern eye. Yet in the context of courtly life – so steeped"u2026