Members of the Society for Creative Anachronism celebrate pre-17th century Europe.
There is something so lovely about shirts, smocks, shifts, camicie, and chemises. All of those words really just mean ‘shirt’ and refer to the white linen garment worn nearly universal…
Historical costuming
If you'd like to read more about my dress, check out www.morgandonner.com/2011/07/italian-kirtle/.
Updated 11/18/2022 – I found a painting with what looks like honeycomb smocking. This article is still under development and just represents a discussion I’m having (with myself) and a …
1480s Florentine gown Renaissance costume
Maria Maddalena de’ Pazzi (1566-1607) was a saint and mystic, author of I quaranta giorni and Revelatione e Intelligentie, canonized in 1669.
Please note: If you wish to reproduce this in any way please credit me. We all work very hard and share our knowledge freely in the SCA. It would be a shame to find my work in someone elses name. T…
Renaissance peasant style dancing and so on:) Photo by Olga Tuteleva
Ghirlandaio circa 1495
My super awesome friend Temetgen was offered her laurel earlier this summer. After squeeing, and bugging her for a bit, she agreed to let me help out with some of her outfit for the procession. Y…
Italian Breviary. c.1380. Paris, Bib. Nat. ms lat. 577, f. 380. (Photo Bibliotheque Nationale) From 'A History of Costume in the West' by Francois Boucher. pub Thames and Hudson pg 204
Ultimate Kirtle Pattern Lady Asrune Russtikus-dotta Pennsic [email protected] Kirtle: (Kyrtel) is a fitted tunic-like dress with variations found from the 1350s all the way up to 1650s. It was a staple of the medieval wardrobe.The Kirtle was worn by all different classes of women all over Europe. Typically, a chemise, or underdress, is worn underneath. An overdress such as a “houplandie” or “cotehardie” would be worn on top when needed. The kirtle acts like a bra. The body of the dress can be 2, 4, 8 or more pieces. They can be lined, or not. They can have long, short, or no sleeves. They can have a waist seam, or not. They can be laced or buttoned, on the side or in front. They can be elaborate or simple, heraldic or plain. In short, there are a lot of options to work with when it comes to Kirtles that are all “period,” and can be made with just one pattern! The Pattern (Draping method) Fabric- Linen (most common), Silk, or Wool. Leather is also period, but rare. Avoid synthetic fabrics. You will need 3-8yds of fabric to make a kirtle. You will need 1-3yds to make the pattern. American Size Yards for dress Yards for pattern Size 2-6 3-4 1 Size 8-14 5-6 2 Size 16-24 6-8 3 Before you start- Make sure you have · Lots of pins! · 1-3yds of linen (the lighter the color the better, so you can write on it) · Scissors · A sharpie or fabric marker · A friend to pin you up · And a good bra on Step 1: Take your measurements Bust (A) Waist (B) Hip (C) Sleeve (H) Upper Arm (O) Wrist (N) Waist to floor (K-M) 1. Divide you Hip measurement (C) by 4, add two inches and cut 4 rectangles of fabric of that width. This should make four large bits of fabric, that combined are large enough to cover your back and front. They should be long enough to cover your bottom. Hip/4 + 2in = Rectangle width 2. Pin 2 rectangles together to form the back of your pattern. Pin the other 2 together to make the front. 3. Get a friend to center and pin the back and front pieces together at the shoulders on you. 4. Have you friend pin the sides closed, being careful to keep both sides even. You should look like this: 5. Pinch the fabric on the pined “seams,” to tighten the fabric around you and re-pin. Work slowly, be careful to keep the sides even, and the front and back centered. 6. Tighten the shoulder until you feel “lifted”. You should look something like this: 7. Get a sharpie or fabric marker, and mark: l Your natural waist line. (An easy way to do this is hold a string around you, it will automatically go to the smallest part of your waist.) l Where you want your neckline(s) to be. High(neck), low(normal), and sexy (boobs) are the three I usually mark. TIP: if you leave the neck high, you can use this pattern for a doublet too! l The joint where your arm meets your shoulder. This is where your sleeve should start. 8. Trace all the pinned seams on both sides with your marker. Make sure you get front, back, sides and shoulders, both sides. 9. Remove all the pins. 10. Compare the two front pieces and the two back pieces by laying them out. There will be slight differences between them. Chose the front and back you like best, or try to mediate between them. This will be your final pattern. 11. Cut the pattern out, leaving 5/8in (or whatever you like to use) seam allowance. 12. Put your name, the date and your seam allowance on the pattern. Label back and front and viola! You’re done! The Sleeve 1. Make a “T” with your Sleeve measurement. One line horizontal. One line vertical. 2. Center your wrist measurement at the bottom. 3. Center your Upper arm measurement at the top. 4. Add seam allowance 5. Measure 1 in down and 2 in up from the top of your “T” and draw a curve OR… 6. Better yet, take a piece of string, measure the sleeve hole on your new made pattern and cut to the exact length on string. Then move the string to fit a curve like the one above on your horizontal “T” line. The Chemise Use the same pattern as you did for the kirtle, but cut it on the bias for more stretch and no closures. If you don’t have the fabric to do this, then add 1-3in to the width of the pattern. You may also want a slightly looser sleeve. Modifications: 1. You can shorten the sleeves, simply cut off the sleeve pattern where you want it. 2. You can add gores to make a fuller skirt. I usually add 4 gores; front, back, and sides, for the full “princess effect” 3. You can also make it into more pieces, this makes a more fitted garment and can help when you have narrow fabric width. It also serves to allow you to add more gores. (think princess seams) 4. Adjust the neckline shape. 5. Use buttons instead of laces, you’ve got a cotehardie! TIP: wrap pennies in bits of scrape fabric from your dress for the perfect buttons! 6. Try hand sewing your button holes by pushing a hole through the linen and working your way around, you’ll be surprised how easy it is! (on that note, try to avoid using metal grommets, they were not used on dresses in period) 7. Cut the pattern off at the waist and make a doublet! How you can use your kirtle pattern drawings by Heather Morgan for this class, all right reserved Kirtles in History (in broad sweeping terms, not an end all be all) Kirtles begin to appear in the early 1300s all over Europe. The fashion seems to have started in the north and worked its way south to Italy by 1400. Like all fashions Kirtles are first worn by the upper class only, but work their way down to the lower classes fairly rapidly. 1350-1400: The most commonly seen kirtle style from this time has short sleeves, a wide scoop neckline, no waist seam and closes in the front, usually with laces. Solid colors. (This style of Kirtle stays in fashion up until the 1450s with the lower classes of women.) 1400-1450: Long sleeves become more common. Wide scoop neckline, no waist seam, closes at the front usually with laces. They were mostly of solid color, but can also be found in heraldic styles (such as quartering), cloth of gold, and other patterned fabrics. 1400-1450: the neckline seems to narrow into a closed scoop or a “V” shape, and side closures become more popular. We also start to see the sleeveless kirtles, often with detachable sleeves. So you can “dress up” your look. 1450-1500+: brings the waisted kirtle into vogue. At first, the skirts attached to these kirtles were pieced skirts that were wider at the hem and narrowed into the waist. However, there is a rapid progression to gathered and then pleated skirts. The waisted kirtle is used in many forms, for many styles all the way into the 1650s. Kirtles in Action Front laced, classic Kirtle. Notice the fake sleeves. German style, the yellow kirtle is likely a side laced kirtle with a wide square neckline. The overdress or kampfrau uses the same pattern with a scoop neckline and a closed front lacing or hooks. waisted square neck sleeveless Kirtle, working class . Notice the wide lacing. Two short sleeved working class kirtles. The left is a looser pull over gown, the right kirtle is front laced with a wide scoop neckline. You get a good look at the Chemise here too. Waisted Kirtle Waisted Kirtle with short sleeves and box pleats Split Skirt Wide front lacing and cloth of gold underskirt with metal eyelets Heraldic Kirtles Bi-colored Kirtle. Alternative Pattern theories: The Quick and Dirty Geometric Method-Some people will swear by this method as the “most period” due to its simplicity, and there are some extant examples....but there are extant examples of other styles as well. It is a perfectly wonderful way to make a early period kirtle, it is NOT however form fitting enough to be a bra substitute. In my opinion it's a less flattering method as a result, but great for looser wear-around-the-camp dresses. 1. Fold you fabric lengthwise. 2. Divide your Hip measurement by 4 use that for width of rectangles 3. Cut either 2 large rectangles (leave the fold), OR 4 smaller rectangles (cut on fold)* 4. Cut 4 gores, the height of your waist to floor (W-F) measurement, and width desired. 5. Cut 2 rectangular sleeves the width of your arm-2 +1 in. 6. For long sleeves, make sleeve as long as arm-1 + 1in, and narrow to wrist + 1in 7. Cut 2 diamond shaped gussets 2-4in across. *if you would like a front lacing kirtle, you must cut at lease the front into 2 pieces. Measure and draft Method 1. Patterning the good old fashion way! Instead of draping, take all of your measurement form the first chart and plot them out on graph paper. Continue as before. This method is great if you don't have a buddy. If you measure very carefully, you'll get something very close to the form-fitting Kirtle like you would get from draping. I find that this method doesn't always produce the support that I want, and generally has more wrinkles but they still look nice!
Okay, I haven't done a planning post in a while. This is what I want to make next. Or maybe not exactly next, but soon. I'm thinking about this dress as a possible Pentathlon entry. It's going to take forever. So, I might as well get started. It will be made of red silk (as soon as I can find some at a decent price). I plan to figure out how to do the gold couching embroidery, and embroider the neckline, the waist "V", the sleeves, and the hem. The gold net partlet and caul are of course, a must. The red and black combination seemed to be quite popular at the time, so in order the give the dress options, I am also planning to make a black overgown, possibly of wool. I love the combination of a side- or back-laced gown with a slightly open overgown. And the overgown sleeves, which their slashing and puffing, look like so much fun. I'll probably create a second pair of sleeves to wear under the overgown. I definitely want one pair just like Eleanor's portrait, for when I want to wear the gown by itself. I hope to get started as soon as I acquire some red silk, and fix my bodice pattern. Hopefully, which this project, I will remember to actually post in-progress updates. I'm excited!
I have noticed several images, mostly late 16th century Italian, showing women wearing some sort of apron-like skirt that goes all the way around their normal dress skirt. I would like to make a sp…
At The SCA 50 Year War, a couple of women from Drachenwald (Sweden) were wearing Landsknecht Short Hosen. Several ladies here in Meridies (Tennessee/Alabama/Georgia) expressed an interest in makin…
This year's middle class endeavor is a kirtle and doublet, based vaguely on the "doublet for a slim young woman" on page 107 of Patterns of Fashion. (Based? We're far enough departed that "inspired" is probably a b...
Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface. Paper Type: Giclee Print Finished Size: 12" x 18" Arrives by Fri, May 24 Product ID: 55987633510A
Explore festive attyre's 9170 photos on Flickr!
Today's pictures are of a cotton collarless partlet that I made. It was inspired by this portrait of 'A Woman with a Heron' by the Veronese School. http://starlightmasquerade.com/PortraitGallery/Ladder-Laced-Venetian/inspiration-pages/openbodice25.htm The pattern is an adaptation of one of my favourite scrolling floral designs and is worked in DMC cotton floss. You will find variations of this design in most sixteenth century pattern books including Modelbuch Aller Art. The design is worked mainly in stem stitch, with some seeding stitches and knots. All visible seams are handsewn, as is the purchased lace trim. Collarless partlets and partlets with a very small collar at the back can be seen in many sixteenth century Italian portraits: http://starlightmasquerade.com/PortraitGallery/Ladder-Laced-Venetian/inspiration-pages/openbodice43.htm Portrait of a Family by Licinio http://commons.wikimedia.org/wiki/File:Bernardino_Licinio_-_Portrait_of_Arrigo_Licinio_and_His_Family_-_WGA12984.jpg Portrait of Arrigo Licinio and his Family by Bernardino Licinio Portrait of a Lady in White by Titian (1555) http://www.wikipaintings.org/en/titian/portrait-of-a-lady-in-white-1555 http://bjws.blogspot.com.au/2012/02/1500s-women-by-paolo-veronese-paolo.html Portrait of a Woman by Veronese (1560s) http://www.terminartors.com/artworkprofile/Titian-Portrait_of_Titians_Daughter_Lavinia Portrait of Titian's daughter Lavinia by Titian http://www.wga.hu Portrait of a Venetian Woman by Paolo Veronese http://commons.wikimedia.org/wiki/File:Veneto,_Bartolomeo_-_Portrait_of_a_Lady_in_a_Green_Dress_-_1530.jpg Portrait of a Lady in a Green Dress by Bartolomeo Veneto The partlet pattern was adapted from one made many years ago at a partlet workshop held by THL Katerina da Brescia. You can see her research here: http://katerina.purplefiles.net/garb/diaries/diary%20list.html
The costumes that we are making date from 1480s through to the 1510s. I have long admired the Ghirlandiao paintings that show a variety of these gowns. The gown is made in three parts. The first is the camicia (chemise or shift), the second is the gamurra (under dress) and the third is the giornea (the over gown). First Layer We plan to use the camicia pattern that is shown and discussed at Festive Attyre. We will use either white cotton or linen. Second Layer The gamurra is shown in most portraits as a plain-ish or contrasting dress with detachable sleeves tied at the shoulders. It can be laced at the front or back, but has a tight bodice and fitted sleeves. Third Layer The giornea is a sleeveless overgown, and can be worn with front and back fitted to the underbust or just the front fitted and the back left like a train. Even though we are making outfits from this era, we will be dancing dances from the whole Italian Reniassance period, so it is important that we do not have trains - I do not think it wise to dance the canario in a train!
Portrait of a Young Woman by Vincenzo Catena,c. 1505
This writeup is intended as a run through of how I made my first set of pattens. Upon speaking to Master William de Wyke, he kindly suggested a few things I could try to get a slightly more secure …
How I made the dress here: www.morgandonner.com/2013/12/matching-russet-outfits-part-2/ And all about the apron here: www.morgandonner.com/2014/01/ascension-day-apron/
