I went through a number of different lacing alternatives when I moved to lacing rings after using my lacing strip (with grommets) for the finished version – I found that what worked well with the lacing strip did NOT work well with the lacing rings. I thought I’d share some of my trials with you in case there are other costumers who are interested in how different lacing might look.
In my 1480s Florence – Gamurra post I mentioned that I’d be blogging about my sleeves separately – since the sleeves themselves are detachable…
In The Birth of Mary portrait (detail), the sleeves, which match the dress, aren’t entirely visible – though in a larger version of the painting they’re a bit more clear. They appear to be attached to the gown permanently at the shoulder, but open at the sides and underarm. There’s a gap at the elbow where the camicia peeks through, and the wrist is long, and slightly flared. I think there may be false poofs along the lower side of the lower arm; a better resolution version of the painting may have helped.
In this post I’ll show what I did to make my Gamurra- the undergown. If you’re reading this after the fact, go back a post to see my inspiration, or click the 1480s Florence tag to see all of the posts about this costume.
My very first start was taking the Tudor Tailor’s early Tudor Ladies Kirtles bodice pattern, moving the seams, adding more width to the bust, and doing some minor pattern alterations to get a more Italian-looking pattern. I cut this out of an old striped bedsheet, and used my lacing strips (from corset-making) to put it on. With some help from my housemate and my mirror (and stretching the limits of my flexibility… ) I pinned and altered the bodice as I was wearing it. Then I transferred those recommended alterations to my pattern.
Next, I made up my “I hope this can be my lining otherwise it’s my mockup” to play with the cording I used two layers of 5.3 oz/yd2 100% linen in “Biking Red” from Fabrics-store.com (Leftovers from my Red Apron Dress) cut well beyond my pattern. I was really impressed with Jen Thompson‘s corded bodice, and the smoother line she was able to accomplish, so I wanted to give this a try too, but I knew that cording it would “shrink” it a little bit.
I marked where I thought channels should go (based on shaping and some experience with corsetry – but notably NO research into what might have actually been done in period – if this was even a period technique!) From there I stitched the channels on all four pieces (front left, front right, back left, back right). In hindsight I should have done less close to the side-seam, as I had to make an adjustment there – the panels didn’t shrink as much as I had thought they would once corded.
This is the undergown, but is also worn just as the gown itself. (Ei, the Giornea isn’t necessary.) I’m repeating some of my research here just to keep it all on the same page.
In The Birth of Mary portrait (detail), the underdress has a (slightly above natural) waist seam, pleated or gathered (?) skirt attached a the waist (the image is unclear). The bodice laces closed with ladder-lacing (black cord) in close, close, far, close, close pattern. The bodice appears to only have side seams, and there is a wide v-neck/opening where the bodice laces. The neckline seems low, wide, and exposes the darker coloured fabric beneath it. In the large detail, it looks as though the sleeves are a different colour, but looking at a different photo of this – they’re the same fabric. Continue reading
In my previous post I shared some of my research/inspiration, and here’s what I finally came up with.
In addition to reading a few dress diaries, I was lent notes from a woman in the SCA who has also studied and created a late 1400s Italian costume along with the help of her mentor. Her notes include recommendations for adding the needed fullness throughout the garment, rather than just adding fullness to the sides of the garment.