Completed bodice and skirt in green silk for the Italian “celebration” outfit
For Caterina’s elevation, I originally was going to do a later-period Italian Renaissance gown, but the fabrics offered just didn’t seem to lend themselves nicely to the period and my figure. I felt that the figured velvet would just be too bulky for all of the gathering and fullness in the later period fashions, and so I ended up opting to go back to the earlier Renaissance period that I’ve explored before and found flattering.
Concept sketch for the matcha-green silk dress and the teal figured velvet over dress
With this…. I’ve started using the 1480s tag as well for these posts, and switched from 16th Century to 15th Century. I’ll still use the Caterina’s Elevation tag however if you want to follow this specific project.
Photo showing the side view of the gown from the waist up – taken late at night after the event
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.
materials for cording the bodice – a long tool for pulling the threads through, butchers cord, and my channel-sewn bodice pieces.
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.
Sneak peek of my Gamurra during some lacing trials…
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.
Birth of Mary detail
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 →