Location: Barony of Three Rivers, Calontir
Category/Level: Historically Focused/Advanced
About Annora: My main art focus is costuming. I will be using this challenge to make an outfit I had already planned. This will help provide some outside motivation for me to work on my project and stretch a little.
Her Project: Outfit will be an early Tudor ensemble indicative of the turn of the 16th century showcasing the stylistic change in silhouette. The outer gown will display pleating techniques in the back and have a wrap closure. The hood will be embellished with pearls and spangles as seen in several contemporary tapestries.
The body linen layer of the early 16th century was very similar to body linen layers of the previous eras. It is constructed using geometric shaped pattern pieces. For women it is ankle length. The sleeves are wrist length and narrow to fit through fitted outer sleeves. The neckline is square to match the kirtle with a high v in the back. I’ve made this same pattern many times and it wears very well. I did a reverse facing to complete the square neckline. I do not think I will do this in the future as I don’t like the look. But it would be a good method to apply an embroidered band to the neckline.
The linen is a lightweight linen from 96 District and the seams were sewn with a fine white silk thread by hand.
A pink linen kirtle of the early 16th century in England. It has been constructed with a separate waist seam and pleated skirt and short sleeves as seen in primary source images. The bodice is interlined with linen canvas and lined with 5oz white linen. This provides good shape and support to the bodice without being pad stitched or otherwise manipulated. I believe the early 16th century is too early for the use of pad stitching or other technical tailoring techniques. 20 hand bound eyelets were sewn in silk thread. Most of the construction seams were done with cotton thread. The kirtle is completely hand sewn and created from a pattern that I drafted. There are several process photos showing stages of construction and finishing. Fit is the most important thing about this layer as the kirtle supports the bust and provides the shape for the outer layer. I’m overall very happy with the fit of this kirtle. But I may tweak a few spots for the future. The shoulder straps could be a bit tighter and fit closer to the body. The facing around the neckline made the square corners much easier to sew but does add bulk to the neckline as well. This is the first time that I’ve used the fashion fabric for this purpose. A thin silk would reduce bulk here. The waistline is straight but appears to dip lower in the back of the kirtle. I believe this is an illusion created by how the kirtle fits on the body. The bodice was drafted with a straight waistline. An adjustment to the back of the bodice, raising it slightly, might account for this and correct the illusion. The hem goes to the floor but may be raised in the future as the kirtle is intended to be worn inside and outside.
This is a wool transitional gown from the turn of the 16th century. It’s has a wrap front closure that is shaped similar to 15th century gowns. But the back has developed more fullness and shows pleating techniques that start to be used more in the 16th century. The sleeves are a trumpet shape popular of this time period. It is fully lined in silk and hand sewn.