About Adelaide: I began in Ansteorra, took a decade-long break when I had my daughter, and arrived in Calontir around 2012. I enjoy many skills within the SCA, but I am probably best known for sharing those skills with the children of the kingdom, during my time as Kingdom Minister of Youth.
Her Project: I’ve had some lovely fabric that has been begging to become an Italian gown, so I will make a 15th Century Venetian gown. There are a few historical paintings that show a lovely front-laced gown, such as the woman in pink in Ghirlandaio’s Birth of St. John the Baptist.
About : I have been in the SCA for 40 years, and have sewn for even longer. However, I have only been trying to be more historically accurate for the last 10 or so years. I do mostly fiber arts, but am also interested in woodworking and scribal arts.
Project: This is for a 16th century Italian middle class/lower upper class woman. I am basing my outfit from a painting by Lorenzo Lotto. Portrait of a Woman inspired by Lucretia. This is an outfit that has intrigued me for years, so this may finally inspire me to try to create it.
About Elizabeth: I reside in The Shire of Canale, Cynagua, The West. I have been in the sca for almost a year now! I picked up sewing to create garb and have taken some college classes on sewing and design. I love researching French/English court dress of the early 1560s, and am researching women’s education in the third quarter of the 16th century. This project is not for me, but will be made for my sister.
Her Project: I will be creating an outfit suitable for a Florentine lady of means around 1565-1575. The items required are, a Camica, a small farthingale, a supportive kirtle, a doublet dress, an over gown, and finally a set of jewels. The outfit is primarily based on, Follower of Francesco Salviati del Rossi, called Il Salviati Portrait of a lady, half-length, in a richly embroidered, high-necked white dress with pink trim, a jeweled headdress and pearl necklace, seated holding gloves in her left hand.
This is a 1560s Florentine kirtle, and partlet. The pattern was drafted using the modern maker, and adjusted to fit the visual sources I referenced. It is made of cotton canvas, linen blend, and cotton velvet. The bodice is stiffened with layers of wool and buckram, pad stitched together to stay rigid. The partlet is made of fine white linen, and trimmed with gold picot braid. This layer took longer that anticipated, but I am happy with the results.
About Fionnabhair: I have been in the SCA since the early 2000’s and love my 16th C Italian clothing. I am self taught and don’t enjoy sewing (and am not confident about it). I would much rather be doing embroidery! I think clothing is a big part of one’s persona so I force myself to keep sewing. I also enjoy cooking and illumination, and love women’s dress accessories.
Her Project: I am planning a 16th Century Italian Noblewoman’s ensemble. At this stage I would like to do a dress, coat, undergarment and (hopefully) a suite of accessories. I would like to try and use mainly materials from stash. It would be nice to be able to incorporate elements from my heraldry, but I am still very much in the vague, planning stage. I have a series of similar gowns in portraits that I would like to base my dress on.
About Gianna: I’ve been active in the SCA for 4 years. I’ve sewn for a long time but over the past 3 years I have started focusing on learning how to construct my clothing using historical methods and fabrics versus modern methods. My primary focus is 1450-1580 Florence. However, I have a strong interest in Tudor England and Venice. When not sewing I dabble in tablet weaving and other fiber arts. I find Florentine clothing to be challenging and deceptive. All of the structure of Florentine clothing is created within the clothing itself, meaning, they did not have corsets or farthingales to create the overall shape and support. Creating the veste will require a few new skills so this should be interesting.
Her Project: I’m drawn to the elegance of the portrait of Isabella de Medici by Alessandro Allori from around 1560, Florence. I will recreate the ensemble seen in that painting. Isabella was part of the Medici family who was ruling Florence, Italy at the time. An outfit of velvet and numerous pearls would’ve been worn by upper nobility as I imagine the cost would’ve been prohibitive for anyone else. This is an outfit that I’ve been wanting to make for a while and have completed some of the pieces that will not be entered into this competition.
I will be making the camicia, sottana, and her veste (or overgown). The sottana is the supportive middle layer dress that will help create the overall shape. The sottana will be made it so that it can be worn as stand alone dress. For my 4th, non-sewing item I will be making a pair of chopines. These are elevated platform shoes meant for outdoor wear to keep dresses and shoes out of the muck and show off wealth.
I’m submitting a linen camicia which is the underlayer that was worn by everyone. Since my entry is later period I added cotton lace around the neckline and wrists. The construction seams are machine sewn but all finishing is done by hand (hem, felled seams, and lace). Once I can try it on with the sottana I may wish that the neckline was a bit lower but we’ll see.
I’ve made a upper class women’s sottana (dress) that would’ve been worn between 1540-1560+. It’s difficult to know exactly when Florentine women stopped wearing these because they went from being the outer layer to being the middle layer throughout the 16th century. I went ahead and made this dress so that it could be worn as it’s own dress or as a supportive layer. Bodies, stays, or farthingales weren’t found in Florence during period so all support and structure are created within the sottana.
The outer layer is a shot silk dupioni that’s either an icy blue or periwinkle, depending on the light. It’s trimmed in a dark blue velvet in a pattern that is fairly common for the era. The sleeves are also trimmed in the same velvet and feature a spiral design. The bodice and sleeves are lined in linen. The support and structure of the bodice was created by layering duck cloth and melton wool per the method found in The Modern Maker vol. 2. The skirt is stiffened with wool felt that I stiffened with 3 rows of zig zag stitching creating a faux pad stitch.
The bodice is side laced through metal lacing rings. I wove 2 cords on the lucet with pearle cotton which I then waxed (wax, melt into the fibers, repeat) to strengthen the cords and hopefully help prevent wear from the lacing rings.
About Giovanni: I am Giovanni Loredan, I have been in the Society for over 9 years. Giovanni is a second son from the mid-1500s Republic of Venice, where his late Uncle was a well-loved Doge. Giovanni currently lives in the Kingdom of Calontir, in Axed Root. In the past, I have sewn a number of items, including a late period suit. This complete project will probably be pretty challenging for me though. My last doublet took me almost three years to complete by hand. Hopefully having a specific challenge will help to keep me moving!
His Project: For the Challenge, I am working on a recreation of the “Portrait of Gian Gerolamo Grumelli (The Gentleman in Pink)” by Giovanni Battista Moroni (https://upload.wikimedia.org/wikipedia/commons/4/45/Giovanni_Battista_Moroni_008.jpg). The outfit worn in the portrait is fairly typical of the mid-1500s in Northern Italy. Layer 1 – Underwear: Camicia and Braes Layer 2 – Main Layer: Doublet and Paned Trunkhose Layer 3 – Outer Layer: Venetian Toga (Over robe) Layer 4 – Accessories: Garters and Shoes I have been planning this outfit since Clothier’s Seminar last year when I acquired the wool I will be using for the Doublet and Trunkhose. I have been looking at the Painting for many years. To fulfil the Outer Layer, I will be creating a Venetian Toga, also known as a Vesta. It was a civic uniform for men over 26 in Venice and was fairly highly regulated by sumptuary laws.
About : Hi there, so I am very new to the SCA, roughly a year or so- but with the pandemic I’ve only made it to 3-4 events. I am fairly new to historical sewing but have been making costumes and cosplay for myself as well as a variety groups and Mardi Gras krewes in New Orleans for several years. I also help run the Sewing Squad facebook page, which is a small group of people in my region that want to learn more about sewing skills and history focused garb.
Project: I’m going to be doing a (roughly) 1480-1500c Italian Renaissance set of garments. This will be inspired by a set of paintings from that period, though the fabrics will be different, since I’m picking this period/style to utilize a yellow silk taffeta and a red silk brocade that I already have. I also wanted an opportunity to work on my embroidery and with the heavy ornamentation on the sleeves of this period, hopefully I can get some nice detail work done ( though I’m pinning that as a “stretch” goal, time allowing).
I am checking in my Spanish camisa layer. This is the Spanish renaissance version of the Italian camicia (shift). They are very similar garments with the main distinction from the 1490’s period I am working in being, that the sleeves do a large bell at the end and dangle out of the bottom of the gamurra sleeves instead of tying or buttoning at the cuff. I have added my art reference to the Facbook album- “Mencia de Mendoza with Saint Dominic”, artist contested. I am hoping to do a complete recreation of this painting. She was high nobility in this period and my fabric and notion choices are reflective of that. These shifts were typically either heavily embroidered with blackwork or lace and were often made of fine linen or silk.
I opted for two types of silk-synthetic mix lace after examining the source painting closely. I sourced and purchased 15c reproduction lace for the collar and used lace I already owned for the sleeves and bottom hem. These were hand sewn on with a cream colored silk thread and a whip stitch. The camisa pattern is drafted by me, using art examples, online research of others recreating this period- “15th C Clothing For Men and Women” by THL Peryn Rose Whytehorse, and several books I own- “Patterns of Fashion” by Janet Arnold, Herald, Jacqueline- (1981) “Dress in Renaissance Italy 1400-1500” by John Murray, “Dress in Italian Painting 1460-1500” by Elizabeth Birbari.
I also consulted with the SCA Iberia Facebook group to get more Spanish specific info for this period, and help understanding the fashion differences between them and Milan. The camisa is made of a semi-sheer silk in cream, with gathers at the neck, back and around both sleeves. The inside sleeve raw edges are covered and whipped down with a cream colored twill tape for additional strength, since the cloth is quite thin and prone to unraveling. The neck was bound with a bias tape I made of the same material, with the lace being attached to the edge.
The sleeve and bottom hems are rolled and whip stitched with the lace added at the bottom.
If I could do anything differently- I probably would have picked a different painting. I didn’t realize at the start of this that there is VERY little information know about this artwork, and most of it is contested. They aren’t even sure this is actually Mencia De Mendoza…. So a lot of assumptions were made based on published research of that art. This led me to the ten year period around 1490, and influences from both Milan, and Barcelona as she was tied to both areas. Her fashion in this painting has elements of both cities- the long sleeves of the Spanish camisa, with the tighter fitting sleeves of Milan gamurra dresses at that time. The bodice of the dress isn’t seen in this gown so I had to use other art references from that period and those regions to help me pattern.
Having none of the support garments and very little of the under-dress showing in this art has been a difficult but exciting challenge. It has also given me a little freedom to make creative choices that would normally be limited in a strict recreation with more of the support garments showing.
About Lisette: I have been in the SCA for about a year and a half and sewing for about two years longer still. I sew quite a bit now, but all of the garb I’ve made has been in a very feminine style. I’ve never made pants before, so this outfit will be a bit of a challenge because it is a more masculine style (and includes pants!). The outfit, once complete, will tie in with my (mostly) italian courtesan persona.
Her Project: I plan to make a Venetian courtesan outfit. There are descriptions of many Venetian women, courtesans and not, “apparrelled like Men, in a doublet close to the body, and large breeches open at the knees, after the Spanish fashion, both of carnation silke or satten” (Fynes Moryson’s Itinerary c. 1590). For my entry I will make an undershirt, doublet and breeches, a cloak, snood and jewelry in the style described by Moryson.
About Lyleth: I’ve been in the SCA for about 3 years. Sewing was a completely new skill when I joined but I’ve only sewn a handful of dresses. I’ve also recently gotten into fighting so I am sewing/building my own kit for that as well. This project very much fits into the Italian persona I am building. I’ve had a love for the style and era and am very much looking forward to completing this project. This project will be very challenging for me. The trials I have done in a similar style have all been for middle/lower class and have been made completely of linen. This will be the first time I’ve work with brocades and silks to make something finer. I’m also looking into doing some embellishing and embroidery for the first time. While I’ve done some corseting in my other gowns, this will be the first time I’ve made a Farthengale with the attached hoop skirt.
Her Project: The outfit I plan to create is a late 16th century Venetian gown. My inspiration is from the painting by Paolo Caliari (Veronese), 1571: Madonna of the House of Coccina. The inspiration is in the style and shape of the dress only, the fabric and color choices will be very different. I was intending to make this dress for Twelfth Night or WInter coronation either this coming year or for next year. The fabric is not period accurate but it felt perfect for the winter theme of the event.
About Makenzi: My name is Makenzi. I have not chosen a SCA name. I was introduced through my sister and her husband, Makayla and Tristan Smith. I joined in the spring. I do sew regularly, just not clothing to this extent. Mostly repairs and accessories. I enjoy Archery, and am learning to be a scribe. I am sure this project with provide many challenges. Thank you!
Her Project: I am new to the SCA and wanted to create something nice to wear to my first event when they are able to be held again. I have loved the look of italian dresses for many years and decided to create one for myself.