| Introduction | Sleeves | Undergarments | Resources |
| Table of Contents | Embellisments | Bibliography | A Selection of Paintings |
 Bella - Titian |
Gown Construction by Mistress Leona Khadine d'Este and Mistress Enid d'Auliere This article may be linked to, but do not republish it in any format. |
Introduction
The costumes we are going to teach you to make today are Italian
Renaissance gowns that represent the period from approximately
1470 to 1540. We chose this particular style for a number of reasons:
It's elegant. It is a flattering, fitted style without being constricting
and complements most figure types.
Ease of construction - While this is not a simple task, it is
less complicated than later styles while remaining "showy".
Adaptability - Using the basic bodice pattern, you have tremendous
flexibility in adapting it for different looks, which multiplies
when you consider the sleeves.
NO CORSET - Through a few innovations in bodice construction,
we have been able to duplicate the period look and fit without
use of a corset. Included in these pages are instructions for
a simple corest for those that would like to create a more authentic
sillouette or require more support.
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SECTION I History and Documentation SECTION II Bodice Pattern Construction SECTION III Basic
Gown Construction Without Sleeves, Back Closure SECTION
IV Variations on a Theme SECTION
V Italian Renaissance Sleeves SECTION
VI Embellishments SECTION
VII Undergarments Appendix |
SECTION II Bodice Pattern
Construction
Making a pattern is not terribly complicated, in fact it can be
fun. Once you are successful at it, it can set you free from commercial
patterns. The key to successfully making you own pattern is careful
measurement! For this particular project, the only pattern piece
will be the bodice (front and back) and the sleeves, if you chose
to include them. We will lead you through this process step by
step, so don't worry. We will make the bodice pattern first as
everything else depends on this. You can record your measurements
in this book for future reference.
A. ______Bust at largest point
B. ______Just below the bust line
C. ______Waist
D. ______From top of shoulder (over bust) to waist
E. ______Across shoulder from tip to tip
F. ______From top of shoulder to neck (each side)
G. ______From hollow of neck down to tip of intended neckline
(you decide where the neckline would be comfortable)
H. ______Across neck from hollow to hollow
I. ______From mid-shoulder to underarm
J. ______From neck to waist in the back
Using these measurements, draw the bodice pattern, back and front.
Use grocery bags, newspaper or freezer paper for the pattern.
Do not draw on the material.
For your first attemptbe a bit generous in the measurements for
the sides (bust and waist measurements). You can always cut down,
but you will find it difficult to add on. Be conservative on the
neck and underarms, again, better to cut down. Match the front
and back bodice pieces. The shoulders and side seams should match.
Once you have drawn the pattern pieces according to your measurements,
make sure you draw a seam allowance of 5/8 in around them. It
may seem unnecessary to remind you of this, but taken from experience,.it
is all too easy to become excited after drawing the pattern carefully
and cut the pattern as drawn without seam allowance. Cut both
front and back bodice out along the cutting line.
This is your basic bodice pattern and it can be adapted in many
ways to seem unique every time you use it. A suggestion at this
point is to sew a test bodice out of scrap material to make sure
it fits. All you need to do is cut it out, sew side and shoulder
seams to see if it fits properly. It should fit snugly but not
too tight, and the back seams should meet. If it is too large
or too small, better to find this out now and adjust the pattern
accordingly without wasting valuable and possibly expensive fabric.
Take your time with this part of the process. It is the most important
step. Without a good pattern, no matter how well you sew, the
costume will not fit properly. This pattern, once you achieve
the fit you want, will last you for years. We have used our same
patterns over and over, adapting it for different looks, but keeping
the same fit. We have found this pattern to be well fitted, period
in "look" and versatile. We will go into variations
in design later on, so you are able to choose the style that appeals
to you and vary the look of the gown.
It is important to note that while making your own pattern is
a worthwhile project, there are commercial patterns you can adapt
to achieve a similar look. It is not absolutely necessary you
make your own pattern, particularly if you are uncomfortable with
the process. The main thing to look for in commercial patterns
is the seam lines in the bodice. If the bodice is similar to the
bodice we have designed (and it is a basic design, not complicated)
disregard the neck, skirt and sleeves. They do not matter, everything
else can be changed to your specifications.
SECTION III Basic Gown Construction Without Sleeves, Back Closure
In this section, we still go into construction of the basic gown
step by step, with tips along the way to (hopefully) make this
project go quickly and easily.
The first thing you must do is choose the fabric for your gown.
The bodice material does not need to be the same as the skirt
material. You can make them of different fabrics and even weights.
This is not only period, but it makes sense on a number of levels.
First, often we prefer a heavier weight fabric for the bodice,
particularly if there is any embroidery or beading planned for
it. Also, a sturdier fabric for the bodice works well, looks good
and can take the stress of a snug fit easily without having to
be reinforced by layers of heavy innerfacing and lining as will
lighter fabrics. Finally, we plan about a yard of fabric for bodice
fabric for our size. We often consider more expensive fabric for
the bodice as it is a small amount, then make the skirt out of
a less expensive fabric, as there are many more yards in it than
the bodice. This idea can really dress up the costume and add
interest to the garment.
Choose only woven fabrics for both the bodice and skirt. Knits
and stretch fabrics are not suitable for this pattern. If you
choose a light weight material for the bodice, compensate by choosing
a heavier fabric for the lining or add additional interfacing.
Here is a list of materials you will need. Included are yardages
that work for both of us (size 8-10). If you are considerably
larger or smaller you will need to adjust the yardages accordingly.
1 yd. bodice fabric
1 yd. bodice lining
1 yd heavy weight innerfacing (fusible is preferable)
4-5 yds. skirt fabric
2 yds boning
4 yds cording for lacing
thread
hooks and eyes (dress weight)
straight pins
sewing needles
seam tape (1 package)
The bodice will take about 80% of your sewing time. In order for
the bodice to fit well and have the proper look for the period,
it must be constructed carefully. The process is listed step by
step.
1. Cut out front and back bodice pieces along length of grain
of fabric. In order to be a back closure, fold back bodice pattern
piece in half and add 5/8 inch for seam allowance to center back
seam. Cut one front piece and two back pieces (one for each half)
along cutting line.
2. Repeat step one using lining fabric
3. Cut innerfacing to bodice pattern pieces
4. Fuse innerfacing to front and back bodice material on wrong
side.
5. Sew two strips of boning on front bodice lining from neck edge
to waist. To do this take the seam tape and machine stitch the
tape in a straight line from the edge of the neck and measure
down 1 inch to 1 inch above the waistline along each side making
a casing for the boning and leave either the top or bottom open,
your choice. Remove boning from the casing it comes in and cut
to fit the casings, insert and stitch the end close.
Note: The boning inserted in the front gives structure to the
bodice and support for those of us with more up front. It keeps
the fabric in place and simulates the fit of a corset without
having to use one. I HATE CORSETS!!! If you are not so "well
blessed" as some of us, possible just the innerfacing will
give the bodice enough structure.
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6. Right sides together, sew
front and back shoulder seams
7. Right sides together, sew front and back side seams
8. Repeat 6 & 7 using lining material
9. Always remembering RIGHT SIDES TOGETHER, pin lining to bodice
starting at bottom back seam, around neck and back down opposite
back seam to bottom. DO NOT SEW UP ARMHOLES.
10. Machine sew lining to bodice. Trim seams to 1/4 in and snip
corners.
11. Turn wrong sides together and press along seam line. This
is always an exciting part because you can begin to see the bodice
coming together and get an idea how it will look.
12. Back Closure Construction - You have a couple of options here,
but using buttonholes for the lacings is preferred as they are
sturdy (especially if you have a machine attachment that makes
them). You can use grommets, the large brass ones, or coat hooks,
but in any case, use boning down each side of the back seam or
the fabric will bunch up from the pull of the lacings. Instructions
for using buttonholes are given as experience has found them to
work better and last longer than the other options.
13. Machine sew a line 1/2 inch in from the center back seam from
neck to waist on each side of back. This provides a casing for
the boning.
14. Using the casing line as a guide, place buttonholes (or grommets)
about 2 inches apart down the either side of the back seam. Make
sure they match each other.
15. Slide boning into casing along back seam.
NOTE: If you plan on having attached sleeves then skip #16
and follow directions in the sleeve section for finishing armholes.
16. Armhole Finishing - Turn under both bodice and lining fabric
to inside and pin around armhole. You may need to cut small nicks
along the curve so it lays properly. Hand sew lining to bodice
using small, hidden stitches. Machine sewing just does not work,
it always turns out poorly.
At this point the bodice is completed. All that is left is to
attach the skirt to the bodice. Everyone does skirts differently,
but this method described has worked well for many years now.
Skirt Construction
17. Skirt Construction - Measure from waist to floor, add 2 inches
to measurement. Cut panels of skirt material straight across,
from selvage to selvage at that measure. Cut however many panels
you wish. The more panels, the wider the skirt depending on the
width of the fabric.
18. Sew skirt panels, right sides together along selvages until
you have one long piece. At the last seam, leave a gap of about
5 inches at the top to allow for the back opening.
19. To attach skirt to bodice we pleat the skirt into the bodice.
It gives a smoother line than gathering and is the period method.
There are a couple of ways to make this a little easier for you.
One way is to divide the total width of the skirt by 4, then divide
the bodice into four parts, 2 back part, 2 front parts and pin
the skirt fourths to the bodice fourths, so you know how much
skirt material must be pleated into each bodice part. You can
work it out mathematically if you have a bent that way. Divide
the number of inches in the skirt width by the number of inches
in the bottom seam of the bodice. No matter how you do it, it
comes down to patience and trial and error. Pleating by sight
takes a little practice and no matter if you do fudge on the back,
just keep the pleats even looking on the front. (Cartridge pleating
is an option for people who want a really full skirt but instructions
for this option are not included at this time.)
20. Once you have the pleats pinned onto the bodice to your satisfaction,
machine sew them into place. Be careful to sew them to the bodice
fabric only and not to the lining fabric. Trim seam to about 1/4
inch.
21. Press the seam salvage up into the bodice. Turn under edge
of bodice lining and hand sew to skirt seam, securing bodice to
skirt and finishing bodice.
22. Hand sew hook and eye to bottom of back closing where the
bodice meets the skirt. Make sure it is sew it securely. If you
want, you can sew another hook and eye further down the back skirt
opening so it doesn't gap open.
23. Hem bottom of skirt.
At this point you have completed a basic Italian Renaissance overdress
that should last for years. You may have noticed that by lining
the bodice and using selvage edges for the skirt seams, you have
no raw edges to unravel.
In the next section, we will discuss variations on this basic
pattern, ways to embellish the bodice and sleeve treatments to
make this a truly elegant garment.
SECTION IV Variations on a Theme or Changing the Closure Seam:
There is an amazing number of looks you can design using this
simple bodice pattern. We have been using our same bodice patterns
for years and no two gowns are the same. With a bit of imagination,
you can have a wardrobe of gowns, all different, from this one
pattern. Here are a few ideas on how to get these various looks.
Front
Closure - Change the
closure from the back to the front. Cut the back in one piece
and the front in two pieces leaving a seam allowance in the center
front. Finish the seam in front just as you did the back, inserting
the boning at the seam and using buttonholes or grommets for the
lacings. You can leave the front skirt seam open or sew it up
as you did the back, leaving an opening so you can get in and
out of it. You will want to sew hooks and eyes at the bottom of
the opening where the skirt attaches to the bodice. When you put
the closure in the front, you do not need the boning at the neck
edges.
Side
Closure - Cut the back
and front bodice pieces as one piece. Leave side seams open. Finish
each side seam just as you would the front or back closure, inserting
boning at the underarm seams on each side. You can leave the side
skirt seams open to show the underdress or sew them up, leaving
an opening for the closure as you did the back or front.
Changing
the Types of Closures:
Lacings work very well to keep a garment together and they are
period, but there are other period closures you might want to
substitute. Try some fancy button and loops instead. There are
some buttons you can find in most fabric stores that can easily
pass for period and are very pretty.
Either metal or fabric frogs are also period and add to the costume.
These are only a few suggestions. Be creative!
Varying
the Neckline:
The preferred neckline during this period was low and square,
but you are not tied into this by any means. You may want to trace
your pattern onto another piece of paper and experiment with some
different necklines. Here are some ideas for you:
1. Round the neckline. Simply round out the corners on your experimental
pattern piece.
2. Raise or lower the neckline to your preferred depth.
3. "V" neck. Insert a "V" shaped piece of
contrasting fabric into the front bodice. Start with a pattern
copy, then draw a line from the edge of the neck to the center
front waist on each side (hence "V" shape). Cut this
piece out of the bodice copy. Be careful to leave seam allowance
on both the V piece and the bodice piece. Note: Insert boning
along each side of the V rather than running it straight down
when using this variation.
4. "V" Neck with lacing instead of fabric piece. This
can be very effective, especially if you have a fancy underdress
to show off. Instead of inserting the V piece, you close the seams
and use buttonholes, grommets or, a tried favorite for this variation,
eyes from coat hooks and eyes.
5. Adding a rectangular placket in front. This works very much
like adding the V shaped piece of fabric to the front, but in
this case, it is rectangular, going straight down from the edges
of the neckline to the waist. Again, be sure to add seam allowance
on both pieces and run boning down the front at the seam line.
These are just a few ideas. Come up with your own, or mix and
match from many different gowns.
| Table of Contents | Embellisments | Bibliography |
| Gown Construction | Undergarments | Appendix |
| Sleeves | A Selection of Paintings |