Category: 16th century

So I’ve tried to make my previous Venetian gowns to varying degrees of historical accuracy, always with some concessions for theatricality and for the fact that the Renaissance is not my toe-curling era (that would be 18th c., where I completely geek out on trying to do things 1000% accurately).  This time around, I am trying to make some aspects even MORE historically accurate (shoulder straps; wider CF opening at the bodice waist; contemplating a cartridge-pleated all-the-way-around skirt, but I haven’t decided), and there are other aspects that I’m going for accurate look, theatrical method.

Specifically, this applies to the bodice.  Another member of my Renaissance singing group (Bella Donna), Jenn, is a mad sewing demon.  She has one of those super left brains that is totally analytical and engineering focused, and she’s come up with some really fabulous construction methods for these dresses — not only has she made a number for herself, but she’s also made them for other members of our group.  She’s all about making it look gorgeous but making the construction/wearing as practical as possible; in fact, she has a giant zipper down the front of her stays, and has incorporated a hidden zipper into at least one of her gowns.  (Confession time:  I was contemplating putting a zipper in my newest corset for this outfit, and then Linda told me that our friend Judith was mock-horrified that my standards were slipping — so all those hand sewn eyelets are for you, Judith!).

So!  The point of all this is that I am using her method for bodice construction.  Two things she’s figured out that work really well:  1) Jen of Festive Attyre (another Jen!) was one of the first people to attack these dresses, and she came up with a cool method for keeping the center front lacing straight (see her first post in her dress diary).  I used this method in my first two gowns and it worked well, but Jenn/Ruby Raven found that the two rows of lacing strips plus spaced 1/4″ boning meant that the bodice crumpled (mostly on the interior) in between the lacing strips.  What Jenn/Ruby Raven has done that’s worked so well is to make one wide lacing strip — she used a piece of cotton twill tape, I didn’t have any on hand so used some petersham from my stash — supported by a wide 1/2″ bone.  So the lacing area is still wide, but it’s supported throughout by a wide bone underneath.

What I did was to baste the petersham down so nothing got squidgy, then used a water soluble marker to draw out the lacing channels.  Of course, after I took this picture I realized that I’d done some mismeasuring, so I had to redraw these a few times.  Then I sewed the horizontal seams of the lacing channels, removed the basting, and sewed vertically down the petersham in between the lacing channels — which means that the lacing channels are open, but there’s no chance of accidentally sticking your lacing needle into the wrong slot, because the non-lacing-channel sections are closed.

Jenn/Ruby Raven attaches the 1/2″ bone to a separate piece of fabric (she suggested a twill), which goes from the CF opening and extends about 4″ into the bodice.  This then gets laid in between the lining and the interlining/fashion fabric.  She’s found that her underside doesn’t pull, and she doesn’t need to attach the boning/fabric the boning is sewn to to anything else.  I tried this, and found that the lining still pulled forward and you could see the petersham/lining:

So I accepted fate and handsewed a channel on the other edge of the boning, through all layers including the fashion fabric, to keep things in place (you can see the handsewing on the finished lacing channel pic above), which I’ll now have to cover with trim (altho in the period, they had to do this too):

But I do think this method is cool, because on my other gowns I DID get some weird crumpling on the lining around the lacing strips, and now I don’t have that on this version.

I found that the shoulder straps stretch given that they’re on the bias, so I ended up having to take off 1″ from the front strap to keep things from totally falling down:

Just found a couple of Venetian portraits that show some curvature in front, and so some distortion of the CF lines. I’m still not going to claim I’m being period accurate, but at least now I know I’m not TOTALLY out of line.

First, I wanted a new corset, as I’m forever trying to avoid the dreaded quadra-boob.  I finally accepted that my 1780s stays are the best shape on me for a flat front look, and made a strapless version of these for Renaissance wear.  No, it’s totally not period, but I wear these costumes frequently enough that I just want it all to WORK — and we all (in Bella Donna) have made some concessions to theatricality and modern sense of attractiveness vs. historical accuracy.  So, long story short, non-period corset shape it shall be, which at least gives me the cone shape.

I draped the bodice based on the fabulous pattern Sarah draped for me for my 1575 Florentine.  Obviously I’ll be changing it to a wide front opening with ladder lacing, a lower neckline, and shoulder straps on the shoulder point.  On my last two Venetian dresses I didn’t put the shoulder strap quite as far into the armpit as I’ve seen in all the portraiture, but I decided to go for it on this one and hope it doesn’t totally bind my arms!

The one downside to the corset I’m using is that because it curves in at the waist, I can’t get a visually straight line on the front opening of the bodice — it’s straight on the fabric, but because it curves in it LOOKS like it’s a slightly curved seam. Jenn (also in Bella Donna) gets a similar effect on her dresses, so I think it’s just a factor of the non-period corset shape.  Judge me all you want!

If you’ve seen my desire to costume, please let me know!  I don’t know if I pinned a note to its shirt, but hopefully it knows where it lives and could be sent to me COD?

I am trying to overcome my TOTAL lack of enthusiasm for costuming.  I did get on a fabric buying spree a few months ago, so that’s something!  I’ve been wanting to make a new dress for Bella Donna, and been wanting red for a while, so about a year or so ago I finally found some that would work:

I still love the fabric, but one of the things I’ve been trying to do as Bella Donna costume maven is to get us to broaden up our color palette.  We originally started with only shades of red (everything from gold through red through burgundy).  It worked great for a common look, but I think non-costumers don’t distinguish as much as costumers do, so we got a lot of, “Why are you all wearing the same dress?”  Hence, my last Venetian was in green.

Well, we got together to talk fabric a few months ago, and I realized that suddenly everyone was going to be back in red shades. I think part of it is what fabrics people got excited about, but also that it’s HARD to find good silk damasks! So I thought I’d better walk the walk and shelve my red (for now) and see what else I could find.

Cue months of fabric shopping, and I FINALLY came up with these, which are both in my hot little hands now:

Okay, yes the peach is still in the red family, but at least it’s a lot lighter than red and it’s shiny!

So, now I have to figure out which one to use! For a while I was more excited about the peach just because it’s REALLY SHINY, but now I’m leaning more towards the blue — which is SUCH a coup, as finding blue silk damask that works for costuming?  Shockingly really hard!  And I don’t do baby blue, thank you very much.

I’m still planning to make this dress, including the weird gold shell/flower-y bits:

I even found some butt-kickingly good gold lace that will work for the stomacher, which I’m REALLY excited about.

First up will be a new corset, basically a strapless version of my 1780s stays.  I even managed to cut it out and mark the boning channels on Sunday, which is a major accomplishment given my total lack of energy for costuming!  More on that soon.