Project Post-Mortem: An English Gown

When last I wrote, I mentioned the possibility of constructing some Italian-style sleeves to give an appropriate silhouette to my clothing for an upcoming event.  That did not happen.

No.  Instead, a mere three days before said event, I decided to construct an entirely new, entirely non-Italian dress.  (Glutton for punishment, perhaps?)

The Wednesday before the event, I could not decided what to wear.  The event would be outdoors, so the gown made for the court event would not work.  While I have a couple of linen kirtles, I’ve lost weight since they were made and they are a touch big.  But even if I wore one, without an overdress, I would appear half-dressed.  Obviously, I needed to make a new over-dress, right?

photo from The Tudor Tailor

Since I did not want an over-dress with large, turn-back sleeves, I chose to make an early Tudor-era gown as seen in The Queen’s Servants, by Caroline Johnson.  The gown featured trim sleeves, a fitted but not supported bodice with a long, full skirt very similar to a gothic fitted gown.  When reading over the pattern details, I saw that the fabric recommended was either wool or silk.  I opted for silk and decided to use a beautiful dupioni in gold that I purchased initially for another gown but did not use.  For trim, I had a few scraps left of black wool I could make bias strips from.  (I used this tutorial from Colette Patterns to make continuous bias tape.)

The book showed several variation in both neckline and back for the gown.  Because I am still losing weight, I chose a back-lacing style that does not meet in the back anyway.  For the neckline, I chose a classic, squared style.  I scaled up the pattern from the book, but decided to do few alterations.  The last gown fit pretty well with minor alterations and with an open back to the gown I figured it would be forgiving if it was a touch small.

completed English gown

The gown itself was uncomplicated to construct: shoulder seams, front, back, and side seams.  The sleeves would prove to be the most complicated, and they were.  

I know several sewers/sewists that loathe setting sleeves.  I’ve had my share of troubles with sleeves, too.  But the sleeves from my court gown went in so easily, that I assumed this gown would be the same.  It wasn’t, but it certainly was not anything too arduous.  With a small alteration to the armseye, and a fair amount of easing, I got both sleeves installed.  All that was left was to finish the details: lacing holes (I machined them*), hem, trim, which all came together quickly and easily.

The one thing that I should have done but did not was to try on the completed gown.  I repeated checked the fit of the gown during construction.  To do so meant slipping on a kirtle, lacing the kirtle, slipping on the gown, pinning/marking as needed.  So I skipped a final fitting.  Had I done a final fitting, I would have learned that my sleeve cap was a touch too small (less than an inch, probably).  Ah, well...

Overall, I was very pleased with the end result of the gown.  While the ill-fitting sleeves did result in a small blown seam at the event, I have plenty of silk left to redraft a larger sleeve.


*Yes, yes.  Hand-sewing the eyelets would produce a more accurate look.  But I've made no secret of my lack of patience to do them.

Lessons learned from this project:

• Making continuous bias tape is a bit tricky to learn, but once figured out making bias tape was a breeze.
• When I ran out of gridded pattern paper, I used my gridded cutting mat and semi-transparent butcher paper to draft my patterns.  It worked like a charm.  I think that I may like it better than using gridded paper.
• I machine basted my sleeves in prior to stitching (I have a new-to-me machine with an awesome basting stitch setting!), but I think that I should switch to hand-basting on trickier sleeves.
• Obviously, I need to plan for a full fitting once a project is completed so as to avoid small problems like what I experienced at the event.

Thoughts on the Next Big Project!

After successfully completing a new ensemble, I find myself inspired to do more.  For my next big project, I'm contemplating making a French-style round (untrained) gown circa 1530.  I'd like to pair it with a gable hood.  More accurately, a well-constructed gable hood, with all the pertinent layers, not just an ill-fitting one-piece affair.

Portrait of Lady Guildford
by Holbein (c1527)

While such a gown has certain telltale features such as turned back sleeves, and a deep square neckline, I do have a few options to figure out.  Foresleeves, for example.  Do I opt for a simple pleated foresleeve a la Lady Guildford?  Or do I chose a brocade like in the famous portrait of Queen Jane Seymore?  (In other versions of Queen Jane's portrait, she, too, wears the pleated sleeve.)

Jane Seymore,
Queen of England (c1536)

Regarding fabrics, I am leaning heavily towards using a damask to decorate the kirtle and a wool (instead of velvet) for the gown.  I could line the turn-back sleeves in velvet then.  (There is no way I'd want to line the sleeves in fur; too heavy, too hot for my climate.)

Perhaps the biggest potential problem with this gown, though, will be fit.  I have seen many such gowns that are not properly fitted through the back and shoulders resulting in the sleeve cap falling off towards the arm.  My knowledge of general garment sewing should help me here.  Thus far, I've been able to sew similar dresses with no major fitting issues.

Test-garment bodice,
note the shoulders

For the hood, it is pretty straight forward.  The most obvious differences seem to be the length of the linen front piece near the jawline.  In earlier portraits, the linen is longer.  The lappets, the fabric usually golden in color that is outer most on the sides also varies in length, but as it is usually pinned up, it does not change the overall look too much.

Most period images featuring a gable hood show the front only, but thankfully Holbein did a sketch that shows the back.

Holbein sketch with back of gable hood

I have about six months before our kingdom's next big court event, so I have some time to fret about the details.  In the meantime, I'm also considering a much smaller project for the next SCA event that I'll be attending.

My local barony's anniversary is this month and the theme is Italian.  I am trying to figure out if I could use one of my existing kirtles, but add some Italian-style sleeves.  I think that would add an appropriately Italian-looking silhouette to something I already own.  Thankfully, I have some very knowledgable friends who specialize in Italian Renaissance clothing.  I'll be asking them for advice!

Project Post-Mortem: Coronation Gown inspired by Early Tudor Clothing

Today was the 35th anniversary for the SCA Kingdom of Caid and the coronation of our newest King and Queen.  As such, I decided to mark the occasion by wearing a new gown.

Readers may recall that I started a new project back in December.  That project was in anticipation of this coronation.  But as the date drew nearer, I grew quite sick of hand-sewing eyelets on the kirtle.  So, the Thursday before last, I decided to chuck the whole project (for now), and I started over (mostly).

The chemise was already completed, so I just needed to make a new kirtle, a new over-gown, and a new bonnet.  I still wanted to base the new clothing on a couple of images I found in The Queen's Servants by Caroline Johnson.  (Johnson's book focuses on women's clothing from around 1500 to 1520, which is definitely not a "popular" period for costuming in Caid.  At least, not at the time of publication.)  Since I wanted to try something new and different, I sought out inspiration that was also different from I see frequently in Caid.  The image on page 15 of Jone Wyddowsoun from 1513 featured both the pointed bonnet style and peaked gown neckline that I would ultimate emulate.  The image from page 17 of Emme Pownder also showed the same bonnet style, but I used it to inspire my not-quite-so-enormous sleeves.

Kirtle complete!

For the kirtle, I used a beautiful russet wool that was gifted to me.  I opted for the "V" neckline to emulate the kirtle in the images listed above.  Plus, it seemed distinctly (early) English-Tudor as opposed to the very popular French-style gowns of the 1520s and onward.

As I am actively working towards a smaller figure, I chose to make the kirtle a bit too small.  Being side-laced, this only meant that for now it had a gap between the lacing edges that would be unseen under the gown.  This was a very quick part of the project in that I was able to draft, cut, and assemble the entire piece in one day.

Checking the combination

While I do have a gorgeous golden silk for an over-gown, I opted to make a quick trip to our local fabric district to see if I could find an inexpensive fabric from which to make the over-gown.  (When I make a new style of garment for the first time, I like to do so in a fabric that did not cost a fortune.  There is nothing more depressing than "ruining" beloved fabric for a gown that just did not quite work out.)

Bodice completed

My trip was a terrific success in that I found SEVERAL fabrics, all for less than $4.00/yard!  To best coordinate with the russet, I chose to use a damask in dark brown/black with a brass/golden pattern.  Had I been smart, I would've picked up a dark linen to use as lining.  I did not, so I had to use linen from my stash, which was white.

Adding the pleats

The bodice for the gown came together easily and quickly, to my surprise.  As I seldom work with patterned fabric, I was worried about matching up and centering the design.   Yet I managed to get it to match up in the front beautifully.  The back, though, proved even better.  I love how the pattern gives a slimming effect.

Side-view

Once the bodice was assembled, it was a matter of attaching and pleating the skirt.  I decided to put padded box pleats in the back as suggested by Johnson's book.  It did mean more hand-sewing than I usually like when under a deadline, but as construction had been quick up to this point, I chose to take the time to produce a more accurate silhouette.

Gown completed!

Once the padding was sewn in and the pleats attached to the bodice, it was just a matter of hemming the skirt and lining.  I managed to finish the gown by Wednesday, giving myself two full days to put finish up the details.

The bonnet was very easy to construct.  A little facing, but otherwise only two pieces of outer fabric (black velvet) and two pieces of lining.  Since I chose a bonnet with a uh... elfin profile, I did need to use about a yard of millinery wire to support the point.  I was able to hand-sew that in with plenty of time to spare.

Kebler-elf bonnet

I spent some time on Friday fidgeting with a few details.  Because of my lack of black lining fabric, I made sure to secure the hooks and eyes in the front as much as possible to avoid the edge rolling too much.  My efforts helped, but did not completely hide the white.  Of course, this fact would generate the one critical comment about the ensemble that I received today.










Lessons learned from this project:

• A material inventory would have benefitted me greatly and saved me from using white lining fabric.  
• While lining the skirt is beneficial in producing a beautiful inside to the gown, it is a pain to hem.  Perhaps I should try my hand at bag-lining?
• I still loathe hand-finishing eyelets, though I found a few tricks to make it easier (buttonhole twist!).  
• I also still hate piecing skirts.  I think that next time I will use a shaped front panel, but then use large rectangular panels for the sides and back, pleating them to give the right drape.
• I rely a LOT of that ol' stand-by, the whipstitch.  I should take the time to perfect catch-stitching between layers for a more "invisible" finish--even when most of my hand-sewing is inside the garment.