tudor
I started this dress after the Elizabethan Dress. I thought, somehow, that it would be possible to do a complete Tudor dress much more quickly than I would be able to finish the Elizabethan dress, in time for a costume party for my niece's birthday. This was at a time when I was also shopping for a new car and working full time. Fortunately, my niece changed her mind.
This dress never changed styles, fortunately. It is, was, and always will be, based off the 1543 Katherine Howard dress. I initially got interested in it from looking at Period Patterns For Stage And Screen, but I wound up not using that book at all for construction, as it was clearly the fast and dirty method of putting things together, and I wanted this to hold up to some abuse. One of the things that I know is true about me is that I am hard on clothing, and anything I make can look like it's been constructed from fairy wings, but it had better not have actually been, or it won't last.
There were, additionally, things that I simply didn't like about her version of the dress. I didnt like the pointed back neckline; there were others, and it just seemed easier to get away from the book entirely.
This did, of course, mean that a fair amount of effort was put into figuring out how to do the step I was on.
completed for halloween 2005
chemise
petticoat
corset
farthingale
false sleeves
kirtle
forepart
bodice
skirt
french hood
everything else
I made the chemise out of my usual white batiste. It's somewhat more than kneelength, and I cut the sleeves very long also, in part to have a nice poof through the false sleeves and in part so I could use the selvedge as the end of the sleeve. I made it according to my basic pattern, documented on the Simple Garb page.
The fast version of that pattern is to cut out four rectangles, two for the body and two for the sleeves. Sew one of the body pieces to one of the sleeve pieces with a diagonal line across the shoulder. The further in your seam is, the smaller the neckline will be. Then repeat the process with the other body piece, taking care not to sew anything inside out, and repeat with the other arm. Then you seam the whole thing in one go from wrist to ankle.
I wanted to thread a ribbon through the sleeve to be able to gather it to a flounce at the wrist, so I folded the end of the sleeve back onto the arm, leaving about four inches or so between the edge of the cuff and the fold. I sewed a quarter-inch fold there, leaving a gap for a ribbon to be tied in, and unfolded the cuff. The result is a casing at my wrist with the flounce to my knuckles.
Once the bodice was done, I was able to fit the chemise neckline and put the trim on. There are three different trims, though they use the same lace as the basis. It is a very narrow - perhaps half an inch at the widest point - lace that looks crocheted, and has a scalloped shape to it. The lace alone is on the hem of the chemise; on the sleeves, I also sewed on a very, very narrow length of gold cord.
The neckline is a narrow square neck; the four sides were sewn together, the corners mitered, and the whole thing flipped over to the wrong side of the chemise, then stitched in the ditch. This allows for some pleating - I have very narrow shoulders, much narrower than my hips. The trim on the neck of the painting is rather elaborate, though it barely shows - the effect I tried for was of just the trim showing under the edge of the bodice. I used the same lace as before, but I also used a gold-and-white scalloped braid that probably has a name at the bottom edge of the lace. Then, at the top edge of the braid, I sewed a length of very small faux pearls; apparently, those were stitched down about every five or six pearls.
The petticoat was very straightforward, particularly since it, along with the corset and farthingale, were taken directly from my Elizabethan costume. It was designed to go under the farthingale for warmth, if necessary, and, as it turned out, for modesty, so that I was not flashing leg at everyone when I sat. It was made out of about 3 yards of a deep green flannel that was quite wide. I made a tube of the fabric to the length I wanted, minus 2.5 inches. I left the top 5 inches unseamed, but finished the two cut edges of the side seam with serging. Then I cut a strip of the material that was 6.5 inches wide and roughly three inches longer than my waist measurement. This was folded over into the waistband, and wound up, with the seam allowances, being the missing 2.5 inches of my skirt length. The skirt was knife pleated by eye to the waistband, the whole thing was sewn closed, and a skirt hook was put on.
I later guarded the petticoat with two strips of inch wide black satin ribbon. The bottom was not hemmed, as I used the selvedge for the bottom edge.
Originally I had intended to tie the petticoat closed with the satin ribbon, but it did not grip well and I didn't like the way it worked out, so I redid the waistband and used the hook.
The plan was for a tabbed strapless corset, front lacing, with decorative edging on the top and down the front over the busk pocket. The first thing I said, in the event, was "Bugger the plan!"
This pattern was from both the Elizabethan Costuming and the Sempstress corset sites, as in the inspiration was from EC, but the actual pattern was from Sempstress. It mutated a lot in process. I decided to stay with the strapless untabbed corset from the Elizabethan Costuming site - except for two tabs at the center back - but I changed it to the front-side lacing corset that Sempstress does, where there are two openings, one on either side of the front, towards the back. I didn't do an effigy corset, or anything that seemed terribly complicated, because I was planning to use this for both Tudor and Elizabethan. While I might make another corset someday, my current costume usage is such that it's totally unnecessary.
The first thing I did after I created the pattern was to measure and cut the boning. I had to use a pair of tinsnips to get through the damn things - be warned. Then I dipped the cut ends in tool dip and hung them to dry following the instructions on the package. I dipped them twice, just to cover the rough edges and avoid getting cut every time I put the thing on. I didn't want to do any more or there would've been unsightly bumps in the corset. I would strongly suggest using something else, in the future. I thought I'd try my draft Victorian corset with cable ties - I know that practically everyone swears by them, but I still don't have faith that they'll do the proper job of containing. Still, I do know that using metal boning is a bitch, and one that is probably unnecessary, especially if you're doing the cut-to-fit routine.
I also cut and shaped the busk. What I wound up using was four of the light-duty paint sticks, glued to each other in such a way as to make the two halves. I sawed the whole thing into shape - the bottoms are angled to match the shape of the corset, while the tops are flat - then painted them white. I drilled two holes in the busk, cut two holes in the front of the corset, buttonhole stitched those, and threaded a quarter-inch white ribbon through it all to hold the busk in place. Otherwise, the two halves tend to move around a bit.
For the actual corset I cut out three layers - one of white duck and two of a heavy green cotton. I sewed the duck onto one layer of the cotton, all the way around. Then I trimmed the duck to the seam line. I then sewed the second layer of the cotton on - leaving the top open for the bones to be inserted - treating the cotton/duck piece as one layer. I bagged out the pieces.
Then I marked the lines for the busk and the bones. The front of the corset has 6 bones, 3 on each side of the busk, all of them the springsteel ones.. The inner two come down to the point of the busk, then radiate out to the top. The outermost bone on either side is between the grommets and the edge of the corset. The back has 14 bones in a mix of hoopskirt boning and springsteel boning. I followed the Sempstress pattern for boning layout here, with one bone at the outside edge of each side, 2 bones in each of the back tabs, and the other eight laid more or less evenly across the back.
I sewed the casings and inserted the bones, then dealt with the top, partly by deciding that there was no chance the front of this thing was going to get decorated. The top edge was folded together to make a closed seam, then whipstitched into place, except for over the busk pocket. I took the white ribbon and sewed it on, both sides in one seam, to cover the rather ugly whipstitching. I sewed the ribbon on to the front of the busk pocket, but obviously not the back.
Then came my favorite part of any medieval costume, setting the grommets. I love to set grommets. I specifically design outfits to include them. I set them, on the corset, so that the thing could just be X-laced, rather than spiral laced, which I never found a good description of that made sense to me. I used a lot of them. A lot. I have no idea what size - basically whenever I go to get grommets (which I get from the hardware store) whatever size they have available is the size I don't have a setter for. They were either 1/2" or 5/8".
The grommets were side laced. Sempstress recommends that, if you're prone to weight loss or gain, because you can just remake the one piece rather than the whole thing. It also makes it possible to get into the corset by myself, as I seem to have mislaid my servants, and does not add lumps to the front as I sort of think a front-lacing corset would.
The only problem I can see with the corset is that, even though I subtracted 2 inches from my measurements to actually make a corset, it's a little loose, and if I did it over I would go with 3" off. To make it work I lace it so that the bones at the edge of the grommeting overlap and then it is jim-dandy.
This is a very cool garment, and one that I am quite proud of. It looks spiffy, both on me and off, and it has an entirely reasonable intimidation factor. You may be able to make a Vogue Very Difficult (or whatever the rating is) pattern, but can you make a corset?
The plan and sizing were the same as the first farthingale, documented on the Elizabethan page, but the style was quite different. I bought 3 and a half yards of an unknown 60" cotton blend and started there.
What I decided to do - rather than adding casings on later, like I did with the other farthingale - was to fold over the material to make casings for the boning that were integral to the farthingale as a whole. Since the boning is roughly 1/2", I decided that 3/4" casings would be good. So I marked 1.5", 2", 1.5", 2", 1.5", 2", 1.5", 2", 1.5", 5", 1.5", 5", 1.5". I then sewed the side seam, which I did as a French seam. I sewed the casings so that they were on the outside of the farthingale, except for the hem casing, which I folded to the inside. That one used the selvedge, so there was no need for a real hem. I left spaces about 4" long on each casing right next to the side seam.
To sew the casings, I folded my fabric on the lines I had marked and sewed them down with one seam. The casings are actually not part of the farthingale's length, as they are loose - only anchored at one side. The 1.5" wide sections folded over to make a 3/4" casing.
Then I threaded the boning through, with the usual excitement of watching 120" of boning thrash around, inches from breakable items. The same boning lengths were used for this farthingale as for the other one. I started with a bottom measurement of 120", and a hip measurement of 52", and went from there, building a cone slowly. I may have even done some math, but I doubt it.
To join the ends, I got some 5/8" plastic tubing from Home Depot and cut to the appropriate lengths. The width of the boning being what it was, I butted the ends up to each other rather than overlapping. In the end, this didn't stay together well (I didn't get tubing that could be heat-shrunk, of course), so I just wound up duct taping everything together. If I need to use the farthingale very much more than I already have, I think it'd be worth my while to order some farthingale connectors; the electrical tape is lumpy.
Then I knife pleated the waist and added a waistband. For my height, I used the whole width of the material, because so much of it was used in making the casings, but it meant that I had a comparatively long farthingale. I deliberately made a narrow waistband - only about 1 inch or so - as I did not want the farthingale to brush the ground. I fastened this with four #3 hooks and eyes, which I alternated in two pairs so that it would be harder for them to accidentally let go.
Overall I am pleased with this farthingale. It will need some minor tweaking to really be good, but the only problem that I've found so far is that the tubing does not fit into the casing so it needs to be shorter than the opening. Also, the tubing makes a kind of squishy spot, where the hoop is not as hard as it is over the boning. This evens out when the skirt is on, however. But obviously farthingale connectors would be a more permanent solution.
The false sleeves were really quite fun. I chose a color combination of deep green and ivory for the dress - I'm not sure if this is an authentic color combination, honestly. The false sleeves were done in an ivory fabric that seems like a very heavy satin - may be for all I know. I cut them out by the simple expedient of looking at Jean Hunnisett's pattern, deciding that that didn't make a damn bit of sense, and cutting out two trapezoids of the satin fabric and a lining. The sizing was based on where I wanted the thing to lie. I placed it at the inside of my elbow, then marked where on my wrist I wanted it to go to. I added a seam allowance of 1/4" to both sides and cut it out. I then played with it and figured out how wide I wanted it to be at my wrist and at my elbow. I connected the two points, added another 1/4" seam allowance, and cut it out. The reason that the seam allowance was so narrow was because I planned to pipe the edges with piping that's approximately 1/4" wide. That way, when I sewed the piping in, I would actually have a seam allowance of 1/2" that I would use to sew the pieces together with. But the addition of the piping would change my measurements. If I had started with the 1/2" allowance, the piping would have made it 1/4" and all my lovely measurements would have been off. So I started with 1/4", used 1/2", and, with the addition of the piping, came out right. Clear as mud? Good.
The lining was one of those bits of white-cotton-from-another-project. I piped round the edges with ivory velvet ribbon.
I joined the bottom in four places, one at each end and two evenly spaced in the middle. I just sewed the two sides together with a few stitches, leaving the space between open to pull the chemise through. I then sewed on, at each join, one of the gold-and-pearl buttons I'm using as accents. I did this on separate stitching just in case the thing gets stressed and lets go, but if it does, it'll probably rip the button right out too.
After trying it on, I decided that my chemise wasn't poufy enough and added false poufs of white organza (or something equally sheer). They're stitched in place at the buttons.
At the back of each of the sleeves I sewed three short lengths of white ribbon. I folded over the ends twice to cover the ravelly bits, then sewed an X shape to hold the end closed in gold thread. I folded the ribbon in half and sewed them to the back of the sleeves to tie them to the chemise. There are matching ribbons just above the elbow in the bodice sleeves; it is possible, with some help, to tie them in once and put the whole thing on without undoing them or fishing around in a skin-tight sleeve for the ends of the ribbons. But then, it takes help to put the whole thing on, too.
I thought that the kirtle would be a disaster, given that I made it out of a green broadcloth that felt quite stiff in the store but somehow softened almost to batiste feel in the wash. It seems, however, to work out just fine.
Basically, this was just a gored skirt - I think I used 5 gores. The top measurement was based on my waist measurement and the bottom measure was based on - though somewhat larger than - the circumference of my farthingale.
I sewed the gores together, using French seams, put a waistband on, hooked it with two of the large skirt hooks, and then proceeded to start screwing with the ruffle. I used the rough measure of 3 inches unpleated for every inch pleated; the ruffle is is approximately 8 inches wide. So, basically, I had a piece of fabric that is 350 or so inches long, and eight inches wide, prior to pleating. That is a lot of fabric.
I sewed the bottom hem before I pleated the ruffle. To add some extra stiffness to the kirtle, it was hemmed with a rather wide hem that was folded over twice, then sewed down. I attached the ruffle normally, but I think I wound up serging the raw seams. (It might have been a french seam). I strongly recommend a dress dummy for this one, as it's hard to explain exactly what you want pinned where if you have any variation in the length of the kirtle.
I added four small hooks and eyes, alternating hook and eye, to each side of the kirtle after I had the forepart finished. This is an idea from Hunnisett, and one which I don't know if it is historical, but since the forepart is a shape that doesn't want to hang nicely by itself, it needs the help, and this seems sane.
I did the forepart out of an ivory upholstery fabric with those floral pattern diamonds on them - kind of an abstract design, very pretty, and I think rather period. I lined it in a cheapish satin. As I recall, I measured it by taking a measurement I liked at the top, adding four inches (to make sure that the edges were sufficiently under the skirt) and drawing diagonal lines down to the bottom.
I cut my waistband wrong and had to improvise. I had intended for it to hook at the back and to run fully under the forepart so that there was only the one opening, but it was not long enough to reach around my waist - there was a gap of about four inches. So I sewed one end to the forepart, and put hooks on the other end, with the matching hooks on the back of the forepart. I also sewed hooks - four on each side - down the front to attach it to the kirtle with.
I did not hem the forepart until I was ready to put the trim on - fortunately, since I had planned to sew the waistband to the top of the forepart in such a way that it would lengthen the forepart. I never hem anything - or even cut off the ends of the fabric - unless I'm using an actual pattern, one that I know works to the length I want the garment. But when I added the trim, it had to be hemmed, so I did everything else first.
Since this is a simple forepart, the decoration consists of a row at the hem of a fairly wide lace in off-white, then a smaller lace in off-white sewn on top of that, and then a row of gold and off white trim on top of that. The trim is not cording, nor is it lace (this is one of those things where I really have to get pictures up.) I repeated this trim about 6 inches up, to hide a seam where I had had to sew two bits of the fabric together. At the upper trim, I did the same thing - the large trim, then the small, although here I used another length of the small so that the points of the trim faced the top of the skirt, then the gold trim. I toyed with the idea of covering the fabric between with the same material I used for the false sleeves but decided against it, particularly since it would have been more reasonable to do that before putting on the trim.
The only trouble I had with the forepart is the same problem with all upholstery fabric, where it's laid out the wrong direction on the material. It's all well and good having 60" of material when the pattern goes the other way. I usually just try to match a smaller piece as close to the pattern as I can and cover it with some kind of trim. I may be the only person who has this problem. That was, in fact, why the guarding came about, to cover the seam where I had sewed my two pieces together.
I made the bodice using three layers of material - a green upholstery suede for the outside, off-white duck for the inside, and white cotton flannel for the lining. I did it in this way so that I could put some boning in; the channels could be sewn in the flannel and the other layer so that they wouldn't show on the green. I trimmed most of my seams with more of the ivory velvet piping I used on the sleeves.
The basic pattern was based on the Katherine Howard dress in Period Patterns for Stage and Screen. It's a normal bodice that laces down the front with a panel that comes over and hides the lacing. The actual pattern that I used was an interesting amalgam of my corset and my peasant bodice. Basically I used the peasant bodice pattern for the sizing and general shape (although my peasant bodice comes to a point at the hem, a point that I removed in this pattern) and laid my corset pattern over it to make sure that the bodice covered the corset all the way around. I then made a copy of the peasant bodice and cut it up. There are three pieces to the body of the bodice now. The back has diagonal seams that run from the back of the armscye to the hem. Then there's a side piece that I think has a straight seam somewhere towards the front, and the front. I cut a shitload of these, because of the three layers I was using. The neckline is much more square than the neckline of my peasant bodice, and the hem is straight all around - those are the only real changes to the pattern.
I sewed the flannel and the (call it cotton, it probably is) cotton together and put in boning channels. These wound up being along the front opening, under the arm, and (for some reason I don't remember) a sort of diagonal from the front of the armscye to the hem in front. I used Rigilene for these bones, as they will not be actually stressed - obviously the corset goes underneath, and that will take the brunt of the strain.
Then I sewed the green material together. I piped the diagonal seam on the back, but left the other one alone. After I had done that, I sewed the flannel/cotton layer and the green together, piping around the whole thing. I sewed the straps closed, sewing the different layers in different places to avoid having all that thickness in one place. I left the armscyes open.
For the closure, I wound up buying six of those really heavy hooks and eyes. Seriously, they're like an inch long. I tried the ribbon-and-lace-threaded-through-it thing that I've seen suggested elsewhere, but I didn't like the way it worked out in the end, so I took that mess off and put the hooks on. There is a gap between the two sides, but since the front panel covers that, it's fine with me.
For the panel on the front, I just played with my bodice, making a piece that fit. It follows the hem and the neckline, but is roughly trapezoidal in shape. It's made of the same combination of the suede-cotton-flannel, and this is heavily boned - 8 or 9 bones. Again, it's all Rigilene, as it is there to make the thing lie flat, not support weight. I sewed it down on the right side and put hooks and eyes - the large flat ones - on the left side. I am thinking about sewing small gold seed beads to the sides to simulate the look of the pins that are visible in the Katherine Howard bodice, but have not decided yet.
For the top of the sleeve, I took my measurements and cut out a sleeve that would fit. The only problem is that it has to be fairly tight (really tight, actually) to reproduce the look of the portraits. I had to go through a couple of drafts before I got a sleevehead that would allow me to at least raise my arm to shoulder level. I cut out one of the green and the cotton for each arm, and sewed the green to the green and the cotton to the cotton. This has the effect of nicely enclosing the flannel interlining, as I left that out of the sleeves, so that is left unhemmed.
For the lower sleeves, i spent a lot of time looking at other peoples' stories of creating such things. I tried Lynn McMaster's directions with a piece of muslin and could not get it to work. I looked at Jean Hunnisett's advice and promptly discarded it. In the end, I decided to make it so that the fur was an actual sleeve lining and then fold it back. So I sewed the fur to the cotton lining. I did not have enough of the green fashion fabric for the full size of the sleeves, so I faked it with a similarly-shaded satiny thing. The sleeves are very, very, very full angel sleeves, basically. They lay more-or-less flat on the top of my arm but drop probably three feet to the bottom of the sleeve underneath.
When I folded them back, I wanted them to stay that way, so I had to do some fussing to get them to fit around the sleeve - for the best exposure of the false sleeve, the real sleeve should be gathered somewhere around the low bicep, but imagine this - the material you have won't want to do this (hence the cutouts in the McMasters pattern). It took a bit of futzing with it, but eventually it did work. I had some large buttons, gold with a white "pearl" center that I'd been planning on using for this dress; I attached four of those along the back of the sleeve to pull it together so that it didn't gape (and show off the fake fabric).
First the skirt had a waistband. Then it didn't. Then it had a waistband again. Then the waistband hooked inside the bodice. Then it didn't. The skirt, interestingly enough, took forever to do simply because there was so little agreement on the issue of the waistband. Finally, I saw a person who pointed out that the weight of the skirt, if attached to the bodice, would hold the bodice in place, and that settled the matter.
The skirt is made of the same three materials as the bodice. The reason for this is that the green suede is very light, and does not hang as heavily as it should to recreate the look of the period fabrics. Adding the flannel and the cotton helps a lot, but makes it very, very heavy. This whole outfit probably weighs between forty and fifty pounds.
I sewed the pieces together in exactly the same way, sewing the flannel and the cotton to each other, then sewing on the green material and piping as I went. The piping does not extend all the way across the top of the skirt panel.
I cartridge-pleated the skirt, minus about eight inches across the front, where I wanted it to lay flat (I think...I'll confirm that the next time I dig out that particular box). Then I sewed the whole thing directly to the bodice. As you might imagine, that was fun. The flat portions of the skirt could be sewed directly on to the bodice, through the lining only, and another of the hooks from the bodice put on at the very top of the skirt, but the pleats were, pretty much, stitched on by three stitches at the top of each pleat going into the bodice at its bottom edge, over the piping. It was more difficult handwork than I ever want to do again.
This was another part of the costume that I had to play with a lot before I got something that worked. I found Drea Leed's pattern to be very helpful, but that does not mean that I am entirely convinced that I got it right. Her instructions are far, far better than mine ever could be, so I shall leave them to her.
The hood is constructed of a base sheet of folded-over crinoline. I think I used, in the end, four layers of the crinoline; it's stiff, but thin. By hand, I sewed wire (somewhere between beading and hanger) on the top and bottom edges, to make the hood flexible - I think I would, in the future, use a heavier wire. Hanger wire is too stiff; I think this is an eighteen gage wire, or sixteen, and it's a bit too flexible. I covered it with a remnant of totally fake velvet I had; the back of the hood and the veil are a heavy black satiny lining.
The various veil instructions I found never, ever made sense. I cut out a rectangle of fabric, long enough to go from the top of my head to the middle of my back or so, and hemmed it all the way around, then sewed it to the hood so that the raw edge is inside (or, in other words, invisble when I'm wearing it. The raw edge is not in the seam, the hood is not an oval, nothing like that. Drea might have instructions that work - I recall all the sets that didn't. The seam is about an inch from the top edge of the hood and goes to both sides. After I tried it on, with my hair done as it would be, I marked a point at the nape of the neck and sewed the two sides together with three stitches. That provides some extra support for the veil, and gives it more of the tube shape seen in period.
There are two small ribbons sewn on to tie the hood on with - between those and the shaping of the crinoline and the wire, it stays on fairly well. I edged the hood with large fake pearls, whipstitched on with gold thread.
"Everything else" in this case is a fair amount, but most of it's jewelry.
Necklaces: I am so creative that I took apart two halloween costume jewelry sets and made a long necklace and a short one. At the time I put the jewelry together, I actually didn't understand how it worked - now that I do, I'm not sure how to cope wth that. I sewed a very, very large button (it's about three inches by two) to the front of the bodice, in the position that the protraits seem to reflect. I had embellished the button with some pearl drops on the bottom edge. When I wore my long necklace, I rested it behind the button to create the two swags. This is, it turns out, totally wrong. The necklace should be a brooch at the bottom, and the swags created by the necklace being longer than needed.
The shorter necklace I made by buying a pin at Target that seemed to reflect the Elizabethan period to me. To wear it, I attach one end of the short necklace to the bar of the pin, then hook the other end to the closed bar. So the short necklace is how the long one should be. Except I don't pin the short one to my skin.
Girdle: This was easy, once I decided that there wasn't a hope in hell of paying enough for a pomander. I got three different kinds of christmas garland - one of different sizes of pearls, one of glass beads, and one of gold and white cord - and braided them together. I whipped a clasp on the back of the cords, and ran a chain between them to make up the difference (about fourteen inches). At the front, where the two sides meet, I sewed another of the buttons last seen on the sleeves and false sleeves. The ends of the cords were finished, at the bottom, with a pair of tassels that were whipped on.
Caul: I made mine out of a large circle of white organza. I edged it with inch-wide gold ribbon, folded over like bias tape would be. To fasten it, I ran a seam around the inside edge, probably two inches in from the ribbon, that made a tube, opening at the bottom, that I threaded a narrow gold and white braided cord through. I wear this with my wig in a bun, underneath the French Hood.
I don't knit, so I haven't got stockings, and I don't do carpentry, so I don't have pattens, and I'm not a cobbler, so I don't make shoes. If those are things you're interested in, there are a few sites out there with some advice, though.
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