Venetian Gown

August 27, 2007
But they're all so preeeetty!
I'm trying to decide which style of dress I should make for the Hoity Party next year. Casa Bardicci is set in renaissance Italy. Artemisia is from Florence but the courtesans at the villa dress in venetian garb.

I've been ogling these green florentine gowns for years now. Aren't they gorgeous? I will make this type of gown, but I'm not convinced I should make it this time around:



This is the well known venetian gown that was worn from about 1530 through 1570. They sport that deep cut bodice front that is usually associated with the word courtesan:



December 18, 2007
Did I ever mention I'm new to this?
I decided to make a venetian gown. After reflection with the failure of the Simplicity #9769 I have decided not to make a corset for the gown but to bone the bodice. There are many who took this route including Jennifer Thompson. I began by making a toile but realized the neckline was all wrong. Last night I sketched a few bodice designs and realized the error - it's not a V from the shoulder down but a V cut into a regular bodice design. Back to square one.



December 29, 2007
Making final decisions
The six hour drive to VA gave me necessary time to sketch and organize a plan of attack for this gown. The Bordone painting was my first inspiration because I love the pleating of the skirt, the narrow bodice opening and the gold stomacher. In reviewing Jennifer's dress diary I have now fallen in love with cutout sleeves. I hope my gown will end up like the Bordone painting except for the sleeves. My husband thinks I should make this gown in green fabric but then when I finally get to work on "The Bella" dress I'll end up with two green gowns. Right now I need 4 yards of 3.5oz linen for a custom camicia, 1 yard of same linen for sleeve lining, 1 yard of heavy linen for bodice interlining, fabric basting spray, 4-5" venise lace for cuffs, cable ties for boning and 6-8 yards of gown fabric.

December 30, 2007
Out of state fabric finds
Found my gown fabric! Went to Hancock Fabrics here in VA and found 6 yards of a lovely spice color "shantung". Funny it's called shantung because the fiber content does not include silk! Bought it anyway because of it's weight and color even though it's drapery fabric (just call me Scarlett). I'll pre-wash it with Ivory Liquid (famous last words) even though the manufacturer recommends dry clean only. The fabric unravels easily so flat felled seams are going to be used for construction. This kind of worries me for the cutout sleeves. Did some more surfing and found these paintings:



January 7, 2008
*coughhack!* I'm sick...
Back home in NY. Draped front of gown on ducttape Diana. Yep, that's it. Hey, I was fighting some kind of flu all weekend which I picked up in VA along with my fabric. Instead of starting from a measured sloper, I've elected to try my hand at draping a pattern. Now I realize how important it was to mark the center front, center back, waistline and shoulder point on my dress form while I was taped up. *smacks forehead*

Here are design sketches of the gown. The first was with cutout sleeves but the nature of the fabric may need me to design the sleeves as in the second sketch. Based on the Bordone paintings.



January 14, 2008
Drafting a basic venetian bodice pattern
I reviewed the draping instruction at Sempstress.org and draped a basic sloper right on the dress form. If you already have a pattern for a basic sloper, you could use that as a starting point instead of using fabric right off the roll.

The blue linen was the first draping attempt. The bodice front was draped first with a wide square neckline and curved shoulder straps. Then the armseye was pinned and cut out, then the neckline was cut out. The back of bodice was draped with a slightly curved high back neckline. Placed top shoulder seam about 2" lower towards the back for a more period look. Designed points in front and in back as most venetian gowns had these points at the bottom of the bodice. Using a marker I marked the waist of the bodice following the natural curve of the dress form.



I also changed the traditional side seam to a more period looking back side seam. The back side seam should roughly follow the two masses of muscle alongside the spine per the direction at The Renaissance Tailor. I cut alongside the back side seam, unpinned the pattern and cut a toile from some leftover yellow brocade.



The yellow brocade toile gave me some problems. I put the toile on the dress form and found that the shoulder strap width was too narrow and too short when I matched it up with the back piece. The side seam ended up curved from the first attempt because I followed the natural curve of the waist so I changed that to a straight seam. Also the back bottom point was off to the side instead of pointing straight down. I added fabric to the shoulder straps, adjusted the center back point and some fixed other minor issues. Using this pattern I cut another bodice out of some $1 scrap red tablecloth fabric for a final toile.



Placed the red toile on the dress form and pinned in my final adjustments. The back ended up too wide so I took it in at the center. This cause everything to shift in so I had to adjust my back side seam and armseye again. Finally everything looked good so I hand basted along the pins, put on a chemise and tried the toile on for size. Huzzah and glory be - it's a great fit! *happydance* I cut the pattern out along the stitch lines and gave it a quick ironing. I'm sure you noticed that I didn't cut out the "V" front yet. I did this so I can use this same pattern as a starting point for other gowns. I need to make a paper copy in case the fabric pattern warps.

Now on to purchasing the canvas linen and some supplies, washing fashion fabric and construction of the inner bodice layer.

January 21, 2008
The fine tuning never ends
I've read horror stories about the corded or boned layer of a bodice shrinking or warping because the cording or boning "takes up" the fabric. Thus I will hold off on cutting the fashion fabric until the inner boned layer is complete. Made a paper pattern out of of the fabric toile, dated it and made yet another toile out of the paper pattern. Turned out I had to adjust the armseye yet again because I cut the shoulder strap about 1/2" wider at the neckline. This is okay because it made my neckline wider which is most venetian. Still waiting on my linen purchase.

February 4, 2008
Finished with the bodice!
Finished major construction on the bodice these past two weeks. I was worried about using drapery fabric for this gown but my garb friends told me they've used drapery fabric without any problems. Show below are completed paper pattern, pattern layout on 7 oz linen, traced with 1" seam allowance, back piece on fold.



The paper pattern doesn't have the "v" front cut in it. I did this on purpose so I can use the same pattern for other types of gowns. I should've cut the lining 1/8" smaller than the fashion fabric so the lining wouldn't peek out from the right side. Dumb luck would have it that this issue fixed itself after I washed the bodice again after construction. The linen lining shrunk about 1/8"! Shown below: Linen cut and boning channels drawn in, make sure you cut out 4 front pieces and two back pieces, retrace paper pattern on all pieces.



I retraced the pattern on all sides of the linen lining. It makes it easier to match up the pieces later when trying to match up three layers of fabric. I later changed where the channels lay and realized I should've kept to this original layout. Then I realized I didn't cut in my "v" front, so I measured in 2" from each side. In hindsight I should've reduced this to one inch. Shown are all pieces traced out, pinned and ready to be sewn on the trace line. Same pattern on fashion fabric and don't forget the 1" seam allowance!



I cut out the linen lining pieces and sewed them together on the trace line. Novice tip: check the drape of your material before cutting the fashion fabric. I realized the drape and look of my fabric worked better across the width which meant I had to lay out the pattern differently than on the linen. Shown are redesigned channels, should've kept to my original plan. Fashion fabric and linen pinned and ready to be sewn. Bodice turned inside out.



If I knew then what I know now, I would've designed the shoulder straps a little wider. Not for the design aesthetic but to make it easier to turn the bodice inside out. It was hard to pull all that canvas linen through a 2" shoulder strap and at one point it was seemed almost obscene. The bodice was constructed using good ole Uncle Rashid's instruction. I was going to use flat felled seams but realized that would be out of the question due to the construction method. So I sewed all the seams with a regular machine stitch and then serged the seams an 1/8 of an inch in from the machine stitch to make a flat inside seam. I used fabric basting spray (thanks Kendra!) to keep the linen pieces from shifting while sewing the channels. Below: Bodice seen from back * Temporary basting of side seams * Possible trim



After I purchased my trim I realized it may be too bulky for the dress. I should've (there's that word again) gotten thinner trim and sewn it into the top of the neckline during the initial bodice construction. I could run this trim up around the shoulders by mitering it at the neckline but I think that would look way too bulky. Below: Oops! * Grosgrain ribbon spaced 1.5" apart * Tacking ribbon down.



After sewing in the channels and referring to Jennifer's instruction on ladder lacing I realized I put those first two channels too close together. There should be a gap of one cable tie (what I use for boning) in between so the tension would work correctly. Too late now, I'll cross my fingers and hope for the best.

February 7, 2008
Well that didn't turn out quite right...
Not what I expected, as usual. The lacing is still a little wonky due to the way I placed the grosgrain ribbon. The edges are wrinkling and the top neckline is curling in. The front opening is wider than the two inch gap I wanted but I hope it will fix itself after I fix all the problems. Two layers of 7oz linen aren't enough to provide stability to this type of gown. I'll have to rip out the ribbon, rip out the boning and channels to be able to sew in a cotton canvas lining. At least this gives me a chance to redesign the channels. I didn't want to add the canvas lining because it keeps in heat and this 45% poly gown will be used at Pennsic. I believe I have no other choice.



February 18, 2008
Onto bodice version 2.0 with additional cotton canvas layer.
I received input from other costumers on how to fix the bodice which includes adding another layer to the design. I began by ripping out the channels and in the process ripped the linen lining. Then I realized I would have to deconstruct the entire bodice to get to the shoulder straps. Ah fudge it, I threw that bodice over my shoulder and started a new one.

Traced the paper pattern onto the linen with the front of the bodice along the lengthwise grain. Cuts along the lengthwise grain have less stretch than crosswise grain cuts. You don't want the front of the bodice to run against the bias. Pinned along the sew line, added 1" seam allowance and cut out the fabric. Retraced all lines on the opposite side of the linen. I figured I may have problems aligning three layers of fabric. Thankfully I did this because it came in really handy later.


Paper pattern, linen lining and fashion fabric cut out and ready to go. Later on I had to add the canvas lining. To line up the lining with the fashion fabric, I put pins through each corner first through the fashion fabric and then through the linen lining. Since all corners are clearly marked it makes matching all layers a cakewalk. I don't notch the fabric because my paper pattern isn't cut out that way. Also cut fabric and lining at 1" angle at the top to make for the V front opening. Turned bodice inside out to sew up side seams.


I altered the armseye to make it wider using my original body block I used for my basic tunics. The bottom layer is the first version of the bodice. Note to self: always start with your basic body block and the heck with draping for now.

I took my fellow costumers advice and added another layer. Using my paper pattern I cut out an inner lining of cotton canvas for strength. Since I didn't sew up the side seams yet it was fairly easy to sew the lining to the serged seam allowance.

Layout of boning channels. I used Jennifer's layout as a guide. Those are 24" long heavy duty cable ties used as boning. You can cut them with ordinary scissors and quickly file them
down with coarse sandpaper.



The bottom blue line that runs all the way across maybe my new bodice bottom edge. The deep bodice front look is an illusion created by cutting the bodice edge around the lowest rib at your side and the back at the waistline. Don't let the quiet smile fool you. See that small gap? That means I may have to cut into the bodice front a little more to make a V front since at this point it could close entirely in front. I thought 1" would be enough since the 2" was way too much (see below) but obviously it's not. I didn't take into account that the cotton duck canvas lining is actually thinner than the linen canvas lining. Also factor the large armseye which gave the front of the bodice more give to move towards the front. So before I sew up the side seams I have to sew the front opening back to a 2" gap.



February 25, 2008
Redesigned the bottom edge and voila!
Finished major construction of the bodice. I cut the front of the bodice in an inch which bit into the first two boning channels. Fixed that issue and finally sewed up the sides which was a challenge. If you decide to use this Uncle Rashid's method of bodice construction here is a visual of how to sew up the sides seams.

Fold and press the fashion fabric along the same line as the lining seam. Pin the fashion fabric even on the right side.



On the inside, pin the fashion fabric again close to the fold. Remove pins from the fashion fabric side. On inside, pin the fashion fabric along the pressed fold. Sew up the pressed fold to within 1/2" from the armseye. Handsew the rest of it and you can now carefully serge along on the machine seam if desired.



The final step was to redesign the bottom of the bodice to make it fall higher on the back and sides than on the front as seen on some venetian plates. While wearing the bodice, I pinned at the lowest point on my rib cage. I drew a straight line across the bodice at that point and angled lines down the back of the bodice to make the point. I measured 1" from the front fabric edge and drew in a curve between those two points.



I'm so happy the bodice is finally done! Onto sewing in the grosgrain ribbon and cartridge pleating the skirt!



March 17, 2008
Additional wool layer and cartridge pleating the skirt.
It almost looks like a real dress. Finished hand sewing the grosgrain ribbon and cartridge pleated the skirt.



Added yet another layer of lining fabric to the bodice. This time it was lightweight wool. The purpose is to smooth out the bumps the cable ties create against the thinner fashion fabric. I learned the hard way that all linings must be cut to size with no selvage so to reduce bulk when turning in for the bodice bottom hem. With much cutting and fussing I was able to remove some of the wool in critical spots such as the bottom front point.



Thanks to The Renaissance Tailor and Reconstructing History in getting me through my first cartridge pleating experience. I decided to fold over the selvage twice to make a strong pleating surface since the fabric is 60" wide (by 120" length). I didn't sew the skirt together before pleating and placed the two pleating points 1/2" apart width wise and 3/4" apart lengthwise. I thought I was going to be smart and have longer pleats by placing the two threads farther apart than recommended. I should listen when they say, "Learn from others mistakes because you won't have time to make them all yourself."



When I pinned the skirt to the bodice I found out that the recommended 1/4" inch is necessary if you don't want lots of bulk in the bodice. I also ended up with a few more pleats on one side than the other because I didn't sew up the skirt before pleating and thus didn't find the true center point of the skirt. Since I cut in a opening down the front center of the skirt I will now cut off the entire top gathered portion of the skirt off, find the front center point and middle points of the skirt and re-pleat the skirt.

In other words to cartridge pleat a skirt with one back seam and no lining:
(refer to Renaissance Tailor and Reconstructing History for more)
1. cut 120" of fashion fabric
2. sew up back seam
3. fold over 1" of selvage twice adding felt strip if fashion fabric is very lightweight
4. mark side and center front
5. space pleats 3/4" apart and 1/4" away from selvage
6. space second row of pleats 1/4" from top row
7. pleat fabric
8. mark side and center points on bodice
9. match points and space pleats evenly
10. sew skirt to bodice

I've finalized the design of the sleeves. I'm going to make a set of paned sleeves with glass pearls. I got the idea from this website - see version F, no pattern version. I just have to figure out a way to make them detachable. I also want to make a set of cutout sleeves and a set of juliette sleeves.

April 14, 2008
The gown is done!
Here are some photos of my new gown. Now to work on the sleeves. My poodle decided she wanted in on the pictures.



I cut an 8" slit down the front of the skirt so I could slip my hips over the bodice. I hand sewed the edges using a rolled stitch and reinforced the bottom with extra stitching. I attached the cartridge pleated skirt to the bodice with these directions. I started attaching the skirt from back to front. When I got to the front of the skirt there wasn't enough pleated fabric to go around which resulted in a minor snafu. I couldn't get the front bodice point to lie straight. After some fussing I got the front point to lie kinda straight. Lesson learned: attach the cartridge pleated skirt from front to back.



April 29, 2008
Drafting a sleeve pattern.
Here's my technique to draft a sleeve pattern with video! You only need to take four measurements while wearing your gown. Please excuse my pronunciation of "armscye". *embarrassed*



May 5, 2008
The fabric stash makes a decision.
I'm making detachable paned sleeves using the directions at the Italian renaissance gown construction site. I'm just debating on either using buttons and loops, grosgrain ribbon or plain ribbon ties to attach the sleeves to the gown.

I had about a yard of yellow/rust colored fabric in the scrap bin leftover from the botch sleeve job at Pennsic. At first I was going to use a thin strip of it as sleeve edging but a trip to JoAnns provided me with the perfect gold trim. The yellow fabric then whispered to me and said, "Why use boring white linen? Make me the reverse side of the sleeves!".

I'm still not comfortable in my sleeve design and decision to make it reversible. Eleanora de Toledo (1544) wears paned sleeves in her most recognizable painting. Each sleeve seems to be made from four panels. The sleeves on Barbara Pallavicino's gown (1510) seem to sport about 8 panels each. Okay, so these sleeves aren't going to be exactly period but for me a necessary indulgence. I've
asked my costuming friends for help on paned sleeves. Let's see what they think about my sleeve design. What do you think?



May 13, 2008
Sleeves on the way.
Thanks to my costuming friends the reversible sleeve idea is out. It seems it would be more trouble than it's worth. Now that I've finished sewing the sleeves and adding most of the trim I realize their point and am glad I listen to them. I redesigned the pattern to a six paned sleeve. The eight would've been too much especially with the fancy gold braid I chose as trim. I cut out 12 pieces of the fashion fabric and 12 pieces of linen lining.



When I was constructing the bodice I noticed some of the linen interlining rolled and peeked through the top of the fashion fabric. This has to do with something called the turn-of-cloth. I used this on the sleeves with great success. Later realized I really didn't need it since I covered the edges with trim. Oh well, it was good practice.

You can just pattern a second line 1/8" in from the original sew line or you can use this technique to find the turn of cloth measurement. Don't worry about the gap strange look of the sleeve after you sew it together. Once you turn it inside out and iron it the interlining disappears from view.



July 2, 2008
Where's the seam ripper?
I finally made one sleeve a few weeks ago. Decided to rip it apart because the bottom half of the sleeve "belled out" at the bottom third of the arm and it was annoying me. Though my garb friends assured me it looked fine, I decided to redesign the sleeve by removing the bias binding at the wrist. The panes will be open at wrist level.



August 13, 2008
And here she is!



Finally finished the venetian sleeves at the eleventh hour at Pennsic. I used the button and loop closure to attach the sleeves to the gown. My critical eye did spot some problems: the bodice front is wrinkling heavily and the bodice front doesn't have that drastic pointed front. So I'm off to find the seam ripper to resolve the wrinkling problem by ripping out the skirt and attaching it with all bodice layers in front and a strip of fabric to cover and finish the inside.

I washed the dress and what happens? Two pieces of cable tie boning poked through the heavy linen and escaped their casings. I think I cut those ties too long. Some of my garb friends cut the ties 1/4 to 1/2" shorter than the casing length. ::taps foot:: Now I have a really bad urge to redesign the bodice after taking the skirt out. You know it's going to happen...

September 24, 2008
New painting. Kind of looks like my dress except for the pointed front and wider bodice opening. Now I want those sleeves. I still have enough fabric left for one precious pair.



October 15, 2008
Skirt opening musings.
I don't like way I'm constructing the front opening of the skirt at the bodice point. It kinda stays open when closed and shows the chemise underneath. I've asked my costuming friends for their opinion. I will use their advice for my next gown attempt.

October 31, 2008
Costuming goddess Operafantomet found this image for me. The sleeves on the blue and brown gown closely resemble the sleeves I created. More documentation is goooooooooood. Dives and Lazarus, 1540s, oil on canvas either by Paolo Veronese or Bonifacio Veronese.

Works Researched
Kendra Courtesan Dress Diary
BellaDonna Courtesan Dress Diary
Jwlhyfer de Winter Courtesan Dress Diary
Melissa at Sempstress Venetian Dress Diary
Jennifer Thompson Venetian Dress Diary
Mistress Oonagh O'Neill Venetian Dress Diary
The Italian Showcase at Realm of Venus
Italian Dress Costume Plate 16th c.
1500's Venetian fashion plates
Cartridge pleating by The Renaissance Tailor
Cartridge pleating by Reconstructing History
Italian Renaissance Gown Construction
Catherine Raymond - A Versatile Venetian Gown
Heather Harris - A venetian gown in the style of the 1550's
The Renaissance Sewing Circle