Posts Tagged With: green and gold elizabethan

Green Doublet – Change of Plans

After spending six months trying to get the trim I wanted for my doublet, it’s a no go.  This means I’ll be making my own cording for the doublet.  I’m hoping I still have enough time to get it all done.


It’s a start

This also means I’ll have more flexibility is my design choices for the panels, so I’ll be revisiting modelbuchs to get ideas.

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Green Skirt Progress

Now that the green doublet has been started, I can think about the skirt.

I’m using the skirt pattern from the gown of Dorothea Sabina von Neuburg in Patterns of Fashion (without the train).  It consists of four straight panels of fabric, and four tapered side pieces. The velveteen I have is only 35″ wide, but this should still give me a nice full skirt.


The top of the skirt with the attached linen

I was going to fold over the velvet at the skirt edge before cartridge pleating, but forgot to extend the skirt tops to accommodate that.  An easy fix was to sew a strip of linen along the top to fold over.  This might be a better option in the long run, as the extra fabric will reinforce the stitched where there skirt is attached to the doublet – the velveteen alone looks liable to tear.

I am also adding couched gold cording along the front and hem of the dress.  I will do this after the skirt has been added to the doublet, because I want to make sure the embroidery is parallel to the ground when the dress is worn.

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Green Doublet Progress Continues

I have the embroidery hashed out now, except for the panels and the chevronning inside of the vertical stripes on the lower half of the doublet.  I still need to re-fit the neck a bit, and I may pad stitch some batting down along the inside of the collar for stiffness.

I’m still not entirely sure what design I want to put in the panels.  I’ll be getting my cord soon, and then I can start embroidering what I have while I mull it over.


Doublet front


Doublet back

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Green Doublet Progress

I was debating between applying the trim before cutting out the fabric, but looking at the original again it appears that many of the corded lines of trim go over seams, so I’ve put together the outside of the doublet and will couch the trim onto that.

The basic doublet is sewn and fitted over the petticoat bodies and I’m ready to start applying trim.  The dashed yellow lines show where the gold cord is going to go – this is just the beginning.  Here is my inspiration.


Doublet in progress

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I Made a Button!

I made a thread wrapped button to go on my court garb.

It took me an hour.  Only 37 more to go.


Thread wrapped button

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Court Garb Planning: The Layers

I’m deep into planning for my Elizabethan court garb (circa 1560-1570) – my goal is to have this done for Hare 2013.

For those that are interested in what this entails, here is a list of the items that I will be making:

1. Plain Linen Shift

This is the basic undergarment that would have been worn next to the skin and washed regularly.   There are several styles of shift that are appropriate but this time I am going for a low-necked shift, much like the one  below.

Blackwork Smock, c. 1575-1585
V&A Museum

This is a rectangularly-constructed garment with a large square neck opening. The sleeves are gathered into cuffs. I will not be including the ruffle, as I plan to attach ruffs to the cuff.  This garment will not show in the final outfit, so I’m not adding any decoration.

2. Petticoat

I’m not too sure what to say about these.  We know they had them but the evidence is scarce and there are no extant petticoats from this period.  It’s generally assumed to be a skirt pleated into a waistband.

3. Partlet

The partlet mimics the top of a high-necked shirt, but could be a separate garment.  This makes sense if it is decorated (and they could be VERY decorated), as it would need to be washed less often than a full smock. As far as portraits go, it can be very hard to tell if someone is wearing a partlet or a high-necked smock unless you can see both layers, such as below.

Portrait of Bianca Cappello (1548 – 1587)

Portrait of Bianca Cappello (1548 – 1587)

4. Ruffs

Ruffs were ruffled collars and wristbands heavily starched into ‘figure-eight’ pleats.  See the pictures above and below for examples.

5. Farthingale

These days it is often called a ‘hoop skirt’.  In this era the Spanish style is most common.  It is a conical stiffened petticoat that give the skirts of their time their particular shape.

The "Hampden" portrait

The “Hampden” portrait , 1563

6. Petticoat Bodies

Bodies (more commonly called a corset today) would either be on its own, or have an attached skirt (making it a ‘petticoat bodies’).  I’ve always found the latter to be more comfortable, so that’s what I’ve chosen to wear.  The garment looks a lot like the dresses in the top right of the picture below.

Eygentliche Beschreibung aller Stände auff Erden

From Eygentliche Beschreibung aller Stände auff Erden, 1568

7. Sleeves

These are sleeves.  In this time period they are generally close-fitting, often slashed.  They are separate garments that tie on to the dress, rather than a modern sown in sleeve.

8. Forepart

The forepart refers to the front portion of a petticoat or kirtle.   These are also often a separate piece that could be attached to the petticoat instead.

9. Stomacher

A decorative panel that could be pinned over the front of the bodice to hide the lacing.

10. Gown

This is the main garment.   There were many varied styles.  I will be making a gown with a high-necked doublet with an attached skirt, much like the dress below.

Portrait of Eleanor Benlowes

Portrait of Eleanor Benlowes, 1565

If I have enough fabric I would like to have hanging oversleeves, such as these:

Gown worn by Dorothea Sabina von Neuburg, 1598.

11.  French Hood

The french hood in this period is a curved hat worn back on the head, like in the portrait of Eleanor Benlowes above.

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Court Garb Planning Continues

My plan for this outfit is centered around the leather doublet previously mentioned.  The rest of the dress I am basing roughly on the lines of the gown Dorothea Sabina von Neuburg was buried in, without the train on the skirts.

I’ll be changing the embroidery/trim on the skirt/hanging sleeves to match that on the other doublet.   The forepart and sleeves will be done in a shot silk brocade.  I’d also like to do a partlet with gold lace and an attached ruff, as well as wrist-ruffs to match.  I’m debating between a french hood or a riding cap, but am leaning towards the french hood.  That may change once I finish the dress.

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Doublet Planning

I’ve decided to couch designs with gold cording on the green velvet doublet, as satin stitch with gold seems unlikely.  Since I’m couching it, and I’ll be doing a lot of it, I’m looking for simple designs with visual ‘punch’.

Here are the designs I’m mulling over.  I’m leaning towards the first one.


Flowers of the Needle 6, Page 25, Item 2


Modelbuch aller art Nehewercks un Strickens, Plate 6, Item 1


Modelbuch aller art Nehewercks un Strickens, Plate 53, Item 1


Modelbuch aller art Nehewercks un Strickens, Plate 59, Item 4

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Boned Underkirtle Finished

I have finished my underkirtle (petticoat bodies).  I’m leaving the hem unfinished on purpose, because I’m not sure how much the heaver fabrics will affect the set of the hoops underneath.  That was I can help all of the skirts once the overdress is completed.



Speaking of the overdress – I have a muslin fitted.  My plan is to design my embroidery pattern on paper, then transfer it to a very very lightweight interfacing and iron that to the back of the velvet.  I can use that as a guide for the embroidery before cutting the fabric.  The doublet design will follow the one in Patterns of Fashion very closely.  I will then take elements from this for the hanging sleeves/skirt.

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Boned Underkirtle Progress

The bodice for the underkirtle (petticoat bodies) is sewn and boned.  I was planning on hand-stitching over the visible machine stitching before attaching the skirts, but I decided not to.  This is an underdress/foundation layer, so it shouldn’t be visible when worn. Also, the skirts are longer (to wear over a farthingale) so I won’t be tempted to wear it on it’s own.  I can always do the hand-sewing later if I change my mind.

The next step is to attach the skirts and straps, then finish the bodice and  sew the lacing holes.  After that, I can fit the doublet over top of that and start the embroidery.  I will hem it later.

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