Skip to main content

Tudor Tailor French Gown Foresleeves

While I am doing blackwork for 8 hours at a time, my Venetian camicia is not ready to be posted about yet. Instead I want to share some important information for anyone trying to make a French gown with accessories from The Tudor Tailor. I love this book but there were a few problems with the publication. The woman's foresleeves do in fact have a pattern included with the gown and kirtle, but the instructions were omitted at the time of publication. The wonderful women at The Tudor Tailor have since realized their mistake and will provide anyone with a pdf version of the instructions on their website.

Detail of  Elizabeth I from The Family of Henry VII, Hampton Court Palace.  These sleeves are similar in size and style to the instructions given on The Tudor Tailor website. 
 I have observed that is is just one kind of foresleeve. I am working on a extensive handout on these accessories because of all of the variations available. Because it takes so little fabric to make foresleeves it is a great place to try out new embellishment techniques like couching or other forms of embroidery. These compact accessories are also a good place to display expensive fabrics. you still get the image of being incredible posh, but you do not have to buy enough of that fabric to make an entire gown. Sometimes foresleeves match the underkirtle's decorative forepart, but not always. When making foresleeves for your gowns remember that the closer you get to 1550 the larger these foresleeves get and the more likely they will be to have additional fabric pullouts. 


Margaret Tudor, Queen of Scotland in 1520's. Her foresleeves are narrow compared to later versions of foresleeves. This pleated look can be achieved using box pleats.

Comments

Popular posts from this blog

Pockets in the 16th Century?

So if you are new to my blog, Hello! I took July off to focus on work and realities of covid life. Thanks for hanging in there.  This week we are doing to cover 16th Soccocia and their role toward the origin of pockets. People need a place to carry and keep their small items as they walk around. In the middle ages you might have a pilgrim satchel or a belt pouch. Some women in the middle ages had the brilliant idea to stop wearing their money purses outside of their over gowns and instead would wear them between their kirtle/sottona layer and over gowns. This arrangement still gave you access to the purse, but made it harder for thieves to cut your purse strings and run.  Fast forward to the 16th century and we find the heirs to this practice in socaccia. We have some visual evidence of these in mid to late 16th century art out of Italy. This is a detail of Alessandro Allori's,  Woman at her toilet, ca 1575-78. Currently in Florence, Church of Santa Maria Novella, Gaddi Chapel.  J

Two Tone Lucet Cording

  Hello Beautiful Humans! Today I have a brief tutorial for you on how I made the lucet lacings for my most recent renaissance dress. It is a craft that is hard to document in the 16th century, where I do most of my work, but I love how quickly this technique works up into fairly strong cording. This two tone technique is much stronger than a typical single strand lucet braid because of the extra cord running through the entire cord. I also love the possibilities for coordinating your laces to your outfits. My laces were made much longer than I needed them for this dress. Looking back I could have cut my lacing in half and been fine, but now I have all this extra if I should ever need it. Long laces also mean I can pre-lace myself into this dress with a spiral lace and then tighten it until I feel comfortable. For this particular style of lucet I used a hardwood lucet fork I purchased from an 18th century reenactor, a skein of DMC 6-strand embroidery floss, and a ball of size 10 cr

Voided Velvet Sleeves from a Thrift Store Scarf

  Detachable sleeves are one of my favorite things to make for renaissance dresses, and always seem to be the last thing I think to make when I'm planning my outfits. These sleeves are made from thrift store fabric to mimic one possible way that "cut work sleeves" were made in the period. There are several theories, and my research has made me think that they all may have been in use at different points in time for different specific motifs. To make these sleeves I used a voided velvet scarf I found at my local thrift store and remnants of rayon velvet, silk shantung, and linen. Techniques I cover in the video include basting, hemming stitches, and how to easily sew with velvet. I completed the project using a mix of hand sewing and a modern sewing machine. I love wearing these Italian renaissance dresses at reenactment events or when I attend events for the Society of Creative Anachronism. Groups like this have helped me learn more about how period techniques and mate