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 ...

Costumes in Wolf Hall

Many of us who love historical costume were completely smitten with the production shots we saw before Wolf Hall aired earlier this year. Now the series is available for sale through PBS, BBC, and even national retailers like Target. With the popularity of this series I want to take a moment and give those new to Tudor fashions a few notes before you take everything in the series as gospel. This is one of the most accurately costumed historical dramas that I have seen in years. The color palate, cuts, underwear, and fabrics are impeccable. But don't forget to do your own research into the clothing as you make your own ensembles. Odd Piece #1: French Hoods I appreciate the costume designer here for acknowledging French hoods need veils. I doubt though that you will find a single portrait from the 1520's or 30's in England or France that uses fine silk chiffon. Typically you will see a solid black veil on the French and English hoods. Medals done in profile from the time...

Making my Viking Apron Dress

  This Week's vlog is the follow up to my Viking Age Tunic dress which I posted last week. When discussing the clothing of Birka and other Norse cultures, a woolen dress is an iconic look which is functional while tending a fire or many other activities. My apron dress is inspired by the finds out of Birka. The wool I used was a light weight suiting with a 2:2 twill weave. The long seams of this dress were finished with a machine for speed, and all of the seam finishings were hand sewn. I used a woolen finishing technique I learned about while flipping through Woven into the Earth by Else Ostergard. The technique involves using wool yarn and a couching stich of sorts to encase the raw edges of the wool. The end result is a low profile and durable seam around the neck and hem of my apron dress. I love that all of the hand sewn elements of this dress start to create a decorative finish on the outside of the dress and the only extra embellishment I added was a herringbone stitch over...