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2021-12-30 03:19 pm
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Supportive under-gowns for 16th c German womens clothing

My personal goal the past couple of years has been to get more of a polish on the look of my garb. Accessories such as hats, pouches, outer wear and shoes were part of that, as well as functional undergarments. Proper fitting underwear will make or break the look of an outfit and tips the scale from costume to clothing. With that in mind I recently worked up two period plausible German supportive under-gowns.

Everyone needs a little support sometimes, and while the English discovered cone shaped corsets by way of the Spanish, Germany and some parts of Italy kept to a more natural form through the majority of the century. Aside from the Lengberg finds of a hundred years earlier, there are only hints at what this might have looked like. Germans in their most romantic and practical terms referred to those earlier garments as 'breast bags'. Sexy! However, most of Europe shows examples in art and lists in home inventories lined fitted garments that would definitely fit the purpose.

My intention was to make something that did not require me to use modern undergarments that I could wear comfortably all day, and provide the right silhouette for mid 1500s gowns. These two were the result:

 


The bodices were drafted using the Bara method from 'The Modern Maker vol.2' by Mathew Gnagy. They are made from two layers of heavy twill linen and a layer of fashion fabric. Both are made from cotton fabrics from my stash - as these were test examples I did not want to use expensive fabrics on my first run. Here is also where I tested a theory, both bodices have boning channels sewn in, and I used heavy braided cotton cord as 'boning'. There are no extant examples of this from the 1500s, and are what you could call a 'period plausible' construction. Hemp cordage of the right thickness would have been available in period, and would provide just enough support provided the boning channels were narrow. There is no way of knowing if this was something that was done, just that the materials were definitely accessible, and by their very nature would not survive well over time. Being softer than most other boning materials at the time, it would provide support while keeping a more natural shape than the English and Spanish styles of the time.

Example of cording in progress:
 

The skirts are straight yardage with pleats, sewn to the bodice after it was bound and eyelets sewn in. I chose to make the shoulder straps adjustable as the necklines of the overgowns I will be wearing with these will be of various sizes and it will give a lot more versatility.

I have worn these now to one day event each, and so far they are a complete success. One with a mid period German gown (rock), and the other with a later period German jacket (wams) and skirt (shauben) set. They were comfortable as well as maintained the correct shape for the gowns without any help from modern undergarments. Added bonus to the use of cotton cording – they breathe well, conform to my shape and are completely machine washable! They are also modest enough to be worn on their own around camp or for set up and tear down of an event as a pleated shirt is worn beneath it.


For later SCA period womens clothing, I very much reccomend starting from the skin out. That was the hardest lesson I learned from my early days costuming. The right undergarments absolutely affect the final fit and look of your garb, start with the proper foundations and everything will just fall together that much better. And if the world doesn't lift you up, your underwear definitely should!

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2021-03-14 06:56 pm
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Foundations: or adventures in braids.

As with most costuming, you need to start with the inside out. So it seems to go with German ladies hats as well. Most of their head coverings appear to have started out life as simple covers for their hair and then got more and more extravagant with time and by class. False hair or fabric was added to bulk out braids, covers became encrusted in gold and pearls and eventually evolved into free standing headdress with wire structure. Extant paintings show hints of this, and in playing around with my hair and scarves this seems to bear out.

Modernly, you still see this in Orthodox Jewish communities amongst the ladies who wear headscarves. Many pad out their hair or wear padded caps to give the illusion of more hair under their scarves, to beautiful effect.

So with this all in mind, I decided to work with the assumption that my hair would need to be the foundation for most of the headdress I want to replicate, as the shape of the hat is either supported or shaped by the hair (or padding) beneath it.

Here are just a couple of examples of early to mid 1500s ladies braids - they are taped (sewn), or tied into place as was common at the time:

Birth of John the Baptist - hair detail- Cranach the Elder 1518



Lucas Cranach 1531

My hair is super fine, and on its own will not give the same look as the period examples. Thankfully false hair is easy to come by, and has historical precedent as well. These extant ones are made out of braided linen:

Extant false braid 15th-16th century Nurnberg Germanisches Nationalmuseum Inv Nr T 2321 Haubenstock

I took a section of wig weft that I bought from Arda Wigs in a colour fairly close to my natural hair (my hair colour is a devil to match FYI) and cut it in half to end up with two pieces I could work into a set of pigtails. I sewed each half individually into tight rolls so it would blend at the base of my hair so if I did decide to wear it with either a sheer scarf or no covering at all, it would not be so obvious. Gives me options. Worked very well I think.

A synthetic hair weft for sewing into wigs or hairpieces. Sewing it together to make a hair fall Completed hair falls for braiding into my hair.

Very pleased with the finished falls, I will need a bit of practice with them to get them braided into my own hair smoothly. For the test run, I taped (sewed) them in with a length of wool yarn I had on hand. I have ordered some cotton/linen ribbon from a local shop for regular use, and have plans for a hair band based on period portraits as well. No hair pins required at all!

Final result without headscarf:

False braids and hair taping.


Overall, I am happy with the result. Tested it with a small scarf and it looks very much like artwork of the early German renaissance. Will get a better photograph of it during daylight.

Now, onwards to hats!
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2021-03-12 11:13 am
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A tale of four hats begins.

The time has come, the Walrus said...

Nearly a year after the province stopped, I got the time off other folks had earlier last spring. After catching up on almost 7 years of not enough sleep, I now have both the time and the energy to really tuck into some projects I have been thinking about for years.

My goal over the next while is to clear up some UFO's out of my workshop, and to make accessories for the garb I already have. Details make or break an outfit, and just give the whole look some polish.

Also: I love hats. Any excuse for a funky hat is a good one.

I have been focusing on early to mid 16th century German Renaissance for the past couple of years, and the hats are truly spectacular. I have two different unisex styles that I did a while back, and earlier in the Plague I made a couple of 'starfish' style soft caps. Now its time for some fancier ones. I poured over my art collection and discovered new portraits online as well the past couple of weeks and I have narrowed down my options to four distinct types (for now).

Barthel Beham - 1529 Jan van Scorel - after 1542 Bartholomaus Bruyn - 1535-45 Cranach the Elder - 1528


Gold fabric, gold embroidery, pearls, gems, spangles, sequins and bling - oh my!

This is going to be fun.