Costume
Catalyst

Florentine Fashions, 1550-1560

This costuming adventure was inspired by the Portrait of Clarice Ridolfi Altoviti by Cristofano dell'Altissimo (1550-1555) published in Moda a Firenze 1540-1580 Lo Stile di Eleonora di Toledo e la sua Influenza in conjunction with a trip to Itlay for the Costume Colloquiem in honor of Janet Arnold (Florence, Italy, November, 2008). I wanted to come up with the smooth bodice silhouette seen in the portrait art without the use of rigid or semi-rigid underlayers.

My previous work in post 1530 dresses usually involved a corset and I've used various brands of plastic boning between layers of cotton canvas for a variety of ladies ranging from average to "Mae West"-dimensions and I've achieved the right silhouette. My trip overseas was very educational and one of the points made over and over by the rock-stars of the industry (Mary Waterman Bulgarella, et al) was that there was no evidence that corsets were worn in Italy before 1590. After 1590 there is only a little evidence and there isn't enough to make a strong statement that corsets were wide-spread. My response to corset-fanatics who point to the steel corset housed in the Stibbert; I saw it and I doubt it would fit my 5-year old daughter. There is no explanation of how that item was intended to be used and for all that we know, it was a dress form used to display miniature versions of current fashions al la the fashion dolls seen in contemporary art. Alternately, it could have been a curiousity designed to showcase an artisans abilities. Regardless of my theories, given the size and the design, I seriously doubt it was an item worn on a daily basis.

Additionally, the restoration project in Pisa being led by Thessy Schoenholzer-Nichols is the restoration of an ensemble that included a chemise plus 3 gowns: twill linsey-woolsey (photos below), green cut velvet (photos below), red velvet with trim (no photos, but presented in Moda a Firenze).

Ensemble in Pisa

The restoration project in Pisa is focused on 3 garments. These garments had been cut and altered to fit over a statue of the Madonna which was displayed during religious festivals in Pisa. Therefore, based on how the garments were routinely used to adorn the statue, the theory is that these 3 garments (the two shown below plus a 3rd richly trimmed velvet gown) were worn at the same time and the composition of the layers from the skin out were: linen chemise; linen lining, linsey-woolsey twill, linen lining, cut green velvet, linen lining, red velvet. There is no need for additional layers of stiffened or reinforced garments when you are swathed in 6 layers of fabric.

Gown 1: Diamond Twill

The photos are out of focus because of the poor lighting and flash was not allowed. I have no "full front" shots of the dresses because the room was quite crowded. However, I have multiple detail shots which are very helpful. Eventually there will be a book published on this by the Thessy Schoenholzer-Nichols, who is leading the restoration project, so better pictures will be available in the future along with brilliant explanations.

The dress to the left is what I'm referring to as "Gown 1". It's a diamond twill linsey-woolsey in cream and dark brown/dark gray and it would have been worn over the chemise. I'm not sure where the closure was or how the back was cut since it's missing. The skirt is pleated and the bodice waist looks like it generally follows the natural waist without a dip in front like the other gowns.

Gown 2: Kirtle of worn, cut, green velvet

This was worn over Gown 1. Note the long front portion of the bodice with the skirting that hides the join of the skirt.

Gown 2: Bodice, detail of front, top half of bodice

Gown 2: Bodice, detail of front, bottom half of bodice

Inspired Journey to Firenze in 1555

The portrait by Cristofano dell'Altissino of Clarice Ridolfi Altofviti (c. 1550-55) inspired the dress below. For the outer gown I used a medium weight brown/rust colored wool which laces up both side-back seams. The slashes were carefully marked on the "inside" of the bodice and cut out with embroidery scissors. This is the first project I made for the "multiple light weight layers" campaign and it is not as completely "unstructured" as it could have been. In part this is because the outer wool is cut, revealing a thin layer of red/green shot silk beneath. The canvas adds reinforcement because otherwise the bodice would have pulled out of shape. The skirt is unlined and in anticipation of wearing it outdoors, it is unadorned.

Overall I'm pleased with the silhouette.

Ensemble made in Fall, 2008. Photos taken July 5, 2009

Gown

Gown Details

The sleeves are also lined in silk which is visible through the slashing. Both the bodice and the sleeves are trimmed in gold braid, beads and the sleeves are attached with buttons at the armscy.

Wool Kirtle

Under the gown I'm wearing a teal colored wool kirtle inspired by Gown 2 from Pisa. It is a layer of teal wool with a single, light-weight layer of linen lining in the bodice. The bodice has side-lacings up both sides and narrow shoulder straps. The skirt is unlined and intended to be shorter than the overgown. This layer is not visible when I'm fully dressed, but the two layers of wool skirts feel very modest and I won't have a Princess Di moment when the sun is behind me.