The Fourth Annual Italian Renaissance Costuming Challenge

June 1 to September 30,  2014

Carol Salloum
North Carolina, USA

I've been sewing since I was a child and started making Renaissance costumes about 7 years ago. Over the years my knowledge and skill level has increased with help from websites such as the Realm of Venus and the multiple dress diaries on the internet. There is so much inspiration out there! My Renaissance costume closet includes Flemish, German, Italian (Piza, Naples, Florence), and Spanish gowns.

I have been inspired by two images by Giovanni Battista Moroni. I plan to make a chemise, partlet, skirt, bodice, doublet, sleeves, a ropa, and a hat all in a black/pink/white color scheme.

June Update

I've gotten off to a slow start - more planning than doing! To date I have started two different pinked sleeves. One is rows of a series of 4 small cuts all on the bias on pink satin fabric. Then white cotton is laid under the pinked pink satin and a silver trim is sewed down between the pinked rows.


The other sleeves I was working on had larger pinking cuts and will have black accent strips. I passed the cut edges next to a candle flame which worked well for the burgundy fabric in IRCC1, but the pink fabric puckered. I plan to try a new technique by using a wood burning tool to make the pinks in the synthetic fabric - we will see how that works.


This weekend I started on the black wool doublet interlined with a canvas and lined with black satin. The doublet will close at the center front with hooks and eyes. The hooks and eyes are attached to the lining and the wool fashion fabric will overlap at the edge to hide the fastenings.

July Update

After reading the June updates, I realize that I should have included my inspiration portrait of an unknown noblewoman by Giovanni Battista Moroni.

This month I worked on the sleeves – pinked pink satin accented by 4 strips of black wool with a decorative black gimp on both sides. The cuff has a 2” cross grain strip of the pink satin folded in half and pleated.

The base of the bodice is a pink canvas on which I stitched down multiple rows of hemp cording. A second layer of canvas helps to keep the ridges from the cord showing through to the right side. The pink satin was layered on top of the canvas sandwich, the layers were stitched together at the seam allowance, and the seam allowance was cut off. Then I bound the edges with bias cut pink satin strips and put in the eyelets. The accent is the same black wool strips with gimp at either side just like the sleeves.


I also started work on the black wool doublet. The doublet with close at the center front with hooks and eyes. The canvas base and the black satin lining are stitched together and the hooks alternating the eyes are attached to the center front edge. Here is a photo of me checking the fit of the base. For the waistline tabs, I made a trapezoidal template and traced it onto the black wool the stitched a wider gimp parallel to the marked lines. Then I stitched the black satin lining to the wool tabs, turned them all and pressed them.


I’ve always wanted to try black-work and found an acorn design that I really liked but thought it would look better alternating up and down. To lay out the design the way I wanted, I made an excel spreadsheet into a grid and used borders to make the design.

After trying various different schemes to get the design onto my white cotton, I finally tried the following. Cut a piece of freezer paper to 11x17 and fused it to the heavily starched cotton, then cut the cotton to the same size. Next I ran the cotton/ freezer paper right through the copy machine and printed the design right onto the fabric. The rectangle is the neckline and the cuffs with 4 motifs each are in the middle the two lines of pattern are just because I had room on the paper. I took the fabric off of the freezer paper and serged the edges of the fabric to stabilize it while I do the hand stitches. 

Another thing I have been working on is the jewelry. I see jet beads of different sizes in two strands with a stand of pearls between them accented by a round medallion with a pearl drop on the bottom. The oval pearl I have is much whiter than the round pearls I intended to use for the main necklace. To make up for the difference, I alternated the slightly peach colored round pearls with a small tapered white pearl bead. Here is a photo of the necklace next to the inspiration image.

August Update

I spent a lot of time working on my new chemise. Last month I printed the design on the fabric and this month I hand stitched the acorn and oak leaf neckline and sleeve cuff border. Just out of curiosity I timed myself and found that one motif took me about 20 minutes. The neckline has 24 acorns and each cuff has 4 which equals 10 hours and 40 minutes of embroidery time. After completing the hand embroidery, I stitched another rectangle of the same white cotton fabric over the entire work, slashed the back and turned it right side out giving me a nice finished edge on the outside of the embroidery. Then I cut away the neckline and placed the right side of the embroidered neck border to wrong side of the main body piece of the chemise and stitched the neck edge. After cutting the neck hole fabric away, I flipped the embroidered neck border through the opening, pressed, had stitched the other side of the neck border to the chemise and all the raw edges are encased.



At the wrist opening to the sleeves, I did some hand smocking and then hand stitched the acorn embroidered cuffs over the top. In deciding on the length of the cuffs, I did not allow for the bulk of the gathered smocked fabric under them and they are a little too snug. So I am going to take the embroidered bands off - just haven’t decided if I will make them a little longer and re-attach then as cuffs; or, smock the area they covered and see if the embroidered sections are long enough to use as the center front opening of a partlet.

Next the main body, two sleeves, two square underarm gussets, and four side gores had to be assembled. In the past I had used a machine faggoting stitch for this step but this time I wanted to assemble the parts by hand. After experimenting with lots of stitches, I decided that I liked the look of the herringbone stitch the best. So, on a drive to visit family from North Carolina to New York to Vermont to Virginia and back I put the pieces together. Underarm gusset to sleeve, other side of gusset and sleeve underarm, then the side gores, and finally attaching all that to the main body piece. I also added a black cotton lace with the same style lace in white behind it to the neck edge. First fitting was in Virginia and I did not like it. The front neckline was too high and the sleeve underarm was too low. So I ripped out the herringbone stitches from the front bottom to slightly over the shoulder, then I gathered the top of the sleeve and re-assembled the whole mess. One of the photos shows one side with the gathered sleeve head and the other sleeve attached flat – see how much difference there is in the placement of the underarm seam relative to the neckline. 


Although I regret having to do the extra work, I am much happier with the revised version. I also timed myself at the herringbone assembly stitch – set stopwatch, thread needle, stitch till end of pearl cotton, tie off, stop time, measure distance stitched and I was travelling along at the breathtaking speed of an inch every two minutes!!!! Haven’t yet measured how many inches I stitched.

I also worked on the collar of the doublet and tried my hand at pad stitching for the first time. The fashion fabric is black wool and because every girl needs pretty under things that no one will see…I used pink canvas for the collar support. I laid the canvas on the fashion fabric, pad stitched in one direction, cut away the seam allowances of the canvas, laid a second piece of canvas over the top and pad stitched in the opposite direction. Made triple sure that I ended up with right and left pieces of everything because neither the wool nor the canvas really have a right or wrong side of fabric. After stitching the 4 collar pieces together I used a herringbone hand stitch to hold the seam allowances down – and conveniently stitched then in a light color so you can see what I did. The collar has been attached to the doublet and I have started applying trim.


Another project this month is a hat. Fashion fabric is the same black wool as the doublet and lined with black satin. At our local Renaissance Festival, we have rain often enough that I do not want to stiffen hat with anything that can be water damaged. So right now the brim is stiffened with two layers of heavy duty fusible web and a layer of cotton fabric. The hat instructions I used in the past have you machine stitch the fashion fabric to the lining at the head opening with a very small stitch length and to stitch another row right inside the seam, then cut the head opening and snip through the second row of stitches right to the first row, turn right side out press, add wire to the outside edge of the brim and bind the outside brim edge by hand.


For the hat crown I cut a large oval of wool and satin, stitched them together, turned trough a small opening, pressed, stitched opening closed. I quarter marked the oval, marked the center and then made equal marks around the edge. Next I drew lines from the marks towards the center so it looked like spokes on a wheel. Using the marks as guides, I used a heavy black thread to make equal gathers around the crown to make it fit the inside of the brim. To anchor the gathers, I used a smocking stitch called the surface honeycomb and added a back stitch – basically it is a herringbone stitch…are you seeing a pattern here? I seem to have a new favorite stitch. After I finish the outside of the brim, I will attach the crown to the brim and consider decoration options.

September/Final Update

My outfit is based on a portrait of a noblewoman by Giovanni Battista Moroni. I interpreted the portrait to be a dark pink satin bodice and sleeves with trim of black wool strips. 


Layer 1 - Chemise, or smock

This is made of a light weight cotton and consists of the following pieces:

  1. Main body, from front hem over the shoulders to back hem.
  2. Hand embroidered square neckline consisting of 24 acorn and oak leaf motifs that took about 20 minutes each to embroider.
  3. Two sleeves hand smocked at wrists.
  4. Four triangular gores.
  5. Two square underarm gussets. 

Construction sequence: 
  1. Cut out all pieces, run the wrist area of the sleeves through a pleater to put in the guide lines for hand smocking. Pull smocking guide threads out at the edges of the sleeve. Then for all pieces, use spray starch, press and make a machine narrow rolled hem on all sides except the hem.
  2. Cut a piece of fabric to 11x17, iron on to same size piece of freezer paper. Run cloth/ freezer paper package through printer to print design onto the fabric. Remove freezer paper, mount fabric to stretcher bars, and embroider for 6 hours.
  3. Cut out outside edge of square neckband, cut a second piece of fabric to same size, put right sides together, stitch the outside edges, make a slash in the center to turn inside out and press. The outside edge of the neck band is now finished.
  4. Cut the square neck opening out of the center of the neck band.
  5. Place the right side of the embroidered neck band to the wrong side of the main body piece based on where you want the neckline. Stitch around the neckline opening. Cut the neck hole out of the body to match the neck band, clip into the corners, press. Flip the neck band to the right side of the body piece, press and hand stitch the outside edge down. All seams are now encased and there are no raw edges.
  6. Smock and back smock the wrist area of the sleeves.
  7. I assembled by stitching the pieces together using pearle cotton and a herringbone stitch. First the one side of the gusset to the underarm or the sleeve, then the adjacent side of the gusset to the other sleeve underarm and continue stitching towards the wrist. Next I added two gores to each sleeve/ gusset assembly making side assemblies. Then I stitched the side assemblies to the body.
  8. When I tried it on, I discovered that the shoulder length of the sleeve was much too long, so I tore out all the herringbone stitching from the front hem over the shoulder. Then I ran hand gathering stitches at the sleeve’s shoulder edge and re-attached to the body with the herringbone stitch.
  9. Originally I had made cuffs with four acorn / leaf motifs each and had stitched them on the sleeve and had smocked above and below them. However, I did not like how they felt, so I took the cuffs off and re-proposed them as the center front detail on a coordinating partlet.
  10. The inspiration portrait appears to have some lace at the neckline. I found a black trim and tacked it on by hand but did not like the way it looked against my skin so I found the same trim in white and layered it behind the black to give the impression of a white edging on the black trim.
  11. Finally, I levelled the hem edge and finished it with a machine narrow rolled hem.

Layer 2 - Under dress (bodice and skirt) with sleeves:

The bodice is constructed based on a pattern that I got from Jennifer Thompson’s Festive Attyre site years ago. Her historical costuming focus is now on more recent dress and I am not certain the pattern sketch is still posted. The bodice front wraps around to the side back where it attaches to the back with spiral lacing. The shoulder straps are integral to the back piece and are cut slightly on the bias helping them hug the shoulders – they come from the back over the shoulder and are attached at the top edge of the bodice front piece. The bodice is stiffened by stitching down multiple rows of narrow hemp cording onto the canvas inner lining pieces. The layers are then stacked and bound at the edges with bias binding made of the fashion fabric. The strips of black wool trim are applied by machine onto the finished bodice pieces, first edge stitched in place and then black gimp trim zigzagged to the outside edges. On the inside of the shoulder straps, I sewed on small jewelry finding rings to attach the sleeves to.


The pink satin I used was purchased online. It was much lighter in weight than I would have liked and was a pain to work with. In hindsight, I should probably have ditched the fabric and bought an alternate. For my skirt, I tore off three skirt lengths from the 60” wide fabric and used a pattern based on the Eleanora de Medici burial grown (without the train). The front which wraps to the back is a full width of the fabric, then there are two side gores sewn so that the straight grain is attached to the bias to minimize fabric distortion. 

After having used this pattern for several skirts and struggling to deal with the bulk of intersecting seams at the waistline due to a pointed gore, I started cutting the side gore slightly differently. After folding the fabric in half, from one cut selvage edge, I measure over 5 inches (which will be at the waist) and mark a line from that point to the center fold at the other cut edge making the hem edge half the fabric width. For the center back piece, I measure half way down the selvage of the fabric and cut away a triangle from that point to the waist edge. The triangle is then flipped and sewn selvage to selvage (do two times, once for each side back seam) to create a trapezoidal piece with a shorter waist edge and longer hem. 

I starched the pink satin and underlined it for more body. When the pieces are sewn together, always start pinning together at the waist (the hem will not match and will be cut later) and when sewing have the straight grain piece of fabric on the bottom. If you have the bias edge towards the feed dogs you could be stretching it as you sew and end up with a puckered seam. After sewing all pieces together and leaving a 12 inch opening at the side back seam, I finished the opening by hand and pleated the skirt into a waistband. At the center back I put stacked 4 inch box pleats to concentrate fullness in the back of the skirt. The center front 4 inches are un-pleated. After establishing and pinning the center front and center back of the skirt to the waist band, I make the pleats by pin marking the remaining sections of waistband and top of skirt in half, then in half again, etc till I think I have enough pleats. Then I pin everything carefully together and stitch.

To mark the hem, I put on the skirt over all the underpinnings and shoes I intend to wear. Then I stand on a step stool and have a helper use a hem levelling tool that blows a puff of chalk dust at the same height from the floor. Carefully take off the skirt so you don’t disturb the chalk marks. For the pink satin skirt I had my husband make the chalk marks at the desired finished length. Since I did not intend to make any tucks and the detail I was adding to the bottom would be about as wide as the seam allowance, I cut off the skirt at the chalk marks. 

I decided to use the same treatment that I used at the wrist edge of the sleeves at the bottom of the skirt hem – a small pleated strip of the same fabric. I’m not certain if this was done in period – but there is documentation of small pleated strips of fabric at the edge of sleeves so I think it is possible. To that end, I cut 6 strips of fabric the width of the fabric by 2.5 inches tall, joined them into a single long strip which I pressed in half wrong sides together to create a long strip 1.25 inches wide. I machine basted down the unfinished edges to keep everything together and ran it through the sewing machine using the ruffler attachment set to pleat at every 6th stitch. I stitched the pleated strip to the bottom edge of the skirt. 

To encase the raw edges and further stiffen the hem edge, I added a 4 inch wide bias strip of wool covered in a larger bias strip of the pink satin fabric. My intention was to machine baste the top of the stiffening strip down on the inside of the skirt and use that line of stitching as a guide for attaching several rows of black wool bias strips to the bottom of the skirt as decoration. That was the project the night before the deadline and it did not go well. Things were shifting so I tore off the trial wool strip and decided that the stiffening strip at the hem needed to be attached by hand – which then became deadline day project. After the hand hemming was complete, it was time to attach the decorative black wool strips. I made a template by cutting a piece of construction paper to the distance from the hem to the bottom of one of the strips. Then I draped the skirt, right side out, over the ironing board and used the template to pin the first strip of wool in place. Took it up to the machine and zig zagged both edges down. On the first strip I sewed the lower edge down first and had to fight with sewing down the top edge since it is shorter. I used the point of the seam ripper to help ease the wool into position while stitching. My black wool bias strips were cut 1” wide and I decided to leave ½” between the strips. I cut a ½” wide strip of poster board to use as a guide to aid in sewing down the next two strips. This method worked very well as did stitching down the upper edge of the bias strips first!

The pattern for the sleeves came from Janet Arnold’s Patterns of Fashion 1598 gown worn by Pfalzgrafin Dorotea Sabina von Neuburg with minor changes at the top of the sleeve. To make the pinking cuts I used a razor blade scraper purchased from the paint department of a local hardware store. After cutting out the pattern, I basted the sleeves with large hand stitches so I would be cutting through both layers at once. I marked the placement of the cuts and the lines of trim on my pattern piece and started cutting.


The synthetic fabric did not react well. Fibers were pushed into the cutting mat and then made runs and pulls when I tried to lift the fabric from the cutting mat. So, it was on to plan B. I purchased a hobby wood burning tool and did a little experimenting and found that it worked well at cutting and sealing the cut edge as long as I went at a steady pace. Stopping without lifting the heated tool off of the fabric would result in a widening of the cut area. It also worked better if I was pressing against a firm surface – rulers and even poster board worked well. Freehand tended to be a little wobbly. 

I traced over my paper pattern with a dark marker for contrast, placed the pattern on a glass tabletop, put another piece of glass over the paper pattern and put the fabric on top of that. Next I took some very bright lights and placed then under the glass table so I was able to see the pattern through the pink satin fabric. 

Then I made all the pinks in my synthetic pink satin fabric and sealed the edges at the same time. I placed the pinked sleeve over the white cotton inner lining and sewed the rows of black wool bias strips vertically down the sleeves. I asked for input on trim placement on Facebook and the majority of the respondents favored black gimp trim down both sides of the black wool strips. At the wrist opening I added a 2” wide pink satin strip folded in half and pleated with the machine ruffler attachment every 6th stitch. The sleeve lining is the same pink satin fabric. Stitched the sleeve seam so I could add the final row of trim over the seam, then stitched the sleeve to its lining at the shoulder, turned, right side out, pressed and did a little hand prick stitch all the way around shoulder seam to prevent rolling. At the shoulder edge, I added 3 jewelry lobster claw clasps to attach the sleeves to the bodice. At the wrist area I hand stitched the sleeve and lining edges together. Using fellow IRCC 4 contestant Maridith V. Feher’s instructions, I made buttons using beads that remind me of the clear quartz buttons in a portrait of a Woman c1570-75 by Alessandro Allori currently at the Galleria Palatina in Florence, a silver head pin and small decorative flower shaped bead. I stitched the buttons to one side of the cuff and made a thread loop on the other side for closure.

Layer 3 - Over Dress (doublet and split front skirt)

Together the doublet and split front skirt make up a fitted gown or overdress. I believe that in period these pieces would have been combined in to one garment but for ease of laundering and to give different wearing options, I prefer to finish these as separate pieces which can be worn together.

Split Front Skirt:
The skirt was cut using the same pattern as the pink satin skirt, except that the front piece was cut in two for the split front style. Construction was similar. To finish the center front opening, I cut a wide piece of black satin, folded it in half, stitched it to the raw edge of the black wool, flipped it to the inside and basted it down. To mimic the lines of trim on the bodice, I stitched one row of trim near the edge and a double row of trim about 1.5 inches away. After the pink skirt’s hem was pinned up, I put the black split front skirt on over the pink skirt and its underpinnings and my husband marked the finished length with the chalk puffer. I went around the hem edge looking for the shortest area – 6.5” longer than the finished length. I cut the entire skirt off at 6.5 inches longer than finished length. Then I pressed up a 2.5” hem and turned it under again and stitched at 2 cm creating a tuck and encasing the raw hem edge into the tuck. Pressed the tuck down using lots of steam and pressed in another crease 2.5” higher and sewed in a second 2 cm tuck. Pressed both tucks down and hand tacked the center front tucks down near the trim because the bulk of the trim did not allow the tucks to lay flat without a little help.

The body of the doublet is made up of 4 layers, black satin lining, canvas inner lining, black cotton inner lining and the black wool fashion fabric. I basted the lining to the inner lining and treated then as one. I folded back the center front further than the seam allowance so the hooks and eyes stitched to the lining/ underlining edge would fasten at the actual garment center front. To stabilize the center front, I stitch hemp cording to the inside and attached the alternating oversize hooks and eyes through this. 

The inspiration portrait shows three slashes with white puffs poking through in the upper chest area on both sides of the center front opening. I experimented with several ways to do this - truth be told, I keep putting it off because I would afraid of messing up. On a sample, I made several different versions of extra long machine button holes for the slashes. I also solicited opinions on Facebook on the doublet back – and the majority suggested adding slashing to the back to mimic the slashing on the front. The back of the doublet is not visible in the inspiration portrait; so, with input, I made the decision to make 5 slashes in the back to add interest and mimic the front. 

The puffing took a bit of experimenting as well. I tried several different shapes and finally used a long strip of cotton backed with two layers of netting. 

The final procedure for the puffing strips went like this:

  1. On the inside, mark a chalk line to mark the ends of the button hole slashes.
  2. Hand stitch the cotton and net puffing strip to one side of the slash.
  3. Measure over 3” on the white puffing fabric for the puff and hand stitch to the other side of the same doublet stash, repeat for each slash.
  4. Run large hand gathering stitches at the top and bottom of each of the 3” puffs.
  5. Push each puff from the back side of the doublet through the slash to the right side of the doublet.
  6. Hand stitch the puffing strip vertical edges together from the back so they keep their shape and don’t try to slip back.
  7. Cut off any excess fabric and neaten the edges.





The collar is pad stitched to two layers of pink canvas for stability. I liked the effect of the pad stitching so much that I might try that as the primary method of stiffening for my next bodice. After the collar was finished, it was stitched to the wool outer layer of the doublet and trim was applied in multiple rows.

Early in the process I had made multiple trapezoidal waist tabs of black wool with black gimp trim lined with black satin. For placement, I stitched a basting line at the seam allowance of the doublet shell and auditioned waist tab placement. When I was satisfied with placement, I basted the tabs down to the black wool. The last two tabs are had stitched over the side seam on the doublet.

I love having options with my garb and tend to make outfits with a lot of interchangeable parts to be able to achieve different looks. To that end, I made three sets of shaped lacing strips. I took the doublet pattern, overlapped the shoulder seams, and created a new pattern piece that follows the line of the armhole. Each set of lacing strips has small button holes stitched perpendicular to the long side of the strip at about 1” intervals. I found that the small button holes are easier to lace through than eyelets for this application and are more forgiving if things did not line up exactly. One set of lacing strips was sewn to the lining before the lining was attached to the fashion fabric. After the doublet lining and fashion fabric were sewn together, turned and pressed, the center front was hand stitched together.

Then it was on to the doublet’s short puffed and paned sleeves. I drafted a pattern for a short sleeve base which I cut out of black satin fused to a woven black cotton interfacing and decided that I would use 4 panes and create another piece to use at the underarm that would not add unnecessary bulk at the armpit but would look like a pane at the other side. My finished black wool panes are 2.5” wide, lined in the black satin and have one row of gimp trim down either side. The white cotton puff lined with netting is 1.5 times taller than the sleeve and spread 3” in width at each vertical opening of the panes. I hand gathered at each place where I spread the pattern 3” and pinned the puffing to the base. Then I placed the panes over the sleeve assembly, cut them to length and basted them together. For the underarm piece I took the sleeve base pattern and made the underarm seam a fold line, from the opposite side I slashed into the pattern piece and spread the slashes in a curve till they equalled the measurement of the pane right next to them. Cut out two of these underarm modified panes of wool and black satin, stitched sides together, turned, pressed, and attached gimp at edge. 


I stitched the sleeve base/ puffing underarm seam with lining base right sides together and covered the seam on the right side with the underarm modified pane. Next I cut a shaped sleeve band out of wool and pressed under the top edge. With the right side of the sleeve band to the right side of the sleeve base I stitched the band to the sleeve then flipped it to the right side of the sleeve so it covered raw bottom edges of the puff and the panes. I top stitched gimp trim over the edge to finish the lower sleeve band. The sleeve head was hand gathered and attached to the second set of lacing strips. At some point I will make an alternate hanging sleeve and use the final set of lacing strips for those future sleeves. I laced the sleeves in with a shoe lace that I tacked down with a few stitches at both ends and it looks like the sleeves are sewn in.

Layer 4 – Accessories

Head wear – hat, coif, and synthetic braid
The hat is made of black wool with black satin lining. The hat crown was pleated up by hand and the pleats were stitched together with a herringbone stitch in silver thread. The crown was hand stitched to the brim. For decoration I made a cockade in pink ribbon using these directions. The finished cockade is attached it to the side of the crown with a decorative pin.

The coif is out a sheer synthetic gathered up by hand and a 1” wide silver lace was hand sewn around the edge. A sheer black ribbon was run through openings in the silver lace like beading. Metal combs were hand tacked to the front to secure to my head. 

I just had my hair cut above shoulder length and this outfit features braids. I purchase some synthetic hair, and using fellow IRCC 4 contestant Morgan Donner’s instructions braided it up and wrapped it into a ring and sewed it together with a blunt needle and narrow ribbon to look like hair taping. To achieve the period look, I part my hair in the center and pull back the sides and clip. Then I put the rest in of the loose hair in a tiny pony tail and clip it to the side. Next, I spray heavily with hair spray. I put the braid ring on the back of my head and pin in place with bobby pins. I slide the combs under the clips to secure the coif and put the hat on top of everything.

I made two partlets but want to include the one based on the inspiration portrait. Since I was using a sheer fabric, I wanted to avoid shoulder seams so I folded a previous partlet in half at the center back and made up a new pattern. I used the sheer white synthetic and cut it out with the wood burning tool. Then I cut a long strip and ran it through the pleater.

I smocked and back smocked on alternating rows to hold the tiny pleats in place on the collar and attached it to the partlet. I cut a bias strip and used it to finish the neckline. For the center front ruffle, I cut a strip 1.5” wide and smocked it on both sides. I hand tacked half of this smocked strip down each center front. Then I tacked the partlet to the center front edge of the doublet so it stays in place.


Jewelery – necklaces and beaded girdle
The girdle is stung with assorted beads and pearls, I put two ring fasteners in the middle of the girdle. I hook into the tighter one when I am wearing only the bodice and skirt. When I wear the doublet, I hook into the looser ring. The necklaces are based on the inspiration portrait. Now that I had the entire outfit on today, I believe that I need to shorten the pearl necklace as well as the longer section of the black crystal and gold seed bead necklace. The pearl dangle hangs too low.

Alternate Sleeves
Pink pinked sleeves in an offset cross pattern cut with a ½” Exacto knife with horizontal rows of silver trim sewn between the rows of pinking to attach the white cotton peek through fabric. Cut to same sleeve pattern as the Layer 2 sleeves.