Daisy Viktoria
(Lady Medb ingen Echuid)

Los Angeles, California, USA
(Barony of the Altavia, Kingdom of Caid)


A Venetian Outfit in the Style
 of  the 1490s

(Highlighted/bordered images are click-able for enlarging)

Daisy Says....


Hello! My name is Daisy Viktoria, also known in the SCA as Lady Medb ingen Echuid. I live in Los Angeles, CA, in the kingdom of Caid. I love all types of costuming and exciting fashion! I have been costuming for most of my life, having grown up in a family of Civil War re-enactors. I have now been in the SCA for over 6 years. I currently run a couture fashion line, and in addition, I create custom costumes for clients. I enjoy creating beautiful costumes for myself, my friends, and anyone else too!

This Italian gown is based on very late 15th century Venetian style. Though I drew inspiration and supporting research from many images, my main inspirational image was Durer's Venetian Lady of 1495. This was my first Italian Renaissance dress. I had wanted to make one for years, and after I joined the SCA, I was really excited that I finally had a place to wear such a dress. One thing I found very exciting about this project was analyzing images I had known for years yet finding so many details I had never noticed before.

This dress has three distinct layers: the outermost gown, a second dress, and a chemise.


My camicia is made of white linen with a satin ribbon tie in the front and a frilled neckline. To achieve this frilled neckline, I gathered a strip of linen into a band, which was attached to the top of the camicia. The sleeves are voluminous enough to puff out of the slashes in the sleeves of the gown.

I patterned my camicia using rectangular construction because this style of patterning is apparent in extant camicie.


In the Durer image, as well as many images from this period, the woman is holding her skirt up to reveal a large floral print on the skirt of the second layer.

The gamurra can be worn by itself or as the under layer of this ensemble. I created this layer to fit nicely under my outer gown. The bodice is a basic bodice block style which I drafted for my measurements. The skirt is pleated onto the bodice. The bodice is lined, but my skirt is unlined.

My gamurra is made from a synthetic poly blend that resembles the brocades of the period. Silk brocade would be preferable, but it was also out of my budget.


The sleeves are made of segments that are held together with laces. The gaps in the sleeves allow the fullness of the camicia to puff through. Sleeves were either attached to the shoulders of the dress or tied on with ribbons. This style of tying the sleeves on became very popular during the 1490s.

My sleeves are styled after the sleeves in Durer’s image, so my camicia puffs through in these specific places.


My giornea was patterned similar to my gamurra. The main difference is just the neckline and the closure and the split front skirt. The giornea is quite often longer at the back of the hem, offering a sweeping profile in movement. I chose to create this train style for my dress. Like my under layer, my giornea has a lined bodice and an unlined skirt.

I chose cotton velvet for my gown. In period, silk velvet was often used, but cotton velvet is now much easier to find and much less expensive. Cotton breathes well in hot weather, and it is durable and easy to wash.

The waistline is just under the bust. The neckline has a large “V” shape, allowing my under layer to be visible. The shoulders are very thin and lay almost off my shoulders. The skirt is attached to the bodice with pleats and is slit in the front to reveal the skirt of the dress underneath.

Since the image my gown is based on shows one continuous piece in the front, I chose to lace my giornea on the sides. This allows the lacing to be out of plain view.

The necklines of dresses were also frequently embroidered and beaded. I created a beadwork decoration on my neckline using faux pearls and gold seed beads.


Women are often shown wearing a type of belt with this dress. It is very thin and attaches just below the bust, where the bodice meets the skirt. I created my belt using the same fabric as my gamurra.

I based my headpiece on the Durer image, with supporting evidence from various period sources. These headpieces appear to have a band of material encircling another piece of material, which is puffed through the top.

Calze and Chopines

I created a pair of stockings using some leftover fabric I had lying around. I patterned these with a sole attached to the rest of the leg piece. They tie at the top with satin ribbons.

I find the shoes from this period very interesting. Chopines are classically associated with Venice during this period. My shoes, in substitution of real chopines, are a pair of sandals I found and modified, then covered with the same fabrics I used for my gown.


  You can contact Daisy at daisy (at) daisyviktoria.com and you can find her web site here.

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© 2001 - 2013 Anabella Wake (Known in the SCA as Bella Lucia da Verona) I hold copyright on all information on these pages, and on all images of clothing/costume that I have made. You are allowed to make one facsimile copy for your own use provided that this notice is included on each page. Please ask permission to copy, disseminate and/or distribute my work - I would like to know when and how you are finding this information of use.