This is a 16th century Venetian gown made for Justina di Silvestri‘s elevation to the Order of the Laurel. The style and design was all Justina’s plan, with the rest of us just executing it with the materials she provided. The pattern was drafted by Alessandra Fioravanti, who also made the skirt, sewed the gold trim on the sleeves, and wove the gold lace for the front closure. She also made the camicia, with lace made by Amber Elizabeth. Details of construction are noted on the individual pictures in the gallery below.
The gown is worn over a boned bodice with a false chemise later in the front. This is a conjectural technique but seems to have worked well.
The design inspiration. Portrait of a Young Venetian Woman by Francesco Montemezzano, from somewhere around 1570-1580.Justina’s original sketch.I made a mockup from the initial draft and marked out where the final neckline and waist would be.Adjusting the mockup neckline in the back.The front is marked for both the under-bodice, which has a wider point at the waist, and the gown bodice, which has a narrow point and a V-shaped opening.This is the final pattern for the under-bodice, including the boned section, which is a separate piece.This shows the gown bodice pattern laid on top of the under-bodice pattern.Laying out the boning channels.To keep things easy, cheap, and washable, the boning is made with cable ties inserted into channels.The boned section ready to attach to the under-bodice.Preparing to gather the false chemise layer.The false chemise layer ready to attach to a layer of cotton, which will then be attached on top of the canvas and boning layer.Checking the fit of the under-bodice.Temporary lacing strips allow for an accurate test of the fit.The under-bodice after some final adjustments. The edges are bound with linen and eyelets worked in the side back openings.The linen canvas interlining for the gown bodice has boning channels at the front edge.The gown pieces wrapped with the pink outer layer and ready to assmble.Sewing the lacing rings in the front opening of the bodice.First test of the lacing.Testing the lacing on an actual person.Here you can see how the under-bodice is wider at the bottom, so the point of the gown bodice can shift a bit without becoming unsupported.Adding the lining to the bodice.No photo description available. Lorenzo Petrucci teSpdr 5 l P 8f : 2 t 2 M a c p 6 6 A i 6h l r · Shared with Public After the first lacing test, we decided that it needed more lacing rings. This was one test of a possible lacing pattern.To try to match the look of the portrait, the sleeves would be attached in the middle of the bodice strap and left open at the bottom of the armscye.Laying out the stripes on the sleeves.The first sleeve with stripes attached. These were sewn on by hand.Testing the lacing with the final woven gold tape. Alessandra devised a lacing pattern that had only a single lace going across the V while also keeping them straight.Alessandra applied the gold cord trim on the edges of each stripe by machine.The baragoni are made from a double strip of the pink, edged with blue and more of the gold cord. They are gathered and then sewn on at the top of each sleeve.Alessandra applying the stripe at the bottom of the skirt.The skirt was assembled and trimmed first, with the top edge cut to match the curve of the waistline. The final length of the hem was achieved by adjusting the top of the skirt before cartridge pleating it to the bottom edge of the bodice.The finished gown.The baragoni fluffed out into proper fullness. They are quite stiff and stay put once arranged.Getting dressed on the big day.Final adjustment of the lacing before heading out the door.
