Florence Files |
A fully handsewn gorgiera of linen, broidered in silks of sondry colors January, 2006:
The first example is the main example I am using to base this partlet on. Pattern, Construction and Materials: The collar will be made in one rectangular piece, as each example
does not appear to have a 'fitted' look. Examples of collars made
from this pattern can also be seen in Patterns of Fashion
(1570-80 Woman's loose gown). As this partlet will not necessarily be worn with a high neck
doublet to support it, I decided to 'stiffen' the collar. One common
method was using layers of linen. I have used this method for
Dafydd's Rapier doublet.
Again, looking at the Vecellio drawing, the attatched ruffs
are of a reasonable depth possibly 2-3 inches and appear to be very
flat at the collar seam. I used box pleating to give the full
appearance and keeping it flat along the collar seam. The ruff was
sewn to the collar by using running / stab stitches after
'sandwiching' the ruff into the two part collar.
Examples of this construction method can be found in Patterns of Fashion, these being:
Sewing Stitches Used in Medieval Clothing quotes examples of running stitch specifically used in Florentine clothing - 1562 Florence, Italy Suit of Cosimo I de’Medici. Raw edge of silk on panes on trunkhose turned under and held by running stitches in 2-ply silk Arnold, Patterns, pp. 53-54. Stab stitch 1562 Florence, Italy Suit of Cosimo I de’Medici. Row of stab stitches down center front about 1.5mm (1/16") from edge Arnold, Patterns, pp. 53-54. This is similar in construction as I have used for the collar. The collar 'lining' was hemstitched to the body of the partlet. eg.upright Hem stitch 1562 Florence, Italy Gown and pair of bodies worn by Eleanor of Toledo. Slanted and upright hem stitching used. Arnold, Patterns, p. 102 . and Overcast stitch1562 Florence, Italy Gown and pair of bodies worn by Eleanor of Toledo. Linen lining of bodies attached to velvet by overstitching Arnold, Patterns, p. 102 Seams were handsewn in backstitch with the seams being flatfelled (see Archeological sewing and Tudor Tailor - smocks). I added ties at the front collar, as at the collar, in the Campi
portrait, to allow the collar to be closed when required. The ties
were hand-knitted with cotton cord. Decoration:
As many who follow my diaries will know, I like pomegranates! In
Embroidery: Early 16thCentury, I found this following pattern
(left) and have adapted it for the embroidery on the collar (right)
I used mainly split stitch and this will be my first real try at 'shading' with split stitch. A good article on this can be found at the Bayrose website. This will be executed in Madera silk thread. The following stitches were used for multi-coloured embroidery on linen in the 16thC, split, stem, chain, back, cross and speckling stitches. Examples of these stitches can be found at Bayrose's Database of Stitches from Extant Textiles, Queen Elizabeth's Wardrobe Unlock'd and Blackwork. 22 January, 2006 - 8th Feb, 2006.:
Construction:
The cords are hand-knitted from cotton thread. The final partlet from the front.
Additional research on Giorgiera (partlets) and other Giorgiera diaries Bibliography
© K Carlisle. 2006- 2008
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(c). K.Carlisle, 2008.