The Florence Files: Recreating Maria d'Cosimo Outfit, 1555
Recreated by La Signora Onorata Katerina da Brescia.


Overview:

I have been looking at this portrait for some time. I fell in love particularly with the partlet. Having made the partlet, now I need the full outfit, though a little later than my usual preference.
So to start its construction, I begin with it's deconstruction, starting from the inside out: For a look at contemporary materials, look at my research on Florentine Materials.

To corset or not to corset? (see my underbodies diary)
Though corsets were in common use in (Tudor) England, they were not as common in Italy at this time. Allori's portrait does not, however, show the classic straight, rigid front that is typical of a stiff corset (seen in Tudor and Venetian fashions or indeed in the Bronzino's portrait of Eleanor d' Toledo and her son). The silhouette was slightly rounded silhouette, more consistant with the first half of the 16th century Florence.
So where does this take us?
Methods that could give a similar silhouette are:

Portrait of Maria di Cosimo 1555-57 by Alessandro Allori.

  • reed corset (evidence)
  • corded corset. (conjectured)
For earlier in the 16th C, my personal preference is for a stiff lining of canvas (especially when in a shorter, high waisted bodice). I have been looking into breast taping more recently and plan on this for a 1525 outfit.
Corded corset? This is one theory. While there is an extant example of a reeded corset, there is no extant evidence, as yet, for corded corsets - but they do give a nice silhouette similar to that above. For more information on this, try Festive Attyre.
If we look at Eleanora d'Toledo's burial clothing (Patterns of Fashion), there is velvet (under) bodice. It is surmised that this may have served as a form of 'corset'. There are no channels for reeding or boning. It was possibly originally lined with linen and most likely had an attatched skirt. Based on this, and as I am intending on making an underdress (sottana) for this outfit (more on this later), I will try a stiff canvas lining, first.
If this does not work, then I fear I will have to make a corset of reeds. (speaks one who has made the 'corset from hell') If so, I will make a small 'shift' to wear underneath as in Oonagh's Own.

Underthings: see also Florentine Underthings

Most obvious is the camicia. I currently have a hand-sewn linen camicia and plan to make more. For now, I will replace the needle lace and replace it with some lace I managed to find at Festival. It is made of cotton and is a very good machine-made approximation of bobbin lace. I bought two types - a small simple lace for the neck and cuffs, and another triangular one for the hem. (right).

I finished hand-sewing the lace to the camicia which looks very similar to the portrait!
(far right)

Stockings:
All conjecture on my part, as we cannot see them! Eleanor d'Toledo (Maria's mother) had red, knitted ones. I cannot knit and cannot afford silk, at the moment, so I must content myself with red linen (allergy to wool) stockings I have already made. I do however, intend to remake my stocking pattern (when I get more time) to give a triangular pattern at the ankle clocks - this being more like the material stockings in Queen Elizabeth's Wardrobe Unlock'd and Eleanor's red stockings.

Partlet:
This is worn over the camicia and under the sottana. See my diary for details.

Drawers:
Though evidence we have is mainly from Venice, I so want to make some linen drawers to go with this and other outfits.

sottana/Underdress:
From the portrait, it is obvious that there is an 'underdress' and 'overdress' to this outfit. I will be making a sottana with sleeves to represent the underdress. I am hoping that stiffening it will give the appropriate silhouette. This must have a low neckline or it would show at the neckline under the blue dress (see above right) where the camicia is visible under the partlet. This will be mainly based on patterns from Alcega and Patterns of Fashion.

Underbodies Diary. can be found here.
The problem is, when in a hurry, is that things get forgotten. I was doing good time, with the sottana, feeling fairly happy with myself and I had foiund some gold buttons (1/4 Florins) for the sleeves, in my stash. Finally, I had finished the hand-sewn eyelets, thinking 'hey, these were easier than I remember!' It was then I realised that I had forgotten to line the sottana body with canvas - argh!
After a few minutes of cursing myself, realising that "no" I could not pull it all apart and restart...

So this brings me back to my original plan (which was abandoned due to lack of time) of doign a set of 'underbodies' similar to that of Elenaor Toledo (Maria's mum) found in Janet Arnold's Patterns of Fashion.

Over-doublet dress:
I favour the one-piece over dress rather than a two piece. Other examples of a one piece overdress can be found. I will be using a doublet pattern, from Alcega and attatching a skirt. I will need to make a toile, as I have not got an up-to-date doublet pattern.

Accessori:

The Final Outfit!
How it was all put together on the day.

This is the final outfit as worn to the Lochac Midwinter Coronation held in Innilgard in July, 2005. (I was sewing the hem all day on Thursday. The event was Saturday). I could not afford the neckchain, as I spent waayyy too much on the girdle as it was. At least all of the material for the dress was out of my stash (with most of it on sale yet!). The only other thing is that I am definately not the same size as Maria, being oh, at least a few dress sizes larger!

What I have learned from this project
(or what I like:)

(and am not happy with): Lots of things, really:

BIBLIOGRAPHY:

Scanned pictures of Maria d' Medici's portrait were supplied to me by Mistress Oonagh O'Neill






And for those who like LIVE JOURNALS... However be warned, I do not update regularly.
All intellectual content, photos and layout are copyright to La Signora Onorata Katerina da Brescia (K Carlisle), except those original renaissance artworks and extant articles whose copyright remains with the current owner.
If you would like to use something from this site, please contact me, and cite this website reference.

(c). K.Carlisle, 2009.

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Scanned pictures of Maria d' Medici's portrait were supplied to me by Mistress Oonagh O'Neill






And for those who like LIVE JOURNALS... However be warned, I do not update regularly.
All intellectual content, photos and layout are copyright to La Signora Onorata Katerina da Brescia (K Carlisle), except those original renaissance artworks and extant articles whose copyright remains with the current owner.
If you would like to use something from this site, please contact me, and cite this website reference.

(c). K.Carlisle, 2009.