I am fascinated by the history of fabrics and the stories we tell with clothing. My goal was to research and make two sets of garb that reflect the story of our SCA personas– an Italian merch…

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

In the high and late Middle Ages, attractive styles became more available to a new middle class. Clothing styles changed more quickly due to new technology, Eastern influences, and a better economy.

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

A lot of people seem to like my new pink gown with split sides as much as I do. So I promised my friend Astridh that I would share my collection of images of this style. There's lots of them. Most images are from wikimedia commons (Gods! I love that site). Notable is that most of the times the split over gown is worn over a tunic in the same fabric, often also with a matching cloak. You can also see that you find trims down the front and around the armscyes also in the late 14th century. Beware of the angels gown's though. they often show Byzanteine elements. Still, it appears that both saints and Mary still often wore ordinary, fashionable clothing through the 14th century, and actually, you see a lot of pretty fashionable Madonnas in the quattrocento too. 1300-1350 Ambrogio Lorenzetti. Allegory of Good and Bad Government 1338-40. Palazzo Publico, Siena, Rather short gowns, split at the sides and fur-lined. And with 7/8 sleeves and a lovely dragonfly pattern on the brocaded gown in the centre. Undergowns in other colours. I must, however, admit, that I am not 100 % sure these are women, though the hairstyles suggest that they may be. Men in the same fresco also all have shorter tunics. Bad Government, a woman in a red gown split at the sides, it has some kind of decoration over the bust and either a belt or a seam just under the bust (this is a topic I will discuss in later posts). Pale yellow undergown. Bernardo Daddi, 1337-1338, The story of the girdle (Mary's girdle, it's in Prato, near Florence). Red tunic and red surcoat with slits up the side and elbow sleeves with a "tounge" hanging down. Both undertunic and surcoat are decorated with gold at the sleeves and the surcoat has gold decoration around the neckline and on the sides of the slit too. Bernardo Daddi, St. Reparata (patron saint of Florence, I had never heard of her before). I want to make this one! Light green tunic, and surcoat, the latter with short sleeves and gold deoration along the neck, edges of both garment's sleeves and along the hem and the (slightly shorter) split at the sides. Taddeo Gaddi, Presentation of Mary at the Temple, 1328-130. No trim on either tunic or surcoat and they are in different colours. Fairly high slit. Same painting, a red split surcoat with a green tunic. Same fresco, Mary's wedding. Mary wears a rose pink tunic and surcoat. There is green visible at the side slits of the surcoat - maybe a lining? The surcoat has gold trim around the neck and armscyes and at the edge of the elbow length sleeves with their slight trumpet shape. The tunic has trim around the wrist. Nex to Mary a woman is kneeling, wearing a purplish grey tunic and surcoat, held together just above the hips with a red belt with metal ornaments. The surcoat has elbow length sleeves with an interesting cut out shape and it appears to be lined in an ochre coloured fabric. A polyptych by Tadeo Gaddi 1320s. It is very subtle, but if you look at the woman in read you see that she wears a red surcoat over a red gown. It also appears to be open all the way to the armscyes, just held together at short invervals - either sewn, or maybe with hooks and eyes? Vitale da Bologna, ca 1335. The kneeling woman has a red surcoat with a slit, which (probably) shows the black lining, which can be seen also at the hem where it folds. Giovanni Baronzio 1325-1350, The Life of St. Columba, Red tunic and brocade surcoat with elbow lenght sleeves with short tippets. Gold trim around neck, armscye and the sleeves of both garments. The red tunic either has gold buttons or gold trim along the sleeve. Pietro Lorenzetti, Madonna with child, St. Agnes and St. Catherine. 1342 St. Catherine wears a pink surcoat and a tunic of the smae fabric. The surcoat has elbow length sleeves with a hanging "tounge". The slit reaches to the hip and has narrow gold trim, which we also see around the neck and armscyes. It is lined in dark blue-grey fabric. A line of gold is seen just under the bust, either a narrow girdle or decoration at a seam (as said, above, I will get back to this in another post). 1350-1400 Wedding, ca 1350. The bride wears a peach coloured tunic and surcoat. The tunic has gold trim around the wrists and the surcoat has gold trim aroudn the neck, the lower hem, along the slit at the side and on the elbow length sleeeves which end in tippets. Ca 1350. This one is now in Switzerland, in the town of Medrisio. But in the Middle Ages Medrisio was an important town in Lombardy. Madonna and saints. Red surcoat with short sleeves with white tippets. High side slit edged with white. Under it a red tunic.The tunic has gold trim at the wrists and the surcoat has gold trim around the neck and armscyes. Lorenzo Veneziano, Marriage of St. Catherine, 1360. Red brocade with trim around the square-ish neck, and down the front on the surcoat, whoch is fur-lined and has elbow length sleeves with tippets, likewise fur-lined. Paolo Veneziano unknown date, but he was active at least between 1333 and 1358. Saint Catherine to the extreme left wears a tunic and surcoat in salmon or coral brocade. The surcoat has a square ornamnet on the chest, usually asscoiated with Byzantium and trim around the neck. It is fur lined and appears to have long sleeves. St. Ursula at the extrem right is wearing a yellow surcoat which is slit at the front. it is furl ined, and apepars to have long sleeves. Due to the cloak we cannot see if it has trim around the neck. Andrea di Bonaiuto - Fresco from Santa Maria Novella in Florence,'Way of Salvation',1365-68. A gown with wide horizontal stripes and shrot sleeves with tippets. It is lined in white and the bottom edge is also white, possibly fur. In this image you also see examples of gowns with different colour on the bodice and skirt. This is not unique for this image, there are other examples, and you can also see them, on both men and women in the Romance de Alexander, a manuscript made in Flanders in the period 1334-38 which is now at the Bodleian Library in Oxford (you can see that manuscript here). And here's a grey surcoat with slit at the sides, no decoration. Painter from Lucca, 1365-70, Coronation of the Virgin. St. Catherine wearing a red tunic with a green surcoat with hanging sleeves from teh shoudlers. Possibly also a hood attached, which would make it a variation of the gardecorps, but the hood could be separate. Interestingly the long sleeves are from the same fabric as the surcoat, which alreafy has hanging sleeves - artistic license? Again a slightly shorter slit at the sides and trim around the neck, armscyes, wrists and along the slit. Altichiero da Verona (also called Aldigieri da Zevio) Crucifixion, 1372 A ressonably fitted seagreen sleeveless surcoat with trim around the neck and armscyes, slit at the sides, worn over a blue tunic. Tommaso da Modena, 1360s-70s? St. Catherine wears a mi-parti surcoat with a broad trim along the front, and side slits which are edged in fur. It has short sleeves and is worn over a yellow tunic. Pietro Nelli 1365, St. Elizabeth of Hungary. St. Elizabeth has an ensemble consisting of tunic, surcoat and cloak from teh same pale pink brocade with patterns in red, black and gold. The surcoat has short sleeves with tippets lines with miniver (probably the whole surcoat). There is gold trim both along the edges of the slit and the hems on both surcoat and tunic, as well at the edge of both pairs of sleeves, the neck and the edge of the cloak. An interesting thing one sees is that it's not until the very late 14th century and then only in the most northern parts that the extremely tight version of the Gothic fitted dress is worn. The gowns are either loose or just slightly fitted, skimming the figure, but not shaping it. And of course that Italian 14th century ladies were a lot more substantial than those north of the Alps ;)

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...

While I have written about the written sources for matching sets of cloting (see previous post) I haven't relly shown any period art showing them. Marching tunic/cotte/kirtle and surcoat are easy to find, especially in Italian 13th and early 14th century sources, but with a matching cloak too is a little more complicated. One reason for this is that it became less common to depict people wearing cloaks as teh 14th century progressed. While written sources show that they were still in use, in art they more and more became shown as ceremonial garments.In other cases you just don't see if the woman is wearing both a cotte and a surcoat. In some of these you have to really look closely to see the cloak, since it appears to fastened at the edge of the shoulders. This is not a reasearch post, just a few pictures that I have. When the whole set is finished there will be proper documentation. Giotto di Bondone: Scrovegni Chapel 1304-1306 Pietro Lorenzetto: St. Catherine and St. Agatha c 1315. Only St. Catherine has the full combination, but St. Agatha has some rather impressive buttons. Simone Martini: St. Elisabeth and St. Margaret 1318 Simone Martini: Maestà 1315-16 St. Ursula's companions in the church of San Orsola, Vigo de Cadore A couple of Virtues, by Taddeo Gaddi 1328-30 And a Madonna, by Taddeo Gaddi, from 1334. Here the Madonna has pulled her cloak over her head, something that might have been done in real life, especially when it rained, but above all was a convention in depictions of the Madonna. Bernardo Daddi: St. Margaret and St. Agnes ca 1337-39 Bernardo Daddi: St Catherine. Bernardo Daddi: St Catherine 1345-50 Ambrogio Lorenzetti: Maestà 1335-38. Note the fichets (pocket slits) on the surcoat. Maso di Banco. Coronation of the Virgin 1335-40 Antother Coronation of the Virgin by Maso di Banco Italian Painter c. 1365 Spinello Aretino: St Catherine, frescoes in the Bagno a Ripoli, second half of the 14th century

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

Since a couple of years I have realized that I am not satisfied with making one dress inspired by this wonderful 1330s illumination from Genoa, now at Cleveland Museum of Art - I want to make them all! Finding striped brocade is very, very hard, so for a first attempt at the red and gold outfit in the bottom centre, I had to settle for much less bold colours. More about that outfit here. But I have now also made the blue, more normal, blue outfit. It is made from blue silk, unlined cotte, and the surcoat lined with silver grey silk. of course, after buying all that silk to line the dress, and lining it, I realized that the blue gown actually isn't lined. Typical North European mistake. Because it looks like dress north of the Alps, I assumed that it would be lined. Well, it will be warmer, which can be nice. Next on my list is the white outfit. I will probably use fine cotton, which was a known luxury fabric imported from the Muslim East (unlike half cottons or coarser Italian cottons). I also have lot of gold trim to use. However, this trim bleeds when wet, and a white gown will need to be frequently laundered. I will have to think about that.

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

Everybody knows (and loves, or ought to love) the high waisted gowns of the late Quattrocento, however a waist placed even higher than most of the gowns from this period (except for some Venetian ones) was fashionable in Italy in the late 13th century and the first half of the 14th century. Mostly this effect was reached by tying a ribbon under the bust, but, there are some paintings that actually suggest that here were gowns with very short bodices and a gathered skirt.I have resisted this interpretation ever since I first saw these gowns, because it just doesn't fit in the general development of clothing in this period. But, as I will show in the end of this post, there are some paintings that I have a hard time explaining in any other way. But, most of the high-waisted styles, are simply loose tunics tied under the bust: Unknown master, 1270s Simone Martini, Siena 1328: Giotto, Padua Scrovegni chapel Padua 1303-1305 Woman in white to the right The red gown appears to be tied with a string under the bust In this one we see both a belt, to the left, and a more ambigious gown, which may well have a seam under the bust, to the right. Here you can see the belt clearly: Lippo di Benivieni, Madonna with child 1310-1320 Taddeo Gaddi, pregnant Madonna, 1340s-50s? Ambrogio Lorenzetti c. 1335 Some of these appear to be either inspired by Roman styles, or, since this is before or early in the Renaissance, it may actually be a continuous tradition rather than copying of ancient statues. This woman, painted by Pietro Lorenzetti in the 1350s with both a tie under the bust and at the waist look very much like Roman statues. As does the woman to the right in this late 1320s painting by Taddeo Gaddi: Same fresco, look at the woman in lilac. These gowns are cool also because they show a sewn fold on the gown, a detail that is mostly known from the 15th century. More from the same fresco, look at the small women at the bottom right: A good view of a belt on an image of St. Catherine painted by Pietro Lorenzetti 1342. And another: A toddler Mary with a gown tied with a narrow belt. 1330s Often we don't see the ties of the belt, but they could be both in front as on St. Catherine and the attendant with towels above, and hanging down at the side, like on this painting by Pietro da Rimini where the woman to the left has a blue gown with a red belt with long end hanging down the side. Then there are some that I can't say if it's a belt or a seam. You can't see the belt in these from the late 13th or early 14th century Bologna, but from the shape of the bust I guess that it's a narrow belt or string tied just under the bust: These gowns are more ambigious and it could be both a narrow tie or a seam. More Bologna, this time St. Lucy in a painting by the so-called pseudo Jacopino, from 1329. Pietro Lorenzetti, 1329. This is probably a high belt. St. Agnes and St. Catherine in this painting, also by Pieto Lorenzetti, may wear gowns either with narrow gold coloured belts, or with gold trim at a high waist seam. This one, by Ambrogio Lorenzetti, also Siena 1338-1339, does, however look more like it has a high waist seam, since the part under the horizontal line under the bust appears to be gathered. However, this could be the result of a tunic that fits snugly over the bust and widens a lot below the bust. The same goes for these, from Castel San Pietro, Mendrisio (now in Switzerland) painted before 1345. And then there's this one, by Giotto, from Padua, which mostly looks like it has a drawstring inside the gown (which is highly unlikely): But then there are a few, which do look like there's a waist seam just under, or even on the bust (like when you buy tops intended for women without boobs and the underbust seam ends up right across your bust). Leaf from a Cocharelli Treatise on the Vices, Accidia and Her Court, c. 1330 Buonamico Buffalmacco 1336-1341. Look at the split surcoat of the woman on the right: no visible belt, but clear gathers of the "skirt". Detail: And then, what finally convinced me, those that I couldn't explain away: These frescoes from the turn of the century 1300, in San Zeno, Verona. The final proof: In this image you actually see both seam and belt, since they don't align. So, tentatively there appears to have been a variety of gown worn in northern and central Italy which had a high waist seam. As with the belted variety of this high-waisted look, which was more common, this style was more popular in the beginning of the 14th century and disappears, with a few Madonnas and saints as exceptions, in the second half of the century. Thus there is no clear connection between these fashions and the high waisted styles of the late 15th century. The discussion in this blog post suffers from the fact that it is based only on visual soruces, since I don't have access either to written sources, such as wills and dowry records from this period. AFAIK there are also no studies of dress history specifically about this period and region; unlike the fashions of the 15th and 16th centuries. I am very much looking forward to Elisa Tosi Brandis upcoming book on tailoring in medieval Italy. But for now I think I am going to make an Italian gown with a high waist seam :)

Medieval gothic and renaissance costume and fashion history of Italy.

A lot of people seem to like my new pink gown with split sides as much as I do. So I promised my friend Astridh that I would share my collection of images of this style. There's lots of them. Most images are from wikimedia commons (Gods! I love that site). Notable is that most of the times the split over gown is worn over a tunic in the same fabric, often also with a matching cloak. You can also see that you find trims down the front and around the armscyes also in the late 14th century. Beware of the angels gown's though. they often show Byzanteine elements. Still, it appears that both saints and Mary still often wore ordinary, fashionable clothing through the 14th century, and actually, you see a lot of pretty fashionable Madonnas in the quattrocento too. 1300-1350 Ambrogio Lorenzetti. Allegory of Good and Bad Government 1338-40. Palazzo Publico, Siena, Rather short gowns, split at the sides and fur-lined. And with 7/8 sleeves and a lovely dragonfly pattern on the brocaded gown in the centre. Undergowns in other colours. I must, however, admit, that I am not 100 % sure these are women, though the hairstyles suggest that they may be. Men in the same fresco also all have shorter tunics. Bad Government, a woman in a red gown split at the sides, it has some kind of decoration over the bust and either a belt or a seam just under the bust (this is a topic I will discuss in later posts). Pale yellow undergown. Bernardo Daddi, 1337-1338, The story of the girdle (Mary's girdle, it's in Prato, near Florence). Red tunic and red surcoat with slits up the side and elbow sleeves with a "tounge" hanging down. Both undertunic and surcoat are decorated with gold at the sleeves and the surcoat has gold decoration around the neckline and on the sides of the slit too. Bernardo Daddi, St. Reparata (patron saint of Florence, I had never heard of her before). I want to make this one! Light green tunic, and surcoat, the latter with short sleeves and gold deoration along the neck, edges of both garment's sleeves and along the hem and the (slightly shorter) split at the sides. Taddeo Gaddi, Presentation of Mary at the Temple, 1328-130. No trim on either tunic or surcoat and they are in different colours. Fairly high slit. Same painting, a red split surcoat with a green tunic. Same fresco, Mary's wedding. Mary wears a rose pink tunic and surcoat. There is green visible at the side slits of the surcoat - maybe a lining? The surcoat has gold trim around the neck and armscyes and at the edge of the elbow length sleeves with their slight trumpet shape. The tunic has trim around the wrist. Nex to Mary a woman is kneeling, wearing a purplish grey tunic and surcoat, held together just above the hips with a red belt with metal ornaments. The surcoat has elbow length sleeves with an interesting cut out shape and it appears to be lined in an ochre coloured fabric. A polyptych by Tadeo Gaddi 1320s. It is very subtle, but if you look at the woman in read you see that she wears a red surcoat over a red gown. It also appears to be open all the way to the armscyes, just held together at short invervals - either sewn, or maybe with hooks and eyes? Vitale da Bologna, ca 1335. The kneeling woman has a red surcoat with a slit, which (probably) shows the black lining, which can be seen also at the hem where it folds. Giovanni Baronzio 1325-1350, The Life of St. Columba, Red tunic and brocade surcoat with elbow lenght sleeves with short tippets. Gold trim around neck, armscye and the sleeves of both garments. The red tunic either has gold buttons or gold trim along the sleeve. Pietro Lorenzetti, Madonna with child, St. Agnes and St. Catherine. 1342 St. Catherine wears a pink surcoat and a tunic of the smae fabric. The surcoat has elbow length sleeves with a hanging "tounge". The slit reaches to the hip and has narrow gold trim, which we also see around the neck and armscyes. It is lined in dark blue-grey fabric. A line of gold is seen just under the bust, either a narrow girdle or decoration at a seam (as said, above, I will get back to this in another post). 1350-1400 Wedding, ca 1350. The bride wears a peach coloured tunic and surcoat. The tunic has gold trim around the wrists and the surcoat has gold trim aroudn the neck, the lower hem, along the slit at the side and on the elbow length sleeeves which end in tippets. Ca 1350. This one is now in Switzerland, in the town of Medrisio. But in the Middle Ages Medrisio was an important town in Lombardy. Madonna and saints. Red surcoat with short sleeves with white tippets. High side slit edged with white. Under it a red tunic.The tunic has gold trim at the wrists and the surcoat has gold trim around the neck and armscyes. Lorenzo Veneziano, Marriage of St. Catherine, 1360. Red brocade with trim around the square-ish neck, and down the front on the surcoat, whoch is fur-lined and has elbow length sleeves with tippets, likewise fur-lined. Paolo Veneziano unknown date, but he was active at least between 1333 and 1358. Saint Catherine to the extreme left wears a tunic and surcoat in salmon or coral brocade. The surcoat has a square ornamnet on the chest, usually asscoiated with Byzantium and trim around the neck. It is fur lined and appears to have long sleeves. St. Ursula at the extrem right is wearing a yellow surcoat which is slit at the front. it is furl ined, and apepars to have long sleeves. Due to the cloak we cannot see if it has trim around the neck. Andrea di Bonaiuto - Fresco from Santa Maria Novella in Florence,'Way of Salvation',1365-68. A gown with wide horizontal stripes and shrot sleeves with tippets. It is lined in white and the bottom edge is also white, possibly fur. In this image you also see examples of gowns with different colour on the bodice and skirt. This is not unique for this image, there are other examples, and you can also see them, on both men and women in the Romance de Alexander, a manuscript made in Flanders in the period 1334-38 which is now at the Bodleian Library in Oxford (you can see that manuscript here). And here's a grey surcoat with slit at the sides, no decoration. Painter from Lucca, 1365-70, Coronation of the Virgin. St. Catherine wearing a red tunic with a green surcoat with hanging sleeves from teh shoudlers. Possibly also a hood attached, which would make it a variation of the gardecorps, but the hood could be separate. Interestingly the long sleeves are from the same fabric as the surcoat, which alreafy has hanging sleeves - artistic license? Again a slightly shorter slit at the sides and trim around the neck, armscyes, wrists and along the slit. Altichiero da Verona (also called Aldigieri da Zevio) Crucifixion, 1372 A ressonably fitted seagreen sleeveless surcoat with trim around the neck and armscyes, slit at the sides, worn over a blue tunic. Tommaso da Modena, 1360s-70s? St. Catherine wears a mi-parti surcoat with a broad trim along the front, and side slits which are edged in fur. It has short sleeves and is worn over a yellow tunic. Pietro Nelli 1365, St. Elizabeth of Hungary. St. Elizabeth has an ensemble consisting of tunic, surcoat and cloak from teh same pale pink brocade with patterns in red, black and gold. The surcoat has short sleeves with tippets lines with miniver (probably the whole surcoat). There is gold trim both along the edges of the slit and the hems on both surcoat and tunic, as well at the edge of both pairs of sleeves, the neck and the edge of the cloak. An interesting thing one sees is that it's not until the very late 14th century and then only in the most northern parts that the extremely tight version of the Gothic fitted dress is worn. The gowns are either loose or just slightly fitted, skimming the figure, but not shaping it. And of course that Italian 14th century ladies were a lot more substantial than those north of the Alps ;)

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So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...

The one person given both the monikers, "father of Humanism" and "father of the Renaissance," by historians is none other than Franceso Petrarca (or Petrarch in English) Petrarch was an Italian writer who gave us the lyrical poem, the sonnet, as we...

So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...

The exhibition highlight at the Städel Museum in Frankfurt am Main from February 24nd until June 5th, 2016. #maniera #staedel Agnolo Bronzino, St Sebastian, ca. 1528/29, © Museo Thyssen-Bornemisza, Madrid

I love the Italian Renaissance, especially 1490s fashion, but I'm sad to say I haven't done much costuming from that era. Well, let me just fix that! I was particularly inspired by the Girl With Cherries painting by Ambrogio di Predis from c.1491-5. As per my usual methods, I was not interested in making a direct copy of the dress in the painting but rather using it as my primary inspiration, with supporting evidence from other various period sources and other similar dresses. I purchased nothing new for this dress! It was meant to be a quick fun project to use up some of my materials on hand and give me a new dress I can wear on an everyday basis that's not another gothic fitted gown. The outer gown is made of rough dupioni silk and lined in hemp. The under gown is actually a false gown! It's just a bodice and sleeves. It's a clever solution to many layers when you live in a hot climate. The under gown is made of green cotton velveteen and lined in linen. I already had a camicia! All of the eyelet holes were done by hand. I grumble about all the time it takes, but really, I just do them while catching up on tv shows at night, so it's not such a big deal! More images are here on my website: http://www.faerie-queen.com/silk-and-velvet-italian-renaissance-dress/

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Da Vinci's 'La belle ferronnière' is one of the most beautiful Renaissance paintings, most charming and mysterious. One of the first Renaissance beauties' dress is to your service for your special event. This costume will be perfect for a period photosession, reenactment festival, ball or wedding. It was designed according to the 1490s Italian fashion. The bodice has boning and gives corsetted effect. Sleeves are laced separately, the gown can be worn without them as well. Dress closes on both sides with lacing, so it can fit different sizes. The dress makes a good set with this chemise https://www.etsy.com/listing/227531694. Please mind that fabrics and decorative materials can vary a bit depending on current availability in shops. Costume copy of different materials and different colours is also available. Please, don't hesitate contacting me for asking more questions about measurements, costume kit details or making a copy as well as a new custom period costume.

For hawking, this woman wears a pink sleeveless gown over a green kirtle, with a linen veil and white gloves. Codex Manesse, 1305-40 (info from Wikipedia). Italian women; 1380. Illustration form an Italian breviary showing women's figured silk gowns and a saint. Bilbliothèque Nationale,…