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This is how the final gown looks with all the pieces together. The fabrics used are as follows: * Red gown fabric: Cotton Twill (5m) * Skirt and upper-sleeve lining: Tafetta, unknown fibre content (5m) * Interlining: Medium weight cotton Twill (1m) * Bodice and oversleeve lining: Cotton quilting solids (3m) * Boning: Ridgeline (3.5m) * Gold trim: commercial trim, overdyed to reduce shininess and visibility of structural "clear" plastic * Oversleeves and hem guard: Fake fur, hem guard is scotchguarded (2m) |
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The bodice is interlined, and this interlining is boned as shown. This boning is not structural as the gown is worn over a corset, it serves only to keep the bodice smooth. |
The eyelets are metal grommits which have been oversewn. The metal makes the eyelet solid and resiliant while the oversewing ensures the eyelet will not pull out of the fabric and also makes the eyelet look better. Remember, the lacing holes are practical, not a feature.
The gown is attached to the bodice flat at the front, and flat pleated from the hipbone, around to the back opening. I neglected to create a "fly closure" and will have to add a placket so my underskirts won't show. Cartridge pleating has been documented for the Elizabethan period, I am unsure of its documentation in the Tudor period. I decided to do a flat pleat mostly because this was my first attempt at pleating and I know cartridge pleats are more difficult. Also, as flat pleats are easily done by machine and cartridge pleats require hand-sewing, I let time constraints have an influence on my decision.
The trim on the neckline and at the edge of the front split on the skirt is a hand-applied commercial trim. Although couched gold bullion would have been more accurate, due to time, financial and ability contraints, I chose the commercial trim.
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Last updated April 5, 2008