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Ladies Tudor costume page

Dressing Lady Eve

Tudor costume is complicated, multi-layered, and takes a lot of time and effort to make, but it is fun to do and well worth the effort. In order to get the right silhouette it is very important that you get the underpinings right. It may seem silly to spend half of your costuming time on garments no one will ever see, but they'll be able to see if it's missing. What follows is a layer-by-layer look at what it takes to do a Tudor court gown properly. For all garments, please click the link for details, documentation and construction suggestions.

Coming Soon	The first layer is a pair of drawers. There are no extant garments of this type, nor are there records in the wardrobe accounts or evidence in portraiture. Interestingly enough, there are no extant garments of this type in my closet either. I'll make the website after I make the drawers.
	The chemise is the layer between you and your dress. It should be comfortable, washable, replacable and ideally, you should have several changes of chemise.
Coming Soon	The corset or "pair of bodies" as it was known in period, is the major structural garment in the Tudor lady's wardrobe. This garment is designed to support and flatten the bust, as well as smooth the overall silhouette. It should not create a "shelf" effect no matter how well endowed the lady wearing it. It also should not nip or reduce a lady's waist at all. It is a greatly customized garment that must be fitted to the individual to attain the perfect effect and highest level of comfort. My corset is boned with corset steel. The few extant examples from slightly after the period are boned with reeds. I have also seen cord used very successfully. The one thing I would recommend against is modern plastic boning as it is not strong enough and has a memory, which can make your corset stick out very strangely at the bottom front after you sit in it for a while. As this layer is not next to your skin, nor is it exposed to the elements, it should not ever require laundering. In period, spices and airing were used to keep unlaundered garments fresh. I will be storing my garment in a plactic bin with cloves, airing it out before each wearing.
Coming Soon	Though not widely documented in this period, a small bumroll may be necessary to achieve the right look. In my case, the skirts were far too heavy at the back, making the whole skirt swing up in the front. Also, the weight of the skirts was causing my corset to dig unconfortably into my waist and hips. The bumroll thus serves to distribute the weight of the skirts, allowing them to hang straight as well as making the outfit more comfortable for me.
Coming Soon	The other garment designed to alter the natural human silhouette in this period was the farthingale. The hoops serve to display the ample gown skirts to optimal effect, but it was banned in some countries as it was thought to be a way to hide a pregnancy. This garment was introduced around the middle of the period, and as with all high fashion, originated in the highest classes, trickling down to lower nobility. However, it was too cumbersome and inconvenient to ever gain popularity in the lower, peasant classes. The "dust ruffle" at the bottom, although it looks more reminiscent of the American Civil War than Tudor England actually serves a useful purpose. Without this ruffle, the skirts are more likely to get unattractively caught up on the lowest hoop.
Coming Soon	Several different types of petticoats were required to complete a Tudor lady's wardrobe. Underneath the farthingale, a modestly petticoat was worn. This garment served to protect a lady's modesty in case her hoops were lifted. When wearing Tudor costume, always bend at the knees, never at the waist. This garment also served a secondary purpose of keeping her legs warm in drafty castles on winter days. As the farthingale holds the skirts away from the legs they can get very cold without this garment. On top of the farthingale, another layer of petticoats serve to smooth out the hoop lines. The more layers between the farthingale and the gown, the less likely individual rows of hoop metal will be seen from the outside. This petticoat should be only just longer than the lowest hoop on the farthingale and should not extend past the "dust ruffle".
Coming Soon	The half-kirtle, also known as the forepart is the fist layer on this page that will be outwardly visible. While the other layers are important in contributing to the overall look, this is where colour choice starts to really matter. However, even with this garment, only the very front will be visible. As we are finally getting into the expensive fabrics, one might balk at making the entire skirt out of expensive fabric when only the front is visible. This was the thought in period as well. The solution, is to make the front panel out of the good fabric and make up the rest of the skirt in a cheaper, plain fabric in a similar weight. If your fancy fabric is flimsy, you may wish to back your fancy fabric and make the whole skirt out of a heavier fabric. This trick of using good fabric only where it will be seen is commonly referred to as "faking".
Coming Soon	The undersleeves should match and be made out of the same fabric as the forepart. Undersleeves were not always worn by children or at informal occasions. However, when used, they really complete the look. The white puffs emerging from the undersleeves were meant to look like a really full, expensive, chemise was being pulled through the slits. However, in this case, they are fake. I believe this would have been true in period as well as the volume of fabric one would need to create the right effect would make fitting the upper-sleeves terribly uncomfortable. As well, there are some portraits where the number and spacing of slits makes it look impossible to have pulled one undergarment through properly. As well, if one did pull an undergarment through, it would likely slip back through the slits over the course of wearing, and one would spend the entire day adjusting puffs. One gown can be made to have several different looks through simply changing the undersleeves and forepart. These items are small, easy and affordable to make. As well, they are very generic and one-size fits most. As such, they make great gifts, and there are records in period of them being given as such.
	The gown is the real show-piece of the Tudor outfit. The skirts are over four and a half yards around, all pleated onto a 30 inch waistline. The sewing machine wasn't pleased about that in the least. The turned-back oversleeves are fake fur, but could also have been made of velveteen or out of the same fabric as the dress. The neckline and front skirt opening have been trimmed in gold, which would have been couched gold bullion in period, but which is cheap, modern, commercial trim due to budget constraints.
	No Tudor lady's wardrobe would be complete without a partlet or two. In winter, velveteen and wool partlets would keep otherwise exposed skin from being chilled. In summer, linen partlets keep exposed skin from being sunburnt. Also, partlets are very one-size fits all garments like the undersleeves and forepart which can be used to cheaply change the look of a gown.
Under Construction	Finally, accessories are vital to complete the look. No Tudor lady other than unmaried, young ladies and the queen were allowed to have their hair exposed. Thus, headwear is required for any proper recreation. Many options are available and everyone should be able to find a hat that suits their particular face. Jewelery is also important. A brooch should be found for closing the partlet. A girdle from which one should hang a pomander or book of hours should be worn. And a necklace with lots of pearls will complete the outfit.

Graduates of my Laurel's Tudor costuming class.