How to make elizabethan clothing
Overview of An Elizabethan Outfit Dressing Cecily:An Elizabethan paper doll The Elizabethan Era - Elizabethan Costume Overview at lovetiktokhere.com Elizabethan Costume: History and Technique What Tudor Women Really Wore (PDF, 25mb) What Tudor Men Really Wore (PDF, 64mb) Costuming for the Lower and Middle Classes for the Guild of St. George (PDF) Tudor is . Nov 12, - How to Make an Elizabethan Ruff. The ruff is one of the distinguishing features of the Elizabethan age. It was worn by the middle and upper class as a fashionable neck accessory, like a necktie. Ruffs came in a variety of widths, shapes.
Italy : Drawers, Brache or Calze Patterns hod 16th c. Drafts a custom-fitted Elizabethan smock A 16th c. Making a Kirtle : An excellent step-by-step guide for making a 16th c.
Irish dress European and Oriental Costume c. Reticella Lace Patterns. PDF, 5. For filet lace or blackwork The Lace Trade in 16th c. Dupuis, with how-tos on making several Elizabethan garments, 16th century Tailor's pattern books, and much 16th century costume research.
Decoration, hat patterns, and more. Seamstrix--Period Costumes for a Modern World Karen Bergquist's Gallery of Elizabethan Costumes and dress diaries Dawn's Costume Guide Dawn's site has articles on how to make everything from Bodices to doublets, a review of patterns, and lots of great info for do-it-yourself Elizabethan costumers.
Venetian clothing: portraits and paintings, articles on Venetian clothing, and a gallery of gowns. Elizabethan Merchants : How to make ds emulator faster you don't want to sew it, buy it! A list of retail sources for 16th century clotihng and costume accessories.
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Feb 17, - How to Make an Elizabethan Ruff. The ruff is one of the distinguishing features of the Elizabethan age. It was worn by the middle and upper class as a fashionable neck accessory, like a necktie. Ruffs came in a variety of widths, shapes. 1. Measure neck circumference. 2. Cut the wire to the measurement and place it as seen on picture. 3. Add wire as on picture for collar height. Ensure a stable posi tion then bend as needed. 4. (See diagram to your left.) Beginning near the middle inside of the bumroll, sew 1/2 an inch away from the edge all the way around. sew the ribbon and the two pieces of fabric together at the points, but make sure that the rib bon doesn't get caught anywhere else. When you come back to where you started sewing, leave a inch space unsewn.
But that list was taken from one of a series of Proclamations against 'excess of apparel'. Who was allowed to wear what was supposed to be strictly controlled. The Proclamation went into minute detail.
Only earls could wear cloth of gold, or purple silk. Elizabeth I issued numerous proclamations about clothing. This edict, from , details the colours and fabrics people could wear according to their social rank. Only barons and others of high degree could wear 'golde' or 'tinseld sattern'. Usage terms Public Domain. Furs in bewildering variety were similarly controlled.
Elizabeth and her favourite the Earl of Leicester enjoyed the softness of sables. She had hers from an unexpected source Ч Ivan the Terrible, Tsar of Russia, who sent them, as well as two ermine gowns, with a proposal of marriage. She kept the furs but refused the proposal.
Proclamations do not always change human behaviour. Great offence was caused by prostitutes who dared to flaunt themselves in rich garments. Young apprentices who were supposed to dress in modest blue were apt to burst out in colours, such as popinjay blue or lusty-gallant red.
Swords, such as this ornate rapier, were an important part of male dress. Ruffs were worn by both sexes, by old and young, courtiers and working people. They began as a simple frill at the neck of a full-cut shirt, where it was gathered into a neck band.
They culminated in the astonishing structures worn by Elizabeth in her state portraits. At first they sagged limply round the neck, until someone hit on the idea of starching them Ч an art in which the Dutch excelled. Successive restorers of portraits have made all the ruffs in ancestral portraits a uniform white, but in fact they were tinted pink or yellow, much more becoming. Blue seems to have been reserved for prostitutes. This illustration, from a book recounting an Elizabethan scandal, shows two men wearing large ruffs.
Working women wore fitted bodices and long full skirts. For the more fashionable, the bodice was stiffened to lie flat across the bosom, and skirts were often divided in front to show an underskirt. The edges of the skirt could be adorned with jewelled borders. Sleeves, bodice, ruff, skirt, underskirt Ч all came as separate pieces which were held in place by pins, and could be reassembled with other elements to look quite different. The Queen was always pleased to accept presents of valuable garments, such as a pair of sleeves embroidered with pearls, or a ruff with matching cuffs.
Each piece of her complex outfit Ч the sleeves, bodice, ruff and skirt Ч was a separate bit of clothing. She bought the six ropes of pearls that had belonged to Mary Queen of Scots.
New ones were coming in by the chestful from the New World, and needed only boring and polishing to be ready to wear. Diamonds needed careful cutting, and were never so prized. Other stones might be worn as charms. A bezoar protected against poison, but was hardly attractive; the best came from the intestines of Persian goats.
Queen Elizabeth in a lavish gown with ruff and jewellery. One essential garment for the English climate had not yet been invented: the raincoat. A starched ruff would collapse if it got wet. A hooded cloak would keep off the worst, but unless it had been made colour-fast by that elusive alum, you risked arriving in a puddle of leaking dye. At least if you had good legs Ч and they were important Ч you could show them off up to crotch level. Next to your skin, a white linen shirt, which might support your ruff unless it had become a separate item by then.
Designer Jenny Tiramani took inspiration from contemporary portraits to create costumes that resembled fashions for young men in c. If you had good legs, you could show them off up to crotch level. There were extreme fashions which surely were not always followed by every man, and did not always last long. The breeches of a working man were baggy and knee-length, like old-fashioned plus fours.
But they were all padded, so that they looked like melons or marrows, and made it difficult to walk gracefully, let alone dance. The great days of the codpiece were declining, giving way to a modest buttoned or lace-up opening; but they were still useful as somewhere to keep pins Ч they were heavily padded Ч or your purse, and maybe a refreshing orange or two. The Earl of Southampton Ч was well-known for his showy, expensive clothes. In this painting, he wears a silk doublet, hose, coloured garters and embroidered gloves.
The ensemble was completed by a hat or cap with a feather or a jewel, and a cloak, varying from a useless waist level to a practical full length. Former ages were rarely keen on washing. A deodorant could be made from camomile, wormwood and alum, which may have worked. Alum is an ingredient in most modern deodorants.
But how often was it used? Ceruse, a thick white toxic paste containing mercury, gave a smooth complexion until it melted and turned grey, shiny and smelly.
Its pallor could be corrected by a round dab of vermilion on the cheeks. The Queen relied increasingly on ceruse. Choose Yes please to open the survey in a new browser window or tab, and then complete it when you are ready.
Clothing in Elizabethan England. Liza Picard describes the laws, trends and standards of hygiene that determined who wore what in Elizabethan England. View images from this item 5. Rapier, c. View images from this item 2. Ruffs Ruffs were worn by both sexes, by old and young, courtiers and working people. Doctor Lopez is accused of poisoning Elizabeth I This illustration, from a book recounting an Elizabethan scandal, shows two men wearing large ruffs.
View images from this item 3. View images from this item 1. Portrait of Mary Fitton, c. Sieve Portrait of Queen Elizabeth I , c. Portrait of a young man among roses by Nicholas Hilliard, c. The Life of a Satirical Puppy Called Nim 17th-century male fashion: in this satire, a young dandy called Nim shows off his new suit of clothes.
Portrait of Henry Wriothesley, 3rd Earl of Southampton, c. Cosmetics Ceruse, a thick white toxic paste containing mercury, gave a smooth complexion until it melted and turned grey, shiny and smelly.
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