1580s Doublet

This doublet is based on the pattern for a 1585 woman’s doublet on page 107 in Patterns of Fashion 3. I based the rest of the outfit in the illustration on a picture of a woman in a doublet in the introduction to the book.

In my stash I had a remnant of gold brocade that I had bought at a curtain shop that was closing down. I decided to use the wrong side for the doublet because the right side is quite bright and shiny and I didn’t want my doublet to look so rich. There are two layers of linen as interlining which holds some light boning (linen isn’t so expensive when it’s fluoro orange!). On wearing I didn’t think the boning was enough so I now wear the doublet over my effigy stays.

The fabric I used for lining is completely synthetic but was quite nice to work with. I made this doublet when I was still in school and as I hadn’t made a properly lined garment before I took it to school for help. I wasn’t studying textiles at the time but the textiles teacher was my home group teacher and she very kindly gave me a few lunchtime lessons. 

When I finished the doublet I found that the peplum overlapped in a way I hadn’t expected and I wasn’t completely happy with the collar but I was reassured when I saw an extant doublet at Warwick Castle (when I went to England) that had the same issues.

The camica (or undershirt) is made from muslin and constructed entirely from rectangles. It has a very loose weave. Camicas are usually white and I suspect I made up the idea of having a coloured camica – I certainly can’t find that I have any evidence of coloured camicas being historical. The camica and skirt are both hemmed by machine, which horrified me last time I wore it because I wouldn’t make it that way nowadays. I would guess the skirt fabric is a very fine stretch corduroy but from a distance of more than a foot away it just looks like a heavy velvet. The skirt consists of rectangles cartridge pleated to a waistband.

When I do my hair for this costume I don’t use bobbypins to hold the braid in place, but instead ‘sew’ my plait to my head with a ribbon to form a bun.

 I made a flat cap to go with the outfit from this tutorial.

Look what a wardrobe here is for thee!*

*The Tempest Act 4 Scene 1 Line 223

To continue the theme of school assignments: this is the dress I made for a presentation on Shakespeare’s The Tempest. The assignment was to perform a monologue followed by a short talk about our interpretation and presentation. (I did Miranda’s monologue that begins 'If by your art, my dearest father'.) We didn’t have to perform in costume – most people didn’t – but I wasn’t going to give up an opportunity for a new dress.

My choice of design was largely motivated by several Venetian dresses showing up in the online costuming world in the year before, but of course I had task-appropriate reasons too (some of them were probably a bit of a stretch really…)

Shakespeare’s play was written in 1610ish so assuming that Prospero left Italy in the 1590s I supposed the fashions he would be familiar with would be those from the time he left or slightly earlier. (This style of dress appears throughout the 16th Century). Miranda was a small child at the time they left Italy, so her adult clothes would either need to have been taken with them or have been magically produced, which would remove any need for historical reference. (I am unable to justify why they would have a Venetian dress, at least, not beyond “I wanted one”.) I used portraits (mostly from Realm of Venus) for reference which, happily, included an example in dark blue. Story-wise my choice of blue represents the ocean around the island on which Miranda lives.

For the bodice I think I just used my body block pattern and drew diagonal lines down the front. It is ladder laced with lacing rings. The lacing rings are better than the D-rings I initially used but the opening still tends to gape a bit. The skirt is made up of two rectangles knife pleated into the bodice. This was the first pleating I had done, so it was mostly done intuitively (and was upside down the first time I did it). I hemmed the dress by measuring up from the bottom of the fabric, so it’s slightly longer at the front than the back. The shoulder straps are done hideously, as I didn’t know how to make lined bodices properly then.

I had planned to wear this outfit without a corset as the bodice is boned, but after trying it on I discovered that it really needed the sturdy layer underneath. As I needed to wear it the next day I wore it over my Victorian corset (which made the front V rather the wrong shape), but I have since made a version of the effigy corset to wear with it.

My effigy corset was made using a pattern generator which I can no longer find. It was also made in a rush and so is bound very messily by machine and has metal eyelets rather than hand-sewn ones. We were on holidays at the time, and I had to use the sewing machines of three relatives to get it done. It was my first experience of flat-felled seams. I found the straps uncomfortable and unnecessary so I have since removed them.

Front-lacing corsets are so much easier to put on...

Since making this dress I have compiled a list of things that could be added or changed, but I’ve never done any of them.  It has served me very well as is, being worn on numerous occasions - to parties and medieval festivals and by others to whom I have lent it.

Mother and daughter, going to the tournament

When I wear this dress I do my hair in a braided up-style interwoven with string pearls. Often with a veil, should someone insist that I cover my head in the sun.

Tutorial under the cut…