1560s Blue Silk Venetian

I was supposed to go to the Caid coronation today. The new king and queen stepped up in 16th century Venetian, and asked anyone who was so inclined to dress to match. I had been meaning to make a Venetian for a while, so I took up the challenge. Unfortunately, I didn't make it due to last minute car trouble. But here's the gown! And thanks on this project to to the Realm of Venus for consolidating all those portraits and being generally awesome.



Under layers consist of a separate Elizabethan style corset, and a silk taffeta underskirt, to give the skirt a little more body. The corset is left over from my burgundy velvet Elizabethan, and the underskirt is made of three yards of copper-colored silk taffeta, cartridge pleated to a band.



Over that goes the white linen chemise, and the dress. The dress is made from 6-7 yards of blue silk shirting that I found on sale from an online fabric store ($6/yard!). The bodice is constructed similar to the Elanor of Toledo square neck gown from the Janet Arnold book. It's cut in three pieces, and has a deep "V" in the center front. It's lined in linen, and interlined with plain weave cotton. I sewed three boning channels along the front opening, and filled them with jute cording. It keeps the center front line just stiff enough to keep the lacing from buckling sides, but isn't as stiff as rigid boning. Each side of the center, "V" shaped opening has sixteen lacing rings sewn along the inside edge. And of course, it's ladder-laced with gross grain ribbon.



Since the fabric was only 45 inches wide, I used four panels for the skirt, and cartridge pleated them to the bodice.

The sleeves were a bit of a challenge. I was beginning to run low on fabric at this point as well, which added to the challenge. I also, as usual, got in a hurry and forgot to take pictures of the intermediate steps.

I cut the lining in my usual sleeve pattern, which I plan to write about in the future. I cut the same pattern from the silk, for the bottom part of the sleeve. The top of the sleeve is made from nine, 2-inch wide finished strips of silk. A gathered piece of white linen is stitched between the silk strips and the lining. Lace cuffs are stitched on the wrist edge. The sleeves are attached to the bodice with six gold buttons and loops.





I have a number of accessories with this gown. There's a rather plain partlet made of very sheer white silk. I had a lot of fun making jewelery for this gown as well: a double loop gold and pearl necklace that ends in a pin/pendant, and a girdle with pearls and chunky gold beads. All the pearls are glass, and from Jo Anns. I very quickly (at about 9:00 pm last night) threw together a sheer white silk veil.




My favorite accessory for this ensemble was the Zibellino. These little critters are also called flea furs. I believe the original belief was that if you carried one of these around, fleas would be attracted to the pelt rather than to you. Then, it became one of those weird fashions that take on a life of their own.




I asked a friend to sculpt the head for me, out of sculpy. I received the pelt as a gift. I colored the head with a couple of layers from a gold leafing pen (found at Jo-Anns), then glued a small square of silk to the back of the head, and stitched the pelt to the silk. I thought this would be the best method, as I didn't want to glue the pelt. I then made a little "harness" for the head out of tiny glass pearls, and added a clasp so I can attach him to the end of my belt if I want to, like in some of the portraits.




Very very fun project. I hope I get to wear it soon. When I do, I'll take lots of pictures.