Lately, I have been fielding quite a few questions about my underwear...yes, for historic purposes only. Questions usually follow in this manner: Lady: Franca, would you look at this portrait? Is that a partlet? I thought they wore partlets, but is doesn't look like a separate piece of fabric? I don't see any visible signs of a chemise? Lady: But, that's not the portrait.... ME: Yes, I know....we are getting there. So, when we think of the chemise....we most commonly think of the following portraits. We see the gathered neckline with or without decorative stitching and volumous sleeves and a large gaping neckline. When looking at portraits, the distinction between partlet and chemise or just chemise should be obvious. In these portraits by Cariani and Titian, we can clearly see the delineation between the partlet with its decorative stitching, embroidery, and materials over the top of the more serviceable fabric of the chemise beneath. Let's look at another group of portraits. In these two portraits by Bronzino, we two women wearing partlets. Decorative stitching, beading, and an indication of a chemise underneath. In the portraits below, we don't see those thinner, specialty fabrics. We do see decorative stitching, but notice that it is bolder, thicker, stronger in appearance. These ladies have all adapted to the high collared chemise of the Germans, as to which they would have all been exposed living in Northern Italy. Notice the amount of fabric gather into those collars, the tension in the fabric, and the pull and draw over the bust line. These give every appearance of a garment that descends much farther into the gown than would a conventional partlet. In short, the conclusion remains....no partlet, but high collared chemise. Now, for the part that we have all been waiting for, ....the patterns. (A reminder, I don't believe in "reinventing the wheel." If someone has a good pattern out there, I am happy to post it here.)
Finally, for the collared chemise. Don't think I forgot about this one....
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The answer to the statement is simply nope, not a Venetian. Mantuan! In the style of Isabella d'Este Gonzaga. Short Answer: I have always been inspired by the life and writings of Isabella d'Este, the first lady of the Renaissance. (I will happily gush about her awesomeness in a later post.) Longer Answer: When I first began making clothes in the SCA, I imagine that I did what most people do... I saw something that I liked and I attempted to make or imitate it regardless of how it connected to my persona. My mind was a jumble of what to do and how to do it, with hundreds of portraits and few sewing resources for the Italian Renaissance. I explored. “Come to the book as you would come to an unexplored land. Come without a map. Explore it and draw your own map.” |
Baronessa Franca DonatoVandy Pacetti-Donelson is a milliner, costumer, illuminator and calligrapher, and researcher who is interested in all that is the Italian Renaissance. A true Florida Native originally from Saint Augustine, she now calls Daphne, Alabama her home. Vandy is known in the Society for Creative Anachronism as Baronessa Franca Donato, OL and resides in the Barony of the Osprey in the Kingdom of Merides. Archives
March 2021
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