The Overall Vision – Elizabethan

I have been drawn to making an Elizabethan outfit with all its component parts from the skin out. My aim is to use

the inspiration of portraiture of the 1560s to 1580s to create an ensemble that would be worn by a lady of the lower

nobility, a lady in waiting or very rich merchant class. One of the many challenges I am facing is being able to wear

the ensemble. Living in a sub-tropical climate has meant that I have had to look at compromises in fabric choices eg

cotton instead of silk, printed cotton fabric to mimic brocade, lighter weights of wool fabric.

I wanted to create a blackwork coif to add a touch of class to my outfit. The research I have been able to do so far

indicates that blackworked coifs were worn only in the later part of the 16th century. There are many extant coifs

with blackwork that have survived, some with matching forecloths. The only portrait that I can find with a woman

wearing a blackwork coif is that of Mrs George Evelyn 1595-1610. You can clearly see the blackworked coif. It is

either edged in lace or the blackworked coif is worn over a secondary coif to keep the blackworked one clear of hair

dirt and oils.

Mrs George Evelyn 1595-1610

My first step was to make some patterns using extant examples as a base for the shape and to check for size, shape

and fit for my head, which is rather large. Below are some examples of extant pieces that I looked at and used the

shapes to create my patterns.

c1600, English, gilt metal thread, spangles

I am still debating making a forehead cloth to partner the coif. As the coif will be fully lined and modern hair is

washed more frequently than in period, the need for the extra cloth does not present as a necessity.

Linen coif and forehead cloth embroidered in green silk, silver thread and silver spangles, English, 1600-20.

Woman's coif of linen, 1570-1599, English; Blackwork with geometric infills, floral pattern. Museum Number T.12-

1948.

My first coif was a touch small, wearable, but only just.

The next coif was a little larger and a better fit.

My next step was to make a pattern for the blackwork. My first plan (above) was not what I was after. I used various

motifs from period blackwork but I couldn't make it ‘gel’ into the look I had envisioned.

After further research I found inspirations for my coif that matched the vision of what I wanted to produce. I chose

to focus on the leafy feel with tendrils in a somewhat circular pattern but incorporating quatrefoils which are part of

my heraldry.

Coif - Last quarter 16th century - British Medium: Silk and metal thread on linen MET (New York)

I started playing with variations of what I wanted. Below is an early sketch of playing with the main elements.

Once I had my ideas in place I sketched my pattern shape and added a grid to guide my design.

A useful glass helped me make the exzct shaped circles that I needed.

I focused on the pierced quatrefoils as the main motif of the piece and hen started added other details around them.

I wasn’t happy with the diamond shapes that I added and these were erased from the final design.

From a book at The Met Museum, New York

Although I know that in period, pick and pounce, lead or paint would have been used to transfer the design (see

above picture), I chose to go along a more modern path as I wanted to have a robust design transfer that would cope

with being taken anywhere and embroidered.

I made a cheap light box with a very large plastic container, foil and two LED camp lights. Worked a treat and packs

away easily.

I added peascods as an alternate to the quatrefoil. Flowers were a common motif used in blackwork and I chose to

use the quatrefoil as it is a main feature on my device. The peascods, a symbol of fecundity or fertility, were a

common motif in blackwork and can be found on coifs as well as shirts and sleeves. I added snails as I liked how they

looked within my design and as a reminder that sloth (which the snail represents) is not an option in completing the

work. I added one busy bee for the industry needed to keep me going on this project, taking my design from an

extant piece (see sleeve).

Luckily I shared my design online before I transferred it to the linen as someone picked up that it would be upside

down if I worked it the way I had drawn it! Easily fixed as seen in the series of pictures.

Upside down! Arrgghh!

And fixed it!

I used a fabric pen to draw the design onto medium weight linen. The thread is black silk and parts will be spangled

with small, flat, silver spangles (sequins). Spangles came in different metals including gold and silver.

A woman's coif of linen, 1600-1625, English; Embroidered with red silk with silver-gilt spangles. Museum Number

T.32-1936.

Above are examples of silver spangles in extant pieces.

The Elizabethan loose gown I have made is modeled on the Janet Arnold’s Patterns of Fashion coat. I originally

constructed it from a heavy charcoal black wool, ribbon, fake fur, various black braids and brass buttons.

I made this when I was half the woman I am now and so it hadn’t been worn for quite some time. Of course, I had no

fabric left from the original creation so needed to purchase something that was as close as possible to the fabric I

had used. Some black wool horse blanket fabric was a good match in weight although not quite the same in colour.

At present, I have not found any documentation of extant clothing that has been modified in the manner that I have

done, however there are very few extant examplesof loose gowns still in existence. Of those that are available to

study, there are only examples of piece work and/or mixed fabrics with lesser fabrics used where they would not

show – eg a kirtle where the back of it won’t be seen. I decided to modify my gown so that it could be used once

more and cut the back straight down the centre. The sleeves needed remodeling as well so they were unpicked and

reset.

The original ribbon and braid was unpicked and re-applied to give a feeling of continuity for the garment. I added

extra braid down some ribbon that had been bare previously. I added a triangle of black horse blanket wook to the

back with an inverted pleat to give more width across the shoulders and chest. The sleeves had a strip added to

extend them slightly and braid was added at the seam line.

This portrait of Lady Helena Snakenborg, (1569, Artist Unknown), caught my eye and I decided I wanted to find a way

to incorporate the brocade/printed chemise or possibly floral sleeves and partlet into my vision. I sourced a printed

cotton fabric, very light, that was a good match to the portrait and created a chemise. I edged the collar and neck

opening in gold cord, to mimic the look. The collar and wrist ruffs are not yet made, but otherwise, it is complete.

This shows a Spanish style farthingale from the 16th

century.

My project will continue with the making of a roped petticoat of farthingale. I have completed a prototype but am

not happy with how the rope sits. As I only have sewn in three hoops of rope, I plan to add more and test how each

addition either enhances or detracts from what I am seeking to achieve.

The main dress style is still being decided on. I will most likely use the portrait of Lady Helena Snakenborg as my

main inspiration but it will not be an exact copy. Other styles I am considering are below (but not limited to these

alone).

There are still other under pinnings that need to be considered such as a pair of bodies, hose or stockings as well as a

girdle, cap and other accessories.