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Inspirations:
*UPDATED* This sottana was remade with linen lining for the
imbusto, from a linen Tudor sottana..
This sottana was
originally made as a Tudor dress with experimental buckram lining. I
remade it to an Italian style sottana and 'latest improved' imbusto
felt linings, increasing it to 6mm. The original inspiration was Portrait of a Lady from the New
York Metropolitan Museum and Portrait
of a Young Woman in the Style of Hans Holbien the Younger
(1540-50), The Jules Bache Collection.
Middle: Tudor version. Far Right: remade as Italian-style.
Method:
Stiffening:
The skirt was removed from the imbusto which
was unpicked. THe buckram was removed and replaced with layers of felt
to 6mm thick. The lining was herringbone stitched (hand) together and
then 'quilt' stitched to the canvas lining layers. This is thickest
version, so far for the felt linings, and appears to make a difference.
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The
linen lining was replaced in the same way as for the original dress -
folded over in a similar manner and
hemstitched (flat lined) to the bodice. The skirt was whipstitched to
the imbusto.
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Sleeves:
The sleeves were completely remade from left-over linen. They were
based on the sleeve patterns from the Pisa
dress. THey were cut on the bias to allow for slashing. This
version is another experiment without any fray-check, material glue or
beeswax to stop fraying... We shall see how long they last.
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Decorations:
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The
button was made by covering a wooden bead and using a fingerknitted
cord loop (consistent with that found on the Pisa dress)
for the sleeve closure. |
Final
outfit:
Left:
orginal 'Tudor' with buckram lining. Right: remake Italian with felt
lining.
 
Conclusions and
Discoveries:
- the felt lining is not only more comfortable than the
buckram, it does not retain the 'creases' after wearing.
- the extra 2mm of felt lining DOES appear to make a
difference in the silhouette of the dress.
- I had actually lost weight from the making of the original
dress. This actually makes the imbusto appear 'flatter' than a tighter
imbusto.... so I will be rethinking some patterns now...
Bibliography:
- Ajmar-Wollheim, Marta & Dennis, Flora (ed). At Home in Renaissance Italy.
V&A Publications London, 2006. ISBN: 10 1 85177 488 2.
- Brown, Pauline. The
Encyclopedia of Embroidery Techniques. New Burlington
Books, London. 2002. ISBN: 1-86155-652-7
- Currie, Elizabeth. Inside
the Renaissance House. V&A Publications, London, 2006. 10 1
85177 490 6.
- Mikhaila, Ninya & Malcolm-Davies, Jane. The Tudor Tailor. BT
Batsford.London. 2006. ISBN:0 7134 8985 5
- Tudor Research -
www_kimiko1_com.htm (Portrait of a
Woman)
- http://www.metmuseum.org/works_of_art/collection_database/european_paintings/
- Portrait_of_a_Young_Woman/viewObject.aspx?&OID=110001110&PgSz=1
- new tudor portratis
http://www.marileecody.com
- Mode
Historique: Fabulous
French Hoods (Sarah Lorraine)http://modehistorique.com/elizabethan/french_hood/french_hoods.html
(3/08)
- elizabethanportratis.com
- anne boleyn gallery
http://tudorhistory.org/boleyn/anneboleyn2.jpg
- Archeological
Sewing by Heather Rose Jones (2001)
- http://heatherrosejones.com/archaeologicalsewing/index.html
(new adsottana: 8/06)
- Archive of Stitches from Extant Textiles.
www.bayrose.org
- Sewing Stitches Used in
Medieval Clothing: http://www.personal.utulsa.edu/~marc-carlson/cloth/stitches.htm
- HABERDASHERY FOR USE IN
DRESS 1550-1800 by POLLY HAMILTON BA (Hons)
- http://wlv.openrepository.com/wlv/bitstream/2436/14406/2/Hamilton%20PhD%20thesis%202007.pdf
- http://modehistorique.com/elizabethan/french_hood/french_hoods.html#construction
(c)
June, 2008
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