The Florence Files: Florentine Zimarra
Recreated by La Signora Onorata Katerina da Brescia.
Inspiration:
A typical part of Eleanora's outfit was a zimarra (loose gown) over the sottana. Left is some black material I found on ebay. It is scrummy with both crosses and fleur-di-lis (a common motif of Florence). I managed to get some 'shot' tafetta in purples for the lining. As I was restricted to only 4 yds (nope, not metres) of the black, I will be making a zimarra with short sleeves (unless I can eek out enough for narrow sleeves). This will be in a similar style to Cristofano dell Altissimo's  Guilia Gonzaga 1535 (right).
In place of  fur, I am using the snipped decorative edging, as for the hem and neck of the sottana. An example of this can be found in Bronzino's Laudomia de Medici 1560- 65.

Method:
Pattern (documentation): 19th November.

Looking into the zimarra or loose gown, there seem to be ones that have cartridge pleating at the back (as seen in Patterns of Fashion - left) and straight back in one piece, as seen in Tudor Tailor (far left). Both of these are 'English' patterns but do fit nicely into the portraits and drawings available for Italy as well. I decided to use a version of the first pattern, from Tudor Tailor for a few reasons:.
  1. It is an earlier pattern and more contemporary to the 1530-1540 timeline for my Linen sottana. (and my preferred timeline).
  2. It will use less material. I have a limited amount of the black  material (only 4 yards). I am hoping that the mirrored pattern will 'top and tail' well when cutting out.
I will use the sleeve pattern from my Maria d'Medici 'veste' (overgown) as a basis for these sleeves. (Time is an issue with this one)
I have made the lining patterns (sleeves) slightly wider for the cut edge decoration. The sleeves will be short for summer and because of material concerns.
The collar will not be the 'rever' style as in the picture or in the Tudor Tailor pattern. I prefer the standard collar, which can be seen in other Zimarra.  The first two portraits, right (Bronzino: Portrait of Lucrezia Panciatichi,1550. (recently attrib as possibly Eleanora,  (because of girdle) and Bronzino Eleonora and her son Francesco, 1549) show the plain collar. These are much looser in silhouette than my preferred zimarra (in the far right picture - the original inspiration). This gown appears to be more snug around the top and armpits and then flow out from there. The sleeve starts ont he shoulder tip rather than lower (as in the first two portraits). My final pattern is more consistent with this silhouette.

Zimarra Construction (diary).
I have no documentation on the actual techniques used specfically for zimarra of Florence. I will be using the general tailoring techniques I have researched so far, and adapting them to this project.  Like the sottana, the hem will have felt sewn onto the lining, to stiffen the hem. the bottom edge of the hem will have a bias strip (same tafetta as lining) which is clipped for decoration.

Patterns used pinned onto material. sleeve pattern pinned up with edging ready to handsew, then clip.
The sleeve head constructed The bias edging strip was 'sandwiched' between the outer material and lining. This was then handsewn together, with running stitch. The collar was done in the same manner, with handsewn running stitches. The edges were then all clipped. The hem was constructed in the same way. I decided to make it slightly shorter, so the trim of the sottana could be seen. 
I did not have enough time to use felt on the hem. This makes it very 'fly away'. Next time I will take the time to do so. I think it sits much btter.

The final Zimarra:

 front, back and side

and on the day... front, back and side.

Glossary
baragoni - puffy top of sleeve
imbusto - bodice
sottana - petticoat or dress.
zimarra - loose gown over sottana. This was originally based on turkish coats but later came to encompass 'generic' loose gowns worn in Florence.

Bibliography:


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