French Noblewoman's Gown
c. 1505
This gown was developed to be in the style of Jeanne la Folle by the Master of the Legend of St. Madeleine (right). Also, similar gowns were worn by Queen Claude of France and Anne de Bretagne. This style of gown was popular in France in the beginning of the 16th century. One of the most distinctive features of this gown is that the gown front bodice and skirt are one piece while the back bodice attaches to a separate skirt pleated into the back waistline.

Due to recent circumstances, this gown was also made to be a maternity gown. The gown is front opening like the one on the right, but it is front-lacing rather than closing with hooks and eyes. This gown may be worn over a fitted kirtle to provide shaping or over a chemise to accommodate an expanding figure.
The cut of the gown is the predominant indicator that the gown is of French origin. The gown is front-opening, with the opening extending into the hip. The neckline has a slight curve which becomes much more pronounced in later decades. One of the interesting features is that the gown front pieces are continous--there is not a separate bodice and skirt. On the contrary, the back of the gown has a pieced bodice and separate skirt pleated into the waistline.

The sleeves are flared, as seen on an illumination of Anne de Bretagne (c. 1505) to the right. These sleeves morph into greatly exaggerated sleeves in the 1520's - 1540's. Extant garments from this time and place are exceptionally rare, so the pattern was derived from contemporary artwork.
Anne de Bretagne c. 1505
The Pattern:
The pattern was developed by using Baron Master Jose Felipe Francisco's Pattern Drafting Using a System of Thirds. Measurements were taken using a ribbon which were then used to construct a body block. The pattern was drawn on top of the body block to create the appropriate shape as determined by contemporary artwork.
Alterations to Accomodate Pregnancy:
Pregnancy was a normal and expected part of life for a woman. Since cothing was a very expensive commodity, women of less means would have to make do with the clothing they had, often covering their expanding girth with aprons to hide the increasing gap in their dress. However it is conceivable that a wealthy woman's gown could be cut to accommodate her (presumably) multiple pregnancies. During pregnancy, there are changes to the bust size and abdomen that could preclude a fashionable woman from wearing the snug gowns that were de rigueur when she was not with child. Although I am used to wearing snug gowns, I found I simple could not stand being tightly laced.

To accomodate for my changing shape, I raised the front waistline to allow the skirts to flare from a higher point. The the front skirts flare dramatically at the front and side seams, with nearly a 50 degree angle from the perpendicular. This was a rather sneaky way to add fullness to the waist without the appearance of bulk. Earlier in my pregnancy, the fabric drape neatly hid the extra fabric--to the casual observer this is completely unnoticable. Also, the gown was made to be front-lacing to be adjustable--rather than a hook and eye closure.
The Color:
Green and black color combinations can be found in illuminations of the period. The green is a little too deeply saturated to be perfect, but I had the fabric on hand, green's one of my heraldic colors, and I liked it!
The Materials:
The main body of the gown is a 100% cotton brocade in a deep green. Ideally, this would have been a silk brocade, but the cost was prohibitive for this project. The bodice is interlined with 100% linen to give more strength to the relatively thin silk lining. The bodice, sleeves and most of the skirt are lined in 100% silk black braodcloth, also available in the period, though a silk satin would have been preferable. The back skirt panel is lined with a second-rate silk, dupioni, because it is in an unseen portion of the gown. Using less expensive materials in concealed areas of the garment was a common means of cutting the cost of clothing in the Renaissance. The gown is entirely hand sewn with 100% thread.

Glass pearls in white and gold, 14kt. gold plate and jade were used for the beads. Pearls were commonly used for embellishment in the Renaissance.  Gold-plated beads were substituted for actual gold beads. Jade was available via the Silk Road, and Spanish explorers were beginning to bring back jade from the Americas in the 16th century.
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Cecile Home Projects Costume
Last Updated: November 22, 2006