renaissance

A Stylish Paper Doll July: Late-15th Century European Gown

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Today’s 15th century fashion paper doll is more cobbled together from a variety of primary sources than my last paper doll attempt at the 15th century. The dress is a late 15th century fashion for women from France, but it’s been pieced together a bit. It’s impossible to know if someone from that era would recognize it.

These dresses are called Burgundian gowns and are named for the Duchy of Burgundy which was super rich and fashionable in the 15th century. France has always had the best clothing, I guess.

About 1450, this style of gown became popular. The deep V-neckline revealed the kirtle (under dress) beneath. The trimming could be wool or fur (mostly fur, from what I have seen). The wide belt was placed above the natural waist and gives the gowns a pregnant look. The belts are decorated in studs or with super fancy buckles and can be fastened in front (like this one) or behind (like this one).

I decided to forgo the more popular fur trimming on these gowns for something else, though I am regretting that a little, because fur was certainly more commonly depicted. The hennin headdress is somewhat of a mix of several styles that I saw. The headdresses in this era fascinate me, but I confess I don’t know much about them. I get the sense that they carry a lot of meaning, but I’ll be darned if I can figure out what that meaning is.

I do have another paper doll from this era drafted, but I haven’t finished her yet, because I need to pick out shoes. I wanted to do a doll, because of the headdresses and the fact that fashionable women in the 15th century plucked their hairline which is obvious in portraits like this one or this one. It helps with the headdresses, I think.

Anyway, the dresses’ motif was handplaced and was drawn off this wool and silk velvet in the V&A, though I did simplify it a lot. I sort of had too. I’m still learning how to do patterns in Procreate and I need to work on that more. So many things to learn. Since I got a new ipad, I am discovering that I need to get used to how it “feels” which is different from how my older model felt.

A Stylish Paper Doll July: Early-15th Century European Gown

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Based on these three manuscript illustrations, I worked on this gown. The style is early 15th century French. The headdress is referred to today as a “heart-shaped hennin”, but I don’t know if that was a term in the 15th century for it.

Given that this is paper doll #15, it might surprise you to know it was actually the first or second one I sketched out. Most of the 1910s stuff was the first stuff I worked on, but the 15th century paper dolls were being worked on at the same time. Historical 1400s clothing is not an area that I’m super knowledgable about, but I have been itching to do some for a long time. Even more than the 1910s, it is an era I’ve largely neglected.

This is partly because I don’t know much about it and because I find it all a little intimidating. Also, the headdresses are…. bananas.

I went back and forth about this dress and the headdress. In the end, I decided the sharing things I’m not sure about is an important part of this month long project. Finish it and move on is my motto right now.

More Italian Renaissance with Sapphire

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So, when I do historical clothing sets, I’ve learned drawing two takes about the same amount of time as drawing one. Of course, the downside is that I always worry if I make a mistake then I’m likely to repeat it. I’m not 100% sure about the waist lines on these, but that’s okay.

The paper doll is wearing a shift with a gathered neckline which seems to be the style in Italy. It’s a lot more fitted than these would have been for layering reasons. There’s some debate from my research in what women wore under these gowns. There’s not a lot of evidence for stays, but there’s no way to get the smooth line shown on the bust in these portraits without some sort of support either built into the bodice or underneath the bodice. If you look closely at side of the pink gown, you’ll see there’s a fold between where the armpit meets the shoulder and that suggests there is something under the bodice; however, I have not been able to find any evidence on what that undergarment might have looked like.

Later, there’s this Venetian Woman with Moveable Skirt from the 1560s and there might be a set of stays there or it might be an artistic choice to continue the bodice after the skirt is lifted. It’s tough to know. I tend to think it’s likely stays, because the work is erotic art and there’s nothing erotic about a bodice (or is there?). When I do a Venetian set (and I plan to do that someday) I’ll use that as my base design I suspect. However, we’re not working on Venetian clothing today. Today, we are in Florence.

Both of these dresses are again based on portraits. Both sitters are probably from Florence, based on professional folk’s assessments of the paintings. Lucrezia Panciatichi, for example, was the wife of Bartolomeo Panciatichi, a Florentine humanist and politician. The other sitter there’s some debate over, but her clothing does look like that which was worn in Florence according to folks who know more about this than I do which isn’t I grant you a high standard at this point.

 Portrait of a Lady in Green by Bronzino?, c. 1528-1532
Lucrezia Panciatichi by Angelo Bronzino, 1540

Despite the few small changes I might make to these in the future (and my annoyance that I couldn’t seem to track down a full length portrait to get skirt shapes right), I’m super proud that I did these despite feeling like I don’t “know enough” to do them well.

I will say that I want to do something later in the 1500s from Venice, as I mentioned, because the Venetians had these wild shoes called chopines which were platform shoes so high that women needed help walking in them. They’re so strange and I want to draw them, but I need to do more research on the clothing that would have gone with them. More research!

So, if you want to get to vote in my next paper doll content poll, join us on Patreon.

Early Italian Renaissance Dress with Topaz

An Italian Renaissance paper doll with two dresses from the 1530s to color and play with.
An Italian Renaissance paper doll with two dresses from the 1530s based on paintings of the time period.

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I have a pretty bad tendency to get super tangled up in myself. For the last few years, my Patrons have been requesting two historical time periods in every poll- the 1980s and Italian Renaissance. In my whole costume book collection, I only own one book on Italian Renaissance clothing and it’s a translation of a 1590s text, so not the most useful when trying to do overview research.

What became abundantly clear to me as I did my digging into the topic was that styles in Italy were not standardized across the entire country, as we know it today. At the time, Italy was a collection of city-states (it remained this way until it unified around the 1870s), so every area had its own fashion which makes things super confusing.

Plus, since most of these are taken from portraits of the period and the identify of the sitters isn’t always known, it’s nigh impossible to be certain where the paintings were painted. Is that lady wearing Naples fashions or those from Rome? Who knows?

Anyway, I got myself all wrapped up in my worry about not being “right” that I avoided drawing anything claiming to be Italian Renaissance for two years. Finally, I realized I was being ridiculous. So, I looked through all the paintings I had collected on my Pinterest Board devoted to Italy. I read what I could find and then I set to work. Here’s what I know- These dresses are based on those in two portraits.

Portrait of a Lady by Pier Francesco Foschi, 1530-1535?
Portrait of a Lady by Pier Francesco Foschi, 1530-1535?
La Bella by Titian, c. 1536
La Bella by Titian, c. 1536

The dress on the left is based on Portrait of a Lady by Pier Francesco Foschi. Dress on the right is based on La Bella by Titian. Both painting date from the 1530s.

Pier Francesco Foschi (1502–1567) was an Italian painter active in Florence. It’s possible the lady in this painting is also from Florence. There are other examples of this dress style here and here. Since those are also unidentified, it’s impossible to know exactly where this combination was being worn. The fur trimmed sleeves, black trimmed bodices, raised waists, long gridles, and high collared camisoles seem to be the common elements.

Meanwhile, on the right, Titian was a Venetian painter whose work is well regarded. The person in this painting is unknown, so the area this style of dress was worn is also unknown. Titian worked all over Italy, which adds to the confusion. The low neckline seems to be somewhat unusual for this period, as most dresses I saw had something filling in that space. In my rendition, I think I made the waist too high, but that’s neither here nor there.

A few things I noticed generally, unlike Tudor dress which is super stiff, the sleeves and skirts of these gowns fall more softly. I wasn’t able to find any full length portraits of these dresses, so I am guessing they fell to the floor without knowing for sure.

There’s some debate if these dresses were worn over some sort of stays. I have no idea, but I do know the flattened bust of these dresses wouldn’t have been possible without either some sort of support in the bodice of the dresses or underneath them. It does seem like wide open necked shifts were often worn and are referenced in several books I have.

Anyway, shoes were snagged from a few different places like here and my favorite- Stepping Through Time by Olaf Goubitz. Of course, from Stepping Through Time focuses on Netherlands and this is Italian, so… mileage may vary.

All in all, while there’s things I would change for next time, I’m okay with that. I have one more Italian renaissance foray to share and I just got a few books on order about the period from the library so… there may yet be more of this to come. I’m sure after I’ve done more research, I’ll approach it differently, but I didn’t want my own need to “be sure” get too much in the way of finishing some new paper dolls.

And if you’d like to get to vote on future polls about “what I should draw next” join us on Patreon.

A Celebration of Tudor Clothing

Today’s paper doll is my second Tudor clothing paper doll. My amazing patrons voted for Tudor as a historical era to explore, hence the focus on Tudor. Also, I realized I still didn’t know a lot about the clothing of this time period. My first Tudor clothing paper doll from the Jewels and Gemstones was Ruby and today’s paper doll is Topaz.

A little about this Tudor clothing- this portrait of a young woman from 1567 and this portrait of Susan Bertie inspired the dress on the left. The dress on the right is a Henrician gown. This portrait of Mary I and this portrait of Katherine Parr feature this style of dress in lighter colors than you usually see it. These portraits also show off French Hoods, a very popular headdress style. This portrait, often identified as Helena Snakenborg, is where I saw the court bonnet. I should note that the identification as Helena Snakenborg has never been proven.

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First rule, I gave myself was that I was not going to make any dresses black. Don’t get me wrong, black fabric was wildly expensive in the 1500s and therefore very popular for portraits and people of wealth. Black is, however, one of my least favorite colors. It obscures line work, so I only used it for her hair and the veil for the French Hood. I didn’t see any French Hood’s that had veils of other colors. Also, I have no idea if French Hood is a proper noun and should be capitalized, but I am anyway.

I wanted to use colors I knew were common/referenced in source materials. According to sumptuary laws of the time only nobles could wear blue and there’s references in The Art of Dress by Jane Ashelford to tawny colored gowns. That’s why I chose to make one gown blue and the other a sort of beige color.

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Topaz’s underwear is based on illustrations from the Tudor Tailor by Ninya Mikhaila and Jane Malcolm-Davies. The bodies are based on the famous Pfaltzgrafin Dorothea Sabine von Neuberg’s pair of bodies from around 1598. All of her shoes come from Stepping Through Time by Olaf Goubitz. Her underwear, as I noted on the paper doll, has been simplified to facilitate playing with the paper doll. An actual extant 16th century shift is at the V&A and you can see it here.

Other books I consulted about Tudor clothing were, in no particular order, were Tudor Fashion, The History of Underclothes, In Fine Style: The Art of Tudor and Stuart Fashion, and Tudor Costume and Fashion. And you can see some of my reference image so on my 16th Century Dress Pinterest board.

You can see all my Tudor paper dolls here. Up next on the historical paper doll front will be the 1970s and the 1890s. That was the other winners when I polled my Patrons.

A Tudor Clothing Paper Doll

The last time I did a Tudor clothing paper doll, many years ago, I focused on Henrician gowns. You can see that paper doll here. This time, however, I wanted draw a few other styles from that period. So, along with the Henrician gowns I drew several later styles which were popular in second part of the 1500s, but don’t have easy names (or if they do, I don’t know them.)

Today’s Tudor paper doll has two dresses. The dress on the left is from the 1560s to 1570s. I could find a name for this style of robe with hanging sleeves over petticoat, but you can see styles like this in this portrait of a Lady of the Wentworth Family from 1563, this portrait of an Unknown Lady from 1565-1568 and this portrait of Elizabeth Hardwick, Countess of Shrewsbury circa 1560s. Her dress on the right is a Henrician gown with a matching partlet filling in the low square neckline. These portraits of Queen Mary 1 and Lady Mary Dudley (c.1530–1586) show Henrician gowns with parlets.

Her underwear is a shift, which has been extremely simplified to deal with the sleeves of gowns (the sleeves would have been much fuller and ended in a ruffle/cuff.) Her pair of bodies are a combination of a set from an effigy of Queen Elizabeth in 1603 and those in a famous portrait of Elizabeth Vernon circa 1600. A well cited article about Queen Elizabeth I’s effigy bodies is Sarah Bendall’s Elizabeth I Effigy Bodies Reconstruction. The paper doll has a Spanish farthingale- cone shaped hoops to support skirts that is separate. Spanish Farthingale’s gave dresses their distinct triangular look.

A printable tudor clothing paper doll coloring page with two dresses and period underwear. A great homeschooling history project.

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For much of Europe’s history, women covered their hair. In the Tudor era, women wore headdresses called “hoods”. As far I can tell from my reading, the popularity of hood styles switched in and out depending on the current Queen. With Henry the 8th, that’s a lot of queens. While the French Hood was worn before (and after) Anne Boleyn, it is definitely most closely associated with her. I chose go with the French Hood, but there was also the English (or Gable) Hood and several other styles.

Her hat is a taffeta pipkin- a narrow brimmed cap made of paper and covered in thin silk taffeta. To cover the hair a jeweled cap was worn, which is a style that was also common in Germany.

A printable tudor clothing paper doll with two dresses and period underwear. A great way to introduce kids to Tudor history and clothing.

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So, let’s talk colors for a moment.

Black was one of the most expensive colors to dye fabric (in part because it look a lot of dye). Crimson and scarlet were also popular colors. I made one of her dresses primarily black and the other a very deep dark red, but it looks black depending on the computer screen settings I realized after I finished.

So, why a Tudor clothing paper doll, you might ask? Because my Patrons voted for it! The poll I shared with my patrons had a three way tie- Tudor, 1970s and 1890s. I’m still working on the 1890s and the 1970s.

I finished the Tudor clothing paper dolls first, because I had already been working on her underwear. Next up will either be 1970s or 1890s… I haven’t decided which one yet. Both are in progress.

If you’d like to get to vote on things like which paper dolls I draw, join us over on Patreon.

Cranach Gowns: A Paper Doll of German Rennisance Dress (Plus Resources)

Link to Cranach Gowns, a paper doll of a 15th century Saxony dress in Germany with two gowns, two hats, one pair of shoes in black and white or in full color for printingHappy Friday! Here’s a printable paper doll. 🙂

I first stumbled across Cranach dress or gowns in this rather gruesome painting of Judith with the Head of Holofernes months ago and her gown was fascinating. I didn’t know much about it, except that it was painted by Lucas Cranach. As it turned out, I discovered as I did more research, that the artist- Lucas Cranach the Elder- painted countless versions of this gown on countless both real and mythological figures.  Coming out of the Saxony area of Germany, Lucas Cranach was hired by Fredrick the Wise who to be the court painter of his court in 1505 and Cranach stayed there for the rest of his life. He was extremely prolific and his art is distinctly romantic and stylized. Even his portraits all rather do look the same after a while, I have to confess.

Around 1546, Cranach illustrated a manuscript for the Court at Saxony. This collection of portraits of Saxon princes and family known as Das Sächsische Stammbuch – Mscr.Dresd.R.3 is fascinating. I was immediately struck by the illustrations of the Saxon princesses (image 220, f. 89) and I knew I wanted to draw these dresses.

Cranach Gowns, a paper doll of a 15th century Saxony dress in Germany with two gowns, two hats, one pair of shoes in black and white for printing. Free from paperthinpersonas.com {Download a PDF of this paper doll to Color} {View a 150 dpi PNG of this Paper Doll to Color}{More Paper Dolls in the Bodacious & Buxom Series}
However, there is a debate as to whether or not Cranach’s gowns actually existed in the real world. Here’s my view: We don’t have an extant one, but then we don’t have very many extant garments from this era anyway. Should we find one the debate would be settled, but until then we have to work with the primary sources we have.  The value of fabric and the expense of clothing was so great the people usually chose to be painted to garments they actually owned.

Plus, I tend to approach history with the belief that in the absence of proof to the contrary, we should assume that people of the era were not trying to mislead people of the future. Why commission a family history with crests and portraits of your family, if you are not going to accurately render the people in the images? Das Sächsische Stammbuch – Mscr.Dresd.R.3 is a collection of portraits of Saxon nobles. Why put the princesses in imaginary gowns?

The first question I struggled to answer was if the nets of pearls so often seen the women’s hair in these portraits were actually nets of pearls, or rather some sort of cap. This article on these caps lead me to conclude it was a cap, rather than part of the hair. The paper doll’s shoes are fairly standard 15th century shoes with squared toes. Her hats are based on portraits of the era.

I picked out colors based on the main colors I saw in the portraiture which were red and black. I really wanted to do blue as well, like the illustrations of the Saxon princesses and so I did a blue gown as well. I did wonder, however, about the blue. Color is often symbolic in manuscript illustration and I wondered if perhaps blue was used to denote virginity (the Madonna was associated with blue) rather than to render the actual color of the gowns. Never the less, I thought they looked pretty and that was enough for me. I made the paper doll a redhead, because I have a thing for redheads and so did, it seems, Cranach.

ranach Gowns, a paper doll of a 15th century Saxony dress in Germany with two gowns, two hats, one pair of shoes in color for printing {Download a PDF of this paper doll in Full Color} {View a 150 dpi PNG of this Paper Doll in Full Color} {More Paper Dolls in the Bodacious & Buxom Series}
In my research, I am indebted to The German Renaissance of Genoveva , a blog devoted to recreating German Renaissance dress for reenactment and The Court Gowns of Saxony and article by Holly Stockley which was accessed via the Wayback Machine and The German Renaissance of Genoveva website.

Normally, this is where I would put my sources. The truth is that I was flummoxed in finding any really good secondary academic works on German Renaissance dress in English. I did use the Met’s collection of Cranach paintings, the Encyclopedia Britannica’s article on Lucas Cranach, this delightful bookplate from the National Gallery (USA), the National Gallery (UK) portrait of a noble woman, and this portrait of Princess Maria of Saxony.

The most useful document was Das Sächsische Stammbuch – Mscr.Dresd.R.3 and I owe a debt to the library that digitized it. It it through this digital work that people like me can see the great artifacts of Europe and study them. I am well aware of the risks and time such projects take, so I am grateful when libraries and museums undertake them.

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