Sewing Pattern - Women's Italian Renaissance Gowns, c. 1470-1505. provides patterns for 7 gowns & 1 tabard (sizes 8-18). Two have split skirts. underskirts, and stomachers, to fake an underdress. The underskirts and stomachers can be left off, replaced by a real underdress. Four of the gown patterns have sleeves that tie on. The Renaissance of the 15th and 16th centuries began in politically splintered Italy. The age was humanistic, like the people themselves; the clothing was individualistic, competitive, and even playful. While there were broad similarities, regional variations were the norm. Fashion for woman changed radically after 1460. Evolving from the houpelande (PP26), the bodice was cut separately from the skirt, above the natural waist, and became tight fitting. Skirts could be gathered or pleated or neither. They were often split in front to show the skirt of a sleeveless underdress, which could also show under a V-neck. The chemise (PP90) decorated or not, also often showed at the neck. The sleeves could be slashed to show the chemise sleeve, and were often laced or tied to the bodice, rather than sewn on. This allowed different sets of sleeves to be worn with one gown... [Read More]

Sewing Pattern - Period Patterns number 52, Tudor Era Headdresses, c. 1490-1580 A.D., contains patterns for 17 different headdresses. Use this pattern with PP41, PP46, PP51, and PP56. Even in headdresses, the Renaissance was much more individualistic than the Middle Ages had been. Many radically different styles of headdresses were fashionable during the Tudor period in France, England, Flanders and the Netherlands. In general, the more elaborate headdresses were smaller and cut closer the head than previous fashions. The simpler ones were more tailored than the many different varieties of veils favored in earlier fashion trends. Snoods were worn without veils, and many different versions of hoods were seen. Some styles were seen almost exclusively in one area or country, while others were more widespread. Stockingette cap, Gable Headdress, coif, French Hood, Swallowtail Headdress, Snood, Renaissance Headdresses, Tudor Headdresses. Great for SCA or Game of Thrones Costume, Eddard Stark, Sean Bean, Arryn, Baratheon, Greyjoy, Lannister, Stark, Tully, Tyrell, Rickon Stark, Rodrik Cassel, Maester Luwin, Jory Cassel, Hodor, Ser Rodrik, Septa Mordane, Osha, Roose Bolton, , Loras Tyrell, ... [Read More]

Sewing Pattern - Houpelandes, c. 1390-1460 A.D - Houpelandes were the last fashion which was found throughout Europe, as well as being the last unisex fashion. This comfortable style, flowing from the shoulder to the hem, apparently first developed in Italy around 1380, but by 1400 was found throughout Europe. Belted or loose, houpelandes were usually worn over a cotehardie (PP21 & PP23) ,a second houpelande with tight sleeves, a chemise (PP90) ,or shirt (PP43) and hose (PP43 or PP101). By 1450 there were many variations of this style, mostly of the sleeves, neckline. Women's houpelandes were always floor-length, although men's houpelandes varied from very short to very long. Only a few were limited by sex or geographical location. By 1475 houpelandes were no longer considered fashionable (although still occasionally seen). Men's cotehardies had developed into doublets, and the houpelande became a gown or robe often worn open down the front (PP43 and PP53). This pattern has 6 houpelandes for either sex, with sleeves & necklines interchangeable. The sleeves & cotehardie underneath are faked, but the fake sleeves can be left off and replaced by a cotehardie or a 2nd houpelande.... [Read More]

Color: Three colors are available Material: Pleuche&Satin Length: Floor-length Sleeve Type: Trumpet sleeve with adjustable strap and unique pattern Occasion: Great for renaissance vintage fair/wedding/parties Size Notes: If your size is not in Amazon standard size chart, or if you want to change fabric or color , please chosoe a size in the size chart and email us your requests. Please email us your measurements about gender, height, shoulder width, chest, waist, hips Notice: 1. Size in 4-6 cm size difference is in normal range due to manual measurement. 2. Color may have a little difference due to lights, screens, etc. Please feel free to contact us if you have any problems. We will reply you within 24 hours by email

Sewing Pattern - Period Patterns number 46, Woman's German Puff-and-Slash, c. 1500-1545 A.D. Woman's styles in early Renaissance Germany developed from the Italian Renaissance styles but like the men's fashions, went far beyond the Italian creations. Cartridge pleating was used extensively at the waist, and guards (trim of a contrasting fabric) became fashionable on the bodice and skirt. The bodice evolved one version with a cut-away front spanned by a bust band of another, elaborately decorated fabric, below which the bodice was laced together over the chemise (PP90) or a plastron. High standing collars became popular. Sleeves were slashed in many different ways, although less wildly than the men's sleeves, and different styles were tied, laced or sewn on. The bust band was also occasionally slashed. The chemise showed under the slashes, and was often elaborately decorated when it showed at the neck. Decoration was rich, and jewels and metallic embroidery were often used. Period Patterns number 46, Woman's German Puff-and-Slash, c. 1500-1545 A.D., includes patterns for 6 gowns and 3 shoulder capes. This pattern is complimented by PP52, PP90, PP92 and PP93. Great for Game of Throne... [Read More]

Sewing Pattern - Period Patterns number 43, Men's Italian Renaissance Garments, c. 1420-1500. Men's fashions began to evolve around 1420. The cotehardie (PP23) became the doublet, first cut with a waist seam, then rapidly shortening to waist length. Sleeves were often tied or laced on, and a sleeveless underdoublet was sometimes worn as well. This was worn over a shirt. The houpelande (PP26) became a robe or gown opening down the front, worn open or shut, and often belted. A tabard could be worn instead of the robe, and young men often wore the doublet alone. Separate hose leggings, tied to the doublet or underdoublet, became joined at the back, and modest codpieces were worn to cover the opening in front. Period Patterns number 43, Men's Italian Renaissance Garments, c. 1420-1500, contains patterns for 3 shirts, 3 hose, 2 codpieces, a tabard and a cioppa or gown (sizes 36-48 included). These garments are complimented by PP26, PP92, PP93, PP101, and PP102. Great for Game of Thrones Costume, Eddard Stark, Sean Bean, Arryn, Baratheon, Greyjoy, Lannister, Stark, Tully, Tyrell, Rickon Stark, Rodrik Cassel, Maester Luwin, Jory Cassel, Hodor, Ser Rodrik, Septa Mordane, Osha, Roose Bolton... [Read More]

Sewing Pattern - Period Patterns number 101, Medieval Military Garments. Medieval Military Garments Chain mail and plate armor were very expensive, and economically unfeasible for the average soldier of the Middle Ages. Most had to make do with padded garments. But even those who could afford armor had to wear padded garments underneath for comfort. Other pieces of clothing were designed to be worn over armor for additional protection or as decoration. Some of these garments were designed for civilian as well as military usage. The primary garment for all soldiers was the padded gambeson, worn alone under armor. Surcoats, worn over armor, gave protection from the elements, and could be decorative as well. A coat of plates gave added protection over mail. Padded lentners and angel-wing tunics, both with puffed chests, were worn under breastplates, or alone. Medieval Military Garments, has 3 gambesons, 3 surcoats, 3 hose, 1 codpiece, 1 cuisse, and a renal belt with pockets for plates to protect the kidneys (sizes S-XL). Great for Game of Thrones Costume, Eddard Stark, Sean Bean, Arryn, Baratheon, Greyjoy, Lannister, Stark, Tully, Tyrell, Rickon Stark, Rodrik Cassel, Maester Luwin, Jo... [Read More]

The queen of the round table. The lady guinevere costume is a green dress with long flowing flared sleeves. It includes a crown and belt with vertical stripe. Shoes not included

Sewing Pattern - Period Patterns number 93, Bags, Purses and Pouches, c. 650-1650. Bags, purses and pouches were essential when the use of pockets in clothing was unknown, only the rich had secure storage for their small valuable items. As with other necessary items of clothing specialized pouches developed, such as hunting bags (to hold game); pilgrim's bags (big enough to carry everything necessary for a long journey); and gaming pouches, to hold dice and other game pieces. Period Patterns number 93, Bags, Purses and Pouches, c. 650-1650, contains 23 general methods for making purses and attached pouches, dagger hangers, etc. It also has patterns for 46 specific bags, pouches and purses. Bags, purses and pouches go perfectly with PP16, PP21, PP23, PP26, PP41, PP43, PP46, PP51, PP53, PP56, PP58, PP90, PP101 and PP102. Great for SCA Living History and Renaissance Festivals. Great for Game of Thrones Costume, Eddard Stark, Sean Bean, Arryn, Baratheon, Greyjoy, Lannister, Stark, Tully, Tyrell, Rickon Stark, Rodrik Cassel, Maester Luwin, Jory Cassel, Hodor, Ser Rodrik, Septa Mordane, Osha, Roose Bolton, , Loras Tyrell, Renly Baratheon, Jeor Mormont, Aemon Targaryen, Bowen Marsh, Benje... [Read More]

Sewing Pattern - Period Patterns number 51, Early Tudor Woman's gowns, c. 1490-1535. Includes patterns for 5 gowns (sizes 6-20). The Tudor period marked the beginning of the Renaissance in England, and fashion (especially after 1509) reflected the change. Henry VII, who usurped the throne in 1485, was extremely frugal, and fashion changed slowly during his reign. Henry VIII inherited the throne with a large treasury at the age of 18, and the court blossomed. He was insecure, aggressive, blatantly masculine and suddenly extremely rich. All of which reflected in the opulent new fashions, especially for men. During Henry's reign, styles for both sexes combined elements of German, Spanish and Italian fashions, with heavy French influence overall. The quintessence of what is usually thought of as "Tudor" fashion is shown in view IV for men, and view V for women. As befitted their role in society, woman's fashions were somewhat less flamboyant then the men's. The kirtle was almost identical to a cotehardie (PP21), with the addition of cuffs. The skirts started to be cut separately from the bodice, with the cut of the bodice neckline becoming square. The adoption of tight corsets and Span... [Read More]

Includes: Dress w/adjustable SkirtAlso Includes: Head ScarfBoots not includedBrand new in manufacturer

Shirt with attached vestBeltPants

Plus Size Renaissance Wench Costume by California Costumes 01705