Striped Chemise - Part 1

When I got started in the SCA with St. Florian, I was lucky enough to have someone give me a simple chemise. For years this chemise has been my constant companion at events. That said, after recently doing further research regarding chemise construction in period (15th-16th C.), I have become somewhat disenchanted with my current chemise as it is not accurate.

Problems:

1. Gathered neckline with a drawstring closure/adjustment.
   


2. Gathering casing was sewn on the outside of the neckline rather than the inside.



3. No undersleeve or neckline gores for ease of movement.
   

The Plan:

I plan to convert this chemise (upper picture) into a snazzy striped chemise (see the detail picture at left from "Banquet of Herod" by Benabarre).

Striped chemises are documentable in Spain from 1470 - 1507. That said, most of the paintings depicting striped chemises in a Spanish context are seen between 1470 and 1480. Anderson (1979, p. 187) notes that the number the body, back and sleeves may all have stripes, with sleeves having between 4 and 11 depending upon the width of the stripe or 'tira' (if it is an embroidered panel). Furthermore, the colors used vary, with red, gold and black appearing most often. Anderson does document one example that has embroidered tiras in a wine-red color on the sleeves, in addition to plain rows of blue-green and additional plain stripes in wine-red on the shoulders and body (p. 187).

I find it interesting that the period in which striped chemises were seen corresponds to the time period during which stripes (vergardes or verguardes) gained popularity as trim on dresses. Additionally, many of the pictures of fabric striped chemises, as opposed to blackworked tiras/stripes, appear mostly on 'attendants' (see detail picture to the right-above from "Lady and Hare" by Borgona). You can just make out the blackworked panel/stripe through the opening in her outer sleeve, as well as along the cuff. This picture actually illustrates the double-sided nature of blackwork (it looks the same on the 'right' side, as it does on the 'wrong' side.

Also of note is the fact that the dress from the "Banquet of Herod" (above left) depicts a dress in which the farthingale is incorporated into the actual skirt, rather than being an underdress. From the early 1500's onward, farthingales were relegated to the domain of 'underpinnings'. Last weekend I scored some lovely navy blue brocade with gold contrast material. Eventually I plan to make the dress seen in the Benabarre painting - complete with striped chemise, outside lacing sleeves and visible farthingale.

In the meantime, I'm working on the chemise.

1. Take the existing chemise entirely apart.


2. Add snazzy black stripes to the sleeves with black satin ribbon.


3. Pleat the neckline properly and add black binding.


4. Add black binding to the wrists.