The Rough Outlines

We begin on Saturday, so it seems like a good time to accumulate the necessary objects. My red silk 20/2 thread is still in transit thanks to the snowpocalypse in the South so my loom is not warped. Alas, I will find that time somewhere. Here are my materials both in photo form (forgot the red cotton velveteen, alas) and a list below. Modern materials are listed at the end. I will be sewing by hand using bronze, steel, and bone needles as appropriate to the specific task. The camicia, calzone, and calze are complete and I am just waiting for the starting bell on Saturday for the rest.

As I am competing as a master I cannot begin patterning before then. So the first task will be drafting using the bara tapes pictured in the center below. I am using the silk doublet pattern from Freyle’s pattern book of 1588 and drafting the trunkhose pattern using Patterns of Fashion and 17th-Century Dress Patterns with guidance from Anduxar’s 1640 pattern book. While the Anduxar reference is outside of our period of play, the patterns give me a frame of reference for analysis of the extant pieces. Ideally, I will get the doublet cut and begin building the interlining layers this weekend as well.

White Silk Thread
Linen Thread 60/2
Red Taffeta
Red silk thread
Linen thread
Wool Serge
Linen Canvas
Gold Dupioni
Wood button shells
Wool felt
Synthetic baleen
Red cotton velveteen
Silk thread 20/2
Plied silk thread
Silk buttonhole twist 
Black velvet
Interlining as above
Black silk thread
Red wool jersey
Red linen thread 60/2
Silk thread 20/2
Black wool twill 2/2
Linen canvas
Hide glue – rabbit
Ostrich Feathers
Patterning paper
Bone, bronze, & steel needles
Modern scissors & snips

Andiamo. A post about the undergarments can be found at

I am Nobildonna Fiore Leonetta Bardi (Fee-oh-re) also known as Fiore di Bardi (she/her). Primarily a costumer, I specialize in Florentine dress from the mid-1560s to ~1590, hand sewing, and embroidery. My area of interest includes research of life as an illegitimate woman in Florence, the Florentine Camerata, artifacts and practices for a noblewoman of this time — including the practice of hunting and falconry in Florence, and Florentine textiles. I am increasingly interested in the people we try not to see and which most would have tried not to see even in the 16th-century, namely those of mixed race in Europe. Especially how a person of my lineage (I am of African, French, and Spanish descent) would have lived in 16th century Italy. Motto: Penso e Creo * Blog: * Instagram: @dressingflorentine

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3 Responses to The Rough Outlines

  1. Beatrice Domenici della Campana says:

    Unto Fiore, greetings again from Beatrice (one of your judges)!

    Never before have I so wished to be able to reach through a picture–most everything you’re working with looks entirely pettable (well, I probably wouldn’t pet the glue), and I would love to be able to get a better sense of the weights of the linens and especially the wools that you’re working with.

    • Frithuric as a Moroni Painting says:

      Petting the fabric is definitely part of the fun. I can do a little video of the hand of the fabrics at some point.

      • Beatrice Domenici della Campana says:

        I would love to see that video, even if it isn’t really the same as petting them all in person…

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