Abstract

I have an overarching curiosity and goal to learn how different types of period garments fit different types of bodies.  This project is a follow-up to the project that I presented at A&S Faire 2023.  In this project I built on my skills and knowledge of how the Tudor Kirtle fit me, by fitting a new Tudor Kirtle to my daughter, who has a significantly different body shape than I do. My particular goals with this project were to determine what changes needed to be made to the pattern pieces to attain a properly fitted Tudor Kirtle for a body other than my own.

This garment is intended to be fitted and supportive of the upper body, with side lacing allowing minor adjustments. The skirt is attached and very full so, to add volume under a gown. 

Introduction

Here’s what I’m doing… I made a second Tudor Kirtle.  Why? I could say, why not?  However, the real reason is that I’m curious about how they work.  For most of my SCA career, I’ve made and worn Bliauts, which are typically not very fitted.  I love Bliauts, I’ve sewn something in the neighborhood of 8-10 of them.  The problem became that while I love them, they were becoming too easy. 

I had avoided the more fitted-later period fashions because I just couldn’t wrap my head around how they fit together.  I tried to make a couple of fitted-type gowns many years ago, and I was extraordinarily unhappy with how they fit me.  Even working from a commercial pattern, I still couldn’t get the fitted dresses to actually fit me. 

So I gave up for over a decade

Until I realized that I was feeling like I had reached my limit with Bliauts.  I wanted to become a better sewist, and the only way to do that was to challenge myself to make something that had intimidated and eluded me for so long.  I know my sewing skills are strong, what I didn’t know was what pattern to use to make a garment that was totally new to me, and that fit and worked in ways that I had not attempted in many years. 

My first Tudor Kirtle was made for me to wear.  I have an extreme pear shape, with moderate scoliosis that causes my hips and shoulders to be out of alignment.  (Peters, 2024) While I was fairly happy with how that one turned out I wanted to learn more about the pattern and fit by making a second Tudor Kirtle for my daughter.  She has a significantly curvier and more traditional figure than I do, so some changes would need to be made.

Additionally, I had received some feedback on my first Tudor Kirtle regarding minor changes to technique that would enhance the finished appearance of the garment.  My goal was to incorporate those suggestions in the second attempt, in addition to making a dress that would appropriately fit my daughter.

Finally, since this project stretched on for over a year, I gained access to additional resources that added to my knowledge about the way a Kirtle was constructed and worn in period.  While some of that could be incorporated into the second kirtle, some aspects of the project were already in motion, and having the opportunity to actually use some of that information will have to wait for the third iteration of the Tudor Kirtle.

Background

The Tudor period was from 1485 to 1603 in England. (National Geographic Kids, 2024) During that period women’s clothing generally consisted of at least three layers; the smock, or base layer was worn next to the skin, the Kirtle, consisting of a fitted and stiffened bodice, and copious skirt, provided support and structure to the upper body, and extra volume to the skirts. The final layer is a gown which varied somewhat in form and structure.

While both kirtles and petticoats existed throughout the period, kirtles were more common prior to the 1550’s, and petticoats after.  (Malcolm-Davies & Mikhaila, 2022) While they seem to have served similar functions, the kirtle, especially in the later part of the period, may have been more decorative, or worn over a petticoat.  (Malcolm-Davies & Mikhaila, 2022)

One period source for how a kirtle may have been cut out is Juan de Alcaga’s 1589 book Libro de geometria, practica y traça.

The fit of the Tudor kirtle is somewhat different from modern fitting, in that the sides of the bodice only extend to the base of the ribs or natural waist.  (Mikhaila & Malcom-Davies, 2006) The reason for this is that dress will dig into the sides of the wearer, if the sides are too long.

Lacing Options

One other thing that we notice is that the lacing can be at the front, both sides or back.  Each placement has advantages and disadvantages.  A front lacing can be easier for one person to lace themselves into without the help of a servant.  Whereas back lacing does require help to get in and out of.  Side lacing can be accomplished without a servant, and allows both the front neckline and back neckline to continue unbroken. Additionally, side lacing is a good choice if the over gown will be front or back lacing. By alternating the position of the lacing, it evens out the bulk, and points of tension.  This can be more comfortable for the wearer.

Boning Options

Another point that is varied is the use of boning.  Some period portraiture clearly shows that some type of boning was used.  However, there is also some evidence that kirtles may not have relied upon boning to achieve the stiffness and structure of the upper garment. (Mikhaila & Malcom-Davies, 2006) They may have used pad stitching a thicker or heavier weight fabric between the dress fabric and the lining.

With regards to fabric choices and decorations, throughout the period kirtles were predominately black or red, although other colors were known and used. The fabric that they were made from varied somewhat, based on the rank of the wearer.  Various grades of wool were probably most popular and common. (Malcolm-Davies & Mikhaila, 2022) Many weights of linen were also available and may have been used as well. (Anderson, 2009)  There is also some evidence for decorating the parts of the kirtle that may show from under the gown.  (Anderson, 2009) In particular, the neckline, hem and front part of the skirt may have been made in a different and more expensive fabric to give the illusion of wealth.

Patterning the Kirtle

When I started this project with the first kirtle, the only source I had available was The Tudor Lady’s Wardrobe. This pattern differs in several keyways from those available from The Typical Tudor and the Tudor Tailor. The pattern that I used, from The Tudor Lady’s Wardrobe has shoulder straps that are integral to the back piece, rather than meeting at the top of the shoulder. It also has three front skirt pieces, consisting of one center front (2F below) and two side front pieces (2G below).  There are also two skirt back pieces (2H below). 

The Tudor Tailor patterns call for only one front skirt piece and one back skirt piece.  These pieces may be rectangular or trapezoidal.  Trapezoids will reduce some of the bulk from heavy pleating at the waist, but are less economical use of the fabric. 

This is a significant difference in construction. 

One reason for the approach that Margo Anderson took is that her patterns offer the option to create a decorative or contract panel on the forepart (front center) of the skirt.  Cutting this as a separate piece makes it easier to accomplish this.  We also know that in this period wearers would supply the cloth to tailors who would then make the garments.   (Mikhaila & Malcom-Davies, 2006) Tailors would have to make do with whatever amount of cloth was supplied, and frequently utilized piecing, or the practice of using smaller pieces of cloth to create the bigger pieces needed for the garment. So, this particular method of cutting and assembly is not outside the realm of possibilities for the kirtle.

Another option that Margo Anderson offers to add decorative interest to the kirtle is the use of contrast bands at the neckline and along the bottom of the skirt. Historically, this technique would have been used to show off higher quality or more expensive fabric and trim, without actually making the whole garment out of the better fabric.  It allows the wearer to give the appearance of wealth. 

As one of my goals with this project to try new things that I hadn’t tried before, I took this option and added them.  Some of the evidence for this choice is the highly decorated necklines and skirt fronts that we see in the timeline example below. (Mikhaila & Malcom-Davies, 2006)

Fitting the Kirtle

Starting from the commercial pattern, I needed to alter it to fit my daughter’s actual measurements. As she has a traditional hourglass figure (vs my extreme pear figure which I made for the first kirtle), I needed to adapt the waist, chest and shoulder points for her body. On my kirtle there is a straight or slightly inward vertical line from the side waist to the chest. 

The first picture shows the kirtle bodice pattern that I used on the first kirtle for myself. 

You can see that the side seam will be nearly vertical to accommodate my narrow chest.

The second picture is of the front bodice pattern that I made for the second kirtle. 

On this pattern you can see that the side seams are more sharply angle outward to accommodate the larger chest of my daughter. For this kirtle the line from waist to chest is distinctly outward flared.

The other major adaptation that I made was fully lengthening the should straps.  Again, as she is well endowed, she would need the full length of the shoulder strap to reach from the back to the front neckline of the kirtle. Margo’s theory regarding the shoulder strap is that with the V neckline in the back, it allows the strap to be on the bias.  (Anderson, 2009) Having the strap on the bias gives is the natural stretch of the fabric. 

The Red Dress of Pisa also shows shoulder straps set on the bias, as you can see in this picture of the inside of the bodice.

The picture below shows the bodice back pattern with the V back neck opening, and integrated shoulder straps taking advantage of the stretch inherently available in the bias of the fabric.

Construction

This second kirtle is constructed in the same manner as the first kirtle (Peters, 2024). I used a handmade needle for both kirtles. The needle is based on those found in York. For most seams, I used the run and fell construction method. Where the contrast strips are are not attached at a seam, I used slip stitch. In this second kirtle, the excess fabric on the hem was left intact. This is so that adjustments in length can be made after the gown is completed.  

Materials

I used commercially available midweight linen for the lining and exterior of the kirtle. Two layers of lightweight linen were use for the interlining, as well as plastic boning. I used Linen thread (80/2) for sewing.  That was the recommendation of Margo Anderson’s pattern.  (Anderson, 2009) Additionally, I used heavier weight (20/2) linen thread for the eyelets.  I purchased 1/8inch linen corset cord for the lacing. 

Differences between Kirtle 1 and Kirtle 2

The major differences between the first and second kirtle are in the bodice.  The skirts are identical, as we have similar waist to floor length measurements. The bodices are different in the angle of the side seams from the hip to the shoulder strap/ neckline point. On the first kirtle, I needed a much narrower chest than waist measurement. The line from hip to shoulder / neck is nearly vertical or slightly inward.  For the second kirtle I needed to tilt that line more significantly outward from the hip to the chest to accommodate the bigger chest measurement. Additionally, the shoulder straps needed to be longer on the second kirtle, again, to accommodate the larger chest measurement. 

A second change that I made was based on feedback that I received last year at the A&S Faire and had to do with construction methods. One of my commentors noted that some of my seams and corners could be sharper if I made more aggressive use of clipping corners and cutting down excess fabric in seam areas that had many layers of fabric coming together. Based on this feedback, I cut away any extra fabric that might add bulk seams and hems.

Conclusion

I am eager to see this project through to completion by creating entire Tudor outfits.  In this I have already completed the smocks, wrist cuffs and coifs to go with the outfits.

I hope to explore further in the future other forms of stiffening in the bodies.  I have learned how to work with plastic boning. Through the process of learning more about the Tudor time periods, I learned about other methods of providing stiffening and support in bodices.  I would like to explore pad stitching with heavier weight wool, or canvas, as well as buckram.  I think that this would give a smoother line, and potentially be more comfortable to wear. Additionally, I plan to explore using medium and light weight wools. 

As I develop my resources and skills, I look forward to stepping further away from utilizing commercial patterns and becoming more comfortable with working with period, or closer to period patterns.  I also hope to become better at tailoring whatever pattern I use to fit the person that I am making the outfit for.

References

Alcega, J. d. (1589). Libro de geometria, practia y traça. Madrid: Pain, J & Bainton, C.

Anderson, M. (2009). The Tudor Lady’s Wardrobe. El Dorado: Historic Costume Patterns.

Holbein, the younger, H. (n.d.). Study for Portrait, the More Family. Stephanie Buck, Hans Holbein, Cologne: Könemann, 1999, ISBN 3829025831. Kupferstichkabinett, Öffentliche Kunstsammlung,, Basel. Retrieved 04 16, 2024, from https://en.m.wikipedia.org/wiki/File:Study_for_portrait_of_the_More_family,_by_Hans_Holbein_the_Younger.jpg

John, M. (n.d.). Queen Mary I. Tudor and Jacobean Portraits Database. National Portrait Gallery, London.

Malcolm-Davies, J., & Mikhaila, N. (2022). The Typical Tudor. Lightwater: Fat Goose Press.

Mikhaila, N., & Malcom-Davies, J. (2006). The Tudor Tailor. London: B.T. Batsdord.

National Geographic Kids. (2024, 04 08). 10 FACTS ABOUT THE TUDORS! Retrieved from National Geographic Kids: https://www.natgeokids.com/uk/discover/history/general-history/tudor-facts/#:~:text=The%20Tudor%20period%20is%20the,of%20Bosworth%20Field%20in%201485.

Palma, E. d. (2024, 04 18). Baroness . (E. a. Locha, Interviewer)

Peters, J. (2024, 01 26). TUDOR KIRTLE: FINDING THE FIT, PART 1. Retrieved from Wandering With Jeannie: https://www.wanderingwithjeannie.com/tudor-kirtle-finding-the-fit-part-1/

Poyer, J. (n.d.). St. Nicholas: Nicholas Giving Gold to the Three Maidens. Hours of Henry VIII. The Morgan LIbrary and Museum, Tours.