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Spanish Wardrobe
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1580s Spanish Gown with Mangas de Punta
Completed for Canterbury Faire, February 2008, and The gold and cream saya is worn over a red silk undersleeves. (An underdoublet was omitted in favour of sleeves tied to the petticoat bodies in order to prevent overheating in what was proving to be an unsually hot summer.) The ruff is made of white lace stitched to a double layer of cream silk organza, before being pleated in accordance with the patterning of the lace. Because this was my Elevation gown, I wished to wear white and red. These colours are seen in portraits depicting Spanish Women between 1570 and 1590 so it was easy to work in with the period use of these colours. The formality of the occasion also seemed to require mangas de punta - the enormous Spanish Great Sleeve - so these were drafted and draped to match portraiture. This gown was primarily inspired by Alonso Sanchez Coello's 1583 portrait of
Completed for Midwinter Coronation, July
2007 This late 16th Century Spanish "mourning gown" (for want of a better
translation) is made from the intriguing cutting diagrams in Alcega. Since
first laying eyes on the pattern pieces for this 'sack backed' gown, I
have been determined to make one. However I needed both appropriate fabric
and a suitable event at which to wear it. I chose black satin based on three factors: availability, the frequency
of use of black satin in Spanish Women's garments in portraiture, and the
use of black satin in the mourning gown worn by Margaret of Austria
(Duchess of Parma) in her portrait by Anthonis Mor. Black velvet has been used to trim the gown in a manner reminiscent of
Spanish Women's gowns shown in portraiture. The belt disappears through
small openings at the side waist so that it enhances the front of the gown
without marring the line of the back.
First worn at Midwinter Coronation, July
2007 Another Spanish gown, but one showing some variations in the style. The
biggest difference between this gown and my others of this style is that
it is designed so that it can be worn with the doublet open to the mid
chest. It also sports a fold in the front of the skirt just above the hem
and the longest train yet.. The de-lustred satin fabric is cutte all over showing the black
interlining beneath. I chose to slash the fabric to add interest to the
gown. The gown is lined in dark blue linen. Choice of red fabric was based on several depictions of period gowns,
combined with available fabric and the fact that red suits the intended
wearer. The decoration of this gown was inspired by The documentation can be seen here. Completed March 2007 Made of bone and silver toned metal, this paternoster is based on an
image found online.
The 16th century patermoster is also discussed on Chris Laning's
Paternoster Blog,
where it is described as probably being of
Mexican origin. I thought that such a morbid piece made in 'New Spain'
seemed a suitable paternoster for Isabel Maria. The skull beads are made of bone and were purchased locally. Sadly
these skulls are not as
Completed for Rowany Festival, April 2006 Intended for use as a warm layer for outdoor events, this wool over-gown was created to be worn over my Spanish dresses when the day turns chilly and as an early morning 'about the encampment' coat while preparing breakfast and the like. The surcoat is based on the cutting diagrams available in Alcega with reference the 1570's German loose gown described in Arnold's Patterns of Fashion. This garment is often referred to as a 'Spanish Surcoat'. A very fine wool fabric has been used for the outer shell of the garment and the lining is black cotton, this was utilised due to a dearth of dark blue or black linen at our local fabric merchants. I modified the great sleeves from my usual pattern
in response to the intended use of the garment and also the wool fabric.
As the fabric has little or no body I felt smaller sleeves would
1560 Spanish Dress Completed for Rowany Festival, April 2006 This tourney gown was made as a result of a fantastic deal I got on some red twill fabric. Originally a mock up for a silk satin court gown, it was completed for Rowany Festival as a outdoor garment for hot weather. The cotton as well as the copious quantities of slashing promised a degree of coolness no other spanish gowns of this era could equal. Lined in inexpensive white cotton, and interlined with cotton canvas over the body and sleeves, the many slashes and tabs are also bound with strips of the white fabric. The cost of suitable ouches (or buttons) proved prohibitive to reproducing the fine decorations of the gown ensuring this version is a pared down tourney gown. I chose to forgo the gold embroidery depicted in some versions of the portrait as I did not want to spend many, many hours embroidering what is effectively an inexpensive travelling tourney gown. Both of these elements will be included in the silk satin version. The only image of this gown is on the Southron Gaard Website in the Rowany Festival Gallery.
Originally made for the Beowulf Event, October 2004 (right) The plaques on this belt were originally butted against one another and held in position by jump rings. This proved unsuitable as the torque placed on the rings by the way the belt follows the pointed waist continually opened the jump rings and caused the belt to break. However, by separating the plaques with a large pearl, and not using jump rings, the shape of the belt is better controlled resulting in a much more secure cintura. While the original version fastened with narrow black cotton tape tied
at the back of the waist,
Completed for Canterbury Faire, February
2006 This ensemble was created as I wanted something to go with the manto I was experimenting with, that was also appropriate for working outdoors around the encampment. This is based on figures depicted in various Civitates Orbis Terrerum maps of Spanish cities. As the weather at Canterbury Faire (when it isn't raining) is hot and dry, for that reason I chose to use natural fibres. The outfit consists of petticoats and a white linen shirt worn under a black dress. The bodice is made from black linen, interlined with cotton canvas and lined with black cotton. It is also lightly stiffened with cable ties. The sleeves attach to the bodice with hooks and eyes while the skirt ties onto the bodice. A linen coif and apron are the usual accessories. A white paj-silk manto (veil) is worn with a white dupion silk pill-box hat is worn with this ensemble whenever it is worn outside the household encampment.
Completed for Canterbury Faire, February 2006 Intrigued by the frequent depictions of Spanish women wearing, what appears to be modesty wraps, this project was an attempt to recreate the look for use in the SCA camping environment. This particular interpretation of the headwear consists of a low pillbox hat and veil. As I needed something to wear it with, I was "forced" to make an appropriate outfit. In future wearings I substituted fine cotton voile
for the silk veil, as the silk was so slippery and full of body that it
was simply too hard to control in even a gentle breeze. If these veils are
indeed a
Completed for Canterbury Faire, February 2006 A simple gold caul for covering my drastically shortened locks while wearing late 16th Century clothing. It is correct for wearing alone, and under my late 16thc hats such as my flat cap, Spanish bonnet or tall hat. The caul is constructed using a piece of gold
organza that was given to me by Her Excellency, Baroness Chrettienne while
serving as her Chief Lady in Waiting. Quilting the
Completed for Canterbury Faire, February 2005 This surprisingly light gown 16th Century Spanish gown was made using a synthetic, but otherwise perfect brocade. The grey of the dress fabric is further enhanced by a silver metallic-lace neck ruff. Surprisingly that this works in perfectly with the gold braid decoration, and gold jewellery. Further exploring the variations within the quintessential spanish style of this period, this gown has a different falda (train) style, gathered sleeve heads and explores how the cut and construction vary with the use of a different fabric. This gown was inspired by numerous pictures of Spanish Royalty, however the main influence was Alonso Sanchez Coello’s 1572 portrait of Anne of Austria.
Completed for Beowulf Event,October 2004 After several years of searching I found some almost perfect braid for a Spanish gown. The fact that it was on sale made my dream gown affordable. (Especially once I discovered the full extent of my usable hoardings.) The gown is made from black cotton velveteen, and has a very slight train. (Which is small enough to not be noticed, a lot.) The bodice and sleeves are interlined with multiple layers of cotton canvas. The striped undersleeves are cream silk taffeta decorated with horizontal stripes of inexpensive gold braid. The ruffs are all made of silk organza edged in a delicate lace. The ensemble is worn over a pair of bodies and a farthingale. The bodies are based on the Dorothea stays while the farthingale is a variation on Alcega's cutting diagram. You can view the documentation summary here.
Completed for Visit of TRMs Draco and
Serena In the process of making my dream gown, I felt I needed the correct headwear to complete the look. After considerable trawling through pictures of the Spanish nobility and royalty, I settled on this style. It was inspired by numerous portraits of Anna of Austria, Isabel Valois, the Spanish Infantas Catalina and Isabella. The documentation is available here in pdf.
Completed for Rowany Festival, April 2006 A jewelled belt to complete the red Spanish Tourney gown. The point is an inexpensive brooch, while the silver 'plaques' are from a group of bracelets I managed to purchase in bulk during a jewellery sale. The findings are stitched to a sturdy base (of shaped canvas reinforced with petersham and covered with white bias binding. Lacking a decent clasp that could take the weight of this fairly hefty
belt, it ties in back using |
1589 Mongil Trancado
1570s Spanish Gown
Paternoster
1589
Ropa
Late 16th Century Spanish Belt or 'cintura'
Late 16th Century Spanish
Middle Class (Camping Gear)
1580s
Middle Class Spanish Hat and Veil 
Gold
Caul 
1570s Brocade
Spanish Gown
1580s Velvet Spanish
Gown
1570s Spanish Velvet Bonnet 
Late 16th Century Spanish Belt
or 'cintura'