A VENETIAN DRESS
DRESS
The typical Venetian dress of the mid and late 1500 has a stiff, long bodice with a V-shaped opening revealing the chemise (or sometimes possibly also a decorated modesty panel). There is ladder lacing in front, and the shoulder straps are set wide enough to allow lots of movement. There's usually nice shoulder details, and the skirts are high up in the waist, full, and sometimes with train. The counter-reformation was never really embraced in Venice, and the clothes reflect that. The square, open neck lining typical for all of Italy in the early 1500's lived much longer in Venice than elsewhere, and bright colours and rich fabrics was always in vogue.
The lace industry was important to Venice, and that is also reflected in the fashion of the era. Lace cuffs, collars, shoulder decorations and partlets is a common sight in portraits from the Veneto. This might have influenced a sleeve decoration quite unique to the Veneto: the cutwork sleeves, an almost lace like pattern being cut into fabrics, revealing the chemise. They do occur elsewhere, but not nearly as often as in Venetian paintings.
A few years ago, droolable and gorgeous Venetian courtesan dresses appeared all over the internet. I was jealous. Very jealous. I wanted to make one. But I couldn't for my bare life find a suitable fabric in my hometown (or surrounding areas, for that matter). I made a bodice mock-up, but that was it. Until... an interior store chain got lots of symmetrical pomegranat patterned brocades. I swear, it happened over night, and they were gorgeous, and affordable too! I fell for a soft golden greenish one, because I love green and because it reminded me Venice. The fabrics disappeared just as quickly, so I'm glad I got a hold of one.
The bad thing about being "last" in making a Venetian dress is that all the snazzy details I fancied had already be dealt with by other costume makers. The cutwork sleeves, the funky shoulder decorations, the grand veils and the various fans. And I wanted to be innovative and original. But alas....! I couldn't think of any ways to make my dress outstandingly original. So I've choosen the plain route, hi-hi. The general inspiration came from a Vecellio woodcut, showing the backside of a brocaded dress with a V bodice back.
Other pictures of inspiration is that of the (assumed) lady of the house from Villa Barbaro in Maser. In an illusionistic roof fresco a young woman in a blue dress is looking down to the viewers. Her dress has a small, curved bodice, a bit unusual compared to the rigourous Venetian bodices usually seen. The dress also shows cutwork sleeves, with shoulder slashes revealing the chemise. I like the overall feeling of that dress, and although I wasn't heading for cutwork sleeves, I fancied the slashes in the upper sleeve/shoulder area.
1. "Group heading for festivitas", Paolo Flammingo, ca. 1590's
2. "Upper class Venetian woman at home", Cesare Vecellio, 1589
3. "Newly wed noblewoman", from Habitus Varium Orbis Gentium, 1581
4. Roof frescoe from Villa Barbaro, Maser, Veronese, 1561
BODICE AND SKIRT
The bodice consists of three panels, one in the back and two in front/side. The bodice is front laced in ladder style. I've boned it lightly, but not nearly as much as I usually do. Used a stiffer rigilene, and it worked like a dream. It is pointed in front and in behind, while the sides are slightly over my waistline. The skirt is also a three-pieced affaire, and in the back I've added a small train, similar to the Vecellio woodcut. The bodice is lined with unbleached cotton, while the skirt and sleeves are lined with a poly satin.
The dress is trimmed with a faded green ribbon with golden edges. I've used the ribbon on the bodice, on the sleeves and around the hem. I didn't think Venetian ladies were too crazy about ribbon trims on their dresses, but a quick look at period portraits sure prooved me wrong. Originally I planned to add two rows of trims, but when I pinned them on, it looked too much like Florentine fashion. So I decided to stick to one, and I think it looks better. Maybe it was my trim, I dunno.
The bodice became slightly too short and curvy for my taste. I have enough fabric for another one, so maybe I'll re-do that part. Otherwise I love this dress. It's comfortable, the colour and fabric is very lush, and it has a nice train. The golden girdle was originally made for another dress, but is the perfect match for the Venetian one.
SLEEVES
The sleeves are made of one piece, with a curve at the top. Each sleeve has 8 slashes, to allow the chemise to be seen at the shoulders. At first I thought about making tabs, and attach the sleeves to the bodice with these. But when studying period portraits I got the impression slashing the actual sleeve was just as common. Mine is modeled after the first portrait underneath. It's quite similar to the others, but the sleeve appears to be directly attached to the bodice. The other later dresses have various "shoulder decorations" between the shoulder strap and the sleeve.
1. "Young woman with a dish of fruit", Tiziano Vecellio, ca. 1555
2. "Portrait of a woman in patterned dress", School of Tizian, 1570's
3. "Portrait of a woman with lapdog", Veronese, 1570's
4. "Family portrait" (of a Venetian family), unknown, 1570's
5. Illusionistic door frescoe from Villa Barbaro, Maser, Veronese, 1560-61
Latest addition is the chemise. It's made of a semi-thick linen, and trimmed with gorgeous Vicentine lace. I followed the instructions of Jennifer Thompson, and it worked like a dream. I had to make the sleeves a bit narrower because of lack of fabric, but it turned out good. The cuffs are wide, but can be gathered by pulling the braided white cotton/linen thread I braided myself.
The chemise is, because of the lace, very Venetian in style, but it looks very nice with my other Renaissance dresses as well. Such lace decorations in the neck opening is a common feature of late 16.th century Venetian chemises, and it adds a lush finish. Some examples can be seen here:
1. "Bella Nani", Veronese, 1560's
2. Part of a fresco from villa da Porto Colleoni, Fasolo, 1550's
3. "The Concert, fresco from Villa Caldogno", Fasolo, 1570
4. "Portrait of the Valmarana family", detail Fasolo, 1570's
5. "Selfportrait" (assumed), Marietta Robusti, 1580's
More to come....
MY HISTORICAL RENAISSANCE GARBS:
REFERENCES:
Realm of Venus, great resource site for historical Venetian fashion
Another excellent site specialicing in Venetian garbs
Jennifer Thompson, with one of the prettiest Venetian frocks out there
My Venetian dress gallery
Munaretto, Albino (1977) "Villa Caldogno - Restoration of a Venetian villa", Comune di Caldogno
Rangström, Lena (2002) "Modelejon, Manligt mode, 1500-tal, 1600-tal, 1700-tal", Livrustkammaren, Stockholm
Vecellio, Cesare (1977) "Vecellio's Renaissance Costume Book ", Dover Publications
Back to main site
Copyright © 2001-2009: Anéa
