Like last time, but fancier…

In 2024, I found myself working on an Eastern German-style gown once again, also known as a Saxony Court-style gown. This style was popular in the early 16th century around Wittemberg and the surrounding areas. They are modernly called Cranach gowns, as they were often depicted in Lucas Cranach the Elder and the Younger’s paintings. The cut and silhouette of the Cranach gown I created in 2023 turned out exceptionally well, which motivated me to try again. With some experience now under my belt, I planned to use a higher-end fabric for my new creation.

To get started, I visited my Pinterest board to gather inspiration. I looked at various images to identify the style elements I wanted to incorporate into this new gown. I was particularly drawn to Cranach the Elder’s “Portrait of Princess Maria of Saxony.” Inspired by this painting, I decided to incorporate a high-neck collar, a gold fabric bodice, and sleeves reminiscent of those depicted in the artwork. I sketched my ideas, capturing these style elements for the dress.

Although I am not aware of any surviving examples of this exact type of gown, there is a the burial dress belonging to Anna of Bohemia and Hungary ( Anna Jagellonica/ Anna Jagiello), wife to Ferdinand I, Holy Roman Emperor 1547. The burial contained a goldhaube, velvet dress, and rings and is housed in Prague Castle. Unfortunately, when they first excavated this grave, the dress was in degraded pieces, and there was an attempt to reconstruct it. However, it is considered in such poor condition that researchers haven’t been able to really use it to extrapolate cut or pattern; it is regarded as a mostly modern interpretation and poorly done in documentation. It is on display, and pictures are floating around on the internet. See Kostym.cz for more info.

There are also some similar gowns that can be found in other graves and tailoring books from that era and region.

For this project, I utilized a combination of historically accurate methods and modern techniques. This is an impression project that I approached with care rather than a strict research endeavor. The top-stitching, any visible stitching, and shaping techniques were done by hand, while the long seams of the skirt were completed by machine. I followed the best practices I have developed over the years: I steam iron everything, conduct numerous fittings, rework any areas where I question the fit, and baste first before sewing.

For any visible stitching, I used heavy silk thread to match the burgundy and gold. In the inner areas, I opted for heavy natural linen. A thread color discussion among costumers was hot on some forums when I was making the gown. Normally, I would use black linen thread for the inner parts of the bodice and sleeves; however, some extant examples suggested using natural thread. So, I decided to give it a try, which will be evident in the photos.

This dress is designed to be worn over a fitted under-dress, a gollar, and a frauenhemd. Most of the accessories and layers associated with this dress are detailed in individual posts on my site.

The Fabric

In my fabric stash, I had some gold silk damask from Renaissance Fabrics that would work well for the gold accents. I also had a Kaufman Lush cotton velveteen that was close to the desired color but not quite right. Additionally, I had some medium-weight black linen and black horsehair canvas on hand for the bodice lining. I lucked out with some gold braid that I had purchased on sale from Tied to History.

I decided to dye the velveteen a darker burgundy. I ordered some cotton dye from Dharma Trading Company and successfully achieved a color I preferred. Although it turned out a bit darker than I intended, I felt it would complement the gold perfectly.

I pre-washed and dried all the fabrics. I typically do a gentle cold wash in the machine and hang them to dry. After that, I steam-iron all the fabric, including the silk, to ensure that I can wash the dress once it is assembled..

Skirt

I decided to use rolled pleats for most of the skirts. An excellent tutorial by Genoveva von Lubeck (SCA) explains how to create rolled pleats. These pleats are similar to knife pleats but feature an additional fold of fabric that creates a flute-like tube. While this technique requires a significant amount of fabric, it’s worth it for the final effect. However, I decided to switch to knife pleats across the front of the skirt to avoid making it too heavy, which could pull it down. I aimed for a finished waist measurement of 35 inches. I went with four times the finished diameter for the skirt panels instead of 5 (which is what I would have done if it was rolled pleats all around). I wanted the overall length of the skirt to be about 40 inches when finished.

I carefully planned the bands for each skirt panel and determined the desired lengths. I used my compass method to create the panels. I understand that this method can be confusing, but I find it incredibly useful for creating perfect bands while minimizing fabric waste. The bands sew together seamlessly and are nice and straight when the skirt is all attached.

For this method, I use a heavy ribbon or string that has no elasticity and is relatively long. The less extreme the curve of the skirt panel, the longer the ribbon or string needs to be, as the fabric must be positioned further away. This concept is similar to the radius of a circle and a slice of pie. To execute this process, I utilize the floor of my sewing room. I tie one end of the string to the base of my dress form, ensuring the attachment point is close to the floor to maintain proper angles. I create a loop in the string so it can swing freely.

Next, I place the fabric I want to cut out, which is typically about 15 feet away, depending on the dress design and pleat style. The fabric must be centered and aligned with the attachment point at the base of my dress form. I always start with the upper panel. I planned for the waist to finish at approximately 35 inches and wanted the curved upper edge of each panel to measure 36 inches, accounting for seam allowances of about a half inch. With a fabric width of 45 inches, this was just enough for each panel in the top section.

To begin, I marked the center of the fabric by holding a string down the middle and using a yardstick to draw a center line. Starting from the upper edge of the fabric, I held the chalk flush against the string and swept it along the curved trajectory, which created the desired upper curve of the panel.

Next, I measured the upper edge using a measuring tape to mark a width of 18 inches (half of the 36 inches) out from the center. This is represented by the orange dotted outline in the drawing. I aligned the string along the top edge and then drew a line down to the desired seam edge of the panel, approximately 21.5 inches in length.

After marking the upper panel, I cut it out and proceeded to work with the largest band in gold. Using the upper panel as a template, I employed my compass to mark the next panel. As the skirt panels grew larger toward the bottom, I decided it would be best to assemble the skirt as I went. I cut out the remaining three panels of the top burgundy section and larger gold band using the already cut panels as templates.

I started by cutting out the upper panel and then proceeded to work with the largest band in gold. Using the upper panel as a template, I employed my compass to mark the next panel. As the skirt panels grew wider toward the bottom, I decided it would be best to assemble the skirt as I went. I used the panels I had already cut as templates and cut out the remaining 3 panels of the top burgundy section and the larger gold band.

Once all the pieces were cut, I sewed them together. Then, I laid the skirt panels on the floor and used the compass to create the remaining bands as needed. I employed various piecing techniques to maximize my fabric usage.

Bodice

Since I had previously made this style, I decided to use the 2023 gown shape to create a new pattern. I wear a supportive underdress, which serves as support and gives shape, making it a lot easier to pattern over. I began by transferring the bodice shape onto pattern paper. To do this, I laid out the dress, placed the paper over it, and marked some of the lines. I used straight rulers and an arm scythe ruler to straighten everything.

Next, I made some minor adjustments to the shape and exaggerated the collar for a bolder look. Once I was satisfied with the pattern, I transferred it onto cotton scraps to create a toile. After assembling the toile, I tried it on over my undergarments and made further adjustments until I was pleased with the fit. I added a bit of length to the front of the collar and enlarged the arm scythe.

Finally, I cut down the toile and removed the seam allowance. I used the toile to transfer the design to my silk outer fabric, inner linen lining, and the velveteen upper inner collar. I also cut some horsehair canvas to add stiffness to the front opening and collar, leaving extra fabric along the front opening to the collar just to be safe.

First, I pad-stitched the canvas to the inner linen layer. After that, I used a basting stitch to sew the layers together, ensuring that everything remained in the correct position for the final assembly and any necessary fit adjustments.

Once I finished the shoulder and side seams of the bodice, I tried it on over my supportive under-dress. I then made adjustments until the fit was just right. I carefully steam-ironed and adjusted the edges, and when I was satisfied with the fit, I whip-stitched the lining edge to the outer silk.

I added lacing rings to the inside of the front opening, but I didn’t include the last one at the bottom of the bodice. This allows me to finish the bodice hem and attach the skirt later. It’s important to be able to try on the dress when adding the sleeves, skirt, and brustfleck. Additionally, I determined that the opening width for the skirt band should be about 6 inches.

The Sleeves

I decided to create long strips of fabric with sectioned bands. To start, I made a mock-up using cotton and some scrap blue velveteen. After experimenting with various lengths and spacing, I settled on six strips of silk with velveteen along the edges, each approximately 2 inches wide. I used a sewing machine to attach the velveteen to the silk on the inside seam and then hand-whip-stitched the edge for a clean finish. Additionally, I incorporated five cross bands in gold, and for the sleeves, I chose thinner cross bands measuring about 1.75 inches.

After finalizing my design, I disassembled the mock-up and used it as a pattern. I then assembled the sleeves, basted them, and tried them on to determine the final fit. For the vertical design, I opted for six gold and burgundy bands. One of these bands terminates at the forearm, while another ends at the wrist. The wristband was half sewn at the band opening, so when closed, it covers the hook-and-eye closure. The remaining four strips extend beyond the last band, forming a cuff.

After ensuring a proper fit, I hand-sewed each strip into the bands. Once the strips were attached, I lined the interior of each band. I also added gold braid along the top and bottom edges of each band and secured the right band with hooks and eyes.

After completing each sleeve, I carefully attached them to the bodice by hand, shaping and ironing as needed. Finally, I finished the inside of the armhole seam with seam tape, folding it down into the bodice for a clean finish.

After completing the dress, I wore it to an event but became disappointed with how the upper sleeves drooped. To address this issue, I added support strips, also known as buttress strips, inside the sleeves. I created enclosed strips from white linen, each about half an inch wide, to match the frauenhemd. I hand-sewed four strips into each sleeve to support the puffed “slashed” sections. This process involved some trial and error until I was satisfied with the spacing.

At point, while making the sleeves, I decided I needed another hemd to wear with this outfit and made the frauenhemd.

Attaching the Skirt

With the upper part of the gown complete, I shifted my focus back to the skirt. Since there isn’t just one correct way to create this gown style, I decided to use a band to attach the skirt and connect it to the bodice. I’ll do my best to explain the process, although I didn’t take enough detailed photos.

The band is made of double-folded heavy linen. The section attached to the bodice is 1.25 inches wide, and I will be adding rolled pleats to it. For the opening of the skirt, I used a second band that measures 7.5 inches wide and 1 inch in height.

I secured the rolled pleats, which are approximately 1.15 inches wide, with safety pins while sewing. Next, I folded and pinned the skirt for the section that will be attached to the wider band connecting to the bodice. I decided to create a slit on the right side of the bodice, but unfortunately, it didn’t land on the seam as I had hoped. Instead, I made a seam about 1/2 inch beyond the opening. I pulled a vertical thread and carefully cut down about 12 inches. Then, I rolled and hand-sewed the slit using a matching heavy silk thread.

After that, I attached the rolled pleats to the bodice section of the band. Starting on the right side and leaving about 1 inch for hemming and finishing, this will overlap with the other side of the slit. I basted the rolled pleats to the band—right side to right side—leaving 1/4 inch at the top of the band to attach and tuck under the bodice.

After basting the rolled pleat section to the bodice, I determined the placement of the remaining pleats across the 1-inch-wide front band. I experimented with various knife pleat configurations to achieve the desired diameter of the bodice and front opening, which measured 35 inches. Once this was resolved, I sewed the rolled pleated section to the bodice band.

Next, I flipped the skirt down, ensuring a 1/4-inch edge along the top. The wrong side of the skirt pleats was sandwiched with the band on the outside. Starting from the right side, I attached this edge to the bodice and then whip-stitched the bodice band to the bodice lining all the way around to the other edge.

I began by lifting the skirt to reveal the folded-over interior and then pinned the raw edge to the 1-inch front band. After lowering the skirt, I checked the pleats across the band and ensured there was a ½-inch overlap at the slit. This arrangement hides the band within the fold of the rolled pleat section of the skirt. I then finalized the knife pleats across the front band, making sure they wrapped over the top. This makes it appear seamless when the skirt is flipped down. To finish, I hand-stitched the raw edge on the inside of the front band using seam tape.

Next, I doubled back and hand-stitched the band to the top of the right side of the rolled pleats, securing them well and ensuring a snug fit at the bodice hem. I added hooks to the end of the front band in a dog-leg configuration and attached the eyes to the right side, positioning them about 1 inch into the bodice. Instead of adding another eye, I allowed the vertically placed hook to connect to the last bodice ring on the right side. At this point, I tried it on and made the necessary finishing adjustments and stitches to the front opening overlap.

Once everything was put together, I tried on the dress and figured out the hem. I hand-stitched the hem with a hidden hem stitch. I also went around and finished any edges or areas that needed to be smoothed out.

Brustfleck

I tried on the dress and used some scrap fabric to create a template for the front opening. I planned to add a pearl embellishment to the brustfleck and attached a white linen plastron. For the main fabric, I chose a green and gold shot taffeta silk. I decided to use hooks to secure the brustfleck in place, while the white plastron is held in position under the laces.

At this point, I shifted my focus and decided to use my embroidery machine and software to create an embroidered motif on the fabric, which would serve as an outline for pearls. I referred to my trusted German Modelbucher from 1524 to 1556, edited by Marion McNealy, and selected a pattern to digitize.

I jumped right in and drew out the pattern in my software and tested it on some scrap faux silk until I was happy. I then embroidered it onto the main silk and put together the brustfleck and plastron. I went with a 9.5-inch wide by 4.5-inch tall brustfleck and a 9.5-inch wide and 8.5-inch tall plastron. I allowed an inch seam allowance. I used heavy white linen and lightweight linen for the plastron. I put an inner layer of horse hair canvas in both the plastron and brustfleck.

Before assembling everything and adding the lining to the back of the brustfleck, I outlined the design with a pearl motif. I strung pearls in lengths of 3 to 4 inches and couched them onto the design. Once I finished the motif, I continued sewing everything together. I attached four hooks on each side of the brustfleck to secure it to the bodice. I did not add any attachments to the plastron, as it is firm and held in place by the bodice laces and waistband.

After completing the brustfleck, a friend, https://rowantreeworkshop.com.au, suggested outlining the pearls with couched gold twisted embroidery thread. I decided to go back and add this detail to the design. It was worth the effort, as it really enhanced the overall look. I then focused on the bodice to ensure the brustfleck was positioned correctly. This took a few attempts to get just right.

Accessories

For this project, I made a ton of accessories to finish the look! Check out these articles here:

• Frauenhemd
• Gollar
• Goldhaube
• I also added to the bottom of my under-dress that peaks out from under my dress with some embroidery. Hopefully, I will get around to making a post for it.

Also, a Hat!

I didn’t manage to document the hat, as it was a quick build at the end. In total, I made three hats and was particularly pleased with the last one. For this hat, I used silk velvet lined with iron-on interfacing. I created a band from heavy felt interfacing and then attached the brim and the upper part of the hat.

To embellish the brim, I added some pearl clusters just below the slit sections. I styled and curled 18 feathers, grouping them into six clusters of three feathers each. If you would like more details on my feather technique, feel free to check out my feather post.

Additionally, I applied some gold leaf to the shafts of the three feather bundles. I then sewed the six feather clusters onto the hat around the band, bending and shaping them to create a pleasing design. To give the brim a fun, jaunty shape, I set it with heavy thread.

All Finished

I’m absolutely thrilled with how this dress turned out! It not only looks fabulous, but it held up beautifully after washing; it just needs a little ironing. I made a few mistakes along the way, but each one taught me something valuable. Overall, this was a wonderful learning experience, and I’m so proud of the style I achieved!

I’ve put together a gallery showcasing the beautiful layers of the gown as I put them on.