No artist who enjoys creating 16th-century German costumes can escape the Eastern German style, aka Cranach / Saxon Style Gown. I had waited quite a bit because this is a complicated style with no extant examples (that I know of), and I wanted to get the silhouette correct. I was in a hurry with its creation and did not capture every element of its construction. Some of the construction is a little below my usual standards, but I learned a lot. I am happy with it and it looks really good on. Also bonus, it is pretty comfrotable. Hopefully, I can impart some useful information.

I started with a drawing that I, of course, cannot locate; however, it is a pretty standard design for the Cranach gowns. You can see from the Pinterest board images that it has many expected elements. For a better breath of Cranach the Elder and workshop paintings, you can visit https://lucascranach.org/home.  Additionally, Rowan has a great article about a version of this gown.

The Plan and Fabric

I went with an inexpensive gold brocade from Mood Fabrics. I was super picky about the pattern and waited until I could find something with an appropriate motif. It is easy to mess up the aesthetic of these dresses with the wrong fabric. It still feels a bit modern, but it would do; I didn’t want to try to use silk on my first go. I used a burgundy red micro velvet for the main body; unfortunately, it reads a little dark in photos. I used black linen for the lining and some keenly placed horse hair canvas for shape.  I prewashed all the fabric on cold and line-dried it.

This gown is a mix of modern sewing and historical techniques. I used my machine on inside seams and hand-stitched anything that would be seen. I also hand-stitched when it would affect the finished look of the gown.

There were two big pushes for this gown; I worked on it in late 2022 and early 2023, then dropped it for a while and picked it back up again in late 2023. I wanted a fancy gown for the SCA Yule events in December 2023. Which worked out pretty well; I was invited to the Order of the Laurel at one of those events.

The Skirt

I went with four panels for the skirt cut at a slight circular angle. I went with a lot more fabric in the pleats for the waist than I usually do. I wanted to create one direction, overlapping knife pleats. I used my compass technique to shape the rounds of the panels and cut the corresponding complementary panels in the brocade ( see blue 16th-century townswoman dress for more about using a makeshift compass). I laid it all on the floor and cut out each set of bands to match. Once each panel was cut out of the velvet, I sewed them together using the sewing machine. 

I did pin the heck out of everything since the velvet crawled all over the place. I also used wash-away seam tape here and there to help hold the fabric. I left the left seam of the front panel open at the top 12″ to allow for the skirt-to-bodice opening. I then finished sewing each of the alternating bands together and attaching them to the skirt. At first, I thought I would get away without adding another velvet band at the bottom, but I added a several-inch wide band at the end for the hem, allowing enough of an edge to hem.

The Bodice

I wanted to wear this gown over an undergown, so I was able to pattern off my blue and burgundy gown. I like the fit of that gown. I drew out the pattern several times and tested some toiles until I was happy. Once satisfied with the fit, I finalized the paper pattern and cut out the outer velvet and two layers of linen. I also cut out some brocade to line the inside collar and neck area of the bodice since it would show a bit in the finished garb. 

To get the bodice collar and shoulders to hold the desired shape, I used some black horse hair canvas (hymo), generally used in suits. I started by sewing the canvas into the inner layer of linen using a pad stitch, giving the front opening and collar shape. I then sandwiched the layers together, sewed the front edge, and whip-stitched in the lining.

Once the front edge was done, I sewed the front panels to the back. Then, I added lacing rings. I add the closures early to allow repeated fitting as I add the other elements. I leave off one or two rings until I’m almost finished so I can allow for adjustments of their skirt and brustfleck.

Sleeves

For the sleeves, I planned on two upper areas of poof panels and one at the elbow. I started by creating tons of two-and-a-half-inch wide velvet and brocade vertical strips. I machine-sewed these together inside out. I then laid those out and cut them to the desired length; I added an inch and a half to allow for the correct ease for the poofs. They were shaped like a standard sleeve, more at the outer part of the arm and less toward the inside (armpit) of the upper sections. I then figured out the remaining horizontal upper band and lower sleeve with cuff. The sleeve verticle band and lower sleeve were out of the velvet lined with linen. I also created a trim for the verticle bands out of the brocade. I then put the sleeves together. I tested the fit several times, basting and adjusting the fit repeatedly. Once I was happy with the look, I hand-set the sleeves into the bodice. Because the inside may show, I used some brocade as trim tape around the arm scythe.

Attaching the Skirt and Finishing the Bodice

I created deep overlapping knife pleats in the top of the skirt and basted them. I went with tighter rolled pleats in the back and spread them out a bit more in the front. At the bottom opening of the bodice, I added a velvet band to attach the skirt to the front panel. I then attached the skirt by sandwiching the right side to the right side and machined sewed it. I finished the edge using a seam treatment sitch. I attached the skirt to the top of the band, and when turned right side, the edge of the skirt pleats were at the top of the band. I attached the band to the left side of the bodice right under the skirt edge using two flat hooks and a dog-leg closure set up. I should have gone with a wire hook and eyes to be more period-appropriate. However, I had these on hand. I rolled the edge of the skirt opening and used a blind stitch to finish it off. The open part is hidden in the pleats, so I didn’t add any extra hooks and eyes. I added eyes to the inside of the bodice, opening right above the lacing to attach the brustfleck.

Brustfleck

For the brustfleck I got a little creative. I had no fancy pattern or time to embroider a custom pattern. However, diamonds shapes and texture show up in a lot of the paintings, I decided to use strips of the brocade fabric and make a diamond weave pattern then adorn with pearls. I also added hooks along both edges of the brustfleck to attach to the bodice. I also attached some heavy linen to act as a false front that the dress lacing would go over. 

Hat and Goldhaube

I made a black silk platter hat. I created a velvet shell. I used an old straw hat I had lying around as the frame. I cut the top of the straw hat off and then sewed the velvet around it by hand. I adorned the hat with pearls along the two seams on either side. I curled many feathers and created bundles of 3 feathers to create the poofs around the brim. I then stitched the base of the feather bundles into the crease of the top part of the hat and brim.

For the goldhaube, I was in a hurry and used some cheap poly lining and trim I had on hand. 

Of course, I had to make a bonus mini-me gown!

I had some gold brocade left and wanted to make the mini-me an upper-class gown to match. I went with a slightly different style so I could make it quickly. I used the machine as much as possible. I had fun making a brustfleck pattern using my embroidery machine and software. I also went with tie on sleeves, just in case. She liked it, although she only wore it once before I reworked it already.