Kim Schlinke

After 88 weeks of costume features, nothing makes me happier than to find outfits that are really unique and inspiring... and this gorgeous Flemish gown from the turn of the 16th century is a first for me. I've never seen anybody make a dress like this before, and I can't imagine anybody doing a better job than Kim has done! Wow! It looks absolutely perfect. I love people who research over-looked areas and periods and recreate these styles - it just makes costuming so much more fun! You can read more wonderful information about this costume and see the painting that inspired it below the photograph, and feel free to email Kim at kschlinke(at)yahoo.com with your comments or questions.

The inspiration for this gown came from the painting Virgin Among Virgins painted by Gerard David in 1509. I fell in love with its simple elegance. The gown appears to be made from green velvet, but I'm on a pretty tight budget, so the search began for a suitable replacement that wouldn't break the bank. While the search for fabric for the main dress seemed to go on forever, I started on the chemise and kirtle. I used some cotton that looked pretty much like linen when it was washed for the main body of the chemise. I work for a fashion designer and was able to get a piece of beautiful Belgian linen from the studio to use for the part of the sleeve that showed. I used Drea Leed's smock generator (Many thanks to Drea for all her inspiration and teaching!) I was so happy when I finished my chemise that I wore it around the house for the rest of the morning. I got a very strange look from the sales man that rang my bell when I answered the door.

The fabric for the kirtle was a score from the $1.00 a yard table at Wal-mart. It's probably a rayon-blend, but once washed, is a dead-ringer for linen. I adapted a jacket pattern with a shoulder princess seam for the bodice of the kirtle. I pin-fitted it to myself until it was snug enough to give me some support. I lined it with the same fabric and it gave me a pretty smooth line just by itself. I attached a gored skirt. I left the skirt unlined as it stays pretty warm year round here in Texas. It's a front closure using hooks and eyes.

Just when I was about to despair that I would never find something I could afford for the main dress, I came across a beautiful heavy, brushed mystery fabric that would be perfect for the main gown. I used the same bodice as the kirtle, with a change of neckline. The lady in the painting is kneeling so it's hard to see exactly what the bottom of the gown looks like, but from the fullness behind her, I interpreted it to be a small train. The gown is back-laced in a spiral pattern, using rings that my husband made me from a small gauge wire. He soldered each ring so they would be sturdy enough to withstand the strain of lacing. I used three lengths of hemp cord along the edges of the gown opening for stability. It took six hours of cutting, piecing and hand stitching to attach the guard at the bottom.

I chose to make a headdress based on what the other ladies in the painting were wearing and what I'd seen in other paintings from the same area and time period. I'd already made a French hood, and used the same technique, playing around with the shape in stiff paper until it had the look I wanted.

All in all, it was a wonderful project and provided many hours of sewing entertainment.