Jamia Hansen-Murray

If you've spent any time on this site before now, you probably know that I have a real soft-spot in my heart for Florentine fashions. Elizabethan noble gowns might have a bigger "wow" factor for some, but for me, nothing captures the romance of the period quite like these distinct fashions from the birthplace of the Renaissance. So you can see why I am so in love with Jamia's 1520's red velvet Italian gown, which looks like it was taken right off of an old master canvas. Here is another back view of the dress, and here is one more photo of Jamia with Toivo Rovainen from one of their Seattle Early Dance events. Jamia also sent us a wonderful description of the outfit, so be sure to check that out below the picture.

The genesis of this gown was two-fold: I had followed Jen Thompson's Italian dress diaries with great interest, and I needed a more comfortable gown to perform at a Yule Feast. My Elizabethan gown (see Featured Attyre, May 20, 2003) is really tight and includes the full complement of undergarmets. I wanted a simpler gown that moved well and that opened in the front, so I could adjust it for dessert. The 1506 Raphael portrait of Maddelena Doni inspired most of my design, especially the sleeves, along with Moretto's Portrait of a Young Woman (double rows of velvet trim and necklace). Jennifer's patterns for the camicia and Florentine round sleeve were also invaluable.

I used a dark red velvet for the gown, my first work with rayon/acetate velvet. It is truly evil stuff so I did about 85% of my work by hand, to control it. The innards of the bodice consist of 2 layers of heavy canvas, well-boned in the front, and lined in dark burgundy silk. The pattern is a modification of my personal 18th C., front-opening bodice. I used lacing rings (to save time and my hands), and found buttons to copy the look of the metal lacing "guards" on the Raphael portrait. The skirt is also lined in silk and is box-pleated, with a double inverted box pleat at the back. The front just overlaps (about 5"), and is held with hook & eye. Amazingly it stayed closed from just the weight of the skirt. The trim is black double-sided velvet ribbon; it's all hand-sewn, but I did use "Wash Away Wonder tape" to hold it in place while sewing.

The petticoat which unfortunately doesn't show is so pretty! It's coral silk, lined in coral, and with a 4" wide guard of the dark burgundy silk. I cartridge pleated it to a wide, slightly curved waistband, so the flare of the petticoat sits on my hips rather than the waist.

The blue-black silk brocade was a great find for the sleeves; it matches the Raphael portrait perfectly (Nancy's Sewing Basket, in Seattle). It was expensive, but I only needed 5/8 of a yard. The sleeves are lined in silk. I made tiny, flat loops at the top of each sleeve and used rings at the shoulder of the bodice; the ties are silk-satin ribbon.

I followed Jennifer's advice on the camicia, though I ended up using a very fine Swiss cotton instead of linen. Her pattern is wonderful! My shoulder "poofs" stayed up all night, even while dancing. The neckline is hand pleated, and has a tiny bit of black trim. I added a small embroidered border on the sleeve ends; I didn't see much of this in the period portraits, but it just seemed right.

The sash is upholstery cord, with the flange picked off, trimmed in beads and fat tassels. I copied the necklace in the Raphael portrait, with tiny amber beads, a pin, and extra-large Baroque pearl. I styled my hair based on a 16th C. portrait pulled from the web, which I unfortunately forget to identify. I wrapped one of my long, fake braids in velvet ribbon, and added gold metal "flower" beads, tied in place with old metallic trim.

This has turned out to be a fun and useful costume I've even worn it to a Gallery Concerts fundraiser in downtown Seattle.