Here is the second Judith North ensemble. Made of a silk/cotton blend olive brocade trimmed in pumpkin and olive silk, it worked wonderfully for her character. Once again using a doublet-style bodice (from the Jean Hunisett pattern), I altered the opening to have a wide triabgular collar; it was never able to close completely up the front, and was built not to. The closures, in the masculine style that was appropriate to her character, were olive green silk ties tipped in antique gold aiglettes.
Here is an in-progress shot, showing thye seaming on the bodice which would later be covered by silk panels. it was not the usual construction for a Renaissance woman’s doublet; I used darts to give a more flattering fit, knowing they were not period, but that they would be covered later. I cheated!
Tou can also see the sleeves a little better; they are twisted tubes of silk in alternating olive and pumpkin, attached by bands of pumpkin with olive gimp laid over. They were very light and airy, and comfortable to wear, apparently! All the silk came from the wonderful Andrew over at Silk Baron, by the way . . .
Here is the sketch versus the finished product: you can see the mitered corners on the skirt trim that ended up working very well, I think! The hat I made myself, a modified flat cap. I hate making hats, but I keep talking myself into making them! Go figure . . .
Not one of the best shots of my sister Tabitha, but a nioce pic of the dress! The trim was two layers of two different olive gimps from MJ Trims; the best way to get the elaborate trim depicted in Renaissance portraits is to layer your trims.
She wore this dress the 2006 season, and still drags it out every now and then (though never in rain!)