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15Th C Italian Clothing

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15Th C Italian Clothing 15th C clothing for men and women THL Peryn Rose Whytehorse Barony of the South Downs Meridies February 2015 CAMICIA/CAMISA (M/F). The chemise, made usually of linen, but occasionally of cotton or silk. 1494 In the earlier part of the century, the camicia is a functional washable layer of clothing worn between the skin and the outer woollen or silk garments. However, as the Quattrocento progresses, the chemise, revealed through slits and slashes down the sleeves and the bodice, and around the neckline, becomes more decorated with embroidered bands around the collar and cuffs. There must have been regional variations also; e.g. men's shirts 'a modo di Firenze' (Strozzi, op. Finish inside cit., p. 100). edges of sleeves on both sides 1452-66 1488 Definitions from Dress in Renaissance Italy, 1400-1500, by Jacqueline Herald, printed by Humanities Press: NJ, 1981. 1496 1478 Inventories Monna Bamba 1424 - 7 camicie usate 1476-78 Wedding present to Francesco de Medici 1433 – 17 chamicie Household of Puccio Pucci – 18 camicie da donna 1452-66 1452 1460s 1476-84 1460-64 1460-64 GAMURRA/CAMMURA/CAMORA (F). The Tuscan term for the simple dress worn directly over the woman's chemise (camicia). 1476-84 In the north of Italy, it is known by the terms zupa, zipa or socha. The gamurra is worn by women of all classes. It is both functional and informal, being worn on its own at home, and covered by some form of overgarment such as the cioppa, mantello, pellanda or vestimento out-of-doors or on a more formal occasion. Following the contour of the body, it is usually unlined, and made of wool or occasionally silk. Earlier in the century, the sleeves are attached; but later they are more commonly separate, and often of a different, richer textile. 1495 1476-84 1475 COTTA (F). Probably the summer version of the gamurra, being made of silk rather than woollen cloth. Some cotte were quite elaborate, such as that which appears in 1466 in the trousseau of Nannina de'Medici which was a cotta of white damaschino brocaded in gold with flowers, with sleeves embroidered in pearls; and another cotta was of silk, with sleeves of cremisi and gold brocade (con maniche di broccato d'oro cremisi). As in the case of the gamurra, the cotta could have sleeves of a textile different from the main body of the dress. Whilst it was considered extremely informal to go out wearing a gamurra and nothing over it, the cotta could be worn alone on quite formal occasions in summer. The relative fullness of the cotta as compared with the gamurra is difficult to determine. Marco Parenti noted in 1465 that 18 braccia were sufficient to make a cotta of zetani vellutato di chermisi for his wife (Strozzi, p. 445). Because silk has less give than wool, silk garments probably needed to be cut more generously than woollen ones. A Comparison of Bodice Stiffeners http://homepage.mac.com/festive_attyre/rese arch/diary/stiffeners.html Jen Thompson and the Festive Attyre website Bodice made from three layers of linen Good posture Slouched back and shoulders A Comparison of Bodice Stiffeners http://homepage.mac.com/festive_attyre/rese arch/diary/stiffeners.html Jen Thompson and the Festive Attyre website Quilted bodice made from linen and 3 layers of thin cotton batting Good posture Slouched back and shoulders A Comparison of Bodice Stiffeners http://homepage.mac.com/festive_attyre/rese arch/diary/stiffeners.html Jen Thompson and the Festive Attyre website Canvas bodice made from 4 layers of heavy denim and canvas Good posture Slouched back and shoulders A Comparison of Bodice Stiffeners http://homepage.mac.com/festive_attyre/rese arch/diary/stiffeners.html Jen Thompson and the Festive Attyre website Linen bodice stiffened with 1/8 inch hemp cord Good posture Slouched back and shoulders Cut two layers each of linen for front and back Remember that the cording will take up width, so you will need to add extra (1-3”) to your bodice pattern for outer and lining fabrics Draw selvage edge and direction guidelines Pin the two layers together Sew channels for cord a sewing machine foot width apart (will vary on diameter of cord you use Use a different color thread than your linen fabric to see the lines better FARSETTO (M). The generic term for a man's doublet, which is also known by the names corpetto, guibetto, zuparello, and zupone (guibbone). This type of garment is made by a professional farsettaio. The doublet is a close-fitting garment, stuffed and quilted. It has a low-standing collar and usually sleeves. Worn over the shirt, and beneath a tunic and/or other forms of overgarment, the farsetto offers warmth and protection, and defines the outlines of the torso, finishing around the hipline. The shape of the doublet varies from one decade to the next, depending on the fashionable silhouette. In the earlier Quattrocento, the doublet is nearly always hidden by some form of tunic or gown, the exception being for sporting activities. FARSETTO (M). (continued) Later in the century, as clothes worn by the fashionable young become more and more revealing, the doublet is shortened and is generally much more in evidence, worn with a loose cloak or gown as opposed to a closed tunic with sleeves. It has been suggested by Levi Pisetzky that some form of doublet (the corpetto, giobetto, zuparello) were meant to show, whereas others (the farsetto, zupone) were always concealed. It is the richness of the textile from which the doublet is made which indicates the nature of the occasion for which it is worn, and implies the degree to which the garment is to be shown off. GIORNEA (F). An overdress, open in front and down the sides, to allow the textile of the cotta worn underneath to show through. The giornea is quite often longer at the back of the hem, offering a sweeping profile in movement. It may or may not have detached 1486-90 sleeves. It is a summer garment, worn more often in Florence than further north, where the pellanda, with open or closed long sleeves, is more suitable for most of the year. Sometimes, however, the giornea is lined with fur, in which case it may be worn during the cooler months. It appears to be a garment normally worn by the young. In a law of 1456, the giornea is associated with the cioppa, both being garments worn directly over the cotta. It was stated that women were allowed up to two silk overgarments -- to be worn at separate times -- one for winter, the other for summer. It could be a cioppa, or a giornea, whichever was preferred, with one cotta for wearing underneath (Polidori Calamandrei, p. 44). Definitions from Dress in Renaissance Italy, 1400-1500, by Jacqueline Herald, printed by Humanities Press: NJ, 1981. THL Peryn Rose Whytehorse Barony of the South Downs, Meridies 4/11/07 1486-90 GIORNEA (M). An open-sided overgarment which, as with the women's version, takes the place of the fourteenth-century guarnacca. But it is shorter than the guarnacca, and is sometimes worn in a military context. It is worn directly over the farsetto or zupone. San Barnardino despised the giornea, likening it to a horsecloth trimmed with fringes down the sides and about the hem. The giornea often bears embroidered devices, such as the three zornee de raxo cremisino, embroidered with beautiful pearls and the symbol of a cloth, suggested by Ludovico il Moro. CIOPPA (M/F). A type of overgown. The word is used in Tuscany and the Naples region, and is the equivalent of pellanda (north of Italy) and the veste or sacco 1435 (Bologna and elsewhere). Towards the end of the century, the terms pellanda and sacco disappear, and are replaced by vestito, which refers to something rich and fashionable. The cioppa is a generous garment, often with long hanging sleeves, which appear in a variety of forms. It is worn by women over the gamurra…. 1483-85 PELLANDA/OPELANDA (F). The word used in the north of Italy to denote an overdress; it is related to the houppelande of northern Europe. It is the equivalent of the Florentine cioppa (see CIOPPA). CALZE (M/F). Hose or stockings, usually made of woollen cloth, but also of silk. The men's calze are conveniently attached to the farsetto by means of laces and eyelets. There is no definite indication as to how the women's calze were supported, though a reference to a beca in 1493 provides a clue. Some form of harder footwear (botte, scarpe, stivali) is often worn over the calze. But when calze constitute the only layer of legwear, a piece of leather or felted wool would be attached to the sole of each foot. MUTANDE (M). Underpants, confused with brache at the beginning of the century, listed amongst the biancheriarelating to men's attire. However, there are no known documented examples of mutande to be worn by women. CIOPPA (M/F). …continued In general, the longer, fuller, sweeping sleeves are worn in the north of Italy, whilst in Tuscany and the south, the sleeves of this overdress are more conservatively cut. The cioppa is often lined with fur or silk, depending on the season, the lining being turned back at the hem. Invariably, a richer or more valuable fur is used around the facings, whilst the majority of the cioppa is lined with more modest skins. CALZE (M/F). Hose or stockings, usually made of woollen cloth, but also of silk.
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