601

Early (1520s-40s) Tudor Lady’s Gowns and Kirtle

 The Tudor Lady’s Gown 1520s through 1540s
Nothing exists in a vacuum and this is certainly true of the clothing of English noblewomen in the
first half of the 16th century. The ensemble we call “The Tudor Lady’s Gown” as exemplified in
portraits of Jane Seymour and Catherine Parr is the natural development of the gown and kirtle
outfits of the previous century.
In the 15th century and possibly much earlier, the kirtle was the common woman’s basic gown. It
was simply constructed of a four-piece bodice (two backs and two fronts) and a skirt. It existed in
sleeveless and short-sleeved versions and was worn directly over a woman’s linen smock or
underwear. In earlier centuries the kirtle had no waist seam, but by the 15th century this feature
was added, allowing a widening of the skirts. Worn with pinned or tied on sleeves, it could be
dressed up or dressed down as suited the occasion. Medieval calendars show women working in
the fields without sleeves and their smock sleeves rolled up and their skirts kirtled about their hips.
Other depictions show women in distress with their sleeves missing or pulled on but not pinned.
This can be seen particularly in religious paintings depicting the Crucifixion and the Massacre of the
Innocents. At other times women demurely wore their sleeves of wool or sometimes even brocade.
Noblewomen also wore this gown, but as an underlayer to their elaborate fur-lined or silk brocade
gowns. The front of the kirtle may be seen at the neckline of the overgowns in illustrations of the saints’
lives in illuminated manuscripts and sometimes glimpsed when ladies hold up their hems to walk.
In the 16th century, it appears that not much has changed. In genre paintings of common people
the kirtle is still worn by women with the addition of tied or pinned-on sleeves. Oftentimes a partlet
is added for modesty’s sake to cover the upper chest.
As in the previous century, noblewomen in the 16th century continued to wear kirtles as supportive
undergarments. As the gowns became more elaborate and the fashionable shape more structured,
stiffening (possibly in the form of buckram and glue-stiffened interlining) and later boning was added
to the bodice of the kirtle as well as to the underskirts or farthingale. As far as we can conjecture, it
was not until later in the 16th century that bodice and skirts
separated into bodys/stays and petticote.
Looking at Holbein’s 1528 sketch of a lady, we see many
resemblances to the gowns worn at the end of the 15th century.
Necklines are low and square, pleating is concentrated on the
backs of the skirts, and sleeves are enormous. A certain post-
medieval soft and flowiness is still in evidence. Although
Katherine of Aragon is credited with introducing the farthingale
to the English Court in 1501, it is clear that no hoops or
stiffened underskirt is worn with this gown. The skirts are
flowing and natural. Indeed this draping style with a train
continues through the 1520s into the 1530s.
The bodice of this gown also appears fairly natural. While it is
certainly tight enough to lift the wearer’s breasts, it does not
necessarily appear to be boned. It is possible that in this early
evolution of the Tudor gown and kirtle, the kirtle was merely
interlined with stiff fabric, not boned. Other sketches of this
Hans Holbein’s 1528 sketch of a lady time period echo this flowing look.
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Maria Hayward in her book Dress at the Court of King Henry
VIII reports that there is no mention of boning (or materials
that could have been used for boning) in receipts for kirtles
made for the Royal Wardrobe. It is possible that some other
type of stiffening was used, but no accounts mention it. This
is curious as bodices during Henry’s reign show definite signs
of fairly rigid boning.
Case in point, Jane Seymour’s famous 1537 portrait by
Holbein. There are two versions of this painting, the one at
right in the Hague and another with brocade sleeves and
more elaborate jewelry in the Kunsthistorisches Museum in
Vienna. In both paintings, the elements of the gown and kirtle
we are about to discuss are shown.
If you look carefully at the left side seam of the gown, you will
see tiny yellow dots and some slight stress wrinkles. These
are the heads of brass pins. Jane Malcolm-Davies and Ninya
Mikhaila have long posited that these pins are in fact holding
a placard that matches the fabric of the gown. Under this 1537 portrait of Jane Seymour
placket is a front-lacing bodice that is the true, though hidden, by Hans Holbein
closure method of the overgown.
Mikhaila and Malcolm-Davies also discovered evidence of
another layer between the gown and smock. The line of pearls
and other gems on the above portrait looks like trim on the
gown but Mikhaila and Malcolm-Davies postulate that it is in
fact an underlayer. Their idea is further supported by careful
inspection of the painting of Catherine Parr reproduced at right.
In close-up, it is clear that the grey fur that lines her sleeves is
also peaking out between her red jewel-trimmed layer and the
grey brocade outer gown. Experiments by Mikhaila and
Malcolm-Davies have shown this to be a configuration of
garments that resembles most closely the ensembles worn in
the paintings. Additionally, wardrobe accounts, tailor receipts,
and inventories are full of references to kirtles as well as
gowns and the descriptions of the materials used match what
we see in period portraiture. It is assumed that this underlayer
is the kirtle and the overlayer the gown.
Wearing a boned or stiffened kirtle as a shaping garment
allows the outer gown to remain smooth because it doesn’t
require the kind of lacing that tends to distort the drape of a
garment. Evidence suggests that the kirtle took the place
costumers have long assigned to the corset. The first extant
corset doesn’t appear until 1598, but references to “petticoat
bodys”, bodices with attached skirts, and kirtles are prevalent
Painting of Catherine Parr in the historical record throughout the 16th century.
attributed to Master John circa 1545
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Bibliography
Arnold, Janet and Phillip Lindley. "Queen Elizabeth I" in The
Funeral Effigies of Westminster Abbey. Harvey Anthony &
Richard Mortimer, eds. 2003: Boydell Press, Suffolk.
Arnold, Janet. Patterns of Fashion: The cut and
construction of clothes for men and women c1560-
1620. 1985: Macmillan, London.
Arnold, Janet. Queen Elizabeth’s Wardrobe Unlock’d.
1988: W.S. Maney & Son, Ltd., Leeds.
Boucher, François. 20,000 Years of Fashion. 1987:
Harry N. Abrams, Inc., New York.
Hayward, Maria. Dress at the Court of King Henry VIII.
2007: Maney Publishing, Leeds, UK.
Mikhaila, Ninya and Jane Malcolm-Davies. The Tudor Tailor.
2006: BT Batsford Ltd., London.
Payne, Blanche. History of Costume. 1965: Harper
Collins, New York.
Waugh, Norah. Corsets and Crinolines. 1954: Theatre Elizabeth as Princess
Arts Books, New York. by the Flemish School circa 1546-47
The author’s private notes from The Gallery of Costume, Manchester, and the Victoria and Albert
Museum, London.
Tudor Portraits - http://www.elizabethan-portraits.com
The Web Gallery of Art - http://www.wga.hu

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 1520s-40s Tudor Lady’s Gown Instructions

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Please read all the instructions before cutting anything.
This Gown is designed to be worn over a Petticote and boned or stiffened Kirtle. Wearing a
Farthingale is optional, but it is recommended for later (1535+) gowns. Please construct all
the undergarments before attempting to make the Gown. Fit the Kirtle over your Petticote,
Farthingale, and Smock and the Gown over the Kirtle. This will achieve a comfortable and
period-appropriate fit.
Sizing
The sizes in this pattern assume an average height of 5’5”. If you are taller or short than this,
amend the skirt pieces accordingly before cutting your fabric.

Sewing
Reconstructing History Patterns are based on surviving historical garments and their construction
techniques. However, there is no reason why you cannot make this garment entirely by machine, or
partially by machine and partially by hand. If you prefer to use a machine, please follow the
directions labeled “Modern Construction.”
The original garments upon which this pattern is based were entirely hand-sewn using stitches and
techniques with which the modern seamstress may not be familiar. If you wish to construct a
garment as similar to the original as possible, please follow the directions under “Period Construction”
and refer to the Period Stitches on pages 8 and 9.

Fabric Requirements and Suggestions

Kirtle
Outer Material — 4 yards silk, taffeta, or fine wool
Lining — 4 yards
Add 1 1/4 yd of outer material and lining if making a train
Bodice Interlining — 2 yards linen, canvas or buckram
Skirts Interlining — 2 yards linen
Corset boning or reeds
Decorative fabric for top of bodice and front of gown and hem if seen
Gems, pearls or other decorative bits for top edge
Gown
Outer Material — 10 yards silk, taffeta, or fine wool
Lining — 10 yards
Interlining — 2 yards 5+oz linen or buckram
Sleeve lining (turnbacks) — 2 yards silk brocade or velvet
Undersleeves — 2 yards decorative fabric to match or contrast with kirtle forepart
Hooks and eyes, pins, gems, pearls or other decorative bits for sleeves
Seam Allowances are 3/8” unless otherwise noted.
Kirtle
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The Kirtle is the supportive under-layer worn over the petticote. Its purpose is to shape the figure
and provide decoration to be seen under the uppermost layer. The shape given by this layer is not
the heavily-boned shape of Elizabethan garments. The shaping should be rounded and the bust at
a natural level. Reed or cording is suggested as boning material. Steel bones, if deemed necessary,
should only be used at center front.
Cutting
1. Cut two Bodice Backs, one Bodice Front on the fold, two Skirt Backs on the fold and one Skirt
Front on the fold from outer material and lining. If trained Skirts are desired, extend the center
back line of the Back Skirts about 18” and draw a curve to meet up with the side seam at normal
level.
Put the outer material and lining pieces aside momentarily.
2. Cut four Backs, and two Fronts on the fold from interlining. Trim away top seam allowance.
3. If making a Gown with a front opening, cut an additional Front from decorative fabric. Cut
decorative fabric to cover the bottom 18” (and train if applicable) above the hem of the Skirt
Backs.
Bodice
1. Lay one Front on your work surface. With a ruler and pencil or fabric marker, draw boning
channels on the interlining. The boning channels should be slightly wider
than the width of your boning material. Draw two bones parallel to the
center front on the Front and continue to draw bones parallel to these to
the point where the shoulder strap attaches. Measure from the center
front to the point where the shoulder strap attaches and mark the center of
that space on both sides of the Bodice Front. Make a mark 4” down from
the top at this point. Draw a curve from the bottom of the dotted line
indicating the decorative border to this point and up to the dotted line
again. Repeat on the other side of the Bodice Front. These lines are
where the boning should stop in order to give the proper rounded fig 1
early Tudor shape. Draw more boning channels parallel to the side seams
from the shoulder strap attachment to the sides only reaching as far as the decorative border.
Do NOT bone to the top edge. The proper fit of the Bodice requires the boning to stop below
the bust. The breasts should not be pushed up but rather sit low and comfortably in the
Bodice. If you need to make your curves lower to achieve this end, do so.
2. Lay the marked interlining piece on top of the unmarked interlining and align all the edges.
3. Following the lines you drew on the top interlining, sew boning channels through both layers.
4. Pin the side seams and shoulder straps in place and try on the Bodice. It should not close. This
will allow the Bodice to “draw” like a corset. Adjust the Bodice to fit properly and not cause
discomfort under the arms or at the waist. The bottom of the Bodice should ride high, about at
the level of the floating ribs. Be careful not to over-adjust. When you insert the boning, there will
be some take-up and the Bodice will get slightly smaller. So if they are snug at this stage, let out
the seams slightly. Try them on again after they are boned to check the fit.

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To make a side-lacing Kirtle, substitute “back seam” for “side seams” everywhere in these directions.
5. When pleased with the fit, sew the side seams permanently.
6. Sew boning channels on the back next to the side seam and one next to the center back opening.
7. Insert boning into the boning channels.
8. Retrieve your outer material Front and Backs. Sew them together at the side seams. Try on the
interlining Bodice with the outer material Bodice over it. Adjust the seams as necessary.
9. Roll the top seam allowance over the neckline edge of the Bodice, catching it on the inside of the
Bodice with a Pad Stitch (see pages 8-9 for Period Stitches). Baste around the lower edge of
the Bodice.
10. Pin the strips of decorative fabric to the neckline and shoulder straps, tucking the raw edges
under and couching them down on the outside of the Bodice.

Lining
11. Press the seams open. If the seams are very thick, the seam allowances can be tacked open
with a blind stitch.
12. Lay the lining pieces inside the Front and Back, wrong sides to wrong sides.
13. Tuck the seam allowances under so they are sandwiched between the lining and the rest of the
Bodice layers. Press.
14. Align the folded and pressed edges of the lining pieces with the seams of the rest of the Bodice.
Whipstitch the lining to the seams. This period finish allows the lining to be easily removed and
laundered.
Skirts
1. Sew outer material Skirt Backs to each other along the center back seam, stopping 6” from the
top edge. Stop 6” from the top along the side seams if side lacing.
2. If using decorative fabric, lay the fabric on top of the Skirt Front and Backs now. Turn the raw
edges under and catch to the Skirt outer material with a blind stitch.
3. Sew outer material Skirt Front to the Backs along the unsewn vertical edges. Press seams open.
4. If lining, sew the lining Skirts together in the same way.
5. Put the lining Skirts inside the outer material Skirts, right sides to right sides, and align the
bottom edges and the side seams.
6. Sew the bottom edge of the lining to the outer material Skirts around the hem. Alternately the
bottom hem can be bound with a strip of the outer material or hemmed. If not lining, hem the
lower edge with a blindstitch at this point.
7. Turn the Skirts right-side out and roll the bottom seam slightly so that the lining sits higher than
the outer material and is not seen from the outside. Press the bottom edge flat.
8. Baste around the top edge of the Skirts, catching the lining to the outer material.

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Attaching the Skirts
1. Lay the Bodice on top of the Skirts, outer material to outer material. Align the top edges of the
Skirts with the lower edge of the Bodice.
2. Align the center front of the Bodice with the center front fold of the Skirts. Pin in place. Align the
side seams of the Bodice with the side seams of the Skirts.
3. Starting about 4” away from the center front point, knife pleat the Skirts toward the side seams.
Arrange the pleats to fill up the Bodice waistline from seam to seam. Pin or baste in place.
4. Knife pleat the back of the Skirts from the side seams toward the center back opening. Arrange
the pleats to fill up the Bodice waistline from seam to seam. Pin or baste in place.
5. Sew the Bodice to all layers of the Skirts. Grade seams if necessary.
6. Finish the center back opening with a blind stitch.
Gown
The Gown is the uppermost layer in a lady’s ensemble.
Cutting
1. Cut two Bodice Center Backs, two Bodice Side Backs, two Bodice Side Fronts, one Placard on
the fold, two Back Skirts, two Side Skirts, two Sleeves and two Front Skirts from outer material
and lining. If making a train, place the Side and Back Skirts pattern pieces on your material as
indicated.
2. Cut two Undersleeves from the same decorative fabric you used on your Kirtle, lining and
interlining.
3. Cut two Sleeve Turnbacks from contrasting material. Use the Sleeve pattern piece but only cut
the bell of the Sleeve, not the arm piece.
4. Cut two Forebodies out of lesser material.
5. Cut two Bodice Center Backs, two Bodice Side Backs, two Bodice Side Fronts, one Placard on
the fold, two Forebodies, two Back Skirts, two Side Skirts, two Front Skirts and two Sleeves from
interlining. Baste each piece to its corresponding outer material piece and treat as one.
If the outer material is flimsy, wool or cotton wadding (used for quilts) can be used to pad out the
pleats at the back of the skirts. Cut a wide (6-10”) strip of wadding and baste it to the underside
tops of the Back Skirts pieces and treat as one.
Bodice
1. Pin or baste the outer material Center Backs together at the straight edges. Pin or baste a Side
Back to either side of the Center Backs. Pin or baste a side Front to either side of those and pin
or baste a Forebody to each of them.
2. Try on the Bodice over your smock, kirtle and any other garments you intend to wear with the
gown. Adjust the seams as necessary until a comfortable fit is achieved. Sew the seams
permanently.

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3. Sew a boning channel on either side of the edge of the Forebodies. Leave a ½” space for
eyelets to the inside of this boning channel. Sew another boning channel on the other side of the
eyelet space. Bone these channels. If you find you need more support than the kirtle and
Forebodies provide, more boning may be added at this point.
Placard
1. Lay the outer material Placard on top of the lining Placard and turn all raw edges towards each
other and blind stitch or slip stitch together.
2. Fold the seam allowances at the sides of the Placard under and press flat.
3. Put on the Bodice and pin the Placard so it completely covers the Forebodies. Mark the
placement of the side edges of the Placard on the Bodice Side Fronts.
4. The original Gowns secured their Placards with pins. You may do this by inserting pins at an
angle from the marks you made on the Bodice Side Fronts angling towards the Front of the
Bodice. Make sure the Placard is pinned tautly.
5. If more security is desired, eyes may be sewn to the marks on the Bodice Side Fronts and
corresponding hooks can be placed on the underside of the Placard edges.
Sleeves
1. Sew the lower edge of the bell of the Sleeve Turnback to the lower edge of the bell of the Sleeve,
right sides to right sides. Turn right-side out and press the edges. If using velvet or other
napped material, use a pressing cloth between the iron and your fabric.
2. The Sleeve lining need only be the arm part of the Sleeve. Baste this to the top of the Sleeve
and tuck the raw edges under the Sleeve Turnback raw edges.
3. Turn the Sleeve Turnback raw edges under and whipstitch to the lining only. Do not sew through
the outer layer of the Sleeve.
4. Fold the outer material Sleeves in half, right sides to right sides, and sew along the back seam,
making sure you have mirror images (a left and a right sleeve). You can catch the lining edges in
this seam as well. However if you want a cleaner finish, keep the lining edges out of the seam
and turn the seam allowances under and blind stitch to the seam after it is sewn.
5. Baste the Sleeves to the Bodice using the mark on the Side Back as a guide to line up the Sleeve
seam. Adjust the Sleeves until they lay properly. Sew the Sleeves into the armscyes permanently.
Undersleeves
1. Cut the ovals out of all Undersleeve pieces.
2. Baste the interlining to the outer material and treat as one.
3. Lay the outer material Undersleeve on top of the lining Undersleeve and turn all raw edges
towards each other and blind stitch or slip stitch together.
4. The bottom edge of the Undersleeve may be closed at intervals by decorative gems or simply
sewn together. Mark 3-4” intervals from the wrist to the elbow end of the Undersleeve and stitch
the edges together at these points. Decorate as desired. See period artwork for ideas.

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5. If your smock does not have sleeves full enough to puff out at the ovals, cut a piece of linen and
put it inside the Undersleeve. Pull it through the ovals until it looks like the portraiture. Baste in
place from the inside.
Skirts
1. Sew outer material Skirt Backs to each other along the center back seam.
2. Sew outer material Skirt Fronts to each other along the center front edge, stopping 6” from the top
edge. Press seams open.
3. Sew the Skirt Sides to the Fronts and Backs.
4. If lining, sew the lining Skirts together in the same way.
5. Put the lining Skirts inside the outer material Skirts, right sides to right sides, and align the bottom
edges and the side seams.
6. Sew the bottom edge of the lining to the outer material Skirts around the hem. Alternately the
bottom hem can be bound with a strip of the outer material or hemmed. If not lining, hem the
lower edge with a blindstitch at this point.
7. Turn the Skirts right-side out and roll the bottom seam slightly so that the lining sits higher than
the outer material and is not seen from the outside. Press the bottom edge flat.
8. Baste around the top edge of the Skirts, catching the lining to the outer material (and wadding, if
applicable).
Attaching the Skirts
1. Lay the Bodice on top of the Skirts, outer material to outer material. Align the top edges of the
Skirts with the lower edge of the Bodice.
2. Align the center front of the Bodice with the center front fold of the Skirts. Pin in place. Align the
side seams of the Bodice with the side seams of the Skirts.
3. Starting about 4” away from the center front point, knife pleat the Skirts Fronts toward the side
seams. Arrange the pleats to fill up the Bodice waistline from side seam to side seam. Pin or
baste in place.
4. Knife pleat the Skirt Sides and Backs from the center back opening toward the side seams.
Arrange the pleats to fill up the Bodice waistline from side seam to side seam. Pin or baste in
place. The center back of the Skirts should be pleated very heavily. Concentrate most of your
pleats here for the proper effect.
5. Sew the Bodice to all layers of the Skirts. Grade seams if necessary.
6. Finish the center back opening with a blind stitch.

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Finishing Touches
Take the Sleeve Turnback by the lower edge and fold it back until it meets elbow crook. Stitch this edge
invisibly to that point only at the top. Allow the rest of the Turnback to fall
freely.
The Undersleeves may be secured inside the Sleeves with ties or pins or sewn
permanently. Try on the whole ensemble and use whatever method is most
comfortable for you.
Make offset pairs of eyelets (see “Making Eyelets” below) to the inside of the
boning on either side of the center back of the Kirtle and inside the boning
on either side of the Forebodies. Start with two parallel pairs of eyelets, one
at the top of the opening and one at the bottom. Then offset all the eyelets
in between so that each eyelet lines up between the eyelets opposite. See
the simplified illustration at right for details.
Tie your lace to the top or bottom eyelet and spiral lace your Bodice as show
in the illustration at right. Do not criss-cross lace your bodys like you would
a sneaker. This is incorrect for the period.
Decorate the top front and back edges of the Kirtle Bodice with jewels or other embellishments.
Embellish your gown using period artwork as inspiration.

Making Eyelets
To make thread eyelets, using an awl or other pointed implement (like a small phillips-head
screwdriver), put the point on a mark on your flap and press and turn the implement until you spread
the threads of the fabric apart and make a hole. It is VERY important that you do not use a cutting
or punching device to make eyelets. They will make the hole too big. Once the hole is big enough
to get your implement into and out of it easily, bind the eyelet with thread using buttonhole stitch or
whip stitch (as shown in Period Stitches on page 9).
Do NOT use metal eyelets or grommets.

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Credits
Thanks to Robert P. Davis for the Technical Edit. Extra special thanks to Ninya Mikhaila for granting
me permission to use her and Jane Malcolm-Davies’ research and construction information found on
their websites and in their recent book, The Tudor Tailor.
Sources
The Workman's Guide to Tailoring Stitches published by Kannik’s Korner ISBN 0-9640161-4-1
Arnold, Janet and Phillip Lindley. "Queen Elizabeth I" in The Funeral Effigies of Westminster Abbey.
Harvey Anthony & Richard Mortimer, eds. 2003: Boydell Press, Suffolk.
Arnold, Janet. Patterns of Fashion: The cut and construction of clothes for men and women c1560-
1620. 1985: Macmillan, London.
Boucher, François. 20,000 Years of Fashion. 1987: Harry N. Abrams, Inc., New York.
Mikhaila, Ninya and Jane Malcolm-Davies. The Tudor Tailor. 2006: BT Batsford Ltd., London.
Payne, Blanche. History of Costume. 1965: Harper Collins, New York.
Shaeffer, Claire B. Couture Sewing Techniques. 2001: The Taunton Press, Newtown, CT
Waugh, Norah. Corsets and Crinolines. 1954: Theatre Arts Books, New York.

9
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This document may not be copied wholly or in part without the express permission of the author. All rights reserved.
 Period Stitches

Running Stitch — a small, even, in-and-out stitch used for Basting Stitch — a large version of the running stitch used for
seams that require little strength. Take several 1/8” stitches on holding seams together during the fitting process. Follow the
the needle and pull it through. Repeat. Stitches can be any directions for the Running Stitch but take ½” to 1” stitches.
size, but 1/8” is good to start with.

Back Stitch — a small, even stitch used for seams that require Whip Stitch — used for finishing raw edges, decorative
strength. Bring the needle up from the underside of the fabric, finishing, or making narrow seams. Line up the edges of the
insert the needle 1/8” behind where you came up and bring it fabric and sew around the edges in a spiral, moving forward.
back up 1/8” in front where you came up. Repeat. Good for Keep the stitches even.
seams that take a lot of stress, like sleeve attachments and
crotch seams.

Fell Stitch — used for hemming, finishing waistbands, sleeve Blind Stitch — a hem stitch that hides the stitches. Fold the
linings, and collars. This is also the stitch used to finish flat- hem over and insert the needle in the fabric below it. Moving
felled seams. Fold the raw edges of the top fabric under and diagonally, catch only a thread or two of the underside of the
make tiny, parallel stitches (similar to a whip stitch) along the hem on your needle. Turn the needle diagonally downward and
edge of the fold, moving forward. catch a thread or two on the fabric below. Make sure to keep
your stitches small and hidden under the hem fold.

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Prick Stitch — a hemming stitch that makes a topstitch on the Slip Stitch — used to invisibly join seams. Line up the two
exterior while hemming the interior. Used to finish garment edges of fabric and weave the needle back and forth between
fronts. Fold the raw edges towards each other with the lining them, picking up only a thread or two on each side, creating a
edge slightly inside the outer layer edge and bring the needle up ladder effect with the thread. Draw the stitch taut, but not so
on the lining side. Insert the needle into the seam allowance of much that the fabric puckers.
the outer fabric, turn the needle, and insert again into the outer
fabric from the outside. Keep your stitches even. This will
produce a stitch that looks like a hem stitch from the inside and
a small running stitch on the outside.

Buttonhole Stitch — used for buttonholes or to finish raw

edges. This stitch is best done before the buttonholes are
slashed. It is a little more decorative than blanket stitch but they
Blanket Stitch — used for finishing raw edges or decorative can be used interchangeably. Insert the needle into the
finishing. Insert the needle into the fabric and loop the thread underside of the fabric and pull it up a distance from the edge.
behind the needle point. Pull taut but not tight. Keep the Wrap the thread under the needle point. Pull the needle up so
stitches even. that it’s pointing away from the edge. Keep the stitches even.
Manipulate the decorative edge with your fingers if necessary.

Pad Stitch — used to join layers of padding and interlining together. Pad stitch is nothing more
than basting done so that the stitches on the face of the piece are diagonal and those on the
back of the piece are horizontal. Align the layers you wish to pad stitch, insert your needle, and
let it emerge ½” to the left of where you inserted it. Insert the needle again, this time ½” above
where you inserted it last time, and let it emerge ½” to the left again. Repeat until you reach
the edge of the fabric. Turn the work and continue. You will see that now you are producing
diagonal lines opposite in slope to the previous row. Continue pad stitching until the fabric is
covered and the padding, therefore, secure.

11
© 2006, 2009
This document may not be copied wholly or in part without the express permission of the author. All rights reserved.
 RH 601
1520s-1540s Early Tudor Lady’s Gown and Kirtle
Included in Pattern: Full size paper patterns for Suggested Fabrics: silk satin, taffeta, or tissue
1520s-1540s Kirtle and Gown based on English silk or fine linen for lining
portraiture. Large and small-sleeved versions included. 5oz. linen, canvas or buckram
For wear with or without train. Also included: Detailed for interlining
instructions. Embellishment suggestions. Historical notes.

Notions:
thread
Gown 7mm or ¼” half oval or round reeds or ¼” corset boning
corset lacing
hooks and eyes or pins
gems, pearls, other decorative bits

Sizing:
size A B
C D E F G H I J K
S M L
bust 30½ 31½ 32½ 34 36 38 40 42 44 46 48
waist 23 24 25 26½ 28 30 32 34 37 39 41
back 16 16 16 16½ 17 17 17 17½ 17½ 17½ 17½

Yardage Requirements:
Kirtle
outer material 4 yds at least 45” wide
lining 4 yds at least 45” wide
interlining 2 yds at least 45” wide
contrast fabric as desired for kirtle top and skirts forepart

Gown
Kirtle outer material 10 yds at least 45” wide
lining (optional) 10 yds at least 45” wide
sleeve turnbacks 2 yds at least 45” wide

Undersleeves
outer material, interlining 2 yds at least 45” wide
lining 2 yds at least 45” wide

Kass McGann is an historical clothing researcher specializing in

Irish, Highland Scottish and Japanese medieval dress. For over
a decade, she has studied extant garments in museums
worldwide and made accurate replicas using only period-
appropriate materials and handwork. She has given lectures all
over the US and Ireland on studying and making replicas of
historical clothing. She runs the website www.
reconstructinghistory.com to educate the Internet public about
historic clothing from all over the world.

She is an avid living historian of the 14th through 20th centuries.

She currently lives in the Netherlands with her husband Bob.

© 2006, 2009 Reconstructing History All Rights Reserved. Rඍඋ඗ඖඛගකඝඋගඑඖඏ Hඑඛග඗කඡ VOF Printed in the EU
This pattern is to be used for non-commercial home sewing only. Sඍඑඖඍඔඉඉඖ 71
All illustrations © 2006 by Robert P. Davis 5691 RA
S඗ඖ ຺ Bකඝඍඏඍඔ
Nඍගඐඍකඔඉඖඌඛ
Your downloadable pattern pages will follow this sequence:
Page 1 in the upper left corner, Page 5 in the upper right
corner, Page 6 underneath Page 1, and so on.
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Layarulerontheprintedpageandcheckthattheinchesorcentimetersabovematchyourruler.

DONOTprintthepatternsheetsunlessyourprinterisprintingat100%.Pleaseconsultyourowner's
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Thankyoutoiruler.netfortherulerimage.
 RH601

1
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see pattern illustrations for detail

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