The influence of the Renaissance launched the concept of high fashion as costume began to reflect the love of art, discovery, and invention during this period in history. The clean and simple lines of medieval clothing gave way to more elaborately shaped and adorned clothing that reflected the artistic ideals of the Renaissance. In the 16th century, the Tudor's of England brought Renaissance fashion to its climax, setting the tone for fashion design for the next four centuries. The fitted bodices and full skirts that were the mainstay of court dresses not only enhanced the the feminine features that had been idealized by Renaissance artists, but also provided a canvas in which to display one's wealth in the form of jewels, lace, and other fine adornments.
The Hampton Court Gown by Thimbles and Acorns is a classic fully lined Tudor style gown. The fitted bodice has a low square neckline with a slightly curved front opening that fastens with three small snaps. The full skirt is pleated in the back and opens in the front to display the kirtle or petticoat worn underneath. The bodice and skirting can be finished with decorative lace, embroidery, or beading. The wide bell shaped sleeves are trimmed with fur and the lining is pleated inside the elbow to give the sleeves a draped appearance. The key to Tudor fashion was layering and the Hampton Court Gown was designed to be worn over Thimbles and Acorns Side Laced Kirtle and Smock. The kirtle and smock not only give the gown added support and fill in the open space of the skirting, but the additional layers of color and texture along the bodice and sleeves gives the gown a complex and regal appearance. If preferred, this pattern also includes a simple petticoat that can be worn underneath the gown in place of the kirtle. The crowning glory of this gown is the quintessential English Gabled Hood. It's gable shape not only covered the hair but provided a framework on which a noble woman could display her finest jewels and ornaments around her face.
This PDF pattern is designed to fit 16" A Girl for All Time® and other similarly sized dolls. This pattern is also available for 18" American Girl® dolls.
Recommended Fabrics: Suggested Fabrics: Gown, Gown Lining, and Petticoat in silk dupioni, lightweight linen, cotton, lightweight damask, lightweight jacquard, lightweight velvet, taffeta, lightweight wool. Not suitable for knits. Hood Cover in lightweight cotton, lightweight linen, lightweight damask, lightweight jacquard. Not suitable for knits. Hood Veil, Box, Forehead Cover, and Sash in cotton voile, lawn, silk, lightweight linen, lightweight damask, lightweight jacquard. Not suitable for knits.
-Gown ~ 2/3 yard (.6 m)
-Gown Lining ~ 2/3 yard (.6 m)
-Petticoat ~ 2/3 yard (.6 m)
-Hood Cover ~ 1/3 yard (.3 m)
-Hood Veil and Box ~ 1/4 yard (.25 m)
-Hood Sash ~ 1/6 yard (.15 m)
-Forehead Cover ~ 5 x 10-inch (12 x 25 cm)
Thread. Gown ~ three medium snaps, 2 yards 1/2-inch wide lace or trim, 12-inch x 2-inch scrap of fake fur. Hood ~ 1/3-yard Buckram, 1/3-yard iron-on fusing OR 1/3 yard heavyweight fusible interfacing, 1/3 yard 1/2-inch wide jeweled trim or loose jewels and beads. Petticoat ~ one medium snap. Belt ~ one chain necklace that is 24-inches or longer, one jump ring or small connecting pendant..
Skill Level: Intermediate
What You Get: One 37 page sewing pattern that you digitally download as a PDF file so you can start your project immediately! The PDF sewing pattern provides digitally drawn step-by-step illustrated instructions and full size pattern pieces. A PDF reader is required to view and print the files (example: Adobe Reader or Preview for MAC). The download link is received immediately after the transaction is complete. Print copies are NOT available.
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I am an amateur seamstress and the Tudor Gable hood was a tad challenging in terms of blind hand stitching. Its doable, the finished product looks super authentic. I choose the wrong fabric for the whole outfit though, make sure to follow the advice given in the instruction and get a lightweight type. There was a small error in the pattern number 6 and in the step by step instruction, but I believe the owner is now amending it, so should not be a problem going forward. The gown itself was easy enough; the way it was put together was not the way I usually do it, but again, I am not a pro.
I was privileged to be a pattern tester for this gown. As always, Shari gives a great historical perspective on fashion from this period, as well as great recommendations for fabrics. I learned (after making my first of these) to use a fine, lightweight trim (look at Shari's cover photo with the fine, gold lace trim). I used machine embroidery on my AGOT dress on the front bodice and the skirt edges. I also chose to use plain, old Kona cotton. Much easier to manipulate than the slippery, shiny brocades I was drawn to. And yet, the elegance of this pattern was enough to show the opulence of the period. The Gable Hood is an architectural wonder. I can't believe how well Shari calculated the size to fit the proportion of these dolls. So dramatic. I substituted Sophie's Glue for some of the hand stitching. This pattern is designed to be worn over the "Side-Laced Kirtle". I made both, and it is a wonderful combination. This gown is designed to allow the blackwork embroidery of the shift to show. Great detail. The fit of the Hampton Court Gown was great, with, and without the kirtle underneath. Be sure to look at that pattern also.