FOUNDATIONS REVEALED COMPETITION ENTRY
The Star-Crossed Lover
Outline the story …
My 1490’s Florentine gown is one in a series of what I’m calling “Shakespeare’s Heroines,” made up of designs inspired by my favorite leading ladies in Shakespeare’s plays. This particular gown is my Juliet gown, based on Juliet Capulet from Shakespeare’s Romeo and Juliet.
I started by researching artwork from the late 15th century, and decided to create both a gamurra (in this case the black gown) and a giornea (in the case the red and gold damask), as inspired by the frescoes of Domenico Ghirlandaio. In addition, I constructed a late 15th century linen shift, known as a camicia, to provide the appropriate volume in the body and sleeves, as well as made all of the accessories seen. I used a silk damask for the giornea, and a contrasting cotton jacquard for the gamurra. Color symbolism was used to represent the themes of Shakespeare’s play. Black for tragedy and mourning, red for love and lust, but also anger and violence, and gold for affluence and prosperity. Excepting the long skirt seams, the entire ensemble was completed by hand.
Outline the construction…
The camicia consists of several rectangles with gussets stitched into the underarms Lace trims with wrist with black ribbons used for ties It has a drawstring neckline to allow variability for future projects I began draping my initial pattern based on the silhouettes observed in my earlier research I noticed that the waistlines in late 15th artwork did not appear as high as they are often depicted in pop culture, so, I extended the waistline down to about the middle of the ribcage While my research suggested lacing either in the center front or on the sides, I placed the closure in the back, using brass lacing rings couched against the center back edge, and lacing cord finished with metal lacing points I cut a V-shape into the bodice front and added faux lacing braided from white silk embroidery floss The bodice is made of three layers The innermost and middle are stitched together to form channels To allow my bust to maintain a sloping shape, I only boned every second channel The black outer layer was stitched over the structured layers, and velvet ribbon was used to trim the bodice The skirts consist of three panels, cartridge pleated, and attached at the waist The laced sleeves were drafted flat from my design, joined at the elbow with gold beads and pearls, and connected to the bodice with velvet ribbon The giornea is made of three pieces of silk damask, pleated to fit the shoulder and finished in red velvet.