The Gown
The National Trust Collections hold the adult version of the gown that I used as a base pattern for the toddler gown. According to the National Trust, Item # 1446623 is “A purple silk damask man's robe, cap and slippers. The robe is lined with slate blue silk shag which is a fabric with a long pile simulating fur. The robe is decorated with gold and silver braid and has matching buttons. It was reputed to have belonged to Sir Francis Verney and to have been sent back to Claydon from Messina in Sicily where he died. Sir Francis left England and his family in 1608 and became a pirate on the Barbary coast of North Africa.”
Gowns were worn over all other clothes. They could be worn indoors or out, and there was little difference between men’s and women’s gowns. The sleeves had an open front seam so the arms could pass through vs. being closed like a modern coat. If it was cold, the front seam could be closed and the sleeves worn normally. Threadwork buttons and/or hooks & eyes closed the front and sleeves.
Toddler gowns were similar to the adult versions. One minor difference, seen occasionally, is that the hanging sleeves could be replaced by leading strings. This is only for 2 - 5 years olds. I did not notice the age gap mentioned in The Tudor Child. Gowns could have a waist seam in the late 16th c. or not. Gowns cut in one piece from neck to hem were not belted. Most paintings show the hem ending at the ankle or just above the toes of the shoe.
The toddler’s gown is made from purple cotton brocade, navy blue raw silk, rabbit fur, synthetic cord, thredwork butons and cotton embroidery floss braid. The cotton brocade is not period, it should be silk; however, it is fire safe and the pattern is the right size and repeat to mimic the inspiration painting, and it’s purple like the gown in the National Trust Collection. Rabbit fur was very common for children’s clothing of all social classes, and the black/gray is a close match to the inspiration painting. Edging vs. fully lining saved time and materials, but most importantly it cut down on the weight. Raw silk is taking the place of the silk shag, but will be warm and comfortable.
Since the gown in Patterns of Fashion 3, p. 98 is dated 1608, I had to make adjustments to match the 1570’s inspiration image better. I missed a critical cut to the sleeves, but the finished garment is similar to other toddler gowns of the 1560’s and 70’s. I made several style variations to the master pattern; short sleeves, leading strings, tabs and two different hanging sleeves as well as a few different necklines.
The long seams were sewn on the machine and the lining, fabric and cord were all machine basted for time considerations. The cord was hand finished. The lining was hand stitched on the sleeve slits and the center back hem.
Threadwork buttons are made from cotton embroidery floss over wooden beads. I started with Gunterman’s silk thread, but realized that I did not have time or funds for that fine material. Cotton embroidery floss was closer to the thickness and look of period silk thread, took ¼ of the yardage and each button was finished in an hour vs. the three that silk would have taken (I have since learned that I could have purchased DMC's silk embroidery floss, but I'd already blown the budget, so there it is). 18 buttons took 6 skeins of floss. To make them I cut a long string, left an 8” tail, made 8 spokes and then wrapped the thread around each until the button was covered. Tails were braided and knotted, and the 1.5” shanks were stitched secure and the remainder passed through the hole to the front and clipped.
The button loops were made from three different colors of embroidery floss braided together. The National Trust robe has similar loops. Each loop is 2.75” long with 1” between and 2” between each group of 3.
Buttons and loops were stitched on with embroidery floss. I did not have enough to wrap the shanks, but fortunately they are covered by the fur.
I cut the rabbit fur into 1.5” strips with the fur facing the trim. When cutting fur it is critical to only cut the leather and not the hair on the other side. Hair that has to be trimmed away can be cut with scissors later.
When joining the strips, I did trim the hair away from one edge to reduce bulk on the seam.
The entire outer edge of the coat, the cuffs and the sleeve openings are edged in rabbit fur. This was hand sewn with cotton thread as the silk was cutting the leather.
I should have padded the edges better because rabbit is notorious for breaking where it bends. I did not count how many hides I used, and I recycled a few from other garments. When sewing rabbit, it is important to use large stitches, as short stitches will break the leather. Machine sewing will weaken it.
After each join, I pulled the fur out from under the stitches to hide them.
On a side note, American rabbit is best to work with, Chinese is the worst. I used both here and there is a marked difference in the quality of the fur. Chinese is very, very brittle; and it stinks. Buy garment quality furs, there is a difference between that and toy or decorator's fur.
I picked out the machine basting on the armholes and backstitched the sleeves in place with heavy linen thread. I then turned the lining under and whip stitched that in place with cotton thread.
If I have time during War Week I will cover the raw edge of the fur with silk ribbon (I did not). I found very little information on how this was finished in period, and have always turned it under or covered it with the lining. This was not an option here as the skin was too brittle.
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