Farthingale Sleeves?

On this website the author is making a copy of a dress worn by Elizabeth I in one of her portraits. In the construction of this dress she has made this unusual sleeve construction

I quite like the way that boning has been used to create the shape of Elizabethan sleeves, and it would look pretty inteesting witht the sheer fabric on top, so the arms would still be visible. However, i can find any historical evidence behind these sleeves as construction techniques. However, in The Tudor Tailor book, it does have smaller puffed sleeves shape being created using Boning, so perhaps this idea is not too unrealistic.

Munich Bodies Vs. Effigy Corset

Two examples of extant 'bodies' from the late 16th and ealy 17th centuries are the 'Munich Bodies', dated approximatley 1598, and the 'Effigy Bodies' dated to 1603. While being fairly close together in years, the style of the corsets are vey different.

The
Munich
 example
 was
 salvaged 
from
 the 
burial 
clothing 
of 
Pfalzgraf in
 Dorothea
 Sabina von
 Neuberg. Its laced at the back and is boned in a way to leave the 'cups' of the breast area without boning. This style of body looks like the one that is pictured in Norah Waugh's Corsets and Cinolines book (shown below)

The 'Effigy' was found on an effigy of Queen Elizabeth I, and was initially believed to be from the 18th century. However, after being examined by Janet Arnold it was confirmed to have been made in 1603, and may have been based off a pair of stays worn by Elizabeth II just before she died.

The Effigy corset is much longer and fully boned from whalebone. It also has front lacing and does not feature a busk. 1600 is right in between the two dates of these corsets, but i think that i prefer the Effigy corset for the look that i want to go for for my costume.

Early 17th century Fashion Illustrations

The mode in Costume

Peacock's 1066-1990

New Date;1600

For the Redesign part of this project i recieved the date of 1600, the vey end of Elizabeth I's reign in England. I will begin research into this era now, before designing the new costume for Poppea.

V&A archive photographs

"By the 1660s the traditional doublet and hose had altered from their forms earlier in the century. The doublet had become a very short garment that exposed the shirt underneath at the waist. This particular example is made of beige watered silk and decorated with parchment lace. The fronts and sleeves are paned, that is, fashioned in narrow strips that open to reveal the shirt. This doublet is part of an ensemble of matching cassock and breeches, reputed to have belonged to Prince Rupert (1619-1682). The breeches were too fragile to exhibit, and so a reproduction pair is shown here, carefully reproducing the exact style of the originals. Known as petticoat breeches, they were a very wide, full shape and open at the knee."

Doublets formed part of the fashionable ensemble of clothing worn by men in Europe until the late 1660s. The very short length of this example is characteristic of the extreme style of doublets at their final appearance in the male wardrobe. From 1650 to 1665, doublets shortened so that there was a gap between doublet and breeches through which the shirt could be seen. The centre back and front sleeves were left unstitched for further exposure of the shirt, which in the 17th century was considered underwear. More conservative members of society considered the result rather untidy looking. Such a radical fashion, usually worn by young men, attracted the attention of cartoonists and the condemnation of moralists. The spectacular golden effect of the fabric of this example was created by weaving with silk and with threads wrapped with strips of silver gilt. This splendid material was probably imported from Italy, as there was little in the way of silk-weaving in Britain at this time. Adding to the luxurious effect is the lavish use of bobbin lace also made of silver-gilt thread.