Pregnancy and historical garbs

[operafantomet]

This topic comes up frequently, so I though I would start an own thread for it.

I'm reading through the footnotes of "Moda a Firenze", and I found and interesting reference to gown during pregnancy:

"The double opening at the sides also enabled the bodice to be adapted to the changes in the figure caused by pregnancy, for which period special bodices were even made: the bodice of a very beautiful petticoat of Eleonora's (di Toledo) in red satin decorated with gold was later remade "the way it was before the birth" (of Lucrezia in 1545, my note)." (Moda a Firenze, page 84)

This shows two things:

1. That the typical side-laced bodices seen in many different Italian areas in the 16th and 17th century was also used during pregnancy, and only laced out as far as it was possible. This correspond well enough to period depictions, which shows a slight gap in the waist:

http://img.photobucket.com/albums/v31/operafantomet/renaissanceportraits/firenze3/vasari1559b.jpg
http://img.photobucket.com/albums/v31/operafantomet/renaissanceportraits/firenze3/vasari1559.jpg

(not suggesting the women depicted MUST be pregnant, but it shows that i wasn't uncommon to see a gap in the side lacing even in public)

2. Special bodices could be made, or existing bodices remade, while the skirt remained the same. After birth, the bodice could be changed back to its original state.

It seems like the normal dresses could be used several months of the pregnancy, which makes a lot of sense. It would be expensive to change the whole wardrobe for each pregnancy. Of course, this might be specific for Italy, but I would assume similar cases applied in areas where gowns were front or back laced.

[operafantomet]

"Moda a Firenze" also has a reference to a special garb that was worn just before, during and after the birth.

It was a short garment, being somewhat fitted over the bust, but wide in the waist. The shape might have been similar to the "zimarra" Eleonora di Toledo was fond of, and with similar frog fastenings "in the Hungarian style" in front:

http://img.photobucket.com/albums/v31/operafantomet/renaissanceportraits/firenze2/bronschooledt1550s.jpg

The garment was fine enough to be worn when visitors came to gratulate the mother after birth, and was meant to be worn in bed (hence the short length). It's referred to as "vesticina da parto", but there are no exact depictions of it as far as I can tell. The tailor used little fabric (between 4-8 braccia, approximately 2-4 meters) to make it, but exclusive fabric was used, and Eleonora's seems to have been trimmed or lined with white ermine fur.

(page 103 and 104)

[ladyharrogate]

I'm glad you posted on this.  I made adaptions when I was pregnant making a high wasted gown.  I love a corset but was way too big by my fourth so I made a corset based off the effigy corset in the back but it was short in the front, coming just above my belly.  Then I attached a wide 6-8" elastic to the back piece that belted around and under my belly like a maternity (support) belt.  It was a Godsend because I was 7 months pregnant during our run that year and it was my fourth in four years so I was HUGE and my belly was all out front and heavy.  I know it's not period but it did the trick.

[amy]

What I see from your fantastic research and what interests me the most is that the split seems to also be in the side or side/back of the skirt as well.  Was the ususal skirt opened that way when the bodice was a side open style?  And they are so beautifully decorated at the separation of the gores.  Can you help me understand the skirt pattern? I have never thought of an opening in my skirt other than front or back depending on where the bodice opened or if I wanted a forepanel to show.

Thank you!   As always I LOVE your historical help!

[operafantomet]

Glad you both enjoyed it!

Amy, you're right in your observations. If a dress has side lacing, that's where the split of the skirt would be too. The split would be hidden by the pleats or gathers, but it would allow for the wearer to access a loose pocket (saccoccia) underneath. You can see it well in Eleonora di Toledo's funeral dress, of which only parts remains and the parts are laid flat. Because of its "flat state" you can tell where seams and splits are, and the skirt split is at the side (right where the bodice ends, on the right):

http://realmofvenus.renaissanceitaly.net/workbox/extwomclo2.jpg
http://realmofvenus.renaissanceitaly.net/workbox/extwomclo2.htm

But if the dress was front laced/closed, that's where the skirt split would be. Ditto for the back. If you look hard, you can see a small opening in the skirt front here:
http://img.photobucket.com/albums/v31/operafantomet/renaissanceportraits/venezia2/bordonefuggerlady.jpg

The skirt was in general sewn to the bodice, so in order to get in and out of the garb, the opening of the skirt needed to correspond with that of the bodice. This applies to Italian fashion, it might be different in other regions - but if skirt and bodice are sewn together, I think that's the most common solution.

[operafantomet]

And they are so beautifully decorated at the separation of the gores.  Can you help me understand the skirt pattern?

PS - that detail is due to them pinning the skirt up at one side. The decoration you see is actually the hem decoration. Might be done to not get the train dirty, or to show off a nice underskirt. When not pinned up it would probably look like this, a crimson velvet dress ("The Pisa dress") from app. 1560:
http://smg.photobucket.com/albums/v31/operafantomet/extant/redpisa1.jpg

Side/back view of the same dress, showing the lacing and the split in the skirt:
http://smg.photobucket.com/albums/v31/operafantomet/extant/redpisa4.jpg

The Vasari painting I linked to in my first post is more or less contemporary with Eleonora di Toledo's funeral dress I linked to in my last post. That skirt used four straight panels; two longer for the trained back and two shorter ones for the front. There were also two gores/triangles inserted at each side, to give the skirt more width at the hem. Pattern for that dress can be found in Janet Arnold's "Patterns of Fashion 1560-1620".

[amy]

Wonderful!  This is better than the history channel!  Thank you!... So with that said, I don't mean to change gem's subject but if we are splitting where the bodice opens, and you are doing knife pleats, in which direction do the pleats lay?  Or are all these skirts done with cartridge pleats?  (I see someone solving my orange dress problems!)   Thanks agian!