The layout shows the body shape of the camicia with the late period curved armscye and completed rows of blackwork on the arms. The arms have a slight curve to the side that will connect to the shoulder on the armscye.

The neck gusset being prepped for finishing with a french seam.

The top side of the closed french seam on the neck gusset.

The front the dress fitted improperly over a hooped farthingale which is why the hoops are showing. This dress would have been properly fitted over a roped underskirt.

Note the mistake with the pattern on the fabric not lining up symmetrical on the front of the dress. This was an error on the placement of the pattern when cutting that was noticed until much later.

The initial layout of the partlet began with the placing the vertical columns of soutache.

Starting the row and the front corners of the partlet helped to establish the over-under weave that was needed to create support for the structure of the garment.

Starting where the straight edges on the back of the partlet meet the diagonal lines of the front edges of the partlet and following the edges aground the front side of the partlet, over the back of the neck and around the the edges of the other front of the partlet securing all pieces of soutache at each juncture.

Most pearls will require the use of special, thinner beading needles to be able to fit through the holes.

The interfacing in the the crown is important to ensure that your hat holds its shape.

The cut-out brim, interfacing, and lining.

The brim is chalked and cut along the inside edge of the brim. This will later be secured to the crown of the hat.

The tabs on the inside of the brim are pressed open.

The crown is pinned evenly shaped around the edges to create the the dome shape, sized to the inside opening of the brim.

The crown is sewn along the edges, carefully removing the pins as the stitches are made.

The attached crown and unfinished brim.

Adding a sweat band will protect the hat and hide the tabs where the inside of the brim was attached to the crown.

A strong millinery wire will be important to hold the shape of the brim.

Using a zig-zag stitch to carefully secure the millinery wire to the brim of the hat.

An image of the finished front of the cappello with black piping finished with green bias tape.

An image of the side of a finished cappello with a matching green silk cockade and black feathers.

Starting a new progetto for an arming doublet.

Some of the cutout pieces of the arming doublet.

The side back of the arming doublet framed in the hoop for embroidery.

The completed embroidery of the side back panel on the arming doublet.

Completed embroidery on the back and side back panels.

Showing the trim added to the facing fabric on the arming doublet.

Padsticthing along the top of the back canvas for teh arming doublet.

Cutting the cotton batting for the quilting placed on top of the padstitching on the back of the arming doublet.

Backside of the quilting on the inside of the Farsetto d'Arme.

Adding the trim to the top of the shoulder wing on the Farsetto d’Arme.

Triming the arming doublet sleeves with metallic gold bullion.

First fitting of the arming doublet which will be closed with eyelets and arming points.

The assembled body of the Farsetto d’Arme before the sleeves are sticthing into the armscye.

When originally laid out to follow the contour of the arm the trim created line that were off on the inside lines of the arm sleeves.

After removing the sleeves and opening them up the layout of the trim was adjusted to start closer together at the cuff and expand toward the shoulder to match the lines on the shoulder wings.

The button holes were handstitched rather machine finished to create a more authentic detail.

The complete collare.

The pieces of the lining sewn together. 

Cutting the sleeves

Pining the sleeve and gathering to attach to the doublet.