Comparison of two methods for achieving bust support in the fitted gowns of the high Medieval period
These are my observations from the fitting, sewing, and modeling of two gowns that were made from very similar materials and worn by the same person, Sheree. The only difference between these gowns (besides sleeve treatment) is that one was fitted with a curved front closure and the other with a straight front closure. I have also included Sheree's thoughts on how the gowns felt while worn.
| Curved-front-seam method | Straight-front-seam method | |
| Final torso pattern | ![]() ![]() |
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| Final gown | ![]() |
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| Pros of the technique | Easier to fit to the point of support and a pleasing silhouette due to the spreading of tailoring between the side and front seams, in addition to the armhole and shoulder seams. | You can achieve a very high-busted look which many people find quite attractive. |
| Cons of the technique |
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| Silhouette | This method produces
a natural-but-pert bust silhouette. In comparison to the straight-front-seam
method, the bosom retains its globular shape at the bottom of each breast.
Instead of having a 'shelf' effect at the top of the bosom, there is a shelf
effect at the bottom, where the breasts rest on the tight fit across the
front of the ribcage just below the point at which the breasts end. This look can be found throughout the period art of the late 14th and early 15th centuries, all over Europe. For some specific citations, click here. |
This method seems to
produce a bust silhouette that elevates the bosom out of its natural globular
shape into a 'shelf' position, whereby the tops of the breasts are rounded
and rather high and the bottoms are compressed upwards in a gradually expanding
arc. I was reminded of the effect that a Tudor corset has on the bust. For citations of some specific period art pieces which have a similar bust silhouette, click here. |
| How does it feel on the body? | Sheree comments: "Much more comfortable [than
the straight-front-seam gown]. Fits tight, not confining, but still gives
support to the bust. Support feels like one is wearing a well fitted bra,
in that you feel as if the support is coming equally from the shoulders
and under the bust from the fitted seams. |
Sheree comments: "Feels like I'm corseted in.
I feel the pull from the arm hole down and under the bust. Like a tight
bra with underwire. All support feels as if it's coming from the lower
portion for the armhole seams and the tight fit under the bust. I didn't
feel much if any support coming from the shoulders. |
| Things I would do differently next time | During this particular fitting, I do not feel I made any major mistakes, which is not to say such things haven't happened before. I am more familiar with this method of fitting, having developed it on my own and used it numerous times before this experiment. One minor mistake I made, however, was in the fitting of the armhole. I don't believe that I fit it closely enough into the armpit, though Sheree felt it was comfortable enough. |
To be fair, I made mistakes in the fitting of this gown. I believe that I should have cut the back of the gown higher than I did, and indeed, the curved-front-seam gown has a higher back, which added considerably to Sheree's comfort in it. I also did not cut the armhole as close into the armpit as possible, and in retrospect, I think this would have helped with freedom of arm movement. Finally, I think that in my desire to lift the bottom of the bosom I fit the gown a tad too tightly. Sheree would have probably been more comfortable with a half-inch extra on each front panel. |
Copyright © 2003—2007 Tasha Kelly McGann. The author of this work retains full copyright for this material. Permission is granted to make and distribute verbatim copies of this document for non-commercial private research purposes provided the author's name, the copyright notice, and this permission notice are preserved on all copies.