Middle Ages








wedding dresses

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Costume examples from our workshop



Period: around 1600, Germany

This ladies' suit of Spanish fashion was based on the paintings from Lucas van Valkenborch and Moroni Ventaglio. We relied on the original cut of the countess' dress, which can be seen in the Bavarian National Museum in Munich.

The suit was crafted from red velvet with antique metal-braids. The sleeves are made of heavy, gold-inter-woven silk brocade, which has ...

Tudor Kinderrobe Period: late 16th century

This commissioned creation for a little prince has been crafted from blue-golden silk damask fabric.
The stiffened doublet features the usual decorative shoulder wings, a high standing collar with additional piccadill, the added peplum, and the round two-piece sleeves. The front part is closed with ...



Period: 1570-80, Germany

On occasion of an exhibition about the prince-electors of Palatinate at the Hunsrück museum we designed both a men's and a ladies' suit of the German late Renaissance. The Spanish influence during this period cannot be denied and we therefore consider them as part of our Spanish fashion creations. They were inspired most notably by ...



Period: 1560/70, Italy

We have crafted this robe from hand-made silk (cutwork) underlaid with plain-colored silk. The superstition of both fabrics leads to (light) refractions within the transparent part of the cutwork, which create a distinct depth effect: the dress appears to be shining from the inside. Metal appliqués ornamented with ....



Period: around 1590, France

This commissioned work for historical dance is based upon a picture of the French School of painting art.
We crafted doublet and trousers from precious lampas fabric, which has been woven based on original patterns from the 16th century. The resulting pointed, oval fabric is found in vast number of varieties from the early 16th to the first half of the 17th century.
The large vertical pattern repeat is very ...



Period: around 1560/70

This suit from the 16th century was made of heavy silk brocade. The large vertical pattern repeat, which was crafted relief-like into this valuable fabric, is characteristic for this epoch. Metal appliqués with 'gems' reinforce the noblesse of the dress. The stiffened bodice was designed with a removable wooden busk (flat, rounded wooden strip). The barrel-shaped skirt owes its shape to an underlying hip roll. The Tudor corset is based upon an original cut.

Price category: D
Kostüm der Spätrenaissance Period: Italy, first half of the 16th century

We crafted this dress of the late Italian Renaissance from green silk taffeta based upon a painting by de Kempeneer (which was formerly associated with Parmigianino). The geometric arrangement of the antique-golden facing ribbons creates a rigor and splendor appearance. The décolletage of the stiffened bodices is slightly raised at

Period: 1574, Italy

This doublet and hose (trousers), which in this style were worn by Cosimo I. de' Medici during the year of his death (1574), were crafted based on an original cut from the Palazzo Pitti, Florence.

The heavily stiffened doublet was made of black silk damask. For the most part the noble and elegant appearance is due to the high, back-broadening collar; the button border with its conic antique-golden buttons, which go all...

Tudor Herrenkostüm Period: second half of the 16th century, England

We crafted this Tudor suit based upon original cuts from sage silk, which we embroidered geometrically with grey braid in accordance with paintings from this epoch. The overall ensemble was designed rather modest, but is still noble due to its nuanced coloration and valuable materials. The stiffened doublet features the common waist-tabs, the



This costume has been designed for the actress Gudrun Landgreve. She asked for a mystic, décolleté dress.

For this creation we used hand-made silk, a so-called cutwork. The strictly geometric-patterned fabric – distinctive of this time – is underlaid with plain-colored silk. The silk shimmers through the transparent parts and

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Period: 1560, England

This Tudor dress was made of red and golden silk damask with the distinctive large repeat pattern. We crafted the strengthened bodice with the typical neckline: an inverted décolletage line. The décolletage itself is edged with "rubies" and "garnets". At the back we added a hidden cord lacing with

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Pludorhose und Wams

Zeit: 1567, Schweden

Pluderhose and doublet crafted for historical fencing based on original patterns from Svante  und Eric Sture. Eric Sture was murdered at the age of twenty one in Upsala Castle on 24 May 1567 with his father Svante and brother Nils. The original clothes has been retained.

In action nice to watch in this clip:
"Joachim Meyer - Kunst des Fechtens"
(The dress does not come from our company.)



Costume History

The Tudor era begins in 1485, lasts for about 100 years and is commonly referred to as an English late Gothic. Influences of Italian Renaissance, however, are unmistakable and especially the prevalence of Spanish fashion, which Queen Elizabeth introduced in England in 1558 with her accession.
In the mid-16th Century, the discovery of America and the establishment of its colonial empire make of Spain a major political power, and the trendsetter in fashion throughout Europe. The Renaissance in art and clothing found its end under the absolutist reign; Fashion serves, as in the Middle Ages, the Court and the Church.
The nobleman becomes a courtier and servant to the king, and his clothes turn into a so to say "court uniform".
The cut does not allow for individual features whereas shapes and colours are specified in excruciating detail. Tightness becomes rigidity and the slits, originally meant to provide convenience to clothing, disappear gradually and entirely. Geometric lines and dark colours - especially black- prevail.
Figure as the ball, the cone and the circle circumscribe the human body to hide all natural contours.
As regards men's clothing, doublets and overcoats are still in vogue albeit taking the shape of an upside-down cone. The waist is so tight that even men cannot do without a corset. The doublet features a high, stiff collar, while sleeves are smooth and usually laced. Doublet and sleeves are joined by means of shoulder bulges and flaps, whose embellishment becomes especially relevant.
People also wear loosely hanging, decorative sleeves, reminiscent of the Houppelande, partly consisting of smooth fabric panels alone.
Trousers resemble two big balls and short coats feature a circular cut.
The distinguishing feature of the Spanish costume is the ruff.. This shirt ruff grew increasingly wider until it finally became an independent, shirt-detached item in the 80s.
Besides the beret, Spanish men mostly covered their heads with hats featuring a high head and a narrow brim.
The women's dress is even narrower and stiffer than that of men. Thus, natural forms are completely negated by stylizing the upper and lower body into geometric triangles. This effect is achieved through the introduction of the corset. Even if corset precursors were found in the Middle Ages, only at the Spanish court was this garment provided with iron and whalebone rods, whereby the woman's upper body was stylized as per the prevailing fashion, i.e. in Spain, in the shape of a pointed cone. The bodice, partially armoured with lead plates, completely broke down the curve of the breast.
The dress is high-necked and the ruff appears - just as for men's clothes - to separate the head from the body, much like an oversized disc.
Sleeves are similar to those found in men's clothing, i.e. they are also provided with shoulder ridges and extra hanging sleeves. The second invention of Spanish fashion is the crinoline, whereby the lower cone of the garment is made. Its enormous popularity in Spain makes it a must-have item for centuries. As it returned to European Courts in the 30s of the 17th Century, it caught on even more in Spain.
The outer garment reproduces the form of the corset and the crinoline. It is only partly closed to the waist, making the undergarment visible, and forming the wildly popular triangular shape.
Hairstyles and hats follow suit and appear as strict and rigid as clothing. Perched at the souped hair, one sometimes finds a small hat, whose shape corresponds to men's headgear, a full-beaded skullcap or a pearl diadem.
Spanish fashion in England
England adopted Spanish clothing style but made it its own in various ways. Firstly, it exaggerated Spanish forms and, secondly, dropped most of its stiffness while introducing brighter and friendlier colours. The characteristic crinoline of the late Queen Elizabeth's reign started at the waist with an enormous breadth, while the oversized Stuart collar framed the neckline together with the "wings".
At that time, men's trousers were so ample and padded that even called for a broadening of English Parliament's seats.
Spanish fashion in Italy  
Italian ladies rejected both the excessive lacing at the waist as well as the extremely wide crinoline. Although still wearing ruffs, they did so in a much simpler form. Usually, costumes were fitted with a fan-shaped, oversized lace collar. Moreover, the dark colours of the Spaniards did not resonate well in Italy.
Spanish fashion in France  
The initial enthusiasm for Spanish fashion gradually faded away in France. Apparently, colours were neither bright nor shiny enough for local taste. Furthermore, doublets and trousers differed from the Spanish ones; indeed, trouser legs were narrower and extended down to knee-breeches. French women still wore corset and crinoline although the latter in a barrel-shaped form.
Female citizens - also in Spain and Germany - in particular, replaced the hoop skirt with the so-called Weiberspeck (woman flab), a thick padded leather or fabric roll placed on the hips, which lent skirts their barrel shape. In addition, a plethora of petticoats was usually worn.
Italians seem to adopt the lace collar, framing the more or less deep neckline, albeit call it the "Medici collar".
Spanish fashion in Germany  
In Germany, the Spanish clothing style hardly took root at first. Initially, it was adopted by the German princes of the Counter Reformation, i.e. in the Catholic south, and expanded slowly from there - although never quite completely - over to the north. For example, the chamarre was amply retained as the main garment and Spain's trousers were never a local favourite.
More specifically, the German version of these trousers differed in that it was not stuffed, but hanging in long strips from which the fabric of the underpants protruded in increasingly more abundant quantities. Up to 100 yards (approx. 70m) were used for a pair of pants.