Modeling the ensemble at the Medieval Festival at Fort Tyron Park, September 2014

The finished headpiece, which is made of a base of vine wire and covered with velvet ribbon and braid, and embellished with freshwater pearl beads. All handmade and shaped by the artist, representing about 8 hours of work.

Detail of the bodice decorations, as well as the completed cuffs of the lower sleeves and the surcoat closure

Back view showing the pattern matching across the surcoat back as well as the box pleating. The sleeves are attached to the bodice at the shoulder seams via internal lacing rings, and are completely removable.

Detail of the trim on the upper sleeves, showing how the attach to the lower sleeves via velvet ribbon and braided trim. The sleeves are secured only at the front, which allows for greater freedom of movement through the elbow.

Detail of the trimmed skirt hem, here lifted (very scandalously) to show the embroidery on the underdress.

The embroidered white linen camicia

The bodice and skirt of the gamurra, which attach with ballet loops

An early sketch of the gamurra and giornea, with construction notes

Bodice mockup, partially boned, with the lacing rings pinned. This shows an early boning pattern, which was discarded

Completed gold embroidery on the white linen for the underdress. I designed the embroidery pattern myself and based it off of Renaissance blackwork designs. These 4 yards of embroidery represent approximately seventy hours of hand work.

Fitting the camicia with the bodice mockup to determine sleeve length, neckline and hem positioning.

The gamurra bodice, flatlined, piped and boned but not trimmed, hemmed or finished.

The upper sleeves in progress. The sleeves are lined with linen strengthened with fusible to prevent wrinkling, and are piped along the top edges. Trimmed with velvet ribbon, braid, and jacquard ribbon to match the skirt hem.