Some time ago, no doubt you know, (and if you don’t, I’ll tell you so) I decided to re-shoot my La Betulia Liberata photo. La Betulia Liberata is Mozart’s operatic setting of the Apocryphal book of Judith. Judith is one of the most popular subjects in the history of art, and has been the center of countless paintings, operas and writings. One of the most famous images of Judith is by the painter Cranach.
Cranach is famous for his “Cranach Gown”. This is a very specific type of gown that, throughout history, has only ever been seen in his paintings, and is generally the only type of gown that women wear in his entire body of work. Cranach painted dozens of images of Judith, and in every one of his paintings she appears in his Cranach Gown. When I decided to re-shoot my photos, I decided to pay homage to Cranach and design the image based on his famous work of art.
I decided to make a Cranach Gown with a collar, though there are many without collars.
At first, I wanted to make the garment out of velvet, because this is the fabric that is usually used for Cranach Gowns. However, velvet is difficult to work with, and after some consideration and discussion, I decided to use a Burgundy colored silk instead. In order to make the gown, I did some research. I received some advice from Dragonfly Designs by Alisa and American Duchess, who provided this list of resources, in case you are interested in making your own Cranach Gown:
Reconstructing History Pattern – A pattern for a Cranach Gown.
Karen’s Sewing Corner -A site with sections dedicated to info about Cranach Gowns.
Elizabethan Costuming Page – A site about Elizabethan Sewing Techniques
Naergi’s Costume Site – A site with a break-down of details from various Cranach Gowns.
After looking up all the images I could find of the final product you get from building the Reconstructing History gown, I decided against using it. The reason for this is because every gown I saw that used the pattern looked a little frumpy. So, I read up on the pattern, and the person who drafted the pattern firmly believes there is not corset or boning in the gown. I disagree. Every image you see of the gown is tailored or fitted, which means there is some sort of structure within the gown.
However, in a fully boned/corseted version made by Sandy Powell for the film “The Other Boleyn Girl”, the garment looks too stiff and rigid — the polar opposite of frumpy.
I have come to believe that there is a split between structure and lack of structure, and to get the effect there must be buckram somewhere in there.
In the end, the historical construction process seemed like it would be too labor intensive and complicated, anyway, so I just decided to wing it.
I grabbed the pattern closest to the effect I wanted, which was Simplicity 2172, and I went to work. My goal isn’t historical authenticity, but rather, to get a cool looking outfit inspired by Cranach.
First, I built the corset to go under the jacket. I used a dark-red/gold damask. I have to warn you that when you follow the directions for this corset pattern, the bottom edge of the corset always ends up bendy and weird. I’ve never been able to get it to lay like it does in the photo on the cover.
I wanted the bodice to be beaded as seen in some of Cranach’s paintings. I went to the bead store and found some tear drop shaped beads that catch light from every angle, which is great for photography. I also picked up some regular seed beads.
I sewed the beads on while watching the first season of “Legend of the Seeker”, which I quite enjoy. I am not so fond of the second season, because every character dies every single episode, but then they’re suddenly revived at the climax, because… magic! — or something –and it just stops being dramatic when the stakes are cranked up to 11 for every episode. But the first season is good drama all around. An alarming amount of guest stars get killed, though.
Next, I started to work on the jacket. I altered the Simplicty pattern quite a bit. I also added trim, which I then beaded. I find trim alone always looks cheap, but when you add things to it, it looks much better! I put a collar on my jacket as well. During this process I watched “The Guild”, which is a comedy internet program that I own on DVD. It is one of my favorites.
When I came to the sleeves, I had a bad case of sewer’s block, and had to take numerous weeks off to consider. I did not want to use the endlessly complicated historical techniques. Then, a friend came over and gave a suggestion. She said to take a pile of fabric, make a tube and slash it on the bias. While this process would have been much easier to explain with pictures, I was too busy figuring it out to take pictures. However, it did work! So, I think this is probably the correct technique. Compare the sleeve detail below to the sleeve detail on the top image of Cranach’s Judith. The only difference is the painting has three rows!
I decided to leave the top slashes larger than the elbow slashes.
So, that’s that.
If you would like to see dozens of paintings of Judith by Cranach, visit the Blog Judith2You, which features an endless supply of art based on the subject of Judith.
See you all later!