I treated the two layers as if they were one when sewing, making the seam allowances visible on the inside of the dress. The fabric being so thin and flimsy, pinning it to the sturdier silk lining was a good help for cutting, basting and sewing. The velvet was very sensitive, so pinning was only an option in seam allowances. Here you can see the silk lining being laid out at the velvet to act as a pattern piece. The bronze buckle and strap end is made after a painting from the period, and can be seen on houppelandes and similar overdresses from the period. The gown closes with a small hook and eye at the waist, and then this belt is added. if using a transparent velvet try out different shades of lining fabric to find the one that gives you the look you want. I opted for the golden coloured silk because it did so well under the velvet, and made the velvet shine even more. The gown is fully lined with silk dupioni for support and look, and has linings in black silk taffeta and on the bottom, the same black high quality wool as in my love’s joined hose. The fabric is a silk velvet, sensitive, very thin and extremely flimsy I so understand why silk velvet has been replaced by synthetic alternatives on the market (and it is not just a matter of price).

This was one of the most difficult garments I have ever made.

This can be seen in paintings, though a closed gown would have been more common. The gown is open at the front to allow for easy undressing, and to show more of the white dress underneath. This is the final layer I made for my wedding outfit, it is a silk velvet dress inspired by the late 15th century over dresses.

2p medieval wedding dress