mistress marguerite honoree d’cheneau

Marguerite was a shockingly fast turnaround - she wore our household belt for about 6 months before she was elevated, which is a testament to the enormous skill for tailoring that she possesses. She has spent years honing her craft, and I wanted to create a Laurel cote that would do justice to the many beautiful garments she creates.

Because Marguerite culture hops (but it most often in 16th century English, French, or Italian) I wanted to make something that would fit with any of her outfits. I also wanted her to be able to show off the beautiful decorated sleeves she usually wears, and to not make something that would be excessively long or extremely heavy. We live in the mid-Atlantic, and while we do get winters, it’s rare for us to have extremely hard weather, and almost all of our winter events are either indoors or virtual. A heavy cote would be awkward and uncomfortable much of the year, and this is a garment I’d like her to be able to wear.

After some discussion, we settled on the same wool flannel that Tala had chosen, and a black and gold color scheme. Marguerite handed over some gold silk shantung yardage and a selection of gold cord. I dug up 50 yards of elaborate gold gimp that I had been saving for “something special” for close to 15 years.

the inspiration

Sources (L to R):

  1. “A woman wearing a visard.” Abraham de Bruyn, 1581.

  2. “Woman of Augsburg.” Kostüme der Männer und Frauen in Augsburg und Nürnberg, Deutschland, Europa, Orient und Afrika - BSB Cod.icon. 341.

  3. NEAPEL / NAPOLI ITALIEN KOSTÜME COSTUMES WEIGEL 1577.

  4. Kostuumafbeelding in het album. Bernardus Paludanus (1550-1633)

My original plan was to make a short round cloak with hanging sleeves, so that Marguerite could wear the sleeves on or off. The exemplars I liked the most are technically Italian capotti with removable sleeves. Unfortunately, due to a last-minute problem with the event site, the event at which she was being elevated moved up a week and 5 hours further away. This change ate into the sewing time fairly significantly, so I decided to leave off the sleeves.

the pattern

Sources L to R:

  1. Don Garzia's Dutch cloak w/sleeves. Florence, Galleria del Costume.

  2. Extant cappoto belinging to Don Garcia d'Medici. I believe this is from Moda alla Corte dei Medici, gli albiti restauranti di Cosimi, Eleanora e don Garzia.

  3. Unknown German publication. If anyone can source this book, please contact me.

  4. From Moda alla Corte dei Medici, gli albiti restauranti di Cosimi, Eleanora e don Garzia. Picture from Kat's Purple Files.

The base garment is a wool circle coat modeled on the 4th image above. The oddly-set gore made it easier to place the sleeve hole on a circular cloak, and helps to pull the garment forward enough that it doesn’t fall off the back. There was a lot of math, and it was hard.

Since the sleeves were not an option, I went all out withe the trim, I cut a yard of the silk shantung into narrow strips and handbound all the free edges, then layered on the lavish gold gimp trim. It’s finished off with a wreath of gold silk die cut leaves gifted by Ollam Lanea Inghean Uí Chiaragáin.