Thimbles

and Acorns
#1 530-01
Multi-Size PDF Pattern for
1 8-inch (46 cm) and 1 6-inch (40 cm) Doll Clothes
Designed to Fit American Girl®,
A Girl for All Time®,
Making History Memorable and Other Similarly Sized Dolls.

Beginner
Easy

Intermediate
~
~

Advanced

The Hampton Court Gown

is designed to be worn over
Thimbles and Acorns Side
Laced Kirtle and Smock as
shown. If preferred, the
gown can be worn with the
petticoat included in this
pattern instead.

Renaissance Faire
Hampton Court Gown
 RenaissanceGFaire
HamptonGCourtGGown
ca.G1500s

ByGShariGFuller

Thimbles
Acorns
and
MakingGHistoryGMemorable
Esko,GMinnesota

©2017,GShariGFuller.GGAllGRightsGReserved.
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 RenassaincezFaire PagezL9
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HamptonzCourtzGown MultiySize

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H6®8LyL6 TablezofzContents
Forz patternz piecesfz onlyz printz thez pagesz
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FrontzCoverBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBzL6
TitlezPageBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBzLI
CreditszandzCopyrightsBBBBBBBBBBBBBBBBBBBBBBBBzL8
TablezofzContentsBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBzL9
HistoricalzBackgroundBBBBBBBBBBBBBBBBBBBBBBBBBzL®
MaterialszListzandzFabriczLayoutBBBBBBBBBBBBzL;
TermsfzTipsfzandzTrickszofzthezTradeBBBBBzLj
InstructionsBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBzLWzyz6W
6WyinchzPatternzPiecesBBBBBBBBBBBBBBBBBz6Nzyzz8®
6;yinchzPatternzPiecesBBBBBBBBBBBBBBBBBz8;zyz9N
InstructionszSummaryBBBBBBBBBBBBBBBBBBBz®Lzyz®8
BackzCoverBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBz®9

Thiszpatternziszdesignedztozfitz6WyinchzAmericanzGirl®zdolls(zhoweverfzitziszsuitableztozusezwithzotherz
dollszwithzsimilarzbodyzshapesBzzSmallzvariationszinzsizezcanzusuallyzbezaccommodatedzwithzminorz
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ShoulderztozWrist ®B®czG69zcmw ;czG6®BI®zcmw
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ShoulderztozFloor 68B®czG89BI®zcmw 6IB®czG86Bj®zcmw
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©IL6jfzSharizFullerBzzAllzRightszReservedB
 The Beginning of High Fashion Page 05
#1 530-01
By the 1 6th century, the ideology of the Renaissance had
spread throughout Europe making a deep and lasting impact on literature,
philosophy, art, music, politics, science, and religion. The influence of the
Renaissance also launched the concept of high fashion as costume began to
reflect the love of art, discovery, and invention that defined it Exploration,
which brought in new goods such as silks, cottons, furs, dyestuffs, jewels,
and precious metals from North America, Africa, and Asia, created new
industries for luxury items. Weavers created beautiful silk, brocade, and
velvet fabrics, delicate needle laces were produced for the first time; and
jewelers developed new techniques for cutting gemstones. As trade and
industry grew, so did the economy – at least as far as the nobility and
middle-class bourgeoisie were concerned.
During the Renaissance, high fashion arose as a new way to
display wealth and position. The clean and simple lines of medieval clothing
gave way to more elaborately-shaped and adorned clothing that reflected
the artistic ideals of the Renaissance. Men’s clothing was designed to
accentuate broad shoulders and other masculine attributes, whereas
women’s clothing adopted waistlines and full skirts to create a narrow-
waisted silhouette. Women also began to pluck the hair from their Portrait of Henry VIII by the workshop of
foreheads and eyebrows to get the appearance of a high forehead – a Hans Holbein the Younger, ca. 1 497.
symbol of the intelligence that was lauded during the Renaissance. The Public Domain.
influx of new materials and wealth created a demand for fashionable clothing that
raised the occupation of the tailor to a much more prestigious position in society.
Fashion had become an important part of social etiquette for the bourgeoisie as
well as the nobility.
Although monarchs from many different European countries
influenced Renaissance fashion, Henry VIII of England was probably the most
influential when it came to 1 6th century European fashions. The opulent styles
that characterized the Renaissance fed Henry VIII's vanity. Jewels, pearls, gold,
lace, and techniques such as slashing and puffing were used unscrupulously to
adorn and accentuate his fine, youthful figure. No other period was more given to
Catherine of Aragon, by Lucas precious adornments, and clothing was designed to display as much as possible.
Hornebolte. Public Domain. Henry VIII and his wives were never lacking in an abundance of fur and jewels to
showcase his wealth; he reportedly spent 1 6,000 ducats on clothing annually,
which amounts to about $3,1 40,000 today.

Portrait of Jane Seymour, Hans Holbein

©201 7, Shari Fuller. All Rights Reserved. the Younger, 1 535. Public Domain.
RenaissancekFaire PagekHU
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OBkPieces

SuggestedkFabricsLkkGown,kGownkLining,kandkPetticoatkinksilkkdupioniTklightweightklinenTkcottonTklightweightkdamaskTk
lightweightkjacquardTklightweightkvelvetTktaffetaTklightweightkwool~kNotksuitablekforkknits~kkHoodkCoverkinklightweightkcottonTk
lightweightklinenTklightweightkdamaskTklightweightkjacquard~kkNotksuitablekforkknits~kkHoodkVeil,kBox,kForeheadkCover,kandkSashk
inkcottonkvoileTklawnTksilkTklightweightklinenTklightweightkdamaskTklightweightkjacquard~kkkkkk

Gown ~ OxRkyardkq~Ukmv Hood Cover ~kBxRkyardkq~Rkmvk

Gown Lining ~ OxRkyardkq~Ukmv Hood Veil and Box ~kBx4kyardkq~OCkmvk
Petticoat ~ OxRkyardkq~Ukmv Hood Sash ~ BxUkyardkq~BCkmv
Forehead Cover ~ CkxkBHGinchkkqBOkxkOCkcmvk
NotionsLkkThread~kGownk~kthreekmediumksnapsTkOkyardskBxOGinchkwideklacekorktrimTkBOGinchkxkOGinchkscrapkofkfakekfur~kk
Hoodk~kBxRGyardkBuckramTkBxRGyardkironGonkfusingkORkBxRkyardkheavyweightkfusiblekinterfacingTkBxRkyardkBxOGinchkwidek
jeweledktrimkorkloosekjewelskandkbeads~kkPetticoatk~konekmediumksnap~kkBeltk~konekchainknecklacekthatkiskO4Gincheskorklonger~k

CuttingkLayoutkfork4CGinchkqB~B4kmvkwidekFabric
OBkPiecesk
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 Page.);
TermsA.TipsA.and.Tricks.of.the.Trade SLzD)4)L

Printing Instructions
~This.pattern.is.designed.to.print.on.standard.'4L6’l.x.LLl.paper(..To.printA.be.sure.that.your.printer.scaling.is.set.to.
lnoneAl.lactual.sizeAl.or.lL))/l.to.ensure.proper.sizing(.Because.all.printers.are.differentA.check.the.ruler.on.each.page.to.be.
certain.the.pattern.is.sized.properly(.
~To..print.in.black.and.whiteA.be.sure.to.click.on.the.lgrayscalel.in.your.printing.options(
~For.additional.instructionsA.see.our.article.lPrinting.(pdf.Patternsl.at.thimblesandacorns(com6printing4pdf4patterns.

General Instructions
~.Read.through.the.instructions.before.beginning(
~.Pre4wash.washable.fabrics.to.help.reduce.shrinkage(
~.Some.pattern.pieces.are.too.large.to.fit.on.'.4.L6’l.x.LLl.paper.so.they.have.been.split.over.’.or.more.pages(..The.split.is
....indicated.by.a.dashed.line(..Cut.the.pieces.outA.line.up.the.corresponding.dashed.lines.and.secure.with.tape.before.using(
~.All.seams.are.L6H4inch.xVmmy.unless.otherwise.indicated(
~.Shading.on.the.illustrations.represents.the.right.side.of.the.fabric(..Lighter.and.darker.shades.represent.different.fabrics(

Glossary
BackrTackr~rTo.stitch.backwards.for.a.few.stitches.to.anchor.the.stitch.at.either.end.of.a.seam..
Clipr~To.cut.small.slashes.inside.the.seam.allowance.of.an.inside.curve.to.help.rounded.edges.turn.and.lie.neatly.

Clip

Double-foldrHemr~A.hem.that’s.folded.once.for.the.hem.allowance.and.a.second.time.to.enclose.
the.raw.edge.
Double4fold.Hem
FinishedrSeamrAllowancer~A.seam.allowance.where.the.cut.edge.has.
been.boundA.most.commonly.done.with.a.zig4zag.stitch.on.a.sewing.
machine.or.a.serger

Notchr~V.shaped.clips.cut.inside.the.seam.allowance.of.an.outside.curve.that.help.rounded.edges.turn.out.and.lie.neatlyB.
also.refers.to.pattern.markings.shaped.like.diamonds.or.triangles.that.are.printed.on.the.cutting.line.of.a.pattern.to.indicate.
where.seams.should.meet.

ProperrRightrandrProperrLeftr~These.refer.to.the.wearer"s.right.and.left.side.
RightrSider~The.front.side.of.the.fabric. Notch

Selvager~The.tightly.woven.factory.edge.of.fabric.that.runs.parallel.to.the.
lengthwise.grain.
Tack ~.To.sew.a.few.stitches.in.one.spotA.by.hand.or.by.machine.sewingA.to.secure.one.item.to.another
Topstitchr~A.straight.stitch.along.fabric.edges.or.seamlines.such.as.necklines.and.hems.that.helps.to.secure.and.strengthen.
an.areaB..It.can.also.be.used.as.decorative.stitch.to.bring.attention.to.seams.and.style.lines.
Understitchr~To.stitch.seam.allowances.to.a.facing.along.an.edge.to.keep.the.facing.from.rolling.to.the.outside.
WrongrSider~.The.back.side.of.the.fabric.
©’)L;A.Shari.Fuller(..All.Rights.Reserved(
 HeSwhoSallowsSoppressionSsharesStheScrimeqS~SDesideriusSErasmus PageSR8
f47TRFR4
Bodice
StepS4:SSStaystitchSorSdrawStrimSplacementSlinesSonS
theSrightSsideSofStheSbodiceSfrontSpiecesSwhereS
indicatedSonStheSpatternqSSApplyStrimSinsideStheS
placementSlines2SfoldingStheStrimStoSmiterStheScornersqSS
StitchqSSNote:SSIfSusingSbulkyStrimSorSbeading2SdonNtS
applySuntilStheStheSfinalSstepqSSSSSSS

StepSv:SSFoldStheSplacketSinShalf2S
rightSsidesStogetherqSSStitchStheS
endsSandSturnSrightSsideSoutqSS
Press2SsquaringStheScornersSwithSaS
bluntSneedleqSSSS

StepST:SSWithStheSrightSsidesStogetherSandSmatchingStheS
notches2SpinStheSbodiceSbackStoStheSbodiceSfrontSpiecesSatS
theSshouldersqSSPressStheSseamSallowanceStowardStheS
shouldersqSSRepeatSforStheSliningqSSS
StepS©:SSSSStaystitchStheSarmscyesSofStheSbodiceSandSbodiceS
liningSandSclipStheScurvesSupStoStheSseamSlineqSSPressStheSseamS
allowancesSunderSalongStheSstaySstitchingSofStheSbodiceSliningqSS
WithStheSrightSsidesStogether2SpinStheSplacketStoStheSproperSrightS
bodiceSfrontSliningSwhereSindicatedSonStheSpatternqSS

StepS7:SSSewStwoSrowsSofSgatheringSstitchesS
alongStheStopSedgeSofSeachSsleeveSwhereS
indicatedSonStheSpatternqSSStaystitchSalongStheS
topSedgeSofSeachSsleeveSliningSandSclipStheS
curvesSupStoStheSstaystitchingqSSTransferSpleatS
placementSlinesStoStheSright sideSofStheSsleeve
liningSpiecesSonlyqSS
©vR472SShariSFullerqSSAllSRightsSReservedq
 An-absolutely-new-idea-is-one-of-the-rarest-things-known-to-man©-Thomas-More Page-F9
6153FRF1

Step-6:--With-the-right-sides-togetherq-pin-
the-sleeves-to-the-armscyes-of-the-bodiceq-
matching-the-notches©--Pull-gathering-threads-
to-ease-fit-along-the-top-of-the-armscye©--Stitch©--
Clip-the-curves-and-press-the-seam-allowances-
toward-the-bodice©--

Step-7:--With-the-right-sides-togetherq-sew-the-side-seams-of-
the-bodice-togetherq-aligning-the-seamlines-of-the-armscyes-
and-the-bottom-edges-of-the-bodice-and-sleeves©--Press-the-
seam-allowances-open©--

Step-8:--With-the-right-sides-togetherq-sew-the-side-seams-of-the-
bodice-lining-togetherq-aligning-the-folded-edges-of-the-armscyes-and-
the-bottom-edges-of-the-bodice©--Press-the-seam-allowances-open©---
Step-9:--With-the-right-sides-togetherq-pin-the-bodice-lining-to-the-
bodice-along-the-front-and-neckline©--Stitch©--Clip-the-corners©--Turn-
right-side-outq-squaring-the-corners-with-a-blunt-needle©--Pressq-
following-the-seam-line©--

Skirting
Step-1F:--With-the-right-sides-together-and-matching-the-notchesq-pin-the-front-skirting-pieces-to-the-back-skirting©--Stitch-
and-press-the-seam-allowances-open©--Repeat-for-the-lining©

©2F17q-Shari-Fuller©--All-Rights-Reserved©
 If3honor3were3profitableB3everybody3would3be3honorable43Thomas3More Page37©
:753©F©7
Step377:33Staystitch3or3draw3trim3placement3lines3on3the3right3side3of3the3skirting3where3indicated3on3the3
pattern433Apply3trim3inside3the3placement3linesB3folding3the3trim3to3miter3the3corners433Stitch433Note:33If3using3bulky3
trim3or3beadingB3donNt3apply3until3the3final3step4333333

Step37R:33Pin3the3skirting3lining3to3the3skirting3right3sides3
together3along3the3side3and3bottom3edges43Stitch433Clip3the3
corners3and3curves43Turn3right3side3outB3squaring3the3corners3
with3a3blunt3needle433Press3flat3following3the3seam3lines433

Step373:33Baste3the3skirting3and3lining3together3along3the3top3
edge433Mark3the3pleat3placement3lines3on3the3right3side3of3the3
skirting3where3indicated3on3the3pattern433Fold3pleats3toward3the3
center3backB3pinning3in3place3to3secure433

Step374:33With3the3right3sides3togetherB3pin3the3skirting3to3the3bodice3along3the3
waistline3between3the3dots3and3matching3the3center3back433Being3careful3not3to3catch3
the3bodice3lining3in3the3seamlineB3stitch3the3bodice3to3the3skirting43

Step375:33With3the3right3sides3togetherB3pin3each3bodice3front3
to3the3bodice3front3lining3along3the3bottom3edges3between3the3
dot3and3front3edges433Stitch433Clip3the3corner3and3turn3right3side3
outB3squaring3the3corner3with3a3blunt3needle433Press3following3the3
seam3line4
©R©77B3Shari3Fuller433All3Rights3Reserved4
 ISsawStheSangelSinStheSmarbleSandScarvedSuntilSISsetShimSfree(S~SMichelangelo PageS©©
:©5A6k6©

GownSLining
StepS©6:SSPinSeachSsleeveSliningStogtherSrightSsidesStogetherS
alongStheSsideSseamSallowances(SSStitch(SSPressStheSseamS
allowancesSopen(

StepS©7:SSWithStheSrightSsidesStogetherSandSmatchingStheSseamlinesFS
pinStheSsleeveSliningSpiecesStoStheSsleevesSalongStheSbottomSedges(SS
StitchSandSclipStheScurves(S
StepS©8:SSTurnStheSsleeveSliningsSinsideSthenSturnStheSentireSgownS
insideSout(SSMatchingStheSseamSallowancesFSpinStheSsleeveSliningsSalongS
theSarmscyes(SSPressStheSSbottomSedgesSofStheSsleevesFSfollowingStheS
seamlines(SSPinStheSarmscyesSofStheSbodiceSliningSoverStheSseamS
allowances(SSWhipstitchStoSsecure(SSTurnStheSbottomSseamSallowanceSofS
theSbodiceSliningSunderSandSpinSalongStheSwaistlineSoverStheSseamS
allowance(SSWhipstitchStoSsecure(

StepS©9:SSFoldStheSpleatsSwhereSmarkedSonStheSsleeveSliningSONLY.
PinSinSplaceFSmatchingStheSpleatSlines(SSStitchStoSsecure(S8TheSpurposeS
ofStheseSpleatsSisStoSgiveStheSouterSsleevesStheSlookSofSbeingSpushedSupS
onStheSarms(TSSTurnStheSpleatSdownStowardStheSbottomSofStheSsleeve(SSSSS

©26©7FSShariSFuller(SSAllSRightsSReserved(
 Even2if2I2knew2that2tomorrow2the2world2would2go2to2piecesH2I2would2still2plant2my2apple2treeT2~2Martin2Luther Page2C6
3CBW4'4C
Step264:22Turn2the2gown2right2side2outT22Push2the2fullness2of2
the2outer2sleeve2created2by2the2pleat2up2past2the2trim2lineT22
Starting2at2the2seamline2of2each2sleeveH2pin2the2fur2trim2along2the2
bottom2edge2with2the2right2side2facing2outT22Cut2excess2trim2so2
that2the2ends2meetT22Whipstitch2the2ends2togetherT22Blindstitch2
the2bottom2edges2of2the2fur2to2the2bottom2edges2of2the2sleevesH2
turning2under2a2very2narrow2hem2to2hide2the2raw2edgeT22Repeat2
for2the2top2edges2of2the2trimT

Finishing2the2Gown
Step26C:22Sew2snaps2to2the2
placket2and2bodice2where2
indicated2on2the2patternT22Apply2
additional2beading2and2trim2if2
desiredT2

English2Hood
Step266:22Apply2hood2foundation2with2iron'on2fusing2to2
the2wrong2side2of2the2hood2cover2piece2that2will2be2on2the2
inside2of2the2hoodH2following2the2manufacturer:s2instructionsT

Step26W:22Pin2the2two2Hood2cover2pieces2right2sides2
together2along2the2front2and2side2edgesT22StitchH2following2the2
edge2of2the2foundationT222

Step26x:222Clip2the2corners2and2curvesT22

Step26B:22Turn2right2side2outH2squaring2the2corners2with2a2
blunt2needleT22PressH2following2the2seam2lineT22Staystitch2along2
the2back2edge2of2the2hood2coverT

Step26R:22With2the2inside2of2the2hood2facing2upH2fold2and2crease2the2hood2along2the2fold2lines2indicated2on2the2patternT22
Clip2the2back2edge2of2the2hood2at2each2fold2line2up2to2the2staystitchingT

©64C©H2Shari2FullerT22All2Rights2ReservedT
 If5people5knew5how5hard5I5worked5to5get5my5masteryH5it5wouldnbt5seem5so5wonderful5at5allx5~5Michelangelo Page57©
S7R©CBC7
Step5A7:55Apply5hood5back5foundation5with5ironBon5fusing5to5the5wrong5side5of5the5
hood5back5cover5piece5that5will5be5on5the5inside5of5the5hoodH5following5the5manufacturerbs5
instructionsx

Step5A8:55Pin5the5two5hood5
back5covers5WRONG sides5
togetherx55Stitch5to5securex

Step5A9:55With5the5insides5togetherH5pin5one5side5of5the5hood5
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 PageC'2
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 PageqR8
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 Page.MG
wTMG989T
Step.KMR..Apply.laceq.trimq.or.beading.on.the.front.of.the.frame.as.desiredI..Ladies.used.this.frame.to.showcase.their.
jewels.so.feel.free.to.get.as.elaborate.as.you.likeI..Decorations.may.be.stitched.or.glued.in.placeI
Step.K/R..Line.up.the.corners.of.the.front.frame.and.the.front.of.the.hood.and.pin.in.place.by.stabbing.the.pins.straight.
throught.the.frame.and.hoodI..Whipstitch.along.the.outside.edge.to.secureI

Sash
Step.K(R..With.the.right.sides.togetherq.fold.the.sash.in.half.along.the.fold.line.and.pin.along.the.outside.edgesI..Stitchq.
leaving.the.space.between.the.dots.open.for.turningI..Clip.the.corners.and.turn.right.side.outq.squaring.the.corners.with.a.
blunt.needleI..Pressq.following.the.seamlinesI..Whipstitch.the.center.opening.closedI..
Step.K)R..Center.the.sash.over.the.front.of.the.hood.and.tack.to.the.top.and.sides.to.secureI..If.desiredq.pin.the.sides.of.
the.sash.upI..For.a.proper.fit.on.dolls.with.long.hairq.braid.hair.in.two.braidsI..Pin.the.braids.to.the.top.of.the.headI

Petticoat
The.Hampton.Court.Gown.is.designed.to.wear.over.the.Side.Laced.Kirtleq.Thimbles.and.Acorns.
Pattern.wTMM989TI..If.preferredq.this.easy.to.make.petticoat.can.be.used.insteadI
Step.K2R..Finish.the.side.and.back.edges.of.the.petticoat.pieces.if.desiredI..With.the.right.sides.togetherq.pin.the.petticoat.
back.pieces.to.the.petticoat.front.matching.the.notchesI..StitchI..Press.the.seam.allowances.openI
Step.M9R..Mark.the.pleat.placement.lines.on.the.right.side.of.the.skirting.where.indicated.on.the.patternI..Fold.pleats.
toward.the.center.backq.pinning.in.place.to.secureI..Turn.the.proper.left.placket.under.along.the.fold.lineI.
Step.MTR...Fold.the.waistband.in.half.lengthwiseq.wrong.side.outI..Turn.up.a.TFK8inch.W/.mm7.seam.allowance.on.one.side.
and.pressI..Stitch.each.end.of.the.waisbandI..Turn.right.side.out.and.press.flatq.squaring.the.corners.with.a.blunt.needleI..
Step.MHR..With.the.right.sides.togetherq.pin.the.unturned.edge.of.the..waistband.along.the.top.edge.of.the.skirtI..Stitch.in.
placeq.being.careful.not.to.catch.the.folded.edge.of.the.waistband.in.the.seam.lineI..Turn.the.waistband.over.the.seam.
allowanceq.pin.in.place.and.and.sew.it.along.the.seamline.to.secureI...
Step.MGR..Sew.the.back.seamline.of.the.petticoat.from.the.dot.to.the.bottom.edgeI..Press.the.seam.allowance.toward.the.
rightI..
Step.MKR..Finish.the.bottom.edge.of.the.petticoat.with.a.GFK8inch.WT28mm7.hemI..Machine.or.handstitch.to.secureI..Apply.
snap.to.the.waistband.where.indicated.on.the.patternI

Chain.Belt
Step.MMR..Fasten.a.chain.type.necklace.at.the.back.waistline.of.the.gownI..Drape.the.chainq.along.the.waistline.of.the.gownq.
marking.the.links.below.the.center.front.of.the.bodiceI..Remove.the.chain.and.fasten.marked.links.together.with.a.jump.ringq.
decorative.linkq.or.pendantI..Put.the.chain.belt.back.on.and.trim.the.chain.to.the.desired.length.at.the.frontI.

©H9T(q.Shari.FullerI..All.Rights.ReservedI
 Renaissance Faire
Hampton Court Gown
The influence of the Renaissance launched the concept of high fashion as costume began to reflect the
love of art, discovery, and invention during this period in history. The clean and simple lines of medieval clothing gave
way to more elaborately shaped and adorned clothing that reflected the artistic ideals of the Renaissance. In the 1 6th
century, the Tudor's of England brought Renaissance fashion to its climax, setting the tone for fashion design for the next
four centuries. The fitted bodices and full skirts that were the mainstay of court dresses not only enhanced the the
feminine features that had been idealized by Renaissance artists, but also provided a canvas in which to display one's
wealth in the form of jewels, lace, and other fine adornments.
The Hampton Court Gown is a classic fully lined Tudor style gown. The fitted bodice has a low square
neckline with a slightly curved front opening that fastens with three small snaps. The full skirt is pleated in the back and
opens in the front to display the kirtle or petticoat worn underneath. The bodice and skirting can be finished with
decorative lace, embroidery, or beading. The wide bell shaped sleeves are trimmed with fur and the lining is pleated
inside the elbow to give the sleeves a draped appearance. The key to Tudor fashion was layering and the Hampton Court
Gown was designed to be worn over Thimbles and Acorns Side Laced Kirtle and Smock. The kirtle and smock not only
give the gown added support and fill in the open space of the skirting, but the additional layers of color and texture
along the bodice and sleeves gives the gown a complex and regal appearance. If preferred, this pattern also includes a
simple petticoat that can be worn underneath the gown in place of the kirtle. The crowning glory of this gown is the
quintessential English Gabled Hood. It's gable shape not only covered the hair but provided a framework on which a
noble woman could display her finest jewels and ornaments around her face.

Thimbles
and Acorns
Making History Memorable