Knee length hosen are historically correct, but I’ll make full if you want more protection for your legs.

This petticoat goes under your farthingale for warmth, comfort and modesty.

Corded stays are made from two layers of linen with hemp cording drawn through.

*I have no documentation for this garment, but many of the women in paintings look like they are wearing a stiff, form-fitting garment under their bodices. Without some stiffening the bodices would wrinkle under the bust and at the sides. Bodices could have been lined with leather or canvas, stiffened with starch, boned, breasts could have been bound with cloth, but corded stays are another light-weight, washable possibility, and they allow for more flexibility in your wardrobe and lifestyle.

A partlet is a collar and ½ shirt, like a dickie. It can be worn under the bodice or over it, like the picture below. Single women wore it open, married women wore it closed... generally.

Corsets, or a “pair of bodies” are fully boned and very rigid, some were even made of iron. They reduce the waist and flatten the bust. The bottom front dips low, while the sides and back are at the natural waistline. These bodies are cut high under the arms and tabs at the waist add extra support for farthingales. I’ve found that boned tabs are more comfortable for full-figured women than straight-cut waistlines, but this is a matter of preference.

The bumroll is a stuffed pad that is full in the back and tapers to the front, then ties around the waist. It can be paired with the wheel for added support or worn by itself.

*a note on bumrolls: I haven’t found any reliable historic documentation for this garment, but some ladies in paintings look like they are wearing something similar to this undergarment. If you have a good primary or secondary source, please let me know.

The Wheel or Drum (above) is a cylindrical construction radiating out from the waist and falling to the floor, giving the torso a “serving tray” look.

The Spanish farthingale (below) came first and exited last, it’s a conical gored skirt with hoop supports and a draw-string waist.

All foreparts have a cotton or muslin base dyed to match, only the front panel is decorative fabric.

Each gown has front and side openings that lace closed for a snug fit. Sleeves can be sewn or tied-on. The skirt is pleated and sewn to the bodice. Bodices are lightly boned or corded to improve the fit.

The doublet was originally worn under armor to prevent bruising but later it became a fashionable garment. It buttons down the front and at the cuffs. The chest can be padded, and have wings on the shoulders to hide the sleeve attachments. Doublets usually ended at the waist, but can extend with tabs. Doublets can be slashed, embroidered, and trimmed. Functional or fashionable!

Early in the century, hose were long and form fitting. They could have slashes or cut-work. Later in the century hose ended at or above the knee and ballooned out into the pumpkin or melon shape that characterizes the Shakespearean era. These can be pleated for volume or allowed to hang in loose folds.

Jerkins are usually made of leather and worn over doublets. They can be buttoned all the way, or left open at the top or bottom depending on your time period. Jerkins are sleeveless and cut to fit the body. They can have long or short skirts.

Henry VIII wears a skirted jerkin and a knee length gown typical of the first half of the century. Gowns can be floor length or just below the knee. They are voluminous garments that add bulk to a man’s shoulders. Gowns are luxurious, with elaborate trim, embroidery and fur linings. Sleeves can be slashed, trimmed, embroidered… just about anything that can be done should be done.