Textiles

The creation of courtly attire during the Renaissance was a complex process that involved an entire team of highly skilled artisans.

The ceremonial garments worn by Queen Barbara Radziwiłł were crafted from luxurious silk fabrics imported to the Jagiellonian court from Italy—most notably from Venice, Milan, and Florence.

Among the opulent silks used for such regal attire were cloths of gold and silver (woven with a gold-wrapped or spun weft), Various types of velvets, lampas, brocatelle (with characteristic raised patterns), damasks, satins, taffetas, as well cloths with wave-like striations resembling moire and smooth or patterned textiles enriched with metallic threads.

In addition to formal dress, the queen also wore everyday garments made from lightweight silks and fine-quality wools. Woolen materials such as stament and purpurian were used to make the clothing of her ladies-in-waiting.

Textile production was a complex process that required a high degree of specialization, with dyeing playing a particularly important role.

Certain colors—due to the difficulty of achieving them and the high cost of dyes—significantly affected the price of fabrics. Especially expensive were particular shades of red, such as crimson and scarlet, as well as deep blacks.

Merchants acted as intermediaries in supplying finished textiles to the royal court. Fabrics destined for Queen Barbara’s garments were delivered directly to her court tailor, Francesco—a talented Italian artisan, also skilled in crafting various clothing accessories.

Renaissance fashion was ever-changing and subject to many influences, so a good tailor needed to stay current with the latest trends. Barbara’s attire reflected the styles popular at the Habsburg court and within the Italian cultural sphere.

Barbara’s gowns were adorned by the esteemed embroiderer Sebald Link, who likely drew inspiration from printed pattern books (Modelbuch) featuring designs for embroidery and lace. Fur linings were the responsibility of a furrier, while jewelers, such as Gian Giacopo Caraglio, crafted the ornaments, and shoemakers supplied the footwear.

Key accessories included collars that covered the neckline and gloves, which were an important symbol of status.

The ensemble was completed with makeup, notably a whitening agent made from vinegar mixed with toxic white lead. A pale, porcelain complexion was considered a hallmark of beauty and a requirement of fashion in that era.

 

 

Golden Gown of Queen Barbara Radziwiłł

based on a miniature portrait of Barbara Radziwiłł from the workshop of Lucas Cranach the Younger, ca. 1556.

Venetian silk, hand sewing, handwoven ribbons, natural pearls.

Atelier: Nomina Rosae

Design: Maria Molenda

Construction and tailoring: Elżbieta Mężyk

Embroidery: Halina Mężyk

Handwoven silk ribbons: Anna Grzelak

Jewels for gown decoration: Łukasz Lewandowski / Lorifactor

Bijou: Alexander Markus Bleicher

 

Reconstruction of a Renaissance gown from the first half of the 16th century.

Black moire, silk velvet

Atelier: Nomina Rosae

Design: Maria Molenda

Construction and tailoring: Elżbieta Mężyk