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The first kirtles that I'll be presenting don't have a waistseam. These are the period examples that I used for inspiration ;

Kirtles with no waistseam

Hans Memling, The passion triptych
and the Moreel family altarpiece 1491 & 1484

Les très riches heures du Duc de Berry 1412

Hugo Van der Goes,
Massacre of the innocents 1470

Rogier Van der Weyden,
The Braque family triptych 1450

The book of simple medicine, Russia

Le roman de Lancelot du Lac

Engraving by Master ES

L'histoire de Renaud de Montauban 1462-70

The construction

As I mentionned before, I've tried virtualy every possible construction theories in the book. The overall look is always basicaly the same, it's the adjustments and fitting that makes all the difference.

This is what I call "The generic construction". It consists of plain geometrical shapes. These 2 kirtles have been constructed essentialy the same way. The only main difference is the sleeve pattern. However, you'll find that they look very different, one even makes me look 20 pounds heavier than the other while I was in fact 5 pounds lighter back then. This is why ; The second kirtle's basic rectangle shapes were cut to my waist measure and I've added a flare at the bust area. The first kirtle was made to an average size based on my waist & hips' measurements and a gusset was added under the arm to add room for the bust. The tip of the side gores on the second kirtle lay just "over" the hip bone as opposed to the first kirtle where the tip of the gores sit on the side of the hip bone. Note that the first kirtle was lined with linen and the second one isn't lined. The first gown was mainly sewn by machine and finished by hand while the second one isn't lined and was entirely sewn by hand, all seams are opened and hemstitched flat. Both kirtles are spiral laced and the eyelets are sewn by hand. Also note that the first kirtle was my very first attempt at this sort of garment and with the second one, I've had 3 years of practice at this.

Here are the layouts of the approximative patterns that I've made for these ;

The first kirtle

The second kirtle

Gousset of the first kirtle

I have also tried another construction method for this type of kirtle without a waistseam ; The flared skirt. A seam on the skirt of a high-resolution version of "The massacre of the innocents" presented above suggests such a construction. For this one, I've also attempted the flat-felling technique as seen in many paintings of the 15th century and found on later centuries' extant garments. So it's made of heavy wool, as oposed to the light wool of the first 2 kirtles presented, and it's lined with heavy linen canvas.

And here's the layout of the approximative pattern that I've made for this one.
Note that I've used the second sleeve design with the seam behind the arm ;

Onto the next page ; Kirtles with a waistseam

Back to the front-laced kirtles info page ; 15th century front laced kirtles

These are exemples of flat felling technique in period art ;

Rogier Van der Weyden, St-John Altarpiece 1455

Gerard David, La justice de Cambyse 1498

Jean Fouquet, Virgin and Child Surrounded by Angels 1450

This is what the gown looks like when worn inside-out. I've really enjoyed working with this technique. It gives the gown a very unique and authentic finish. It's also fairly easy to do and it gives weight, form and sturdyness to the garment. It's also very warm in the winter and cool in the summer, regardless of the weight of the gown.

The gown being worn inside out

A close-up of one of the seams

The construction for this one is highly hypothetical. Though I've tried to construct the bodice in the most accurate way based on what was presented to me in the painting that follows, the skirt's construction of this particular gown as raised many interogation points over the years and still does to this day. Based on the information that I have now, I'd probably make the neckline different if I was to make another one like this, especialy in the back. I would make the opening much deeper. But overall, I'm satisfied with the results, though it could have been a bit more fitted and supportive in the breast & waist area. The lacing can be worn totaly closed or widely opened.

The reason I've decided to go with what I call "lap-gores" is because of the whee triangular crease or pleat that can be seen on the close-up image. How this gown is constructed and how it comes to create what appears to be distinct pleats that starts from nowhere in the skirt is a true brain teaser.

This is an approximative layout of the pattern that I've drafted for this gown. Note that I don't have a fitting form and this type of construction is extremely hard to get right when you're only working on a flat surface and have nobody to pin you in.

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I'm refering to these

So these are the construction methods "without waistseam" that I've experimented with so far. What I can say is that, they all work equaly well and they all give essentialy the same result. Well, except perhaps for that last one! I've also been wanting to experiment with Sally's construction theory for a while now, but using the round opening to really tighten the gown, as compared to wearing it ample like hers. Perhaps some day I'll come around to try my hand at it ;
http://www.livinghistory.co.uk/homepages/medievaldress/Page_1x.html