Period Patterns number 41, Women's Italian Renaissance Gowns, c. 1470-1505, provides patterns for 7 gowns & 1 tabard (sizes 8-18). Two have split skirts. underskirts, and stomachers, to fake an underdress. The underskirts and stomachers can be left off, replaced by a real underdress. Four of the gown patterns have sleeves that tie on.

This pattern goes well with Period Patterns no. 90, and 92.

Women's fashion changed radically after 1460.

Evolving from the houpelande (Period Patterns #26), the bodice was cut separately from the skirt, above the natural waist, and became tight fitting. Skirts could be gathered or pleated or neither. They were often split in front to show the skirt of a sleeveless underdress, which could also show under a V-neck. The chemise (Period Patterns no 90), decorated or not, also often showed at the neck. The sleeves could be slashed to show the chemise sleeve , and were often laced or tied to the bodice, rather than sewn on. This allowed different sets of sleeves to be worn with one gown. A sleeveless tabard was occasionally worn over the gown.

Period Patterns number 43, Men's Italian Renaissance Garments, c. 1420-1500, contains patterns for 3 shirts, 3 hose, 2 codpieces, a tabard and a cioppa or gown (sizes 36-48 included).

These garments are complimented by Period Patterns no. 26, 92, 101, and 102.

Men's fashions began to evolve around 1420.

The cotehardie (Period Patterns #23) became the doublet, first cut with a waist seam, then rapidly shortening to waist length. Sleeves were often tied or laced on, and a sleeveless underdoublet was sometimes worn as well. This was worn over a shirt. The houpelande (Period Patterns #26) became a robe or gown opening down the front, worn open or shut, and often belted. A tabard could be worn instead of the robe, and young men often wore the doublet alone. Separate hose leggings, tied to the doublet or underdoublet, became joined at the back, and modest codpieces were worn to cover the opening in front.