How Did Women Ride?
I am madly obsessed with 14-17th century European (primarily English) history. It's a secret passion of mine that sometimes bleeds into my daily life. For instance, every year my Halloween costume is some form of historical dress. My parents are often subject to phone calls such as, "Did you know that the word 'quarantine' comes from the Bubonic Plagues in Italy? When asked how long people should be held, the Doge of Venice thought of Jesus' fast in the desert and said 'quaranta giorni', or forty days. Thus, quarant-ine!" Funny, they're never as excited as I hope they'll be....
Bullet is a lovely Percheron, a draft breed used in war by the Normans, still in use today by the military, and often seen in Ren Faire jousts. I cannot joust. I wondered, what else could I do that would be historical? I know ladies in the High Middle Ages/Renaissance rode "palfreys". But what did palfreys wear? And what did the ladies wear to ride?
Bullet is a lovely Percheron, a draft breed used in war by the Normans, still in use today by the military, and often seen in Ren Faire jousts. I cannot joust. I wondered, what else could I do that would be historical? I know ladies in the High Middle Ages/Renaissance rode "palfreys". But what did palfreys wear? And what did the ladies wear to ride?
From Courage to Carriage

Percherons are a breed of horse developed in the former Perche province of France. They are usually gray or black. (Bullet is gray; as he ages the darker spots will disappear and he will turn white.) Percherons average 16-18h, which means you're sitting on almost a full ton of horse 6ft off the ground. Known for their intelligence and willingness to work, they were originally bred for war and later used to pull coaches, wagons, plows, and for forestry work.
The origins of the breed are largely disputed. The foundations could have been laid by mares captured by Clovis I of the Bretons after 496AD, Arabian stallions ridden by Muslim invaders or Moorish horses, both in the 8th century. Yet another theory posits that Cesar's reinforcements played a role in developing the horses of La Perche. Arabian stallions were made available to breeders during the 17th and 18th centuries, by which time Percherons had grown in size and popularity. No longer solely the gray chargers of knights and warriors, they were known as "Diligence Horses" due to their ability to pull a carriage at a trot for up to 37 miles per day. Certainly the heavy doses of Arabian blood refined the large draft characteristics of the breed, adding lateral flexibility, smaller, prettier heads, narrower withers, and endurance.
The Percheron has had a rough history, surviving as a breed by the skin of its teeth and still on the Recovering Breeds list today. The breed saw battle from its origin in the 8th century to World War II, and continues service in pulling, driving, riding, mounted police, hunting, jumping, and dressage, yet has teetered on the brink of extinction since the mid-18th century, most often in its homeland. The breed was almost lost during the French Revolution, and all Percherons today can trace their bloodlines back to a single stallion, Jean LeBlanc, born in 1823. With the help of horses imported from other regions in France, numbers swelled to 32,000 strong by 1910. Percherons were able to be exported all over the world.
While initial importations of Percherons to America had limited success, the breed soon gained a foothold, both purebred and crossbred to improve local stock. In addition to agricultural work and driving, Percherons were the most common circus horse in the latter half of the 19th and early 20th century. There was a constant demand for imports from France until World War I. Embargos, coupled with a desperate need for feed, cavalry mounts, and handlers once again depleted French bloodstock. After the war the trade route reversed, with North American and British breeders sending their horses to replenish the French farms.
In the 1930s, the US boasted 33,000 Percherons, accounting for 70% of the nation's draft horses. However, with the mechanization of World War II and the scientific innovation that followed, the Percheron found itself without a job worldwide. France was hit the hardest, and coped by marketing the breed as a meat animal. In 1988 there were less than 2,000 Percherons in the United States. Today the breed is enjoying a resurgence in popularity. In Disneyland Paris Percherons make up 30% of the horses used in the park, and of course the American Heinz hitch team is famous worldwide.
The origins of the breed are largely disputed. The foundations could have been laid by mares captured by Clovis I of the Bretons after 496AD, Arabian stallions ridden by Muslim invaders or Moorish horses, both in the 8th century. Yet another theory posits that Cesar's reinforcements played a role in developing the horses of La Perche. Arabian stallions were made available to breeders during the 17th and 18th centuries, by which time Percherons had grown in size and popularity. No longer solely the gray chargers of knights and warriors, they were known as "Diligence Horses" due to their ability to pull a carriage at a trot for up to 37 miles per day. Certainly the heavy doses of Arabian blood refined the large draft characteristics of the breed, adding lateral flexibility, smaller, prettier heads, narrower withers, and endurance.
The Percheron has had a rough history, surviving as a breed by the skin of its teeth and still on the Recovering Breeds list today. The breed saw battle from its origin in the 8th century to World War II, and continues service in pulling, driving, riding, mounted police, hunting, jumping, and dressage, yet has teetered on the brink of extinction since the mid-18th century, most often in its homeland. The breed was almost lost during the French Revolution, and all Percherons today can trace their bloodlines back to a single stallion, Jean LeBlanc, born in 1823. With the help of horses imported from other regions in France, numbers swelled to 32,000 strong by 1910. Percherons were able to be exported all over the world.
While initial importations of Percherons to America had limited success, the breed soon gained a foothold, both purebred and crossbred to improve local stock. In addition to agricultural work and driving, Percherons were the most common circus horse in the latter half of the 19th and early 20th century. There was a constant demand for imports from France until World War I. Embargos, coupled with a desperate need for feed, cavalry mounts, and handlers once again depleted French bloodstock. After the war the trade route reversed, with North American and British breeders sending their horses to replenish the French farms.
In the 1930s, the US boasted 33,000 Percherons, accounting for 70% of the nation's draft horses. However, with the mechanization of World War II and the scientific innovation that followed, the Percheron found itself without a job worldwide. France was hit the hardest, and coped by marketing the breed as a meat animal. In 1988 there were less than 2,000 Percherons in the United States. Today the breed is enjoying a resurgence in popularity. In Disneyland Paris Percherons make up 30% of the horses used in the park, and of course the American Heinz hitch team is famous worldwide.
A Percheron Palfrey?
We love to classify things, don't we? Take cars, for instance: SUV, compact, minivan, truck, crossover, sedan, etc. Horses were the cars of the Middle Ages, defined by their purpose rather than breed. Both terms and classes were interchangeable, and almost any class of horse could be pressed into service during war. A summons in 1327 specifically requested Rounceys over Destriers, as a swift pursuit was expected. Also, traditions varied by area. While stallions were favoured as war horses in most of Western Europe, mares were preferred in battle by Moors.
DESTRIER: A highly trained, finely tuned war horse. The most expensive class of horse you can buy, costing roughly 20-30 pounds sterling (the equivalent of 10 years' earnings for a common man!). These stallions are a knight's brother in arms, every bit as deadly as the warrior himself. Indeed, the knight's survival often depended on his destrier, as horses were trained in defensive maneuvers to save both themselves and their riders. Modern day classical dressage is based upon this martial training. Destriers are known as "Great Horses", and best suited to the joust.
CHARGER: Also a war horse, though not perhaps as skilled, trained, or inclined as a destrier. Also stallions, used in the lists for jousting. Light, fast, and strong, chargers cost about half as much as destriers.
COURSER: A horse with speed and endurance used in the hunt. Courser and charger could be used interchangeably.
ROUNCEY (alt Rounsey or Cob): Your basic, every day riding horse. Could be used in the hunt or trained for war. Ridden by squires and poorer knights. Noblemen often keep a stable of rounceys for their faction. Rounceys could be used as pack animals, but never to pull carts.
PALFREY (alt Hackney): A well-bred riding horse which can equal a destrier in price. The preferred horse for daily use by noblemen and knights. A popular choice for high-born ladies.
AMBLER (alt Trotter or Nag): A riding horse with a smooth, comfortable gait. THE horse for long journeys.
JENNET: A small horse of Spanish/Moorish origin known for its gentle temperament and dependable nature. Popular riding horse for ladies, although used in battle by the Spanish.
SUMPTER: A pack animal, be it horse, donkey, or mule. (Alt hackney, depending on quality) I'm guessing the name is derived from the horse's job pulling sumptuary goods?
HOBILAR: A rugged, hardy pony used in skirmishes by light cavalry known as "Hobelars". (From whence the term "hobby" horse is derived!) Hobby horses are quick, agile, and can cover up to 70 miles per day.
AFFRUS (alt Stott): Draft horse, used in agricultural work. Usually smaller and cheaper than a sumpter. (About 3 pounds sterling)
DESTRIER: A highly trained, finely tuned war horse. The most expensive class of horse you can buy, costing roughly 20-30 pounds sterling (the equivalent of 10 years' earnings for a common man!). These stallions are a knight's brother in arms, every bit as deadly as the warrior himself. Indeed, the knight's survival often depended on his destrier, as horses were trained in defensive maneuvers to save both themselves and their riders. Modern day classical dressage is based upon this martial training. Destriers are known as "Great Horses", and best suited to the joust.
CHARGER: Also a war horse, though not perhaps as skilled, trained, or inclined as a destrier. Also stallions, used in the lists for jousting. Light, fast, and strong, chargers cost about half as much as destriers.
COURSER: A horse with speed and endurance used in the hunt. Courser and charger could be used interchangeably.
ROUNCEY (alt Rounsey or Cob): Your basic, every day riding horse. Could be used in the hunt or trained for war. Ridden by squires and poorer knights. Noblemen often keep a stable of rounceys for their faction. Rounceys could be used as pack animals, but never to pull carts.
PALFREY (alt Hackney): A well-bred riding horse which can equal a destrier in price. The preferred horse for daily use by noblemen and knights. A popular choice for high-born ladies.
AMBLER (alt Trotter or Nag): A riding horse with a smooth, comfortable gait. THE horse for long journeys.
JENNET: A small horse of Spanish/Moorish origin known for its gentle temperament and dependable nature. Popular riding horse for ladies, although used in battle by the Spanish.
SUMPTER: A pack animal, be it horse, donkey, or mule. (Alt hackney, depending on quality) I'm guessing the name is derived from the horse's job pulling sumptuary goods?
HOBILAR: A rugged, hardy pony used in skirmishes by light cavalry known as "Hobelars". (From whence the term "hobby" horse is derived!) Hobby horses are quick, agile, and can cover up to 70 miles per day.
AFFRUS (alt Stott): Draft horse, used in agricultural work. Usually smaller and cheaper than a sumpter. (About 3 pounds sterling)
What Did Horses Wear?

Detail from Tres Riches Heures de Duc de Berry
In the painting at left one can easily see the horse's barding, or trappings. In particular note the two sets of reins. The thinner, leather set is functional, while the cloth is decorative. War horses went into battle with similar reins, although the barding was often rings of chains over leather to prevent the reins being cut.
Bullet's simple headstall, reins, and full cheek snaffle are period correct. So are our girth, overgirth, saddle pad (or caparison) and metal stirrups...sort of.
It truly shocked me how little information I was able to find about women's riding prior to the 17th century. I was further shocked and dismayed by most of the information I did find. I know learning is a process, but we were really terrible to horses. Many sources would have us believe that women, by and large, didn't ride much. If they did so, it was pillion behind a man (on a pad, sideways, on the bouncing rump whilst holding on to the man's waist) or in a cart. Obviously this is because a man can ride astride. No little lady could manage a great big horse by herself! Especially not in those skirts, and with those rounded thighs! If a lady were to ride "sidesaddle" throughout the Middle Ages, she generally needed a groom to lead her. Why? Because the early sidesaddle was little more than a literal wooden box on the horse's back. About as comfortable for both parties as it sounds. The lady sat on a flat, padded board with her feet resting on a platform (planchette) below. Not only was the horse likely to get sore and toss her, she couldn't stay with the motion! Terrible idea.
Bullet's simple headstall, reins, and full cheek snaffle are period correct. So are our girth, overgirth, saddle pad (or caparison) and metal stirrups...sort of.
It truly shocked me how little information I was able to find about women's riding prior to the 17th century. I was further shocked and dismayed by most of the information I did find. I know learning is a process, but we were really terrible to horses. Many sources would have us believe that women, by and large, didn't ride much. If they did so, it was pillion behind a man (on a pad, sideways, on the bouncing rump whilst holding on to the man's waist) or in a cart. Obviously this is because a man can ride astride. No little lady could manage a great big horse by herself! Especially not in those skirts, and with those rounded thighs! If a lady were to ride "sidesaddle" throughout the Middle Ages, she generally needed a groom to lead her. Why? Because the early sidesaddle was little more than a literal wooden box on the horse's back. About as comfortable for both parties as it sounds. The lady sat on a flat, padded board with her feet resting on a platform (planchette) below. Not only was the horse likely to get sore and toss her, she couldn't stay with the motion! Terrible idea.
I have trouble believing that, in an age when four legs were really the only way to cover a distance, women put up with this arrangement! This was a vastly different cultural age from our own. Men and women worked literally side by side, every day. Spouses were partners. Evidence of equality between the sexes abounds from the highest political level to the lowest form of drudgery, regardless of romantic notions of chivalry and social constraints. This was a far more practical age!
Not only do we have evidence that women ran their husbands' blacksmith, farrier, and other businesses when need dictated, we have example after example of women in power acting with "the heart and stomach of a king". Eleanor of Aquitaine rode into battle, as did Isabella of Spain, Joan of Arc, etc. First, I highly doubt these women were willing to risk their lives and victories on the saddle above. Second, from queens to first ladies women of political clout have always set trends. If they did it, why wouldn't other women follow?
Note in the detail below that one of the women is riding astride.
Not only do we have evidence that women ran their husbands' blacksmith, farrier, and other businesses when need dictated, we have example after example of women in power acting with "the heart and stomach of a king". Eleanor of Aquitaine rode into battle, as did Isabella of Spain, Joan of Arc, etc. First, I highly doubt these women were willing to risk their lives and victories on the saddle above. Second, from queens to first ladies women of political clout have always set trends. If they did it, why wouldn't other women follow?
Note in the detail below that one of the women is riding astride.
Now I come to the next hitch in this giddy-up. Elizabeth Tudor was very fond of riding from an early age, and did so her entire life. In her sixties she rode 10 miles rather than take a carriage. After her ascension she appointed Robert Dudley Master of the Horse. He had to import faster, stronger horses as the Queen would tire the English horses out. (And these the forerunners of the modern day Thoroughbred!) Her ladies couldn't keep up with her. The daughter of Henry VIII, self-appointed Supreme Head of Church and State, and the brave, precocious Anne Boleyn, tearing through the woods at a right angle to her horse? I can't see it. Contemporary paintings show the sidesaddle in use, but they also show her hunting in full court dress! The weight of the clothes alone would have frustrated her to no end, and it is my firm belief that reality differed sharply from the necessary larger-than-life image artists portrayed.
What Did Ladies Wear?

1585 Nurnberg Ladies Riding Doublet
The riding habit was not developed until the 17th century. Elizabeth, the last Tudor monarch, died in 1603, and while her influence continued another 20 years (through the reign of James I), I can't really justify a Tudor riding habit. What would a lady have worn to ride out?
I'll be riding astride (I can't afford to muck around. Safety first!) in my Aussie saddle, which is the closest thing to a medieval saddle they make anymore. McClellans might be a bit closer, but they have an open tree which wasn't developed at the time...and they're super uncomfortable for the rider! I need (as I believe contemporary ladies would have needed) comfort, ease of movement, suitability for weather conditions, and lack of interference. The full court gown is right out.
At left is the only extant female riding garment from the Tudor era, although it's German, not English. Originally experts assumed it was a youth's doublet, because women don't wear doublets. But where were the lacing holes to tie the picadills to the breeches? (As my mother would say, 'When you assume....') It's a ladies' riding doublet, circa 1585! Right in the reign of Elizabeth! Huzzah! Proof indeed that ladies did NOT clamber up on horseback in full court dress, as the above woodcut and painting might suggest! Armed with this historical pass, I set off to make myself a doublet.....
I'll be riding astride (I can't afford to muck around. Safety first!) in my Aussie saddle, which is the closest thing to a medieval saddle they make anymore. McClellans might be a bit closer, but they have an open tree which wasn't developed at the time...and they're super uncomfortable for the rider! I need (as I believe contemporary ladies would have needed) comfort, ease of movement, suitability for weather conditions, and lack of interference. The full court gown is right out.
At left is the only extant female riding garment from the Tudor era, although it's German, not English. Originally experts assumed it was a youth's doublet, because women don't wear doublets. But where were the lacing holes to tie the picadills to the breeches? (As my mother would say, 'When you assume....') It's a ladies' riding doublet, circa 1585! Right in the reign of Elizabeth! Huzzah! Proof indeed that ladies did NOT clamber up on horseback in full court dress, as the above woodcut and painting might suggest! Armed with this historical pass, I set off to make myself a doublet.....
The Doublet

This project originated as something fun and different to do with my horse. My goal was to create a period garment for an oft overlooked purpose using period materials and construction techniques. I so much. Let me assure you, I am by no means a seamstress. I can sew a Halloween costume or put up a hem, but I don't know a gusset from a kick pleat and I suck at math. Prior to this experience I had never drafted a pattern. The good news is, if I can skill build, so can you!
I started by determining what clothing I would need:
I started by determining what clothing I would need:
- Smock - EVERYONE, big or small, male or female, high or low, wore one. This goes next to the skin and protects your clothes from you. As a 16th century citizen of England, you bathe monthly. You are disgusting, and your clothes are expensive. Besides, I'm gonna sweat on horseback. Not a bad idea.
- Bodies - Corset, farthingale, partlet, and bumroll. EVERYONE wears a partlet! The partlet tucks into the bodice of gown or the front and back of a shirt, framing the face and protecting your clothing from you! A lower class woman wouldn't wear a farthingale on a day to day basis, she'd simply wear shorter, less full skirts. She might wear a bumroll. Unlike a bustle, this will not cause increase bouncing in the posterior region. All it does is hold the skirt out, making the waist look smaller. Ultimately I decided to forego the farthingale for now, to wear a bumroll and partlet, and to skip the corset because....
- Kirtle - The kirtle is described as a loose, A-line dress. If you're a lower class woman, this is all you'll wear most of the time. You don't need a fancy gown. If you're higher class, you will wear your kirtle around the house, but throw on a juppe, overdress, or gown when company comes or if you go out. The kirtle has a moderately full skirt (which will be your underskirt) and a boned bodice. One of my requirements on horseback is ease of movement. I need to be able to breathe and stay with the horse's motion. I determine that a boned kirtle and lightly boned doublet will give enough support.
- Sleeves - These sleeves go over the smock sleeves and match the...
- Forepart - This is a fancy front skirt section, tied on like an apron, that gives some contrast under a split overskirt (see portrait of Elizabeth).
- Overskirt/Gown - I've gotta be honest, it's been a long hot summer. I'm only wearing the kirtle with a split skirt and forepart. I know, I know. Trust me, better things will happen in winter.
- Doublet - The doublet, traditionally menswear (from whence the proper riding habit will be developed), is supposed to have sewn on sleeves. However! This is a ladies' doublet, and most womenswear have detachable sleeves for ease of cleaning, and mix and match fashion. Much cheaper to throw on a different pair of oversleeves than to make or buy another doublet. The doublet is a short jacket with sleeve tabs, crescents, or rolls and picadills or tabs on the bottom. It can tie, lace, or button down the front. In menswear, a doublet without sleeves is a jerkin. It has a high collar to support the partlet or ruff.
- Hat - I'm going with a Tudor flat cap, which anyone can wear!
I love the remnant bin at the fabric store. The doublet body, trim, and partlet came from the remnant bin. The sleeves were leftover from the forepart, which was already attached to the skirt. I ripped off another bodice from a previous Italianate gown. The lining for the doublet was scrap I already had. I bought the velvet for the cap and the linen for the smock and bumroll, the canvas, and the notions. This doublet was made using .75 yards of cotton. One yard would have been perfect.
Beginnings
First I needed to decide what kind of doublet to make. Sleeves especially - slashed, puffed, straight, pinked, Spanish? Tabs or rolls? Picadills or tabs? Buttons actually gave me the hardest time, as I've never made buttonholes before. I did all the research I could to find portraits of women in doublets during this time period. None, of course, were more compelling than the scores of portraits of Elizabeth herself.
Like I said, I know only the rudiments of sewing. I knew I needed a historically accurate pattern. I used this amazing page to get started: http://freespace.virgin.net/f.lea/doublet1.html. SO HELPFUL! While I needed assistance in pinning the sides of the chop shirt, everything else was easy to do on my own! And when I say "on my own", I mean I was able to alter the garment on my person as I went along.
After cutting my pieces, I pinned my canvases to the armseyes. I did use felt for part, but then I ran out and bought some actual canvas. While the canvas gives more support, the felt (around the front of the arms) allows for better movement. EVERYTHING is stitched by hand. (Ugh)
Like I said, I know only the rudiments of sewing. I knew I needed a historically accurate pattern. I used this amazing page to get started: http://freespace.virgin.net/f.lea/doublet1.html. SO HELPFUL! While I needed assistance in pinning the sides of the chop shirt, everything else was easy to do on my own! And when I say "on my own", I mean I was able to alter the garment on my person as I went along.
After cutting my pieces, I pinned my canvases to the armseyes. I did use felt for part, but then I ran out and bought some actual canvas. While the canvas gives more support, the felt (around the front of the arms) allows for better movement. EVERYTHING is stitched by hand. (Ugh)
The Middle Bit
Okay, so maybe doublets aren't all boned. This one is. I decided to give it some body because I'm not planning to wear a corset (and if I do wear a corset, perhaps I'll wear an unboned kirtle). There are three pieces of rope boning down each front panel and two down the center back (which is one piece, as opposed to most two piece backs on jackets today). The rope was not easy to work with; it kept trying to coil up. However, as construction continued the pieces fell into place. Not only does the boning not impede my movement or dig in anywhere, it's very light! In fact, despite the canvas, linen, lining, rope, and outer material, the entire garment was as comfortable as wearing a light fleece vest! I top stitched the boning in place and whipstitched the lining to the canvas, and then the lining to the outer material.
Collar and cuffs and sleeves, oh my!
I found some lovely purple velvet in the remnant bin that matched the purple crepe (not period correct but I had enough and it's been in my sewing room for years!) I used for the lining. I knew I wanted it to be trim - collar and cuffs at least. I took my collar and cuff patterns from the chop shirt, altering to make it stand up instead of lie flat with points. Both collar and cuffs are interfaced with canvas. Unfortunately I didn't think about setting the collar in when I sewed the doublet bodies together. That was a few unnecessary hours of unpicking!! Also unfortunately, the material for the doublet came from the remnant bin, so I didn't have enough for sleeves. What to do? Well, make tie on sleeves of course! THAT was an education in eyelets. My points are not the greatest. I used scrap lengths of the doublet exterior because I needed material that wouldn't come untied while riding. (Don't wanna lose a sleeve!) Aside from the eyelets, the sleeves only took a few minutes and the cuffs look great!
The Tricky Bits
This wouldn't have been nearly as difficult if I'd had more fabric! After researching shoulder tabs/rolls/crescents I decided on crescents, like Catarina van Hemessen's self-portrait below. Unfortunately, while I wanted to do slashed rolls, I didn't have enough fabric to go completely around the armscye, nor enough sleeve scraps to stuff them for continuity. I made a mockup of canvas, machine sewed it and stuffed it, and tried it for fit. With very few adjustments, I then made my two "real" crescents and sewed them to the doublet. They're stuffed with scrap fabric which will settle with time. I have to say the crescents probably doubled the weight of the garment. This was also the point at which I began using thread of silver.
The creation of picadils depended more on available fabric than anything. I made a mock-up of canvas and pinned it for fit. Amazingly, their weight and placement pulled the boning and everything into perfect place! These people really knew how to tailor!! The mock-up was great except that picadils are supposed to be individual tabs, whereas mine was a continuous piece. Also, I wanted my tabs more like the ones in the portrait of Elizabeth above, or of Martin Frobisher below, but oh well. This part of the doublet required the most math. In order to get a pattern I measured both the portrait and the photo of the Nurnberg doublet. I used the doublet front length and the length of the picadil to get a ratio, then compared that to my measurements to come up with the size of my own picadils. I had just enough fabric! The bottom of the doublet is top sewn to the pecadils. The edges of the pecadils are sewn in blanket stitch, all with thread of silver.....
The Hat

I made a Tudor flat cap using canvas for the brim interfacing and black velvet for the cap itself. While it is currently trimmed with feathers (and a brooch), I plan to change the trim to fur for winter. I do need to pearl the underside of the brim. I used this site for instructions: http://garbmonger.tripod.com/flatcap/index.html I did make it differently, since I constructed by hand, but it still took me under three hours from drafting to completion, with very nice results! I do need to make a coif....
The Partlet
I drafted the entire partlet from scratch. In the first photo below you should be able to see the corner of my notebook, which has a sketch and some rough body measurements in the corner. From there I checked my guesstimates against the measurements of my doublet, drafted on paper, pinned, checked the fit, and cut! Pretty gutsy, but I got it right the first time!! I added a stand up collar, which I doubled so that the right side of the fabric shows no matter which direction you're looking at the partlet. It ties under the arms and laces (spiral lacing) down the front using extant eyelets! Under an hour start to finish.
Put It Together and What Have You Got?

The common theme in all these photos is a lack of proper corsetry and lacing. At least I finally got shots on the horse, even if everything looks miles too big for me!