Italian gown - The Met - 1785-87 C.I.66.39a-b Well, I just can't stay away from the late 18th century (can you blame me?). There is just so much to be explored in the last quarter, and I feel like I've barely scratched the surface on the
“Samoseli Pirveli” - Georgian National Costume. Mokhevian Dress - Collection 2011.
Charlotte 18th century mules blend history and fantasy in an opulent and sophisticated 18th century satin mule. Correct for c. 1700 - 1770s, these elegant backless heeled slippers feature a superbly balanced gold French heel, leather lining for easy walking, and a softly pointed toe. Sumptuous satin uppers in rich colors are gorgeous on their own, or customize them with your preferred ribbons and rosettes. Pair Charlotte with your best Georgian gown, or with your everyday wardrobe to add a touch of luxury! The Charlotte mules are made of durable materials specifically to withstand both indoor and outdoor wear, so don't be afraid of ruining your shoes between carriage and palace. These beautiful slippers are easily slipped on or off when fully dressed - no bending down to fasten buckles or ties - and the real leather lining keeps them securely on your feet. Materials & Sizing Durable polyester satin upper 100% leather soles with gold rand welt piping Lined in leather Well-balanced, custom 2.5 in / 6.3 cm gold leather-covered French heels Left and Right lasted for maximum comfort Pigskin leather lining and insole - brown [custom tab] Sizing Size Trends Runs true to size for most customers. Width Regular (B) width Size Chart [/custom tab][custom tab] Materials Color Ivory Upper Polyester Satin Lining Pigskin leather Sole Leather Heel Leather Covered Heel Height 2.5 inch / 6.3 cm Footbed Lightly Padded Closure Slip-on Origins Design Designed in Reno, Nevada, USA Materials People's Republic of China Assembly Made in China [/custom tab]
“Samoseli Pirveli” - Georgian National Costume. Megrelian Dress - Collection 2011.
Today I thought we would take a look at some Georgian recipes for making perfume, most of them are still feasible to make at home today with some minor adjustments. To perfume clothes Take of oven-…
This dress is one that I started making back in 2015 but that I didn't finish until Christmas ball in November 2016. I also wore it to the Christmas ball the following year again, when the first set of these pictures were taken. Previously I've made patterns in mainly two ways; either drafting my own patterns according to my measurements and trying to get the seam lines right by looking at extant gowns, or by enlarging scale patterns from books, altering them according to my measurements until they fit. I haven't really had as good results with either of these techniques as I'd like to have so it was about time I tried out something else. So I borrowed Creating Historical Clothes: Pattern Cutting from Tudor to Victorian Times from Mia because this book includes step by step instructions for creating patterns for several periods. First you start by taking your own measurements and, comparing them to measurement charts, draft a basic bodice pattern. I chose to turn my basic bodice pattern into a 1770s style bodice from the book, except so that it doesn't extend below the waist (see photo), and used it as a base for the pattern for my first robe en chemise. Since the pattern was made to my measurements, it required very little alterations to make it fit, except that I had to take it in quite considerably in at the back. Later on, I completed the pattern into a 1770s bodice according to the instructions in the book. Bodice pattern before extending it below waist and alterations. But I wan't happy with the pattern as it was because I thought it didn't look quite right. (I wish I had took a picture at this point so you could compare it with my final pattern.) However, the pattern reminded me of the 1770-85 gown pattern on page 39 of Janet Arnold's Patterns of Fashion 1 so I decided to try to alter my pattern to make it correspond with it. To me it seems the pattern in Creating Historical Clothes might be vaguely based on it, too. I won't go into detail describing all of the things I did because a. it's not that interesting and b. I can't actually even remember all of them anymore. But I ended up altering it quite a lot. In the end, I was slightly frustrated because I had spent so much time on the pattern and yet I wasn't completely happy about how the bodice looked. But eventually I thought it made no sense to keep fiddling with the pattern and decided it was good enough. The bodice after a great deal of adjustments. I also experimented with a bodice construction method that I hadn't tried earlier (though I wish I had!): "the weird running whip stitch thingy" that is now known as the English stitch, thanks to the ladies of American Duchess. I must say using this technique made matching the stripes easy. Not to mention how neat and tidy it makes the inside of your bodice, too (as can be seen below). Here's a close-up of the finished seam, before removing the basting stitches: The finished bodice seen from the outside: And the inside: At this point I drafted the pattern for the sleeves with the instructions in Creating Historical Clothes and had some fit issues with them as well. The finished sleeves (after alterations) look alright but I can barely lift my arms in them so I might add a little triangle to the underarm to allow for more mobility. After that, it was time to decide on the trim. I wanted to trim the gown in some way, even though the most of extant robes à l'Anglaise aren't trimmed at all or only have a little bit of trim. But I didn't want to use the same trim style as the one in Patterns of Fashion, as it's the style that most people use and I thought it would be fun to do something a little different. So I spent some time researching options (which are collected on my Pinterest) but, as you can tell, I ended up using the same old trim style as everybody else, as I concluded that I liked it the best after all. *facepalm* When it came to the sleeve trim, I really liked the wide trim seen on this beautiful costume from the Duchess. But I wanted to find validation for the trim style in historical sources. Alas, I was in no luck - which honestly didn't surprise me - so I gave up the idea. It's a trim style that appears to have mainly been used on robes à la Polonaise. As usual, Mia did my hair for the evening and I did hers. We arranged a little public toilette before the event officially begun. Mia working on my hairdo after I had finished hers. When it comes to late 1770s, there's no such thing as too much hair decoration, right? ;) And there's even a short video clip from the ball (unfortunately the quality is bad because this was taken on Mia's phone :/). I also wore this dress to a small informal ball in January earlier this year and Mia kindly snapped these detail pictures of my gown and hairdo after the ball. So here's a dirty little secret: I didn't intend to put trim down the center front (it's not something you see on historical examples and it even hides my careful stripe matching) but the hook and eye closure of the bodice stretched the lining a bit so there's a narrow but ugly gap at the front. Hence this was the last time I used hooks and eyes as a closure on my 18th century gowns. While hooks and eyes make a dress easy and quick to put on, I prefer to be able to adjust the bodice with a center front pieces that are lapped and pinned. Despite of the difficulties I had making this dress, I do like the gown anyhow. :) Links related to this project: 1770s hair caps and hats 18th century: Portraits of Women: 1770s 18th century: Costruction details 18th century: Robe à l'Anglaise Costume in Detail: 1730-1930 by Nancy Bradfireld Patterns of Fashion: c. 1660-1860 by Janet Arnold Original open robe in National Trust Has anyone of you tried to draft a pattern with the instructions in Creating Historical Clothes? I'd love to hear your thoughts about it if you have! Personally, I'm not going to use it again (unless someone can point out a good pattern from it). Mia has also tried to make a pair of stays with this book and didn't have good results either. In conclusion: If you're thinking about buying this book, I wouldn't recommend getting it.
Recently I was lucky enough to attend my first ever Costume College, which is an annual gathering of costumers from around the world. We spend three glorious days in lovely Southern CA talking about all things sewing, researching, and making. It is paradise, and made even better by the multiple opportunities to wear our historic finery in an air-conditioned setting (all too rare for us reenactors!). I wore a dress I'd worn many times before, but I did make a brand new necklace! This double-strand collet necklace is based off of this wonderful portrait I recent came across: Duchess Sophia Frederica of Mecklenburg-Schwerin by Georg Matthieu, c. 1774 I was utterly charmed by this portrait, and especially her unusual two strand collet necklace. I had to have one for myself. I whipped it together right before the ball, but I'm pleased with how it turned out! My AMAZING hair was done for me by the lovely Jenny la Fleur! She was kind enough to be my hairdresser AND my roommate, and she was superlative at both tasks!
At the moment they have been viewed by tens of thousands, all attracted by the couple’s beauty.The photos depict Lasha Kalandadze and Mariam Khorguashvili. 20-year-old Mariam is a model and 23-year-old Lasha is a footballer for Kobuleti’s “Shukura” club. Before that he used to play for “Gagra” and “Zestafoni” club.They really look amazing, don’t they?
Royal lust. Bigamy. And a ballgown that was just a wisp of Ivy...never mind the TV series, read the real-life story of seductress Elizabeth Chudleigh who caused a scandal in Georgian society.
Men’s dressing gown with attached waistcoat, ca 1750-1799. The Netherlands. source ...
“Samoseli Pirveli” - Georgian National Costume. Megrelian Dress - Collection 2011.
The Gorgeous Georgians at Berrington Hall This week the team at Berrington Hall are putting together the Gorgeous Georgians exhibition. Here’s a sneak preview of one of the beautiful Sack Back rob…
The model is 5ft 8 size 10 BUTTER MILK CREAM DAY GOWN with red or buttermilk cream centre skirt panel...... Matching mans outfit on request FULLY BONED. NO CORSET REQUIRED FOR BUST UPLIFT! This magnificent representation of an era long since past is a gorgeous example of a style of gown so 'en vogue' during the reign of Marie Antoinette, the undisputed queen of fashion THE FABRICS The beautiful Faux silk has a slub crisp texture and is the closest to real silk I have ever used. It is a grey blue but I have had difficulty in capturing the colour. May I suggest you send for samples if you want to see the precise colour. The whole bodice is lined in faux silk for comfort and finished with over 18ft of wide ruffled lace. The front petticoat panel is the same style of faux silk in a rich cream colour THE BODICE Is fully lines and heavily boned (13 lengths) while the feature back strapping pulls the gown in for a fully 'corseted' look and perfect fit. The front 'v' panel has 7 pieces of boning encased within a triple layer of heavy calico that gives a fully pushed up bust. A reverse ruffle runs around and down the neck and down the front, so typical and 'a la mode' during the 1790's. A beautiful wide gold and pearl braid finishes the gown beautifully. Should you wish we can use gold or silver rose braid instead THE SLEEVES The fully lined elbow shaped three quarter sleeves have approx. 15 ft of gorgeous shaped 8 inch deep delicate lace running around the elbow, just above the flamboyant flounce ,there is the same 'ruffle' that edges the front of the bodice and main skirt. SKIRT The main skirt has been shaped to trail away at the back and train as you walk.. The cream faux silk apron ties separately around the waist allowing for adjustment of length The gown is displayed over a 5 hoop pannier NOT INCLUDED IN PRICE but available in our other listed items The construction of the gown coupled with the back ribbon strapping makes for a perfect fit on a range of approx. 2 or more sizes. I.e. the gown will fit several bust sizes perfectly. The gown will be made to your measurements. You will b guided through the required measurements after purchase The gowns are subject to a 7% surcharge for extra size. Over 44 inch bust ans 38inch waist or 47 inch lenght. Postage prices for UK/EU/USA.For other countries Please ask for a quote
Step into the elegance of the Georgian era with our stunning Pink and Cream Satin Georgian Dress, meticulously crafted in the traditional Georgian style, perfect for masquerade balls and historical-themed events. Made from lightweight pale pink and beige jacquard satin, this one-piece costume features a convenient side zip, making it effortless to slip into and wear. The satin fabric is both luxurious and comfortable, ensuring you feel as fabulous as you look. Embrace the regal charm of Georgian fashion with the false cape at the back, adding an authentic touch to replicate the iconic style of the era. Please note, the elongated Georgian pannier petticoat shown in the images is not included in the sale. For those seeking customization, it's possible to change the colors to suit your individual taste, ensuring your dress is as unique as you are. Rest assured, the pictures you see are genuine and reflect the exceptional quality of the dress you will receive. Ideal for those seeking a standout Masquerade Ball Gown, this dress is sure to captivate attention and transport you to a bygone era of glamour and extravagance. Don't miss the opportunity to elevate your wardrobe with this exquisite Georgian dress, a timeless piece that exudes sophistication and style. This is modelled with an elongated petitcoat in the Georgian era style. Not included in this sale. **Note** that estimated delivery times are mostly over estimates and you will receive before. Please let me know any critical dates and we will do our best to get the item to you. Made in conjunction with our product partner.
I finished the striped linen round gown for Under the Redcoat on Friday night. Here are the results! Yes, it needs to be ironed. However, that's unlikely to happen until Under the Redcoat, so I thought I may as well share now. I think that this is going to be a very fun dress to wear! There's nothing horribly interesting about the construction. It's linen lined with linen. I made the lining first and then mounted the outer fabric on it and sewed everything into place with spaced backstiches. The sleeves are made the same way as my chocolate francaise, and set essentially the same way, only the shoulder strap covers the top instead of the robing. The skirt was pleated and then set right side to wrong side and sewn in with whipstitches, leaving the top edge raw. The front panel has ties that wrap around the waist and tie in front, then the bodice is put on and the back skirt overlaps the front. And as usual, it pins down the front. I love pinning as closures! My last linen lined with linen dress stretched about four inches, and until now, I really haven't wanted to make another linen lined with linen dress. However, these are very nice linens from Burnley and Trowbridge (the lining is the perfectly lovely--and perfectly firm--cambric linen they had a few years ago), and my last dress wasn't very nice linen, so I think this dress will be fine!
It's March, which means I've been down to Somerset for the ever-fabulous Majma dance festival. It's been a looong time since I last danced (Majma 2014, to be precise), so I wasn't sure how this would go, but I had a great time. As usual, while I was in that part of the world, I went to Bath and visited the Fashion Museum. The current (until 3 January 2016) main exhibition is Georgians – Dress for Polite Society, and contains over 30 examples of dress from the period 1714 - 1830. Warning - what follows next is a picture-heavy post! Unfortunately there were some very distinctive images on the outer wall of the room, so some of the pictures include strange reflections on the glass cases. I did my best to take photographs at angles which kept this to a minimum, but some were unavoidable. The exhibition opens with this 1750 open robe and matching petticoat. Robe and petticoat of yellow woven brocaded silk Display case Silk damask garments, 1730s to 1760s Red woven silk damask gown, about 1750, displayed with stomacher The yellow silk damask of this dress was woven in the 1740s, but the style is from 20 years later. At more than 10 shillings a yard the fabric was expensive, so it made sense to remodel the gown as fashions changed. From the distinctive mark above the hem, it looks as though it was also lengthened. 1760s gown with stomacher Whereas these dresses were made from plain damask fabrics, the next set were patterned, either with embroidery or a woven pattern. Set of three gowns, all altered at some time The dress closest to the camera is made from embroidered linen, and dates from the 1730s. It was designed to be worn over panniers, but has been altered to be a negligée or nightgown. Nightgown, and two open robes The silk of this distinctive gown was woven in the 1740s, but the style is from the 1780s. The dark colour is unusual, and suggests a link with Germany, as most fabrics in Britain at the time had a cream-coloured background. Black woven brocaded floral silk robe - front view . . . and back view Most of the men's clothing on display up to this point had been in plain fabric. But then came this. Embroidered silk waistcoat, about 1747 This case ended with a sack-back dress in a brocaded silk with metal threads. Dress, about 1750 Close-up showing the metal thread and coloured silks The next case contained several examples of mantuas. Court mantuas, 1760s And also some more sack-back gowns. (Note: the lighting seemed to get worse at this point, so it was difficult to get reasonable pictures.) Open robe, about 1760, and sack-back gowns and petticoats, 1770s Front view of the pink striped woven silk open robe Close-up of the bodice, showing the trim Cream printed cotton gown, 1790s I couldn't find any printed information about these two dresses, but they were allegedly worn by sisters at a ball on the eve of the Battle of Waterloo (1815). Almost identical dresses Two gowns, about 1825 Purple woven silk gauze gown, about 1825, hem detail The main part of the museum's costume collection starts from 1800, so pretty much carries on from where the Georgians exhibition finishes, but that is the subject for a separate post. 1800 display case
Today I thought we would take a look at some Georgian recipes for making perfume, most of them are still feasible to make at home today with some minor adjustments. To perfume clothes Take of oven-…
I finished the striped linen round gown for Under the Redcoat on Friday night. Here are the results! Yes, it needs to be ironed. However, that's unlikely to happen until Under the Redcoat, so I thought I may as well share now. I think that this is going to be a very fun dress to wear! There's nothing horribly interesting about the construction. It's linen lined with linen. I made the lining first and then mounted the outer fabric on it and sewed everything into place with spaced backstiches. The sleeves are made the same way as my chocolate francaise, and set essentially the same way, only the shoulder strap covers the top instead of the robing. The skirt was pleated and then set right side to wrong side and sewn in with whipstitches, leaving the top edge raw. The front panel has ties that wrap around the waist and tie in front, then the bodice is put on and the back skirt overlaps the front. And as usual, it pins down the front. I love pinning as closures! My last linen lined with linen dress stretched about four inches, and until now, I really haven't wanted to make another linen lined with linen dress. However, these are very nice linens from Burnley and Trowbridge (the lining is the perfectly lovely--and perfectly firm--cambric linen they had a few years ago), and my last dress wasn't very nice linen, so I think this dress will be fine!
The official website for the Fashion Museum which houses iconic attire from the 18th century to modern day.
This dress is one that I started making back in 2015 but that I didn't finish until Christmas ball in November 2016. I also wore it to the Christmas ball the following year again, when the first set of these pictures were taken. Previously I've made patterns in mainly two ways; either drafting my own patterns according to my measurements and trying to get the seam lines right by looking at extant gowns, or by enlarging scale patterns from books, altering them according to my measurements until they fit. I haven't really had as good results with either of these techniques as I'd like to have so it was about time I tried out something else. So I borrowed Creating Historical Clothes: Pattern Cutting from Tudor to Victorian Times from Mia because this book includes step by step instructions for creating patterns for several periods. First you start by taking your own measurements and, comparing them to measurement charts, draft a basic bodice pattern. I chose to turn my basic bodice pattern into a 1770s style bodice from the book, except so that it doesn't extend below the waist (see photo), and used it as a base for the pattern for my first robe en chemise. Since the pattern was made to my measurements, it required very little alterations to make it fit, except that I had to take it in quite considerably in at the back. Later on, I completed the pattern into a 1770s bodice according to the instructions in the book. Bodice pattern before extending it below waist and alterations. But I wan't happy with the pattern as it was because I thought it didn't look quite right. (I wish I had took a picture at this point so you could compare it with my final pattern.) However, the pattern reminded me of the 1770-85 gown pattern on page 39 of Janet Arnold's Patterns of Fashion 1 so I decided to try to alter my pattern to make it correspond with it. To me it seems the pattern in Creating Historical Clothes might be vaguely based on it, too. I won't go into detail describing all of the things I did because a. it's not that interesting and b. I can't actually even remember all of them anymore. But I ended up altering it quite a lot. In the end, I was slightly frustrated because I had spent so much time on the pattern and yet I wasn't completely happy about how the bodice looked. But eventually I thought it made no sense to keep fiddling with the pattern and decided it was good enough. The bodice after a great deal of adjustments. I also experimented with a bodice construction method that I hadn't tried earlier (though I wish I had!): "the weird running whip stitch thingy" that is now known as the English stitch, thanks to the ladies of American Duchess. I must say using this technique made matching the stripes easy. Not to mention how neat and tidy it makes the inside of your bodice, too (as can be seen below). Here's a close-up of the finished seam, before removing the basting stitches: The finished bodice seen from the outside: And the inside: At this point I drafted the pattern for the sleeves with the instructions in Creating Historical Clothes and had some fit issues with them as well. The finished sleeves (after alterations) look alright but I can barely lift my arms in them so I might add a little triangle to the underarm to allow for more mobility. After that, it was time to decide on the trim. I wanted to trim the gown in some way, even though the most of extant robes à l'Anglaise aren't trimmed at all or only have a little bit of trim. But I didn't want to use the same trim style as the one in Patterns of Fashion, as it's the style that most people use and I thought it would be fun to do something a little different. So I spent some time researching options (which are collected on my Pinterest) but, as you can tell, I ended up using the same old trim style as everybody else, as I concluded that I liked it the best after all. *facepalm* When it came to the sleeve trim, I really liked the wide trim seen on this beautiful costume from the Duchess. But I wanted to find validation for the trim style in historical sources. Alas, I was in no luck - which honestly didn't surprise me - so I gave up the idea. It's a trim style that appears to have mainly been used on robes à la Polonaise. As usual, Mia did my hair for the evening and I did hers. We arranged a little public toilette before the event officially begun. Mia working on my hairdo after I had finished hers. When it comes to late 1770s, there's no such thing as too much hair decoration, right? ;) And there's even a short video clip from the ball (unfortunately the quality is bad because this was taken on Mia's phone :/). I also wore this dress to a small informal ball in January earlier this year and Mia kindly snapped these detail pictures of my gown and hairdo after the ball. So here's a dirty little secret: I didn't intend to put trim down the center front (it's not something you see on historical examples and it even hides my careful stripe matching) but the hook and eye closure of the bodice stretched the lining a bit so there's a narrow but ugly gap at the front. Hence this was the last time I used hooks and eyes as a closure on my 18th century gowns. While hooks and eyes make a dress easy and quick to put on, I prefer to be able to adjust the bodice with a center front pieces that are lapped and pinned. Despite of the difficulties I had making this dress, I do like the gown anyhow. :) Links related to this project: 1770s hair caps and hats 18th century: Portraits of Women: 1770s 18th century: Costruction details 18th century: Robe à l'Anglaise Costume in Detail: 1730-1930 by Nancy Bradfireld Patterns of Fashion: c. 1660-1860 by Janet Arnold Original open robe in National Trust Has anyone of you tried to draft a pattern with the instructions in Creating Historical Clothes? I'd love to hear your thoughts about it if you have! Personally, I'm not going to use it again (unless someone can point out a good pattern from it). Mia has also tried to make a pair of stays with this book and didn't have good results either. In conclusion: If you're thinking about buying this book, I wouldn't recommend getting it.
An authentic looking Georgian dress in royal blue and champagne Jacquard satin. It is one piece with a side zip. Easy to get into! It is lined and is light and easy to wear. You will need the Georgian petticoats to get the elongated look. The best quality, what you are looking at are real pictures of this dress.. this is what you will receive. If you wish a different colour please Choose custom option, send measurements to my email or in the order note. As a custom order you can change this dress to pretty much any colour you want and change the design.sizes. **Note** that estimated delivery times are mostly over estimates and you will receive before. Please let me know any critical dates and we will do our best to get the item to you.
A woman's gown, Dutch, 1770s, of white cotton, copperplate printed in purple, in England
It's high time for another historical fashion post! :) Today's time period is what is commonly known as the Georgian era, ...
A Fitted Back Gown in a Reproduction 1780 Cotton Print Oh my. Was September really the last Threaded Bliss we did? That's minorly embarrassing. It certainly isn't a case of not having anything new to share, but between creating items for the Shop, finishing up some commission projects, and doing some "real work" in between, we've been so prodigiously busy that the blog has slipped silently by the wayside. I had to laugh this morning when I saw that Samantha sent up a similar cry, and all I could think was, "Oh, I'm *so* glad we're not alone in this blogging backlog!" So...here's the beginning of what I hope to be a quick succession of make-up-for-lost-time posts! This gown was finished back in January of 2013 and I wore it a number of times over the past year. Unfortunately, as these wearings included a couple of school programs, a dance, and our town's 225th anniversary parade, I didn't manage to get any pictures of it at all. During the Christmas trip to Williamsburg, then, I made it my mission to finally get some quality proof that yes, indeed, I have finished this gown, and yes, indeed, I have actually worn it! The pattern: Draped by Ashley at a Burnley and Trowbridge workshop in November 2012. Inspirations: The inspiration for this gown was the fabric, which, as I will detail below, is reproduction exactly from a cotton gown in the collections of Colonial Williamsburg (acc. no. 1991-450). The gown was featured in Linda Baumgarten's What Clothes Reveal (pp. 48-9). 1780 cotton print gown (acc. no. 1991-450). Image linked from Colonial Williamsburg's Online Collections. Construction details: Since the construction process of the gown was partially described in the original workshop post, and as it is exactly the same as all of our previous fitted-back gowns, I won't spend any time reiterating those details here. The most challenging part of making this gown (and the reason I saved this fabric specifically for the workshop!) was matching all the viney curves on both the front and the back. I had forgotten to bring a picture of the original gown with me to the workshop, but of course Janea had the benefit of experience of having already made a gown out of this fabric and she worked her magic figuring out how to make the printed design balance and flow as it ideally should. I'm so chuffed at how perfectly it came out, thanks to her expertise! The front of the gown... ...and the back pleats. Here are a couple detail shots, including the back waistline, the pleating of the skirts, the top-stitched back pleating that helps to fit the gown closely to the back of the body, and a detail of the shoulder and sleeve from the back. The interior of the bodice reveals the construction process of the gown, with the stitching of the back pleats visible, along with the overlapped front linings, as well as the unfinished armscyes, common in 18th-century gown construction. The edge of the bodice neckline and center fronts are finished by turning the edges in towards each other. The fabric: As I mentioned above, the fabric is part of Colonial Williamsburg's exclusive line of fabrics that are reproduced from pieces in their collection. This particular one is taken from the block printed and penciled English cotton used on a fitted-back gown dating to 1780 (CW acc. no. 1991-450). An eerily similar English chintz textile appears in Barbara Johnson's album (V&A acc. no. T.219-1973), and her dating reaffirms the 1780 date of the CW piece. Johnson records that she purchased her fabric in June of 1781 and paid thirteen shillings a yard for it. I still can't get over how very similar the motifs are. Finishing the look: The trouble with only having a single set of photos to share with an outfit is that they don't give any sense of the sheer variety of ways that I've worn this gown. For one, it's got several other petticoats that look splendid with it (you can see one in the workshop photos), and for another, I regret that I decided to leave my neckerchief out when I wore this for the pictures because it obscures the front of the gown. The front is visible in the dance video, but not to any real satisfying degree because it's so far away (and moving!). I suppose this just means that a "Threaded Bliss Postscript" post is necessary in the near future! :-) When I wore the gown at Christmas, I accessorized it with a windowpane checked linen neck handkerchief, left untucked and secured in front by a breastknot of purple/yellow changeable silk taffeta. A string of deep purple glass beads further underscored the "best" middling impression suggested by the gown's textile. I also added my favorite hat, which is trimmed, edged, lined, and tied in a blue/green changeable silk taffeta, and my B and T red shoes. Somehow, both accessories just seem to coordinate so perfectly with every outfit. I especially love wearing them together! A set of removable windowpane checked white linen ruffles - part of the suit of kerchief, apron, and ruffles - are basted into the sleeves. In the pictures, I have the gown drawn up through two sets of interior loops and ties to create a double draped look, giving a bit of extra body to the skirts. This feature it copied from the original inspiration gown. These ties can be easily let down to allow the skirt to hang free. Next time I wear the gown, I'll be sure to get a view of the back left undraped. Many more photos can be found in this project's flickr set. Stay tuned for a Threaded Bliss Postscript for more variations on this outfit soon!
