I decided right away that I would only bother painting the design on the sleeves and collar, since the rest of the blouse wouldn’t show beneath my vest. I carefully detached the sleeves from the blouse, then removed the cuffs and unpicked the stitching from the long seam up the sleeves so I had flat pieces of fabric to work with.
To make my pattern for the painted design I went to the Mood Fabrics site where the fabric was available for sale and adjusted the zoom on my screen until the ruler was actually correctly sized (as measured on screen). Then I just put a piece of paper up to the screen and traced out the design in pencil, going over it in heavy black pen afterwards.
I traced the design out onto my fabric using Jacquard water-based resist, basically forming a dam blocking off the areas I wanted to color in. Once the resist was completely dry I stretched the fabric over cardboard frames I’d constructed from a storage box, and pinned the edges to keep it taut. Then I diluted some Jacquard Dye-Na-Flow fabric paint and did some blotchy watercolor painting inside the resist lines in shades of blue.
Once I got all of my pieces properly cut out, assembly *should have* been fairly straightforward. Do you sense foreshadowing here? Because you ought to. I’ll tell you now, after this series of disasters I went to bed vowing that I would just scrap the whole dress and wear the blue one instead… but the next morning I decided to give it one more try, and eventually managed to salvage the project.
So remember last year when I was sewing my blue Regency dress, and I said that I already had a Regency ballgown that I’d intended to use for that dance event? Here’s the story: Back when I was in college, I was shopping at JC Penney’s when I came across these beautiful shower curtains that I immediately knew would make a perfect Regency gown. That’s right. Shower curtains = Regency gown. Sounds weird, but hear me out– they were made of ivory netting, embroidered all over with variegated pink roses and green vines, and they were so pretty and antique-y that I knew they’d work.
Of course, back then I didn’t have much experience sewing dresses from scratch, much less dealing with fiddly materials like embroidered net, so I found a seamstress online (Etsy was not a thing back then) and commissioned her to make me a gown based on a sketch I sent along with my fabrics. It turned out nicely, and I spent the next several weeks snipping out embroidered roses from the remaining fabric scraps and applique-ing them onto the gown with hand-embroidered vines to make it more embellished. The finished product was really beautiful. It always reminded me of Anne Shirley’s dress from Anne of the Island:
She had a particularly pretty gown on. Originally it had been only a simple little slip of cream silk with a chiffon overdress. But Phil had insisted on taking it home with her in the Christmas holidays and embroidering tiny rosebuds all over the chiffon. Phil’s fingers were deft, and the result was a dress which was the envy of every Redmond girl. Even Allie Boone, whose frocks came from Paris, was wont to look with longing eyes on that rosebud concoction as Anne trailed up the main staircase at Redmond in it.
Just wanted to give you guys a look at the new outfit in all its glory! I took these photos at the Commonwealth Vintage Dancers’ Regency Dance Weekend, which culminates in a Grand Ball. The hall provided such a nice backdrop for the rich fabric of the dress– I’m very happy with it!
And then I stumbled upon a fabulous sofa that was crying out to be posed upon…
This is totally my new favorite picture of myself in Regency-wear!
For the bodice front, I’d originally intended to cut the front pieces with the sari borders along the top edges so the trim would be integrated into the bodice from the beginning, the way I did with my dupatta open robe. However, the angles of the neckline for the dress made it impossible to cut the sides as single pieces, so I decided to just add trim to a normal bodice front instead.
Anyway, I lined the bodice with more blue cotton, and (sneaky shortcut) lined the back bodice pieces with single-cut pieces of cotton rather than dealing with back seams on the inside. No one would ever see them anyway, right?
Once the basic bodice was put together, I attached trim around the neckline, hand-stitching it with invisible thread. I did this before putting in the sleeves because the trim was wider than the shoulder straps of the bodice, and I wanted to catch the edges in the sleeve seams to keep things looking neat.
So, time for the finishing touches! You can see in the photo below that in the center panel there’s an arc of large silver sequins just above the floral appliqué around knee level.
I bought 10mm silver paillettes to attach to the dress– I only needed 20 paillettes for that section, but then I realized for the first time that the dress actually had more paillettes around the hem! Good thing they came in a package of 200…
So, not only are there swags of embroidered trim near the hem, but there also appears to be a row of silver paillettes following the lines of that trim with short line segments connecting the two. It’s really only obvious in this one photo, so it’s no wonder I missed it on my initial viewing:
See the little gray dots following the lines of white trim? Clearly paillettes. However, I can’t tell what the faint white lines are– it’s possible that, like the sleeve and neckline detail, they are embroidered lines of thread with clear sequin “leaves” on either side.
As I mentioned earlier, the original gown appears to be sewn all over with beads and silver sequins– while I briefly considered doing the same, I knew it would take absolutely FOREVER and I really didn’t want to deal with the time and effort involved. Instead, I decided to use glue to attach silver sequins to the dress.
As previously noted, I purchased six thousand 4mm flat silver sequins for this dress. You can see in the photographs that the sequins are concentrated around the lines of trim on the side sections, and are basically everywhere in the center section, so I figured I’d need a lot of them.
Taking the advice in this tutorial (excellent tips, by the way), I bought Gem-Tac glue to attach my sequins and rhinestones, and made myself a big cardboard backing to use as a base for attaching things. I covered it in parchment paper and used binder clips (cushioned with paper towel to prevent snagging or creasing) to clip the edges of my fabric to it.
When I was first designing this gown I thought that I’d basically construct it the same way I did my drawstring Regency sari dress— widening the front and back of the bodice and adding a drawstring around the neckline to create soft gathers across the bust and allow for sizing in the back. However, the more I looked at the photos of the drawstring dress, the more I felt that I wanted tinier, denser gathers and a more squared-off neckline. In order to get those I’d need to do two things– gather the sheer layer separately from the lining to keep the gathered fabric as thin (and therefore compressible) as possible, and have the gathered section itself be separate from the rest of the bodice to avoid affecting the shape of the neckline.
Complicating matters was the fact that the sheer layer was– well, sheer. That meant many of my interior seams would be visible from the outside, which is always something I try to avoid. After several attempts to figure out the order in which I would stitch together the various pieces of each layer to minimize visible seams, I came up with the following system: