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!
To attach the skirts to the bodice (the last major construction step) I worked with each skirt separately– the underskirt was narrower than the overskirt, and I wanted to pleat them separately so they’d flow more gracefully when I moved. I only achieved limited success with that due to the stiffness of the hem trims (as noted earlier), but I did the best I could.
I pinned and basted each skirt to the bodice before machine-stitching the final waist seam (praying I wouldn’t screw anything up), and whipstitched the bodice lining over the seam allowance so the inside would be neat.
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.
I’m taking a quick break from the Embassy ballgown to post about another project I recently started– a Regency ballgown that I’m going to wear to a dance weekend at the beginning of April. While I do plan on wearing my burgundy dupatta open robe for the first night, I’m ready to make something new for the Grand Ball the next evening!
I do love beautiful textiles. Even when I was a kid I’d go to fabric/craft stores and buy beautiful ribbon by the quarter-yard just to have it, not necessarily to make anything with it (yeah, the people at the cutting counter just *loved* me, I’m sure). And some of the most beautiful fabrics in the world are Indian saris, at least in my humble opinion. I was on a sari-buying kick a while back, figuring that I’d use them to make Edwardian or Regency gowns, and while I’ve managed to use a cotton sari and a silk dupatta, the rest have languished in my closet for far too long.
But no more! For this project I’m going to use a gorgeous navy blue and gold sari– it has a fabulous pallu that’s not only brocaded, but also embroidered with bullion thread and sewn with tiny pearl beads. It’s just begging to be shown off at a fancy event!
As I said in my earlier post, I had just finished the sequined swags on the sides of the gown (which took a few tweaks to get right), and was about to start embellishing the center panel when I realized that I had a problem. While some of the movie stills quite clearly show that the center panel is covered in sequins, other shots make it look like there are far fewer sequins, and still others imply that any sequins aren’t really that prominent at all.
Here, there are tons of sequins visible, all looking the same color silver as the side swags: