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Victorian Era

"1898 BALL GOWN"

Ball gown dating from 1898. Originally created for and worn by a young lady in Ann Arbor, Michigan.

The original dress was in three layers. with a silk under layer. a layer of silk organza and an over layer of machine lace with large “frou-frou” ruffles around the hem.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

Description

This reproduction was created with the intent of functioning as a wedding dress for a client. The bodice is boned between the lining and the outer layer. Since this was for a client the bodice lining is bagged, meaning there are no exposed seams. Finishing such as this would be done only for a garment intended for a single wearer. The draped lace sleeves are in two layers. and hand attached to the arm’s eye as was done in the original garment. There are 16 buttons of cream enamel and pastel jewels on metal backing, and sixteen buttonholes.

The skirt used for this garment is from an 1893 French dinner dress, found in the Janet Arnold Patterns of Fashion volume 2. This choice was made as the client wished for a longer train than the original 7-gore skirt that would have been worn for use while dancing. A feature of the skirt not clearly delineated in the photograph: is the chevron effect achieved with careful cutting of the fabric to ensure the matching of the satin weave and the moiré stripes. The effect from the back as the wearer moves away from the observer is stunning with the spread of the train accentuating the upsweep of the striping from the fan.

 

"BELLE EPOQUE EVENING JACKET"

An example of an original Belle Époque ladies’ evening jacket made in France around l89l by the design house of Emil Pingat.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

Description

Pingat is an unknown name today in 19th and early 20th century fashion design and manufacture. He was very popular with American women and ranked second only to Charles Worth and equal to the house of Laferriere. The firm was listed in the directory of fashion houses from around l860 until just after World War One and was located at 30 rue Louis-le-Grand, a street running parallel to the rue de la Paix where many of the design houses were located.

The garment we have hear is a Dolman designed to be worn over an evening gown with a flat front skirt. We have modeled it over the Edwardian dinner dress made for Mrs. Peter Burns (see #’s 16, 17 and 18). The two front panels lie flat down the gown front. The dolman sleeves restrict the wearer’s movement allowing her to use her fan, and generally keep her hands folded in her lap while riding in her carriage to her evening engagement.

The back of the jacket is slightly flared, as gowns in the early l890’s still had the infamous bustle built into the upper skirt back.

The marvelously elaborate decoration is wire, wrapped in block silk thread and couched into the silk velvet of the jacket. It would have been hand applied while the jacket was flat, before assembly by machine. The lining is black cotton, quilted over some moderately thick wool padding for warmth.

The garment is damaged in several ways. The ties still exist, but the black ostrich boa that would have decorated the entire edge of the jacket has been lost. The buttons are also missing, but the buttonhole ‘plaquette’ is still in place. The lining being of cotton has deteriorated due to sweat and general wear.

The garment is a superb museum quality example of upper class ladies outerwear from an era of extreme elegance in women’s fashion.

 

 

 

"1862 British Lady's Visiting Suit"

We present here a two piece plaid silk suit in orange, cream and mint green with raw silk trim bands and bishop under sleeves. The trim bands are enhanced by mint green satin ribbon edging.

 

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

The suit presented here was created for Mrs. Peter Burns of Dunwoody, Georgia for use as period costuming while working as a docent in an historical museum house. The suit pattern may be found in the Janet Arnold Patterns of Fashion volume 2 English Women's dresses and their construction. 

 

The skirt is comprised of five yards of silk with pieced in three inch trim bands edged in satin ribbon. The underskirt includes a silk taffeta bell shaped skirt with hooping in casings graduated to create the bell. Over this hoop is a second underskirt with 18 inch flounces that hide the banding usually caused by the understructure and the use of fine lightweight silks for the overskirt.

 

The jacket of the same plaid has raw silk trim bands for the hem and center front, and for the bishop under sleeve in the mandarin two piece sleeves. Small orange pearlescent buttons close the narrow cuffs. Silk cording frogs provide decorative closures with tiny hooks and eyes providing additional security. The collar is enhanced with a machine made lace collar piece. 

The suit is lightweight, comfortable and easy to wear and would enhance any mid century social event.

 

"1873-1875 Promenade Suit" 

We present here a black and grey winter weight linen and velvet three piece lady's promenade suit in five fabrics and textures, with refined tailoring and detail work.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

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This extraordinary bustle period visiting suit may be found in the Janet Arnold Patterns of Fashion volume 2 Englishwomen's dresses and their construction.

 

The original may be seen in the Victoria & Albert museum in London, in the UK. It was constructed of summer weight sky blue silk. Our studio chose to create a winter weight garment in shades of black and gray using silk velvet for the jacket, and an unusually heavy linen in a very coarse weave for the skirt. The over bustle is of light grey tabby weave silk, stiff enough to stand up on its own without benefit of the bustle pad underneath!. 

 

The hand applied trims are made from a silk satin striped heavy damask, and a necktie weight silk paisley damask. The ribbon trim is double sided silk satin, in black and white. The stunning faux waistcoat on the jacket is assembled by machine and hand applied to the finished jacket on the dress form so the trim follows the body shape exactly. The eight buttons fastening the jacket are medium round drilled out glass pearls and their hue matches the shades of gray perfectly.

 

The jacket is lined in stiff cotton. The same fabric was used to build the underskirt, with applied eighteen inch taffeta flounces around the hem. The bustle itself, for comfort is a soft pad mounted to the waistband of the underskirt.

 

A black felt and feathered hat with sheer veiling and black gloves complete this very elegant ensemble.

"French 1882-1883 Dinner Dress"

 

We present here a French slim line striped silk ensemble in blues and golds with lace trims and creamy flesh toned double sided satin ribbon bows.

 

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

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This is an eyecatching and very grand dinner dress originally from the fashion house of Mme. Laferriere, Rue Taitbout 28, Paris. The pattern may be found in the Janet Arnold Patterns of Fashion volume 2 Englishwomen's dresses and their construction. 

 

The original three piece dress was created in an ivory striped silk, and was somewhat monochromatic. Our studio felt using a four color striped silk satin would enhance the figure slimming tailored jacket and increase the visual appeal of the complex structure. The skirt is a sky blue silk taffeta with bands of embroidered sheer alternating with bands of embroidered satin, and a wide flounce of embroidered sheer at the hem. The under skirt is of cream silk taffeta with an eighteen inch flounce at the hem. Both underskirt and overskirt are taped in back to pull the volume to the rear and create the long straight lines of this fashion period. 

 

The jacket is bag lined in cream silk taffeta. The elegant hip drape is neatly constructed to be a continuation of the jacket front panels, and is pleated into the tail of the jacket. The over train of the same striped fabric is smocked at the top and mounted into the base of the jacket tail, in a unique and unusual design concept. The train is enhanced by a wide sash and bow of creamy flesh toned double sided silk satin. An unusual additional feature on the jacket is the stiff netting creating a cuff on the sleeves, and the same netting applied as lapels along the open square neckline. The sixteen buttons are gold plated brass with blue enamel centers to match the color scheme of the outfit.

 

This is clearly a splendidly designed period piece from a significant Victorian French design house.

 

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"Chinoiserie Damasque Ball Gown"

This is the ball gown in its as originally built configuration. The ‘chinoiserie damasque’ was limited in quantity so the back of the bodice and the train panels in the skirt are made of black silk velvet creating a pleasant dramatic addition to the garment design.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

 

The adaptability of a period pattern from the excellent pattern company Past Patterns is clearly shown in this creation. This dinner dress uses the basic skirt pattern without the multiple layers, or the large and small rows of flouncing typical in a late 1890's ball dress. A chinese matte finish damask fabric in gold and black was used, adapting the skirt to a flat front to the floor. Because of fabric limitations a supple rayon velvet was used for the back panels creating the short train. There is a simple taffeta petticoat with an eighteen inch wide flounce and short train worn underneath.

The long point front bodice with it's front button closure was maintained. The back is built from the same rayon velvet as the train enhancing the line. The bodice is lined in a soft moire' taffeta and lightly boned between the layers as the inside is bagged and completely finished. The inside hem finishing, applied by hand is in the black velvet as well. The loose lace sleeves in two layers and decorated with tiny black sequins are applied as one by hand to the arm's eye, and fall gracefully to the wearer's forearms. 

The hand applied lace galloons are feature kept from the original dancing dress.

The twelve buttons are sculptured black glass, adding an additional sparkle when worn in candlelight. Jet jewelry and hair ornaments would add wonderfully to the overall appearance of this ensemble.

 

1897 FORMAL DINNER DRESS

We present here a slightly overdone periwinkle chiffon and silk satin Italian design created for a client to wear to festivals and dinner parties.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

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The original of this stunning and complex Italian dinner dress came from a Pepin Press design book of fashions from 1895 to 1920. The original concept was in a forest green, but at the request of the client we recreated this gown in a periwinkle silk chiffon over a matte finish silk satin in a soft gray blue.

 

The bodice is bag lined and slightly boned, the bag lining hiding the seam allowances and the boning pockets between the fabric layers. The chiffon is a-symetrically draped across the front and shirred evenly across the back. Side seams in the overlayer are hand closed. Lovely embroidered  netting creates both the bertha, and the overlayer on the train. To hide the unfinished edges on the back of the bertha, additional edge pieces were hand applied to the raw edges to wonderful results. The bodice is also decorated with white silk roses.

 

The skirt is in two layers, one of silk chiffon and the other of matte finish silk satin. They are assembled as one piece to the waistband. The skirt front and the unfinished edges of the embroidered netting are decorated with machine tape lace.

 

By the choice of the client, Ms. Doris Rosenkampf, we made the normally very large leg of mutton sleeves simple and much smaller. The cuffs are decorated with pleated white satin ribbon and machine tape lace.

 

The dress is normally worn with elbow length white gloves and pearls at the neck. A jeweled hair clip with attached small white silk roses would enhance the look of this grand dinner ensemble.

 

"1893 GARDEN / AFTERNOON DRESS"

We present here a garden full of cabbage roses in typical Victorian colors and designs, in a traditional 1890's day dress with splendid leg o' mutton sleeves.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019   letsicedance@aol.com

 

letsicedance@aol.comletsicedance@aol.com letsicedance@aol.comletsicedance@aol.com

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Created for Ms. Kim Lampkin, this garden dress has a bodice whose focus is definitely it's very large sleeves, and the circle skirt seen in endless illustrations of Gay 90's ladies costumes.

 

The choice of a wonderfully illustrated cotton covered with cabbage roses meets all the criteria for being called Victorian. The bag lined lightly boned bodice is decorated with chocolate brown satin ribbons. The bodice back being cut on the bias adds an interesting dimension to the decorations. The leg o' mutton sleeves have additional wired white satin ribbon on the design field, and wired brown and white satin ribbons on the shoulder caps. The sleeves are shirred into cartridge pleats and hand mounted to the arm's eye. The bodice is hemmed with brown satin, and has skirt hook bars around the waist from which the skirt is suspended.

 

The circle skirt is cut in only two pieces using the full width of the fabric. This results in a center front seam which chevrons the banded floral design. By the time the design reaches the center back, the bands are running vertical which adds another element of visual interest. Diagonal bands of brown and wired white satin ribbon decorate the skirt front and side panels. The hem is bound in brown cotton velvet, and decorated at the ribbon bands with cream and brown wired ribbon bows. 

 

The petticoat is cut from the same pattern as the skirt, with an 18 inch taffeta flounce around the base to enhance and support the skirts shape. At Ms. Lampkin's request there is an additional dust ruffle added to the back of the skirt, tied in place with satin ribbon. The dress is worn annually at the Galveston Texas Charles Dickens on the Strand festival, outdoors and the client was concerned with damaging the hem walking in the dirty streets. 

 

The costume is worn with short white gloves, a parasol and a matching hat of the clients own. The costume is always an attention grabber at the festival, and with her husband in costume as well they are frequently photographed. 

"1897 FORMAL DINNER GOWN"

We present here a single color, very simplistically designed late 90's very formal dinner gown created from a classic Past Patterns historic dress pattern.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

This is a lovely, very simple and consequently very dressy ensemble adapted from a Past Patterns late 90's dinner and ball gown. It's single color and choice of fabric, a silk moire' taffeta in bright crimson makes for a seriously elegant and dressed up garment. The extreme richness of the fabric makes this a genuine visual treat and is particularly beautiful when the wearer is moving around in a candle lit room.

 

The adaptability of the dress pattern used is wonderfully represented here. The bodice is bag lined, and lightly boned. We chose not to replicate the original point front, but rather made the bodice with a slightly lengthened torso which is tucked into the waistband of the seven gored skirt. Trim is limited to machine lace and lace tape on the sleeves. Fastening is center back and utilizes hood and eye tape.

 

The skirt is a basic late 90's and turn of the century seven gore with a short train. Trim is limited to a band of white tape lace. A petticoat of white taffeta with an 18 inch flounce added to the hem to create extra volume, and mounted on it's own waistband is worn underneath. 

 

"Diamonds", or for that matter diamonds, rubies or pearls or perhaps a combination of these for jewelry would be splendid in an elegant formal dinner setting. 

 

"1837 Morning Dress"

We present here a single color, very simplistically designed upper class lady's morning dress. The  gown is created from a Janet Arnold pattern drafted from an historic dress currently on display at the Victoria and Albert Museum in the United Kingdom.

Contact Designer John Richardson

today for a complimentary consultation: 

678-596-4019.  letsicedance@aol.com

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