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Replica gown - 1775 "Phebe Massey" dress - re-created by me from an extant dress in Broomall, PA.  Completely hand-sewn; chestnut brown silk; apron-front style skirt; 3/4 shaped sleeves; unusual 1-inch  'growth tuck' at hemline (usually only done on children's garments). Lined with antique linen. Exact pattern taken from original garment.

Replica gown - 1775 "Phebe Massey" dress - re-created by me from an extant dress in Broomall, PA. Completely hand-sewn; chestnut brown silk; apron-front style skirt; 3/4 shaped sleeves; unusual 1-inch 'growth tuck' at hemline (usually only done on children's garments). Lined with antique linen. Exact pattern taken from original garment.

Short waisted, with front of bodice in two overlapping parts, square neck, long straight sleeves, skirt with fullness in knife pleats, less fulllness in front than in back, front panel of skirt slit from waist down about ten inches on each side of panel, but still attached to narrow waistband, ties at end of narrow waistband, of front panel to go around and tie in back thus holding up front of skirt; bodice lined with brown glazed cotton.

A Quaker's dress of greenish-brown taffeta American, Early century USA Dimensions x 73 cm x 28 in.) Measured flat for hanging storage Medium or Technique Silk taffeta, cotton lining, and silk tape Classification Costumes Accession Number

This is a half-scale dress I made based on a pattern from Janet Arnold and a painting of a member of the Russian Czars' family.  It is made of a yellow silk file and white lace.  It was made for a show of Half-scale clothing I did in Macon, Mo and it includes all of the foundation and support garments (corset, collapsable bustle, 2 petticoats and a chemise.  The entire piece stands less than 3 feet tall. Designed, patterned, cut and sewn by Costume Designer Jack A. Smith

This is a half-scale dress I made based on a pattern from Janet Arnold and a painting of a member of the Russian Czars' family. It is made of a yellow silk file and white lace. It was made for a show of Half-scale clothing I did in Macon, Mo and it includes all of the foundation and support garments (corset, collapsable bustle, 2 petticoats and a chemise. The entire piece stands less than 3 feet tall. Designed, patterned, cut and sewn by Costume Designer Jack A. Smith

Renaissance gown; Side view and sleeve details  Sleeves are clasped with mother of pearl cabochons in gold settings. Gown is worn over a full-sleeved silk chemise with embroidered and leced edges.  The headdress is also taken from a Renaissance portrait.

Side view and sleeve details Sleeves are clasped with mother of pearl cabochons in gold settings. Gown is worn over a full-sleeved silk chemise with embroidered and leced edges. The headdress is also taken from a Renaissance portrait.

Striped Dress & Spencer c.1810-1820 Back-fastened cotton day dress, generic style with V-neck & short sleeves. Silk spencer, adapted from styles in Costume in Detail by Nancy Bradfield; Capote bonnet styled after item at the V&A Museum, London (T.81-1963)

Striped Dress & Spencer Back-fastened cotton day dress, generic style with V-neck & short sleeves. Silk spencer, adapted from styles in Costume in Detail by Nancy Bradfield; Capote bonnet styled after item at the V&A Museum, London

Fashionable lady in polonaise gown, c. 1780. Polonaise gown, hand-painted and hand-sewn reproduction of extant ensemble at the Metropolitan Museum of Art; silk calash, replica of extant item in the collection of Pottsgrove Manor. Exotic goods from the East were always highly desirable in fashionable European society, whether they were home furnishings of rare woods, ladies’ ivory fans, or textiles for expensive garments.

Fashionable lady in polonaise gown, c. 1780. Polonaise gown, hand-painted and hand-sewn reproduction of extant ensemble at the Metropolitan Museum of Art; silk calash, replica of extant item in the collection of Pottsgrove Manor. Exotic goods from the East were always highly desirable in fashionable European society, whether they were home furnishings of rare woods, ladies’ ivory fans, or textiles for expensive garments.

My personal re-creation of a MMA 1780s painted gown and petticoat. All 12 yards of white silk,  handpainted; and the gown and petticoat completely handsewn; added ruffled frills to finish the necka dn sleeves are silk organza and antique lace edging.

The finished dress made up. Completely hand-painted and hand-sewn. Simple trimming at neck and sleeves-silk organza ruffling with narrow vintage lace edges.

Silk satin with striped extra warp in self color and center overlaid with tiny green and salmon flowers, narrow looped fringe trim, wide, rounded square neckline, fitted and shaped sleeves, center front brass hook & eye closure, skirt front open to reveal petticoat (missing), skirt knife pleated and attached to bodice at sides and back, four linen tapes inside skirt; if tied skirt becomes a polonaise,

Augusta Auctions accepts consignments of historic clothing and textiles from museums, estates and individuals.

As the slim  'Directoire' styles became more elaborate, moving towards the early Romanticism of the 1820s, detailing became more complex. Detail of a ball gown, featuring seafoam-blue silk, cloth of gold gauze and lace; styled after an extant gown.

As the slim 'Directoire' styles became more elaborate, moving towards the early Romanticism of the detailing became more complex. Detail of a ball gown, featuring seafoam-blue silk, cloth of gold gauze and lace; styled after an extant gown.

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