Photography by Drew Harting

This richly colored civil war ball gown brings to life the crinoline era, or early Victorian period.  The rich moss green and gold damask is complimented with antique gold lace and piping, which was inspired by a gown from 1860 in the Kyoto museum.  The smooth line of the body emphasizes the small waist with wide shoulders and the width of the hoop.  The bertha, or lightly gathered lace section across the neckline, emphasizes the width at the shoulders and creates a lovely frame for the face.  The antique gold piping pulls out the gold color but also reinforces the bodice and arm edges while being decorative. Piping was a very popular decorative and reinforcement element in the civil war period. This gown is made from a modern rayon and polyester blend, but it was used because of the original gown it called to mind and because with bulk of the fiber being rayon, man-made but still a natural fiber content, it remains comfortable while having the right drape of heavy silks. When I saw this fabric, it reminded me of a gown in my Kyoto book and by replacing the white with gold I used the original gown as inspiration and guidance in shaping and trimming this gown. I have since replaced the rose with a gold silk rose to better match the original.

• 1860’s Chemise with pin tucks on the front and tiny cluny lace at the edges
• Corset, hoops, and petticoats to create shape
• Smooth bodice with lace bertha, piping, and cluny lace at sleeve edges
• Machine sewn inner seams
• Hand finished (hems, edging, lace casings)

Photography by Drew Harting

Photography by Drew Harting

This lovely civil war ball gown brings to life the crinoline era, or early Victorian period.  The pale cerulean blue and cream striped fabric is embroidered with flowers and butterflies in the stripes. This is a silk fabric with rayon embroidery from vintage curtains found at auction, yes, this makes it a real Scarlet O’Hara dress since it is made from curtains. We removed the linings and hooks and recycled them into new curtains. Pale colors were much favored for candlelit ballrooms and by younger ladies. My daughter loves blue, butterflies, and flowers so this fabric was a given for her gown. The bodice is pieced to center the embroidery motif on each side and it is finished with a self fabric bertha proportioned to balance the gown on a small stature. The smooth line of the body emphasizes the small waist with wide shoulders and the width of the hoop.  The bertha, or gathered and ruched section across the neckline, emphasizes the width at the shoulders and creates a lovely self-fabric trim.  This gown is made from silk taffeta and is hand finished to complete the period look.

• 1860’s Chemise with smocking on the front and tiny cluny lace at the edges
• Unboned “Sensible Stays” rather than a corset to create shape
• Ballgown with smaller cup sleeves and self fabric ruffle bertha
• Machine sewn inner seams
• Hand finished (hems, edging, hooks and eyes)

This lovely civil war ball gown brings to life the crinoline era, or early Victorian period.  The bold peacock blue color of the silk taffeta is contrasted with black lace and flower trim, which was one of many fashion trends from 1860-1865.  The smooth line of the body emphasizes the small waist with wide shoulders and the width of the hoop.  The bertha, or gathered and ruched section across the neckline, emphasizes the width at the shoulders and creates a lovely self-fabric trim.  This gown is made from pure silk taffeta and is hand finished to complete the period look.

The gentleman in pinstripes is my Dad, we modified a modern shirt, wool pants, and wool jacket for him by altering the cut and replacing all of the buttons. I made his vest and cravat to create this dapper civilian impression for the Remembrance Day Ball at Gettysburg.

• 1860’s Chemise with pin tucks on the front and cluny lace at the edges
• Pure Silk Taffeta Ball Gown with Self- fabric Bertha and black cluny lace
• Machine sewn inner seams
• Hand finished (hems, edging, hooks and eyes)