Tuesday, October 30, 2012

Pretty Dress of the Day Challenge - Simplicity Itself

1840 Fashion Plate

Christmas Season always bring us back to Charles Dickens' novella "A Christmas Carol", which was set in the year 1843, and was published December 19th, 1843.  Ladies fashions were coming out of the Regency era (1820s) and Romantic Era (1930s) and into something new or transitional.  Some of the prior fashion favorites were still popular, but new style details were coming forward.  Ladies gowns at the shoulders began to narrow and slope; waists became lower than previous decade (think empire) and now came to a point in the front, sleeve detailing moved from the elbow to the wrist; and where pleated fabrics once wrapped around the bust and shoulders, they now formed a perfect "triangle" style detail for the front of most day gowns.  Also, Cartridge pleating became popular.   Finally, the use of multiple layer upon layer of starched petticoats was needed to achieve the proper "bell" silhouette of the period.  The weight of these petticoats would eventually lead to the creation of the "crinoline" in the second half of the 1850's.   So, with a little bit of back ground, I am presenting today this Amazing 1850 Day gown. 

1850 Day Gown - MMA

This Gown has a wonderful fit through the shoulders and waist, then a beautifully flaired full length skirt. 
The jewel toned
blue with black accents is eye-catching and elegant at the same time.  I was searching around for ideas for a Civil War gown and saved this one to my inspiration folder.  Imagine my surprise when I found the Simplicity Pattern 3727!  I purchased this pattern, and it became the gown I talk about in "Flirting with Civil War Fashions".  The pattern itself states "Wisconsin Historical Society", but nowhere inside the pattern could I find information on the gown it was based on.  So, while some seamstresses do not believe that mainstream pattern companies, such as Simplicity or McCall's, can be historically correct, I would like to submit this pattern for your consideration.  This is the link to the above referenced "Flirting with Civil War Fashions" -


Sunday, October 28, 2012

Pretty Dress of the Day Challenge - 1914

1914 Silk Faille Taffeta
 I found this gown at the Glenbow Museum located in Calgary, Canada.  The gown information is as follows:  "1914 Ladies Evening Gown; Silk Faille taffeta is embellished w/ beading, embroidery, and contrasting fabrics. Glenbow Museum".  Wonderful use of contrasting fabrics.

April 2012 - The Titanic 100th Anniversary - Part Three

Edwardian Hat with bird and feathers

April 2012 was the 100th Anniversary of the Titanic.  The re-release of the 1997 blockbuster movie "Titanic", staring Leonardo DiCaprio and Kate Winslet, found a whole new audience.  I know I watched it again just to see review the costumes. I remember reading on the  VintageTextiles.com website that when this film was being made they had purchased so many original vintage Edwardian gowns, that there was a scarcity of them for two or threes years afterwards.  It was further noted that most of those original gowns were destroyed in the filming -  Such a sad loss!   So, with the thought of "Jack!" and "Rose!" ringing in my head, this is my third and final installment on a few of the hats I created for the 2012 Titanic Anniversary events. 

Training Amherst feathers to bend properly
For this hat I started with a basic wide brimmed gold straw hat with a wired rim.  I needed a stiff hat as I knew it was going to be holding a lot of various decorations.  (Unfortunately, I did not snap a lot of photos as I was making it.)  Next, I cut the crown off as it was the wrong shape.  I selected a very tall and flat crowned ivory straw toque hat and hand sewed it to the body of the original hat.  I knew I was going to incorporate a bird into this hat, and I needed height to give the bird body some angle.  Once the hat shaping was finished, it was time to move onto decorations.  I had some wonderful vintage Swiss dot netting that I gathered and tacked onto the underside of the brim.  In my research, many of the Edwardian era hats had a "black" underside, so I decided to incorporate that idea into my design for this hat. (note: I had found an incredible embroidered  black silk Edwardian belt from a lady in England and that was another reason I went with the black netting to further pull in this color)  I then selected a sheer ivory striped chiffon to add some softness and fullness to the top of the hat, and to give the decorations a base of sorts to sit on.  I had found a supplier in LA that had 45" Lady Amherst feathers, and I was happy to purchase three of these for this hat.  I also used four or five ivory colored ostrich feathers, all hand curled, around the crown of the hat.  The bird body is plastic and was the most difficult piece to attach to the hat base.  I added in several silk and velvet flowers in gold and ivory, and finished off with light wisps of ivory and black horsehair.

          With some friends at an Edwardian Tea
This hat was indeed the most challenging, and also my most favorite.  It is heavier than my other hats, and the Edwardian hairstyles certainly help keep it in place and give my many hatpins the much needed anchor to keep it on my head.  The lady to the left is wearing a vintage Edwardian gown and a hat that she created, the lady to the right made both her gown and her hat.  My ensemble is also vintage, as is the parasol.  I sincerely hope you have enjoyed all three pieces of these installments titled, "April 2012 - The Titanic 100th Anniversary".  

Saturday, October 27, 2012

Those In-between Projects - It Started With A Circle

I had a late-Victorian Cape that was in need of rescue.  It is a "Circle" cape in a Black Benegaline silk with an incredible color-change electric blue silk for the interior lining, and is trimmed with faceted black glass beadwork.  The stand-up collar has an amazing triple edged box pleat of a design that I have never seen before.  There was some shattering of the fabric on the collar, the shoulder area on both sides, as well as along the hemline.

 I started with the collar.  I had originally thought to use a piece of black silk.  As a seamstress, we like to collect fabrics of all sorts.  I had purchased a piece of a vintage black silk kimono, which was suppose to have been early 1900's.  I thought it would be cool to use a vintage fabric with a vintage cape.  However, even with a stiff interfacing, the silk was just to flimsy.  So, I switched gears and went with a medium weight black cotton sateen.   The photo to the left shows some of the electric blue silk lining, and the ruined interior edge of the  collar.
 I had two matching vintage passemateire pieces that I thought would be great on the shoulders to help cover the wear spots.  I hand stitched them into place, and they matched perfectly to the existing trim!  I also decided to incorporate a fur trim down the front edges and along the hemline.  While this trim was not vintage, it blended very well with the overall look of the piece.  Lastly, I ironed out the lovely silk velvet bow.  I have to say, this velvet is amazing, it almost feels like suede it is so soft!  I re-attached the vintage hook and eye, gave it a quick, light press, and it was all done!  Enjoy! 

Friday, October 26, 2012

Pretty Dress of the Day Challenge - Edwardian Elegance

The "Pretty Dress of the Day Challenge" started as a means of off-setting all the negative material that is constantly posted on and around the Internet.  With all the emphasis on negativity, why not post up something that makes people smile or inspires them?  I did not create the concept, I am only helping to spread the joy by doing my small part to post up a photo or two of some lovely historic gowns.  I hope you enjoy them.

This Edwardian gown is from my pre-pinterest folder, so unfortunately I do not have the the particular details on it or it's location.  If anyone does, please add a note in the comment section!  I love the color, but I am not even sure what to call it - Rose?  Pinkish Mauve?  Either way, it is really just lovely.  Notice how the front hem is raised two to three inches and then falls into a train?  It is not a straight across hemline.  This helps the wearer from stepping on the front hem and tripping.  Note also all the embroidery and detail work on the skirt.  The bodice looks to have a "set in" faux-guimpe, as well as removable sleeves, thereby making the gown wearable for an evening event.

Now, add in a matching jacket, and you have an ensemble that can take you from "day to night" with just a couple of quick adjustments!  Although in that era, they probably would not have worn this gown as such.  If you wanted to really be creative, you could make the jacket "reversible" and give yourself more style options, maybe something with a cream lace?   The possibilities are endless!

Thursday, October 25, 2012

April 2012 - The Titanic 100th Anniversary - Part 2

April 2012 - the 100th Anniversary of the Titanic.  Edwardian Hat designs were in full swing.  Everyone seemed to have two or three events a weekend, and the entire month of April was a whirlwind of costumed events.  This is my second installment on three of the hats I pulled together for some of the events I attended. 

The San Diego Costume Guild attended the "Titanic" exhibit at The Natural History Museum in Balboa Park.  I needed to design and create a hat that would compliment my navy blue pinstriped 1910 Edwardian Suit. 

I mentioned in my prior hat post, that the Edwardian hairstyles played a "Big" part with these "Big" hats, in that the hairstyles would help seat the hats and give the hatpins something to catch onto to help anchor them.  I had attended an SDCG class on how to style hair for that Edwardian look.

I started with a vintage black straw, wide-brimmed hat with a wired rim.  The crown was short with a flat top.  I had a gold and navy striped taffeta that was a perfect match to the navy blue in my suit.  I covered the crown with the fabric, and hand sewed it in place.  Next, I moved on to a wide fabric strip to create the large bow for the front of the hat.  I sewed in a piece of thin wire all along the edge to give the strip support for the big bow.   From there, I selected several fluffy Ostrich feathers, hand curled each, and tacked to top of the brim.  This hat came together the fastest and easiest, and I really like the way it turned out. 

Wednesday, October 24, 2012

Pretty Dress of the Day Challenge - Deceptively Simple

1886 Day Gown: Silk; MMA

So Elegant, So Pretty, and so deceptively simple?  Everyone loves a striped gown.  This "tone on tone" is a classic example of how to use stripes to create visual interest.  Note the bodice stripes are vertical on the sleeve and diagonal on the bodice, while the apron front has horizontal stripes, as does the foundation skirt.  Nice easy rust color contrast at the collar and cuffs, some lace and bows here and there.  But look again at the foundation skirt.  That looks like silk ribbons that have been sewn onto a sheer fabric. Rows and Rows of ribbon! I have a hard time sewing a straight line, never mind trying to sew rows of ribbon and make it look nice!  Then, this fabric has been gathered and ruffled into tiers.  Three tiers on the foundation skirt.   So, at first glance, what looks to be a "Pretty" straight-forward gown, actually has multiple design techniques that makes this gown ever so deceptively simple!  Enjoy! 

Those In-between Projects - Lengthen with Pleats

Last month I was working on a 1906 Edwardian skirt.  Tucked away on the last page were instructions on "Cutting Continuous Bias Strips".  Well, I had never done that, so I thought it might be something fun to try.  I had a Victorian Bustle Gown that ended up being about 3" too short on the foundation skirt.  I thought I might try this concept and make a pleated trim for the hem to add the needed length.  The gown is a Burgundy silk blend velvet with a Golden embroidered silk taffeta for contrast.  I had exactly one yard left of the silk taffeta, and I needed six yards of trim.  The instructions stated a 30 inch square  with a 3.5" width would yield a 252" strip - close enough!

 I have to say, this is the origami of fabric sewing.  I needed six yards of 4" strips with a one inch pleat.  I folded, and lined, and refolded, as I just could not visualize the end objective.  I knew I needed to create a "loop" of fabric, but it simply was not coming together for me.  I set it down and walked away for a couple  of days. 
Two days later I picked it up, and it all fell into place visually.  I made the cut and ended up with a 250" long continuous strip.  Next, my hemming foot could not handle the embroidered fluffy flower detailing, so I had to press the hem and sew, not too bad.     

From there I pulled out my handy "Perfect Pleater" board, Iron, and spray bottle of one-to-four vinegar to water spritzer, and got to work setting the one inch pleats.  Once that was completed, I stitched along the top edge to help stabilize the pleating. 

From here, stitching the pleats to the hem of the skirt was the easy part.  The finished length was 3", which was exactly what I needed to make the length work for me.  I am tall at 5ft 9", so I run into fabric constraints all the time.  Using a pleated trim was a nice way to solve the length problem, and it was a fun experience.  I will certainly try this again, and I am sure it will go faster the next time around.  Start to finish was around three hours once I picked it up again. 

Tuesday, October 23, 2012

Pretty Dresses of the Day - Edwardian Fashions

Pink 1906 and Ivory 1903 Edwardian Gowns
Another photos from the Shippenburg University of Fashion Collection.  Small collection, but wonderful quality.  The Pink gown, with it's lace insertion and embroidery, looks to have a high-necked guimpe worn underneath, which when removed, the gown could also be worn for evening wear.  The Ivory Gown is simply perfection.  The contrasted insert in the front panel of the skirt, the lace insertion, the rows of ruffles at the hem, the pin-tuck on the sleeves, the deep lace ruffled cuff on the sleeve, just everywhere you look, there is some element of beauty to view.  Consider ways you could incorporate some of these features into your next Edwardian creation!  Enjoy!

April 2012 - The Titanic 100th Anniversary

We are nearing the end of 2012, and I am reflecting back to earlier this year.  In April of 2012, the world recognized the 100th Anniversary of the Titanic.  For the Costuming Community, Edwardian Fashions took "Front and Center" as never before.  Coupled with the popularity of several Edwardian Era TV series, such as "Downton Abbey", and the "Beauty of Belle Epoch and Edwardian Fashions" were on everyone's sewing tables in preparation.  One of the key elements of any Edwardian Era ensemble is the "Hat" - a woman's crowning glory if you will.  I am going to share a couple of quick blog overviews of two or three hats I pulled together for some of my Costumed Events, and I hope you enjoy them and much as I did!  I am starting with my Ivory & Coral confection:

Edwardian Hat and matching Corsage Belt
I pulled a wide brimmed Ivory colored hat out of my stash.  I liked the wired brim, but the crown was too high and was the wrong shape.  So, first step was to cut off and remove the crown (see photo).  I then selected a vintage taupe Pillbox hat from the stash to become the new set-in crown.  It had a lower profile with a flat crown, which was perfect for the look I was going for.  I hand stitched the pillbox to the Ivory wide-brimmed body.

Next, I had to gather in decorations for my design, starting with feathers.  I hand curled ten 15-18" ostrich feathers.  In the photo below, the feather on the left has been hand curled.  This curling is what gives feathers that fluffier look, more like what we see in the vintage hat photos.  The process is easy, it's just like when you use curling ribbon.  I used a pair of sharp scissors, and I would isolate a 1/2" section of feather, and very carefully pull the scissors edge against the grain of the feather.  Too hard and you will just chop off the feather.  I would find a feather you can practice on before moving to your main feathers.  I had pulled five white and five coral colored feathers for this hat.  Sad note, I left my carefully curled feathers on the sofa table one evening.  When I came home, my dog had eaten half of them and destroy the other half.  I was devastated!  The time, the money, the effort - all gone!  Finding that particular coral colored feather was almost impossible!  I had to make a special trip back up to the LA Textile market just to purchase more feathers.  I only found three coral colored feathers, and then opted for less white feathers for balance. 

Next, I hand sewed a beautiful 4" floral lace around the top of the wide brim.  Once the lace was tacked on, I moved on to a coral colored striped chiffon.  Edwardian Hats have that super wide crown.  While I could not duplicate that look exactly, I was able to add the "look" of fullness with the chiffon around the crown (see photo). 

From there I when with a super wide strip of the coral chiffon and worked it into a gigantic bow for the front of the hat.  I had to stitch in some wire into the bow fabric to give it the body needed to hold it's shape.  I then started to add in the feathers, each was hand-tacked.  Some silk flowers in coral and white added a great focal point both on top of the brim and on the underside of the brim, and finished off with ivory colored horsehair, as I could not find the Egret feathers I wanted.  The horsehair was a fun alternative, and I liked the overall look.  The hat is well balanced weight-wise, and I use two to three hat-pins to hold it in place.  The other key issue is the hair.  I used some "rats" to roll my hair into the big Gibson Girl hairstyles.  These hairstyles help hold up the weight and shape of these hats, as well has giving your hatpins something to hold into!   I will be posting pictures of two more hats, so check back again soon if you enjoyed this post!

Monday, October 22, 2012

Pretty Dress of the Day - 162 yrs old

Today's "Pretty Dress of the Day" is an amazing 1850's Ballgown from the Koyoto Institute.  Out here in Cali, the Social Daunce Irregulars Ball is next Month, and what better way to inspire than to present such a lovely gown as this!  What makes this gown very unique is the fact that it is a "Printed" fabric from 1850's. 
The Kyoto Costume Institute,
Material: Crème silk and wool mixed gauze with floral print; triple-flounced skirt.

This dress might be termed a typical example of the delicate, alluring and womanly style of the 1850s. The décolleté is kept wide, and short sleeves cover the slender shoulders. To accentuate the small waistline, the seam edges at the waist narrow downwards as well as the skirt gracefully widens its shape. The triple-flounced design creates a decorative effect and further emphasizes the slightly rounded contour. Blended fabric of silk and wool in fact is hard to print on. The bright colors of this dress give prove of the rapid progress in cloth printing techniques that had been achieved.

Sunday, October 21, 2012

Anna Karenina 1997 - Costumes

Reposting:  There was so much interest in the "Day at the Races - Anna Karenina" post, that I thought to bring this post back for another review for everyone.  Enjoy!

There was a new adaptation of "Anna Karenina" recently released.  They are going to be hard pressed to rival the gowns from the 1997 rendition.  These are just two gowns of the many that were showcased in that movie, and each one is a work of art.  Make sure you open the "detail" picture to truly appreciate the amount of workmanship that went into each gown.   Of the dozens of gowns used, each was just as detailed as these.  Plus, the main Ball scene, when they dance the Swan Lake Waltz, is classic! 

Gown #1 from Anna Karenina

Gown #2 Anna Karenina 

Edwardian Day Ensemble - Part Deux

In a prior post titled "Edwardian Day Ensemble", I started on this project and reviewed a couple of patterns.  This is a continuation of that post.  The following link is to my original post:

The sleeves on the 1903 Blousewaist were originally full length, wider at the tops and bottoms, then narrower thru the body. So it was not a simple "just shorten" them solution.  I had a miscalculation on the sleeves and ended up opting to cut them to 3/4 length, then adding a vintage lace ruffle.   The lace I decided to use was in my stash.  It is old, and I am not even sure what variety of lace or fabric content it is.  So, if anyone knows, please leave a post!  I thought the lace was a perfect match color-wise.  It is a very soft, silky lace with a re-embroidered taupe thread that pulls in the colors from the vintage appliques on the bodice. 

3/4 length sleeve High Necked Blousewaist with Lace Guimpe

This is a close-up of both the laces.  The cream and taupe lace is on the bodice sleeve.  The lighter color is  a vintage lace Guimpe.  The lace is vintage, not the guimpe - lol.  I had actually purchased a huge lace curtain from a lady in Paris.  She was remodeling her Bed and Breakfast.  It was 17ft wide and 9ft long.  She said she bought it from an estate in the early 1970's,  and she was not sure where it came from prior to that.  I have a lot of it left, and am just waiting for the perfect design inspiration.

After completing the original bodice with the above mentioned modifications, I had a couple of yards left of the tea-stained embroidered cotton and decided I would make a vest.  I reconfigured the bodice pattern with a squared neckline and made it sleeveless.   It is trimmed it out with a 1/4" black seam binding tape for a neutral contrast. 

 Shown here with the lace Guimpe worn underneath, vintage black lace collar (see prior post), a black glass belt, and a vintage iridescent black glass sautoir.  I have talked a couple of time before about how accessorizing can create different looks, so I am presenting a couple of accessories photos.  Sometimes it's as easy as adding a lace collar and a contrasting belt to make an entirely new look. Much easier than making an entire new outfit!
Short Chantilly Lace Collar
Large Black Lace Collar

Silk Lace Shawl


Saturday, October 20, 2012

Bring it Together with a Belt!

Some of you may have read my prior post on my Edwardian Ensemble?  In it I talked about making a few different belts.  Well, I got started, and just kept going.  The first belt is a vintage rust silk w/handmade lace.  The second is a vintage chemical lace.  The third is the Truly Victorian TVE55 Edwardian Dip-Waist Belt; and the fourth is the Truly Victorian TV495 1890's Victorian Corselet. 

 The TVE55 Dip Belt was pretty easy.  Start to finish was probably about an hour.  Keep in mind that when you purchase this pattern, you are paying for the instructions on how to construct this belt just as they did in that time period.  When I make the next one, I will be using fusible Iron-on Interfacing, and working with a little more machine sewing to make it go a little faster.

For the TV492 Corselet, that one took a little longer to construct.  I think this "Short" Corselet belt would be a great "starter" pre-project for a corset.  Get a feel for how to sew in channels for boning, work w/multiple layers,  and set grommets.  Something fun and easy, not as serious as full scale corset construction.  Start to finish probably took me around three hours, and the next one will certainly go faster.  A side note, you can plan fabric colors for both sides, so you can reverse for different looks.  I went with a heavy white sueded cotton on one side, and my matching fashion fabric on the other.  I also used 1/4" Rigilene for boning as this was my first ever attempt at setting channels, and I had worked w/Rigilene before.  Now some of you are going to gasp, "OMG!  Not spiral steel stays!"  But, I went with what I had on hand, and this certainly worked for me. 

A few notes on the Corselet instructions.  The pattern comes with cutting lines for two different lengths ie:  Short at 8", and Tall at 9.5".  You can certainly trace out a pattern for the Tall on separate paper and then cut to the short, or what I ended up doing was just bending the pattern pieces along the lines for the short.  That way, I have the future option of constructing a Tall Corselet as well.  Secondly, the pattern calls for a 1/2" to turn under and hand-sew to finish (#10 - page 2), I might cut the bottom edge just a little bit longer.  Even a 1/4 will make a difference.  I did not have enough fabric left to wrap around the outside as illustrated, and ended up pressing the 1/2" up inside and hand sewing the edge closed.  I did a 1/4" running whip stitch, as I really do not like hand sewing.  Lastly, when measuring to cut, do not cut to your waist size if you are going to be wearing a corset.  Beginner miscalculation, I admit it!  I would minus out two inches to give it a tighter fit. 

I like all four belts, but my favorite is the Dip-belt.  It just gives the overall ensemble that little something extra.  The corselet can run from 1860s to Early 1900's, so it has a lot of diversity as well.  Belts are always a great accessory, but are very rarely utilized.  Next time you find yourself with some leftover fabric, go ahead and make up a great little belt to match!

Pretty Dress of the Day - Amazing Aubergine

1880 Shippensburg Univ of Fashion
It's True.  I adore the Bustle gown, in all eras.  Todays selection is from Shippensburg University of Fashion.  They do not have a large collection of vintage gowns, but what they do have is quite exceptional.  This is an aubergine silk velvet and silk taffeta ensemble from the 1880's. 

What sets this gown apart is the way the designer used the silk velvet.  Mandarin collar, revers, bodice inserts, cuffs, and bodice hem trim are all in this amazing aubergine velvet.  The split overskirt is velvet, as also what appears to be a ruffle on the foundation skirt.  Think about how you can manipulate YOUR basic bustle pattern to incorporate textured and/or contrasting fabrics.  Enjoy!

Friday, October 19, 2012

Pretty Dress of the Day Challenge - Looking Foward Thur the Past

The two gown photos below are of one of my personal favorites.  I love to color combination of green and blue, reminiscent of Peacock Colors, I love the squared neckline.  I love the colored ribbon outline along the squared neckline.  I love the four foot train. 

I have seen this gown many times online and on Pinterest.  However, I snagged this one into my files years ago, so my files do not have location info.  I believe it may be at the Metropolitan Museum of Art.  I also believe it to be an early 1870ish gown.  If you know the location, please post a note!

What I wanted to share today was the thought that even in today's fashions, our designers still look to the past for inspiration.  A case in point could be the focus on "Downton Abbey" of late, and all the emphasis on the Edwardian styling that is coming out for 2012 Fall Fashion.  If you did not see the Ralph Lauren 2012 Fall presentation, here is the video clip:

So, consider the idea that a lot of the Victorian Fashions hearkined back to the late 1700's fashions!  Most people equate the "Polonaise Gown" with the timeframe of 1770 or 1780 (think Louis XVI and Marie Antoinette), however, there was a major revival of this style of gown in the Victorian 1870's!  You can see some of that styling with this gown from the front.  The cutaway overskirt revealing the matching foundation skirt, and the gathering up of some of the fullness of the back of the gown, both of which clearly have their origins from an earlier time period.  (As a side note: The "a la polonaise" was also known as a "Dolly Varden" style, based on the heroine of Charles Dickens historical novel "Barnaby Rudge", which was set in 1780s!)  Fashion, like History, seems to repeat itself with some mild variations along the way!

In closing, I challenge you to take a look at some of todays designer's fashions, maybe even in your own closet, to see if you can detect a reflection back to an earlier fashion time!  Look at the fabrics.  Look at the construction.  View the line of the silhouette.  What era does it evoke?  All this, and more, plays into how YOU create your own personal wardrobe.  Enjoy!

Sunday, October 14, 2012

Pretty Dress of the Day Challenge - Autumn Splendor

1865-ish Ball Gown

Well, the leaves are turning and I thought this Rust Silk Ballgown the perfect gown to post up today.  It's on my "To Do" list.  Unfortunately, it is a "pre-pinterest", so I do not have any dated information to share.  If any of you know of it's link, please leave it in a comment! 

For this gown, I love the color, the V-necked Bodice with the double puff sleeves, the traditional deep-v on the bodice at the waist, the pleated skirt that tucks up under the bodice perfectly, and the textured fabric.  The skirt has two rows of ruffles, which echos back to the double puff sleeves.  Lastly, the silhouette at the waist, from the drape of the skirt, is simply perfect!  I imagine many, many petticoats are needed to get that look!  Enjoy!