Rachel’s grandmother wore this gown in the 1930’s.

It was made by hand by her great-grandmother, an Irish seamstress. The challenge to this restoration was to salvage what could be reused, and to modernize the fit.

It didn’t seem possible to renovate this family heirloom.

She brought in the dress and we decided that the exterior lace gown was in good condition with the exception of slight sweat damage in the underarms. The silk slip-dress underneath was dry-rotted and stained beyond our repair, but we could use it for fitting and patterning purposes to create a new one in its image.

We carefully removed the sleeves and opened the side and shoulder seams to determine how much fabric needed to be added and where. Using only the fabric of the removed lace sleeves, we were able to piece in the needed extensions and replace the damaged sections. It was meticulous work – all the added lace was pieced in to continue the pattern of the lace on each piece of the garment. The end result was that it looked like it had been made in 1930 just for her!!

To be sure the dots lined up symmetrically, we cut the bodice pieces and then printed on the dots. A handful of test prints were done to test color, size and pattern before printing. Ultimately we decided the print looked best when the dots were compressed closer side to side than top to bottom. Printing the dots in a triangle pattern on the skirt made them look more delicate around the hipline than a solid line.

Silk ribbon finished off the waistband and edged the crinoline underneath. The hardest part for her was choosing from a pile of vintage buckles!

Helen chose a fully custom flowy gown of silk charmuese and spun silk. Pleating on the front into the underbust seam, and the pleated waistband highlight her small waist, while flattering her curves. The low neckline front and back add some drama, while the purple printed flowers with amethyst bead details add both a playfulness and a sophistication to the gown.

For this dress, we used Ahimsa 3-ply silk in its natural ivory color and a white silk crepe lining. Two vintage petticoats were altered and combined to achieve the right amount of fullness in the skirt. The use of a screen-printed cornflower design was Antonia’s idea, and Jocelyn drew the screens and printed each garment piece by hand.

The flattering and classic 50’s shape and minimalist pattern highlights Antonia’s tall slender frame. Additionally, the dramatic silver tone flowers, printed asymmetrically on one side of the dress, added interest to the back of the dress as well as the front. Her bright blue accessories and flowers gave this classic style a completely modern punch!