Before I say anything about this gown, I want to point out that the description -- robe à la polonaise -- is historically correct.  I know there has been a great deal of discussion over the use of the word "polonaise" in describing 18thC. fashions, so much so that I feel compelled to try to clear up the confusion -- look for my article (in the "Research & Essays" section) soon! 

In the meantime, here is my robe à la polonaise that almost exactly replicates a ca. 1775 extant gown in the collection of the Victoria & Albert Museum (U.K.).  The museum indicates that the original gown is of Scottish origin, which seemed ideal for my planned portrayal of a middle/upper middle class Scottish lady of the 1770's.  

The gown is in the "long-back English gown" style which persisted through several decades of the 18thC., first in early 1730's mantuas, and later (1780's) in many of the gowns worn with rumps to create an exaggerated back silhouette.  

Since my replica was intended to be worn "à la polonaise", it has only a very short train at back.  In retrospect, I would have made the entire gown floor length, but fortunately the tissue-taffeta like hand of the silk allows for the back to be pulled up and stay "puffed up" in place quite easily. 

This gown was relatively simple from a construction viewpoint, with a centre front hook and eye closure and minimal surface decoration based on the V&A original.  I began with my usual English gown linen lining (foundation), and added lacing panels below the front closure for extra security, a feature seen in a number of extant gowns of the era.  The long centre back panel was pleated onto the linen lining, with the folds opening into the back skirts below the waistline.  The rest of the skirts were very finely pleated into the bodice.  

Although I do have a gold-coloured silk taffeta petticoat that is close to the one displayed in the V&A photos, I decided to make a petticoat from some lovely shot silk dupioni taffeta that almost exactly matches the old rose colour in the stripes of the gown.  My gown fabric was also a low-slub, quality striped silk dupioni with a whisper-like weight and fine, crisp texture. 

My only disappointment with this gown: unfortunately the striped dupioni did not take well to pinking: the edges of most of my applied ruching almost immediately began to fray and shred!   Lesson learned (I really should have known better).  Next time I use dupioni, all the edges of the trim will be turned under and hemmed first, then ruched or pleated -- without the pinking! 

Update:  As it turned out, the shredded edges of the trim bothered me so much that I decided to remove all the original pleated trim, then re-cut and make new trim, turning all the edges under a scant 0.5cm and hand-hemming them before pleating and hand-sewing them onto the gown.  I'm now glad I spent the time and effort fixing it, as I no longer have to worry about messy and embarrassing looking strings of frayed silk trailing from my bodice, and the trim disintegrating and disappearing as I walked!  Dupioni does not behave for all those lovely pinked 18thC. furbelows.  

Except for dresses worn by very elderly women, formal evening wear in the Edwardian and 1910's era always meant a décolletage (low, open neckline).  

However, there were occasions where a formal appearance was called for, but in a less formal setting.  This gown is in that category, appropriate as a visiting, reception, or dinner gown.  As an evening gown for dinner, in velvet (as I made the replica) or silk, despite the luxe of the textiles, its high collar would signify informal evening wear -- a gown appropriate for a fancy dinner at home, or with close friends.   As a visiting or afternoon gown, it would speak to the highest formality of day wear, whether in velvet or not.  

This replica was made from silk/rayon velvet in a deep forest green colour, over a full, boned foundation, with hand embroidered insets (plastrons), French cotton guipure lace, and silk satin bias trim.  This is a true "Gibson Girl" gown, with a semi-hobble skirt formed by the applied band below the knees.  The band can also be omitted, to create a typical trained skirt. 

The pattern for this afternoon gown is available in my Etsy shop.  This design is best suited to those with fairly advanced sewing skills, especially if the gown is made in velvet.  Click on this button to go to the Etsy listing: 

If you're planning to work with velvet and would like some tips and insights into handling this luxury textile, see my blog article here: