I used this pattern initially to make a Regency pelisse. The muslin went together easily. This is not a difficult pattern; there are few pattern pieces. The bodice collar as shown in the drawing of the pattern appears to be very complex; it isn’t. It is only a long curved piece of fabric that sits on top of the pelisse bodice. The elaborate trimming shown in the illustration is not included in the instructions; instead there are some terse suggestions for trimming. Once I had the muslin together, I saw that the construction was not historically accurate for a Regency pelisse. The sleeves are modern construction; they are eased into the shoulder. They should be set into the back in an oval line, creating the illusion of the small back. The center back should have diagonal seaming creating the diamond pattern in the center back. These are two of the key elements in the construction of the Regency bodice.
I had my muslin which fit perfectly. I then studied the photograph of the back of an “American Pelisse circa 1807” on page 19 in Dress from Three Centuries: Wadsworth Atheneum(Hartford, 1976). It’s a great photo for reference and clearly shows the back seaming. To recut my pattern pieces for the back of the bodice, I studied the scale pattern pieces for “Draft 32, White Cotton Empire Dress c. 1808” in History of Costume by Blanche Payne (Harper Collins, 1965). This worked very well. The final garment is quite authentic. I opted for a more tailored look based on Pelisses I had seen in Bath and did not add much trim.
The Old World Enterprises Romantic Gown pattern is fine if you want a pattern that is easy to make and creates the appearance of the Regency era and into the 1820s. If you are interested in correct construction for the era, either use this pattern only as a muslin ‘to start’ as I did or go directly to the “1818-23 A Pelisse from Gloucester Museum” (Patterns of Fashion 1 by Janet Arnold).
Sally Norton –
I used this pattern initially to make a Regency pelisse. The muslin went together easily. This is not a difficult pattern; there are few pattern pieces. The bodice collar as shown in the drawing of the pattern appears to be very complex; it isn’t. It is only a long curved piece of fabric that sits on top of the pelisse bodice. The elaborate trimming shown in the illustration is not included in the instructions; instead there are some terse suggestions for trimming. Once I had the muslin together, I saw that the construction was not historically accurate for a Regency pelisse. The sleeves are modern construction; they are eased into the shoulder. They should be set into the back in an oval line, creating the illusion of the small back. The center back should have diagonal seaming creating the diamond pattern in the center back. These are two of the key elements in the construction of the Regency bodice.
I had my muslin which fit perfectly. I then studied the photograph of the back of an “American Pelisse circa 1807” on page 19 in Dress from Three Centuries: Wadsworth Atheneum(Hartford, 1976). It’s a great photo for reference and clearly shows the back seaming. To recut my pattern pieces for the back of the bodice, I studied the scale pattern pieces for “Draft 32, White Cotton Empire Dress c. 1808” in History of Costume by Blanche Payne (Harper Collins, 1965). This worked very well. The final garment is quite authentic. I opted for a more tailored look based on Pelisses I had seen in Bath and did not add much trim.
The Old World Enterprises Romantic Gown pattern is fine if you want a pattern that is easy to make and creates the appearance of the Regency era and into the 1820s. If you are interested in correct construction for the era, either use this pattern only as a muslin ‘to start’ as I did or go directly to the “1818-23 A Pelisse from Gloucester Museum” (Patterns of Fashion 1 by Janet Arnold).