#SackBack
LightNews LightNews
ksalex10.bsky.social
#Inthepink Perfect pink & flowers for your #Valentine #Galentine Robe a la francaise, 1760-70 Check out the #patternmatching From the Bunka Gakuen Costume Museum @bunkagakuencostumemuseum #sackback
February 16, 2025 at 11:24 PM
rebeccaolds.bsky.social
🎉🎉 Registration now open! 🎉🎉

Two new 18th century gownmaking workshops this autumn:

* Sept 19-21: making a sackback gown, aka robe a la francaise. 🥰

* Oct 3-5: making an English gown aka nightgown aka robe a l'Anglaise. 😍

Full details & to book:
www.timesmith.co.uk/shop/in-pers...
June 12, 2025 at 9:47 AM
annabookwriter.bsky.social
It really pisses me off watching traditionally pretty thin white girls using “history” as a cudgel while frankly, what they’re participating in is fantasy.

And that is FINE. I’m not demanding you sew a sackback by hand. I’m demanding you stop being shitheels.
November 4, 2025 at 4:18 PM
hawkethechaotic.bsky.social
Working on a new #stomachet for an #18thcentury #sackback or #robeàlafrançaise to wear to #colonialwilliamsburg during #queerhistorymonth

#reenacting #historybounding
September 28, 2024 at 6:40 PM
rebeccaolds.bsky.social
Long sacks ('sackback gowns' being a modern term) evolved over time. However, 3 ways to fit the back lining co-existed for over 50 years. This method is split open w/ lacing - almost infinite adjustability!

Want to learn how? Workshop registration opening soon!

www.timesmith.co.uk/scotland-wor...
September 2, 2026 at 6:57 PM
chertseymuseum.bsky.social
#FridayFrocks #Pleating: A #Teagown c.1894–97 from Liberty of London. The back features a long panel, like the sack back gowns of the 18th century. However, the inverted pleats are stitched in the opposite way. Gowns from the 1700s feature a box pleat at the centre. #Libertys #Fashion #SackBack
Composite museum photograph of a Liberty of London tea gown, circa 1894 to 1897, shown from the back, front, and in a detail close-up. The floor-length gown features a cream gathered dress with voluminous sleeves and a high lace neckline, overlaid by an open-front, rust-orange satin robe with a long train. The robe is trimmed with gold embroidered floral motifs around the collar and front edges. The close-up highlights the intricate lace bodice, gathered fabric, braided cord trim, and embroidered decoration. The garment is displayed on a mannequin against a plain light-grey background.
August 14, 2026 at 6:10 AM
rebeccaolds.bsky.social
Announcement coming soon for three gownmaking workshops I'll be teaching in Scotland in March-April 2027.

E-newsletter suscribers will learn all the details first, so head over to timesmith.co.uk and sign up, to hear all about them first.

#18thcentury #mantuamaking #workshops
One of Rebecca's workshop students takes a selfie showing the back of her long sackback gown in a full-length mirror. Part of her face shows in the foreground, wearing a happy proud smile. Rebecca demonstrates one step in making a longsack gown, which is spread out on a table in the centre of the photo, while her students cluster around taking photos and handwritten notes.
June 27, 2026 at 10:51 AM
rebeccaolds.bsky.social
Thank you! I was warned while making my first sackback gown that I might fall in love with the style and want to make nothing else... I can't say that's entirely wrong! ;😉
December 16, 2024 at 7:22 PM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 11 - a silk wedding dress and matching hat by Yves Saint Laurent, S/S 1997. The style of the gown draws inspiration from the painting The Two Cousins by Watteau (1716).
#Louvre
#couture
#fashion
#YvesSaintLaurent
#fashionhistory
#weddingdress
#Watteau
#18thcentury
A full-length, long-sleeved gown of ivory silk, with a pattern of large golden roses and green leaves. The gown is seen from the side and the back of it has two large pleats at the neck, which fall down in an 18th century sackback style. The gown is seen on a mannequin that is also wearing a matching hat with a high brim. The room the mannequin is displayed in features wall panelling painted in royal blue, with gold baroque decorative details. Against the back wall, there is a black and gold lacquered commode, on which is sitting a black and gold porcelain urn and a pair of white china birds. Above the commode, on the wall, is a tall baroque gilded mirror, flanked by a pair of gilded wall candelabras. Reflected in the mirror, there is a tall fake window (this room being a smaller, alcove room within a larger gallery in the Louvre), which is dressed in long white curtains that feature a repeating floral design in navy blue. On the left of the room are two damask upholstered armchairs, one in sage green, and the other, which is in the foreground, in a shade of deep duck egg blue. In front of this chair, there's also a little wooden table with a marquetry inset pattern, curvy legs, and gilded baroque details - upon the surface of which there is sitting a glass display box, containing a porcelain tray and two tea cups. In the background on the right, there is another blue and white floral-patterned curtain hanging down to the floor - and in the foreground on the right, in front of the wedding dress, the corner of a gold silk damask-upholstered chair is also just visible.
April 8, 2025 at 2:40 PM