General Silhouette
1795	1800-1805	1810s	1819
Light fabric, full, high-waisted skirt, elbow length sleeves (full length for day wear), rounded bosom filled in with fichu or neckerchief. Big hair!	Diaphanous muslins, white on white embroidery. Think Greek or Roman draperies. Moderately high bustline, gathered neckline, short or elbow length sleeves, train. Some overtunics. Hair dressed "Greek fashion" towards the back of the head.	Neckline broadens, often square, puff sleeves, bodice sometimes gathered, sometimes trimmed, bustline even higher, strong vertical embroidery, puff sleeves. Silks and more color. Hair dressed close to head but with curls and twists on top of head and to sides of face. Turbans for evening wear.	Late teens: bodice at it's smallest and highest. Sleeves and bodice highly decorated. Skirt is cut wider and stiffened and trimmed to make it stand out. By 1820 the waist will start to drop, skirt widens at bottom and is stiffened and trimmed. Hair continues to be dressed on top of head, turbans still worn.
Undergarments: Shift, Corset (Stays), Petticoat
Shift:	The layer closest to the body for this entire period would have been a linen or cotton shift. Over the shift would be the stays or corset. Unlike later corsets, late 18th-early 19th corsets were not designed to give one a small waist. The 18th century corset was heavily boned and designed to provide a smooth, barrel-shaped torso with rounded bosom. The transitional corset kept the rounded bosom, but was short-waisted. The early19th corset was softer, often stiffened only with cording and a center busk (a smooth thin strip of wood in a pocket running between the breasts down the center of the corset), and designed to provide a columnar shape. The diameter of the column was not as important as achieving a smooth, vertical look with a very high bustline. Variations on the corset emphasized a "lift and separate" look (affectionately called "the divorcer"). By the late teens, early 20s, the corset began to return to a more substantial garment, with attempts to rein in the waist. The layer above the corset would be a linen or cotton petticoat, usually with bodice. The cut of the neckline depends on the dress under which it will be worn. This example would work well under an early-style (1795-1805) high waisted gown with gathers across the front. For the later style gowns (1805-1820) the skirt of the petticoat should not be gathered in the front.
1795	1810		1819
The 1790s corset supports, but does not push up, the bustline. The neckline would be filled in, and the "tail" along with a bustle pad, helps hold out the skirt.	The 1810 corset creates a smooth columnar line and pulls the bustline up quite high. The straps are well out of the way to accommodate the broad neckline. There is a busk pocket on this corset, though the busk itself is missing.	By looking at the corsets you can see how the shape is achieved. Notice that even though a certain amount of exposed bosom is fashionable, visible cleavage is NOT a desired beauty trait. Corsets were made of sturdy cotton (coutil, twill, canvas) with cords and quilting for stiffening. (Those of us of, ahem, mature years, may choose to use steel boning.) The busk, a thin wooden strip about 1-2” in width, was inserted in a vertical pocket between the breasts. The busk helps maintain an erect posture and a smooth line. Even corsets without any other form of stiffening would still have a busk.	The waistline of the 1819 corset is beginning to drop and be more defined, although the bustline is still quite high.
Bodice Front
1790s	1805	1808	1815-20
This gown with a crossover neckline, as well as other gowns of this period, feature a bodice that is low, round, and filled in with a neckerchief.	This formal silk gown features a broad neckline, gathered slightly at the neck. The top of the skirt is not pulled in too tight to the body: again, the ideal is a smooth column. The waistline is only about a third of the way between the shoulder and elbow. The slight gathering at the waist is probably due to a drawstring.	The bodice has a broad, rounded neckline, gathered slightly by a drawstring (this actually improves the fit quite well). There are no gathers at the front of the skirt.	The black bodice shows the wide but short style of the late teens. The waistline is quite high, and there is now trimming that adds volume to the shoulder, enhancing the horizontal effect. The blue bodice appears to be just after that period. It is heavily trimmed with piped ruffles and the sleeves display the piping and “windowpane” associated with the gothic vogue that became popular in the mid-teens. However,  the neckline is shallow, but almost off the shoulders while the waist is tightly accentuated and is beginning the downward trend, indicating a slightly later date.
Bodice Back
1795-1800	1800-1810	1800-1810	18-teens
This silk gown shows the longer, less full sleeve, and very full skirt of the last years of the century. The bustline is high and the waistline is only very slightly lower in the back.	Net gowns with chenille embroidery were popular in the 1806-1810 years. This gown has the narrower skirt that was popular during that time. Waistlines still were even front-to-back, or dipped slightly, as seen here. The neckline is fairly high at the back. Note how the museum has mounted this gown with a small bustle pad in the back.	This bodice shows the classic "diamond back" cut for this period. Shoulder seams were set behind the modern shoulder line and a diagonal back seam went from near the center back to the back of the arm. Backs were narrow (posture: upright, shoulders back). Unlike modern armholes that are cut almost vertically from the shoulder, armholes from this period were cut deeply towards the center back. Note there is no underarm seam (see sewing guide below).	As the decade advances, fashion magazines describe gowns as having a "broad back." The diamond shape remains standard, but is cut wider. The bodice is cut higher in the back than in the front. This half-mourning evening gown shows the characteristic back arch. Also note that the lower seam is not cut with the deep curve of a princess seam, but is either straight or only slightly curved.
Sleeves
1795-1800	1810	1816/1818
18th century sleeves covered the elbow. With the transition to the new, lightweight gowns, sleeves began to shorten. Long sleeves were still in use for daywear, but evening wear sleeves were generally short. During the early phase, sleeves were straight, set in to the armhole with little or no gathering. As puff sleeves replaced straight sleeves, the gathering was still concentrated at the back. Also note that as the armhole is cut much closer to the center back than a modern armhole, so the sleeves need to accommodate that. Throughout this period the direction of the fullness of the sleeve is increasingly outward, not upward. Even the highly ornate sleeves of the late 18-teens follow this line. It will be taken to extremes in the wide-shouldered gowns of the late 1820s and 30s. Note that after about 1805 the lower edge of the puff sleeves generally falls horizontally in line with the bodice. Many gowns of the 18-teens that have tiny bodices show equally tiny sleeves. Necklines also widen, however, bare shoulders will not be seen until later in the century.
Skirt
1795	1800	1805-10	1816
Light cotton or silk undergown is gathered around entire waist. and has a slight train. Overgown has longer train.	A similar gown, without the overdress, gathered slightly in the front and extensively in the back. Round train. Trains are found on day and evening dresses during the first few years of the century. They disappear by about 1810, although they do hang on for a bit in evening or "opera" gowns (not ball gowns).	Front of skirt is now a single rectangular panel set into the bodice with no gathers. The yellow line is drawn on to show how the side seam falls. It is not directly below the arm, rather, it begins towards the back and curves to the front. The side back panels are triangular to provide fullness and all the gathering is in the center back.	Skirts continue to be cut with a front rectangle, side gores, and gathered back. After about 1815 they begin to widen at the hem. The front is still set smoothly into the bodice but the panel is cut as a triangle. Additional side triangles widen the skirt even more.   As the bodices become smaller and more decorated, so do the lower skirts. The fashion plates show ball gowns with short hemlines, at the ankles or higher, beginning around 1810.
Hair and Hats
1795	1803	1812/1816	1818/1822
Big hair: curls, puffs, and rolls with turbans and tall plumes.	Hair is dressed in "classical"style, with curls close to the head but with the mass of hair drawn towards the back of the head.	As the decade progresses, hair is dressed more elaborately, with the bulk moving to the top of the head. Flowers and ribbons are popular. A variety of turbans are worn, following the shape of the hairstyle. This means they are small and closer to the head at the beginning of the decade, but become larger and higher as the decade progresses. Plumes also make a comeback.

Fabrics and Colors

1) Fabrics:  The cottons of the period are called muslin, but are actually lighter and more sheer than the utility fabric we call muslin in the U.S. (and which is called calico in England). Smooth cotton gauze, cotton voile, lightweight silk taffeta are equivalent to the period fabrics. The difficulty is finding these at a reasonable price! Modern silks tend towards soft and drapey. Period silks were light but stiffer. Dupioni is a reasonable substitute, though more "slubby" than would have been used then. A few online sources for fabrics are listed below. Polyesters and rayon/acetates come in a greater variety of colors and weights, but do not breath well which makes them hot for dancing in.

A net or sheer silk or cotton overlay, was also popular. The net overlay embroidered with chenille was in vogue for the years just before 1810 (see red example above). The fashion plates from just before 1820 show many gowns made of silk satin (not as shiny as modern satin) with a sheer overdress.

2) Colors: White, of course, and a variety of pastels, but stronger colors were also popular. For example, the Ladies Magazine of 1812 lists salmon, blue, pink, green, red-lilac or heliotrope, buff, grey, crimson, orange, lemon, jonquil and puce as fashionable colors. Patterned fabrics are trickier: the white-on-white embroidered muslins show a variety of trellised vines and flowers, but where a contrasting figure appears (an embroidered flower or woven in design) the pattern seems to be a small figure regularly spaced about 6-8 inches apart.



Cutting and Sewing Tips

1) Think about foundations!

With the exception, perhaps, of young women at the beginning of the century, none of the gowns above are being worn without some kind of foundation to provide the correct silhouette. While I would encourage everyone to make a corset there are some short cuts you can take. A bodiced petticoat with some boning is one option. (Sense and Sensibility has a pattern.) An underwire bra with the straps pulled short is another (though I'd argue a well-fitting corset is actually more comfortable!).

Under all of these gowns women would have worn a shift, a corset (especially after the first few years of the century), and a petticoat. Wearing these layers seems to be the biggest difference between achieving a true Regency look and just looking like you are wearing a nice high-waisted dress.

Jean Hunnisett's invaluable book has a good corset pattern. She also shows a bodiced petticoat: a non-period alternative to wearing a corset, the petticoat includes boning for support in the bodice.

2) Make a muslin

Since the advent of off-the-rack clothing or graded patterns we have become used to accepting that not all clothes will be a tailored fit. Regency women, at least those who could afford the beautiful ball gowns in these images, would have made, or had those gowns made, personally and individually. The result would have been gowns that fit well and made the most of any given woman's figure. You can achieve this type of fitting by making a muslin, a personalized pattern fitted to your own body that you can then adapt.

To achieve the best fit, wear the undergarments you intend to wear with your finished gown. Using a modern pattern with a fairly fitted bodice, cut out your bodice pattern, placing the shoulder seams along the top of the shoulders, as in a modern gown. Baste it together. Try it on and note where the fitting problems are. Does the fabric pull or gap around the bust or neck? Try adjusting the shoulder angle. Is the waistline just under the bust? Adjust up or down as needed. Is the bodice snug around the bottom? Add or gather as needed.

Once the bodice fits well, draw new shoulder and back seams to create the diamond back. Leave your shoulder seam sewn together and cut along your new "diamond back" lines. Also, cut in the armholes towards the back.

You do not actually need to use a pattern at all. There are several online sites that describe how to make your own muslin pattern. Search on make sloper, make toile, or make muslin.

3) Adapting Modern Patterns

There are several pattern makers that offer Regency style patterns. Even the "Big 4" pattern companies’ patterns can be adapted. There are three major areas where changes need to be made:

• bodice depth: the Regency waist is very high. This may seem like an obvious statement but it's important to note that while the waistline is just under the bust, that position is with the bust pushed up by the corset. As the style progressed the bodice became even smaller, as can be seen in the images from 1816 on. After 1820 the waistline begins to drop. Sleeves move with the waistline, so when choosing a gown style try to keep the appropriate waistline with the appropriate sleeve style.
• back seams: the seams in the Regency bodice are not in the same place as modern seams. Modern seams are usually on top of the shoulder and under the arm. The curved (Princess) seams on modern backs form a deep curve. Regency seams, on the other hand, are generally off the shoulder, not under the arm, and, on the back, are straight or form a more gentle curve.
• Compare these two images. The first is an extant gown from between 1800-10, the second is a gown made from the Sense and Sensibility pattern company:

• The shoulder seam is not visible in this image but it is actually well behind the shoulder. The back seam goes straight from the waist to the armhole.	On this pattern the shoulder seam is directly on top of the shoulder. The modern princess back seam rises steeply from the waist and then makes a sharp curve.

• skirts: after about 1806, skirts are made of a front piece that is rectangular, a wider, back piece that is rectangular, and then side gores that are triangular. These triangular gores become wider as the century progresses. The side seam is not necessarily directly under the arm. The front piece is set into the waist smoothly while the back is gathered heavily. A small pad tied or sewn to the inside back waist will help the skirt stand out from the body, giving your gown the period look (this is how they did it too).

Fabric Sources