Gallery
Garments in the pictures below are made from a combination of existing patterns and my own designs. I will be happy to sew from patterns by other designers if you purchase and send the patterns with your order.
Copyright is a sacred trust among designers, and patterns are inexpensive.
For more details on some entries, see my blog.
Our phone # has changed! (585) 468-2669
1790 Small Clothes
Ruffled linen shirt
Fall front breeches made from white canvas, with brass buttons.
White linen waistcoat with brass buttons. All pockets are functional, inner breast pocket for papers.
The pattern for the waistcoat came from Cut of Men's Clothes, the shirt references from Fitting & Proper.
1750-80 English Gown "Green Gown with Thistle Stomacher"
The stomacher is hand embroidered with cotton floss on black linen.
The gown is overdyed green linen. The original cut was taken from a 1750 pattern from Cut of Women's clothes, and modified to be stylish in the 1770's or 80's. The style is I would call a re-made gown, though it is entirely new. Hand finished wherever stitches show.
Worn over pocket paniers, though it can also be worn over a cork rump or bum roll.
1829 Gentleman's outfit "Free Frank"
Actor Brian West who portrays "Free Frank" at Frazier International History Museum in ___.
He wears a linen shirt with a stand-up collar & pleated front, drop front pants, a red silk waistcoat, brown wool tailcoat with cut edges (hand finished) and a silk stock & cravat.
1808 & 1815 Jean Austin Ball Outfits
Joe & Jessica dressed for a Jean Austin Ball in Washington DC.
Joe is wearing black linen drop front breeches, a red silk waistcoat & an 1808 single-breasted wool tailcoat.
Jessica has an 1815 Round Gown on with the train looped up. The gown cream silk with a fine red stripe & is hand finished
1750's Braintan Breeches
French fly breeches with brass buckle leg bands, horn buttons, and 100% hand sewn with linen thread. Buttons are sewn on with silk/bamboo thread. Pockets are quite deep, and the seat & inseam are reinforced with a second stitching line.
Waistbands & legbands are cut on the fold, but top stitched to maintain shape. Back gusset is a single layer.
Custom order.
1770-1800 Winter Outfit
Quilted jacket, wool petticoat, wool socks, heavy linen modesty cloth, wool cape lined with linen & a rabbit fur muff. A small lace cap coupled with a tricorn hat were popular at the end of the 18th century, (the tricorn is from Jas. Townsend). Ladies hats would have been decorated with feathers, rosettes & lace, but were the same cut as men's. The pigeon breasted look was 'in' so modesty cloths were quite poufy.
Cloaks often closed with a clasp or 'blanket pin' OR had ribbon through the neckline to tie in front. Muffs could have a ribbon looped through & hung from the neck when not in use, which is handy on days like this.
Happy Holidays!
Late-1700's Women's Outfits
1770's jacket paired with a double waistband petticoat.
The jacket is a single layer of heavy black wool with welted seams for added strength. It pins in front. There is no decoration, but Quakers or well-to-do Colonial women would have favored the pure black color. It sits wide on the shoulders & back and has a deep V neckline. It fits well over hoops & bustles, or falls in graceful folds over a natural form.
1780's English Gown with matching petticoat.
Brown lightweight cotton, no decoration. Laces in front. Bodice is 1/2 boned, so no stays are necessary, though I always recommend wearing stays under a gown to take the stress off of the outer garment. Could we worn with a stomacher or engageantes. This gown will also fit over hoops & bustles.
1780-1800 Chemise Dress
Chemise Dresses were very popular in the late 18th and early 19th centuries in both Europe and America. There were many variations, but they are characterized by lightweight cotton fabric and many yards of material gathered onto the body via drawstrings. They could be plain, have ruffles, lace, ribbons, silk sashes, be paired with earthreal modesty cloths, huge caps, hats, plumes, shawls... you name it. Sleeves could be fitted or billowy, or even sleeveless! Tops could be fitted or gathered with the rest of the gown.
Contrary to popular belief, chemise dresses were not always white. They came in many colors, though white was the most desirable, and the most expensive. Soft colors like pink, yellow, tan and gray were very common. True colors were also worn, though not as common as the 'lighter' colors; red, blue and even black were often seen.
This gown was made for Joan Hale, it's 100% cotton gauze with a cream cotton shift, silk ribbons & sash. The neck ruffle is part of the dress, though sewn on separately. The ruffle at front & hem is a graduated width (3" - 10") and was hand-sewn to fill out the length of the gown.
Over-shifts were essential for modesty when wearing the chemise dress, and some women even wore flesh colored pantaloons to guarantee modesty even in a rainstorm. Many women retained their stays, others gave them up while wearing this style.
Mid 1700's plaid English Gown.
This is my new gown. I'm half-hoping it will fit me for a while, on the other hand I'd like to shrink out of it before the end of the year. Plaids were not commonly worn as gowns, but there are a few examples. Kyoto Fashion Institute has two, Hogarth drew a lady riding a horse in a plaid engilsh gown and there is a portrait of a Young Lady from Scottland in the early 1700's in a large yellow & brown plaid dress. Watteau drew a woman in a sack back gown that could be a plaid or a double stripe (not sure without color).
This is cotton, lined with a linen/rayon blend. The bodice is boned, which works alright without stays, but I prefer it with. I can wear the skirt a la polonaise or as a train. The petticoat is ancient gray linen. Modesty cloth is a cotton triangle, cap is linen & silk with antique lace and is 100% hand sewn.
TeddyBear (Edward VIII) insisted on being in all the pictures and completely covering my gown, petticoat & cap with hair. He even wanted to take some pictures himself, but got distracted.
Oakhill Clothiers at LBC's Joey & the Eastern
We go to about 5 small events and 4 large events each year. Small events are in and around Western & Upstate New York. Large events are generally East Coast, or at least East of the Mississippi. In-store items are tailored to each event, so you will never find something out of the 'correct' time period.
Sometimes I feel like we've outgrown the mini-marquis, but I do love that set-up. Like every suttler, my set-up is ever changing... and hopefully getting better each time I head out.
Events this year were (and are)
May, Springville Rod & Gun Club's Mud Fest,
May-June, Moses Van Campen's Gauntlet Rendezvous,
June, Little Beards Club's The Joey,
June, Keuka Lake Renegade's Annual KLR,
July, The Northeastern: I will have rosewater from heirloom roses at this event!
August, Stone Tool Show in Letchworth State Park,
September-October, The Eastern
French & Indian War, French Cannonier Uniform (1750's)
Dawn made this outfit for her husband & my dear father, "Uncle Bob" Kellogg, to go to Ft. Niagra on the 4th of July. After many adventures figuring out exactly which group he was joining and getting a lot of help from many wonderful folks in the reenacting community, she made this lovely scarlet & white uniform.
White linen shirt, red linen breeches, red wool sleeved waistcoat lined with white & red linen?, white canvas gaters with brass buttons (conflict about if they should be brass or horn... we had enough brass), leather garters with brass buckles. You can't see the red cotton stockings.
Tricorn hat is from Jas Townsend.
The beautiful flintlock was made by the man himself.
Not sure if he should be loading a gun as a cannonier, but this is my favorite picture out of the series.
1830-40 Vest
In the 1830's gentlemen often wore several vests, one over the next. Layering was very "in."
This vest is a heavy green wool lined with a medium weight olive linen/cotton blend.
It was made for a man portraying a Mountain Man of 1831. When a fur trapper came in from the mountains one of the first things he bought would be a new set of clothes. In St. Lewis, then one of the largest cities in the nation and a center for the late fur trade, one would find the most recent fashions in an array of fabrics. A trapper would look for practicality first and fashion second. Servicable wool would be prefered over pretty brocade... though if he made enough money, he might spring for the brocade as well.
1770's Middle Class Outfit
This was made for a lovely lady who won an outfit from us in a raffle. She gave me free reign in creating her clothes, and I picked colors that complemented her natural beauty.
The cotton shift has ruffles at the neckline and the cuffs. Pockets are made from cotton brocade (not seen). The stays (also not visible) are 1/2 bone 1/2 corded cotton. The petticoat is a printed cotton with double waistbands. Jacket is violet/gray cotton with burgundy chain puff accents and is lined with burgundy cotton. The cap is linen.
Note: printed cotton was more commonly used as a jacket or gown than petticoat, but it was not unheard-of to have a solid top and printed petticoat.
We did not gather in her sleeves like we should have before the picture... they are very nicely ruffled when tied.
You can read more about the jacket and trim on my blog.
1770's English Gown / Robe A l'Anglaise
Boned bodice, gown with matching petticoat
90% cotton (may be some poly or nylon) lined with 100% cotton muslin.
One of the most common gowns worn in England, France and North America in the mid 18th century. Hem length depended on social class, and the most common materials were cotton, linen and silk.
Flatters most figures. Very comfortable to wear and easy to get in & out of.
1650-60 Boned Bodice, English.
This is from my favorite pattern book, Cut of Women's Clothes. The bodice is made from two different coloured wools, lined with a heavy cotton boned body. It laces up the front with a strip of eyelets, which makes the center front stand out just a little, and forms a very attractive XXX shape when worn open with a stomacher, or it can be closed all the way (when you lose weight like I did). It's machine sewn and hand-finished on the outside.
It is worn with a wool skirt and a linen shift & cap.
Because of the boning in the bodice, a separate pair of stays is not necessary. The bodice itself provides enough back and bust support. The wide shoulders limit arm movement to shoulder height in the front and a little lower than shoulder height on the sides. If you wanted more movement, sleeves could be laced on instead of sewn, or made larger than historically correct (they are hidden by the wings).
The waist is about 1 1/2" above the natural waist line, this is very comfortable, but takes some getting used to.
I have yet to figure out how this outfit can look so... wench-ish in person and so proper in paintings & photographs. Colour me confused.
This Artistic Dress is based on Leighton Brownlow's 1879 portrait of Countess Brownlow, his wife... in blue. I used cotton for the main dress, with a cotton/poly blend satin for the trim and petticoat. If I were to do it again, I'd like to use linen/cotton and silk.
It closes with ribbons and many snaps. The initial pattern is a chemise dress from Cut of Women's Clothes, modified... almost everywhere. The undersleeves are from the same book, off of some Edwardian garment I liked (not helpful, sorry).
The yoke is hand stitched silk.
The petticoat is the All Round Skirt from an original 1886 magazine (I think Goodeys, but I'm not sure). It can be worn with a small bustle or as a floor length skirt in back. This skirt works well with heels. It is hemmed higher than the painting to make dancing easier.
This was a fun garment to make and I'm very pleased with the results.
A 19th century inspired bridal party.
Due to the alterations and re-combinations of garments, the outfits pictured here are not historically accurate, but everyone was very pleased with the final results.
All the ladies are wearing TV 240 ballgown skirts.
From left to right:
Altered TV 460 curiass bodice to showcase the tattoos, no corset.
Altered TV 422 dinner bodice and altered TV 363 summer overskirt.
Silk, lace & flowered "Little Bo Peep Hat" of my own design, TV 440 pagoda bodice.
TV 460 Curiass bodice, TV 303 side drape overskirt altered to fit over a hoop skirt instead of a bustle.
Matching pockets and stomacher. Hand emboridered cotton-linen fabric in a tan/green color with cotton floss. The fern motif is very traditional, the 'not perfectly symmetrical' design is a little more modern.
Both were inspired by the ferns that grow along the creek bed of my parent's farm. See my blog for more information on these garments.
1790's Chemise Dress
This gown is made from a very lightweight cotton and the pattern came out of Cut of Women's Clothes. I've altered it a little to fit my short self. Rather than wear a corded petticoat I've pushed the bulk of the drawstring petticoat to the back of the gown, to make the back stand out just a bit more.
This is a simple, elegant pattern that has great potential for easy alterations. One could add a ruffle at the neck, longer or shorter sleeves, a satin sash, etc.
1720-60 French Working Class Outfit
(This could also be English)
A cap, red linen bedgown, apron and petticoat over a shift, stays 
and pockets. The bedgown is a wrap jacket that is belted at the waist with the apron. It falls perfectly over the stays, but doesn't look right without that all-important undergarment. A fichu or tucker should be worn with ths, but it got quite hot and I gave up trying to wear one more thing in the 90 degree heat.
The cuffs should be gathered into 3 pleats to the elbow, but I just haven't gotten to that yet. I will eventually remember to finish the sleeves and it will look perfect.
Pattern for the bedgown was taken from M. Gerasault's original engravings. The inspiration for this outfit is from The Fisherman & his Wife. To really get this look, I will have to add more volume to the bedgown and taper the apron. The petticoat I usually wear with this is much shorter, but was very dirty from the last camp. Ankle length petticoats are practical for working class women, as they stay up out of the mud and the hems last longer.
Gallery
Garments in the pictures below are made from a combination of existing patterns and my own designs. I will be happy to sew from patterns by other designers if you purchase and send the patterns with your order.
Copyright is a sacred trust among designers, and patterns are inexpensive.
For more details on some entries, see my blog.
Our phone # has changed! (585) 468-2669
1790 Small Clothes
Ruffled linen shirt
Fall front breeches made from white canvas, with brass buttons.
White linen waistcoat with brass buttons. All pockets are functional, inner breast pocket for papers.
The pattern for the waistcoat came from Cut of Men's Clothes, the shirt references from Fitting & Proper.
1750-80 English Gown "Green Gown with Thistle Stomacher"
The stomacher is hand embroidered with cotton floss on black linen.
The gown is overdyed green linen. The original cut was taken from a 1750 pattern from Cut of Women's clothes, and modified to be stylish in the 1770's or 80's. The style is I would call a re-made gown, though it is entirely new. Hand finished wherever stitches show.
Worn over pocket paniers, though it can also be worn over a cork rump or bum roll.
1829 Gentleman's outfit "Free Frank"
Actor Brian West who portrays "Free Frank" at Frazier International History Museum in ___.
He wears a linen shirt with a stand-up collar & pleated front, drop front pants, a red silk waistcoat, brown wool tailcoat with cut edges (hand finished) and a silk stock & cravat.
1808 & 1815 Jean Austin Ball Outfits
Joe & Jessica dressed for a Jean Austin Ball in Washington DC.
Joe is wearing black linen drop front breeches, a red silk waistcoat & an 1808 single-breasted wool tailcoat.
Jessica has an 1815 Round Gown on with the train looped up. The gown cream silk with a fine red stripe & is hand finished
1750's Braintan Breeches
French fly breeches with brass buckle leg bands, horn buttons, and 100% hand sewn with linen thread. Buttons are sewn on with silk/bamboo thread. Pockets are quite deep, and the seat & inseam are reinforced with a second stitching line.
Waistbands & legbands are cut on the fold, but top stitched to maintain shape. Back gusset is a single layer.
Custom order.
1770-1800 Winter Outfit
Quilted jacket, wool petticoat, wool socks, heavy linen modesty cloth, wool cape lined with linen & a rabbit fur muff. A small lace cap coupled with a tricorn hat were popular at the end of the 18th century, (the tricorn is from Jas. Townsend). Ladies hats would have been decorated with feathers, rosettes & lace, but were the same cut as men's. The pigeon breasted look was 'in' so modesty cloths were quite poufy.
Cloaks often closed with a clasp or 'blanket pin' OR had ribbon through the neckline to tie in front. Muffs could have a ribbon looped through & hung from the neck when not in use, which is handy on days like this.
Happy Holidays!
Late-1700's Women's Outfits
1770's jacket paired with a double waistband petticoat.
The jacket is a single layer of heavy black wool with welted seams for added strength. It pins in front. There is no decoration, but Quakers or well-to-do Colonial women would have favored the pure black color. It sits wide on the shoulders & back and has a deep V neckline. It fits well over hoops & bustles, or falls in graceful folds over a natural form.
1780's English Gown with matching petticoat.
Brown lightweight cotton, no decoration. Laces in front. Bodice is 1/2 boned, so no stays are necessary, though I always recommend wearing stays under a gown to take the stress off of the outer garment. Could we worn with a stomacher or engageantes. This gown will also fit over hoops & bustles.
1780-1800 Chemise Dress
Chemise Dresses were very popular in the late 18th and early 19th centuries in both Europe and America. There were many variations, but they are characterized by lightweight cotton fabric and many yards of material gathered onto the body via drawstrings. They could be plain, have ruffles, lace, ribbons, silk sashes, be paired with earthreal modesty cloths, huge caps, hats, plumes, shawls... you name it. Sleeves could be fitted or billowy, or even sleeveless! Tops could be fitted or gathered with the rest of the gown.
Contrary to popular belief, chemise dresses were not always white. They came in many colors, though white was the most desirable, and the most expensive. Soft colors like pink, yellow, tan and gray were very common. True colors were also worn, though not as common as the 'lighter' colors; red, blue and even black were often seen.
This gown was made for Joan Hale, it's 100% cotton gauze with a cream cotton shift, silk ribbons & sash. The neck ruffle is part of the dress, though sewn on separately. The ruffle at front & hem is a graduated width (3" - 10") and was hand-sewn to fill out the length of the gown.
Over-shifts were essential for modesty when wearing the chemise dress, and some women even wore flesh colored pantaloons to guarantee modesty even in a rainstorm. Many women retained their stays, others gave them up while wearing this style.
Mid 1700's plaid English Gown.
This is my new gown. I'm half-hoping it will fit me for a while, on the other hand I'd like to shrink out of it before the end of the year. Plaids were not commonly worn as gowns, but there are a few examples. Kyoto Fashion Institute has two, Hogarth drew a lady riding a horse in a plaid engilsh gown and there is a portrait of a Young Lady from Scottland in the early 1700's in a large yellow & brown plaid dress. Watteau drew a woman in a sack back gown that could be a plaid or a double stripe (not sure without color).
This is cotton, lined with a linen/rayon blend. The bodice is boned, which works alright without stays, but I prefer it with. I can wear the skirt a la polonaise or as a train. The petticoat is ancient gray linen. Modesty cloth is a cotton triangle, cap is linen & silk with antique lace and is 100% hand sewn.
TeddyBear (Edward VIII) insisted on being in all the pictures and completely covering my gown, petticoat & cap with hair. He even wanted to take some pictures himself, but got distracted.
Oakhill Clothiers at LBC's Joey & the Eastern
We go to about 5 small events and 4 large events each year. Small events are in and around Western & Upstate New York. Large events are generally East Coast, or at least East of the Mississippi. In-store items are tailored to each event, so you will never find something out of the 'correct' time period.
Sometimes I feel like we've outgrown the mini-marquis, but I do love that set-up. Like every suttler, my set-up is ever changing... and hopefully getting better each time I head out.
Events this year were (and are)
May, Springville Rod & Gun Club's Mud Fest,
May-June, Moses Van Campen's Gauntlet Rendezvous,
June, Little Beards Club's The Joey,
June, Keuka Lake Renegade's Annual KLR,
July, The Northeastern: I will have rosewater from heirloom roses at this event!
August, Stone Tool Show in Letchworth State Park,
September-October, The Eastern
French & Indian War, French Cannonier Uniform (1750's)
Dawn made this outfit for her husband & my dear father, "Uncle Bob" Kellogg, to go to Ft. Niagra on the 4th of July. After many adventures figuring out exactly which group he was joining and getting a lot of help from many wonderful folks in the reenacting community, she made this lovely scarlet & white uniform.
White linen shirt, red linen breeches, red wool sleeved waistcoat lined with white & red linen?, white canvas gaters with brass buttons (conflict about if they should be brass or horn... we had enough brass), leather garters with brass buckles. You can't see the red cotton stockings.
Tricorn hat is from Jas Townsend.
The beautiful flintlock was made by the man himself.
Not sure if he should be loading a gun as a cannonier, but this is my favorite picture out of the series.
1830-40 Vest
In the 1830's gentlemen often wore several vests, one over the next. Layering was very "in."
This vest is a heavy green wool lined with a medium weight olive linen/cotton blend.
It was made for a man portraying a Mountain Man of 1831. When a fur trapper came in from the mountains one of the first things he bought would be a new set of clothes. In St. Lewis, then one of the largest cities in the nation and a center for the late fur trade, one would find the most recent fashions in an array of fabrics. A trapper would look for practicality first and fashion second. Servicable wool would be prefered over pretty brocade... though if he made enough money, he might spring for the brocade as well.
1770's Middle Class Outfit
This was made for a lovely lady who won an outfit from us in a raffle. She gave me free reign in creating her clothes, and I picked colors that complemented her natural beauty.
The cotton shift has ruffles at the neckline and the cuffs. Pockets are made from cotton brocade (not seen). The stays (also not visible) are 1/2 bone 1/2 corded cotton. The petticoat is a printed cotton with double waistbands. Jacket is violet/gray cotton with burgundy chain puff accents and is lined with burgundy cotton. The cap is linen.
Note: printed cotton was more commonly used as a jacket or gown than petticoat, but it was not unheard-of to have a solid top and printed petticoat.
We did not gather in her sleeves like we should have before the picture... they are very nicely ruffled when tied.
You can read more about the jacket and trim on my blog.
1770's English Gown / Robe A l'Anglaise
Boned bodice, gown with matching petticoat
90% cotton (may be some poly or nylon) lined with 100% cotton muslin.
One of the most common gowns worn in England, France and North America in the mid 18th century. Hem length depended on social class, and the most common materials were cotton, linen and silk.
Flatters most figures. Very comfortable to wear and easy to get in & out of.
1650-60 Boned Bodice, English.
This is from my favorite pattern book, Cut of Women's Clothes. The bodice is made from two different coloured wools, lined with a heavy cotton boned body. It laces up the front with a strip of eyelets, which makes the center front stand out just a little, and forms a very attractive XXX shape when worn open with a stomacher, or it can be closed all the way (when you lose weight like I did). It's machine sewn and hand-finished on the outside.
It is worn with a wool skirt and a linen shift & cap.
Because of the boning in the bodice, a separate pair of stays is not necessary. The bodice itself provides enough back and bust support. The wide shoulders limit arm movement to shoulder height in the front and a little lower than shoulder height on the sides. If you wanted more movement, sleeves could be laced on instead of sewn, or made larger than historically correct (they are hidden by the wings).
The waist is about 1 1/2" above the natural waist line, this is very comfortable, but takes some getting used to.
I have yet to figure out how this outfit can look so... wench-ish in person and so proper in paintings & photographs. Colour me confused.
This Artistic Dress is based on Leighton Brownlow's 1879 portrait of Countess Brownlow, his wife... in blue. I used cotton for the main dress, with a cotton/poly blend satin for the trim and petticoat. If I were to do it again, I'd like to use linen/cotton and silk.
It closes with ribbons and many snaps. The initial pattern is a chemise dress from Cut of Women's Clothes, modified... almost everywhere. The undersleeves are from the same book, off of some Edwardian garment I liked (not helpful, sorry).
The yoke is hand stitched silk.
The petticoat is the All Round Skirt from an original 1886 magazine (I think Goodeys, but I'm not sure). It can be worn with a small bustle or as a floor length skirt in back. This skirt works well with heels. It is hemmed higher than the painting to make dancing easier.
This was a fun garment to make and I'm very pleased with the results.
A 19th century inspired bridal party.
Due to the alterations and re-combinations of garments, the outfits pictured here are not historically accurate, but everyone was very pleased with the final results.
All the ladies are wearing TV 240 ballgown skirts.
From left to right:
Altered TV 460 curiass bodice to showcase the tattoos, no corset.
Altered TV 422 dinner bodice and altered TV 363 summer overskirt.
Silk, lace & flowered "Little Bo Peep Hat" of my own design, TV 440 pagoda bodice.
TV 460 Curiass bodice, TV 303 side drape overskirt altered to fit over a hoop skirt instead of a bustle.
Matching pockets and stomacher. Hand emboridered cotton-linen fabric in a tan/green color with cotton floss. The fern motif is very traditional, the 'not perfectly symmetrical' design is a little more modern.
Both were inspired by the ferns that grow along the creek bed of my parent's farm. See my blog for more information on these garments.
1790's Chemise Dress
This gown is made from a very lightweight cotton and the pattern came out of Cut of Women's Clothes. I've altered it a little to fit my short self. Rather than wear a corded petticoat I've pushed the bulk of the drawstring petticoat to the back of the gown, to make the back stand out just a bit more.
This is a simple, elegant pattern that has great potential for easy alterations. One could add a ruffle at the neck, longer or shorter sleeves, a satin sash, etc.
1720-60 French Working Class Outfit
(This could also be English)
A cap, red linen bedgown, apron and petticoat over a shift, stays and pockets. The bedgown is a wrap jacket that is belted at the waist with the apron. It falls perfectly over the stays, but doesn't look right without that all-important undergarment. A fichu or tucker should be worn with ths, but it got quite hot and I gave up trying to wear one more thing in the 90 degree heat.
The cuffs should be gathered into 3 pleats to the elbow, but I just haven't gotten to that yet. I will eventually remember to finish the sleeves and it will look perfect.
Pattern for the bedgown was taken from M. Gerasault's original engravings. The inspiration for this outfit is from The Fisherman & his Wife. To really get this look, I will have to add more volume to the bedgown and taper the apron. The petticoat I usually wear with this is much shorter, but was very dirty from the last camp. Ankle length petticoats are practical for working class women, as they stay up out of the mud and the hems last longer.