This gown was for many years my "signature" piece, a replica constructed almost exactly as it would have been in 1904, down to even the hand-crocheted "dangles" that I custom-dyed to match the burgundy satin contrast.  

As with all historically accurate reproductions that I make, this one was constructed over an early Edwardian style boned foundation/underbodice, over which was mounted a cream coloured satin and lace "plastron" (sleeveless filler) with a high, boned lace collar.  The bolero itself is a separate piece, lined and trimmed to match the skirt (or perhaps it was vice-versa!).  The skirt required over 6 metres of fabric, and includes a drop-skirt lining of rayon taffeta, attached only at the waistband. 

The fabric used was a fine, semi-transparent Swiss cotton voile in a lovely "old rose" colour.   The 1904 fashion sketch shown below, of a gown described as being in old rose coloured voile, formed the basis for this project.  The hat was made by me to match the gown, based on a number of examples of the era. 

This was another project that took dozens of hours of research, experimentation, design and pattern drafting to exactly reproduce the original, and another 80 to 100 hours of actual construction time (including hand-crocheting and dyeing the "dangles", cutting and ruching all the pink chiffon insets, and custom-cutting and top-stitching the many curved appliquéd decorative bands.   The hat was made of ruched cream silk chiffon and burgundy satin, mounted on a large straw base, with fabric roses and ostrich feathers as trim. 

This was one of the most complex and time-consuming replicas I've ever made.   It was a joy to wear, with its grand matching hat, but I've moved on to other projects since, and the gown (and hat) were recently sold.  

The matching 1904 hat: 

This gown was one of my early Edwardian full project replicas, based on the French fashion sketch shown below.  I think what attracted me to this sketch at the time was that the fabric I had on hand -- a fine quality vintage printed silk that I'd found on a bargain table in a small shop -- looked so similar to the 1906 fashion plate.  And I had over 10 metres of it!  

I was determined to reproduce this gown as accurately as possible, since the silk was such a beautiful quality textile.  What I didn't fully anticipate was the amount of gold flat braid trim that would be needed to replicate the design shown in the sketch.  In the end, it required over 25 m of trim, and about 8m of fine lace.  

The replica gown was built over an early Edwardian style boned foundation constructed of fine cotton percale and closing at centre front.  The bodice closed asymmetrically over the foundation, at side front, at the left shoulder, and around to the back of the high collar.  The skirt was made with a drop-skirt lining of rayon taffeta with a pleated dust-ruffle, as most dressy gowns of 1906 would have had.   

There was no antique sewing pattern for this gown, it was one of the occasional garments I drafted and draped based a sketch, and using other similar garment patterns of the era for reference.  I fashioned a deep bias draped sash from rose-coloured silk satin to match the print in the fabric.   The gown was sold years ago since I didn't think I'd have another occasion to wear it.  Considering the many metres of silk and the over 80 hours of construction that went into this gown, it was sold at a pittance.  I've rather regretted it since.   

I originally wanted to develop this gown as a sewing pattern in my line of Edwardian patterns, but later decided it was just too complex for the person with average sewing skills.  I may still return to it at some point and produce it as a "Master Class" pattern for advanced historical sewists if there seems to be any interest in it.