On one memorable trip, I noticed a new stall tucked into the vibrant patchwork of shops I frequent. It wasn’t much more than an alcove, but in it were displayed perhaps twenty vintage baby gowns and slips. They were all interesting and a joy to view and touch, but I was leaning against purchasing any—then the proprietress uncovered a carefully protected christening gown and invited me to take a look.

It was gossamer light, and gloriously embroidered with simply stunning Ayrshire embroidery on its yoke, front skirt, and hem. The lace-shaping defined the front yoke and cascaded down the center of the front skirt. It was lovely in its own right, but when I looked closer, I was amazed to see trailing and satin stitching along the lace insertion on both sides. It appeared as if the lavish embroidery had been worked first, batiste had been cut away, and the insertion whipped to the trailing on both sides from behind. Lace shaping forming a stylistic “V” enclosed most of the embroidery on the triangular yoke inset. The inset  was bordered by  embroidered robings that extended over the tight raglan sleeves to adorn the back bodice. Delicate embroidery also was worked on the drawstring casing, which attached the yoke to the skirt. A tiny cord was woven in and out the lace edging at the neckline and tied in a bow at the center back.

I admire the skill of its maker, a needlework artist of the Victorian era who created a garment of such beauty that we are inspired by it today. I felt it was an exquisite piece, and one I am now privileged to own.

Our friend Leslie Roe of Rosebasket has offered to share the most beautiful painted antique gown with us. We hope you enjoy her story about this amazing piece of heirloom history!

“Portobello Market, the bustling antiques market on Portobello Road in London, is always a treasure trove for collectors of all kinds. The treasures I look for in the small crowded shops or from a vendor on the street are christening gowns, baby bonnets, and toddler dresses. I touch the materials of the vintage clothes—batiste, silk, and exquisite laces—and am amazed at the intricate work I see, whether of embroidery, or tucks, or lace, and inspired by creative elements in design. When I visited in early July, I had the privilege of seeing three gowns in Julia Craig’s personal collection, brought for me not to purchase but to view and enjoy. Julia purchased this one ten years ago, with no provenance, but she dates it around 1870, because of the style of the gown and the dating of the Maltese bobbin lace.”

“I found it so interesting, because of the center panel of ecru silk on the bodice and skirt, on which were painted lovely roses, reminiscent of Redoute. The Maltese lace borders the center silk panel from the neckline to the hem as well as at the waist, forms the sleeves, and edges the neckline. Aside from the silk in the front panel, the gown is cotton.”

“Nineteen tucks detail the hem of the front skirt, which is attached to the bodice with the tiniest gathers.”

“With the gown were darling bootees, also with roses hand-painted on the silk. Julia has never seen another gown like it. It is a treasure that I take pleasure in sharing with you!”