The gown, seen here in the teal with salmon accents from the portrait itself and in a stunning cobalt version with pink accents, can be worn in a couple of different ways. For example, the attachments for the chest come with or without the neck ribbon, and here I have worn the teal version with the neck ribbon and the cobalt version without it. This gives the option of adding a necklace if one so desires. However, that would mean taking off the watteau pleats (shown in the next image) as it uses the spine attachment (and the chest decorations use the chest attachment, whether or not the neck ribbon is included).

Here, on the red gown with lighter red accents, we see the watteau pleats falling from the shoulders. Worn like this, the dress is worn as a Robe à la Francaise, worn without the pleats it is worn as a Robe à la Anglaise. The red gown is once again worn without the neck ribbon, whereas the black with ivory grey accents is worn with the neck ribbon.

Taking pictures of such a detailed gown is not easy, so a close-up is necessary to do it a bit more justice (and do click this image and the others for the larger versions). Of course, I picked the black for the close-up, and just look at the work that has gone into crafting this. The whole gown is quite an accomplishment, but if I were to pick a single outstanding detail then I am perhaps most impressed by the amazing sculpty bows that decorate the bodice. They look very organic, and Naergilien has really managed to reproduce the casual, slightly untidy fall of the bows that is depicted on the portrait, which is meant to convey that this was something of a casual “house gown” rather than a formal affair. A bit fancier than most dressing gowns today, I’d say. Just look at the sleeves, too, not to mention all roses decorating the skirt, of which each is a carefully hand-placed sculpty creation. The skirt is actually a rather impressive 255 prims (the max that can be linked together), but it is so worth it.