The Immortelle Gown
Corsetry as architecture. Dress as presence.
An Immortelle gown is not a dress worn over a corset. It is a corset gown—conceived as a unified garment from the first line drawn. Structure and silhouette are resolved together, shaped with intention, restraint, and balance. Nothing is applied as ornament alone. Nothing exists without reason.
This was the gown that began everything.
The Immortelle gown was the first garment through which this philosophy took form—the piece that established the language of the house and set its direction. It defined the relationship between corsetry and dress, between discipline and ease, and became the foundation upon which every gown that followed was built.
Each Immortelle gown is designed as wearable architecture. The corseted bodice provides form, support, and posture, while the skirt is constructed to move with the body—breathing, shifting, and responding rather than resisting. The silhouette is composed rather than constrained, deliberate rather than decorative.
At the heart of every Immortelle gown is corsetry.
Its internal structure draws from historical stays, 18th-century court dress, and period patterning, translated through a modern understanding of comfort and wearability. Boning, seams, and panel placement are carefully balanced to shape the torso without rigidity or compression. Rather than forcing the body into a prescribed form, the corset guides it—creating lift, length, and presence while allowing natural movement.
This is restraint without punishment. Discipline without discomfort.
Immortelle does not chase excess. Silhouettes are deliberate. Ornamentation is restrained by design.
This restraint exists to create space for the wearer’s vision. Each gown is conceived as a framework rather than a finished declaration—an intentional foundation upon which individuality may be expressed. The architecture is resolved, the proportions complete, so the gown may receive change without conflict.
Immortelle offers the structure: the corseted form, the disciplined line, the considered balance. What follows is choice.
All Immortelle gowns incorporate interchangeable or integrated stomachers—historically accurate elements that serve both structural and aesthetic roles. The stomacher reinforces the corseted front while allowing variation in surface, texture, and expression, and offers subtle adjustability in fit, extending both the life and versatility of the gown.
Through interchangeable ornamentation, skirts, and stomachers, a single overdress can be reimagined endlessly. A change in textile, embellishment, or underlayer alters the entire presence of the garment—allowing it to move seamlessly between moods, settings, and eras. With minimal adjustment, the same gown becomes ceremonial or restrained, opulent or quiet, historical or modern.
This adaptability is intentional. Nothing is fixed beyond what must be fixed. Everything else is invitation.
Immortelle gowns are not replicas of historical garments. They are contemporary interpretations shaped by historical knowledge and modern sensibility. Each pattern is developed to support the bust without reliance on modern undergarments, define the waist without compromising breath or ease, and distribute the weight of the skirt so the gown feels grounded rather than heavy. Subtle variations in the body are accommodated without interrupting the integrity of the line.
The result is a gown that feels considered—quietly confident rather than performative.
Immortelle does not design garments to be consumed as-is. Each piece is meant to evolve. Ornamentation may be changed. Skirts may be layered or exchanged. The gown responds to the woman who wears it, rather than prescribing a single expression.
In this way, an Immortelle gown is never static.
Each gown is cut, assembled, and finished with longevity in mind. These are not trend garments, but heirloom pieces—meant to be worn, remembered, and passed forward. No two are ever exactly the same. Each carries the hand, the eye, and the intention of its maker, and continues its story with the woman who shapes it next.
