Baroque Gold Taffeta Marie Antoinette Gown
The Fabric of Gilded Silence
The Baroque Gold Taffeta iteration of the Immortelle Gown is the very first design ever created by the Immortelle Bijouterie atelier. It remains the truest expression of our craft. Inspired by Marie Antoinette and a lifelong devotion to 18th-century French court dress, this gown represents years of study, refinement, and reverence for historical silhouettes interpreted through a modern lens.
Inspired by the historic robe à la française, the Immortelle Gown is a modern corset gown interpretation rather than a historical reproduction. It honors the structure, romance, and grandeur of the Rococo era while embracing contemporary atelier craftsmanship, comfort, and versatility.
Each gown features a fully built-in corset constructed with coated spiral steel boning for sculpted support and shaping. Adjustable front and back modesty panels provide up to eight inches of expandability, allowing for a more personalized and adaptable fit over time.
Designed to be worn over panniers, side hoops, or full hoop skirts, the Immortelle Gown may be styled with removable stomachers, layered skirts, and decorative panels to create a silhouette unique to the wearer.
Modern Corsetry & Couture Craftsmanship
- Fully built-in corset with coated spiral steel boning
- Adjustable front and back modesty panels with up to eight inches of expandability
- Designed for panniers, side hoops, and historical understructures
- Contemporary comfort with historically inspired shaping
Atelier Notes
- This offering is for the overdress only
- Skirts, panniers, stomachers, and accessories are sold separately
- The Baroque Gold Taffeta Immortelle gown may vary subtly with the dye lot and fabric character, ensuring every dress carries its own gentle distinctions.
- Designed and shipped directly from our United States–based atelier within approximately five business days
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Corseted form. Endless expression.
The Immortelle Corset Gown
An Immortelle gown is a corset overdress gown — structure and silhouette shaped as one.
The line is disciplined. The form is complete.
Restraint allows transformation.
Through interchangeable stomachers, skirts, and ornamentation, a single overdress shifts in presence and expression, again and again.
Nothing is fixed beyond what must endure. What remains is the architecture.
What evolves is the vision of the woman who wears it.
Below, you’ll find the skirts designed to complete and transform the Immortelle gown.
Skirts designed to shape, support, and transform the corseted form
FOUNDATIONS OF THE IMMORTELLE GOWN
Interchangeable fronts that shape the gown’s expression
The Immortelle Stomacher
A curated gallery of those who wear and interpret Immortelle garments, adornments, and jewelry.
The Immortelle Salon
Historically, salons were spaces where dress, art, and presence were shared and witnessed. The Immortelle Salon honors those who wear the house — capturing garments in life, movement, and personal expression.
The Immortelle
Society Papers
A record of dress, decorum, and the private languages of beauty.
The Immortelle Society Papers exist to observe what is worn, what is chosen, and what endures. Drawing inspiration from the salons, ateliers, and private correspondences of earlier centuries, The Immortelle Society Papers chronicle the intersections of history, design, and personal refinement. Each entry is composed with restraint and discernment, honoring the lineage of dress while allowing it to live, breathe, and evolve.
Overbust Corsets Designed for Stomachers
Immortelle overbust corsets are intentionally designed to accept stomachers, honoring a centuries-old tradition of modular European dress while offering modern versatility and refinement. Historica...
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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 silhou...
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The Early Years of Immortelle: 2022 — Resolve
If 2021 was the year Immortelle learned how to be seen,2022 was the year she learned how to stand when tested. This was a year that asked difficult questions — not of the work, but of its keeper. ...
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