Everaftercostumes.com does a good overview of the dress so if you're interested in this dress, I would start there like I did.

Here are my notes on construction.  For a reason I cannot remember I thought about lacing this dress up the back.  When I draped the pattern and cut the fabic, I planned for this using two side back seams.  I changed my mind, but kept the seams in the same place because I think they're slimming.  I ended up placing the lacing at the sides so the bodice could expand or contract as I grew or shrank.  I figured this lacing would hardly ever be seen under my arms. 

The bodice also has the front lacing, which is obviously a major feature of this dress.  Orginally I thought this dress should be heavly boned so that I could wear it without a corset.  I tried it this way and the fit was flat and unflattering, which certainly would just not do!

It wasn't until 2009 that I had the chance to get a 2nd try at this dress.  The plan was to wear it to the Northstar Victorian Society's Masquerade Ball, which gave me an excuse to spend some time on it.  I started researching my options for support and revisited Jen Thompson's article on Hemp Cording and decided this was the right answer for me. 

I started by using the pattern I'd orginally made for the bodice, and added some width the the straps (I thought my straps were too thin on the orginal bodice). Then during a trial of the mock-up for the corded corset, I realized I might not need the cording after all, and since I'm pressed for time, anything I can do to eliminate work will help.  So, I cut the pieces for the underbodice and sewed them together.  I made the outside layer from the same sateen I had made the dress.  I did this knowing the underbodice would be worn directly under the dress and that this would sort of camouflage the side lacing and visually widen the outer bodice's straps that I orginally cut too thin, especially if I trimmed it the same.  

I opted for handbound eyelets since I am relying on this garmet for support and I didn't want to chance that metal grommets would eventually move or rip.  My eyelets turned out pretty ugly, but it's okay...I hope no one else minds either.  Also, because I spaced the eyelets too far initially, I ended up adding one line of cording on each side of the openings.  When this didn't fix the problem I added more eyelets.  I left enough (I hope) excess fabric in the same allowance so that if I decide to cord this in the future, I can just let the seams out. 

I repleating the skirt and had some issues, somehow one fabric panel was longer than the other because though I pleated it identically it didn't match up in the end.  I cut the extra fabric out and resewed the skirt. 
Pattern:  Draped by me based on period portaits from the 1520's and movie research

Fabric:  I chose a cotton sateen in a dark teal, which is called deep foam here.  The bodice is interfaced with cotton duck, and self lined. 
Trimmed with small mustard colored velvet on the bodice and larger, similar colored trim on the skirt (not yet pictured, still in progress).
I used small brass rings for lacing rings (the one's you can find at Joann's) at the side opening. 

Inspiration:  thanks to everaftercostumes.com & The Realm of Venus for the much inspiration and the images below.
Notes:  My motivation in getting this dress off the to do list and made was to have  something versitle and washable to wear.  Though the Ever After Work Dress is my inspiration, I also wanted to be able to change the sleeves out and wear it as a middle/upper class Italian gown. 

I picked a cotton so that it would be washable.  However, this dress will ever get  machine washed due to the trim and bodice construction though if needed, it can be spot cleaned and possibly, in an extreme case, handwashed.  I could have also chosen a linen, but liked the sheen of the sateen and since it was the correct color went with it.

I have wanted to make The Work Dress from Ever After for years.  I love this dress, even if it's the most simple and the least glamourous from the film.  I think the sleeves are what caught my attention, however the sleeves are not historically accurate for this style of Italian gown (the story takes place in France, and I'm not sure what people were wearing in France) and though that's completely okay (I think some of the gowns are a little early for the time period the film is in), it's worth mentioning.