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Please don’t yawn, but this skirt is … wait for it … Vogue 7303. Again. I know, sorry.
I really made this one for winter, out of a lovely winter-white wool mix, with a cream bemsilk lining, but it works just as well for spring. I centred the (invisible) zip in the back this time. Just a simple plain stylish skirt out of beautiful fabric, that can be dressed up or down.
I tried to get Sienna to pose in the picture, but she got camera shy this time and hid bashfully behind me! I think she’s embarrassed about her naughty barking during the night…
Please excuse my unattractive feet but I wanted to show my Revlon Blackest Black toenails. Aren’t they cool?
Other details:
International Wear a Dress Day
Today I went to the cinema with a friend so decided to wear my NEW dress for the occasion. Also, Dress-a-Day has decreed today “International Wear a Dress Day”, so how could I not? Any excuse…
I’m quite proud of this dress. I made it specifically to go with this very expensive cardigan I bought several years ago. I’ve worn this cardigan with other things that have now gone the way of the Good Samaritan’s bin, and I needed to have something else for it to go with. I thought this polyester chiffon fabric was a pretty good match for the (silk) chiffon pockets on the cardigan (see detail picture below), and envisaged a floaty, dreamy, pretty summer dress.
The pattern, Vogue 7748, is one I bought years ago but not yet used, so I decided to give it a whirl. It seemed a good base for a wrap dress, with no frills. However I thought it was a bit too basic and I wanted just a few frills! I also wanted the final effect of the dress to be a kind of jumble of flowery colours, without a discernible pattern repeat. The addition of a few ruffles could help achieve this.
I cut each of the skirt pieces to half their supposed length. The right front, which ends up crossed over the left front in the finished garment, was further shaped in a curve up to the waistline. For each skirt piece, I joined together three large part doughnut shapes, and added these to the bottom of each of the skirt pieces.
I also added a double ruffle around the neckline, although only slightly ruffled as I’m not a very frilly person!
I didn’t make the belt in the pattern; but added long sashes to the waist edge of each dress front, and left a small gap in the right side seam for the left sash to pass through, so I can tie it at the back of the dress. I also added a sleeve detail (see below picture) to look more feminine and interesting than the plain hem indicated in the pattern.
The skirt hem and the neck ruffles were finished with a black rolled hem edge, done on the overlocker.
Because the fabric is see-through, I made a separate petticoat out of lightweight jersey (see below, modelled by Bessie). This is simply a tanktop bodice, copied from a tanktop I already had, and a quarter-circle each for the skirt front and back. This was just run up on the overlocker, and the edges left raw. Its just a petticoat after all, and the jersey won’t unravel or fray.
I felt good and comfortable in this dress today, so it’ll probably get a lot of use this summer.
Other details:
Cardigan; Alannah Hill
Shoes; Micam by Joanne Mercer, bought in Hobbs
Rediscovering the full-length skirt
This skirt was made last summer when I felt in the mood for something long and swishy; inspired by a skirt I had seen in a parade at Ricarda. I can’t remember who the designer was. This polyester chiffon was on super special at Fabulous Fabrics and I bought the rest of the roll, about 3m. This skirt used every last cm! My starting point was Butterick 3134, a great basic pattern to have as it contains a pattern for each of two, three and four gore A-line skirts. I used the three gore version, without the waistband. Customising proceeded as follows: each piece was lengthened and tapered down the left side to a “shark-tooth”point. To the bottom of each piece was added a huge gathered part-doughnut shaped piece of fabric, skewed with a thicker doughnut width to the high side, narrowing to a lesser width on the low side, to create the ruffled swirly hemline. The gores were then pieced together. A silver bemsilk lining was cut using my old standby Vogue 7303, and the edge of the skirt was finished with a fine handkerchief hem.
I wore this a lot; it felt so elegant and feminine to wear as it flutters and kicks out with each step. I tried to show this in the picture by getting an action shot as you can’t capture the breezy beauty of it when its just hanging flat.Top that doesn’t suit me?
The top pattern is my own design, polyester net cut out and draped over Bessie (the dressmaking dummy) to fit my vision. The front has a slightly draped, cowl-y effect, and the front piece was cut about 12cm longer in the side seams, then gathered and pleated to fit the back side seam in the bust region. I feel this makes a nice soft pleating effect over the bust. I was going for a slightly medieval sleeve feel with the extended bit on the end of the sleeve, with limited success as I find this flappy bit extremely annoying when I’m doing housework. The fabric is see through, so I sewed in a soft jersey “vest” lining in the body seams. This top was sewn entirely on the overlocker making for a very quick construction; I spent perhaps ten times as long cutting, draping and pinning onto Bessie to get just the right effect. For an artistic effect, I have put all the seams on the outside of the garment. Not surprisingly this makes for a very comfortable top!
The jeans are favourite summer jeans, washed so often the care and fabric label is washed white! I do remember however that they are New Zealand made, from tencel which is light and cool for summer. The shape is so flattering I traced it out last year and made an identical pair out of white linen which has been just as good. I might try this again this year out of a different fabric.
On right is a picture of the wounded modelling her stylish sock, which I might say she has done her darndest to strip off. I think purple and pinky/beige are her colours, no? Maybe a Spring?
Thongs/flipflops; Mountain Design
My Marni fix
The skirt is Vogue 7303 view A, seen previously here, and the top is my own design. Well, actually its really Marni’s design, slavishly copied by me, but by “my design” I meant that I didn’t use a pattern, but planned, cut and fitted the pieces to Bessie (the dressmaker’s dummy) to achieve the look I wanted. I was particularly pleased with the high bunchy collar and felt (still do) that the finished result is easy and comfortable to wear.A night at the ballet (and some do’s and don’ts)
Last night managed to have my gorgeous salon-styled hair stretch out just a little bit further for a night at the ballet. We saw Swan Lake by the Australian Ballet; well, words fail me. Just flip open a thesaurus to the entries for “magnificent” and “superb” and apply all the words therein. Thoroughly enjoyed it… and am quite inspired to make a Dior New Look style suit or dress entirely out of ecru lace with some sort of pastel underlay… may look a bit funny on me as I’m not exactly a petite ballerina… Watch this space…
Anyhoo, this was my ensemble for the event; the skirt is Vogue 8296 view B, made this winter just gone. The fabric is wool, a sort of winter white, overprinted with lovely brushstroke swirls of olivey taupe. I bought it from Astratex in Melbourne on a trip with my mother. The fabric was quite expensive and the pattern called for a lot of it, something for future consideration (ie. use different pattern). The pattern itself was very simple and went together quickly with no drama, front and back identical to each other. I love the look of this skirt and the fabric is luxurious and gorgeous to wear so I’m glad I went to the extra expense for an “occasion” garment. However, the silk lining was, and is, a problem. The pattern called for it to be cut on the bias, which I did. However the silk I used is so clingy and is always winding its way around my legs. It also doesn’t hang quite right when I look at it inside the skirt; and I think this is because of being on the bias. Or maybe it’s because silk is notorious for being a bit precious and temperamental. The Lindsay Lohan of fabrics.
This has been a go-to semi-formal outfit for winter, and even though the weather is warming up considerably I knew the theatre would be air-conditioned to arctic conditions so dressed accordingly. I’m sure the girl just along from me in a booby little mini dress was freezing.
Speaking of this, there are some does and don’ts when it comes to dressing for the ballet or serious theatre which it would be helpful to print on the ticket or something, for people who have no idea. Just a short list, easy to remember.
1. Do not wear jeans
2. Do not wear an old T-shirt
3. Do not wear sneakers, in short, if you have recently been gardening or washing your car, do get showered and change into something nice before you go to the theatre.
That’s all really. Don’t want to come across as a grumpy old bag, but there are so few events in life you can dress up for.
OK, rant over.
Maybe its just me, I so love looking at (and wearing) beautiful clothes…
Thanks to my photographer, at right in a self-portrait.
Other details:
Top; Metalicus
Scarf; ?, bought in Paris
Boots; di Sempre, bought on sale from Zomp
Handwoven, with love
Saturday, 24th October 2009




































