In my recent, gloriously ruthless, spring clean-out of my wardrobe, I culled an evening gown, originally made using Burda 8046 and first posted here. I’ve worn it about seven times in total; none in the past three years; and have now decided it is too young for me. Cassie didn’t want it either… so rather than toss it the Salvo’s way where someone might snap it up only to butcher it for something else, I decided I wanted to have that wicked pleasure for myself… mwahaha 🙂
The fabric of the lower skirt section is an almost translucent, lightweight, black silk taffeta, and it has a combined lining/crinoline of soft black tulle. And please don’t worry about that beautiful heavily sequinned and beaded fabric on the bodice section, it will not be wasted and will be put to good use, I absolutely promise!
I was pretty pleased to get the skirt pieces of Vogue 1170 from the lower skirt section, and I also fashioned a new attached crinoline from the old one too. This has a lot of extra gathering in the very back region, creating a really frothy bit to help that flounce flounce. Hopefully in a feminine and attractive way 🙂
I even re-used the zip! hehe, of course it was too long but I left it long. It is no bother; sandwiched unobtrusively between the skirt and those tulle gathers it cannot be seen or felt!
I eliminated the centre front seam and cut the skirt front/back section as one big massive piece. I was able to do this by incorporating part of the ballgown side seams, and at the centre front and halfway around towards the back some of the original hem has also been left intact. Instead of cutting a hemline facing as stipulated in the pattern, I hand-stitched a narrow hem to mimic the remains of the original on my ballgown. My skirt is about 10cm longer than the pattern.
I also cut the centre back and side back pieces to incorporate my slight sway back alterations to the pattern, illustrated in my first version of this pattern here.
The waistband has a central vertical joining seam, and is about half the width, necessary adaptions due to the lack of fabric. I think I do actually prefer it this narrower width too!
OK (deep breath, confession time)…. er, I left off the pockets too.
:O
Hehe; normally I am such a rabid pocket-lover I wouldn’t dream of leaving off something so inherently marvellous, buuut… (here we go) I sorta had to mostly through lack of fabric, but also, while wearing my previous two versions of this skirt pattern (here and here) I have found that I pretty much never use the pockets. They are situated very high, and have a very narrow opening that is almost impossible to widen without disrupting the structural integrity of the skirt/waistband junction. Furthermore: they are actually kind of a nuisance. Since they are true “bags” that just hang there with nothing to tether them, they have a tendency to bunch up a bit when you’re putting the skirt on; and need to be manually smoothed down flat to avoid obvious bulges on one’s hips. When the skirt is lined like this one; that is even more annoying to sort out: since you have to either do it from inside the pockets themselves (see previous note about laughably small pocket openings) or lift up the skirt and pull them down straight from underneath. In short: I have to concede that this particular design is better off without them! Shock!
And please admire my rather fantabulous new shoes for summer too. They are from Misano, like my ballet flats. This warm rich shade of caramel leather is definitely my kind of shade, and will liven up and enrich all of my favoured neutrals. I like that practical wedge heel too, safer and a lot easier to get about in than a stiletto. I am really looking forward to wearing them and wearing them. These are going to be long term players in my shoe collection!
Details:
Skirt; Vogue 1170 with minor modifications, a refashion of an old ballgown; black silk taffeta with a black tulle crinoline, see my review of this pattern here
Shirt; my own design, of black polycotton, details here
Sandals; a gift from Misano
