…but no less beautiful.
My started-out-as-a-fairy dress, morphed into a goddess dress is turning into neither.
It’s become to regal for a fairy, and too structured for a goddess.
But I still love it.
My changes to the skirt and addition of a second petticoat layer made the silhouette much more A-line and structured. I was a little worried about it at first, but the lovely ladies who sew reassured me, and I’m very happy with it.
I’m totally in love with the train. It’s so light, and the pleats are so fantastic.
Is there anything not to love about tiny little knife pleats?
The fan effect of the overlap is just delicious.
I’ve been thinking about the train, and rather than doing the traditional bustle, I’d like to do an asymmetrical catch on one side of the skirt, like this:
That way, the train becomes a sculptural element of the dress. The whole idea is inspired by a ’30s evening gown in the Met’s collection, and is possibly because the voile of the train is so light.
I started out pinning the train all the way to the waist, but it didn’t work – the line was a bit too awkward and bulky.
The dress is getting really close to completion now. I just need to add straps, sew in the bodice lining, hem the petticoats and skirts, and sew bits of vintage lace all over the place.
The centre front of the bodice definitely needs vintage lace! I’m so in love with the white on white hand stitching of the bodice/skirt join though. It’s such a nice touch, and is so reminiscent of the construction of Regency gowns that inspired this dress.
The curved side back seams also hint at the Regency origins of this gown. Perhaps I should call it the Marianne gown – it’s very Marianne in its sensibilities!