It should have been straightforward, as I sorted out the fitting issues with the rose prototype... but the phone rang as I was cutting it out and when I picked up the scissors again I sliced through the extra 5/8" I had planned to add to each side of the back seam - duh!
However, I got away with this schoolgirl error: it just means my waistband is slightly higher up my body than before, and it is perhaps a more authentically-vintage shape as a result.
I tried it on before hemming and realised that the original length works really well with my new shoes. I had just watched "Cracks" (twice!), so my eye had become accustomed to a longer silhouette.
My daughter has made me wary of longer skirts - she thinks they are dowdy-looking. And now that I am in my late 40's (eek!) that is not the sort of image I want to project!
Simplicity 3983 from 1952, View 1.
Fabric: 1 metre of "superfine worsted wool", bought as part of a 5-metre bundle of remnants from British Fabrics at eeebaaay, so it only cost about £4.
It is a rich midnight blue with a fine charcoal pinstripe at 1 cm intervals. It is lovely fabric - it drapes beautifully and has a subtle sheen. I pre-washed it at 30 degrees in the washing machine, just in case of shrinkage, but there was no visible difference.
I used grosgrain ribbon to line the waistband again. This brand wasn't quite so stiff as last time, so I used iron-on interfacing to back the main fabric for added stability.
I also used polka-dotted lining for the pockets, just because!
I was ridiculously excited when I tried this on for the first time! I was all fired up to sew something special after watching "Cracks", so took extra care with little details like sewing on three hooks and eyes to fasten the waistband, instead of just a single snap fastener.
I made myself STOP before stitching the hem, as I knew that I was in danger of ruining the whole thing with a last-minute rush-job. I put it away for the night, and came back to the hem
a week later.
The detail I love most about this skirt is the shaping at the top of the pockets. When I made the rose version, I cut this as a simple curve and found I needed to stitch the buttons on through the top of the pocket to stop it from sagging.
However, the peaked shape of the scallop seems to support the fabric in this version, and it stands proudly away from the body, all by itself - very architectural! This suggests you need to choose a fabric with a bit of structure - it wouldn't work with e.g. a fine silk.
FL says it is my best piece to date and I am inclined to agree. It is full of character: kind of Cold War secret agent?
"Pass me a cheroot, won't you darrrrlink?"
Over-thinking again, Roo!
Anyway - a sewing success! Yay!