SKIRT CHIC
I like to think of the skirt component of a dress as the one in which the most critical
movement takes place. Think about it: The skirt goes into motion when you put one foot in front
of the other and make your way down the aisle or dance with your groom. And
because the skirt is an action piece, it has a certain ‘living quality’ once you
start moving around in it. Added embellishments like beads and crystals reflect
light a different way every step you take; back slits reveal sexy legs and
bustling can transform a gown one moment from elegance, the next to poetry and
romanticism. Consider once you start really moving around, your skirt, your
dress as a whole is constantly changing with you in it.
Since
most gown silhouettes are based on the skirt proportion of a sheath, ball gown
or A-line, let’s look at a few details within those categories. Skirt details
vary and are filled with special treatments like pleats, overlays and drapes.
For instance, ruffles are a design detail that can add length; deep inverted
pleats can add fullness without bulk to the waist or hips. Zeroing in on which
of these treatments you want is going to be one of your most important
decisions.
Draped
or bustled-Can
be applied to sheaths, A-lines or ball gowns. A drape is a wrap of fabric
pleated or gathered to the side or back seams of the skirt adding fullness.
They can be integrated into the original pattern or added on in a contrasting
fabric. Imagine a 1930s evening gown in a lightweight crepe, asymmetrically
draped front to back. In heavier fabrics like faille and peau, swathes of
draping lend a more sculpted, architectural look to the gown giving it that
Goddess on a Pedestal quality.
Marchesa via Tumblr
Flounce-A
ruffle or pleating of any width around the bottom of the skirt. Seen nowadays
mostly as a bit of flounce peaking out of a skirt overlay.
Tiers-Can
be one or up to even ten layers of tiering in a range of lengths and fabrics.
Think of a Spanish dancer.
Romana Ghita Urmanczy gown via Style me Pretty
Graduated
Hemline(s)-Again
think Spanish Dancer. Hem
tapers
from a high to low point. Can be applied as one or more skirts.
Trumpet-Form
of princess line with two vertical seams up front and back with godets
(triangular pieces sewn into the seams) adding fullness around the
knees.
Overskirt-(below)Most
are detachable and worn over a sheath or A-line. The one pictured below is a legnth of Shiffli lace attached to a tulle skirt. Could be considered a
detachable train if it’s elongated in back.
Jill Stuart via Wedding Inspirasi source
Overlay- (see above). Like
the overskirt, the overlay is placed over an existing skirt. Some employ
special effects like being cut asymmetrically or short in front, long in back.
The difference between the overskirt and overlay is the latter is generally
incorporated into the pattern when the gown is made.
Circular- (below) Full skirt completely on the bias. Typically fitted onto a natural or dropped waist with a sweeping, flowing hem. Takes on totally diverse characteristics according to what fabric is used. In lightweight silk crepe its fluid; wool crepe heavily fluid. In heavier satins its very structured and needs well thought out understructure.
the
kind of pleats you’d find on the school-girl skirts.
