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Sequined Goddess Gown

While I was constructing and sharing the process, tons of people asked me what occasion I was going to be wearing this gown to. It’s definitely a statement, I agree. But this gown is pure, fun, sugary, frosting and I didn’t need an excuse to make it, I just wanted to. Which, in my mind, means that it’s art!

I’m Liz Von Villas and I used Vogue 1616 to sew this gown. The main fabric is a black cotton sateen and I used a bemberg rayon for the lining. The sequin fabric was provided by Minerva, and it’s absolutely stunning! It took me quite a while to decide on a pattern that I thought would do this fabric justice. I knew I wanted to use some of the sequin motifs as appliqués, but I also wanted to display the fabric in its original state, which made this pattern’s shoulder drape perfect for that goal.

I was very pleased overall with the fit of the dress (I made a mockup), but did have a lot of excess fabric in the front hip area. I was able to take some of the bulk out vertically, but I didn’t want to make it too fitted there, as it would accentuate my lower tummy. I’m happy with the way it fits currently. Something I will add in the future is a waist stay. It’s very difficult to get zipped by myself, as it’s so fitted. The zipper doesn’t like going from the hip to the waist and back up. I may add a couple of hooks and eyes along the inner zipper line, just to make it easier on myself!

A few things to note about this pattern. It is missing one of the center back skirt pieces from all cutting diagrams, so be advised of that before you order fabric and cut everything out! I ordered an extra quarter yard of fabric, and barely had enough to spare. I chose not to use a fusible interfacing on the bodice because I’ve had issues with it bubbling up in the past, so instead chose to underline it with a stiff black cotton broadcloth. The first step is confusing and I believe there is an error with the “foundation” front instructions. The bodice has an extra layer of fabric (foundation front) to give more stiffness and stability but strangely, the pattern mentions a lining piece when I don’t believe it should have. I simply used the foundation front piece as another layer of the front bodice.

So the way I constructed it was like so: sewed boning channels to underlined bodice pieces, sewed the front side bodice and skirt pieces together, then sewed all of those together, vertically

The pattern directs you to sew the skirt pieces on after assembling the bodice, but that opens you up to possibly messy corners where they join. I believe the pattern makers were trying to reduce bulk, but in my opinion, the little extra bulk is worth neat corners.

After I constructed the main shell of the dress, I decided to plan out the appliqué placement. I cut out different sized pieces of sequin motifs and pinned them to the dress on my dress form. After I was happy with the look, I stitched them down by hand with black Gutermann thread.

Once the appliqués were all stitched down, I could line the dress and then attach the shoulder drape. It was pretty easy to do all that, but I did sew the contrast piece around the top of the dress down after adding the lining. I didn’t want to sew through any sequins!

I feel like an absolute goddess in this gown! I’m sure I’ll find an occasion to wear it to, eventually! I wanted to give a big thank you to Minerva for providing the gorgeous sequined fabric! It was a joy to work with!

Be sure to check out my Youtube channel for a video about the making of this gown! And follow me on Instagram for future updates @lizvonvillas.

Thanks for reading!


Comments (2)

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Birdy Hodges said:

Yes, that is a gorgeous gown. This gown should be worn where it can be seen, every one needs something to wear that makes them feel good. · 10th Nov 2019 10:57am

Joyce Mussett said:

Absolutely beautiful!!! · 10th Nov 2019 10:04am