Next up is the Ruby shorts with the top and overblouse. I've forgotten the numbers and I'm too lazy to look them up, but they are in last weeks post. Both tops are BWOF.
This one is shorts and top alone. You may be able to see the chocolate brown topstitching on the top. I've used the same buttons on the shorts and the blouse.
This is an extra I sneaked in. It's BWOF 06-2007-120.
Here's a detail shot showing the inside pocket in orange. The waistband facing and the button flap facings are all orange. I'll see if I can get a better shot of the buttons, because they are way nicer than they appear in this shot.
I made some bias binding from leftovers of the 70's print fabric and have used it inside the top. No one will ever see it except me, but it helps this feel like a collection to me.
While I was threaded up with orange, I went onto making this blouse cum jacket thing from BWOF 05-2008-105. It doesn't have its buttons yet either, but they will be the same ones I used on the shorts. It needs a good press. It looks better on a human than on Vera.
Last up I moved onto my Enid Gilchrist dress from this book. I'll blog more about this after WIAW because it is a real gem.
Here's a shot of pattern page I used as well as the dress that inspired me.
And all I've done is baste the pleats in place! It's Vogue 8593 made from the most luscious double knit from Gorgeous Fabrics. As soon as I unpacked I loved it and I have plenty left for other things. 
Which is an extravagance, really, when I already have these boots.
Oh and as much as it doesn't look like it in these photos, the purple in the dress is the same purple as the suede shoes which is the same purple as the patent leather boots. And the dress looks better on a human than it does on Vera.
The orange will become an blouse that can double as a jacket using BWOF 05-2008-105
The halter on the left is a wrap dress and is dated 1974. The pattern on the right is from 1984 I think. I'd make the version in blue on the far right. I have three metres of this stuff so I may well make a little top as well, but I'll see when it's cut out.
The fourth piece in this wardrobe will most likely be a white knit top, perhaps a crossover tank top to go with the shorts and under the orange blouse. The great thing is that these all continue the vanilla choc orange theme I started at the end of last summer and have continued through winter. If I add some of the things I made last summer, I will have a well rounded wardrobe for a six day trip!
I've also joined the Chanel jacket sewalong. I've shortlisted these three patterns, but as this is more a Chanel inspired sewalong than a strict adherence to the Chanel style, I may well stretch the boundaries a little and choose something else.
You can't really tell from this shot, but the sleeves are not sitting as I would like them to. The sateen was very difficult to ease, even after a heavy steam over the end of the pressing ham. On top of that, it creases every time I look at it, so the action of putting in the button holes has made it looked like it's been screwed up on the floor for a week. I haven't put the shoulder pads in yet because I'm not happy with the ones I have and I need to find some better ones.
I love this lining, it's a poly satin with a black, white and brown geometric print and I have enough left for a top. I've only part stitched it in, because I am tired, it was fraying and a pot of osso bucco was calling from the kitchen. I still have the hems to do and stitch down the facing to the bound buttonholes. I changed my mind about the buttons but I forgot to photograph them but you will see them when this is finished.
I'm thinking of joining the Chanel coat sew along. This time I'll choose a pattern WITH a lining, instead of drafting one myself for an unlined jacket ...
