Abstract with text print blue/white cotton-viscose.
Feather print navy-white cotton.
Navy blue lace lined on gold.
Stylised flowers blue-gold-navy cotton print.
Gold embroidered cotton.
Gold plant dyed silk.
PLUS – Leopard print blue-black-grey and Chinese Bird of Paradise with gold texture cotton.
Robe Dress has applique lace pod dyed in eucalyptus dye bath after the collar piece. Colour took well, which is a guide to fabric content being cotton or silk. Dark centres to seed pod designs are cut from eucalyptus dyed silk (iron modified). Light centre to pod is from bundle steam died silk with seeds and petals. Nigella blues has variable on same pod idea. A motif is a good means to join over a seam (smock left top). Also provides contrast to break up a solid dark or light area.
When there are enough patches prepared, another garment can be made. Size and shape was dictated by the blouse used as an underlining, the colours of which were a perfect match, being cream brown and pale blue. Short sleeves made in dark blue lace. Coconut buttons with bound buttonholes. Applique patches again created with eucalyptus dyed lace and bundle dyed silk. Back hem is drooped lower.
Nigella Blues Smock – Bound buttonhole sewing – Click to enlarge
Lining fabric (black/blue/cream floral) (interfaced) used as an upper back section to be inserted into a loose neckline. Smart patch colours (with gold dyed silk painting) joined to form facing, which when turned outwards, becomes the open collar. Note 'pointed angles' - when turned right way out, become collar points.
Patch pieces chosen for outer collar. This may be difficult to follow for beginner sewers. Whatever shape is the front of garment (e.g. a basic round neck cut down centre front): this requires a facing fabric, so when top neck is turned out, it becomes a small faux decorative 'collar'. To have a proper back collar would need additional piece inserting around back neck.
A NEW FASHION PARADIGM being experienced by designers, businesses and consumers is one by which clothes are treasured and valued for a variety of reasons other than a traditional economical 'brand' and the buy-today, throw-away-tomorrow fashion business model.
THE SLOW FASHION CONSUMER enjoys clothes with individual stories which use upcycled fabrics.
Shamanic Nights uses fabrics from charity shops, mostly very new and good quality. 'Stonewashed Angels' uses coffee/white dress prints, combined with original silk painted panels of angels and plants in colours to coordinate with fabrics used in dress.
VINTAGE FASHION FAIRS are enjoying a wave of popularity as consumers look for more original garments which offer a higher emotional value than the current season’s clothes.
CHARITY SHOPS are brimming with last season’s clothes. Textile recycling and disposing companies are selling old clothes to Africa, impacting indigenous economies by reducing artisan production. There are now ethical fashion companies sourcing fabrics more carefully from local communities, such as small scale silk producers, and embroiderers.
STOP CONSTANTLY MAKING CLOTHES - TO REDUCE TEXTILE LANDFILL
High street chain fashion stores rush to produce ever cheaper clothes to compete. Perpetual demand is created by companies who put out seasonal fashion 'trends', providing clothes cheap enough for customers to buy new stuff every season: and every week. Cheap clothes are only possible due to sweatshops in far away lands, where labour is very cheap, in order to increase companies' profits. The Rana Plaza factory collapse alerted everyone to slack business practice outside of countries with safety regulations.
This merry go round results in a proliferation of cast away clothes, a wasteful situation. Textile waste statistics are alarming: 13mn tons per year in USA. UK statistics ? The constant waste of materials, with their associated production costs, is both an environmental and health dilemma. If you value the raw materials, textiles of ecological origins, you may value your garment more highly, and wear it for many years with a focus more on your clothes being timeless.
Organisation are growing to help with this problem: via the Circular Economy. Repair company. Hiring company.
Video Nov. 2020
SOME GOOD BOOKS
'To Die For' - 'Is Fashion wearing out the world'? by Lucy Siegle
'Shaping Sustainable Fashion' - Changing the way we make and clothes, edited by Alison Gwilt and Tina Rissanan. Pub. Earthscan.
'Refashioned' - Cutting edge clothing from upcycled materials - by Sass Brown.
JADE GARDEN Robe is a substantial everlasting garment in furnishing cottons, with deep rolled collar which would stand up for warmth. Also suitable as a summer coat.
Suitable as a winter gift where warmth is a priority. Traditional style with gold embroidery highlights on the jade green poly-taffeta.
Robe Construction is of oblong patches. Belt has now changed to sash-belt in printed white/lilac printed cotton seen in other patches. Green fabric is embroidered poly-taffeta, and must not be ironed on 'hot' or it melts (iron with cotton piece over top). Buttons are pewter coloured. Lining is brown cotton lawn lower, with cream satin upper part including turned back sleeves.
Note: Coral is 5 ft tall, so this is an under knee three quarter length robe on taller women.
This garment was chosen to feature with three others of mine at the 2013 Exhibition: Innovation in Textiles. See post Exhibition Totnes Costume Museum
Upper sleeve silk patch is hand painted silk, an enlarged design copy of a smaller print used in other patches.
I can copy any textile design for commissions, change its scale, or create a new one based on any prints.
Made when living in Cornwall, this patchwork was inspired by the viscose 'Bali' style print in blue, navy, lilac, olive. Coordinate cottons and linens match these colours. Construction is long rectangular patchworks, arranged diagonally starting across back ( see Purple Raj ). Very loose shape allows fit for fuller bust sizes due to waist deep kimono-style sleeve shapes. Main lining: Pretty violet soft cotton with lilac flowers. Sleeve lining: Pretty lilac soft cotton flower print. Buttons: 2 large black-mauve pearl. Front fringed edge is purely decorative.
I plan to add a blue print or applique over the pale yellow which is rather pale in contrast to the black/purple, under grey English skies. Once on the lookout, something will turn up to match.
A comfortable warm and eye catching robe. Good for weight disguising due to poncho style. Will accommodate any sized bust. Size 16 on the hips. Length 36 inches (910mm). Front is joined by button so garment flows freely.
Hilary Burns Exhibition Curator was an ex colleague I remembered from my textiles degree course, now a basket weaver; also moved to Devon. She didn’t remember me clearly (her in weave, me in print depts), but it was uncanny how she picked up on my work at a craft fair, after 4 decades, and chose me. A cycle of creative times.[/vc_column_text][vc_single_image image=”1219″ img_size=”large” style=”vc_box_outline”][vc_images_carousel images=”918,920,922,917,1183,1184,916″ img_size=”large” speed=”2500″ slides_per_view=”2″ autoplay=”yes” wrap=”yes” css_animation=”fadeInLeft” title=”Robes in Totnes Costume Museum”][vc_images_carousel images=”1171,1216,1226,1170,1212″ img_size=”large” speed=”2500″ slides_per_view=”2″ autoplay=”yes” wrap=”yes” css_animation=”fadeInLeft” title=”Robes ‘Linen Cruise’ and ‘Oriental Cruise’ featured in exhibition. Now sold.”][vc_column_text]Silk painted panels are lower right on cruise robes and left arm sleeve top. Designs copied from prints on robe, but enlarged scale.[/vc_column_text][vc_images_carousel images=”1195,1193,1194,1197,1199,1196,1201,1202″ img_size=”large” speed=”2500″ slides_per_view=”2″ autoplay=”yes” wrap=”yes” css_animation=”fadeInLeft” title=”‘Mandarin’ short heavy cotton kimono dress. Sold.”][vc_column_text css_animation=”fadeInLeft”]
Totnes High Street.
Robes ‘Oriental Cruise’ (left) and ‘Mandarin’ (right) SOLD.