Tag: dress

03 Jun

Tropical Parrots Shirt Dress

Amelia Hoskins / Dress, Jacket / / 0 Comments
Image
Tropical Parrots front view buttoned with black and scarlet floral print viscose lining

Olive/black tropical leaves with bright parrots, and cream based passion flower with butterflies.

Two viscose summer dresses were used in the making, fabrics being chosen for 'tropical' theme and colour balance.  Over all, viscose outside and inside gives a well hanging garment.  Collar was taken form a shirt-blouse, with rounded lapels added in pink tropical floral cotton. Additional salmon pink cotton patches at back.

 

SIZE:  Extra Large loose size XXX up to 44" chest. (modelled dummy bust 38, so 40" is optimum fit) 

ETSY SHOP available soon when added

[Site under reconstruction 2020 -  reduced imagery until site moved to new format]

23 May

Coat Dresses

Amelia Hoskins / Coat Dress / / 0 Comments

 Coat Dress ‘DOVE’   (Sold)

www.shamanicnights.com

COAT DRESS DOVE

Model in Grey Coat Dress - Ethical fashion
Coat Dress DOVE.

COAT DRESS DOVE

Modelled at Exeter Castle, Christmas craft fair.

To be worn over leggings and T-shirt or tight jumper. Patches of grey wool, linen, cotton, lined. Made from 3 different dress patterns. Cowl collar created by skooping dress front neck and attaching double folded 8″ cotton Ikat weave to front, and grey linen double folded at back neck.

Model is Size 14 hips, so dress would fit a Size 10-12 using side ties to tighten at waist. B

DOVE coat dress

 

Jerkin Dress  ‘D’ARTAGNAN’  (Available)

To be worn over leggings and T-shirt or tight jumper.
MODEL in brown Jerkin dress top Ethical FashionJerkin Dress is 36 inch bust.  Waist is 32 inches.

(Model is size 14.)

Modelled at Exeter Castle, Christmas craft fair.

Large taffeta embroidered collar.

Taffeta repeats in belt detail.

Skirt part is wool, cotton/viscose lower tartan ‘Per-Una’ patch.

Jerkin upper lined in heavy brown satin skirt fabric.  Lower skirt lined from other skirt already with brown organdie frill attached.

brown jerkin dress collar - Ethical fashion

Large, sumptuous embroidered taffeta collar; with top button closed.

Opens out to hang loose and wide (see tree photo below)

brown jerkin dress, log splayed blog width

Voile frill added to patchwork skirt section of wool & corduroy.

brown jerkin dress skirt bottom and belt GOOD SUN 700

Belt detail from embroidered taffeta

brown jerkin dress tree - Ethical Fashion

Tree pic shows huge collar and accurate colours.

Front length from back neck to front hem is 35 inches

MODEL in Brown Jerkin Dress, back - Ethical fashion

Back view modelled on a size 14.  Waist actual size is 32 inches

Back neck to back hem is 39 inches.

22 May

Upcycled makeover green dress

Upcycle ZZZ green dress new denim hem piece 2 - 001 - annotated - scaled1000
Finished joining of denim extended hem to green T-shirt

Large T-shirts make good short dresses for shorter people.  Hem uses two sleeves from an old denim blouse.  Thick warm cotton T-shirt from charity shop.

Upcycle B green dress, cut off denim blouse sleeves for hem addition - 001 - annotated, scale 1000
Cut off sleeves of old blouse or dress
Upcycle C green dress from T-shirt, needs lengthening - 001 - annotated scaled
Large T-shirt for dress
Upcycle E green dress, sleeves cut from denim blouse - 001 - annotated - scaled 650
Sleeves cut from denim blouse

Press sleeves flat, lay over each other and cut into long rectangles of equal length.

Upcycle G green dress, 4 piece hem addition, joined, sloping sides - 001 - annotated - scaled650
Sleeves cut to rectangles, joined with 4 seams.

Join seems to make false hem extension.  Make angles at the sides.

Upcycle H green dress, hem wider than T-shirt hem - 001- annotated scaled750
Extended hem ready to join to T-shirt
Upcycle I green dress, hem pieces joined, place centre to centre - 001 - annotated - scaled800
Extended hem ready to fit to dress, slightly gathered.

Turn one long side over twice, 1/4inch to make hem; steam press flat, machine stitch.

Upcycle J green dress position hem equally in quarters - 001 - annotated - scaled800
Pin extended hem to T-shirt behind T-shirt hem.

The extended hem needs to be a little larger than the t-shirt hem, to give an A-line flare.  In this case the hem width was decided by the length of the sleeves used from the blouse.

Upcycle K green dress inside pinned quarter of hem addition - 001 - annotated scaled800
Pin fabric into equal folds spread along hem section.

Work in quarter hem sections at a time, between front – sides, sides to back.

Upcycle L green dress machining hem extension over pins - 001 - scale 1000
Machining over pins, joining extended hem to T-shirt hem.

Stitch position leaves the last bit of T-shirt hem loose, for better visual effect.

Upcycle KA green dress hem machined and part pinned - 001 - annotated - scaled800
Part machined together; other side pinned, ready for machining.

If not sure how to machine over pins; (it can break your needles) then tack sides together first, before machining.

Upcycle M green dress inside hem machined, pressed - 001 - annotated scaled800
Press hem extension after machining
Upcycle N green dress pressed hem addition - 001 - annotated - scaled800
Finished machined hem.
Upcycle Z green dess hem addition side view mirror- 001 - annotated - scaled
Finished T-shirt dress, side view.

Dress is solely for home wear and not for sale.

22 May

Kimono Dress Aldebaran

Amelia Hoskins / Dress, Kimono / / 0 Comments

“The reddish star Aldebaran – the fiery eye of the Bull in the constellation Taurus – is an ageing star and a huge star! The computed diameter is between 35 and 40 solar diameters.”

Aldebaran Info site…

Orange and red flowers in patchwork fabrics; combined with the motley space print, and black ‘deep space’ backgrounds, inspired the name Aldebaran.

 

Side view showing ‘handkerchief’ insets, which help form an ‘A’-line body fit.  See ‘making’.

Front lacings allow individual body-fit; adjustable to bust size 36-42 inch.  Lacing can be removed completely and front left opened.
The reds, rust, and star-like lighter flowers on black inspires deep space, with the grand star of Aldebaran.

GARMENT MAKING STEPS

MAKING:  Patches are cut in equal sizes: (18cm here) then pinned to lining shapes of all pattern pieces.  Adjust shapes of patches as garment shape needs.  (First define and cut garment shape pattern pieces with lining, which is easier than adding lining afterwards!).  Here, a peachy shiny satin blouse was used for sleeve lining and standard black lining cut from dresses is used for the main body.

The bodice front and back and sleeves are joined by ‘princess-line’ seam which goes from front high-waist up and over shoulder to back high-waist.  Skirt is made separately then joined to the bodice and sleeves. This allows for skirt section to be cut either slimline, or wider, enough to cover larger hip sizes, by patchwork tapering to top, or slight gathering or pleats at high waist line.

In Aldebaran, patched skirt section has narrowed patches towards top where meets upper bodice: i.e, start with wide enough whole skirt width to cover hip size, then taper patches upwards to high waistline seams.

Aldebaran bat sleeves showing 2 rows of patchwork with luxurious printed heavy satin lining.  Note, shoulder patches are tapered, to slope towards lower sleeve.  Front bodice and back bodice to be sewn to sleeve edges.

Right sides to be sewn together at mid back seam joins: two processes, machine patch-worked pieces at center joins, machine lining pieces at center joins.

Tapering of patches as pinned, can be seen in images above and, machined below.  At this stage, accurate fit is obtained by measuring bodice waist to ensure skirt pieces correspond.  A further flare is achieved by inserted handkerchief flare.

Handkerchief Insets

Lining at side position is slit to enclose insert, or use existing side seam in skirt alterations.

Aldebaran Kimono Dress’  is available to buy on ETSY Shop

I have a good stock of ‘roses’ prints: or to commission a new one with your own favourite fabrics, please email Amelia with measurements.  An e-pattern is being considered being made available for this design.

 

22 May

Kimono-Dress Purple Shimmers

Sumptuous Purple Robe Dress

Faux Kimono-styled, deep sleeves extended from high waist

Wide patchwork sleeve
Full back width dress patchwork purples gathered high waist
Back upper is fitted shape, from where bat sleeves join ‘princess’ seaming
Kimono dress front view lace front tied   One pocket at front. Kimono styled collar extends into high waist
Full back view of dress indoors light, high waisted gathers for hip fullness.

Shape is cut for fitted bodice front and back with bat-wing (kimono – like) sleeves extending from shoulders to high waist.  Full lower skirt area.

Expandable front lacing over cotton patch centre piece.

Front lacing over fixed inside panel, usefully adjusts bust size from 36″ to 40″

Kimono dress front view wide arm across front

Sleeves have cuffs which will turn back at the seam for tasking.

Front collar and lacings detail close up

Notice collar, although a proper one, is caught down into high waist seaming at front, which could be thinner if copying idea, and stitch down to a point where it meets gusset (which I would do for a smaller summer dress)

Kimono Dress front collar and sleeve joins top front section
-2018-03-27.png” alt=”GMP annotated – Finished, (VVG FRONT, SLEEVES)clear bright right sleeve 2018-03-27″ />
Gorgeous patchwork colours form treasure trove arrangement.  Generous fit up to 40 bust:  Sleeves are kimono style loose, starting from below bust line.  Lace ties ensure fit under bust.  Back bodice top is already fitted to body, with gathers below

To buy ‘Purple Shimmers’or to commission similar, visit ETSY shop

Purple Patchwork Kimono-Dress – Creation Journey

Coordinated fabric collection in purples

Purples ‘collection’ cut, washed and collated from other garments.
Purple fabric collection_edited_2018-02-03

Three or four plains and three to four prints, with maybe another contrasting plain works well.  5 – 7 different fabrics are needed for a good patchwork result.  I used all these fabrics except for the hand dyed silk 3rd from right.  (Later it went into ‘Butterflies and Pansies‘ dress as sleeves. )

Charity shop finds to match existing purple fabrics.  The shiny dress will become lining.
.png” alt=”WDPS Purple line dress, collar, button welt cut- off” />

When cutting up garments for patchwork, cut up along the sides of all seams.  Sometimes cotton and linen seams can be ripped undone, and more fabric saved.  Overall, unpicking is not worth the time it takes.

Sometimes there is small barely detectable fabric damage or weave pulls as there was in this blouse, near darts.  In such case, don’t undo the seam where stitches have pulled.  This blouse had been strained around the front dart seams.  Due to inherent weakness in the loose weave, this fabric will be quilt-machined onto a thin cotton backing, to preserve the print and to ensure it stays firm.

Many parts of a garment can be recycled into a different new garment, such as this lace-styled neck.  It won’t be included in the kimono, but it will form the start of another dress, likely to be with navy, if only the lace is used, or navy and pink if the print is kept.

The fabric used from this top is a stretch T-shirt type cotton, so will be firstly quilt machined onto a cotton, for firmness in patches, to be similar in weight to the linen and taffeta.  If used only in its stretch state, it may cause a slight ‘baggyness’ in parts of the patchwork.  This remaining cut-off lace neckline will form a new dress with the navy and pinks in other fabrics.

(Full ‘Making Diary’ was not completed for this garment, for reasons not recalled.)
22 May

Kimono Dress Tasmanian Blues

Patchwork dress or robe ‘Tasmanian Blues’  with gold eucalyptus dyed and silk painted collar and nigella seed pod applique

Deep Gold natural dye achieved using Tasmanian eucalyptus bark – inspired the name ‘Tasmanian Blues’!

Dress available on ETSY Shop Shamanic Nights. ‘Tasmanian Blues’

Story of Tasmanian golden eucalyptus tree bark dye

Name ‘Tasmanian Blues’ is derived from Tasmanian origin of the eucalyptus bark (found in Hillier Gardens, Hampshire), used to create a dyebath. Silk collar and patches on garment are hand dyed (Habotai Silk 10) which took the dye bath so well – just soaking for an hour. Bark was previously steeped 24hrs then boiled, simmered for 2 hours, before removing from heat and adding silk.

A very deep gold was produced with the eucalyptus bark dye, which shines incredibly richly in sunshine. Lace pieces were left in the dyebath overnight and even though mixed fibres, took on a gold tone. Seed design applique motifs uses the lace dyed with eucalyptus bark.

Gold dyed Habotai silk was painted on with Kniazef steam fixed dyes. The gold dye was so strong, that painted dye colours were hard to see, and needed redoing. Even specialised bleach for silk dyes did not work, so well is the eucalyptus dye fixed!


Habotai silk dyed with eucalyptus bark – Left piece, modified with iron afterwards. Right piece original dye bath only.  [note resize these images]

Original dyestuff is bright gold in sunlight, but darker indoors. The darker gold piece is modified afterwords with iron sulphate (rusty nail liquid). Bottom right shows lace pieces dyed in cold dyebath overnight.

Story of patchwork blues.

I chose the blues to go with the gold silk, because 3 of the prints have gold areas with blues. Blue and gold are a classic mix, setting off one against the other.

Front buttoning strip features Chinese style print of Phoenix bird (right side) and tail of dragon (left side) which looks attractive as a focal point.

Two fabric prints have animalistic feel: the leopard or cheetah in blue/grey/black, and the navy blue/white ‘pheasant’ feather print. The blue lace was the right colour to add in. The light blue with text also has navy and some brown which blends in. By putting a variety of fabrics together, a new design idea comes alive. Phoenix and seeds could be a new theme.

Applique seed motifs

Bark dyed lace seed pod appliques, with silk dyed pieces added in centres

Using the eucalyptus dyed lace, emulated the texture of dried seed pods. Centre seed capsule part (in shadow from photo/drawing) is shown in dark gold dyed silk remnant on right-side garment, and left-side garment shows a lighter silk, bundle dyed from various seeds and dried flowers.

Making steps: ‘Tasmanian Blues’

[Images Temporarily unavailable Aug 2020 – being resized]

Garment started by using a polyester dress as LINING. I kept the cross-over ‘V’ neckline and fitted my fabrics to it. NOTE: its useful to have neckline and shoulders of a lining garment to start off with. Once patchwork is attached to that, patchwork can simply continue down to hem. Its very useful to use a bodice top from another garment as lining to fit sleeves to. I often make an under bust, high waistline seam below the length of an upper patched piece, darting under bust; also optionally at back for better fit.

The lining dress only has short sleeves, so I used other polyester fabrics to lengthen them in patchwork. Outside sleeve fabrics are viscose floral print and others, seen in making photos. Last four photos show cuff addition to lengthen sleeve and give print interest. black fused interfacing ironed on.

Fold extension over to show other fabric as an edge border contrast. Fold down outer onto lining.

Pin cuff extension to outer sleeve patches. Machine or hand stitch down

To give a fuller underarm, similar to kimonos; after inserting sleeves, I left underarm and side seams open, and cut strips for underarm gusset, using viscose fabric outer and navy lace inner: an elongated triangle about 4 inches to a point from underarm centre into sleeve length. (the lining dress was small size, so these inserts also enlarged fit up to 38″ bust.)

Darts can be seen at front and back of bodice sections.Back neck facing and simple front facing cut to fit dress front neckline.

A curved frill piece was used from the original lining dress to create a fit, which curves around back neck and fits to front edge of ‘V’ neckline.

Cutting adjustments made to allow a shape that would extend the curve from centre back neck (left side photo 1.) continuing around to fit to dress front V neckline, and produce a simple fold back collar only at front.

Once the under-fabric was established, an identical shape was cut in white cotton, to use as copy pattern for upper fabric patchwork, (which incorporates the eucalyptus dyed silk).

Photo 2. ‘Collar/facing was firmed a little with fine fused black interlining.

Finnish kimono dress lower patchwork making:

Once upper bodice is completed (with or without sleeves), the lower skirt part of kimono dress is made by cutting rectangles and joining until there is enough to fit around the high waistline. This is the stage to consider which colours to juxtapose in lower garment. You may save some special pieces to show at front. Symmetry is a good idea: working from centre, to sides, repeating colour/shades similarly on either side.

Start at the centre on the back, and work to the sides, adding patches until the desired width is reached, in correspondence to the upper bodice of dress. I describe an ad-hoc method of choosing fabric patches one by one, until enough are made. Alternatively, by calculating desired length of dress, and desired size of patches, you can calculate how many patches of each fabric colour or printed pattern will be needed in advance of cutting and machining. Lay them out on a table to desired colour juxtaposition, keeping in mind how the front and centre back will look. Work similarly from centre back, adding patches across and down, until length is reached. Create the patches in columns, then machine down the long rectangular panels, onto the under lining. (Fabric, or garment used as lining base). Allow 2-3 inches more at front and back, which can be gather-stitched to fit before seaming the bodice and skirt parts together. This could be darted if preferred. I darted the kimono-dress.

Tunic top ‘Nigella Blues’ in my ETSY Shop

[Making images temporailly unavailable – being resized Aug 2020]

There was enough blue themed fabric left to make small tunic dress. Again, patches are stitched onto an existing garment; a cream/white/brown/blue flora design A-line short sleeved flared top, which becomes the lining. The beige and blue on creamy peach work well with the blue patchworks, and also provide a light background to the blue lace patches, contrasting the lace: see top back photo and front lower side. (Light coloured lace can utilise darker backgrounds.) Short sleeves are unlined patchwork with bound viscose print hems.

The armholes were large, for a Plus size, so I darted the lining from armhole to bust point, and did same with upper patchwork. I cut down the centre due to extra width, and folded over edges for front facing firmness, still having enough to overlap for buttoning

MAKING – bound button holes:

  • Mark width of button, add a little more. Sew a rectangle over button size area on right side of fabric.
  • Machine around, cut centre, cut into corners
  • Fold rectangle through to wrong side, Press flat with folds meeting, as shown.
  • Hand stitch lining to bound edges.
  • Top stitch on right side (optional). I did so here, due to fraying of lining fabric.

 

Applique motifs are inspired from Nigella seed pods grown in my allotment. Photos and drawings simplified for cut and sew. The centre silk has been dyed with eucalyptus bark before painting on (same silk as ‘Tasmanian Blues’ collar above), although darker due to after-modifying soaking in iron (rusty nail water makes a considerable darker change). Right photo seed pod has silk centre of bundle dyed silk with seeds and petals. Lace seed ‘pod’ fabric has been also dyed with eucalyptus bark, left overnight after initial silk dye has taken up most of the colour. Its always a good idea to see how deep a colour you can dye in the ‘left-over’ dye bath. See eucalyptus dying blog:

 

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