Original range of linen and cotton patchwork robes
Linen Cruise Robe (sold)
Early inspiration followed acquiring a lot of parchment white linen. Teamed with white/navy prints and cream/white based patchwork prints.
Black cotton with pale grey embroidery was chosen for contrasting collar/under-collar front facing, sleeve borders and sash.
This garment was chosen to feature with three others of mine at the 2013 Exhibition: Innovation in Textiles. See post Exhibition Totnes Costume Museum
Oriental Cruise Robe (sold)
One of the earliest robes in large long patches of Cream and White Linen, Cotton and Viscose Prints of navy/white theme with added silk painted panels.
Sleeve upper silk patch is hand painted silk, an enlarged design copy of a smaller print used in other patches.
Lilac Lotus Robe
A feminine gown inspired by the parchment white linen and white embroidery anglais with added lilac silk, black & lilac polyester leopard print, taupe poly-cotton with pink and jade machine embroidery.
Construction: Variety of oblong patches with back pleat for ease.
Lining: Fully lined in white brushed cotton, extremely warm - suitable cool bedrooms.
Buttons: Two pale gold and white metal 'compass' design Liberty of London shop buttons.
Pocket: Right hand pocket in seam.
Collar, cuffs, Sash belt:Thick white cotton embroidery with decorative 'embroidery Anglais'.
Back of robe starts with an experimental chevron layout: turning standard patchwork construction blocks 90 deg. which give a diagonal grain, like a bias cut, which improves the 'hang'. Arranged patchwork continues over shoulders, where patchwork blocks extend down front on the strait grain. Sides had odd angles to join, resulting in a deep kimono styled sleeve.
Jade Garden Robe
A substantial everlasting garment in heavy furnishing cottons with deep rolled collar, which would stand up for warmth. Suitable as winter gift where warmth and style is a priority, so also suitable as summer coat. Construction is three rows of oblong patches. Belt has now changed to sash-belt in printed white/lilac printed cotton seen in other patches. Green fabric is embroidered taffeta, and must not be ironed hot or it melts. Buttons are pewter. Lining brown cotton lawn lower, with cream satin upper part including turned back sleeves. Note: Coral is short, so this is a three quarter length robe for taller women.
Jade Garden robe available on Shamanic Nights shop ETSY
South Sea BubbleMini poncho style robe
Modelled by Coral and made when living in Cornwall, this patchwork was inspired by the viscose 'Bali' style print in blue, navy, lilac, olive. Corordinate cottons and linens match these colours. Construction is long rectangular patchworks, arranged diagonally starting across back ( see Purple Raj back ). Very loose shape allows fit for fuller bust sizes due to waist deep kimono-style sleeve shapes, formed by the diagonal back patches. 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 would like to add a print or applique over the pale yellow which is rather pale in contrast to the black/purple. Once on the lookout, something will turn up to match.
South Sea bubble is very loose fit at top due to poncho shape with only slightly formed sleeves. Size 16 on the hips. length 36 inches (910mm). Front is joined by button so garment flows freely. Available from Shamanic NightsETSY shop
Shamanic Nights was invited to exhibit at Totnes Costume Museum – Innovation and Fashion
Curated theme 23rd May- 14th June 2011
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.
Robes in Totnes Costume Museum
Robes 'Linen Cruise' and 'Oriental Cruise' featured in exhibition. Now sold.
Silk painted panels are lower right on cruise robes and left arm sleeve top. Designs copied from prints on robe, but enlarged scale.
'Mandarin' short heavy cotton kimono dress. Sold.
Patchwork robes can be bespoke made to your measurements with your own fabrics.
Making fee: Short to knee – £140, Long – £175.00
Extra materials cost would be lining, as I do not stock new, although I have some thin white cotton in stock.
Totnes High Street.
Robes ‘Oriental Cruise’ (left) and ‘Mandarin’ (right) SOLD.
‘Up-cycled patchwork couture‘ better describes my craft, as each garment is very carefully hand made from scratch, using cut up recycled clothes. My casual women’s wear: dresses, jackets, skirts, dressing gowns, coat-dresses, pinafore dresses and robes are real ‘slow’ fashion; unique one-off garments.
All garments are made exclusively from recycled fabrics; good quality cotton, linen, viscose and silk, with viscose or polyester linings, chosen from the plethora of good clothes in the charity outlets which proliferate in the UK high streets. I used to abhor polyester, but In 2018 I started using polyester dress prints as inside linings to garments, as it never degrades it must be used. The design process is one of being inspired by the groupings of fabrics into colourways, weights and textures. These are collected and added to the ‘colour baskets’ whenever I have found a new piece for a colourway I have in waiting. Many ‘ladies-in-waiting’.
Silk paintings are sometimes included in the patchwork garments, and a relevant informative blog will also appear in this site along with their composite garment.Videosare available of some silk painting works.
Ahimsa ‘Peace’ silk (which allows the silk worm’s cycle to complete) is used for my silk painting when available as offcuts from a fashion maker; not as shiny as new Habotai silk, already stocked, but does have a lovely sheen after natural plant dyeing. Kniazeff professional silk dyes are used, which when steamed, impregnate and fixes the colour through both sides, (unlike some silk paintings of surface-only fabric dyes). Garments with silk painting have all been machine washed and even the darker colours are proven not to bleed dye. (Note: these wonderful dyes are no longer available from my supplier and I continue to eak out their remaining existence.)
After ceasing 6yr solid stint in commercial freelance textile design selling through international trade fairs with London studios, I moved to Devon, with two children ready for high school, in 1994. I brought along to Chudleigh Wheelcraft Centre craft studios, £200 worth of silk dyes and started learning the techniques directly applied onto pictures and cushions; also starting dress silk panels. (add old photo links)
All fabrics are washed at 60 degrees, to prevent shrinkage at variable rates. 40 degree wash thereafter is recommended.
Five garments may go into one new garment, giving a basic materials cost of £15 – £40 on average: not a cheap option, which needs appreciating when considering final garment costs, but the new creation process is nevertheless very satisfying.
Detailed information about the designing process, cutting and sewing, are often uploaded to this site during making and when a garment is finally finished. There is sometimes a delay between finishing blog and garment appearing in ETSY shop, but all enquiries welcome by email
This blog site is to be a portfolio of garments made and sold, (plus the dye processes). Newer garments will appear on a new site layout. I started selling at local craft events, and have and some garments are available in my ETSY shop. ( Online Shop currently under re-construction. ) Half of the garments on the website shop are now sold, but they stay as an example of making, to inspire others, and as a guide to what commissions may be possible.
For bespoke commissions with your own up-cycled clothes, using garments no longer fitting, or print designs you would like to give a new life – and a silk painting if wished – contact me via email.
Cut up Tansy flower tops and soak overnight in water (pond or river water if available).
Boil up in stainless steel pan; simmer for an hour or more until water is well coloured; then leave to cool to hand hot only. (Cotton can be simmered, but silk may get matted and rough if boiled).
Agitate silk in dye bath occasionally, redistributing evenly in liquid during first 15 -30 mins to ensure all areas are covered when first absorbing dye. After first absorption, remove to a china or glass bowl, to agitate easily. Use an upside down lid to keep silk beneath surface.
Transfer boiled liquid from steel pan to bowl for easy silk soaking and ocassional moving for even dye distribution.
Soak silk for some hours in cooled dye bath liquid. The colour of the dye bath water is no indication of the final outcome on dry silk. Remove soon if you want a pale colour; leave overnight for stronger colour.
Faux Kimono-styled, deep sleeves extended from high waist
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.
Front lacing over fixed inside panel, usefully adjusts bust size from 36″ to 40″
Sleeves have cuffs which will turn back at the seam for tasking.
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)
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
Purples ‘collection’ cut, washed and collated from other garments.
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. )
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.)
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!
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
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.
[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: