Tag: silk painting

22 May

Butterflies and Pansies Silk Dress

Amelia Hoskins / Batik, Plant Dye / / 0 Comments
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Butterflies and Pansies dress in part silk

Feminine pinks and frivolity in quirky patchwork and 3 silk types.

Petal bundle-dyed fine silk sleeves, and unique hand painted and embroidered front silk panel.

 

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Back and side view dress with longer patchwork pieces: rose pink taffeta, cotton and maroon silk.
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Pink Tafetta, pansy cotton and Maroon silk panels

Starting point for this dress was an Ahimsa silk painting.  Ahimsa is similar to light-weight cotton, matching the weights of cotton and poly cotton patchwork in garment.  This piece incorporates an experimental batik process, which resulted in a mottled background after waxing and dipping in a logwood dye bath,  before final painting over.  [see link to logwood dyeing]

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fabric colour coordinates for painted silk panel

Suitable for parties, weddings.

SIZE: 36/38" - max 40 inch bust. Length: shoulder to front hem 36", shoulder to back hem 38".  Pink silk top is on bias stretch, so adjusts to size smaller and larger.  Available in ETSY when added.. [£175.00]  Value is assessed on only the silk batik/painting/embroidery (not full making time)

[Site reconstruction 2020: Post in progress of reorganisation to new site: Additional making images resizing  to add]

Making of Butterflies and Pansies Dress [image gallery to add]

Pink silk top - fabric co-ordinate taken from a blouse: colour is similar to the palest background in the logwood batik. Pink bodice top sewn to silk painting just under bust; simple overlap stitching. Original V-necked pink blouse was cut on the cross, so will stretch over varied bust fullness.

Front bodice - Contrasting armhole band taken from neckline of co-ordinating fabric (dress). Pinned to pink silk bound edged armhole for stitching join by hand.

Back bodice - Contrasting armhole banding cut from back and underarm of co-ordinating fabric (dress).

Decided to add sleeves, a petals bundle died silk for upper sleeve, just enough silk; adding sleeve frill from original up-cycled pale dusky pink dress. Overall effect is balanced but the banana leaves on painting need deep crimson stitch decoration.

Silk Painting 'Nigella Butterflies' made into dress centrepiece

The green butterfly came from a photograph I took, and the red butterfly came from another printed fabric design.  Pansies added came from cotton print.

Added embroidered lines on pansies give sparkly effect.  Nigella seed pod is enhanced by dark seeds inside pod (arial view) and light embroidery on the pod ends. ...The banana leaves would benefit from embroidery also.

Dressmaking process: Silk painting summer 2019 - Dress finished September 2019, but decided to add in sleeves February 2020. Slow fashion!

22 May

Hopi Bird Silk Designs Dresses

Amelia Hoskins / Dress, Silk Painting / / 0 Comments
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Marian models Red Hopi Birds - red linen with silk painted panels
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Silk painted panels - Hopi bird designs - black on white + white on black

Three dresses with silk painted panels of designs inspired from bird designs on ancient Hopi pottery.  Red linen, Brown cotton pinafore and grey cotton pinafore.

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Grey pinafore Hopi bird silk painted panel
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Silk painted Hopi Bird design
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Silk painted Hopi Bird design
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Hopi bird on silk
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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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