Tag: slow fashion

23 May

Exhibition Totnes Costume Museum

Shamanic Nights exhibition at the Totnes Costume Museum

Curated theme - Innovation and Fashion 23rd May‭-‭ 14th June‭ ‬2011

Exhibition Curator Hilary Burns I remembered from 1970s Textiles Degree course. She studied weave; myself silk screen printing. Now a basket weaver, she had also moved to Devon.  It was uncanny how she spotted my work at a craft fair and chose for the exhibition.

Museum receptionist, visiting Spanish student, models Linen Cruise

'Linen Cruise'  (sold)  Robe in white linen and viscose prints shows black underside lapel of white linen collar and front edging (cut two collars contrasting) and two patch pockets.  Front has silk painted panels.  Robe is loose T-shaped structure in patches with no traditional tailored 'armhole'.  A diamond gusset is inserted under arm, under the 'T' join. Patchworks are large and long as they were intended to be a bed quilt, until I changed my mind.

'Linen Cruise' 

Large rectangular patchworks in viscose and linen.  White linen wide front band and collar (see museum model shows black embroidered under collar).  Sash belt same: white/black.

Silk painted panel lower right of robe; design taken from another patch, changing colours to navy background to coordinate with navy viscose print bottom left front.

'Oriental Cruise' 

Exhibition featured first Robes made: using white, cream and ecru linens with viscose and cotton printed patchwork rectangles.

Upper left sleeve shows silk painted panel. Design was copied from a small scale print on robe, seen below arm, but with enlarged scale, and keeping same colours.

Robe sold.  A very pleasant scheme which may get revisited.

See more early original robes at Robes Summer Coats Originals

'Mandarin'  (sold)  Modelled by fashion student at Cockington Court Crafts Fair

Short heavy (furnishing weight) cotton kimono dress: deep no-fit sleeves and 'mandarin' Chinese style stand up collar, sleeve turn-ups and bound edged side pocket.

Patchwork contrasts of white/black toile design and orange poppies/olive leaves.  Black and white striped lining.  Unusual colour contrasts for me, but used up similar heavyweight cottons

'Mandarin' - Making

Named for a Mandarin-style collar made with a strip on a curve (cut x 2 on bias): Piped edge in black; also on pockets.  Patchworks of equal 8 inch x 4 inch.  For attractive 'turn-ups', use contrasting fabric.  Sleeves have faux turn-ups by adding black lace layer below last black patch layer, which turns back to be stitched also 2 inches up inside lining, to reveal black/white striped cotton-satin lining.  The seam formed when stitching to lining,  gives a thicker strong line, which will enable a turn-up to sit at the fold-up nicely.

Dress hem is same black lace as end of sleeves. Adding a bottom hem layer 'frames' the garment together; cut double to stitch down inside, encasing the edges of the upper patchwork.   Dress uses same striped fabric for front facing lining for interest.

 

'Bluebird'  (sold)

Dress was also chosen for the Totnes Museum Exhibition.

Features three fabrics: olive silk, royal blue linen, with 'bluebird' printed cotton.

Independent fabric colours were a perfect match for each other, the green silk blending well next to the printed cotton.

Modelled by keen browser in rainy Exeter crafts market.

 

Patchwork robes can be bespoke made to your measurements with your own fabrics. Send me details of your measurements to adjust dummy. If you have an idea of colours, I can show you photos of coordinates in my collection.  Silk painting additional quote on enquiry.

Making fee for standard kimono styled robe with collar extended down front facing.  Style tweaks can be arranged.

Long large patches:   Short to knee - £160,  Ankle length - £200.00

Small patches 8 inch x 4inch:   Short to knee £220,  Ankle length £260.00

Extra materials cost would be lining, as I do not stock new, although I have some thin white cotton in stock.  Robes need lining.  Summer dresses need not, as patches are over laid zig-zagged.
22 May

Design Philosophy

Harmonising Designs Design inspiration comes from seeing themes evolve between disparate fabric prints and colours, rescued to be recreated into a new unique garment artwork.
Image
Print patchworks in 'Jade Garden' robe
Textile Prints As an artist and trained textile designer, I have a keen eye for colour harmony and the illustration and patterns in textile dress prints. The prints I source and collect are variously of a mix: classical floral illustrative, mille-fleur coverage (tiny flowers), geometric, abstract markings and astral space.  A combination of all these together with coordinating plain colours makes a good patchwork. Not all prints are of personal favourite by themselves, but depending on their colours, I will see a way they would contrast or blend within a theme.  A dress full of rose bouquets can be cut up to introduce patch areas highlighting the best flowers.  A smaller piece of fabric can become more special than the full repeated print area.
Choosing Fabrics Cotton lace tops (often cotton/acrylic mix) are another good find, as they can be layered over other colours.  Most synthetic lace fabrics also surprisingly take up plant dye to some extent, which removes any stark whiteness, too brilliant for patches amongst colours. Choosing a print fabric to start with, start to make a pile with other colours and prints (5 is usually sufficient to start with).  As you do this, one choice may be removed and replaced with another, as the combined effect literally ‘shouts’ too dark, too light, too blue, too pink, etc., depending on the theme in mind. The most subtle patchwork is when the overall effect is of fabrics of a similar tone; i.e. nothing too light, nor too dark, on its own.  I often do include black with a strong colour collection, due to its fashion favouritism, but am more careful with lighter tones and darks mixed, when making patch-worked garments using panels larger than traditional patchwork.
Silk Painting Inspiration The print designs on fabrics in each bundle of coordinates collection may suggest new design themes, using their various elements, to create a new design as silk painted panel.  I also use some elements to copy combined with other images of my own.  While working, I may be inspired towards a new design theme, to be developed yet further again.  Scale can be considered: a small image from existing prints can be enlarged as a main feature.  Colour mixing dyes to match the existing prints is an essential skill.  
Videos are available of some silk painting works. Ahimsa ‘Peace’ silk  has similar thickness to viscose: it is made by allowing the silk worm’s cycle to complete. I buy offcut remnants from an Irish fashion maker. Habotai silk (also used) is shiny. Professional Kniazeff silk dyes fixes the colour through both sides when steamed (unlike some silk paintings of surface-only fabric dyes). Machine washable, recomended at 30-40deg, Even the darker silk dyes are proven not to bleed out. (Note: these wonderful dyes are no longer available from my supplier and I continue to eak out their remaining existence.)
Images copyright Amelia Jane Hoskins Please email for use permission.