Source: Recycle Shopping Centre
Rude Record has found this great news!
Recycling Shopping Mall provides a NEW ENTICING INTERFACE: better than dump-off-your-stuff at the city tip – have it recycled properly. As the original writer describes – city dumps with a circle road to piles of stuff – aren’t easily in a position to encourage recycling. Furniture and clothes are the obvious ones. Even half empty tins of paint are useful for something.
Unfortunately there are still folks who will only buy ‘new’ and a place like this one in Sweden could make recycling the ‘norm’, rather than something to be frowned upon. It is the WAY FORWARD to the CIRCULAR ECONOMY.
Rude Record’s local Melborne council are creating more landfill !!!! Oh dear.
There is very little that cannot be recycled! Even broken furniture could be wood chips for garden earth cover and paths. ALL plastic should be recycled.
#recycle #recyclefurniture #recyclewood #recycleplastic #recycletextiles
‘Love Never Dies’ inspiration taken from autumn floral printed T-shirt patch, used in dress centre front.
Bandeau top inspiration: cut from ethnic printed skinny stretch dress.
Dress is not yet in online shop…
Patches made and joined in strips of three, then join those to make a length as shown in picture on floor.
Patchwork section attached to stretchy cotton bandeau top, by hand stretch back stitch shown in MAKING INSTRUCTIONS below.
Seams are overlapped one quarter inch – one half inch, and zig-zag machined to avoid bulky inside seams. 6 different patchwork fabrics are used making up a large rectangle of 11 patches x 3 patches. Keep adding strips (here strips are 3 patches long). Make strips until there are enough to join up around hips: add 2 extra patch widths to create fullness when attached to bandeau top.
NOTE: black lace patches are made by fixing over lighter fabric base. There are possibilities of using different backgrounds for lace, for more subtle effects.
When choosing fabrics, 6 seems to be a good number of alternative fabrics. They can be either contrasting, as here, or similar in tone. Dark – Medium- Light is a good mix.
Muted schemes are more satisfactory and versatile than multi-rainbow colour themes. The size of fabric areas cut from garments, dictates the size of the patches. In this instance it was the ‘Love Never Dies’ T-shirt print I started from, giving me two patch lengths when cutting.
I was originally going to position the patchworks in diagonal formation over a bias cut lining, but they weren’t cut square so it would look odd. I therefore turned it to straightforward vertical arrangement. Recycling 6 different garments, and cutting at least 8 patches from each, is a good start. I cut more if I like a scheme and want to make another similar.
These patches are 12.5cm x 18cm cut (approximately 7″ x 5″). Decide the length of garment skirt section needed, from seam under bandeau top, then divide by three for length of patchwork strips: to be either 3, 4, or 5 patches deep. 3 is enough for this short dress.
Close up of back, shows butterfly prints, and zig-zag seaming flat overlaps.
Zig-zag machining of patches: overlap quarter inch, making two rows at each overlap (note it is flat, no folded seams).
Pinning patchwork length equally along bandeau bottom on the inside.
The patchwork top folded over and pinned in place, ready for stitching by hand.
How the pinning looks after pinning one section to sew. More to follow.....
Hand stitched back stitch which gives full stretch result. Photo of stitch process omitted but IS SHOWN BELOW when attaching lining to this seam join. (Note: I could have machine-tacked lining to patches first, then stretch stitched them both together, but I needed to experiment)
Outer view shows small hand stitches (stretch back stitch) showing through. Quite acceptable appearance; could even be larger, as a feature.
Stretch back stitch: holding work this way, each needle insertion is towards you, hand underneath can test for flexibility of stretch, to ensure same stretch as patches fabric.
Working left to right, back-stitching into patchwork section above, and lining section below. This lining (taken from a dress), is on the 'bias' which aids stretchiness. It would need to be same width as patchwork section sewn to, to give equal stretch.
Needle comes back to lining back stitch from upper stitch. Needle goes in right to left, but stitches complete to the right.
Finished stretch stitch: inside of dress, just below where dress patchwork attaches (also stretch stitch) to bandeau.
Join strips of lace for hem trim. I used a neck frill and sleeve edges from a lace dress (4 cut lengths). Press quarter inch in then pin to dress hem.
Machining lace edgings to dress hem. Zig-zag.
Finished lace trim attached (inside view). NOTE: dress fabric was turned under and pressed towards front beforehand.
Finished lace trim showing front and inside back.
Fabric hem sewn to inside lining: to sit behind black lace.
Top of bandeau is folded over and narrow elastic inserted. Stretchiness is preserved by using stretch backstitch instead of machining.
A lot of scrolling for instructions!!
Future work will explore Slideshare and Flipboard embeds.
Shamanic Nights makes a personal commitment to recycling textiles and fast fashion. ‘Up-cycled couture’ better describes my craft business, as each garment is very carefully hand made from cut up recycled clothes found in Devon Charity Shops. Some have hand painted silk designs by Amelia Jane Designs These unique colourful one-off garments are available to buy online. Online Shop
Source: Design Philosophy
Inspiration started with the velvet. Then envisaged with the wool cummerbund due to the lilac/beige colour harmony. Floral voile insets also chosen for colour harmony. An experimentation challenge with ‘V’ shaped cummerbund (lined) and cutting skirt sections to hang from the diagonal.
Skirt No. 1 has 4 inserts (great for dancing); skirt No. 2 has just 2, front and back. Skirt No. 1 has butterfly print hem frill, skirt No. 2 has cream lining frill.
Plum velvet skirt No. 2 side insertion of invisible zip.
The velvet was cut to allow for 8 pieces, 4 in each skirt, (2 back, 2 front). Velvet piece positioned to cummerbund on dummy, gathered, using straight edge, allow to hang, then cut straight hem at base. Remove and cut 3 more for first skirt. Once they were all cut, I placed the second group of 4 velvet pieces the other way up, i.e. placing the bias along the cummerbund edge, allowing the straight edge to become the hem. (It was necessary to use straight edge to begin with to allow natural fall before cutting fabric at hem).
Below are two pieces after cutting shapes (from hanging on dummy), laid out with triangle gap, to cut inserts out.
Cummerbund front and back - cut and darted. Measure your waist or dropped waist above hip, at position required: (e.g. 26") then allow 1.5 inches extra for waist darts on each piece, (which allows for dart take-up). Machine, press.
Two similar patchwork dresses inspired by using two halves of a bright cerise pink acrylic wool scarf with stretchy structure for bust fit. Purple silk, taffeta, and lace combine with a legging print to create an exciting party colour combination.
Cherry Fluzzie B
Shorter version with black wooden buttons, thin straps and an additional patchwork hem frill in purple silk and multi-toned silk patchwork and frill. Making details below.
Pink-purple silk, purple-black printed taffeta and rose print on black leggings are the fabric inspirations to go with the frivolous wool tops. Available in shop
Ends of cerise pink scarf (cut in two for 2 dresses): edges are folded over twice and sewn down by hand with with pink thread or pink wool. Black wooden engraved Chinese buttons utilize holes already in the acrylic wool. It is necessary to stretch the destined 'hole' and use a few stitches to secure 'open' top and bottom, so it identifies easily as the buttonhole.
Cherry Fluzzie A
Longer version with toning cerise pink buttons and wider shoulder straps.
Pink-purple silk, purple/black printed taffeta, and rose print on black
leggings are the fabric inspirations to go with the frivolous wool tops.
Zig-zag machining holds down inside seams. Available in Shop
Cherry Fluzzie B Making Garment:
Patch pieces joined into a semi circle. Outer sides will will become front. Different length patches were used due to material shortage.
By cutting patch shapes into A shapes, with straight top and bottom edges, they build up into a semi circle. Patchwork semi-circle folded in two, back view. When top curve becomes the waistline, gathered in, good folds hang in skirt. Make 'A' shaped patches until required size is reached. This section is wider than needed to gather onto woollen top. Bottom frill pinned to dress hem, before zig-zagging on. Frill hem will also be zig-zagged. Frill hem pinned, tack gathered, prior to zig-zagging.
Making garment: Cherry Fluzzie A
Leggings cut into 8 patches, use 4 or 8 per dress. (2 short upper, 2 longer lower in skirt section). Thigh shapes, turned upside down make good patches to use as templates which when added to create a flared shape.
Front side patchworks pinned to check colour placements. Silk fabric behind crimson lace patches.
Inside seams: Join short patches to long patches forming strips. Press seams up or down alternately to reduce bulk at seam crossroads. Pin vertical patch strips. Machine, and likewise press alternate sides to avoid bulk on all corners.
Patchworks machined - skirt section. Joining patchwork skirt to stretch wool top using large hand stitches: cross-stitch done as back-stitch. See 'Love Never Dies' patchwork dress for more accurate close up instructions of stretch stitch.