Kimono-dress ‘Tasmanian Blues’ with bark-dyed silk AND shortie dress tunic ‘Nigella Blues’

Hand made patchwork dress in blues – featuring hand dyed silk collar and nigella seed pod appliques

Deep Gold natural dye achieved using Tasmanian eucalyptus bark
Dress available on ETSY Shop Shamanic Nights. ‘Tasmanian Blues’

Story of golden Tasmanian 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.

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’

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

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;

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:

Kimono Dress ‘Aldebaran’

Three quarter side view

    

‘Aldebaran’ : a reddish star in Taurus Aldebaran info site

“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.”

Orange and red flowers in patchwork fabrics inspired the name.

Front, inserted lace loops 2018-04-20
Loops encased under collar
Aldebaran, ful frontl dummy, sunny workshop - 001 - annotated 2018-05-05 14.36.54
Aldebaran, front lacings closeup, collar - 001 - edited annotated 2018-05-05

Front lacings adjustable bust size 36-42 inch.  Lacing can be removed.

Back, lower, right inset, Clear, close - 2018-04-11 19.17.52 - 002 - edited

 

Aldebaran, RS threequarters dummy, room - 002 - edited - annotated 2018-05-05

Making

Aldebarran sleeves, showing satin lining 2018-04-07 17.06.37

1.Front bodice pieces, pinned to lining one sleeve2018-04-07 - 002 - annotated 1400scale

2.Bodice back, sleeves, layout 2018-04-07 - 002 - edited 1500scale

5.Left side, inset, pinned patchworks 2018-04-08 - 002 - annotated 1400scaled

6.Left, bottom, inset, patchworks2018-04-11 - 002 - annotated 1500scaled
7.Front bottom, side insets 2018-04-11 - 002 - annotated 1500scaled
 
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.
 Lining at side position is slit to enclose insert, or use existing side seam in skirt alterations.

Collar making and attaching

To buy ‘Aldebaran Kimono Dress’ direct from Amelia, or to commission a new one, please email ameliajhoskins@gmail.com (Online shop under reconstruction)

Kimono-Dress or house-dress ‘Purple Shimmers’

Purple and print patchworks

Back view
GMP ANNOTATED - Finished (VVG FRONT LENGTH) 2018-03-27 1000px
One pocket at front
GMP annotated - Finnished, (VVG BACK DRAPED) all length, shadows and light 2018-03-27

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

Front lacing over gusset, adjusts bust size from 36″ to 40″

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

GMP annotated - Finished (VVG LACINGS) collar close up 2018-03-27

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)

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

Purple fabric collection on floor - 800scale_2018-01-29
Purples ‘collection’ as garments from charity shops.  Plus bottom right hand plant-dyed silk
Purple fabric collection_edited_2018-02-03

Three or four plains and three to four prints, with maybe another contrasting plain works well.  At least 7 different fabrics are needed for a good patchwork result.  I used all these fabrics except for the hand dyed silk 3rd from right.  (It will go into a similar one)

Charity shop fabrics, purples, hangers_2018-01-15_ 002 - annotated
Charity shop finds to match existing purple fabrics.  The shiny dress will become lining.
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.

WDPS Purple, black, green blouse, cut-away at seams_2018-02-13

Sometimes there is fabric strain near darts or side seams as there were in this blouse.  In such case, don’t undo the seam where stitches have pulled.  This blouse had strain 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 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.

This top is from a stretch cotton fabric, so will be quilt machined onto a cotton, for firmness, 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.

Cutting of patchwork pieces to follow soon  ……….

Butterflies and Black Lace Patchwork Dress, ‘Love Never Dies (I)’ – Making process

‘Love Never Dies’ inspiration taken from autumn floral printed T-shirt patch, used in dress centre front.  A second version ‘Love Never Dies II’  is available, same patches, lined, with white fringed hem.

Bandeau top inspiration: slice cut from ethnic printed skinny stretch dress.

Dress USE - FRONT daylight - edited.png

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.

Bandeau patchworks, machined.png

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.

Bandeau patwork arrangements.png

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.

Dress USE - BACK CLOSEUP - edited.png

To buy ‘Love Never Dies’ or commission new one please email ameliajanedesigns@icloud.com to discuss.

Close up of back, shows butterfly prints, and zig-zag seaming flat overlaps.

MAKING INSTRUCTIONS

Bandeau patchworks mcahined zigzag.png
Zig-zag machining of patches: overlap quarter inch,
making two rows at each overlap (note it is flat,
no folded seams).
Bandeau, pinning bandeau lower front to pathworks.png
Pinning patchwork length equally along bandeau bottom

on the inside.
bandeau-patchworks-pinned-evenly-to-bandeau
The patchwork top folded over and pinned in place, 

ready for stitching by hand.
Bandeau, front pinned, back not.png
How the pinning looks after pinning one section to sew.
More to follow.....
Hand sewing Patches to bandeau A stretch stitch completed two rows.png
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)
Hand sewing Patches to bandeau B stretch stitch outside.png
Outer view shows small hand stitches (stretch back stitch)
showing through.  Quite acceptable appearance;
could even be larger, as a feature.
hand-sewing-lining-c-stretch-stitch-lining-to-dress
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.
hand-sewing-lining-a-stretch-stitch-from-left-to-right
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.
Hand sewing Lining B stretch stitch lining to dress.png
Needle comes back to lining back stitch from upper
stitch. Needle goes in right to left, but stitches
complete to the right.
bandeau-hand-sewn-stretch-stitch-inside-bandeauside
Finished stretch stitch: inside of dress, just below
where dress patchwork attaches (also stretch stitch)
to bandeau.
lace-trim-turn-over-pinning-easing-in-fullness
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.
lace-trim-zig-zag-machining-turned-in-pinned-to-hem
Machining lace edgings to dress hem.  Zig-zag.
bandeau-inside-dress-after-zigzag-machining-over-topside-frill-edges-folded-in
Finished lace trim attached (inside view).
NOTE: dress fabric was turned under and pressed
towards front beforehand.
bandeau-lace-trim-machined-to-edge-of-patchwork
Finished lace trim showing front and inside back.
love-never-dies-5-fabric-border-added-to-lining
Fabric hem sewn to inside lining:
to sit behind black lace.
love-never-dies-6-bandeau-top-elastic-inserted
Top of bandeau is folded over and narrow elastic
inserted.  Stretchiness is preserved by using
stretch backstitch instead of machining.

To buy ‘Love Never Dies’ dress/skirt please email: awhile Shamanic Nights Online shop is under reconstruction.

Design Philosophy

Shamanic Nights  makes a personal commitment to hand crafted ‘slow fashion‘.       ‘Up-cycled couture’ better describes my craft work, as each garment is very carefully hand made from cut up recycled clothes found in Devon Charity Shops.  Results show how recycled textiles can still be beautiful, worthy and robust when discarded prematurely.

We do not need any more ‘fast fashion’, where profits come before material resource depletion: particularly water, cotton (film ‘White gold’) & silk as well as human energy waste where internationally based workers are paid lowly for many hours hard work just so someone can buy many things cheaply, only to cast them out after a short while, due to fashion dictates.

Good quality fabrics can last many years.  The only fabric which will not wear well is mixtures with acrylic or polyester, as the acrylic polymer threads always ‘catch’ and ruck up bobbly, making a garment surface look ‘worn out’ and certainly undesirable.

My unique colourful one-off bespoke casual leisure garments are available to buy online.  Online Shop

Update 2018:  First Sunday in the month April – October, I shall be on Exeter Quay under the old fish market as part of Inside Outside Markets.

Some Shamanic Nights garments have painted silk designs by  Amelia Jane Designs  on my other site, where you can find textile designs – paint on paper – remaining designs from 1990’s international freelance textile works.

Maker commitment – Making process and working philosophy

Plum Velvet skirts with wool cummerbund

Inspiration started with the sumptuous velvet!  It started life as a large scarf.  Then I spotted the wool skirt with a lilac tone in and envisaged with 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.

‘Plum Velvet’ Skirt No. 1 has 4 small triangular inserts, forming a fully circular skirt (great for dancing), and dark butterfly print hem frill.

‘Plum Velvet’ Skirt No. 2 has 2 triangular insets front and back and cream frill.

‘Plum Velvet’ Skirt No. 3 is made of many flared lilac and beige pieces (photo not showing).

plum-velvet-1-front-view-edited
Plum velvet skirt front

plum-velvet-1-side-floral-inset-panel-from-back-view-edited
Plum velvet skirt side inset

plum-velvet-1-front-floral-inset-edited
Plum velvet skirt back inset

Plum velvet skirt 2 side zip lace - edited .JPG‘Plum Velvet’ skirt No. 2 side insertion of invisible zip.

Making procedure:

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).
n-pinning-velvet-to-cummerbund-roughly
Below are two pieces after cutting shapes (from hanging
on dummy), laid out with triangle gap, to cut inserts out.
cutting-triangle-fabric-for-inset-larger-than-spacejpg
Cutting triangle insert for velvet front backs.
pin-lace-to-triange-inset-after-stretch-zigzagging-the-showing-edge-jpg
Triangle inset: lace detail (strip cut from blouse)
is stretched with zig-zag stitching to make flared
edge then machined to inset side.
Then join inset to main skirt part:either zig-zag on
top of right side or make seam with right sides
together then press flat well.

machine-inset-right-sides-together-on-to-velvetMachining right sides together, joining inset to velvet

c-cummerbund-front-and-back-make-darts

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.
e-machine-lining-to-wool-cummerbund-leave-sides-open-for-seaming
Lining also cut on bias and darted.
Iron-on interfacing won't need darts if just 2
inches deep.  Lay on and cut curved shapes.
Machine half inch at waist. Clip waist.
g-press-lining-and-wool-at-seam-linePress lining inwards leaving seam space for
closed side and zipped side. Finnish waist machine
line into fold/seam edge point of lining fold.
F. Snip waiste seams for ease, before turning to press.JPG

Snip inside waist top seams including stiffening.
k-stitch-side-seams-both-sidesMachine both side seams along wool seam and
lining seam all in one go.
Press seam flat, (snip waist seams as above),
then fold lining inwards and steam-press flat.
m-one-side-joined-pressed-one-open-for-zip
Cummerbund lining pressed inside. One side
left open for zip when skirt
section is attached.

front-sections-cut-to-allow-gathers-inset-joined-to-velvetVelvet and insets skirt section all joined:
ready to pin and tack to cummerbund,
tacking before machining.

front-and-back-insets-seamed-in-between-velvetAll skirt sections joined.  Top of lace strips are
folded in and excess cut off, then machined
down while top-stitching with zig-zag
around inserts to avoid bulky seams.

p-pinned-to-cummerbund-equalizing-fullness-between-pins-before-joiningHand gather between pins, after positioning
velvet to cummerbund, right sides together.
Machine along gather line,
removing pins as you go.

machining-hem-zig-zag-prior-to-adding-frill-behindZig-zagging hem, pulling slightly,
to create slight flare.

cream-frill-top-edge-pressed-then-pinned-to-underside-of-skirt-velvetAttaching frill behind skirt(underside view):
Join strips of satin, silk, or polyester lining
fabric (best cut on bias) twice length needed.
Press over top edge quarter inch,
pin to inside of skirt, half inch above hem.
Zig-zag machine frill to skirt,removing pins as you go.
Zig-zag frill hem from front.

 

 

Cherry Fluzzies A & B

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.

Cherry B, RIGHT side view, with hem frill, indoors, right side view.png

Pink-purple silk, purple-black printed taffeta and rose print on black leggings are the fabric inspirations to go with the frivolous wool tops.         A

To buy ‘Cherrie Fluzzie B‘ please email ameliajhoskins@gmail.com – there are two slightly different ones available.

Dylan - Wooly top buttons closeup Cherry B.png
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.

Woolly top and buttons Cherry A - edited.png
cherry-a-front-view-best-indoors-front-view-blurred-editd-annotated

Pink-purple silk, purple/black printed taffeta, and rose print on black

leggings are the fabric inspirations to go with the frivolous wool tops.

cherry-fuzzie-a-fabric-patches-floral-close-up-edited-annotated
         Zig-zag machining holds down inside seams. Available in Shop

Cherry Fluzzie B    Making Garment:

 
patchwork-semi-circle-joined-front-unjoined
Patch pieces joined into a semi circle. Outer sides will will become front. Different length patches were used due to material shortage.
Patchworks machined 1.png
By cutting patch shapes into A shapes, with straight top and bottom edges, they build up into a semi circle.
Patchworks machined back full joined.png
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.
cherry-b-pinned-frill-2
Bottom frill pinned to dress hem, before zig-zagging on. Frill hem will also be zig-zagged.
Cherry B, pinned, tacked frill.png
Frill hem pinned, tack gathered, prior to zig-zagging.

Making garment:  Cherry Fluzzie A

patches-cut-from-leggins-edited-rotated-annotated
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.
Patchwork pinned prior to sewing - accurate daylight colour.png
Front side patchworks pinned to check colour placements. Silk fabric behind crimson lace patches.
patchwork-machined-central-horizontal-joins
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.
 
patchwork-1st-machining-right-side-edited-annotated
Patchworks machined - skirt section.
hand-stretch-cross-back-stitching-skirt-patchwork-to-woolly-top-annotated
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.