Upcycle Green T-shirt to Dress

Upcycle ZZZ green dress new denim hem piece 2 - 001 - annotated - scaled1000
Finished joining of denim extended hem to green T-shirt

Large T-shirts make good short dresses for shorter people.  Hem uses two sleeves from an old denim blouse.  Thick warm cotton T-shirt from charity shop.

Upcycle B green dress, cut off denim blouse sleeves for hem addition - 001 - annotated, scale 1000
Cut off sleeves of old blouse or dress
Upcycle C green dress from T-shirt, needs lengthening - 001 - annotated scaled
Large T-shirt for dress
Upcycle E green dress, sleeves cut from denim blouse - 001 - annotated - scaled 650
Sleeves cut from denim blouse

Press sleeves flat, lay over each other and cut into long rectangles of equal length.

Upcycle G green dress, 4 piece hem addition, joined, sloping sides - 001 - annotated - scaled650
Sleeves cut to rectangles, joined with 4 seams.

Join seems to make false hem extension.  Make angles at the sides.

Upcycle H green dress, hem wider than T-shirt hem - 001- annotated scaled750
Extended hem ready to join to T-shirt

 

Upcycle I green dress, hem pieces joined, place centre to centre - 001 - annotated - scaled800
Extended hem ready to fit to dress, slightly gathered.

Turn one long side over twice, 1/4inch to make hem; steam press flat, machine stitch.

Upcycle J green dress position hem equally in quarters - 001 - annotated - scaled800
Pin extended hem to T-shirt behind T-shirt hem.

The extended hem needs to be a little larger than the t-shirt hem, to give an A-line flare.  In this case the hem width was decided by the length of the sleeves used from the blouse.

Upcycle K green dress inside pinned quarter of hem addition - 001 - annotated scaled800
Pin fabric into equal folds spread along hem section.

Work in quarter hem sections at a time, between front – sides, sides to back.

Upcycle L green dress machining hem extension over pins - 001 - scale 1000
Machining over pins, joining extended hem to T-shirt hem.

Stitch position leaves the last bit of T-shirt hem loose, for better visual effect.

Upcycle KA green dress hem machined and part pinned - 001 - annotated - scaled800
Part machined together; other side pinned, ready for machining.

If not sure how to machine over pins; (it can break your needles) then tack sides together first, before machining.

Upcycle M green dress inside hem machined, pressed - 001 - annotated scaled800
Press hem extension after machining
Upcycle N green dress pressed hem addition - 001 - annotated - scaled800
Finished machined hem.
Upcycle Z green dess hem addition side view mirror- 001 - annotated - scaled
Finished T-shirt dress, side view.

Dress is solely for home wear and not for sale.

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Recycle Shopping Centre

Swedish Recycle Shopping Centre  – the world’s first.

Recycle shopping mall

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

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 ameliajhoskins@gmail 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: ameliajhoskins@gmail.com while 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.

Jacket ‘LILIES’

This patchwork jacket was commissioned by 99yr old Beth, a friend of my sister’s in Dorset. She likes something different. Having lived in China, the average high street shop doesn’t attract her.

Clothes I make are well received by women who want something unique and original, rather than from high street chain stores; also for women who appreciate the craft of creative patchwork, resulting in the creation of a new fabric.

Original fabrics
The original fabrics chosen for Lilies Jacket

I chose the fabrics myself for the jacket, having met Beth just once. The item was to be for a wedding, so I wanted it to be light and classic, but to still have some interesting elements. The first fabric I found was the beige skirt with eau de nil applique feature of lilies. I decided this was perfect for the jacket theme.

applique corner
Lilies applique patchwork front corner

Fabrics I used were linen and linen-mix skirts from charity shops. Quite a lot of fabric is needed for patchworks; its best to have at least 5 different ones.

When I cut the patches out and laid out together, I decided there needed to be a highlight colour to accent over and above the all-beige overall look.  I rushed to the shops, and was lucky to see the pale green and pale blue devore skirt with floral print in shiny synthetic satin in the first charity shop I looked in; it seemed a tad shockingly bling, but knew once it was in isolated patches, it would merely enhance the overall arrangement. As soon as I added in the new patches, I knew I would work.

Devore printed skirt with shiny blue flowers on pale green voile base
Devore printed skirt with shiny blue flowers on pale green voile base

For this jacket, I chose skirts with embroidery so I could use the embroidered areas for patches.

Cream linen skirt with brown embroidery.
Cream linen skirt with brown embroidery.

From two embroidered skirts there was enough embroidered area, to give some decoration on every patch in the jacket. I had seen Beth had some embroidered clothes and so guessed she would like it.

lining
Lining in taupe and eau de nil roses

The lining was a bonus find, another skirt, viscose type, having just the right colours of taupe background with eau de nil green in the woven roses, which ideally complimented the classic beige, cream and light green of all the patches.

Cost of fabrics was £42 plus £5 for a synthetic jacket which I just had to get, as it had the shell buttons in shiny light beige with a hint of green, perfectly matching the jacket colours. A touch of shine for a jacket to be worn at a wedding I thought.

Back view of Lilies Jacket
Back view of Lilies Jacket

Due to the centre pattern piece of paper pattern being placed on the bias of the cloth grain/weave, the square patches become diamonds.

buttonholes
Bound buttonholes with two different fabrics and the shell buttons.