Plants and trees that we can use in dye baths, with and without mordants (which make colours stronger) easily dye cotton, linen and silk.
Just a simple collection and boiling of plant matter, then simmering with fabric steeped.
Very bright yellow, or ocre yellow achieved with Alder plant matter, leaves and twigs. A pre process mordant is soya milk which the centre linen was soaked in. Its a little too bright for my taste so I would use without mordant.
The left lace is with nettle dyebath, a very subtle dark cream, with hint of yellow-green in reality.
Flora used same weight as fabric.
Left: Ahimsa silk, folded in triangles along folded strips, to create ‘resist’ non-dyed areas.
Right: Habotai silk scrunched and rubber band tied, to create abstract, cosmic or marbled effect.
Either of these can be used as a background, to hand paint over with other colours; this is a technique I will explore in the future as preparation for silk painting designs. Flora’s workshop used plant based mordants (colour intensifiers) but metallic mordants would produce different shades.
Stripes achieved by folding fabric and using rubber bands to keep tight, preventing dye penetrating fabric.
Ahimsa silk folded and clamped to resist dye penetration, results in pattern.
Cotton lace rolled and 2 rubber bands used to achieve resist un-dyed stripes.
“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 lacings adjustable bust size 36-42 inch. Lacing can be removed.
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 firstname.lastname@example.org (Online shop under reconstruction)
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.
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)
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
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)
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.
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.
My bundles kept overnight, steamed next day; allowing time for dye impregnation.
My sample, after steaming; strong madder and hollyhock dye colour on thin silk.
Thicker silk gives less strong colour results; lilac, purple, ocre, using the simple method. The seed remains are visible before washing. Silk sampling is with ad-hoc arrangement of colours. If fabric had a resist paste or melted wax in some places, the dye would not penetrate and that would make a design left in white.
Plant dye workshop I attended to make my samples was run by Flora Arbuthnott at Forde Abbey Garden Festival 2017. Details of flora’s work and workshops below:-
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.
‘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.
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.
To buy ‘Love Never Dies’ or commission new one please email email@example.com to discuss.
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
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)
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.
To buy ‘Love Never Dies’ dress/skirt please email: awhile Shamanic Nights Online shop is under reconstruction.