Clothes Treasure Paradigm

upcycled fabrics dress

A new fashion paradigm being experienced by designers, businesses and consumers is one by which clothes are treasured and valued for a variety of reasons based on overall sustainable production. This contrasts greatly with the existing buy-today, throw-away-tomorrow fashion business model.

UP-CYCLED – RECYCLED – ETHICAL FASHION

Vintage fashion is enjoying a wave of popularity, as consumers look for more individual, original garments, which now have a higher emotional value than the current season’s clothes from high street boutiques and chain stores

Why the growth in up-cycling?

The slow fashion CONSUMER is happy to spend more on garments which are sustainably produced.

The slow fashion DESIGNER or maker is happy to take longer on manufacture.

The constant waste of materials, with their associated production costs, is both an environmental and health dilemma. If you value the raw materials, of sustainable, ecological origins, you may value your garment more highly, and wear it for many years with a focus more on your clothes being timeless. (witness the popularity of ‘vintage’).

Dress, recycled fabrics

These days there is a proliferation of cast away clothes, a wasteful situation caused by fast fashion trends and cheapness of garments. Charity shops are brimming with last season’s clothes. Textile recycling and disposing companies are selling old clothes to Africa, impacting indigenous economies by reducing artisan production.

Shamanic Nights uses fabrics from charity shops, mostly very new and good quality. ‘Stonewashed’ Angles above, uses coffee/white dress prints, combined with original silk painted panels of angels and plants in colours to coordinate with fabrics used in dress, by Amelia Jane Hoskins, owner.

UNSUSTAINABLE BUSINESS MODELS

STOP OR REDUCE LANDFILL

Textile waste statistics are alarming; 13 million tons per year in USA.  Organisations are growing to help with this problem.

High street chain fashion stores rush to produce ever cheaper clothes to compete with so called ‘demand’. But the demand is created by designers and companies who put out seasonal ‘fashion trends’, providing them cheap enough for customers to buy new stuff every season, to be ‘in fashion’ but obviously the main reason is to increase companies’ profits. Many of your clothes are made in sweatshops in far away lands, where labour is cheap.

People are finding labels from makers, as cries for help, in their garments.

http://www.ecouterre.com/two-more-primark-shoppers-find-worker-cries-for-help-in-their-clothing/

http://www.theguardian.com/world/2014/jun/19/rana-plaza-uk-pressure-compensation-fund-victims

SUSTAINABLE BUSINESS MODELS

Slow fashion entrepreneurs and companies wish to change the unsustainable fast fashion model created since the industrial revolution. Their main criteria is to use ethical fabrics and/or small scale production; and to provide fair wages for garment makers.

Some designers are choosing to use ecologically produced textiles, some choosing to use pre-worn clothes and discarded textiles to remake into new originals for the discerning ethical buyer.

Ecologically minded consumers and fashion businesses support the development of sustainable fabric production and sustainable garment manufacture. Rather than relying on mass production, with associated use of cheap labour and possibly poor manufacturing quality guidelines.

SUSTAINABLE TEXTILES

Ecologically friendly fibres such as organic cotton, linen, hemp, bamboo, grown without pesticides. Expensive pesticides leach into water systems causing health problems. Textile production is the second biggest contributor to water pollution globally. 20% of global industrial water pollution comes from treatment and dyeing of textiles.

http://www.sustainablecommunication.org/eco360/what-is-eco360s-causes/water-pollution

ORIGINAL FASHION

My personal philosophy is that there is already enough fabric in the world! Rather than buying new fabric, I’m personally committed to finding the best second hand garments to cut up, to recycle the best unworn fabric and combine in new ways. The result is a tailor made, freshly designed, totally original and new garment.

Textiles produced in small quantities by artisans in small scale village communities, provide rarer originality of fabrics to be treasured by end customers. Natural dyes may be used. Collections may be limited. ‘FAIRTRADE’ cotton is available. Wages must be fare.

We must value our work in the new paradigm – unique and sustainable is best, and probably more expensive, rather than falling in line with the old paradigm, where cheapest is better despite the cost to the environment and peoples’ lives.

Some good books are:

TO DIE FOR ‘- Is Fashion wearing Out the world’? by Lucy Siegle.

SHAPING SUSTAINABLE FASHION‘ Changing the way we make and use clothes, edited by Alison Gwilt and Tina Rissanan, pub. Earthscan.

REFASHIONED‘ Cutting Edge Clothing from Upcycled Materials by Sass Brown

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  ……….

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 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.

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.

Red ‘HOPI DANCE’

Marian modelling 'Hopi Dance' red dress.
HOPI DANCE. Back view. Cream cotton, black spotted viscose panels. Dress tapers to ankles.
HOPI DANCE seated.
HOPI DANCE seated.

To buy ‘Red Hopi Dance‘ dress, please contact ameliajhoskins@gmail.com or ameliajanedesigns@icloud.com – I have the VOGUE pattern to make a different colour-way.

Close up of silk painted panels of Hopi bird design by Amelia

Silk painted panels: Close up of white and black background silk panels of ‘Hopi Bird’ design by Amelia, maker of Shamanic Nights clothes.

My inspiration for the designs on silk were taken from images on Native American pottery. The bird designs had been painted around the pots, making the design full circular; I kept many attributes of the circular designs when putting into 2D.  Colours combine in this case, to compliment the dress colours.

‘Red HOPI DANCE’ Red Linen with hip ties to adjust at hips for fuller sizes.  Pattern used Vogue1234 suitable for knits and so cuts small.  I had to add 1.5 inch side inserts under the arms and sleeves to give better fit for 34-36 inch bust.