Author: Amelia Hoskins

10 Sep

Plant Dye Processes

CREAM  -  GOLD  -  BLUE   on Ahimsa Silk

 

 

 

Most plant dyes produce cream or gold, dyed cold or hot.  They can be modified to turn darker and some modified to turn green. Mordants are used to soak silk in first.  Modifiers are used after dye.  Blue is only achieved with English Woad.

 

Dyed samples:     Logwood purple - Eucalyptus deep gold - Woad blue - Mullein light gold - Woad blue - Hawthorn gold beiges - Iron modified - Ladies Bedstraw orange

Flora Arbuthnot's Dye Workshop

My dye experiments were inspired by first workshop attended.  We foraged locally for leaves and bark. Flora taught us about mordants to soak fabric in prior to dyeing.  See samples on Post.

Flora Arbuthnot's Bundle Dye Workshop

Bundle dyeing by steam was a quick workshop at a garden festival. Petals and seeds were spread on cloth, sprayed with vinegar, folded in tightly wrapped bundles and suspended over steaming pot.  Excellent results for backgrounds, seen on this Post background.  See samples on Post.

26 Jun

Hawthorn Berries Three Rivers Dyed Silk

Hawthorn Berries 1 - River Taw

Berries from Tarka Trail foraging trip along River Taw found by ditch and field growing through hazelnut and willow trees with briars and nettles.

Hawthorn (1) - Dye Bath Process

  • Soak berries for 2-3 days.
  • Boil then simmer for 1-2 hours.  Add water and re-simmer if evaporates.
  • Mash berries, remove pulp from dye pan.  Cool to hand hot.
  • Soak silk in dye bath pot overnight or for two days.
  • The longer soaked, the darker and stronger the colour.

Steeping in dye bath

Silk absorbs dye colour immediately, but some hours of soaking will deepen the tone.  Move silk occasionally to ensure all parts even

1st silk can be left in a bowl to dye stronger overnight, while keeping back some dye liquid to soak a 2nd piece, which will have a paler result.

Hawthorn Berries 2 - River Otter - Dye Process

Soak berries and simmer as Hawthorn (1).  Two silk samples were added to dye liquid when cooled and soaked in a wide copper pot for a day and a night. One was cream. The other was dull pale grey (failed woad dyed piece) which resulted in a browner result. (Colour mixing: grey + hawthorn = brown)

Comparisons - Rivers Taw - River Otter berries

Taw berries result is golden.  Otter berries result is dull fawn.  Unknown whether the different river soils affected the dye colour, or if the copper pot had an effect, which is likely.

Hawthorn Berries 3 - River Exe - Dye Process

Hawthorn Berries River Exe Sessions1,2,3,4 give 4 colour variations

Silk 1 - Lime green.   Silk 2 - Medium mauve.   Silk 3 - Silver.  Silk 4 - Pale peach

Fascinating variations obtained by use of mordants, or washing out methods, or how fresh or old/exhausted the dye bath becomes.

Exe Berries - Ahimsa Silk 1. Mauve turns Green

Large long piece of silk soaked a few hours in pre-mordanting Alum beforehand.

Good Mauve result.  Washed out in tap water, with added soap. Turned GREY, then gradually GREEN!  (Far left)

Was it the tap water?  Was it the soap?

Exe Berries - Ahimsa Silk 2.

Two dress top shapes. NO premordant alum.

Steeped 24hrs in remainder dye bath pink sludgy liquid.

Washed out in tap water - stayed a medium MAUVE. (presume due to no alum).

Exe Berries - Ahimsa Silk 3.

One long silk piece with a hem.

Placed in previous dye bath (1. and 2.)

Turned mauvish, but dried out SILVER! (Right)

Exe Berries - Ahimsa Silk 4.

Silk pre-mordanted with Alum and Cream of Tartar.

Cider vinegar from pre-soaked apple peels added to dye bath.

Placed liquid and fabric in copper pot.

Result overnight - pale peach.

29 May

Dress Design Adaptations

Asymmetrical Cuts - Two dresses with diagonal cut features (Sold) which enable panels to be joined at angles to flare the skirt section

Purple Electric Asymmetrical Dress

Inspiration was two prints; white linen with lilac flowers and white cotton with abstract lilac illustrations.

Coordinating purple salt-splashed dyed silk top forms the soft bodice top.  Linen and cotton prints cut into rectangular panels joined to the top silk diagonals front and back.  Slashing the purple top diagonally gave a bias edge from which to attach the lower cotton and linen print rectangular sections which form a flare over hips as fabric falls.

The sleeve outline was followed but floral linen sleeves are added to shape contour.  Hem is therefore made integrally by this method, as a 'handkerchief' style with angles as a style feature.  Purple piped edges holds all the pieces together and purple linen is repeated in hem pieces.

(See Making Gallery bottom post)

Design Construction: Top with added panels

Often there are pretty tops which can have lower panels added to make a dress.  Shapes can be cut from tops and dresses, to create the princess front and back points.  Fabric from dress, or frills and lace can be added to top 'V' shape edges, with panels sewn behind.  Front centre lower panel is ecru linen embroidered. Black and cream print panels. Side panels are hand painted silk with grey rabbit designs.  Neck shape was original with top, but a contrast print could be used.     [Rabbits dress SOLD]

Mushroom and Black 'V' panelled long dress

Asymmetrical cut bodice top with added linen 2 inch border with black picot seam insert.  Skirt section of cream and black print panels, with embroidered linen front piece.  Side painted silk panels with rabbits.

02 Mar

Silk Painting dresses Kokopelli and Persian Piri

Two dresses featuring silk paintings of mythical figures from two different cultures.  Piri from Persian art meaning beautiful and graceful girl, or supernatural being similar to angels.   Kokopelli the flute playing seed spreader from southwestern Native Americas.

Persian Piri - Dress with 'Piri' feature silk painting

We get our word fairy from peri/feri winged spirit in Persian mythology. Fairy comes to us from Arabic which has no 'p'.

Dress modelled at Exeter Cathedral Green Craft Fair before crimson sash was added.  The sash echoes the sash in the painting. Dress began life as a short top without sleeves, collar, or lower frills: from an earlier created range with the Piri silk painting rectangles. A deep teal blue version was sold.  After finding the yellow ocre lace blouse in exact colour match; the collar, sleeves and frill were added.  The lower cotton abstract print frill was also added; which links to the Piri colours and gives a weight to the dress.

[To be added to ETSY Shop 2021]

Kokopelli - flute player features in silk painting with feathers, hand and spirals

Motif outlines were made with wax batik technique. Melted wax applied with a tjang gives a very fluid line and must be moved rapidly before wax cools, or causes blobs.  The feathers are outlined in nomal gutta resist for silk.

After applying dye, silk is steamed, and washed to remove any wax or other gutta resist paste used in the outlines.  Embroidery is used to give definition to motifs.

Habotai silk stretched on a frame.  Motifs of feathers, spirals, Kokopelli flute player, hand outlines. Resist outlines stop dye from spreading when applied.

Predominantly Kokopelli as a ‘fertility deity’ is a bearer of seeds and the flute could have been used to help the plants grow with music, or simply announce his coming.  Its quite likely such characters travelled for trade through South America and North America, as is believed from the rock petroglyphs.  Images show either head feathers, or antennae; some with balls on the end, which almost look like a map to the stars; which might indicate planting time, as recognised by star positions.

     Kokopelli (koh-koh-pell-ee) is a deity and symbol of fertility recognized by several Native American groups in the Southwestern part of the country. Like other fertility gods, Kokopelli is known to preside over both agriculture and childbirth….survived from the ancient Anasazi    Indian mythology. Kokopelli is also a prominent character in Hopi legends.

A Native American video explanation of how Kokopelli as a man, not a god, brings all the seeds from the previous world. The ‘flute’ maybe a medicine pipe.  He could be a simple seed seller, or it could even refer to past colonisation of earth.

11 Feb

Medicine Wheel Silk Painting

MEDICINE WHEEL design on Sundress, Mini-Kimono, Dress Desert Walk and Dress Champagne

MEDICINE WHEEL SUNDRESS

Physical - Emotional - Mental - Spiritual

Four sectioned medicine wheel is a traditional Native American theme.  Four is a repetitive sacred number theme.  The 'four' aspects written in the painting 4 quarters are considered most important for family spirituality for which the man of the family is responsible.  Native American teacher explains the Four Worlds and the underlying meaning of '4'. There are also four basic elements of earth, air, fire, water.   The geometric embroidered symbols are from a website; and represent metaphysical states.

Sundress Making

Sundress is built around the central silk panel, on tailor's dummy.  First attach strips to silk painting and band above bust, joined under arms.   Side flounces are a useful idea for fuller hips. Attach to side panels. (See pattern shape here

Back strips are created fitted to back, with flare vents below waist for movement and design interest. Back buttons for a tighter waist fit.

Machine embroidery used on the symbols.

Summer Kimono Jacket in patchwork silks

Medicine Wheel Kimono Making

  • Fabrics came from two dresses with interesting border prints: dark brown viscose with large pale green circles, and pale blue and brown silk print with circular border motifs positioned for sleeve edging.
  • A blue/gold tartan was chosen as a highlight colour, by using blue/gold patch to top section of collar and lower down.
  • Kimono type collar is created by wide double strip sewn to neck and front edgings.  Using a seam join at back neck, the best shape can be created to fit neck well, by shaping at an angle on a model or dummy.  For a fold-over collar, upper part needs to be wider (shape seam wider), or use back section cut on bias (across the grain, for stretch).

Making - Sleeves

  • Sleeves are simply the gaps left at the body fabric rectangle edges, left undone (seen at shoulders on dummy).
  • A four-inch strip of the blue/gold tartan was inserted below armhole space for better shaped fit. Strip needs tapering for about 4-6 inches up to sleeve edge opening.
  • A bright blue turquoise fabric was chosen for inside the sleeves, as decorative contrast and when sleeves are rolled up.
  • Narrow bows were already on the fabric used so was left in situ on the sleeve edge.
  • If sleeves are long, then turn-ups are useful using an inside cotton fabric to hold them in place well.
  • Design washed out paler than planned after steaming too long, so machine stitching is used to highlight outlines.

Kimono happy

Silk kimono sold to Jacqui when my garments were sold in local organic fabrics shop.

Length appears shorter on a taller woman than when fitted on dummy during making.  Photo shows how the loose kimono is suitable over other shirts and T-shirts and so looks good on any size.

The silk painting is on her left side, out of view.

Pocket placed over contrasting brown patched piece is a good distinctive decoration.

(shop owner's photo). 

Medicine Wheel  on linen and cotton dress Desert Walk (Sold)

This version of 'Medicine Wheel' was the result of test sample prints at the Double Elephant Print workshop for Mac design 'silk screen' printing. I used my photographs of other 'Medicine Wheel' designs, amalgamated, but there was only two 'screens' (polyester printing screens) each, so the result only shows two of the colour areas.  However, the abstract quality is interesting.  This was a quick way of getting many designs on white, grey, and beige linen and cotton samples.  This applied panel has two prints one above the other over a beige finely striped cotton, which aided the textural background.  Print ink available was not suitable for silk.

Buyer Story:  The craft fair was a washout on a windy and rainy stormy day.  Joce turned up late, from far out of town, after many crafters had left due to bad weather.  I had stayed until the end and was fortunate Joce liked my unique linen printed dress very much.  Its just right for her; the size, style and colour. She was very pleased with her original find on its first display show.

I have several samples remaining of this batch printed 'Medicine Wheel' design on cream and grey, and another dress 'Desert Flare' (not featured).  Also seen nicely on white linen in 'Opaline Frolic'.

'Making' images to be uploaded here.

'Medicine Wheel' print on Dress CHAMPAGNE (available)

Dress features two 'Medicine Wheel' prints grey-on-grey either side of front with embroidered central symbols.  Existing fitted bodice top was the inspiration, cut from a dress, preserving champagne satin frills.  Black and cream fabrics coordinate with the fine cream and black lines in ridged top.  Black viscose utilises an existing dress frill for interesting positioning.

Background image is from a range of small murals featuring Peruvian plant spirits painted in the tropical biome of Eden Project, Cornwall. Bromeliad Colita de Gavilan (Billbergia sp.) is depicted as the headdress of the spirit.

02 Jan

Summer Blues Skirts

Amelia Hoskins / Skirt / / 0 Comments

Blue Fabric Coordinates - Summer Craft Show Project

Skirts designed as holiday wear; inspired by mixing and matching my 'blues' collection with blue/white and blue/green.

Turquoise Dreams (available)

Wrap around skirt has good quality vari-toned turquoise viscose curved edge side panels, waistband and sash, with semi transparent printed voiles forming main skirt attached to turquoise silk lining, as hip covering. Long sash belt to wrap around. (slit feed through to be added)

Blue Tiger (available)

Blue, purple and black polyester voile layers over airforce blue satin lining, plus a contrast light blue floral fabric as frill decoration and front edge.  Elasticated waist facilitates wearing style in any position.  See 'Making'.   SIZE: Length 18 inches/46cm. Waist 30 inch/76 cms (max elastic stretch 36 inch/91 cms).

BONDI BEACH II (available)

Stretch swimsuit fabric top print with black tie cord to wrap around through loops.  Cotton abstract ethnic print lower part.  Waist tie will wrap tighter for smaller size, or extend looser as beach wrap for larger size to 34 inch waist, which could also be worn dropped to a 34 inch hip.  To be added to shop.  SIZE: Length 18 inches/46cm.  Waist: 26-28 inch/66-71 cm

Prussian Dolphin  (Sold)

Skirt in blue/white viscose main, with elasticated waste and floral voile patch print lower panel. Patched pocket. Fringe on blue viscose overlap side. Floral voile lower section is cut from blouse bottom.  Summer feel achieved with light voile fabrics lower panel.

BONDI BEACH I (Sold)

Original surf print fabric was one small skirt: cut in two to make two new skirts.  See MAKING for waistband sash slit and sash.

INDIAN BLUES wrap around (SOLD)

Main skirt area repeats use of blue/white abstract thin cotton print.  Additional smaller geometric print hem layers (viscose/polyester).

Waistband, side overlap and sash in Indian navy blue/green cotton, which is not slippery: good for waist and sash as will hold a knot well.

(Commissioned by Jennifer)   See Indian Blues MAKING: waistband with slit for threading long sash through around to back.

MAKING Wrap around skirts

  • A-line shape created by putting darts at top of front and back waist of an A-shaped rectangle (waist to hip).
  • Skirt rectangle can firstly be made with variety of patches. Recommended patch quality: cottons at top with viscose or polyester lower which hangs well.
  • When darts made and pressed, lay skirt pieces flat and cut lower parts following the curve created in top part.
  • Allow extra 12 inch to rectangle, for overlap side.  Due to patch joins, I use a patch length for side overlap.  Choose feature fabric which can also be waistband.
  • See making photos for bound slit which must be in waistband to pull sash tie through, to hold waist in place.
  • A-line shape fabric can be taken from a dress which is too small: add slit at side with added flap length.  Use upper dress part for side flap.
  • A curved front flap edge is optional; on one side or both.  Alternatively to a flap section, rectangle can have piped edging. (not featured here).

SLIDE SHOW - Prussian Dolphin - Blue Tiger - Turquoise Dreams

30 Dec

Jerkin Dresses

Amelia Hoskins / Coat Dress / / 0 Comments
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Jerkin Dress D'ARTAGNAN - Corduroy top, wool skirt, organdie under frill.

Jerkin Dress'D'Artagnan II'  -started with a corduroy skirt turned upside down, so that the lower flared part became the shoulders; cut and shaped for cap sleeve shape.  Front buttons are antique metallic styled.  Skirt is wool patched with corduroy border; lined with silk organdie under skirt.

SIZE: Waist 30 inches, slim hips.  Bust 34 inches. Front length 36 inches. Back length 39 inches. Click Gallery to view images.

Jerkin Dress D'Artagnan I (Sold)  Made using a similar black on brown printed corduroy as D'Artagnan II.  Taffeta patches, sleeve caps. Black/tan coordinated cotton print collar, and side 'V ' flare insets.

Jerkin Dress Linen and Cotton Tartan MULBERRY WALNUT (Sold)

Jerkin Dress Mulberry Walnut - modelled by Boo, bought by Laura.  Like the other brown jerkins, this uses skirt or trousers upside down, so the base of the garment becomes the shoulders, naturally forming the capped sleeves.  Shoulder seams are cut sloping for good fit.  'Skirt' or 'trouser' pieces will hang straight at front and back, but need extending under arms and hip sides with triangular patch insets. 

The garment is coordinated by using the of contrasting red/grey/black linen/viscose tartan for side panels, collar, pocket and front button welt, with pleat at the back.  Front pocket floral applique detail was taken from the original garment fabric.

This was a popular style and sold on first showing at a craft fair. Both ladies were in black jumper and leggings which was exactly the combo I had envisioned it worn with.

Jerkin Dress Rustica (Sold) has usefull two-buttons: enables wearing loose over woollens or tighter over T-shirts.

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RUSTICA was bought by craft show visitor and restaurant owner Ayse
02 Dec

Garments Available

HANDMADE ORIGINAL CLOTHES - A variety of leisure, fun and decorative ladies' patchwork.

Aldebaran

Uniquely shaped, with deep kimono styled sleeves and collar extended to hem.

Red-Pink-Black-Cream patchworks.  Knee length with lace-up adjustable front to adapt bust size.

Shamanic Nights ETSY Shop

Purple Shimmers

Kimono styled below knee dress, (same style cut as dress Aldebaran) in panels of purples, navy and floral prints.  Close fitted back top, with skirt section gathered slightly below bust into high waist.

Unique adjustable front lacing.  Front lower skirt stitched closed but can be reopened to customer's preference for open lower dress below lace-up.

[Gallery under reconstruction]

Shamanic Nights ETSY Shop

Cappuccino

Two dresses in coffee/cream/black patchwork: multi styled with stretch cotton bandeau top which performs dually as a dress bust hold up, or cummerbund if worn as a skirt.

Two variations: Black lace hem, lined in nylon knit with coffee coloured feature patchwork print 'Love Never Dies'.

White fringed hem version, unlined, no feature coffee patchwork; just cream and black.

[Gallery under reconstruction] 

Shamanic Nights ETSY Shop

Tropical Parrots

Lose fit large shirt dress in olive green/black/bright pink with parrots print back, and beige green orange passion flowers front printed panel. 

Lined in black viscose shirt with orange flower print: allows dress to be worn in reverse.

[Gallery under reconstruction]

[To be added to Etsy shop]

Tasmanian Blues

Robe dress in blue cotton and viscose; below knee, with unique seed pod applique decoration.

Collar is silk painted, on hand dyed gold collar, from maker's eucalyptus bark dye session.

Shamanic Nights ETSY Shop

Nigella Blues

Short sleeved large smock top in same fabrics as Tasmanian Blues robe-dress.

Front buttoned, floral print lined.

Shamanic Nights ETSY Shop

Cherry Fluzzies

Two patchwork panelled dresses with bright cerise knitted buttoned tops.

Two variations:  An A-line knee length; and a flared wide skirt with frilled hem on knee

Both have same knitted top. 

[Gallery under reconstruction]

[Add to ETSY]

Hopi Birds  Dress

Adaptation of scarlet red linen skirt, with linen and viscose back panels using Vogue pattern.

Ornate front polyester print patterned applique.  Maker's hand silk painted lower tie-back panels of 'Hopi Birds' on black, and white.

Name derived from abstract bird designs on Hopi pottery.

Shamanic Nights ETSY Shop

Hopi Birds Grey  - Post

Pinafore dress with full silk painted bib front, and panels of thick grey cotton with silk piped

edgings.  Silk painted front panel of 'Hopi Birds', from Hopi potter designs.

Slim fit hips 34-35: model Marian

Shamanic Nights ETSY Shop

 

Butterflies and Pansies

Frivolous tea party dress in pink and maroon silk, with silk (bundle dyed) sleeves, pink-mauve shot taffeta and cotton with pansy print.

Silk painted front panel of nigella seed pod with butterflies and banana leaves.

[Add to ETSY when sash added]

Kokopelli

Shirt sleeved button fronted smock top dress in grey and lilac, with lower section gathered at bust line.

Lilac/white long striped sleeves have pre-existing turn up tab to elbow.  Muted grey/white viscose rose print front and back. 

Front has large silk painting one side, featuring Kokopelli design from rock carvings.

Shamanic Nights ETSY Shop

Persian Piri Dress

Dress converted from mustard yellow cotton/viscose tunic top, with pink/green abstract print lower frill.  Lace lower frill, sleeves and collar.  Extra long featured two toned pink sash.

Maker's appliqued silk painted panel of 'Piri' figure from Persian illustrations.

[to be added to shop 2021]

11 Nov

Silk dyed with Comfrey leaves

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Comfrey Dye Bath Preparation
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Shibori stitching for resist of dye penetration.

Double rows gathered - lines, wavy lines, circles.  Can be prepared while leaves simmering

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Dye Bath Process

  • Soak comfrey leaves for 24 hrs - simmer for an hour, watching water level.
  • During simmering there is time to do some shibori on the silk: double stitched rows, pulled, gathered tight, as rings, or lines. [link]
  • Remove from pan, squeezing excess dye liquid from leaves, or press through colander.
  • Soak pre-wetted silk in hand hot (never boiling hot). Stir for first 5 mins.
  • When colour did not darken anymore, after a few hours, I lifted the silk out, added some rust water (or ferrous sulphate) to dye bath as a modifier, then lowered half the silk piece in, to achieve a partly dyed piece.
  • The difference in tone when dry was much less than when wet, so its best to always allow dye to go darker than wanted, as it will always rinse out lighter.
05 Nov

Tasmanian Blues Robe Dress and Nigella Blues Smock

Features hand dyed silk painted decorative collar of gold dyed silk from natural Tasmanian eucalyptus tree bark dye

Original silk painted samples dyed with eucalyptus bark dye on my photography site resonant-visions where there are the photographs of the nigella seed pods I used for the applique designs.

Tasmanian Blues Centre front print and applique details

BLUE Patchworks

Abstract with text print blue/white cotton-viscose.

Feather print navy-white cotton.

Navy blue lace lined on gold.

Stylised flowers blue-gold-navy cotton print.

Gold embroidered cotton.

Gold plant dyed silk.

PLUS – Leopard print blue-black-grey and  Chinese Bird of Paradise with gold texture cotton.

Applique Seed Pods Nigella 'Love in a Mist'

Robe Dress has applique lace pod dyed in eucalyptus dye bath after the collar piece. Colour took well, which is a guide to fabric content being cotton or silk. Dark centres to seed pod designs are cut from eucalyptus dyed silk (iron modified).  Light centre to pod is from bundle steam died silk with seeds and petals.  Nigella blues has variable on same pod idea.  A motif is a good means to join over a seam (smock left top). Also provides contrast to break up a solid dark or light area.

NIGELLA BLUES Smock Top Dress

When there are enough patches prepared, another garment can be made.  Size and shape was dictated by the blouse used as an underlining, the colours of which were a perfect match, being cream brown and pale blue.  Short sleeves made in dark blue lace.  Coconut buttons with bound buttonholes.  Applique patches again created with eucalyptus dyed lace and bundle dyed silk.  Back hem is drooped lower.

Nigella Blues Smock – Bound buttonhole sewing – Click to enlarge

Tasmanian Blues Making Procedure

Lining (blouse) is put inside out on model, then outside patchworks pinned to it.  First cut blouse neckline according to style wanted) allowing extra cm for seams.

Short sleeve (blouse) as lining, needed lengthening with cream floral thin polyester fabric.  Fitted on dummy to check desired finished length of sleeve, before cutting length.

Llining of sleeve (partly made in patches), except small join at shoulder top which can remain after cutting open and flat most of the lining blouse.

Shaping sleeve top fit fit curve of bodice armhole.

Lining sleeve having patches added.  Bodice top right has outer fabric pinned.

Floral patch added to upper arm with blue lace.  Floral fabric used for top back bodice top. Leopard print added.

Sleeves layers visible ready for inserting into dress armhole.

The floral patch has gold in which was a pointer to add the gold dyed silk for collar

Fused vylene interfacing ironed onto inside of outer sleeve extension.

Blue and gold floral fabric used for decorative interest. Seam pressed 1cm away from outer hem, for added decorative interest, before cutting rough edges equal.

Pin in place cuff and upper sleeve (when open and flat).  Join seam down length of sleeves.

After outer sleeve patches also seemed to close sleeve, smooth down outer sleeve patches to lay behind sleeve cuff. (Cuff folded over first and pressed). Pin cuff to sleeve; machine or hand stitch down, all around sleeve.

In order to increase the dress size to 38",  to be larger than the lining, and to give a loose arm feel, sleeve inner and outer was left unseamed for 8 inches with 2 inch extra at armhole line.  Two gussets were cut, and added one to dress and one to lining. (see machining images).

Machining gusset side to dress side, from arm seam slit point to empire bust line bodice cut.  I used viscose weight for outer gusset to match with fabrics, and the blue lace for inner gusset, for light weight in the under-arm area.

Lace used for the inner gusset lining; also machined to lining down length of sleeve slit, and joining bodice front and backs.

Join patch pieces to form a facing (take shape from back neck centre, around to front, on dummy). Pin to cotton to make a pattern to cut vylene interfacing.  Or use two thicknesses of cotton tacked in.

Lining fabric (black/blue/cream floral) (interfaced) used as an upper back section to be inserted into a loose neckline.  Smart patch colours (with gold dyed silk painting) joined to form facing, which when turned outwards, becomes the open collar.  Note 'pointed angles' - when turned right way out, become collar points.

Patch pieces chosen  for outer collar. This may be difficult to follow for beginner sewers. Whatever shape is the front of garment (e.g. a basic round neck cut down centre front): this requires a facing fabric, so when top neck is turned out, it becomes a small faux decorative 'collar'. To have a proper back collar would need additional piece inserting around back neck.

Images copyright Amelia Jane Hoskins Please email for use permission.