Category: Dressing Gown

02 Dec

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Garments Available

Amelia Hoskins / Dress, Dressing Gown, Jacket, Skirt / 2. December 2020 / 0 Comments

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

Dresses

Dressing Gowns

Jackets

Skirts

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]

[Add to ETSY when sash added]

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.

[Add to ETSY ?]

[to be added to shop 2021]

Plum Velvet B

Flares in panels of aubergine and champagne peach crushed velvet

Wool tartan drop waist-hip cummerbund with side zip

Triangular voile print insets (all as Plum Velvet A)

Butterfly print hem blue/purple

[Gallery under reconstruction]

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Plum Velvet C

Flared circular skirt: lilac and beige variety of panels with crushed velvet aubergine/peach

'V' shaped dropped waist-hip cummerbund with added butterfly print frill. Front poche (pocket) gathered. 3 buttoned side opening with frill

[Gallery under reconstruction]

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05 Nov

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Tasmanian Blues Robe Dress and Nigella Blues Smock

Amelia Hoskins / Dress, Dressing Gown, Robe / 5. November 2020 / 0 Comments

Hand dyed gold silk used for collar and patches

FEATURES: Collar is of hand dyed silk, from natural Tasmanian eucalyptus tree bark dye then painted over. Silk sample designs see here. [add link]

APPLIQUE DECORATION: Nigella Seed pod designs from my drawings of dried seed pods in my vegetable garden: see photos on photography site resonant-visions [add link]. Beige lace has a similarity to the thin casings of the pods as they break down.

Tasmanian Blues Robe Front

Tasmanian Blues Robe Back

Applique seed pods on front

TASMANIAN BLUES Robe Dress on Shamanic Nights ETSY shop

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 - available Shamanic Nights ETSY Shop

Nigella Blues Smock – Bound buttonhole sewing – Click to enlarge

Outer side machined, holding layers firm.

Tasmanian Blues Making Procedure

Fitting top shape on dummy

Bodice top fitted to lining fabric

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.

Sleeve lining lengthened on dummy

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.

Sleeve lining lengthened patchwork

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.

Sleeve top cut to fit armhole.

Shaping sleeve top fit fit curve of bodice armhole.

Sleeve lining with outer patches added

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

Floral patch added to upper sleeve and back top bodice

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

Upper sleeve both lining and upper sides ready

Sleeves layers visible ready for inserting into dress armhole.

Sleeve ready to be sewn into dress armhole

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

Creating Floral Sleeve Turn-ups

Fused vylene interfacing ironed onto inside of outer sleeve extension.

Sleeve Cuff Pressed

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.

Sleeve cuff attaching to sleeve

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

Machining Cuff to main Sleeve

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.

Gusset Inserted Under 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 under-arm gusset to dress sides

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.

Gusset inside lining piece

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

Underarm gusset completed

Facings for Collar Front

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.

Back Neck Section and Collar forming

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.

Collar and Facing forming

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.

09 Aug

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Robes First Designs

Amelia Hoskins / Bespoke garments, Dressing Gown, Robe / 9. August 2020 / 0 Comments

Coral models robe Jade Garden in Falmouth

Early photo inspirations for advertising: composite picture including a metal gate in Marseilllan, France, with French house and a rustic wooden gate with flowers and trees in Falmouth, Cornwall. ~ graphic by Dylan Hughes.

cover-up.

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- Tasmanian Blues Robe Dress and Nigella Blues Smock
Tasmanian Blues Robe Dress and Nigella Blues Smock

Category: Dressing Gown

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

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.

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.

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.

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.

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.

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

Front buttoned, floral print lined.

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.

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.

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

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.

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.

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.

BLUE Patchworks

Applique Seed Pods Nigella 'Love in a Mist'

NIGELLA BLUES Smock Top Dress

Tasmanian Blues Making Procedure

Coral models robe Jade Garden in Falmouth

Early photo inspirations for advertising: composite picture including a metal gate in Marseilllan, France, with French house and a rustic wooden gate with flowers and trees in Falmouth, Cornwall. ~ graphic by Dylan Hughes.

SEARCH: Garment Type: Plant Dye

Contact Amelia