Tag: blue

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.


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

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.


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.