Tag: dress

30 Dec

Jerkin Dresses

Amelia Hoskins / Coat Dress / / 0 Comments
Image
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.

Image
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]

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.