I had a large quantity of white linen at the time, which inspired the cream/beige coordinations.
Some patches I painted in silk, designed to coordinate with the existing textile prints used in the robes: pale design seen in upper arm above is an enlarged version of a smaller design shown below it. Black ornate design on right robe side is silk painted replica of smaller print.
Cream, beige with colour patches, and black highlight.
Paler colours blend with the neutral cream and beiges, and splashes of black and navy are tasteful contrasts.
Robes all had sash belts in style of house coat usage.
Large patch formats were due to original ideas for quilts, subsequently converted to robes or dressing gowns.
Very warm thick cotton winter robe, dressing gown or summer coat. Large turn back collar all-one.
Cream, beige and green theme. Midi length. Long on shorter women; modelled by Coral, Falmouth.
Fabrics: Ornamental shepherdess cotton furnishing, furnishing floral print, beige linen, green taffeta.
Robe inner lining of brown cotton and cream satin. Cream satin turn-up sleeve lining.
Exhibition Curator Hilary Burns I remembered from 1970s Textiles Degree course. She studied weave; myself silk screen printing. Now a basket weaver, she had also moved to Devon. It was uncanny how she spotted my work at a craft fair and chose for the exhibition.
Named for a Mandarin-style collar made with a strip on a curve (cut x 2 on bias): Piped edge in black; also on pockets. Patchworks of equal 8 inch x 4 inch. For attractive 'turn-ups', use contrasting fabric. Sleeves have faux turn-ups by adding black lace layer below last black patch layer, which turns back to be stitched also 2 inches up inside lining, to reveal black/white striped cotton-satin lining. The seam formed when stitching to lining, gives a thicker strong line, which will enable a turn-up to sit at the fold-up nicely.
Dress hem is same black lace as end of sleeves. Adding a bottom hem layer 'frames' the garment together; cut double to stitch down inside, encasing the edges of the upper patchwork. Dress uses same striped fabric for front facing lining for interest.
As an artist and textile designer, I have a keen eye for the illustration and patterns in textile prints. I source those which appeal to me, variously of classical floral illustrative, geometric, and astral. A combination of all these together with coordinating plain colours makes a good patchwork.
Not all prints are of personal favourite by themselves, but depending on their colours, I will see a way they would contrast or blend within a theme. A dress full of rose bouquets can be cut up to introduce patch areas highlighting the best flowers. A smaller patchwork piece/area of fabric can become more special than the full repeated print area.
Cotton lace tops (often cotton/acrylic mix) are another good find, as they can be layered over other colours. Most synthetic lace fabrics also surprisingly take up plant dye to some extent, which removes any stark whiteness, too brilliant for patches amongst colours.
I usually choose a starting point of a print, or a part of a garment. then make a pile with other colours and prints (5 is usually sufficient to start with). As you do this, one choice may be removed and replaced with another, as the combined effect literally 'shouts' too dark, too light, etc., depending on the theme in mind. The most subtle patchwork is when the overall effect is of fabrics of a similar tone; i.e. nothing too light, nor too dark, on its own. I often do include black with a strong colour collection, due to its fashion favouritism, but am more careful with lighter tones and darks mixed, when making patch-worked garments using panels larger than traditional patchwork.
Some garments have my hand painted silk panels. The print designs in each fabric collection may suggest a new design to be developed further, using their elements to create a silk painted panel, or I may simply copy some elements combined with other images of my own. Colour mixing dyes to match the existing prints is an essential skill. My silks, Habotai or Ahimsa, are base dyed with natural plants, in pastels and mostly golds. In 2024 I'm experimenting with clamp dyeing backgrounds and making dye paints from plants and roots to use instead of commercial chemical dyes.