slow fashion – Shamanic Nights

23 May

'Mandarin' - Making

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.

Patchwork robes can be bespoke made to your measurements with your own fabrics. Send me details of your measurements to adjust dummy. If you have an idea of colours, I can show you photos of coordinates in my collection. Silk painting additional quote on enquiry.

Making fee for standard kimono styled robe with collar extended down front facing. Style tweaks can be arranged.

Long large patches: Short to knee - £160, Ankle length - £200.00

Small patches 8 inch x 4inch: Short to knee £220, Ankle length £260.00

Extra materials cost would be lining, as I do not stock new, although I have some thin white cotton in stock. Robes need lining. Summer dresses need not, as patches are over laid zig-zagged.

Design Philosophy

Harmonisation with Discarded Fabrics

Design inspiration comes from seeing themes evolve between disparate fabric prints and colours, rescued from charity/thrift shops, to be recreated into a new unique garment artwork.

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.

Silk Painting Inspirations

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.

Tag: slow fashion

Exhibition Totnes Costume Museum

Shamanic Nights exhibition at the Totnes Costume Museum

Curated theme - 'Innovation and Fashion' - 23rd May‭-‭ 14th June‭ ‬2011

Totnes Costume Museum Robe Oriental Cruise and Robe Mandarin

LINEN CRUISE 1.

'Oriental Cruise'

Exhibition featured first Robes made: using white, cream and ecru linens with viscose and cotton printed patchwork rectangles.

Upper left sleeve shows silk painted panel. Design was copied from a small scale print on robe, seen below arm, but with enlarged scale, and keeping same colours.

Robe sold. A very pleasant scheme which may get revisited.

'Mandarin' (sold)

Modelled by fashion student, at Cockington Court Crafts Fair

Short cotton Kimono Dress (furnishing weight): deep no-fit sleeves and stand up 'mandarin' Chinese styled collar, sleeve turn-ups and bound edged side pocket.

Patchwork contrasts of white/black toile design and orange poppies/olive leaves. Black and white striped lining. Unusual colour contrasts for me, but used up similar heavyweight cottons

See more early original robes at Robes Summer Coats Originals

'Mandarin' - Making

'Bluebird' (sold)

Dress was also chosen for the Totnes Museum Exhibition.

Features three fabrics: olive silk, royal blue linen, with 'bluebird' printed cotton.

Independent fabric colours were a perfect match for each other, the green silk blending well next to the printed cotton.

Modelled by keen browser in rainy Exeter crafts market.