Sew Inspirational

This superb gown was made from 100% white wool crepe, hand dyed to resemble burning embers. The fabric was then free machine embroidered and the embroidery heavily hand beaded, with large brilliants added to resemble glowing coals. The silk chiffon shoulder drape has been dyed to match the wool and together adds drama and sophistication to an exceptional garment.

Ruth Osborn comes from Sarina in far north Queensland and she entered this magnificent gown in the Evening Wear section of the Hunter Valley Harvest National Fashion Awards. The gown won the grand prize with the Award for Outstanding Excellence.

Here Ruth shares some of her tips and techniques.

Materials List

NOTE: Acid milling dyes are bright, strong colours. This simple dyeing method requires the addition of Glauber Salt and Acetic Acid to the dye bath. Primaries give a good range of intermediate shades. Selected colours in this range of dyes may be printed and hand-painted, requiring steaming to fix them. These dyes have good light and washing fastness. Ask for an instruction sheet when ordering. Mail order with your credit card.

Dyes available from KraftKolour in Victoria, phone (03) 9484 4303.

Techniques

NOTE: Choose a pattern that enables you to leave the front right side seam open from the thigh down, to form a split.

Using the calico, begin by cutting out your pattern and stitch all the seams. Try on the toile and check for fit alterations. Next, check that the zipper can be inserted into the left side seam. Alter the top of the dress by deleting the right armhole and shoulder strap, so that the neckline runs from the top of the left shoulder, down along the back, under the left arm and along the front to the top of the left shoulder again, to give you the semi strapless look. These and any fit alterations need to be worked out on the calico before you cut the main fabric.

Once you have made the alterations, unpick the calico toile and press the sections.

Lay the calico dress sections on the white wool crepe and mark out the pieces by tacking around the pattern sections. Allow about 2cms around all edges for shrinkage. When laying out the pieces, try to have the marked-out sections level on the fabric so that the dye travels over the fabric at the same ratio; for example, crimson should be applied right across the marked-out fabric before changing to black.

Remove the calico, and dye the wool fabric. This needs to be dyed on a large silk painting frame. You may need to dye it in lengths, such as the front sections, and then the back sections. The wool fabric needs to be damp before the dyes are applied: do this by repeatedly spraying with a hand held spray bottle. When the woollen fabric is damp enough, apply the dyes - the crimson first, then the black, allowing them to overlap where you wish. Scatter a little rock salt over the areas that need embellishing. See photo 1 for colour design and embellishment inspiration.

The wool needs to be left on the frame to dry; depending on the weather, it can take a couple of days. The silk is then dyed with the same dyes.

These fabrics, once dry, need to be steamed to set the dyes.

After steaming the wool and silk fabrics, wash and rinse well in lukewarm water to remove any excess dyes. Dry and then press.

Cutting out

Cut out the dyed wool crepe to the correct size from your calico pattern pieces. Lay the wool sections on the polyester fabric and cut it out to match.

Tack the matching wool and polyester sections together. Sew all seams of the dress except for the left side seam. Trim with pinking shears and press the seams open. This enables you to work on the dress relatively flat, which is much easier for working the embellishment.

Using the darning foot, a spring-loaded hoop and the black Madiera thread, embellish the dress with free-machine embroidery. See photo 2.

Change to Madiera Metallic thread and enhance the previous design. See photo 3. Lightly press.

Bead the design, allowing the beads to build up in some areas, and be thinner in others. See photo 4.

Measure the length of the zipper and mark the commencement of the seam from this point. Sew about 20cm at a time, machine-embroider if you need to, then sew another 20cm of the seam, enabling you to embellish the seam without too much difficulty. Insert the zipper, (I usually sew this in by hand) leaving enough room at the top for finishing the edge.

Turn up the hem of the dress, and herringbone stitch into place.

Using the calico pattern, cut the lining fabric to the true size.

Sew all the seams, matching the front slits. Hem the lining. Place the lining inside the dress, wrong sides facing. Tack together around the neckline and the armhole. Slipstitch the lining to the zipper.

Load the spring hoop with the water-soluble stabiliser. Starting from the back of the neckline, lay this over the stabiliser in the hoop and, with a straight stitch, free-machine a loose wavy line around the neck of the dress. You will need to reposition the stabiliser in the hoop a few times. Repeat this step, sewing closely beside the first line. With small, sharp scissors, cut the excess fabric away, being careful not to cut the stabiliser. Re-hoop and with the machine on zig zag, free-machine over the previous straight stitching, encasing the neck edge. See photo 5.

Finish the right armhole in the same manner.

Cut or gently tear away the excess stabiliser, place a towel under the neckline, then using a cotton bud or a small paintbrush, gently dab the remaining stabiliser to dissolve it. Pat away any dampness and allow the edge to dry. Repeat this step for the armhole edge.

Cut the dyed chiffon into two rectangles measuring 100cm by 125, and 100cms by 150cm. To round the corners of the two silk rectangles, place a saucer on each corner and draw around the edge of it with tailor’s chalk; cut along this marked curve.

Using the overlocker and black thread, finish the edges of both rectangles, with a rolled hem encasing the fine nylon fishing line. Gently pull the edge as you sew it to give a fluted effect. See photo 6.

Attach the chiffon drapes, the small on top of the large, by one corner to the shoulder of the dress. Cover with a bronze brooch or button. See photo 7.

Loosely attach the lining to the dress at the hem area of the seam lines. See photo 8.