As part of a small team of rescuer’s at the creative reuse group; Remade In Brighton, one of the delights is finding a new purpose for fabric remnants from the Huberdashery cupboard.
This wonderful floral fabric has a modern chintzy, furnishing fabric feel to it and it’s lovely for draping.
Wonderfully chintzy !
It’s almost been fully revived as a classic 1950’s style beach top, with just a few more tweaks to make with the straps and it’s ready !
The original chintz process of block printing by hand has long since migrated into modern, light, cotton glazed type fabrics of which ”Kensington” by Cowtan and Tout from 1982 is a wonderful example. This is a great palette range, looking at the selvedge.I’ll be on the rummage in the rescue section for more chintz selections, as I fancy reworking over motifs and floral scenes using Kantha embroidery techniques, to really bring out the gorgeous details within the fabric.
It was the full vibrancy of the Made in Mexico exhibition, where my handwoven, backstrap loom lust began, and fuelled a need to protect the beautiful raw edges.
Made in Mexico – *for a review of featured artists – http://ftmlondon.org/ftm-exhibitions/made-in-mexico-the-rebozo-in-art-culture-fashion/
Have you noticed too we have wandered into a trend-zone where the tassel is in full swing too? Fashion likes to spin us into gossamer webs – and this time of year it’s on a batwing journey into that layered, boho folky feeling.
Hangings of all kinds are larger too – edges seem to be extending, with things dangling from woody branches; bringing the outdoors indoors is a feral format I approve of.
I envisage using sticks for things inside as a functional and decorative emblems – the utility of the wild will always be with us, when you’re next foraging in the woods, bring home a branch.
Staying with hand finished edges; I so admired last Autumn’s collection from VOZ; who embody so well the long fringe left by skilled artisans in their handcrafted garments. I wonder what gorgeous depths of garment durability and function they will continue to craft for us?
Deep cuts and long strands are the way, I’ve been putting lengths into pieces and keeping a raw, unfinished salvage – embracing the zero waste philosophy of sustainable textiles – my recent handmade collar is crafted in reclaimed yarn (unravelled by hand) with Birch grey organic linen from a range by Quince and Co, with reclaimed hematite beading, made to reflect a slow swagger of a Boho mood.
Crossover Bracelet – Rose Quartz Charms + Swarovski Beads.
I really enjoyed resurfacing this rose quartz chip bracelet, I’ve extended its original length, making it into a crossover, double length bracelet, allowing you to wrap it more than once on the wrist.
It feels super shimmery and weighty…with delicacy too; with pale rose coloured Swarovski bead details.
The coiled cotton jersey project has responded like this;
First shapes and workings, with upcycled cotton jersey fabric, coiled into a soft pot and a coaster.
The pot has been additionally worked – the walls are constructed by crochet.
I have been getting in a twist recently, developing new ways of working with strips of cotton fibre.
My coiled basket making approach is based loosely, and in part, on textile traditions, though I am using an experimental, recycled starting point with materials.
“Spinning was so important a part of women’s work that one may say they spun their way into history. Girls learned to spin so early that they hardly remembered when they did not know how. They went on spinning, laying up store of thread if they had thrifty mothers, to be woven into their wedding outfit of linen, blankets, and coverlets. Spinster to this day means an unmarried woman.”
And since before the industrial revolution, machines have taken their place. In the past girls would spin raw material into thread to create textiles for their family and home. In this modern world exploding at the seams with overproduction and massive waste, I think it’s time to open all of our eyes to the inherent beauty in everything that surrounds us, and use our innate ability of love and creation to rejuvenate ourselves, our loved ones and our world.’
I appreciate well tailored clothes, I have dabbled in making my own items, here and there. Could it be some of the success in home sewing comes down to the right needle?
December 2013, Kemptown, Brighton.
Recently I spent an inspired evening at the Kollektiv Gallery with some of Brighton’s artists and makers. Fulled with homemade seasonal pies and fruity wine, thanks to Moyra Scott, we chattted and shared thoughts on where we go to connect to our creative flow. The gallery backdrop helped to move our thinking outwards as our busy hands connected to our project work, art journalling and expressive bauble making.
Gallery founder Sophie Giblin kept us well looked after; merrily discussing working processes and sharing her own creative insights around bringing the gallery together. I purchased a giclee print by a local artist/illustrator Patrick R Allan and began to have clearer thoughts about my new collection and making destinations that I would like return to, further mapped out by easy conversation with creatives.
Asking questions about connections and working spaces; what helps artists to develop and grow, within a mixed group of practitioner’s was useful. I left feeling evermore curious to see how enterprise helps artists, makers and designers become professionally independent. Being a self-made me, the person who does things her way, I could really appreciate the wonder and brilliance in a concept like the Kollektiv Gallery.
London, October 4th, visit to Here Today, Here Tomorrow and Sustain….
Pavement decoration, lost foliage;
Wishing I had time to stop…..
I completed a fascinator, I’d like to perch wearing it on the arm of a plush little red velvet Deco sofa, thinking about red sofa’s makes me think of the red plastic one at the back of the Caroline of Brunswick pub. You could wear the fascinator there too, with the six eyes of Cerberus on bloodied stalks….
This making of the new item has gently been in germination for some time, like all good things, silently taking shape, under the whispers of a new moon it emerged, how did this happen? Was it the cupboard elves? well no, it was a fairly solid bout of three hours craft time by my nifty fingers,
I read elsewhere, here and there, that Ascot has tightened up the code for ladies head-gear*, are we no longer quite so fascinated by fascinator’s in certain circles then?
You don’t mind if I tickle your nostrils with just one more? This one is very party friendly, made in cotton and super kid mohair (Debbi Bliss) with a hint of silk in there too. It’s oval in shape and incorporates a reclaimed diamante centre piece that sits atop hints of silver Lurex, in a gossamer winged hornet fashion.
*announcing that women will have to wear hats, not fascinators, as part of a tightening of the dress code in Royal Ascot’s Royal Enclosure. In previous years female race goers were simply advised that “many ladies wear hats.”
See a close up; Dark Fascinations.