Painting: "Blooming Forth"
Photo: The Top in progress. I was given a piece of thick leather which I decided suited the look and feel of the beginning of Spring as the earth still clings to the last traces of snow and the ground is barren. I punched holes in what would be the back of the top so that it could be laced closed. I tucked the mannequin into two plastic trash bags, wet down the leather, and then placed it over the mannequin and began manipulating it into shape with additional water and a leather cleaning product. The folded pieces needed to be tied to keep their shape, and the mannequin rested on its back overnight so that the top could dry.
I had a false start with the skirt. I had purchased multiple yards of tulle in bright green, pink, and purple. I had begun repeating the same technique I had employed with the winter skirt by scrunching the green tulle and attaching it to green satin via sequins and beads. Sarah played the role of Tim Gunn and suggested that "We had already seen this before."
I am so glad that I listened to her! I abandoned plan A and approached plan B with fabric I had purchased from a designer in the New York City fashion district. I painted using textile paint for screen printing, a sponge, and a spray bottle filled with water. This method built up light layers of pigment on the fabric that resembled the gradual darkening of plant growth as Spring progresses.
I embroidered using brown thread (to keep it earthy) a mixture of green beads, purple and pink beads, and yellow, translucent pink and purple sequins to add a trail of abstract floral growth to the back of the skirt reminiscent of Monet's work. I edited my original plan to suggest rather than demonstrate the stages of growth throughout the season.
I also edited the lining of the skirt along the way. I had prepared a piece of painted fabric to be used along the bottom edge, but determined that a solid color for the whole back would give a less bulky look. I was delighted to find a bright purple lining that went well with the purple beads and would add a fun shock of color when seen as the dress walked.
I had a false start with the skirt. I had purchased multiple yards of tulle in bright green, pink, and purple. I had begun repeating the same technique I had employed with the winter skirt by scrunching the green tulle and attaching it to green satin via sequins and beads. Sarah played the role of Tim Gunn and suggested that "We had already seen this before."
I am so glad that I listened to her! I abandoned plan A and approached plan B with fabric I had purchased from a designer in the New York City fashion district. I painted using textile paint for screen printing, a sponge, and a spray bottle filled with water. This method built up light layers of pigment on the fabric that resembled the gradual darkening of plant growth as Spring progresses.
I embroidered using brown thread (to keep it earthy) a mixture of green beads, purple and pink beads, and yellow, translucent pink and purple sequins to add a trail of abstract floral growth to the back of the skirt reminiscent of Monet's work. I edited my original plan to suggest rather than demonstrate the stages of growth throughout the season.
I also edited the lining of the skirt along the way. I had prepared a piece of painted fabric to be used along the bottom edge, but determined that a solid color for the whole back would give a less bulky look. I was delighted to find a bright purple lining that went well with the purple beads and would add a fun shock of color when seen as the dress walked.