The Taunton Kimono -part 2

This is the second post covering the making of a silk dyed Kimono for the “Imprints” exhibition at the Museum of Somerset in Taunton.

Detail of the finished Kimono showing the Shibori textures

Detail of the finished Kimono showing the Shibori textures

Stage two of painting the silk involved adding detail and richer colours to the design.

Fossil ammonites were used as motifs to add detail

Fossil ammonites were used as motifs to add detail

While the Rhinoceros teeth were my main inspiration, many other items in the museum fossil hall were used as inspiration for decorative details. These included ammonites, crinoids (also called sea lilies), gryphaea (devil’s toenails) and the ribs of an ichthyosaur. Some fossil cabinets had photographs of coral as a background, and these too found a place in the decorative scheme. Even the colour scheme of the Kimono was originally inspired by a picture of a red desert scene on the end wall of a display.

Fossil Crinoids or

Fossil Crinoids or “sea lilies” were another source. The dye didn’t work as planned, and so some of the fine detail was lost

The long white bars were inspired by a cluster of fossil ichthyosaur ribs

The long white bars were inspired by a cluster of fossil ichthyosaur ribs

At this point the front of the Kimono was lagging behind the back view

At this point the front of the Kimono was lagging behind the back view

Here the garment is pinned up prior to the second steaming

Here the garment is pinned up prior to the second steaming

Some of the detail and colour intensity was lost in the second steaming process. This was partly due to my unfamiliarity with the dyes, but mostly due to fact that the silk was just too lightweight to take intense dye easily. If I make another Kimono like this I will certainly use a much heavier silk.

Adding stitches for Shibori knotting

Adding stitches for Shibori knotting to create texture (click to enlarge)

Texture was added to the silk using Shibori knotting techniques. First the areas to be textured were stitched

Stitching a different pattern

Each thread was then pulled tight and knotted before the fabric was steamed again to set the creases

Each thread was then pulled tight and knotted before the fabric was steamed again to set the creases

Fully knotted silk ready for steaming

Fully knotted silk ready for steaming

After the final steaming to fix the texture, all the Shibori threads had to be carefully removed before the Kimono could finally be assembled.

Assembling the garment. The main body panels were nearly 4 metres long and everything was hand stitched

Assembling the garment. The main body panels were nearly 4 metres long and everything was hand stitched

Preparing the silk lining material

Preparing the silk lining material

The Taunton Kimono

The Taunton Kimono

The “Imprints” exhibition is on at the Museum of Somerset, Taunton Castle, Castle Green, Taunton, from 10th October 2015 to 2nd January 2016.
The museum is open Tuesday to Saturday 10.00am to 5.00pm

The Taunton Kimono -part 1

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The Taunton Kimono – part 1

A couple of years ago The South West Textile Group arranged a future exhibition at the Museum of Somerset in Taunton. The long time scale and the chance to exhibit in a beautiful space made me decide to take on a major piece of work. I have long wanted to tackle making a Kimono and this seemed the perfect opportunity. The project proved to be a long and steep learning curve, but on October 9th I got to see my piece (now known simply as “The Taunton Kimono”) on display at the private view of the “Imprints” exhibition.

My Kimono on display at the entrance to the

My Kimono on display at the entrance to the “Imprints” exhibition at the Museum of Somerset

All the work in the exhibition was to be inspired by items or displays in the Museum of Somerset permanent collection, so a day trip to the Museum was the starting point for everyone. A tour around the collection begins with the fossil gallery. It was here that I found the objects upon which I wanted to base my design. One was a 55,000 year old fossil Woolly Rhinoceros skull which featured the most amazing teeth. The serpentine graphic shapes of these teeth just begged to be reused in a piece of art, and the fact that the skull had been dug up just a few hundred meters from the museum seemed to make it even more appropriate.

The 55,000 year old woolly rhinoceros skull at the Museum of Somerset

The 55,000 year old woolly rhinoceros skull at the Museum of Somerset

Design work began with sketches based on photographs taken at the museum. (In the end I almost filled a couple of sketchbooks with ideas big and small.) These led on to a large number of watercolour sketches where I began to get an idea of the colour scheme I wanted to explore.

Watercolour sketch exploring ideas for the Kimono design.

Watercolour sketch exploring ideas for the Kimono design.

Preparatory watercolour sketch

Preparatory watercolour sketch

Work on the Kimono itself started with a full-sized line drawing that was then transferred on to the silk.

The final design was drawn out full size on pattern paper

The final design was drawn out full size on pattern paper

Transferring the design to the silk using a fugitive ink pen

Transferring the design to the silk using a fugitive ink pen

I had originally planned to use exclusively Shibori techniques to decorate the fabric, but the silk I had was too lightweight and too prone to bleed along the satin fibres to be reliably dyed using these methods. I therefore resorted to conventional silk-painting techniques and used Shibori purely for texturing.

The silk was pinned to purpose made frames and the design was divided up using water-based gutta resist

The silk was pinned to purpose made frames and the design was divided up using water-based gutta resist

Using a hairdryer to selectively dry the dye allowed the creation of tonal variation

Using a hairdryer to selectively dry the dye allowed the creation of tonal variation

The two halves of the Kimono were developed together to ensure a good match

The two halves of the Kimono were developed together to ensure a good match

My husband Alex was heavily involved in the project throughout. As well as helping with both the design and execution, he also made the painting frames with rollers on each end to cope with the long fabric lengths. His other great contribution was in making a really good steamer to fix the colours. He simply fixed an aluminium tube to the top of a large saucepan, with a hollow tube suspended down the centre around which the silk was rolled.

The silk was steam fixed in a steamer made by my husband Alex

The silk was steam fixed in a steamer made by my husband Alex

After the first round of painting and steaming, the pieces were pinned together to see the effect

After the first round of painting and steaming, the pieces were pinned together to see the effect

The “Imprints” exhibition is on at the Museum of Somerset, Taunton Castle, Castle Green, Taunton, from 10th October 2015 to 2nd January 2016.
The museum is open Tuesday to Saturday 10.00am to 5.00pm

My next post will cover the remaining part of the Kimono making process.

The Taunton Kimono – part 2

Silk Paintings

Silk painting is another technique that I love to experiment with, and a few years ago I created these hanging panels. I collected leaves to use as templates for resist techniques, used salt to add texture to the water of the pool and the river, and the rest was painted freehand.
Hope you like them!