For women, there are formal kimono, obi and accessories, and the lightweight summer yukata; for men, the yukata and the ceremonial ensemble of kimono, haori coat and hakama skirt. Children’s kimono for festive events are also described. UK: book of Kimono
CLOTHING PATTERNS FROM THE WEAVING ROOM
I received this sewing pattern design book for loom-shaped clothing several years ago, and used the patterns often. Somehow I lost my copy in all my travels. The book is now out of print, so I was very pleased to see that it is now available in pdf version.
I think these patterns would be wonderful using the new style of colourful Saori hand woven fabrics. (Don’t be put off by the slightly dated colours of the clothing in the book.) The patterns still work. Now that I have found this book again, I will give these designs another try.
You can find the book at Susan Lilly’s website. Clothing Patterns by Susan Lilly
There are also some other sewing pattern books for handwovens fabrics, hat making, sewing jackets using a serger.
I had an opportunity to read this book and to try out some of the patterns. I have intermediate sewing skills and I found this book quite easy to follow. And it works!
Using some of my handwoven foxfibre cotton fabric, I used the Kimono pattern from Susan’s book and achieved excellent results.
The patterns use narrow warps that will accomodate most looms (24″ – 30″). and are drawn on a grid with full cutting layouts. Different sewing techniques are described.
How to make your own bias tape
How to sew shoulder darts
How to sew slit and patch pockets
How to add facings
How to add collars
How to install zippers and other closures
How to make rolled cuffs
How to add inside plackets onto jackets
How to make shaped armholes
Where to serge, topstitch or finish edges
With this set of tools, I feel confident to mix and match the designs in the book to create my own unique variations. Thank you, Susan.
Begin at the Beginning, and build your skills with each pattern. Clothing Patterns from the Weaving Room teaches easy design and construction techniques as you go. The patterns are designed to show off your fabric with clean lines and simple cuts. The styles are perfect for modern living, for those who like to wear handwovens every day. Most designs can be made with approximately 20″ – 30″ wide handwoven yardage. Garment designs include ponchos, vests and cropped jackets.
Here are a couple of other reviews of this book:
“Clothing Patterns from the Weaving Room is a wonderful resource for students. The approach to garment construction is especially useful for the beginning handweaver. Susan Lilly’s clear direction and reliance on large basic shapes makes construction fun and accessible.”
Associate Professor, Fiber Area
Department of Art
University of Oregon
“I’ve been weaving nearly thirty years and found Clothing Pattern from the
Weaving Room a useful book. It follows the ancient historical teachings of
using material straight off the loom, which is a wonderful way to make loose
fitting garments. But if you’re a beginner, you need to proceed slowly with
Not all of the directions are easy to follow, especially if you don’t
already have a strong background in sewing. It would be a good idea to make
the initial patterns out of inexpensive muslin.
A practical way to use this book would be to follow it pattern by pattern
from beginning to end. Lilly tends to build on the experience gained
from proceeding patterns, and always emphasizes the simplicity of making
clothing straight from the loom. She emphasizes the use of no darts, no
interfacing, buttonholes, sleeve caps, lining, no padding and no handsewing.
One of the problems with weaving is finishing the edges, and while I don’t
use Lilly’s techniques, she offers good advice in this area and her use of
bias tape works well.
Overall this is a book whose time has come. It’s definitely needed. I teach
weaving and know of other pattern books for weavers but this one is much
more creative. Certainly the designs she presents are classic and
comfortable. For making loom shaped clothes, this is a good book to keep in
The Woolly Times
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Pecos, NM 87552
If you would like more information about this book, you can contact the author at:
The obi was a simple narrow sash worn about the waist to hold the folds of the kimono in place.
The complex patterns demanded at the royal courts of Asia and Europe required warp threads to be drawn individually. This was accomplished by the invention of the Draw Loom. At least 2 people were needed to work the drawloom. The weaver and the assistants, called drawboys, who were told to pull the various combinations of pulleys
Kimonos date back to 300 A.D. (the Jomon period) and were were made of hemp. The Chinese introduced the raising of silk worms to Japan in the Yamato period (300 – 550 A.D.) Dyes and sewing techniques improved in the Asuka and Nara periods ( 550 – 792 A.D). The kimono became longer and more elaborate with added jackets and back and front skirts.
In the Heian period (792 – 1192A.D.) the colours changed with the seasons. In the Muromachi period (1192 – 1573) there was a decline in the aristocracy as the Samurai gained power. With the more active lifestyle, the clothing became simpler. During the Edo period (1601 – 1867) Yuuzen resist dye techniques were developed. Complex patterns such as flower and bird motifs became popular. In resist dyeing, a rice-past resist is used. As the dye is brushed on, the resist protects other areas of the fabric, keeping the dye inside its border. Several layers of colour can be applied using this technique.
Kyoto is known as the heart of Japan’s silk weaving. both plain weaves and complex patterns and monochrome textiles lend themselves to opulent decoration. Vat dyeing, painting, shaped resist shibori, embroidery and applied metallic leaf and paste resists create textiles of stunning complexity.
Pictures of Kimonos on display at the Museum for Textiles
Obi Jacquard Silk
Obi silk sashes are part of the display at the Museum of Textiles exhibit.<