After weaving up samples, however, I realized that the background fabric was so spectacularly beautiful that putting a second layer on top would be gilding the lily:

Autumn Splendor, fifth in a series of samples, background layer only

Autumn Splendor - fifth sample, background with devore overlay

I felt that the devore, while beautiful, simply distracted from the sweep of autumn colors.

I wasn’t sure what to do next, and inspiration was not forthcoming, so I set the project aside for a month or two.  It resurrected itself when I looked at a coat pattern I was developing:

muslin for coat

I realized almost immediately that this was the design I had been looking for.  I hastily designed a new fabric, a pattern of maple leaves:

maple leaf draft

and wove up a sample, which I loved:

maple leaf pattern, in handwoven fabric (bottom sample)

Put together, here is what I am envisioning:

Autumn Splendor composite view

The coat pattern is the photo at top right.  The finished piece will feature a green silk collar, embroidered with skeletal  gold leaves, contrasting with the color sequence on the top left and using the handwoven fabric pattern on the bottom.  I will probably eliminate the green in the color sequence and reduce the size of the maple leaves, but otherwise, the diagram corresponds closely with my vision.

But this coat has metamorphosed many times over the months I’ve been working on it, so who knows what tomorrow will bring?

The entire voyage of discovery on this project can be read at http://www.tienchiu.com/tag/autumn-splendor/.  Enjoy!

Kodachrome was my response to the Handwoven Garment Challenge in 2011.  Ten garments, five loom-shaped and five tailored, would be selected to appear in the Vav Fashion show in Sweden, and would be published in Handwoven. I decided it would be fun to enter, and Kodachrome was born.

I considered my design carefully.  At Convergence 2010, I had noticed that the best runway garments were the dramatic ones, with lots of color – delicate, beautiful, subtle patterns simply vanished from forty feet away.  I wanted Kodachrome to play well on the runway, but I also wanted it to reward the close-up viewer.  So I knew I wanted a colorful project, with bold colors, but also with an interesting woven pattern to reward the up-close viewer.

There were other design considerations.  Because (if it won) it would be published in Handwoven, I had to make it suitable for a Handwoven article.  This meant weaving something on eight shafts or less (as opposed to my customary 24), using commercially available yarn, a commercial pattern, and using techniques simple enough to explain in three magazine pages or less.  It also had to be designed, woven, and sewn in just two and a half months, since the contest began in mid-January and finished up on April 1.

Given the timeframe, I didn’t have a lot of time to experiment or design.  I decided to use a painted warp, as this could be done quickly with yarns I had in my stash, and to use 30/2 silk, because I had gobs of it on hand.  But I didn’t want to do a warp painted in a single bout – the scarves I’d seen that were wound in just one bout looked boring and predictable, and I wanted this piece to be jazzy and exciting.  So I decided to use stripes, each warp-painted in the same colors, but offset from each other so the colors wouldn’t “pool”.

Now I needed a pattern to go with the stripes of color.  I didn’t have much experience with 8-shaft designs, so I flipped through Carol Strickler’s A Weaver’s Book of Eight-Shaft Patterns until I found design #173, an advancing point twill.  I liked the overall look, but it didn’t quite suit my needs, so I made significant alterations to it, changing the look and the size of the pattern to suit the width of my stripes.

Since painted warps were unfamiliar ground, I decided to sample.  I painted six bouts for a 12″ wide sample, testing different color spacings as well as different amounts of dye.  Here are the samples:

Two samples woven for Kodachrome

The left-hand sample had less dye, the right-hand sample had more dye.  In the left sample, I experimented with having the colors semirandomly arranged in the piece; in the right sample, I tried to line the colors up more precisely.

I finally decided that I liked the more intense colors and the semirandom arrangement of colors in the stripes, and wove up 13 yards of this delightful fabric:

Fabric for Kodachrome

Meanwhile, I had been working with Sharon Bell (the seamstress who helped me with my wedding dress) to develop the pattern for the coat.  We selected a simple pattern, Butterick 5259:

Kodachrome jacket and hat, full view

Kodachrome closeup, jacket and hat

Detail of Kodachrome

The complete story of Kodachrome can be found at http://www.tienchiu.com/tag/kodachrome-jacket/ .

In April 2009, I took a workshop on designing fabrics from Sharon Alderman at the Conference of Northern California Handweavers.  For the workshop, we were asked to come up with an idea for a finished piece, so we could choose yarns and design the fabric to suit the finished work.

I was racking my brains, wondering what would be challenging enough to need the expertise of a legendary weaver, and finally decided to design what I had always wanted to make: a handwoven wedding dress!

I was not engaged at the time, so this was a purely theoretical project.  I had a pattern that I really loved, and a vision of the pattern with a ribbon of Chinese double-happiness characters going down the front opening, and Asian “eternity knots” in the body of the dress.

I took them to the workshop, and wove this on my 24-shaft AVL Workshop Dobby Loom:

Sample woven at CNCH

(The Chinese double happiness character symbolizes a happy marriage – it is the character for happiness, written twice and merged into a single character: two individual happinesses merged into one happiness = a happy marriage.)

I then returned home and blogged about the samples I’d made, emphasizing that Mike and I were not engaged, and that this was a purely theoretical wedding dress.  Mike read my blog, and said, “You know, I really wouldn’t mind being married to you…”

Not the most romantic proposal, but…the wedding was on!!

I started sampling for the dress and coat, drafting several different patterns and dyeing various weft colors.  Because I had a very narrow loom, my cloth would be at most 24″ wide, so I had to weave double the required yardage.  I decided to weave 16-20 yards of each fabric.

My first effort was disastrous.  I had only been weaving for a bit over 2 years when I started the project, and I innocently sett the 60/2 silk warp at a whopping 96 ends per inch!  That turned out to be far, far too dense, producing a very sticky warp.  And I wound on the warp too loosely, resulting in nightmarish tension problems.  Despite all this, I wove off ten yards of the warp in about six weeks.  Then I took some time for contemplation, and realized that the fabric was too flawed to use.  I set it aside, having learned a lesson in what not to do.

Back to the drawing board.  This time, I got troubleshooting help from some very experienced weavers, who helped me solve my tension problems and my sett problems, and sett the warp at 72 ends per inch.  This was still quite dense, but wove off much better than the previous warp, and I successfully completed 16 yards of it.

Now I was faced with a difficult challenge.  I wanted to sew this wedding ensemble “the right way”, using couture techniques.  But I didn’t have any experience with couture, and this would not be something I could learn successfully from a book.  So I started networking around the local weaving and sewing guilds, looking for a teacher who could help me sew the dress.  After several false starts, I found Sharon Bell, a fashion school professor emeritus and former couturier, who agreed to help me.  Her contributions have been invaluable, from the perfect fit of the garment to some of the interior construction to endless suggestions on how to make it better.

We sewed muslin after muslin, perfecting the fit, until we were finally happy with the fit.  Sharon made tiny changes, sometimes as little as an eighth of an inch, until she was happy with the fit and flow of the garment.  Finally, it was time to cut into the fabric.  I took a deep breath, a second deep breath, and cut into the fabric I had spent months weaving:

First cut into my precious handwoven!

At the same time I was sewing, of course, I was also sampling and weaving the coat fabric.  I had settled on a pattern of Tibetan eternity knots, woven in silk and a very fine metallic gold thread.  This warp was sett less densely than the dress fabric, at “only” 60 ends per inch, and wove off beautifully.

Meanwhile, on the dress, we had started constructing the garment.  Sharon constructed a “mini-corset” inside the dress, which would a firm foundation to the off-the-shoulder design.  Once the interior construction was done, I started applying some gorgeous imported French Alencon lace that my future mother-in-law had bought for me, enhanced by real 4.5mm Akoya pearls – the same cultured pearls that you would find in fine jewelry.

handwoven wedding dress with lace and pearls

As the dress began taking shape, we started work on the coat as well.  I had a pattern, Butterick 4732, that I really loved:

I wanted the double-happiness ribbon to run down the front of the coat, but we would need to shape the ribbon considerably around the neck edge.  Because of this, I couldn’t weave it in silk; the warp would have to be wool.  I spent nearly a month ordering samples and running around after false leads until Laura Fry, a weaving friend of mine, very nicely sent me some samples of Silk City 2/28 merino, and then sent me the larger quantity that I would need to weave the ribbon.  It worked! and we assembled the coat successfully.

handwoven wedding coat, closeup

Now, close to completion, we started work on the tedious handwork.  Much of the work in couture is in the details: how the seams are finished, how the hem is done.  As a small example, there are five rows of stitching in the dress and coat hems, four of which must be stitched by hand!  I was giving thanks to every god in range that I had chosen a simple, A-line pattern, not a big floofy skirt with miles of hem.

In all, this project has taken almost exactly one year of intensive work to finish, approximately 1000 hours of hard work, between weaving and sewing?  Is it worthwhile!  Absolutely!!  The finished pieces are gorgeous – beautifully symbolic, museum-quality garments, worthy of what promises to be a wonderful marriage to the man I most love on this Earth.

The symbolism of this coat is threefold:

• the double-happiness symbols in the front of the coat represent happiness in marriage
• the eternity knots in the body of the coat represent eternity, and wisdom
• the three-strand Celtic braid pattern in the dress stand for “eternity” in Celtic culture

Together, they symbolize a wish for eternal happiness in marriage.

Here are some of the in-progress photos:

Photos of the coat:

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Handwoven wedding coat, draped over dress form. Photo by Joe Decker, Rockslide Photography.

First sketch of wedding outfit

Pattern for the coat

A muslin for the coat, showing the double-happiness ribbons and an eternity-knot variant. I printed the draft out in Photoshop to get a sense for the effect.

A sample of the double happiness pattern. The pattern is an eight-shaft satin set against a 4-shaft broken twill.

A mockup of the coat, using the sample fabrics, to show what it would look like with the fabric.

This is the coat fabric being woven. It is composed of three-strand metallic gold floats against a 6-shaft broken twill background. Warp is 60/2 silk, weft is 2 strands of a thin gold metallic.

The eternity knot fabric draped over a dress form. It's beautiful!

A closeup of the finished eternity knot fabric.

A front view of the partially finished handwoven wedding-coat

Rear view of the partially finished handwoven wedding coat

Handwoven wedding coat with double-happiness ribbon

Three-quarter view of me in the wedding-coat. Photo by Joe Decker, Rockslide Photography.

Closeup of the front opening in the wedding coat. You would not BELIEVE what I went through to get those characters to match perfectly!

The neckline, with the dress peeping through. Photo by Joe Decker, Rockslide Photography.

Closeup of a seam in the wedding coat. It took several hours for me to match up all the motifs in all the pieces of the dress.

Me looking down at the front closure of the wedding coat. Photo by Joe Decker, Rockslide Photography.

Photos of the dress:

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Initial sketch of the wedding dress

I chose a three-strand Celtic braid pattern (the same as I used in the cashmere coat) for the dress fabric, and experimented with lots of different warp threads and setts before settling on this one. It's 60/2 silk warp, sett at 72 epi, woven with 120/2 silk weft. It's about the weight of a 30mm crepe and is LUSCIOUS!

The wedding-dress fabric draped over a dress form, to give an idea of what it will look like in the dress.

I fell in love with a piece of Alencon lace while shopping at Britex Fabrics with my soon-to-be mother-in-law, and she was kind enough to buy me a yard and a half of it. Is she cool or what???

The Alencon lace on the fabric. It's going to be GORGEOUS!!

An interim view of the wedding dress, with pearls and lace still in the design stages.

Partially completed wedding dress, with the back lace basted on.

Partially completed dress, three-quarter view

three-quarter view of (essentially) complete dress. Photo by Joe Decker of Rockslide Photography

Dress on dress form, nearly complete. Photo by Joe Decker of Rockslide Photography

closeup of dress. Photo by Joe Decker of Rockslide Photography.

closeup of bodice. Photo by Joe Decker of Rockslide Photography

A second view of me in the handwoven wedding dress

"Lava Flow" handwoven shawl, collapse weave in sock yarn

"Lava Flow" handwoven shawl, collapse weave, closeup

I scrunch-dyed some Knitpicks Bare sock yarn in various shades of flame (red, orange, gold, bright yellow), and warped it in stripes, alternating with 1″ sections of  a black elastic sock yarn, Cascade Fixation.  I warped the two yarns separately, with the Knitpicks Bare going onto my sectional warp beam, and the Cascade Fixation wound into chains, with each chain weighted separately.

I then wove several samples with different weft yarns:

Samples for "Lava Flow"

After considerable hemming and hawing, I decided that while I didn’t like the gold metallic on its own, it might add pizazz to one of the two other options.  I paired it with the multicolored red-orange-yellow weft (bottom right), and loved the results so much I decided to weave up the entire shawl using 1 strand of gold metallic and 1 strand of variegated red-orange-yellow 30/2 silk.

For this shawl, because of the collapse, I used a very open sett and beat, setting both warp yarns at 8 epi and weaving at about 6 picks per inch.  (Normal sett for a balanced tabby weave is 10-12 epi in most sock yarns.)  It worked beautifully – the open sett/beat gave room for the elastic yarn to “do its thing”, and I got about 50% shrinkage and beautiful orange ruffles!

This was a variation on the Ocean Sunset shawl, except that I made it with a knitted blank!

Knitted blanks are an interesting concept taught to me by Nancy Roberts of Machine Knitting to Dye For.  You knit up a rectangular piece of fabric, dye it, and then unravel it and reuse the yarn.  Using this technique you can get gradual color changes WITHOUT having  to dye a zillion skeins, and you can get other effects as well (see the “Crazy Colors” shawl for an example).  In this case, I dyed a single blank a gradual change from yellow to red and back again to see what would happen when I wove it up!

I am of mixed minds about this shawl.  I don’t like the boldness of the lines near the bottom of the shawl, but I like the idea of the gradual color change.  I think I may try this idea again, but with a simpler pattern.

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The pattern for Ocean Sunset II.

The warp on the loom. Doesn't it look pretty?

This is the knitted blank. Notice how it shades gradually from gold to red.

It's hard to see in the photo, but the bobbins gradually change color from start to finish. Beautiful!

The completed shawl before wet-finishing.