from these hands...: Bloom: The Complete Process

WIP: Bloom - Collector's piece.

Bloom!

I love how creations find me. They are already completed, and it is up to us as artists to reach out or ask them to connect with us. They see the person that can best bring them into this 3-dimensional world of ours.

Bloom came to me as a commission from one of my collectors. She saw the Summer workshop piece and wanted the collector's version of this concept.

I was so excited to create this feminine work. I had just finished a four-month project for a magician (man) and was ready to step back into the world of florals and soft beauty.

I must sketch to capture the creation before it floats to another artist!

It's not too detailed, or that would be the finished project.

Of course, things are tweaked as I work, but overall, it is pretty much as I first captured it.

The Body

With over three decades of experience in art doll creation, I've understood that the body is the essence of everything. When fellow artists seek my guidance, I always emphasize that this element will genuinely set your art dolls apart.

I know- I can hear you- say what?? I thought it was the costuming!

If you think about the doll artists' styles, you recognize them, and if you removed all the clothing, you would still remember that artist's work in the body style. It is the first part of creating your own signature.

The body is most important because it sets the foundation for the uniqueness and quality of your creation. It is what the clothing flows around; it is the essence of all it is in feeling and individuality and will enlighten and inspire your artistic journey.

I used a vintage piece of damask linen for Bloom's body and head covering. I love the weaving of the florals within the fabric. It is a well-loved piece of cloth, so I (as always) lined it with cotton batiste.

I also wanted to incorporate a mehndi/mandala-like symbol into her hands and third eye.

The third eye represents the wisdom we bring to our art. (note: my favorite red dots over the eyes to protect the "soul.")

Attention to the hands because we work with our hands.

The Fabric Palette

As artists, we all love or are obsessed with fabric.

The fabric is the medium through which our hearts and souls speak in our creations, fostering a deep connection and understanding with others.

When I start on any piece, be it a workshop or collector piece, I choose my fabric thoughtfully so it relates to who this art piece will be. The choices are usually led by an intuitive feeling; I know that moment that it is the right fabric piece. This process may take days or months and will be tweaked as I go along. That is when thought, direction, and experience step in.

With Bloom, I knew I wanted to use the vintage kimono and the embroidered netting. That was a given.

I disassembled it and was pulled in with the delicate and sturdy stitches of someone done so long ago. I connect with vintage. The quality and workmanship of the fabrics and trims bring a need to create at the same standard for the piece I am creating.

Fabric pieces washed and ready!

I struggled with the underskirt fabric. I went from dupioni silks in dark violet to rose to gold to olive green, and finally, it came together with a soft-colored vintage kimono piece with a slight green tint sprinkled through it. That was the missing element of nature; I was looking to connect with the netting.

Flowers- Blooms

It took some contemplation to ensure that the kimono silk would be the main highlight and that the flowers and leaves would not overshadow its beauty.

Everything must be in balance, enhancing each other as a garden.

Any trim I use is vintage, or I make it myself. The more original everything is used to create an art piece, the more original and authentic the piece will be, and that is our goal, isn't it?

These leaves will be over-dyed, and I have a bit more touch-up with the tea bag flowers.

After choosing the fabrics, I drape them to see how they will flow. Silk is my go-to fabric, and each has a different flow or stiffness. Each can be used in specific areas to create a visual effect that holds the piece's shape and overall feeling.

Dyeing

Now, it is time to get into the refining of the details.

I started with the flowers made from tea bags and leaves from a vintage trim.

Dyeing them using alcohol inks and procion dyes.

Before

After

Before

After

Final Leaves

The Stems for the Blooms

Again, I needed to consider the kimono fabric as the star and what I could use for the stems that would not disrupt the flow.

Silk cut on the bias, in my stash, and already hand-dyed.

Fuse to the kimono and topstitched with metallic thread.

Sewing the Garments together

Like any focused artist, I was so involved in the development and how things would come together that I didn't take any photos!

I wanted the bodice front to be open so the two silk and organza liners could blossom upward and outward. One thing that was changed from my original drawing was the waistline. Initially, I thought an obi of the orange and white fabric would work. However, as the skirt was extremely full and needed to be attached to the open jacket, I had to rethink the obi.

After it was sewn together, I found the obi colors too much and opted for the same fabric as the kimono. That decision kept the entire garment in line with showcasing the kimono fabric.

Shoes

She needed the simplest of slippers. Delicate and in keeping with the rest of her garments.

I had one small piece of kimono, a deep navy that brushed into a green. The interior was a delicate pink and grey stripe silk, and I brought back the orange and white cherry blossom silk and used it as the soles. Laces of magenta-red silk ribbon.

The Final: the crown

The only change was to remove the netting ties and replace them with silk ribbons. Again, contemplating the netting on the hat, I found it would diminish the embroidered netting piece on the underskirt and bodice.