Patchwork shibori sample photographed on back door(light shining through top) 
Detail of effect of shibori on organzasI've been unpicking the sections I bound with thread on the shibori sample prepared during
a Yoshiko Wada workshop at the FoQ. We'd been asked to bring a selection of cottons, silks, wools and there was a workshop pack containing a selection of unusual organzas and wools, some from Japan. We sewed these into a patchwork sample and then tried various resist stitching methods, the piece being dyed afterwards in the virtual studio. Unfortunately I didn't budget my time properly, taking too long to incorporate as many fabrics as possible so I was frantically tying knots until the last minute, most areas getting just a token wrapping.
a Yoshiko Wada workshop at the FoQ. We'd been asked to bring a selection of cottons, silks, wools and there was a workshop pack containing a selection of unusual organzas and wools, some from Japan. We sewed these into a patchwork sample and then tried various resist stitching methods, the piece being dyed afterwards in the virtual studio. Unfortunately I didn't budget my time properly, taking too long to incorporate as many fabrics as possible so I was frantically tying knots until the last minute, most areas getting just a token wrapping.
The results are intriguing, particularly how different fabrics take up the same dye (the silk velvet a rich dark brown, silk satin orange, silk/linen mix almost green) . I thought I might prepare a similar sampler the next time I have a go at indigo dyeing.
I particularly liked the effect of binding on silk organza ( used both white and a slightly coarser textured gold colour). Besides the difference in colour where the binding acts as a resist, the gathered and ruched surface is interesting. Wonder how you calculate shrinkage?
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