**If you’re only interested in the hand-dyed lace tutorial and not all my babbling, scroll to where the photos begin!**
The process for most of the custom roller skating outfits I make is fairly simple: coach has an idea in March, we settle on a plan in early April, dress is finished by early to mid May. Boom. Done.
However, the process for my daughter’s annual dress is usually a long, drawn out ordeal: idea in September, dream about the mechanics and engineering of it for months, keep an eye open for fabrics and embellishments all year, settle on a plan in February, put off making it until everyone else’s is finished, then work like hell to hurry up and get it done by late June, usually stoning it in the hotel room the night before she has to skate.
This year started out in exactly the same manner — idea in the fall, long thought process, and I even cut it out and put the most technically challenging part together in April. But it wasn’t special; it was great, and the pieces I did finish are cool, but it was predictable, a little boring, and something practically anyone else could have imagined and made. Nothing unique, nothing striking.
Then one day in April (because goodness knows this couldn’t have happened last September, because that would have been too easy) I ran across an old photo I’d saved years earlier of a dress neckline I liked. That’s the only reason I saved the picture, and I discovered it quite by accident while searching my photo database for inspiration for someone else’s dress. That’s how this whole thing started, and it organically snowballed into something super cool, super memorable, and so damn simple that it’s embarrassing to admit to people just how easy it was.
The dress is made entirely of nude mesh (gratuitous plug here: my company hand dyes 17 different shades of skintone mesh to match any skin color, so the dress really disappears on her. She’s a “chai,” by the way; I think she was hoping to be “cupcake” or “graham cracker,” but then Disneyland happened and that slight tan pushed her into “chai” territory), with a double layer of nude mesh on the skirt. Underneath the mesh (because this isn’t THAT kind of sport) is a strapless bra and underlayer of nude spandex, which covers just the parts that need to be covered to stay tasteful and costuming-rules-legal. I made the dress in its entirety, including sewing on the skirt, before I started adding anything else. So basically for a few days she had a nudie dress, which totally freaked out my husband one day as he came around the corner and there she was in her perfectly matched skintone dress, looking pretty much buck naked with a skirt…
Anyway, then came the fun (?) part: the lace. I’ll add the tutorial to the end of this post; I wasn’t going to take the time to do it, but so far no one believes me when I tell them how easy it was to actually make this dress, so I feel the need to prove I’m not a liar…
This process and the results taught me a couple of things. First, it’s ok to start over if something better pops into your head, even if you’ve had your heart set on something for nearly a year. It takes a good designer to know when it’s time to change course or just throw something out the window entirely. Second, don’t dismiss the value of revisiting things you once found intriguing. Had I not glanced at that old neckline photo, the rest of this never would have entered my brain, ever. Third, sometimes all it takes to create something spectacular (and honestly, this is the first piece I’ve ever made, after 20+ years, that I would call “spectacular”) is one tiny kernel of an idea…then the rest just falls into place. And finally, don’t assume you can’t do something until you mess it up for yourself. Initially I was extremely skeptical that what was in my head would ever end up on her body. It took hours and hours of research to figure out how to accomplish exactly what I wanted the end product to be, and honestly, the only reason I even attempted it was because I had that other dress nearly finished already, just in case. I could afford to screw this one up, and that’s what gave me the courage to follow that hare-brained idea in the first place.
Ok. Now for the tutorial. If you skipped all that musing and are just now joining us, welcome.
1. Finding the lace and dye materials
This part was easy. I decided right away that I didn’t want to use paint. How did I know this? Because I once made an absolutely hideous dress with painted poppies. I mean, the idea was terrific, and the poppies weren’t all that bad, but I hated (and still hate) the textured, 3-D effect that paint gives you; I wanted to be able to see the actual fibers of the lace because I wanted more of an embroidered look. The only way to achieve this is with dye, not paint. Paint sits on top of fibers, dye adheres directly to fibers. And the best place EVER to purchase dye is from Dharma Trading. I loved their acid dyes already, so this was a no-brainer.
But before I could order the dye, I needed to know the fiber content of the lace I’d be using. After much research, I figure out that rayon lace was the way to go. Coincidentally, my favorite lace supplier, Mary Not Martha (sold on Etsy), carries TONS of rayon lace, so the hardest part was figuring out which pieces I liked best.
After ordering my lace, I researched rayon dyeing techniques. Dharma already has a fabulous tutorial here, so I won’t go into everything needed before you even begin dye painting; but I ended up needing several different chemicals on top of the eight colors of dye I ordered. Be sure to read their tutorials FIRST so that you order everything you need at once to save on shipping!
2. Prepping the lace
Before doing anything, I washed the pieces in textile detergent (synthropol, also available on the Dharma website). This gets rid of not only dirt, but invisible acids and grease from your fingers and anything else the lace may have touched, which inevitably would affect how the dye adheres to the lace fibers. Then I cut the lace appliques into small, individual pieces, since I didn’t want the dress to look like I’d slapped a few big appliques on it and called it a day.
Soaking the lace in Earl Grey
As I learned two years prior (revisit that post here), all white lace is not created equal. Before the lace even arrived, I knew I’d have to figure out some way to fix the variations of “white,” or eliminate them altogether. Since the dress was nude, I decided I wanted the edges of the lace to blend into the dress — so I decided to tea stain the lace. In the past I’ve tea stained lace for an hour, but since I only wanted a slight tanning, I opted for a 15-minute soak. If you’ve never done this before, it’s embarrassingly easy; place five or six black tea bags (ok, all I had was loose leaf Early Grey with Lavender tea…so my lace smells slightly of lavender) in a bowl. Cover with hot water. Let sit for a few minutes, then add the lace or fabric or whatever. When it’s a little darker than desired, remove it and rinse in cold water. Done. Don’t drink the tea in the bowl, because that would be gross.
3. Prepping the dyes
Sodium alginate, urea, soda ash. Not the lime.
Again, Dharma covers this on their website. I mixed the urea and sodium alginate together, put them in a tupperware container in the fridge, and slapped a “don’t throw me away and don’t drink me!” sign to the top — because hey, I live with teenage boys…
Two days later, I mixed six shades of burgundy/pink and six shades of green by mixing various combinations of the eight procion dyes I’d ordered. I found a terrific little bead organizer in a little acrylic box, which worked perfectly for dyes — the lids screwed tightly onto the little jars, which kept them from spilling/getting lost on my work table. Plus, I could put the entire box into the refrigerator (which extends the life of the dye, I’ve learned) and I didn’t have to worry about twelve little jars ending up in twelve separate places in my bottomless pit of a fridge.
By the way, I initiated a discussion in some dyeing communities on Facebook because I was mixing techniques (procion dyeing and tea staining) and I wasn’t sure how to proceed, and together we decided that the best way to proceed was to tea stain the stuff FIRST, and keep the soda ash (a necessary compound in hand dyeing with procion dyes — it helps the dye to adhere to the fibers of the lace. Keep reading to find out what happens when you skip this step) out of the dyes and to soak the lace in the soda ash separately. This is why I only mixed up the urea, sodium alginate, and dye.
4. Prepping the lace, part 2
Soaking in soda ash. Notice that I only placed about a dozen pieces in the soda ash at a time; you don’t want soda ash sitting on your lace fibers longer than necessary.
I couldn’t help but think about the old saying about painting — how 70% is prep, 25% is clean up, and only 5% is actually painting. Same holds true for this process — I needed to prep the lace yet again, and prep the painting surfaces as well. The tea stained lace soaked for about 10 minutes in a soda ash solution (and believe me, I was very relieved that the soda ash didn’t change the color of the tea staining, though the soda ash did turn slightly beige…so obviously I hadn’t rinsed the lace enough). I pinned pieces to a plastic wrap covered piece of cardboard, small enough to fit into a 2-gallon size ziploc bag (more on why this is important later), and then, FINALLY, I was ready to start painting. Word of warning here: I tried using leftover dye on another dress, but I forgot to pre-soak it in soda ash. I figured what the heck, it’s just a practice dress…uh, no. An hour later all my carefully painted flowers and leaves had turned to one giant, mushy mess, and two hours later every color had bled into every other color, so now it looked like I spilled burgundy dye on the fabric had tried to rub it off here and there. HIDEOUS. So don’t skip the soda ash step. Of course, this may have happened because of the fiber content of the fabric, but still, why risk it?).
Now, by this time I was completely freaked out, because I’d already spent sooo much time prepping everything and I was positive it would be for nothing since I wasn’t very optimistic that I could actually paint very well. If there’s one thing I hate, it’s wasting time or investing a lot of useless effort into something for nothing. So after I cried from worrying that I would totally suck at this (yes, I cried over something this stupid), it was finally time to take the pieces out of the soda ash and get busy.
5. Finally, painting!
Finished pieces, sitting in plastic.
And what do you know? This was the easiest part of all! It was FAST, too…the dye, when applied with a watercolor brush, actually behaves like watercolors…touch the brush to the fibers, and the fibers drink in the dye. I mixed up my dyes with very, very little actual dye itself, so they were rather transparent. This worked perfectly, because unlike regular fabric paint, you can control the actual hue of the dye simply by layering it; one layer is lighter, but each additional layer darkens the color. I started with my lightest colors and added darker colors gradually. It was quick, it was fun, and it pissed me off because I’d worried so much about it not working.
After painting the pinned lace pieces, I placed the cardboard inside 2-gallon ziploc bags and sealed them. This is necessary because you want to slow the drying process for about 12 hours, which allows the dye molecules to really bond with the lace fibers (I’ll spare you the chemical explanation here, because frankly I’ve forgotten it by now anyway). 12 hours later, I removed the cardboard and washed the lace in cold water for what seemed like days. Really, it took a good hour for the lace to stop bleeding excess dye.
Rinsing, and rinsing, and rinsing.
One important thought here — as the lace dries, it gets darker. Like, really darker. I hadn’t read anything about this, so it really worried me, because all my carefully designed, color graduated painting basically disappeared and my flowers just looked like one shade of dark burgundy and my leaves looked like Hefty garbage bag green. But when you start rinsing, all these color variations magically reappear.
Lace getting darker as it sits. Freaked me out.
OMG I still had more to do before I could even begin using these things…
Drying lace, day 2. I stopped pinning it by this point.
The drying process took several days, to be honest. This was also something I hadn’t anticipated. I wrapped cardboard fabric bolt inserts with thick bath towels and carefully pinned each lace piece flat (because I didn’t want curly edges, which is what happens when you wash lace — see below). But after 24 hours, they were still damp…so I blotted, flipped them over, and waited. And waited. Multiple blottings later, they were finally dry and ready to use.
The reason I pinned the lace to paint it and dry it — curly edges, yuck.
One additional word of caution here — don’t use towels you care about. Even after an hour of rinsing, my lace pieces still bled a little bit onto the towels.
Close up of lace pieces
I sprayed the back of each piece with quilt basting spray, and with her in the dress, I slapped these pieces onto her fairly quickly, Tetris-style. I did pin them as well, but using basting spray helps the edges stay perfectly in place so I only needed one pin per piece rather than several. This saved her lots of standing-perfectly-still time, and saved me lots of pin-pricked fingers. Plus, the last time I pinned so much lace to a dress I had to cover up several little blood spots with stones…but not this time.
Pieces being glued down. Note the awesome stretcher frame? Available at Firefly Fabrics!
Notice I didn’t say “sewing?” Nope…I didn’t sew these on this time. E6000 to the rescue, and it worked beautifully. I used to sew lace onto dresses, but I learned my lesson (read about it here). Of course, my work table looked super creepy for a while, but it was worth it.
Mannequin arm to the rescue!
Notice the waxed paper? This dress was made entirely of mesh, and I didn’t want the glue to seep through and accidentally glue arm holes shut, or glue the front to the back. I lined the entire dress in waxed paper, which then pulled off pretty easily once the glue was nearly dry.
Most fun part of all. I used seven different sizes of crystal AB’s to give a graduated look, as well as every random green and purple/burgundy/pink stone I had laying around the studio. You know — when a dress doesn’t use up a full gross of stones so I had 4 leftover here, maybe 15 leftover there, etc. — but you can’t ever throw stones away, yet how do you use fewer than a dozen of any one color? I had saved up stones in weird sizes and weird colors, which was perfect for this dress. I also used about a gross each of burgundy, light burgundy, and light burgundy AB stones. I scattered 12ss, 16ss, and 20ss crystal AB stones all around the bottom of the skirt and around the neck and back openings, too — initially we were going to leave these openings without elastic and without stones, but this fabric matched her skin (at the time) waaaaay too closely, and she really did look naked with some flowers carefully clinging to her boobs and butt. A little too Adam-And-Eve for me, so the finished edges and scattered stones really helped it look more like a dress and less like a naked forest nymph getup.
And this is it — the finished product. Totally different than anything at all on the floor this year, which is exactly what we wanted.
And this was the finished result! Heading to the US National Championships in two weeks, where hopefully hopefully hopefully this dress (and the kid inside it) will qualify for a trip to Italy for the World Championships in September. Stay tuned!
PS: Added August 15, 2016: THE DRESS MADE IT TO ITALY! Emma placed 8th in the world…to read more about that experience, visit http://www.EmmaGoFigure.com.