The Zara coat we copied is not fully lined. It has Hong Kong (bound) seam edges, and lining across the front. The Burda pattern we used has interfacing and lining. I looked around for some inexpensive yellow silk.
(“Brown lace“??) You are getting used to my opinionated client. Esme, already convinced the coat was way too yellow, put her foot down. What about painting the lining I suggested. No. Esme proposed beige, to “dull it down a bit”. I suggested dying the silk with tea, an idea she liked. Then I asked about tie dye or shibori.
“What about if we do it like a tea-dyed egg?”
One of the Chinese restaurants we frequent sells hard boiled eggs with a marbled look, created by hard boiling, cracking the shell without removing it, then steeping the egg in the tea for hours. Nice idea.
I cut out the lining in habotai silk and soaked each piece in hot black tea (bags) for an hour or so. This is the base layer. I left it to drip dry, over the tap in the kitchen, and then pressed it.
The second stage is to give the crackle glaze effect. We coated the silk in hot wax (I used chop sticks to dip it in the hot wax, letting it drain), then when dry we crumpled it up, before soaking overnight in a stronger tea bag solution. I already saw a problem here. The wax I use for silk painting, batik and shibori is a mixture of a hard (paraffin) wax with quite a lot of softer bees wax in it, for pliability and softness. To do a crackle glaze look project properly I would suggest using paraffin wax, mainly or entirely. Then you will get the cracking that will make all the difference. Something to try when I am not rushing to finish this project!
Eventually we pressed out the wax and then finally I put the silk in the washing machine to ensure all the wax residue was removed and to create a nice, soft fabric. Although taking out the wax involves using a hot iron, the tea is not entirely fixed through this method. I would say 20% of the colour came out during washing. However the removal of the wax grease was especially important with this item. It made the silk feel a bit like peachskin silk. I quite like the final colour which just looks “vintage” and aged rather than a particular colour. The crackle is there, but I have to admit it is a bit too subtle. If I did this again I might try coffee for the second layer in order to get a bit of depth to the colour. Or perhaps leave the silk white before waxing it.
All I did this morning was attach the lining. Esme put it on, and took off.