Papercloth on the Hills Hoist 

Deb Baillie
“Bloomers on the line”
‘Momigami’ is a term and an art form that I hadn’t previously heard of.
It was fun to experiment with…working oil into some of my old eco prints.
However, it seemed to evolve to include other brown paper and red paint to give a bit of
‘fancy’ to the bloomers.

​Heather Barker
“Trip the light fantastic”
The newspaper tutu is inspired by an Australian Ballet black tutu created for the Australian
Ballet’s 1994 production of Stanton Welch’s Divergence.
The tutu was designed by fashion designer Vanessa Leyonhjelm’s and made of rippled air-
conditioning mesh.
My version is made of folded and pleated newspaper and cardboard. Bodice is reinforced
with aluminium flyscreen. The red straps are a departure from the original – call it artistic
licence!
I usually work with textiles, thread and yarn but enjoyed the challenge of constructing a
garment using paper, glue, and tape, with a little help from some wire.

​Sandy Batten
Top and Bottom “a patch here and there”
Patching and more patching of various Kozo and found papers kneaded with coconut oil, ink
and linocut print.
Patch means ‘A piece of cloth or other material used to mend or strengthen a torn or weak
point’.
The process of making paper cloth so that it is durable to withstand the outdoors and being
whipped around on a hills hoist for a few days was a challenge with much trial and error to
create a suggestion of clothing.
Whose crazy idea was this!
The natural deterioration will be a curiosity.

​Jane Bear
Child’s Knitted Top
This piece is made from spun dress patterns and then knitted.
The paper dress pattern is marked with ink and crayons and acrylic paint, cut into strips and
spun; it was then knitted into a child’s top.
Jane works in textiles, predominately 3 dimensional wet felt.
She is a member of the Colac Makers Space.
Instagram janebeartextiles

Vicki Fenton
​all, I tried the momogami technique to achieve the cloth look and
durability for parts of my piece. I also had the idea of using the paper from the
rolls of ‘who gives a crap’ toilet paper. Overall, I had quite a few trials with
different papers and techniques, including coconut oil and bees wax etc. etc.
etc. etc. I’ve also used stitching with raffia for highlights and cordage made
from pattern paper. Oh yes and also some paper bark from the tree that grows
near my sons’ house in Belmont (it was calling to me)!

Jenny Grenfell
Otways reflections
My theme for my paper garment is focused on the theme of the Otways Ecosystems, Birds, Flora and Fauna. After experimenting with softer tissues like papers and surface decoration using lino prints, I decided to use a stringer craft paper which provided strength to the structure and enabled me to make incisions into the surface of the garment, to provide an overall patterned silhouette like design. The resultant form is a simple decorative shape exploring the impression of a garment. The surface form was coated with oil to provide softness while retaining the strength of the paper

Kate Howard
Polka Dot Bikini combines the timing of the domestic popularity of the tea bag with a touch of 50s glamour. Pale (peppermint) and dark (English breakfast) tea bags, traditional garment construction techniques such as runching and frills, supported on a light wire structure. Polka dots are created from tea bag labels. Waterproofed with an experimental combination of lacquers and wax. ​

​Katherine Marmaras
Monoprinted drawn lines and patterns, on delicate but strong kozo paper, have been
reworked to evoke a cloth sample.
To offer some protection from the elements, whilst it hangs on the Hills hoist, candle wax
has been applied across its surface.
Time will tell if this works.

​Gail Maddern
Momagami paper cloth – skirt and top
Using a variety of papers from my collection and interpretation of the Japanese Momigami
method I created pieces of paper cloth.
By rubbing coconut oil onto the paper surfaces, folding, and scrunching the paper
repeatedly, it eventually changed the hard texture into a softer pliable material.
These pieces were glued together on larger pieces of paper fabric and then cut into strips.
I worked with the different pieces and created a pattern which eventually evolved into a
skirt, using tea bags as an embellishment.
The remaining paper cloth was played with and became a small top, with tea bags used for
front panels and straps.
Creating paper cloth was a most enjoyable exercise.

Jan Stickland
WABI SABI COAT brown wrapping paper, linocut prints and acrylic paint. Following the ancient technique of momigami the individual prints were kneaded and oiled to create a ‘cloth like’ appearance. These individual pieces were then sewn together to create the jacket. The subject matter of nature plus the technique of momigami create a semi transient piece that reflects the Japanese philosophy of WABI SABI . A philosophy regularly reflected in my art.

​Sue Tate
“Diana”
Diana iconic Revenge Dress becomes a vessel for broken red roses. A metaphor for not only
revenge but hidden passions and broken promises.
A black paper tablecloth became fabric using Nantucket Briar hand cream. It smells sweet!
I used a tomato frame as the armature so she can stand in the paddock.
The rose petals are threaded on thick cotton so they will not blow all over the place.

​Sharryn Trease

My creation for Paper Cloth is a hint of a dress I have titled “Francine”.
The skirt is formed from some of my eco- prints, which have been torn into pieces and re-
worked into a patchwork (or quilted) effect.
Part of the brief was to incorporate the technique of Momigami - the Japanese method of
kneading paper with starch to toughen the paper and make it flexible for use in clothing.
It proved difficult to Momigami the eco-prints as they were on thick watercolour paper
which tore when being kneaded. Instead, I chose to apply liquid beeswax to strengthen the
paper, hoping this would make Francine slightly more durable.
The bodice, made from sheets of music, was softer and more pliable, and thus able to be
Momigamied using coconut oil.
I have embellished the skirt with “buttons” made from the caps from Red Capped (Yellow
Flowering) gum and added a “petticoat” peeking out the bottom.
The dress has been attached to a chicken wire frame for support and secured to a specially
made post from recycled timbers so that Francine can sit proudly in the paddock at Barwon

​Viv Wheeler
Giant Witches glove
Giants sock
Giants sock with toes.
Using some of my painted papers I have constructed 3 items that will hang on the Hills hoist
and be recognizable.
I loved layering the papers to create an interesting texture. Stitched together with my trusty
sewing machine, I hope they survive the weather.

Lynne Richardson
"She's Got good Bones"
I struggled with the practice of  Momigami,  and working out how to make it  weather proof and free standing so the work became much more of an exploration of the way the paper could be hung and contained if it was to be blown apart in the weather.
First attempt was using papier mache, inspired by a workshop by Michelle Fifer for the Birregurra Ballyhoo some years ago-it slowly contorted and  finally  collapsed under the weight of the paper. This  led to and investigation of how woman throughout history have had their bodies contorted by fashion, on the skirt  there are  references to slavery, as the fashion industry has a long history of enslaving woman and children in its sweatshops and factories. 
The title "She's got good bones"  came from musing about where that saying came from- is it a reference to dressmaking and the bones in the bodices of dresses, or is it from the times when woman were traded and  compared  to stock "It's got good bones - good for breeding? Looks good- 

If we are only interested in outward appearances we miss the the most important things -  the love and light  that radiates from the heart from every human being.
​
​