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In memory of all the fallen of WW1. The tunic was worn by a member of the 4th US Division. Whoever he was he served about a year (from service stripe on left sleeve) and was wounded (chevron on right sleeve).
I participate in a new round from July 5 of "Cosmopolitan Bi Weekly Event".
Item Name：Mesh_Lasy Tunic Single item 99L$,FAT Pack297L$.
Permission：copy ○/ modify × / transfer ×
Sex：Ladies
size: XXS-M
Color Variation: black, blue, pink, green, mono
Selling Point: A tunic of the Lace material. It can be put on only by a tunic.
It's also nice according to the pants and the legging.
[purple] with color is bundled by only FAT Pack especially.
When having moved to a main store after the event, the price will be also change.
I'll recommend you purchase this chance.
I had made this tunic dress for my friend for her birthday. But then, I really loved it and have to make another one for myself. Lucky me, this old sheet was queen size.
Pattern from this book .
Amy Butler Anna Tunic. Did not line. Bias-bound the armholes. Piping added. Super comfortable to wear! Easily slips on over head without unbuttoning.
Fur bag : by Gakuya ( Kate )
Purple necklace: by Bogostick ( Leslie )
Boots : Azon
Tunic & Vest : by me. These items will be stocked on my Etsy store on 26th. You can choose the color of tunic.
Bonkers, freshly washed (with a damp pet wipe) and groomed with a nice comb, resting on the bed. He was purring gently while I cleaned him up (lately, he’s fallen into the litter box and smells a bit like urine - the pet wipe helped with that particular issue but his tunic needs to be washed). He’s still purring softly next to me...
Bonkers on the floor next to me during dinner. Since we had beef soup with spices, he couldn't eat anything from dinner (he wasn't interested in the strawberries) so he had to content himself with a picture.
We had a warm day today for the first of March so Bonkers didn't have to wear his tunic. I took advantage of that and brushed him a big...
Tunic Set
in 14 colors
2 versions for each color
with and without trousers in 19 pattern colors by HUD
Fat Pack 50% off + 5 exclusive bonus all by HUD
Maitreya - Hourglass - Physique
My first entry into Made By Rae's 2012 spring top sew along. I used the Wiksten Tova top pattern. I used thrifted linen fabric for the majority of the top and vintage Japanese kimono fabric for the placket, sleeve binding, and detail along the bottom. I'm pleased with how it turned out. I've got a Wiksten Tova dress and another top in the works.
Back of the top: www.flickr.com/photos/56011586@N04/6845531410/in/photostr...
Lisette Portfolio tunic. Size 14. Robert Kaufman Brussels Washer linen in charcoal and AMH Field Study linen/cotton blend 'Ghost Wing' in Dusk.
I left the yoke off - I found it too high on my first one (although have now got used to it!). I had to make the tunic length due to the small piece of AMH I had. I also took the lovely Nicole's advice and added an inch to the centre front panel.
Selfish Sewing Week #4
My version of Amy Butler's Anna Tunic pattern. The pattern and fabric is from Nancy's Notions. www.nancysnotions.com - if you search Large Tan Floral it will come up.
Bonkers not terribly wide-awake in his chigura on a warm winter day. It was warm enough that we took off his tunic for the day.
This tunic may have been made by Haida, Tsimshian, Nisga'a, Gitxsan, or Tlingit women at different times in the early to mid-nineteenth century.
Mountain goat wool fibre; Yellow cedar bark; Ermine skin; Wool fibre; Natural dye Cotton fibre.
Location: Gallery of Northwest Coast Masterworks
Museum of Anthropology
University of British Columbia
Date made: 1800-1850
Date Acquired: Feb 1960
How Acquired: Purchased
Measurements
Overall: 84.5 cm x 66.7 cm x 3.5 cm
Object Number: A7080
This tunic, now held in UBC’s Museum of Anthropology, is a rare assemblage of eleven fragments from distinct Chilkat robes, each originally woven by Haida, Tlingit, Tsimshian, Nisga’a, or Gitxsan women in the early to mid-19th century. The resulting garment reflects not just aesthetic mastery, but a deep expression of ceremonial wealth, clan identity, and social resilience.
At its heart lies a grimacing face, likely that of a Bear or Land-Otter-Man, woven in the bold formlines of Northwest Coast iconography. The abstracted eyes, teeth, and flanking forms express ancestral strength, supernatural power, and transformation, while red appliqués and precise ovoid forms mark key points of energy, lineage, or inherited right.
Chilkat weaving—unique to the Pacific Northwest—is among the most technically and symbolically complex textile traditions in the world, requiring months of skilled finger-weaving with mountain goat wool and cedar bark. Worn at potlatches and ceremonies, such garments not only declared status but enhanced it through the act of generous redistribution.
As master weaver Evelyn Vanderhoop notes, this tunic's reassembly from gifted fragments signals remarkable rank: enough pieces were once given or inherited to form an entirely new garment. In doing so, it became a living archive of generosity and kinship—a wearable history of what had been given away, reclaimed, and remembered.
About this object
History of Use
Naaxiin (commonly called Chilkat) robes were symbols of wealth: to own them endowed a chief with great prestige.
Even greater prestige resulted from giving them away at a potlatch. If there was no chief attending of high enough rank to receive it, the blanket might be cut into strips and distributed to a number of persons of prestige.
These strips would be made into other ceremonial garments, such as shirts, aprons, leggings, headdresses, or bags.
This tunic was sewn together from cut pieces of different robes.
Weaver Evelyn Vanderhoop notes, “This tunic demonstrates the owner’s high rank, as he received enough cut Naaxiin pieces to create a single garment. If the tunic was created by assembling pieces received by both the wearer and his clan members, this could indicate not only his high standing, but that of his clan as well.”
In comparing the fineness of the weaving, the style of the eyes (and other formlines), and colours of the dyed weft, it becomes apparent that the tunic’s pieces originate from different robes.
The significance of the red pieces of cloth sewn onto the tunic is unknown at this time.
Narrative
This rare tunic was acquired around the late 1800s by William H. Collison, the first resident missionary on Haida Gwaii, however some of the pieces in the tunic may be from much older robes.
Collison also spent time in the Upper Skeena and Nass River regions on the mainland so the exact origin of the tunic is unknown. It may have been made by Haida, Tsimshian, Nisga'a, Gitxsan, or Tlingit women at different times in the early to mid-nineteenth century.
Specific Techniques
The warps (vertical fibers) utilize considerable amounts of yellow cedar bark and the wefts (horizontal fibers) consist purely of mountain goat wool (as opposed to incorporation of commercial wools). Certain weaving techniques indicate the use of bone needles as opposed to metal.
Physical Description
Tunic composed of fragments of other 'chilkat' style weavings.
Six fragments are sewn together to form the front panel, and five fragments sewn together to form the back.
The fragments have been sewn together to approximate the design of a Chilkat robe, with an abstract animal crest design in the centre, surrounded by a yellow and a black band at the edges of the tunic.
Fringes hang from the bottom, and there is a fringed braid on sections of the sides.
The rectangular tunic is stitched down one side, leaving 29 cm. for the armhole; cotton straps are sewn to the other side for tying. The neck has a fur band.
The sides and shoulder seams are covered with narrow bands of red fabric. Six small patches of red fabric are appliqued to the front, and one to the back.
Museum photos of the tunic: collection-online.moa.ubc.ca/search/item?keywords=A7080&a...
=====================-==========================🔹 Status and Wealth in Traditional Pacific Northwest Societies
Among the Tlingit, Haida, Tsimshian, and other coastal nations, rank was inherited, but not passively. It had to be publicly enacted and reaffirmed through the accumulation and redistribution of wealth. The key arena for this was the potlatch—a ceremonial feast where clan histories were recited, alliances renewed, and gifts given in extraordinary volume.
Objects such as Chilkat robes were not just valuable for their beauty—they embodied status. Their ownership reflected a chief's lineage, connections, and economic capacity. But far greater status came not from owning such a robe, but from giving it away. To do so meant one had so much wealth and social capital that loss only amplified power.
Because rank was relative and situational, communities needed visual and ritual cues to navigate encounters. A person’s regalia, speech, crests, songs, and behavior all signaled their standing. In encounters between clans or villages, the quality and quantity of material wealth exchanged—especially blankets, coppers, canoes, and Chilkat robes—was a language of its own, legible to all.
🔹 Historical Fiction: The Owner of the Tunic
He was not a great chief, not the kind whose name would ring out across the inlets from Sitka to Prince Rupert. But he was a man of consequence, the eldest nephew of a respected house that held the Raven crest and controlled a salmon stream whose bounty was known even among their rivals.
He had hosted his second potlatch just that winter, feeding every guest with smoked oolichan and boiled halibut. He gave generously, but not foolishly—cedar boxes filled with dentalium, baskets of dried berries, and a single Chilkat robe, gifted to the son of a high-ranking Eagle chief who had traveled three days by canoe to attend.
And yet, there had been no equal for the second robe.
It had been made by his grandmother's sister, a famed weaver now gone, and to hold it back risked offending the spirits that lived in generosity. So he had done what was rarely done: he cut it—with slow, deliberate reverence—and distributed the pieces among elders, singers, and guests whose songs had raised the house beams with honor.
Years passed, and when his own nephew prepared to hold his first potlatch, the man quietly gathered back what he could—patches from cousins, a panel gifted back from a widow, a fragment worn on a dance apron. Piece by piece, he reassembled the story of that winter and had it sewn into a tunic: a garment of prestige that spoke not only to his lineage and wealth, but to his wisdom, restraint, and memory.
When he wore it, the faces on the wool looked out in every direction, as if to say:
This man has given. This man has endured. This man remembers.
Wearing the Tunic
To wear a tunic like this—assembled from fragments of Chilkat robes—would have been to carry both weight and story.
Physical Experience:
Heft and Texture: The tunic is woven from mountain goat wool and yellow cedar bark—a combination both soft and substantial. It would have been slightly coarse to the touch, with a gentle give due to the finger-weaving technique. The added ermine trim and cotton ties softened the experience around the neck and shoulders, but the garment would still feel weighty, both literally and symbolically.
Movement: The long fringe at the bottom swayed dramatically with each step or dance movement. It wasn't just decorative—it animated the garment in ceremony, making the figure depicted in the weave seem to move, shimmer, even breathe.
Temperature and Protection: The wool and cedar blend would provide surprising warmth—ideal for coastal ceremonies that often took place outdoors or in drafty longhouses.
Symbolic Experience:
A Second Skin of Authority: Donning the tunic would have been an act of performing identity. The woven crest figure (likely Bear or Land-Otter-Man) wasn’t just a design—it represented the wearer's clan, ancestral rights, and social responsibilities. Wearing it aligned the body with those forces. You weren’t just yourself—you were your house, your lineage, your ancestors.
Visibility and Legibility: The formline iconography was instantly recognizable to community members. People would know who you were, where you came from, and what you had given or inherited—just by looking. Your body became a narrative.
Prestige Embodied: In a potlatch setting, this garment would proclaim:
This man has given away enough to be given back.
This house is remembered.
This name is still alive.
Emotional Resonance:
For the wearer—especially one who had gathered back pieces of his clan’s history—the experience might feel solemn, proud, even haunting. Each fragment sewn into the tunic had likely been worn, gifted, or danced by someone else. You wore their memory, their songs, and their eyes—stitched into the wool that now moved with your own breath and bearing.
This text is a collaboration with Chat GPT.
First of all, let me apologize for the emission of
radio-active substance from the nuclear power stations.
Japan is trying hard to settle these things down, but
it doesn't seem to be easy...
Well, the short pants are sometimes good to wear.
Made for my by my friend Phiona. So comfy and easy to wear! I definitely see another in my future! blogged here.
Amy Butler Anna Tunic. Did not line. Bias-bound the armholes. Piping added. Super comfortable to wear! Easily slips on over head without unbuttoning. Mini-dress lining length, to be worn as tunic.
We're into our coldest time of the year now. I should have worn a scarf, because it was quite chilly - for Wollongong.
(If you look closely there's frost on the grass!)
*22 Dec 08 -under reworking too!-
Adorable ribbed tunic in peach with golden cream tulle hem. Features little heart buttons at front and cherry zoe lace straps. A lovely wardrobe addition for the sweet girls. Will go great with bloomers or leggings and topped with a long cardigan and cozy muffler.
Most parts handsewn.
This tunic design is my original design, please do NOT copy/reproduce in any way without permission.