Textile designer Amy Stubbs describes her longstanding love of silk, the creative process involved in producing digitally printed scarves and finding inspiration in her grandma’s derelict cottage.
My grandmother owns a very large collection of silk scarves which I used to marvel at when I was younger. I was intrigued by the story of silk making, how something from nature could create such a luxurious quality of fabric.
I have always carried a sketchbook which I fill with surface rubbings and I began to imagine them being worn in garment form. I took a degree in printed textiles at Falmouth University, Cornwall to develop this idea further.
There I reinterpreted my collection of surface detail into long repeat lengths of printed fabric using both manual and digital print. I then started to specialise in fashion and apparel, which is where my love of silk scarves developed.
The main attraction of silk for me is the shine. Colours that are printed onto silk radiate off the sheen, they become more vibrant and give greater impact to the eye. Silk holds many wondrous qualities. I love that you can wear a silk scarf all year round - in summer it breathes easily, whereas in winter it can also act as a lightweight insulator.
The traditional luxury associated with silk has always interested me, it never seems to date. There will always be that prestigious association with silk.
For my scarves I use crepe de chine, which is woven from hard spun silk yarn in the gum or natural condition. When the silk is woven, the gum is boiled off leaving it very soft with a waved structure adding to the appearance. It holds a wonderful shimmer when the light catches, but is thick enough to have a weighty feel.
This silk also allows the printing ink to saturate both the front and back of the fabric. It is important to me that the vibrancy of colour is constant throughout the scarf.
As a freelance printer I have specialised in digital print. My main printer is The Silk Bureau of Worcestershire. I send my files to them directly for the fabric to be printed, steamed and finished on site. They also provide a range of silks so I choose from their stocks instead of importing myself.
Initially I start with a theme, which gives structure to the design development. It may be anything from a place I have visited, an art movement to an individual person.
Locations play a great role in my initial inspiration. I tend to document the place through photography, drawings or collections of objects found in that particular environment - even if it’s a torn off bit of newspaper or an unusual layout of brickwork in a building.
My grandmother bought her house many years ago with cottage next door. It was derelict and the last time anyone had lived in it was during the 1950s. The contents of that time still remained - the original wallpaper, Woman’s Own and Life magazines, record players and jars filled with luminous coloured liquids. My project, entitled ‘We’ve always called it The Cottage’, reflected the contents of the house.
I love the idea of creating work that involves heritage, the design then feels unique to you rather than something that doesn’t hold that emotional attachment. It’s all about creating your own archive of inspiration that you are able to revisit.
I often have two ongoing themes that merge into one overall outcome, usually using one for the concept and another for the colour palette.
I then start to draw anything I think relates to the theme. I love to use film cameras as well as digital. There’s something magical about getting your negatives developed, not quite knowing how the pictures will turn out. I use Diana cameras to get quirky shots, including fish eye lenses that balloon the view or including a colour filter in the flash to add a film of colour over the shot.
Once I have my photographs I analyse every detail featured within the framework of the shot. I plan how to use these viewpoints as a repeat pattern or scarf design. I mainly use Photoshop and Illustrator to manipulate and create my designs.
When I design a scarf I take time in deciding on pattern placement - whether I want it to be an all over repeat design such as a block, half drop or scattered repeat. Sometimes I decide not to have a repeat at all, preferring a placement of design where there is no actual repeat. These are currently my favourite style.
Next I will create around twenty different colourways using combinations derived from my original colour palette. Keeping up with trend predictions is always a good way to begin. Trend forecasts for spring/summer 2012 include a lot of pastels and peachy colours, with an element of colour blocking.
When the best colourway is chosen, I will send my design to the printers and once returned will hand roll the scarf edges to complete the product.
I think of the square of a head scarf - border and centre point, will it be a repeat? I then start to place the drawings I have created into the space and work around them, constantly building up on the design, filling areas with pattern and texture until the entire space is complete.
Generally apparel is printed onto smaller widths than interior fabric. For apparel a 60 inch width is desirable as it is more cost effective compared to wider fabrics generally used for interiors.
When designing for both fashion and interiors you have to think about what scale of print would suit it best. Generally small ditsies are favourable for apparel, whereas larger statement prints seem to work well for interiors.
I think that there is a slight cross over between fashion and interiors concerning scale of pattern, as you see clothing that features large blocks of design and colour work. I really believe that anything goes today; you just have to establish the audience youfre aiming towards and tailor your design work to them.
Due to availability of facilities and the system I work in to create my designs, I have chosen the digital printing route. I love the process of manual print, from screen engraving through to printing pastes and finishing techniques, however digital print allows as many colours as I desire without an increase in cost.
I will be working to commission throughout 2012 and I plan to increase my line to include other products such as silk lampshades featuring blocks of bright colours.
I am currently in the process of working on a greeting card commission, designing a range of cards for a London based company. l also work at a manual screen printers in Macclesfield specialising in printed silk scarves and ties. I will be designing for clients mainly in London, Italy and Japan.