Ideas Development

Through drawings and collages I developed a series of Screen-print Designs. These repeat patterns combine block areas and interconnecting lines, with irregular geometric shapes executed in a precise and orderly way. Designs that freely cover the fabric work better than rigid compositions such as vertical hanging jewels, since the strong sense of direction prevents it from flowing. I have explored new and appropriate techniques in my material samples: first learning how to dye fabrics to achieve a specific colour palette, which required repeated testing on different materials to obtain the right shade and quality. Silk satin produced lustrous colours compared to the georgette due to its glossy surface, and silk organza has a luminous, translucent appeal whereas the cotton is too stiff. My mono-printed backgrounds have a glassy appearance like the surface of a chandelier since salt was scattered over the screen to repel the dye and suggest reflecting light. This was inspired by Tessa Traeger’s work “Chemistry of Light”, in which silver gelatin emulsion was applied over photographs to produce fluid movements of glistening colour. I tried vivid shades as well as paler tones which both have a different feel; therefore I could produce products in diverse colour combinations to suit a range of customer tastes. Furthermore, I experimented with Devoré to create a sheer design within the fabric structure. The results were very successful, especially when combined with a bolder printed pattern, since it adds delicacy to these striking angular shapes. However, the process of dissolving fibres caused difficulties as it was burnt easily and ruined on several occasions. 

Colour Palette:

Hand-dyed Fabrics

Mono-printed Background

Tessa Traeger

 “Chemistry of Light No. 29”

Devoré print sample

Alongside this I have embroidered decorative edging for collars and neckpieces. These were influenced by ornate chandelier designs, with the looped threads and assortment of beads creating an elaborate, jewelled appearance. However they are possibly too large for the intended purpose and may not look attractive beside my complex print patterns, yet there is potential to develop these motifs into lace-like patterns.  Likewise, the scale of my repeat patterns would need to be reduced for small products such as collars so they are clearly visible in the limited space. Jewelled statement necklaces from accessorize have many small beads and charms crowded within the designated area whereas my designs are more spread out.

Embroidered Edgework

Accessorize Elizabeth Garden

Collar Necklace

Chandelier Detail:

Jewelled Design

Feedback from the Interim Crit suggested investigating alternative products for my print designs.  There is always an abundance of scarves at the craft fair with very high standards, such as Claire Armitage’s beautiful digitally-printed designs.  Consequently I would need to be creative with neckwear and produce something creative which stands out, for example, oversized scarves that drape like ponchos and shawls, or scarves which are worn as ties. My bold, elegant prints have an opulent quality due to the silk and sheerness of Devoré.  Therefore I could research lingerie collections such as French knickers, kimonos, camisole sets and dresses, since women desire luxurious personal underwear and nightclothes that are supple against the skin. This would bring a new, unexpected touch to a craft fair with intimate handmade products, although is it suitable for this context? It is definitely not what a discerning craft collector is searching for at these events, and customers may feel uncomfortable buying lingerie in such a public space.

Claire Amitage Scarf design "Cloud Boat"