Motifs | Paisley Motif

Paisley Motif

The paisley motif originated in Kashmir in India. It is a fertility symbol based on the new shoot of a date palm. The motif is most well known for its use on Kashmiri shawls. The design found its way to England in the 1760s where copies of the original Kashmiri shawls were made in the Scottish weaving centre of Paisley. Hence the use of the Anglo-Saxon term paisley. In India the motif is known as kairy (mango) and buta (floral form) and in Kashmir it is kalanga or kalga.
The use of the paisley motif in furnishings is attributed to Napoleon's wife Josephine who had gowns, bedcovers and cushions made from the shawls. The French began making copies of the shawls and modified the design, adding long curling tips to the basic cone shape.
Arthur Liberty, an Englishman revived the popularity of the paisley design. It became recognised as the Liberty print and was used for home accessories. The paisley pattern is still popular today.

Goldwork Embroidery

Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver (silver-gilt) or cheaper metals, and even then the "gold" often contains a very low percent of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well.

Goldwork is always surface embroidery and free embroidery; the vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stilleto is used to help position the threads and create the holes needed to pull them through.

Screen Printing and Hand Painting

Screen and block printing In printing, colored designs are applied to the surface of the cloth in the form of patterns. Color is usually applied as a paste containing pigments and a binding material. This is fixed by steaming or heating, and the excess color is removed by washing. Designs may be printed with stamps or carved wooden blocks, an art requiring great skill and accuracy on the part of both printer and block-maker. Silk screen printing is basically a stenciling process. The stencil carries the design to be printed. The screen consists of gauze stretched on a frame. A squeegee is used to force the dye through the exposed sections of screen.

Block and screen printing are mostly used for small print runs, craft work and one-off original designs.

Beading and Sequining

Beading and sequining add texture and a feeling of luxury to apparel and non-apparel. Beading and sequining should be designed, planned and worked on a garment before it is made up. The purposes of the item wil determine the choice of bead. Extra fabric should be allowed when cutting out in case there is some shrinkage. It is important to line all pieces of beading as this will prevent the threads getting caught.

When designing beading think of each bead as a single unit in the design. The design can then be created much like a mosaic. Beading should enhance the fabric or item not overwhelm it.

Some beading techniques are:

• Sewing down a single bead

• Sewing a continuous line of beads

• Stitching one bead on top of another

• Attaching a bead with its hole facing upwards

• Couching between beads in a continuous line

Methods of Fabric Decoration

Applique

Appliquer is a French term meaning to ‘put on' or apply. In appliqué, one layer of fabric is placed over another layer and is sewn in place, traditionally by hand. Appliqué is a decorative technique achieved either traditionally by hand or machine by superimposing patches of coloured or plain fabrics over a base fabric. The method used to secure the edges of the ‘laid down' fabric tends to define the method of appliqué, e.g. needle turn appliqué.
The main methods of appliqué are needle turn,buttonhole stitch,machine stitch, traditionally or by a freehand method.

Historical and Cultural Development of Applique

Appliqué is a traditional technique for decorating fabrics and is evidenced in history and across cultures of the world. To some ancient societies appliqué was considered a form of writing for recording information. Some believe that the idea of appliqué may have come from patching holes in worn garments or linens or perhaps for the purpose of imitating prized raised embroidery.

Applique Methods

The main methods of applique are:

• Hand applique

• Needle turn applique

• Naïve appliqué using buttonhole decorative stitch

• Hand or machine appliqué using a stabilizer

• Reverse applique

• Machine applique (traditionally or by a freehand method).

Reverse Applique

For reverse appliqué, shapes are cut from a fabric and applied to the reverse of the face fabric. The face fabric is then cut to expose the applied layer of fabric beneath.

  

Machine Applique

Machine appliqué is a quick and easy alternative to hand appliqué. The sewing machine can be used to open new creative possibilities in the appliqué technique.

Traditional machine stitches such as machine blind hem, satin stitch and any of the fancy stitches can be used to apply the motif to the background fabric.

Traditional stitches can also be used in a contemporary approach to machine appliqué.
One of the best stabilizers for machine appliqué is Vliesoflex. Before machining, the motif should be fixed using the Vliesoflex method.

For a machine satin stitch finish, sew with one stitch next to the patch edge and the side stitch dipping into the patch. For secure corners, the side stitch will fall at an angle. Turn the hand wheel and move the fabric manually to maneuver the corner.

For freehand machine appliqué, follow the machine instructions, e.g. drop dog feed, lower tension slightly and attach freehand machine foot. When using any of the machine embroidery threads available change the machine needle to one with a larger eye, e.g. top stitch needle or metalfil.

Concepts of Textile Designing

• Investigating the influence of historical, cultural and contemporary developments on textiles.

• Investigate the factors that determine the success or failure of designers.

• Learn about changing trends in society that influence sources of inspiration for designers.

• Investigate the cultural factors that influence design and designers.

• Learn about fabric coloration and decoration

Overview of Textile Designing

Textile Design is not the same as textile production, although textile designers would benefit from working with various fabrics and materials. Textile designers create designs on textiles and they use fabrics, cloth, and upholstery to fashion a wide range of products. Textiles are the basis of linens, bathing products, fashion, interior design, and furniture. And, textiles have grown up to branch out into installation art.
So many different types of cloth and fibers are available today that many textile designers often specialize in a specific area.

    Textile Designers might work with knit designs

    Textiles Designers might create the patterns that you see on cotton or hemp fabrics.

Textile Designers might work with textiles that other designers have created to form new designs and patterns.

A person who enters the field of textile design can enter from within the field or as a graduate from a design school that focuses on textile design. The person who enters this field as an employee has the knowledge of a specific fabric under his or her belt. This allows that person the advantage of understanding how that specific fabric will respond to various treatments and uses.

The person who comes into this field at entry level must have classes in color theory, pattern design (different than pattern making), and a basic knowledge of most fabrics and materials. This knowledge can be obtained through courses that focus specifically on textiles. Often, you might find fashion designers or interior designers who gravitate to textile design to enhance their design ideas. On the other hand, many textile designers may enter the fields of fashion or interior design for the same reason to expand upon their design ideas.