Making It in Textiles Conference and mill visits 14/15 October 2014

Conference notes

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About the Conference On 13th and 14th October 2014, 99 final year textile design students and 13 of their tutors attended a two-day event entitled ‘Making It in Textiles’ in Bradford. The free to attend conference was arranged to forge stronger links between education and the UK textile manufacturing industry. The event was a joint project between The Campaign for Wool, The Clothworkers’ Company and The Weavers’ Company.

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Opening Comments James Sugden, Chairman, The Weavers’ Company Textile Committee Background for the conference was to provide students from the UK with an opportunity to connect with the textile industry representatives and to visit mills. Students do not often get the see all the processes involved in weaving. There has been a return to production in the UK and this presents new challenges. The constraint in the revival of production is the shortage of skills and there is a need for a better pipeline of talented students going into industry especially into roles outside design of which there are limited numbers. Peter Ackroyd, Global Strategic Advisor, The Woolmark Company The Campaign for Wool was launched in 2010 to help farmers get a proper price for wool. Wool is the most natural, sustainable, bio-degradable fibre with each type of wool (fine, coarse) playing its part in sustainable fashion. Made in England still has a huge impact and China is increasingly interested in goods with a British provenance.

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Session 1

THE POWER AND ATTRACTION OF COLOUR Beryl Gibson, Textile Consultant Colour in textiles provides energy and eloquence and acts as a catalyst to stimulate the market and push sales. An experienced colour specialist, Beryl Gibson talked about the importance of research, trends and application. One of the key skills of a textile designer is to be a good colourist! Colours and texture go hand in hand, colour is seldom truly flat in textiles. Colour trends often are connected to art, craft, architecture, science, history, music, nature etc – translating these into textile or fashion details makes for the ‘irresistible ‘must-haves’ each season. Making mood boards and montaging your visual and colour ideas can assist in communicating clearly your overall creative ideas and concepts. Then learn how to edit your research in a succinct way to produce a creative result. It can be helpful to use a Pantone Reference Card as it provides a pallet of colours and references that is recognised worldwide. It is also important to remember the 3 categories of colour theory:   

Colour wheel Colour harmony Context of use

It is generally accepted that there are two balances of colour. Harmonious, which Giorgio Armani is a good example of and discord which can be associated with Vivienne Westwood. Some excellent books:  

Josef Albers - Interaction of Colour (also available as an iPad App) Johannes Ittens - The Art of Colour and The Elements of Colour

Loyal colour friends are: black, white, navy and neutrals. Their versatility is interesting. They need to be used well and can be ‘nuanced’ as trends change by pushing the neutral elements into colour. Première Vision, the internationally renowned fabrics trade show, produces an international reference card for colour that is created over a series of meetings (usually 2 days) with textile manufacturers from across the world. Each takes their country’s colour card and a decision is ultimately which colours work best together.

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The final colour choices come from the heart of the textile industry and work on forecasting starts 2 years ahead of season. UKFT (The UK Fashion & Textile Association) holds meetings twice a year with mills where information about colour and fabrics is shared and trends discussed. A British colour card is put together and is available online under the publications section on their website. The trends from UK mills and designers for Spring/Summer 2015 include: Relaxed Craft:

Muted tones, easy to wear textures with rustic/raw effects

Open House:

Worsted, fine merino men’s wear for smart/relaxed look. Dark with vibrant shades

Art Lab:

Bold, vibrant, energetic. Explores textile creativity with novelty yarns.

It is important to consider the power of colour merchandising, to recognise the value of selected colour combinations. As the seasons shift new tones need to be dropped into and blended with core colours, so it is important to learn about proportions. Different yarns and fibres can make a fabric unique and give it personality. When researching, look at artists who might inspire (David Hockney, Bridget Riley, Kyffin Williams, Ivon Hitchen), designers (Dries van Noten). Trends in fashion and colour are driven by textile manufacturers. Change is constant. See how denim has developed. Gap’s Denim 1357 range showed how a colour can look vintage when it is not. The most exciting changes are currently in menswear where colour is being embraced. There is a casual relaxed look with performance fabrics; wine tones are seeping into the colour pallet, and interior fabrics are following fashion influences. UK textile education is admired worldwide. Experiment, be bold, have fun and enjoy what colour can bring to your student work and future career.

http://www.berylgibson.co.uk/

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MODERN DYEING TECHNOLOGY AND ITS PLACE IN THE SUPPLY CHAIN Sinclair Paterson, Director, Sinclair Duncan Textiles Dyeing technology is key to executing colour and to transferring ideas into reality. In 2006 Johnstons of Elgin, where Sinclair was Design Director installed a state of the art dye house to meet the growing demand for more colours for the fashion sector. It is an example of the need to change to maintain market share. Johnstons of Elgin is a vertical mill with a great heritage with all weaving processes under one roof. In 1998 the company produced a classic range of fabrics with traditional weave patterns that were easy to manufacture. 300 colours were used and the machinery in the dye house basic. As the company went through a period of growth, a broader colour pallet was required and it was clear there was a need to change. The range was increased (from one to four) and by 2001 new dye house was being used to produce 1,500 different colour yarns. The new dye house comprised: 6 fibre pots in various sizes to enable smaller lots of wool to be dyed 3 package dyeing vessels (can damage the fabric handle) 6 hank dyeing vessels (a gentler process that gives a better handle on the fabric) 1 soft flow jet fabric (enables quick turnaround) The dye house also operated three shifts by this time, instead of one. With production increased and more colours available, other processes had to be amended at the same time. It was imperative that a planning team was in place to ensure that departments worked together and particularly closely with their biggest providers. The dye house now produces 3,000 colours. Modern technology has a vital role in the supply chain and enables competition on a global scale. It can drive up skills. Sinclair’s own company, Sinclair Duncan Textiles Ltd is an ‘own brand’ label and to run effectively is heavily reliant on personal relationships. It would difficult to run without having had industry experience. It is important that the next generation of designers bring their modern, creative edge together with traditional skills. Improved communication and planning with individual businesses would enable competition on a worldwide scale. http://www.sinclairduncan.com/

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THE YARN PERSPECTIVE James Laxton, Managing Director, Laxtons Laxtons produces fancy yarns for the weaving and knitting industry and is a fine example of a thriving company that took a brave decision and has successfully brought yarn production back to the UK. Laxtons was founded in 1907, spinning mohair. It survived two World Wars and grew to become one of the biggest yarn spinning mills in Europe in 1978 with 3 spinning factories and a dye house in Scotland. In 1990 customers started to look further afield. Manufacturing was moving offshore and it was clear that the same would happen to yarn spinning. A decision was made to close the factories in 2001 to consider how the business might be restructured. Over a period of 8 years a new customer base was sought, products that would meet needs of many different markets re-designed and a decision made to bring yarn production back to the UK. Such a move would improve lead times but it was also believed that with such levels of control a better quality product could be produced. The opening in 2010 coincided with the launch of Campaign for Wool. There is a mix of state of the art and traditional machinery to retain flexibility and to enable the company offer a broad range and develop further products. Different techniques produce different structures and there are many different styles of yarns produced. The spinning process is a mix of modern and traditional methods. Gilling is an important element of this. If this goes wrong, then everything else is wrong. Loxtons supplies global knitting brands. They don’t stock yarn, but make to order and in addition to supplying yarn for hand and machine knits, will also provide yarn for quirky end uses, eg teddy bears, apparel, upholstery, carpets (a carpet sold in Paris contained 30% silk yarn) The worsted and fancy yarn spinning that Laxtons does is unique in the UK. It is the only worsted spinner with a Woolmark licence. As manufacturers of the highest quality yarns, there is a constant need to develop products and more research and development into spinning has taken place in the last 4 years, since the company returned to the UK, than in the last 50. Fresh, new ideas are needed from the next generation. The recent Tour de Fleece (to coincide with Tour de France) showcased what can be done within a 40 mile area: Wool sourced in Bradford, dyed, spun and woven locally. http://www.laxtons.com/ Page 7 of 15

A QUESTION OF BALANCE John Gillespie, Gillespie Designs Experience as a designer and technical skills training have enabled John Gillespie to lead the restoration and development of Knockando Woolmill into a successful operating business. The mill first operated in 1784 with a charitable trust being set up 15 years ago to restore the building and machinery. £3.5 million was raised – the restoration completed and an operating business producing yarn and weaving launched 3 years ago. Reflecting on his career, John reflected that a designer must develop and create a product suitable for the market, using the tools available. Any advances in technology that offer progress should be embraced. When designing, it’s a question of getting the right balance - the following should all work together: Aesthetics:

Subjective, the importance is in originality of thought and personal tastes.

Commercial viability:

Designers must develop a commercial approach and consider price point and lead times. If a product is too expensive, or too late, then it is wasted.

Practicality:

The product should be practical in its application.

Technical knowhow:

You need to have the skill to produce the product.

As a designer, make something that is desirable and of which you are proud. But remember that creativity must work within the confines of the manufacturing unit. It is useful for all designers to know what can and can’t be done and to be sensitive to all aspects of the manufacturing process. Even the technical aspects of the manufacturing process require human judgement and decisions. Manufacturing is not a precise art. Dyeing time and the strength of yarn, for example, all have an impact on the finished product and therefore the knowledge of what you can do within a department is hugely important as a design tool. Opportunities within the manufacturing sector should be embraced. They provide the technical knowledge to enable you to maximise your design potential. They provide the opportunity to apply judgement and skills and the opportunity to travel in a global market. http://www.knockandowoolmill.org.uk/ Page 8 of 15

Session 2 CRAFT OF WEAVING Harriet Wallace Jones, Founder, Wallace Sewell Wallace Sewell is an example of a dynamic small business, founded in 1990 by two textile design graduates, which has moved beyond its core business of design woven cloth accessories to take advantage of opportunities in other markets. Harriet and her business partner Emma Sewell were graduates of Royal College of Art and Central St Martins. They had no experience of industry so they followed up contacts at a mill in Huddersfield to get design produced. She was told to come and do it herself and learnt how production worked. They shared studio in Holloway with a handloom, but wanted to embrace industry. They did a production run for stand at Chelsea Craft Fair using pattern weaving with a common warp which allowed short runs with lots of colour changes. The fair was a successful launchpad for their business and saw them selling to international buyers and UK retailers. Their business model is to work with commission weavers who produce their designs. They are inspired by a broad range of sources – artists, art exhibitions etc. They get a feel for the colour palette to use. They wind yarn around card which translates into the warp. They have one design with up to 8 different colour ranges. The design specifications are sent to the mill, who produce computerised warp, threading and weft plans, using different pick densities and colour waves. The fabric then goes to the finishers, which is almost as important as designing. There the fabric is washed, shrunk and brushed and emerges with a totally different feel. Wallace Sewell work with silk cashmere, which is used in high price point products, but also with lambs wool at a lower price and more limited colour range. They are a small business designing woven cloth to produce scarves, blankets, throws, cushions and, more recently, fabric by the metre. They sell to customers worldwide and on commission. They sell through different routes including trade fairs. The growth of lifestyle fabrics means they no longer use London Fashion Week – blankets and scarfs are now being sold together.

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They take orders and distribute price lists (often in different currencies). After the fair, they collate and confirm the orders, and the production process begins. With the fairs occurring in January/February, the production takes from March to June. The firm has a shop in Islington with a studio in the basement. They employ three weavers. In addition to designing for the fall collection, they have started to undertake other projects. These include fabrics for hotels (throws and cushions) and a major contract to design fabric for transport, working with Camira and Holdsworth. There fabrics appear on most seats on London tubes. They also do work for art museums – designing accessories to tie in with major exhibitions at Tate, MOMA etc – and specific commissions for stores (e.g. scarves for Anthropologie) and furniture retailers (translating a scarf design into upholstery and contract fabrics). http://www.wallacesewell.com/

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JACQUARD SILK WEAVING FOR THE LUXURY MARKETS OF THE WORLD Richard Humphries, Director, Humphries Weaving Founded in 1972, Humphries is an example of a successful UK business in an ancient trade but which produces short run high-value fabrics using modern technology. Bradford was a great centre of the silk trade historically. In 1851, Samuel Lister patented the nip cone, an invention which transformed the industry to spin silk which otherwise would have gone to waste. Pure silk weaving involves unravelling a single thread from the cocoon which is then tied to another thread. Today this is all done abroad, predominantly in China. Humphries Weaving is based in Sudbury in Suffolk. Previously, weavers would have bought the silk overseas and processed it in the UK to remove the gum etc. Now, the company buys silk pre-wound from China and dyes it in the UK, without the need to touch it before it is used in the warp or weft. This results in a much improved product. Humphries’ business model is to let the customer come to them and they will make it, using commission weavers. The yarns are put into the warp or weft to make the woven fabric. The company weaves on high-speed rapier looms for cost reasons. With silk one needs strength in the warp; the more twists in the arm the less lustre the fibre has. The whole process is computer-controlled and they use a CAD system to create the fabrics. Everything needs to be ready before production begins. Humphries creates customised fabric from stock yarns and dye yarn for their bespoke customers. Most of their production is pure silk, with some other natural fibres. They stipulate a low minimum 1.5 m order run in order to capture young weavers whose business may grow in the future. Much of their work is very high-end commissions, where price is not an object, or historic conservation and replacement of fabric in, for example, stately homes. http://www.humphriesweaving.co.uk/

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MODERN WEAVING TECHNOLOGY Gary Eastwood, Managing Director, Pennine Weavers This company took the strategic decision to invest in state-of-the-art weaving equipment to weave on a commission basis for other textile companies, following the closure of most of the weaving mills in the UK. Pennine is the largest weaver in the UK, producing 35,000 m per week, the equivalent of 10,000 suits, running three shifts a day. They process 100 machine changes every week on 32 looms, which is required for the short runs of high-value cloth demanded by their high end customers. By contrast, a mill in China would only have 10 – 15 machine changes a week. Pennine weaves on commission. They take yarn supplied by the customer and weave it to their precise specification. Quality is paramount, as is flexibility since the customers generally require very short turnaround times. Once woven, the fabric goes to a finisher and then to top brands. Pennine supplies the global market with the finest, most exclusive fabric; in areas such as men's suiting, there is strong demand at the top end for UK product. They have diversified into accessories – upholstery and transportation fabrics, as well as scarves and throws. They have invested heavily in the business, in both machinery and their people. Skills are paramount. They have two apprentices in the mill at any one time. Systems are very important – all 32 looms are monitored every 20 seconds, which allows them to report to customers on the status of their order in real time. It is a highly automated process. They hold 120 yarns for customers, which come from all over the world, from China to Italy.

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THE ART OF FINISHING Paul Johnson, Managing Director, WT Johnson & Sons It is finishing which creates a fabric, introducing the aesthetics of handle and drape, and enhancing performance. This company provides this essential service to many of the Northern mills. Finishing is the process between weaving and garment making. On luxury products, it is a crucial component to convince the consumer of the value of the product. It can ensure that a cloth reaches its full potential. As a result all the skills which exist in the supply chain are realised. Designers can exploit finishing in both the creation and performance of the fabric. Johnsons finish high-value woven textile products in natural fibres. They are commission finishers who process the fabric, add value, and return it to the customer. They work with all the top labels around the world. Their philosophy is based on innovation. They strive to do things that other finishers cannot. In modern finishing innovation requires investment in two things; machines and people. They invest significantly in equipment to increase capability not just to improve efficiency. They modify and design machines themselves to produce different effects. They also invest in the training and development of their people. The fabric they process is mainly natural fibre. For this reason fabric does not always behave consistently. Therefore all W.T.Johnson people have to be decision makers and this requires experience and skill. Originally, the job of finishers was to make the cloth fit for garment making. The oil and impurities from previous steps in the production process had to be removed and fabric had to be stable. Nowadays finishing is far more sophisticated. It can influence pilling, seam slippage, strength, cockling and PH. It can add features such as water resist, fire resist, anti microbial and machine wash. However, it’s influence is much more than performance. Finishing dictates a fabrics appearance, drape, touch and feel – these appeal to the senses of upmarket customers. They ensure an emotional connection. Some of the typical processes are: scouring (to remove impurities and develop the handle of the fabric, using a proprietary liquor recipe), drying (while controlling the warp and weft), cropping (to create a clean surface) and decating (to stabilise and give permanent effects). http://www.wtjohnson.co.uk/ Page 13 of 15

Q&A WHAT DOES INDUSTRY EXPECT TO SEE IN A STUDENT’S PORTFOLIO TO DEMONSTRATE AN UNDERSTANDING AND INTEREST? An ability to combine colour, yarn, texture and design, and think about end use Demonstrating an understanding of which yarns are right for a piece of cloth That they have made an effort to visit mills and get involved in order to get experience Be rounded and understand that there is more than creating a design on a piece of paper Be prepared to think laterally Take every opportunity which comes your way Don't forget the basic skills – the ability to spell and write a letter, and to create a spreadsheet to do a cash flow forecast

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WEAVERS PLACEMENT SCHEME John Hodges, Chairman Pennine Weavers The Weavers run a scheme which allows textile graduates to get into work. Up to 2/3 of the individual's salary is paid for six months to make it easier for the company to take on a graduate without experience. The weavers act as marriage broker between the company and student. They have good contacts with textile companies and seek out the best students to take advantage of the opportunity. The scheme is limited to 10 places year and is by invitation only. Applications are not entertained. If you are fascinated by production, there are opportunities. Many of the placements have resulted in offers of permanent employment. The attributes sought are: Demonstrate you are the best - Hard-working - Creative flair - Turn your hand to whatever is thrown at you Talk to your tutor Look at New Designers, Texprint Show you are passionate about textiles and want to get into the industry Be prepared to up sticks and move to where the job is for six months!

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