WHAT IS THE FUTURE FOR FASHION FABRIC PRINTING?

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1 WHAT IS THE FUTURE FOR FASHION FABRIC PRINTING? INTRODUCTION Fabric printing is a key player in fashion today. Be it digital printing or traditional screen-printing, garments with a pattern are infinitely attractive to the current market. Whether the design in question is Peter Pilotto s wild prints or McQueen s innovative combinations of pattern & embellishment, fashion needs printed fabric design. In exploring this, it can be found that while all print is integral to fashion design; there are differences, similarities and innovative crossovers between the different methods. It is these advantages & disadvantages that are crucial in the future of fashion fabric printing. Will it become an entirely digital world, as it s already so technology driven? Or will the love of the handmade keep the demand for traditional methods strong? Focusing specifically on Britain, it seems that both perspectives could be viewed as correct, or could even work together. Screen-printing is a very physical technique, where a design or image is transferred onto a silk screen coated with photosensitive lacquer using an exposure unit. The design must be in black and white to ensure it is all transferred onto the screen the black will block the light of the exposure unit from the photosensitive lacquer and hence the lacquer will not harden in these sections. The soft lacquer (where the design was) is then washed off using a jet washer, and the gaps in the hardened lacquer are now the design. This is where colour and dyes will show through exactly like a stencil, but with much more precision and definition. To print using a silk screen, dyes are pulled through the stencil design using a squeegee. Depending on the type of dye that has been used, the fabric must then be baked or steamed to finish it. Digital printing is a process of inkjet printing using a large format printer specifically calibrated for fabrics taking into account weave and stretch. It is therefore easy to print designs with a lot of colours and that are very photographic. It is also very easy to transfer the image onto the fabric. The scale of the images can be very large too because of the large format printers. There is also a lot of accompanying digital software that is available when using a digital printing process, although Adobe Photoshop is usually the main choice. This software can eliminate the physicality of processes like creating a design in repeat with its clever technology that can create a design in seconds. The immediacy of designing on Adobe Photoshop (or similar software) could be perceived as an advantage of digital printing, or could also be viewed as holding less integrity than a hand made version. The methods of traditional screen-printing and digital printing are quite clearly very different techniques with obviously different outcomes, especially in a fashion context. However, there comes a point where there are crossovers between the handmade and the digital, and advantages to both. The honesty of screen-printing and the speed of digital print are excellent qualities and could even be furthered when utilized together. As Melanie Bowles (2012, pg. 7) discusses, Working in a digital environment, designers are afforded more time to experiment, explore and create, which is true because it costs much less (if anything) to experiment with designs using software than to make up silk screens. However, this may not be everybody s ideal style. Others may prefer the immediacy of screen-printing, and as Joanna Kinnersly-Taylor (2011, pg. 8) states: there are not always hard and fast rules, reinforcing further the idea of personal preference ruling high. There are also disadvantages when working with both of these techniques which will be explored too: the waste involved with screen printing, or the lack of integrity that digital print could be perceived as having. The advantages and limits of screen-printing are investigated in a case study based on Zandra Rhodes. Her dislike of digital print and faithfulness to traditional screen printing methods is extremely relevant to the future of fashion fabrics, as such a huge designer brand. On top of this, her most recent Sketchbook Dresses collection is a definite fusion of handmade and digital design could this be an exciting plan for the future? When explored, it becomes evident that Zandra Rhodes opposes this entirely, which is very interesting in our increasingly digital age. 1

2 There are many other forms of traditional printing, however this exploration specifically focuses on digital printing and traditional silkscreen printing as it appears these are the most relevant in fashion fabrics currently. Melanie Bowles describes the link between these two methods in a succinct manner (2012, pg. 13): Initially, design for any industrial application continues to follow the style associated with the preceding technology. In this case, the preceding technology is the traditional screen-printing, being followed and debatably improved on by digital printing. Screen-printing itself is still a huge industry, with large factories like Stead McAlpin printing thousands of metres of screen-printed fabric for many well-known names. The difference, however, is that most (if not, all) of their screen-printing is done for interior fabrics. Is there any crossover? Do screen printers print on a mass manufactured scale for fashion? In some cases there can be a crossover. Peter Pilotto s innovative SS14 collection fuses modern technology and traditional methods, which perhaps reflects the future of printed textiles in fashion fabrics. Contrarily, it may be viewed that this is rarely the case. A more likely situation is one like Zandra Rhodes studio where all the screens are made up elsewhere and the printing done on a much smaller scale. This can hence be very limiting can digital print alleviate this? Or are the effects of digital print not desirable enough to justify using it? It may be seen that this is simply the designer s preference. However, it remains true that there are advantages and disadvantages that separate the two techniques from each other, yet make them work in their own right. CHAPTER ONE: A case study into Zandra Rhodes penchant for screen-printed textiles Zandra Rhodes is an English designer whose main specialty is printed textiles. She is said to have pioneered the very special use of printed textiles as an intrinsic part of the garments she created (Rhodes, Z. 2013), and it is her clever use of screen-printing and apparent aversion to digital print that is relevant to the future of fashion fabrics. A case study was undertaken at Zandra Rhodes studio at the Fashion and Textile museum in London. It became evident that Rhodes has a true dislike for digital print; she feels it cannot convey the immediacy and honesty of screen-printing. Interestingly, her new collection is a typically Zandra Rhodes burst of colour yet entirely digitally printed. The collection is named Sketchbook Dresses. To create the designs, pages of Rhodes original sketchbooks are scanned in and refined, before being printed at RA Smart in Macclesfield. It could be seen that this is an exciting fusion of the handmade and digital and the right direction for Zandra Rhodes to push in in our ever-digital world. However, the head of studio, Frances Diplock, believes Rhodes overworks the designs. Could this perhaps be because of her infamous hatred of digital printing and her dislike of not being in control of the computer based design work and printing method? In some of the designs it could be perceived that this is true. This different method of printing also affects the design process; the pages taken from her sketchbook to be designs were not initially intended for use on a garment and therefore the final piece has not been designed based on them (as would usually happen in a Rhodes garment). The shape of the print is almost irrelevant in the digital printing. The designs for screen are developed from Zandra Rhodes initial sketches, which are passed to the studio designers to continue developing, and then back to Rhodes for further review. This goes on until the designer is entirely happy with the design. The final design is then sent to an external company where the screens are made up. Despite the outsourced screen, all printing is done in the studio on Bermondsey Street, by the print technician, Caroline, and her interns. It could be seen that is this time and effort that separates screen-printing from its popular accomplice, digital print. Similarly, screen-printing can cause a designer to consider a design much more than when using digital print. Digital prints require much less preparation and are therefore quicker to create. While this can certainly be an advantage and much more cost effective, the longer process of screen printing a design is more likely to provoke a designer to consider the design in much more detail. This is evident in Zandra Rhodes designs, in particular the Circle Dress, where the screens were designed and created solely for this one dress. This evidently makes for a unique and hence desirable garment, however it can also be seen as not cost effective, therefore being more of a burden than an advantage. 2

3 Often this can come down to personal preference and it could be viewed that it is this appreciation of detail and effort that makes Rhodes designs such a success. Screens from previous prints are equally often used to create something new. This is an idea that reinforces the feeling of synergy in Rhodes creation, whilst also being conservative about time and money. On the other hand, it could be that digital printing would alleviate any wastage of screens and perhaps time with its quicker, and arguably easier, method. Interestingly, Zandra Rhodes likes to keep the two techniques completely separate, despite her most recent Sketchbook Dresses collection (as previously mentioned). How can a designer avoid the crossover in our digital age? Why would they want to? It s like wearing a necklace and wearing a photo of a necklace. Why would you not just wear the real thing? (Frances Diplock, Head of Studio, Zandra Rhodes, 2013). This comparison really highlights the difference between the honesty of screen-printing and the effectiveness of digital printing. Zandra Rhodes studio only use pigment dyes in their screen printing, which is extremely limiting; because pigment dyes are made up from a coloured dye and a binder (thickening agent), light colours cannot be printed on dark colours without affecting the handle of the fabric. Furthermore, discharge and devoré are not an option and the design process is affected massively. Discharge & devoré are chemical mixtures that require much more technical equipment than pigment and binder dyes. The design process is affected so much because the colours must be chosen effectively and their placement must be considered thoroughly before sampling. The limitations are heightened because of Rhodes use of chiffons and silks; the handle of such fabrics is affected terribly easily and so the choice of pigment dyes must be very carefully thought through. While digital print would obviously eliminate this issue, so would acid dyes for screen-printing. Acid dyes are created using coloured dye and a mixture of chemicals that rather than sitting on the surface like a pigment with binder would, react with the fabric to create the design. The handle is not affected with acid dyes, however they are harder to control and more expensive than pigments. They also require steaming after having been printed. They do present more possibilities than pigments; light can be printed on dark without feeling thick and opaque with the use of acid illuminate dyes. These remove the colour from the base layer and replace it with the colour of the acid illuminate dye. Possibilities like this are very interesting but they do require more equipment than pigments (for example, a fume cupboard and a steamer), and are hence harder to use in a small studio like Zandra Rhodes. However, the effects that can be achieved with acids are vast and still retain the earnest feel of traditional screen-printing. Techniques such as polychromatic printing (using a reactive chemical to paint directly onto the fabric) broaden the design spectrum without taking away the handmade element, and sometimes cannot be replicated in digital print. While this may be true, it is also accurate that acid dyes require a lot of expensive equipment (as aforementioned) and the facilities needed to work with them may be too expensive. This is especially true in a studio like Rhodes where they have the screens made up elsewhere. In this case, is it correct that digital printing is the best option for limitless design? In a technological state where digital printing on knitwear is even possible, it may be the most viable option in terms of cost and limits in studio space. For Zandra Rhodes small studio and illustrative design style, it seems that screen-printing is the only option. The variety of digital print is outweighed by Rhodes passion for the honesty of the traditional. It could be seen that it is this dedication to a more tactile form of printing that sets Rhodes apart from other designers today. Having said that, the Sketchbook Dresses digitally printed capsule collection is a brilliant example of innovative use of digital print and hand printed techniques. It just might not be for everyone because of the honest feel in a screen-printed design. CHAPTER TWO: An exploration of the fusion of modern and traditional textile design in fashion Could it be that screen-printing is mass manufactured for interiors more often than for fashion? Stead McAlpin is a well-known screen-printing factory in Cumbria, but most of their clients require screen-printing for interiors. Is this because of the minimum order requirements when screen-printing? Or because of the cost-effectiveness and speed of digital print? Is there ever a crossover? During a visit and study of Stead McAlpin, it became apparent that the interior and screen-printing side of the business was the largest part. Thousands of metres of screen-printed textiles are printed for names like Laura Ashley and John Lewis. Interestingly, interiors are very rarely (if ever) printed digitally; the reactive dyes are not durable enough to pass the rigorous abrasion tests required for furnishing fabrics. This is because digital printing sits on the surface much more than screen-printing, where it is bonded to the fabric. Hence, there is a lesser need for digital printing facilities at Stead McAlpin. Whilst this may be true, the dying facilities and use of acid dyes (reactive on protein fibres such as silk and wool) reinforce the modern possibilities available at Stead McAlpin. Their offers of smaller screen printing runs and 25 colour prints supports this further. Whilst they may not be a 3

4 fashion fabric printers, or an overtly digital company, they remain up to date and hugely popular. Furthermore, there are facilities available to digitally print fabric at Stead McAlpin: the latest ink jet technology (Services: Stead McAlpin 2013) is used to produce specific print designs and short runs. Colour separation and design interpretation services are also available. This facility implies that fashion fabrics would be printed here, however the sheer quantity of fabrics being created for interior companies is evidence that Stead McAlpin is viewed much more as an interior printers. Peter Pilotto s SS14 show at London Fashion Week embodied the idea of using the traditional in an innovative way to create something new. Their exciting use of black crinolines to suspend the prints on the garments (Dazed Digital 2013) was a unique way to use printed textiles in a modern fashion show. Peter Pilotto and Christopher De Vos (the designers at Peter Pilotto) described this: The crinolines are to do with this idea of cinematic perspective and perspective achieved with light and shadow. You could see through the layers and it was like bringing our prints into this more 3D world, (Dazed Digital 2013) Their grasp on modernity and pushing their prints into a different realm epitomises the power combining traditional techniques and fashion fabrics can hold. Furthermore, Peter Pilotto s SS14 collection boasted a combination of layered lace, tweed and digital print. Once again reiterating how traditional and modern can work together in harmony, but also referring back to Stead McAlpin. Fabric finishes not necessarily designed for highend fashion can be utilised to create something entirely unique. To be successful in modern industry, a designer must utilise techniques like digital printing. Jenny Collicott is one such designer. Her large scale, exciting digital prints have been featured at New Designer s One Year On (New Designers 2013), clearly portraying her innovative use of print. Collicott s use of hand drawn, stitched and photographic elements make a visually interesting digital print design. Digitally printed fashion accessories embracing the handmade are a strong candidate for future fashion prints. Collicott epitomises this, especially considering the recognition she has received from New Designers. It may be true to say that Jenny Collicott is filling a niche in the market with her digitally printed fashion accessories. While designers like Peter Pilotto are creating exciting fashion garments, there seems to be a market for cleverly designed digital accessories. Digital print appears here to be the perfect medium to execute this in. The tones that can be printed in ink jet printing and unparalleled and this is evident in Collicott s forward thinking work. In conclusion, the segregation of digitally printed fabrics and interiors could be viewed as huge. This may be because of the contrast between the physicality of ink jet digital printing and the hardy nature necessary in interior printing. However, screen-printing is ideal for interior printing and hence this remains a huge industry, with Stead McAlpin in Cumbria providing an obvious example of the scale screen-printing is still used on. Stead McAlpin also portrays the modernity involved in screen-printing today with their numerous digital systems, variation of methods and even finishing choices. This modernity of traditional techniques is epitomised perhaps most in fashion. Specifically looking at Peter Pilotto s use of crinoline suspended prints and fusion of orchid lace and digital prints (SS14), it can be seen that traditional printing and finishing methods can create something new and exciting in a fashion context. CHAPTER 3: A practical comparison between screen printing and digital printing Often it seems true that the various advantages and disadvantages of traditional screen printing and digital printing come down to personal preference. This may be the designer s preference (such as Zandra Rhodes penchant for screen printing) or what the target market desire currently (for example Jenny Collicott s recent success with her digital prints). However, during a comparison of digital print and silk screen printing, it was factually true that one metre of digitally printed crepe de chine including 33 colours was (printed using CAT Glasgow s online service no discount included). One metre of hand dyed and silk screen printed crepe de chine including five colours was (dyed and printed with acid dyes). Whilst initially it may seem that the silkscreen printed option was cheaper, it must be taken into account that per colour digital textile printing works out less costly. When the total price is divided by the amount of colours, the digital print costs 2.23 per colour, while the screen printed fabric costs 9.86 per colour. Of course, there are other expenses when dealing with screen printing that are included in the total cost but don t necessarily separately affect the price of colour. 4

5 For example, the screens used in this investigation were priced per lacquered screen and so an A1 screen cost 5. This kind of variable can affect the pricing differences between digital and screen, but here it has been included in the total cost because of the variables digital printing incurs too. In this investigation, acid dyes were used to dye and print the crepe de chine fabric. These were priced at 2 per 500g, as is the same amount of pigment dye & binder. It would therefore be no cheaper to use pigment than to use binder but there are reasons acids were used. Using pigment and binder on an expensive crepe de chine ( 6.50 per metre) would affect the handle of the fabric and also would limit colour choices. Light cannot be printed onto dark without adding more opaque binder to the pigment, thus affecting the handle even more. Because of the similarity in price, it is best in this situation to simply choose the dye based on the handle and style required in the design creating another variable in screen-printing a length of fabric. It is possible that when dealing with screen-printing, there are too many variables to compare it successfully with ink jet textile printing. There are a huge amount of companies that offer digital textile printing services, especially when ordering online. In this exploration, the Centre for Advanced Textiles Glasgow ( was used to print with, as they seemed to be one of the cheapest options online. However, CAT Glasgow does not offer services like automatically mirroring the design like the online company Spoonflower do (Spoonflower is, though, an American company and so delivery and customs charges are a disadvantage). RA Smart in Macclesfield seems to be a popular choice with fashion designers evidenced in the case study on Zandra Rhodes but they do not offer an online service, which can be very useful for ease of access. They do have 11 digital printing machines (2 Mona Lisa, 9 Mimaki printers), with the Mona Lisa printing up to 50 metres of high quality fabric per hour (RA Smart: Digital prints 2010). This is another factor when digitally printing fabric: the more fabric printed, the cheaper it is per metre much like buying anything in bulk. This is not necessarily true of flat bed screen printing (traditional printing on a flat table with a square or rectangular screen), but may be true when using rotary printing as it is a much more industrial process. This is especially true when runs as short as 100 metres can be printed at Stead McAlpin using rotary printing. If a designer owns their own digital ink jet printer, much shorter runs can be printed at a lesser cost. This is perhaps an advantage of screen-printing: once the screen has been lacquered and exposed, many samples can be printed from the one screen at hardly any extra cost. Ink jet printers are available to buy online and the aforementioned RA Smart have a large selection, along with a range of pre-treated fabrics (RA Smart: Digital textile printing equipment 2010). This kind of availability makes digital printing even more accessible for designers, although it is expensive to buy a printer. It is hard to compare the costs of digital fabric printing and silk screen printing because of the vast amount of variables involved: whether the designer owns the digital printer or prints externally; which dyes are used when screen printing; which company is used to digitally print with; where the fabric or dyes are sourced from; if the digital print is ordered online or in store; what size screens are used to print with; how many colours are used. However, it seems fair to say that digital printing is more cost effective for larger amounts of different colours and hence tones. Screen printing can, though, be advantageous too. The ease of producing cost effective samples in screen-printing is unparalleled, and rotary screen-printing provides a sound alternative to digitally printing long runs of fabric. Once again, there are advantages and disadvantages to both digital and screen-printing cost-wise, and the choice to use one or the other might be best made when taking into account other factors. CHAPTER FOUR: A personal investigation into digital print and screen print on crepe de chine During an investigation into the advantages and disadvantages of working with both screen-printing and digital printing on fabric, there were numerous problems that occurred. It did seem, though, that there were a similar amount of issues when dealing with both screen-printing and digital printing. There didn t appear to be a significant amount more or less with either technique. The acid dye used to print with on crepe de chine bled when pulled through the screen perhaps suggesting that ink jet printing might be more precise. While this may well be true, ink jet textile printing sits on the surface of the fabric more than acid dyes and so may be less desirable in that aspect. To resolve this, the acid dye could be pulled through the screen fewer times with the squeegee. This would help with the issue of bleeding but not necessarily solve it completely there must still be a margin for human error when using a traditional technique like screen printing. Also, pigment and opaque binder can dramatically affect the handle of a fabric, which can be limiting when screen-printing. Transparent binder with no opaque in it can be used to help with this; it will be felt less on the fabric, especially on cottons. When using a fabric like crepe de chine, it is best in general to print with acid dyes, which have no effect on the fabric whatsoever. 5

6 The difference between the dye application when screen printing and digital printing is that there is much more control in mixing acid dyes (or pigment) to print with than when printing using an ink jet printer. The designer has less control of the colour when digital printing so the end result might not be that which was originally desired. If the digitally printed fabric is ordered online there is even less control of the colours and it can be expensive for a sample. Having said this, there are some companies that offer cheap (or even free) colour samples and when mixing acid dyes or pigments they would still need to be sampled. It is also possible to work closely with an external company so that the design samples are successful. If a designer owns their own ink jet textile printer, the printer would need to be colour calibrated to match the software used to create the design to ensure an accurate print. This can be a very complex process and might require a technician. The problems surrounding both techniques, while obvious, are not outweighed in either direction. The limits of screen or digital and the advantages seem to be equally weighted; both are even in their relative issues and benefits. This became evident in the study of digitally printed crepe de chine and screen-printed crepe de chine, undertaken in May When designing or printing fabric using any technique, the various advantages and disadvantages must be considered. Screen-printing offers some hugely exciting results, but it must also be noted that, in contrast to digital printing, which offers tonal and photographic prints, colour can be a limiting factor. The more colours used in a design, the more screens that are necessary to print the design. This means, naturally, more expense. Often a limiting factor with screen-printing can be the equipment required to print with. This was evident at Zandra Rhodes where they are only able to print using pigment dyes. If acid dyes, discharge dye or devoré techniques are desired, a fume cabinet and steamer are necessary. These are hugely expensive and often cannot be installed in small studio spaces. It can seem much easier to print digitally, where the cost effectiveness of colours is obvious. It may be that it is much less hassle for a designer to create a print compared to lacquering a screen, exposing it, mixing the dyes and printing it, especially when software like Adobe Photoshop provides vast amounts of design options. Because of the limitless colour options and photographic quality of a digital print, designs as complex as this are possible. This has 33 colours in it and would hence be impossible to print on screen. There is also no waste when digitally printing, unlike screen-printing where unused dyes can go off and must be thrown away. Zandra Rhodes has a huge archive of unused exposed screens which is much more wasteful than a digital archive of prints no longer relevant. Often it can seem that screen-printing isn t holding its own against the versatility of digital print, but the physicality of screens is something that cannot be paralleled. It makes designing repeat patterns much more accessible and clear for designers, gives an immediate print and can be very experimental. There are a range of screen printing techniques that cannot be mimicked in digital prints: pigment dyes, acid dyes, acid illuminate dyes (removes the base colour and replaces with a new colour at the same time), discharge (removes the colour), devoré (removes fibres to create a burn out effect), puff binder (raises when heated to create a textured print), pearlised dye (iridescent), metallic dye, polychromatic dyes (reactive dyes that can be painted onto an open screen and then transferred to the fabric using a reactive chemical), hand painting and paper stencils. This kind of exciting variation in technique is not something that can be achieved in digital ink jet printing, although the two can work together sometimes. Digital designs can be printed on silk viscose fabrics and then printed with screens using devoré. Both acid dyes and pigment dyes can be printed on top of digital prints to create something else entirely. These kinds of effects can be very aesthetically pleasing and commercially desirable, especially when worked together to create something unique. Digital printing requires images to be 300 dpi to print in a good quality, which can provide problematic if an image is too small to be resized. Scale can be an issue in general, with some ink jet textile printers only being small format and thus unable to print larger scales. Whilst automatic repeat patterns for digital prints can be visually unappealing, the software available to create them is often very easy to use, making it all the more accessible. It might be true that it is best to learn this kind of technique both physically and digitally to give a designer a well rounded view of the method. CONCLUSION Screen-printing and digital print on fabrics for fashion are undeniably different techniques, but it seems that both have strong justification for being the future of fashion fabrics. A series of personal case studies and investigations have proven that whilst digital printing may be more varied in colour and cost effective, nothing can parallel the 6

7 integrity and physicality of handmade screen prints. Zandra Rhodes aversion to digital print can be seen as both an original testament to the desire for the handmade and an unwise move in our ever-digital society, especially with designers like Peter Pilotto utilising the modern techniques with their prints. There are so many exciting techniques in screen printing (as discovered in an investigation into the advantages and disadvantages of screen printing and digital printing). The possibility to combine these with the speed and cost effectiveness of digital printing is exciting and may provide an answer to the question of what the future is for fashion fabrics. Overall, it seems that a knowledge and practice of both traditional screen-printing and digital ink jet printing is the most forward thinking style of fabric design and printing nowadays. The combination of the two techniques is a possible forecast for what might be the future, but it does still seem that both are huge industries in their own right. Companies like Stead McAlpin still print large amounts of screen printed textiles and do offer modern techniques as well as digital methods. Digital print is undoubtedly increasing in industry and the options this opens for designers is exciting, especially with collections like Zandra Rhodes Sketchbook Dresses (even if the designer herself is opposed to the combination of handmade and digitally printed) proving that the union of the two methods can be successful. The future for printed fashion fabrics is surely held with both the traditional screen-printing and digital ink jet printing, and perhaps a fusion of the two. This is seen in Jenny Collicott s large scale digitally printed scarves and her involvement with New Designers, proving her work is forward thinking. With both techniques still so evident in British fashion design today; it appears true that the traditional and the modern combine to provide a future for printed fabric design in fashion. REFERENCES Bowles, M. (2012) Digital Textile Design. 2nd ed. London: Laurence King Publishing in association with Central Saint Martins College of Art & Design. Diplock, F. (2013) Head of Studio Zandra Rhodes. Personal visit to studio. London: Bermondsey Street. See appendices. Kinnersly-Taylor, J. (2011) Dyeing and Screen-printing On Textiles. 2nd ed. London: A&C Black Publishers, an imprint of Bloomsbury Publishing Plc. Madsen, S. (2013) Dazed Digital: Peter Pilotto SS14. Available at: (Accessed: 10/11/13) New Designers (2013) One Year On. Available at: (Accessed: 12/12/13) RA Smart (2010) Digital Textile Printing Equipment. Available at: (Accessed: 02/11/13) RA Smart (2010) Digital Textile Printing Services. Available at: (Accessed: 02/11/13) Rhodes, Z. (2013) Zandra Rhodes Biography. Available at: (Accessed: 09/10/13) Shoel, E. (2013) KLOÉ study into digitally printed crepe de chine and silk screen-printed crepe de chine. (Personal investigation, May 2013) Stead McAlpin (2013) Services. Available at: (Accessed: 10/10/13) 7

8 BIBLIOGRAPHY Arts Thread (2013) Jenny Collicott. Available at: (Accessed: 12/12/13) Arulpragasam, M. (2012) M.I.A. New York: Rizzoli International Publications Inc. Bowles, M. (2009) Digital Textile Design. 1st ed. London: Laurence King Publishing in association with Central Saint Martins College of Art & Design. Bowles, M. (2012) Digital Textile Design. 2nd ed. London: Laurence King Publishing in association with Central Saint Martins College of Art & Design. British Fashion Council (2013) London Fashion Week: Peter Pilotto. Available at: (Accessed: 10/11/13) Centre for Advanced Textiles Glasgow (2011) Create. Available at: (Accessed: 15/10/13) Clarke, S. (2011) Textile Design. London: Laurence King Publishing Ltd. Cole, D. (2008) Textiles Now. London: Laurence King Publishing Ltd. Davies, H. (2012) 100 New Fashion Designers. Mini edition. London: Laurence King Publishing Ltd. Davies, H. (2009) British Fashion Designers. London: Laurence King Publishing Ltd. Deverakonda, S. (2004) Screen Printing Versus Ink Jet Printing Textile World, 154(10), pg Diplock, F. (2013) Head of Studio Zandra Rhodes. Personal visit to studio. London: Bermondsey Street. See appendices. Fogg, M. (2006) Print in Fashion. London: B T Batsford Jenny Collicott (2013) Shop. Available at: (Accessed: 12/12/13) Kinnersly-Taylor, J. (2011) Dyeing and Screen-printing On Textiles. 2nd ed. London: A&C Black Publishers, an imprint of Bloomsbury Publishing Plc. Madsen, S. (2013) Dazed Digital: Peter Pilotto SS14. Available at: (Accessed: 10/11/13) New Designers (2013) One Year On. Available at: (Accessed: 12/12/13) Peter Pilotto (2009) Biography. Available at: (Accessed: 10/11/13) Quinn, B. (2009) Textile Designers At The Cutting Edge. London: Laurence King Publishing Ltd. RA Smart (2010) Digital Textile Printing Equipment. Available at: (Accessed: 02/11/13) RA Smart (2010) Digital Textile Printing Services. Available at: (Accessed: 02/11/13) Rhodes, Z. (2005) Zandra Rhodes A Lifelong Love Affair With Textiles. Surrey: Zandra Rhodes Publications Limited. Rhodes, Z. (2013) Zandra Rhodes Biography. Available at: (Accessed: 09/10/13) 8