Making Silk Flowers E-Book

Anne Tomlin

• Herausgeber: The Crowood Press
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 277

Veröffentlichungsjahr: 2023

Beschreibung

This beautiful book explains the art and craft of making the most natural-looking silk botanicals. With clear step-by-step sequences, it considers the details of flowers and demonstrates how you can make immaculate interpretations from a range of silk and millinery fabrics. Anne Tomlin, a passionate and renowned silk flower-making specialist, generously shares her ideas and techniques so this intricate practice can be enjoyed by all milliners, textile artists and designers. Encourages forensic observation of the structures and colours of individual flowers Gives instructions on techniques, including how to paint with dyes and mix colours, stiffen silk, and shape petals and leaves Explains how to capture the detail and essence of more than thirty flowers, from the tiniest common daisy to the complex tightly-pleated English rose Features over 400 beautiful illustrations, including templates for each flower. This book studies a variety of flowers and shows how to recreate them in silk using unique and individual techniques. Inspired by flowering blooms, it encourages experimentation and problem-solving to discover sympathetic methods of making silk flowers to immortalise their fleeting beauty. It explains how to capture the personalities that make each of these flowers individual, encouraging you to observe the wonders of nature more closely and to think about how you might interpret what you see.

Leseprobe

CONTENTS

Introduction

1 Tools & Materials

2 Techniques

3 Colour & Dyes

4 Getting Started

5 Early Spring Flowers

6 Late Spring Flowers

7 Early Summer Flowers

8 Late Summer Flowers

9 Leaves

10 A Mixed Border

Templates

Glossary

Resources

Index

INTRODUCTION

WHEN I WAS asked to write this book, my initial thought was to write the kind of book that I would have loved to have found when I first started to make flowers; a book that might inspire observation of the natural world and that would celebrate my love of flowers, sharing all that I have learnt. Initially, I imagined it would be a helpful book for milliners, but a lot of the interest I have encountered has increasingly come from embroiderers, costume and bridal designers, artists, gardeners and florists.

My interest in making silk flowers began when I was asked to make a hat in the early 1990s for the late Deborah Cavendish, Duchess of Devonshire. I had no idea how I would create the soft pink rose she had asked for, no concept of how to shape the petals and construct a flower. At that time, there were no courses available (and no internet!). It was almost impossible to find any useful information on the subject; the flower-making industry had largely disappeared from the UK and flowers for the hat industry were routinely bought in from Germany and China. So began my long journey of discovery. After much searching, a well-known hat-maker and tutor called Rose Cory showed me a technique she used for curling silk petals. I struggled with this for a while, as it involved curling the petal around a piece of heated wire and I usually ended up with burnt fingers.

Making that first flower, which was surprisingly successful, was the beginning of an enduring obsession and flowers began to feature more and more in the hats I was making. Now on a mission to find better (and safer!) techniques, I eventually discovered a book on making silk flowers. In itself, it was of little help, but it had an advert in the back for a set of traditional flower-making tools. Just what I needed … I was on my way! I also wanted to learn more about the history and methods of flower-making, after reading a magazine article about the Parisian couture flower-making company, Maison Legeron.

I had begun to combine what I was learning, through my experiments using the tools, with other skills I had already acquired from hat-making, as well as the sewing skills I’d learnt from my grandmother, the fine silk-weaving I’d studied at college, and the inspiration and understanding I’d been given by incredible teachers, both at college and in the Art Department at school. I hope that with the help of this book, you too can expand your own set of skills and progress on your creative journey.

THE HAT-MAKING YEARS

Before flowers there were hats. Lots of hats. I made hats for more than twenty years, beginning in the mid-1980s. I started out working alone from a small flat in Brixton, South London, juggling several part-time jobs and working all hours. My first orders came from The Mulberry Company and Bloomingdale’s in New York, followed by Macy’s, as well as commissions for numerous small shops and designers, and even making a few hats for television adverts. I was also attracting interest from the media (thanks to Jody, my PR), which was fantastic, but it was soon overwhelming. I was on my own and it was becoming obvious that I really needed a partner in the business. My good friend Bridget Bailey was also at a crossroads with her textile business and had expressed an interest in hat-making, so the timing was perfect. Together we formed the successful BaileyTomlin label sharing our complementary skills, sense of humour and love of textiles. This fantastic partnership lasted nearly twenty years and was one of the happiest times of my life. We sold to most of the major stores, including Harrods, Liberty, Harvey Nichols, Saks Fifth Avenue, Mitsukoshi Japan, as well as many smaller boutiques and private clients. However, following the terrorist attacks on New York’s Twin Towers in September 2001, buyers from the US stores were no longer travelling and the orders soon began to dry up. It was time for a new beginning.

Leaving the hat business, leaving London, and moving to a village close to the South Downs, it was time for a rest. I now had the time and space to experiment and observe nature in much more detail. I found walking on the Downs with our dogs to be a completely cathartic experience, giving me an abundance of new ideas. I studied the wildflowers around me, planting, drawing and making the flowers I love with the intricacy I craved. I became very aware of our fragile ecosystem, which affected how I see the world and the importance of looking after and respecting nature. With this understanding, my garden has evolved into a haven for wildlife, with an emphasis on pollinating plants and trees, using permaculture methods and creating habitats for birds, bees, foxes and badgers. My rule is that I don’t plant anything unless it is of some value to nature, or can be eaten. There are wood piles, flowering shrubs, bird boxes and undisturbed areas, offering a sanctuary for all.

My love of nature and a curiosity about the structures of flowers, combined with an appreciation of the relationship between flowers and insects, have allowed me to find ways to interpret what I see in a much more complex way than before, far away from the hectic world of hats, fashion and working to a price with impossible deadlines. The way I work now is to have the actual flower before me to study close up to see how it is constructed. I take it apart and look at all the components, its structure, form and colours. If it’s impossible to study the actual flower, I look at botanical books and detailed photographs.

I strongly believe that drawing from life helps us to really see, which is essential when observing and making flowers. I make templates, sometimes altering the scale and petal formation, depending on the project. It is about expression and the individual choices we make each time we look at a flower and solve the problems of how we want to interpret it.

Perfect is the enemy of good.

VOLTAIRE

Writing this book has been an invaluable journey of discovery for me. It is about my making process and the culmination of many years of trial and error; learning from mistakes and appreciating, understanding and caring for the flowers and pollinators around us. I’ve asked myself many questions along the way and looked in great detail at how I approach the construction of a flower, and how, by adapting, changing and looking at a number of different ways, I have made the appropriate choices at that moment of making. It’s a snapshot in time of the way I work, as well as a guideline; and, I hope, a stepping-stone to finding your own way of making flowers. It’s not the definitive guide, but I am sharing with you my individual experience of years of making that involved a lot of looking closely at flowers and finding ways to interpret what I see in a way that brings joy in the discovery, but also gives justice to the beauty of that flower.

I have laid out a botanical study of each flower, leaving room for your observations and reflections. There are many ways of making, but I hope this will provide ideas and techniques to help you to find your own way of seeing flowers. I am constantly learning and adjusting how I make, studying flowers throughout the seasons and watching their patterns and rhythms. Most of the flowers in this book grow in my garden and are personal favourites that evoke memories, chosen for their beauty and benefit to nature. I have included a cross-section of wild and cultivated flowers; some are easy to make, others less so.

The range of materials I use is surprisingly small; I work with the same silks I have used since I started, with the addition of some antique silks, charity shop finds and anything that has a relevant sympathetic texture or colour for a particular flower. I avoid using feathers and leather for ethical reasons; the only way I will use leather is cast-offs or scraps. There are many fabrics available nowadays, but you can easily begin with what you have at hand.

A BRIEF HISTORY OF THE ART OF FLOWER-MAKING

The first recognisable artificial flowers we know about were made in ancient Egypt, created from stained shavings of animal horns and painted linen. The Romans decorated their homes with remarkably realistic flowers made from wax; the ancient Chinese used rice paper, while the Greeks made flowers from gold and silver.

The Chinese started using silk to make flowers some 1,500 years ago, for ladies of the Imperial Palace to wear in their hair. The trend spread to the well-off outside the Palace and when trade routes to Japan and Korea opened, silk flowers gained popularity in those countries and beyond to Europe. They became popular in Italy and France, where the craft was slowly refined using better quality silk to create increasingly realistic flowers. The French mastered the art and by the fifteenth century they had surpassed the flower-making abilities of the Italians; French-made silk flowers were now considered unrivalled and were highly prized throughout the fashionable courts of Europe.

As Parisian fashion houses began to dominate, the flowers made in Paris gained a reputation as the best; the workers were highly respected and relatively well paid, especially the rose-makers, who became the elite of the flower-making workforce. An early Parisian firm, established in 1727, was the predecessor to Maison Legeron, which is still making flowers for the couture market today.

The Clerkenwell flower makers, 1896, by Samuel Fisher

GIFT OF LEVIN AND CO., 1912. TE PAPA (1912-0002-1).

Families making flowers in New York City tenements

TOP: PHOTOGRAPH BY LEWIS HINE, DECEMBER 1911. LIBRARY OF CONGRESS, PRINTS & PHOTOGRAPHS DIVISION, NATIONAL CHILD LABOR COMMITTEE COLLECTION, LC-DIG-NCLC-04100.

BOTTOM: PHOTOGRAPH BY LEWIS HINE, JANUARY 1912. LIBRARY OF CONGRESS, PRINTS & PHOTOGRAPHS DIVISION, NATIONAL CHILD LABOR COMMITTEE COLLECTION, LC-DIG-NCLC-04134.

Following the French Revolution, many artisans fled to England, introducing their craft to the British, and by the early 1800s English settlers were taking their silk flower-making skills to America. M&S Schmalberg in New York is the only flower-making establishment remaining in New York; a family business using the same tools from 100 years ago. In 1905, there were 146 flower and feather factories in Manhattan alone. In both the USA and UK, often very poor women and children as young as eight years old worked as outworkers; old photos and paintings reveal that the craft is woven into the social history of the time.

The frames used to stretch fabric were called ‘tenter frames’. The stiffened fabric was pinned to a frame that had pins, or hooks, all around the edge so that it was held at tension, ensuring that it kept its shape and was wrinkle-free. This is where the expression ‘to be on tenterhooks’ originates.

The brass cutters that were used to create the petal and leaf shapes are still used today. This was initially a physically demanding process, in which the tool was struck by hand with a leather-covered mallet, cutting up to sixteen layers simultaneously. This technique has changed; for example, M&S Schmalberg uses modified tools that fit into a mechanical die-cutter, which has proved to be a safer and more efficient way of cutting.

Antique brass flower-making tools (author’s own)

After this process, the fabric was coloured and left to dry on sheets of absorbent paper. Next, the leaves and petals would be shaped and texture was often applied. This could be done using heated brass moulds put under a press to emboss the impression of a leaf, for example. There are still a handful of companies working with these same methods today, using the same tools. However, the presses are now electric, replacing the gas stove underneath, so that the heat can be regulated depending on the fabric used; silk satin can be heated at a higher temperature than velvet, for example.

Alternatively, petals were shaped by hand, mostly by women, using a selection of ball tools and other petal curving, shaping and curling tools, which were heated over a naked flame. This process is called ‘goffering’, from the French gaufrer, ‘to stamp with a patterned tool’.

HOW TO USE THIS BOOK

The beginning of the book runs you through all the essentials to get started, including the tools and materials you will need, plus some basic techniques. There is a Resources section at the back, so that you can get hold of the materials I use (and no doubt discover others).

The first project, ‘Getting Started’, is a good place to begin if you haven’t made silk flowers before. Otherwise, the flowers are divided into seasons: ‘Early Spring’; ‘Late Spring’; ‘Early Summer’; and ‘Late Summer’. I have included a few wildflowers – the primrose, daisy, buttercup and cornflower – as well as a selection of cultivated flowers. Some of the wildflowers are small and fiddly to make, but each is possible with practice, and it’s by looking at these most petite flowers that you may observe many details you haven’t noticed before.

The last project, ‘A Mixed Border’, shows you how to put together some of the skills you have learnt throughout the book and to make some fun flowers, using a range of simple templates.

The templates for each project are towards the back of the book and there is a web-link to download printable versions so that you can cut them out.

There is also a Glossary of less common terms that appear throughout the book.

OBSERVING FLOWERS IN DEPTH

I believe an essential ingredient in learning anything is curiosity. Curiosity helps us want to learn and discover more. To have a curious nature means that you are more likely to take a flower apart to understand and marvel at its construction and to wonder how you might be able to represent it. This inquisitiveness was the beginning of my compulsion to know more and a fascination with the natural world led me to find ways of making flowers in a particular way.

When teaching, I always start with observing the actual flower, if possible; otherwise, books and Google images are good resources. I encourage everyone to take a petal and look at its shape and colours, then underneath the flower at the calyx, the leaves, the veining and the serrated edges. What is happening in the centre of the flower, or on the other side of the petal? There are so many questions and it’s through this detailed observation that you will obtain an understanding of the construction of the flower. This knowledge will lead you to consider what it is about that flower that speaks to you.

Drawing is a fundamental part of the work of many artists and designers. It helps the development of hand–eye coordination, the visualisation of ideas and the observation of the details in nature that provide a point of reference. It makes you see the detail you would not have otherwise noticed. A sketchbook is the perfect private place, where you can gather a unique combination of ideas and thoughts, while improving your drawing skills at the same time.

Cornflowers, ox-eye daisies and corncockle around a flowering dogwood tree (Cornus kousa ‘China Girl’)

CHAPTER 1

TOOLS & MATERIALS

ILOVE TOOLS and finding out how things work. I don’t always use flower tools in the way they were intended and will often experiment using them in different ways that support my work. I’ve looked at the techniques of traditional French flower-making and Somebana (Japanese flower-making) and adopted some of the processes and adapted others to suit my way of working. I have also developed techniques by looking closely at nature, seeing which tools can best make the mark when interpreting what I see. I’ve also found a way of combining both French and Japanese methods without following formulaic rules, constantly questioning and finding better ways of making. Buying tools is an investment, but once you have them, they will last a lifetime and become an essential part of making flowers. A curious mind will help you to identify the marks the tools make and how you want to use them.

Flower tools can look like instruments of torture, but you will quickly make friends with them. Just keep an open mind when you begin; it’s freeing to allow yourself to play and think about what you are trying to achieve. See how the tools feel, varying the pressure and temperature, trying out different fabrics and ways of shaping. I hope my tips and tricks of making inspire you to develop your own way of making so that you feel that anything is possible. Learning any craft takes time and the three most important things that will help you to improve are practice, practice and practice!

TOOLS

French Tools

The best French tools I have found are made by Guy Morse-Brown, a well-respected hat block-maker based in the UK. The tools are polished stainless steel, very smooth to use on silk and will not rust or tarnish. They have better heat retention than either brass or steel, meaning that you can work for longer without reheating so often. The wooden handles are beautifully designed with a ball-shaped end, so they fit comfortably in the palm of your hand. I highly recommend these tools, but you can also pick up second-hand and vintage tools at antique markets, or on eBay and Etsy, although these old ones are often made from brass or steel. To heat the tools, I use a single electric hotplate (see Techniques, ‘Using Heated Tools’).

A small set of French flower tools; perfect to get you started

French ball and Japanese Somebana heated flower-making tools

French Heated Tools

I have more than one of the tools I use most, so that one is always hot and ready to use. I mostly use a range of ball tools from 3mm to 30mm, an arrow tool, and a pair of tweezers. If you are a beginner, you can buy a small set of four tools from Guy Morse-Brown (seeResources), which will be sufficient to get you started. I occasionally use the rat’s-tail tool in this set, useful for curling petals to make a rounder shaped curve, pulling the edge of the petal in from the outside, or using the narrow end to make a mark. It is a curved tool, tapering towards the tip and quite useful, but I find the arrow tool the most versatile of all, from curling edges to making veins and using as a mini-iron to press and seal.

SOMEBANA TOOLS

Somebana (literally ‘painted flowers’) is the Japanese art of flower-making. There are many books on making flowers with these methods, which are generally in Japanese and contain precise information to make flowers in a particular way, usually quite stylised. The tools are mostly smaller than the French ones, although there is a cross-over with the ball shapes and they work in a similar way. These fit into a soldering iron (up to 6mm in diameter fitting). It is best to buy one with a thermostat to control the temperature. Some tools, such as the lily of the valley tool and the rouleaux-making tool, are designed for a specific use, but with some imagination you can find other ways of using them.

You can buy these tools individually or in sets; some with as many as 22 different tips. If you don’t have or want the soldering iron, an option could be to attach the tips to handles and use them on a hotplate, in the same way as the French tools.

Lily of the valley Tool

This is a useful two-part tool made from brass, which, with a bit of practice, makes a realistic lily of the valley, but it also makes perfect calyxes for smaller flowers such as sweet peas. I’ve also used it for the centre of one of the Narcissi, as it creates precisely the right size cup shape.

Shaping Tools

These are useful tools, small and curved like cats’ paws and available in different widths. Sometimes called ‘spoon tools’, or ‘flower-shaping tips’, they are either smoothed or grooved with one, two or three grooves, and vary in size from narrow to rounder and broader. They are excellent for adding shape to the backs and fronts of petals and leaves, making a rounded groove. The narrower ones (sometimes called ‘chrysanthemum tips’) are ideal for making the curly flowers in the last chapter, ‘A Mixed Border’, and for shaping smaller petals. I encourage you to experiment with the shapes and textures you can make with these tools, as they can help to enhance your flowers.

Forget-me-not Tool

This is a tool designed to add shape to the five petals of the forget-me-not flower. Mine lay redundant for a long time in a box before I realised I could use it, in an alternative way, to add texture to a primrose leaf.

Rouleaux-Making Tool

This barrel-shaped brass tool makes very fine, delicate rouleaux, though it took me a while to work out how to get the best from it. Although I haven’t included it in these tutorials, I’ve used it for making chives and the roots of spring onions; it’s the perfect size for these (see Techniques, ‘Using the Rouleaux-Making Tool’).

Pads for Shaping

These are made from heat-resistant latex and come in three degrees of firmness: soft, medium and hard. You will need at least two different pads to shape your petals and leaves. The medium pad is the most versatile.

A hard pad is suitable for leaf veining and anything that would benefit from resistance and I use this one for so many effects. If you don’t have one, you can use a folded-up piece of cotton fabric.

You will need a softer pad to shape petals such as roses. I use one that I made by stuffing a cotton bag with finely ground walnut shells (and prefer to the latex version). This creates a super-light and soft pad that works perfectly. Alternatively, there is a soft Japanese sponge available; to use, simply cover with a piece of cotton, folded over and pinned underneath.

Additional useful tools

ADDITIONAL TOOLS & SUPPLIES

Wires

Every flower requires a wire and I use paper-covered flower wires. The paper covering helps the wires to bond to fabrics better than unbound wire. They are also used in sugar flower-making and are readily available from a sugar-craft supplier. Sunrise wires from Japan are superior to others I’ve tried, and they are available in many sizes. I use a range from 35-gauge, the thinnest, to 18-gauge, the thickest; the white ones are very useful, as you can dye them to match the fabric. Be careful not to let the paper get too wet as it will unravel from the wire. I find it works to hold a bunch of flower wires and paint on quickly with a dry brush. You can add more wire into the base of the flower if you feel the stem needs to be bigger. If you have too many wires, try cutting some out from the middle of the bunch to thin out the main flower stem.

Flower Glue

This specialist glue comes from Japan and is available in two thicknesses, labelled soft and hard. It is a PVA adhesive, sometimes called PVAc (polyvinyl acetate), and has just the right consistency to stick fabric particularly well, plus material to wire and paper clay. I was sceptical at first, but it does perform better than other tacky adhesives I’ve tried. If you don’t have any, then UHU glue, ‘tacky’ glue and others will work well, although it is probably down to personal choice and whatever works best for you.

Water Spray

A small water spray with a fine mist is useful for keeping petals damp, helping the fusible web bond to fabric and spraying paper clay to prevent it from drying out.

Needles and Pins

I always buy quality needles and pins. The Japanese brands Tulip and Cohana are my favourites. I use milliners’ straw needles, mainly the no.7; they are long and sturdy and suitable for all kinds of fabric, including delicate silks. Fine glass-headed pins are best for easy pinning and I also love Tulip pins, which are extra long with a flat flower shape at the head.

Thimble

Helpful to push a needle through thicker layers, used on the middle or index finger.

Bee’s Wax

Use to strengthen thread for sewing. Pull a length of thread through the wax. You can try pressing with an iron to flatten.

Hole Punch

A helpful tool to punch out fabric dots. This Japanese hole puncher comes with different hole-size attachments and has a clever spiral action, but other simpler ones are available.

and Scissors

Small, very sharp, pointed embroidery scissors are essential for anything intricate. Sprung scissors (8) are incredibly useful if you have several petals to cut out, and for snipping fringing and petals in a continuous strip, especially if, like me, you find conventional scissors tiring or painful to use over a long period of time.

I also have a pair of Kai scissors (15) from Japan, with a wire-cutting notch halfway up, meaning that you don’t have to keep looking for your wire cutters.

Frixion Pen

Frixion pens are used for drawing from templates directly on to fabric. The ink disappears with heat from an iron or hot water.

Bamboo Sticks

These long, pointed sticks are perfect for applying small dots of glue.

Wire Cutters

These are an essential tool for cutting wire.

Pliers

Nylon-jaw round-nosed pliers have detachable plastic noses and are excellent for protecting silk-bound stems and paper-covered wires.

Awl

The round-point awl is a sharp and useful tool for making holes in different sizes.

Pointed Tweezers

Long and short pointed tweezers are inexpensive and invaluable tools in the flower-maker’s box of tricks. Stainless-steel ones are best and worth the extra expense. I have found some excellent tiny ones used for nail art and extra-long ones used in the jewellery world.

Paint Brushes

I use a variety of artists’ brushes – flat brushes in various widths are good for applying dye to achieve texture and also work for colouring the edges of petals by gently brushing the dye inwards from the edges. Very small pointed brushes are used for more detailed work, while softer blending brushes are good for general petal colouring.

A selection of brushes

In addition to the tools illustrated, I have found the following useful:

Flat Iron

A small, lightweight, stainless-steel bottomed, non-steam iron. These are inexpensive and easy to use, with the heat being more evenly distributed than with a conventional steam iron. If you need moisture, use it with a damp cloth or fine water spray. When bonding layers of fabric together, press between Teflon pressing sheets (or you can use baking parchment or greaseproof paper). Maintain your iron by regularly cleaning with fine steel wool (a Brillo pad is perfect).

Paper Clay /Air-Dried Clay

Paper clay is readily available and can be easily shaped and manipulated to make the delicate, more structural parts of flowers. It is made from a mixture of regular clay and paper pulp, with the paper fibres creating a strong, lighter structure within the clay.

Paper Balls

Compressed paper balls are available in many sizes. They are perfect to use as middles for many flowers and can be coloured, or covered in fabric. Flower wires glue really well into them.

Acrylic Wax

I stumbled on this medium when looking for a product that would add a light sheen to paper clay after colouring it with dye. It’s readily available from art supply shops and works well used sparingly, brushed on in thin layers. If you don’t want the colours to bleed into each other, spraying with artists’ paint fixative will prevent the dye from moving before painting with the wax.

Gum Arabic

Jacquard makes an excellent binder using pure Acacia senegal and Acacia arabica gum. It adds sheen and, when dry, becomes really hard. Use on its own, or in combination with soft flower glue when making stamens.

Straw Stiffener

I occasionally use a millinery chemical straw stiffener. I decant a small amount into an empty nail varnish bottle, which prevents the brush from drying out. It’s beneficial for small projects like the lily of the valley leaf, or when rolling the edges of abaca leaves to prevent fraying. You can also use a PVA solution (both types of PVA will work).

Pad of Towelling

Soak a piece of towelling in water, squeeze out, then fold up into a square. This is useful for testing the temperature of your heated tools and also for ensuring that tools are clean before use.

Absorbent Paper

When painting dye on to fabric, I use blotting paper for its superior absorbency, but you can also use kitchen paper towel or plain newsprint.

MATERIALS

Silk

There are many types of silk. I use a small selection that has worked well for me over the years. I am always on the lookout for other suitable fabrics, especially antique ones and those from recycled garments, where it is possible to find something unique, sustainable and at a good price.

Silk Satin

I use a fine, flat silk satin for flowers such as lily of the valley, snowdrops and dog rose, which are backed with silk habotai for a more substantial structure. A delicate fabric with a light sheen, it dyes well and is excellent for many flowers and leaves.

Crêpe-Backed Satin

A thicker, more expensive silk satin, which can create a more sculptural flower.

Duchess Satin

The queen of satins, so-called because of its higher thread count to other satins and consequently the most expensive. I occasionally use this silk, but it has a habit of curling up when wet; keeping it flat is always a struggle. It makes perfect single petals for flowers like orchids.

Satin Organza

I first found this fabric when visiting suppliers in Florence and fell in love with it. It is silk organza with a satin finish on one side; exquisite and perfect for delicate-looking petals where you want a slight sheen, but also transparency and some substance.

Silk Organza

A lightweight, sheer, crisp fabric. Try using it in layers with velvet or satin, or use it to make a soft diaphanous flower. It is helpful for protecting petals when pressing, as well as in the making of lily of the valley as a protective layer between the tool and the flower. It is easy to dye and handle.

Silk Taffeta

A crisp, plain-woven fabric with a tight weave and lustrous sheen. It softens when dyed, but still has a beautiful quality, quite different from other fabrics.

Crêpe de Chine

A slightly grainy textured medium-weight silk that is made with highly twisted yarns. It doesn’t have the sheen of other silks, but is a good alternative for making petals and leaves.

Habotai

Habotai is one of the cheapest silk fabrics and is often used for the lining of garments. It comes in three weights; I mostly use the medium weight for backing leaves and petals.

Tulle

Tulle is a lightweight, very fine netting. It can be made of various fibres; I use both silk and the much cheaper polyester tulle. I use it for the centre of some flowers; when stretched over a velvet-covered ball, tufts of velvet can poke through the gaps in the tulle, giving the effect of pollen. Silk tulle is expensive, but can be dyed if you need a specific colour, unlike polyester tulle, which can’t easily be dyed.

Silk Abaca and Sinamay

I use these fabrics in small quantities for a couple of the flower tutorials, but their qualities have enormous potential to be explored in greater depth in the flower-making world. An exquisite fabric with a beautiful sheen, silk abaca is relatively new to the millinery trade. It is made from the processed stalks of the abaca tree (a banana palm from the Philippines), which are hand-woven through silk fibre.

I was intrigued to discover the sculptural shapes that are easily made with silk abaca and how I could explore its texture and flexibility. It is smooth and fluid, easy to colour with silk dyes and works well with heated flower tools. I show you how to make rose buds with it in Chapter 7.

Pinok-Pok

Pinok-pok is a finely woven fabric made from abaca. Also referred to as an extra fine sinamay, it has a beautiful weave; the appearance of linen is achieved through being heavily hammered. It’s also woven by hand in the Philippines from the stalks of the abaca tree. Abaca fibres are solid and long-lasting and are widely used by milliners due to their lightness and ease of blocking. Like silk, pinok-pok is easily dyed. I have used it to block over a ball flower tool to make part of a cornflower (seeChapter 6).

Silk Velvet

Velvet can be made from several types of fibres, with silk velvet always the most expensive. The silk velvet available today is not 100 per cent silk. The backing is silk, but the short, dense pile is rayon, which has a wonderful lustre after dyeing and pressing. I buy it undyed, but have found that it becomes much more absorbent to dyes if first washed in warm water, spun, then put in a tumble dryer. Be careful not to squeeze or wring out the fabric as this will cause permanent creasing.