Responsibilities

The day-to-day responsibilities of a textile designer include:

 producing sketches, designs and samples for presentation to

customers
 making up sets of sample designs
 liaising with clients and technical, marketing and buying staff to plan
and develop designs
 accurately interpreting and representing clients' ideas
 working out design formulae for a group of samples
 assessing and approving completed items and production standards
 working independently, if self-employed, or liaising closely with
colleagues as part of a small team
 using specialist software and computer-aided design (CAD) programs
to develop a range of designs
 experimenting with colour, fabric and texture
 maintaining up-to-date knowledge of new design and production
techniques and textile technology
 developing new design concepts
 ensuring that projects are completed on time
 visiting sites and other sources of ideas for designs
 sourcing fabrics and other materials at trade fairs, markets and
antique shops
 attending trade shows, as a delegate or as an exhibitor - this may
involve representing the company with a display or stand, or
appraising the work of competitors
 keeping up to date and spotting fashion trends in fabric design by
reading forecasts in trade magazines and using internet resources
 developing a network of business contacts
 if self-employed, managing marketing and public relations, finances
and business administration and maintaining websites.

Textile designers need to discuss, understand and interpret the needs,

ideas and requirements of their customers accurately. They must
consider how the textile will be used and therefore which properties it
needs, before producing design ideas, sketches and samples for
presentation to customers.
Textile designers take various types of cloths and fabrics and create works of art.
At their feet lies the world of color, patterns, treatments, formation, and
perspective. Truly, the textile designer is privileged in possessing unlimited tools
with which to actualize the inner-workings of their artistic imagination.
https://www.spoonflower.com/spoonflower_fabrics

And Elle is the vision of Ellen Tozer, a design director and print
designer with over ten years of international experience directing trends
and designing print concepts for both high-end and commercial fashion
brands.

Directed by Ellen, And Elle is made up of a small and highly skilled

team of experienced designers. Our nimble structure allows us to
deliver inspiring design quickly and efficiently, so you get what you
need within budget and on time.
Owens and Kim Ltd have built a reputation based on excellence since
being established in 1997 when Helen Owens and Kim Stockton combined
their vast experience in commercial textile design. We remain at the
forefront of the textile design industry, producing contemporary designs
with passion and flare, attracting world-leading fashion houses, retailers
and fabric manufacturers. Continued success with our designs has seen
our loyal international client base constantly grow year on year.
We boast some of the most talented and versatile designers in London who
constantly innovate and are passionate about design. Our team uses a
range of techniques, combining beautiful hand-drawn images with the latest
in digital production to create original seasonal collections, and we take
great care in producing high quality digitally-printed silk samples, and each
design comes complete with a layered digital artwork file.
You can now purchase designs from our extensive collection with usage
rights via our website. Register with us today to search, preview, purchase
and download exclusive textile designs uploaded daily from our London
design studio.
We create beautiful exclusive prints for the fashion
industry with our world wide client base in mind. This
includes everyone from the high street to high end
designers.
Black Cherry designs are produced using traditional
techniques along with cutting edge technology. Inspiration
is drawn from the current catwalks and trends as well as
street style.
To keep things local the majority of our designing and
printing is carried out in Scotland.
Emberly Modine is a Los Angeles-based designer specializing in surface prints for fashion
textiles.

With a background in painting and illustration, Emberly uses her diverse and extensive visual
vocabulary to create imagery ranging from photo-realistic to hand painted, evocative of many
production techniques.

Trained at the San Francisco Art Institute, Emberly applies a painterly consideration of
composition to each print, treating each as a piece of artwork. Her love of vintage, ethnic and
traditional prints serves as a source of inspiration.

Her clients include BCBG, Carmella, Herve Léger, Current/Elliot, Joie, Equipment, and Paige
Denim. Emberly has successfully delivered entire seasons of prints, consistent with the
personality of each brand, while keeping true to seasonal inspiration.

Le Studio Anthost transforms fabric into precious material imbued with mystery
and magic, material that invites touch, imparts elegance, and inspires fantasy. By
handcrafting surfaces with uncommon techniques, the studio offers designers
infinite possibilities to enhance their collections.

aised in Paris, Astrid de Saint Anthost learned the basis of her craft at Atelier Dynale, whose
clients included Gianfranco Ferré, John Galliano at Dior, Alexander McQueen at Givenchy, and
Christian Lacroix. In 1997, Astrid moved to New York. Thriving off the city’s energy, she soon
established Le Studio Anthost. Since, she has allied her workshop—now located in Greenpoint,
Brooklyn—with New York’s most distinguished designers. In 2017, she launched her interior
collection pushing the boundaries of traditional textile for the world of interiors.

CINE SUNTEM NOI

Colorberry este marca sub care compania Compugrafix a lansat in 2017, in Romania, cea
mai noua linie tehnologica pentru imprimarea digitala in rola, a materialelor textile din fibre
naturale (bumbac, in, matase, viscoza).
Sediul nostru se afla in Bucuresti, iar tot procesul productiei are loc chiar aici, ceea ce ne
permite sa oferim rezultate rapide si sa avem un excelent control al calitatii. Si pentru ca
satisfactia clientilor nostri este cea mai importanta, ne straduim sa imprimam perfect si
rapid fiecare metru patrat de material.
In plus, obiectivul nostru este sa facem tot procesul cat mai usor pentru tine.

Tu faci designul, iar noi il imprimam!

PASIONATI DE MODA
La Colorberry imprimam pentru cei mai creativi pasionati de moda!

Folosind materialele textile ale clientilor nostri sau chiar pe cele din gama noastra, rezultatul
va fi intotdeauna la nivelul asteptarilor. Imprimarea se poate face pe o varietate mare de
materiale naturale (ex: bumbac, in, matase, vascoza si celofibra) si combinatii cu fibre
sintetice (5%).

Metoda noastra de imprimare asigura cele mai bune culori si cea mai buna calitate pentru
imprimarea pe materiale textile.

Pentru a-i ajuta pe creativi sa obtina rezultatele dorite, ne adaptam munca in functie de
concept. In plus, oferim ajutor si sfaturi pentru imprimarea in cel mai eficient mod posibil pe
toata durata de desfasurare a proiectului. Asistenta noastra poate fi solicitata de la primii pasi
(setarea si pregatirea fisierului ce urmeaza sa fie trimis pentru imprimare) si pana la livrarea
produsului final. Scopul nostru este sa oferim rezultate excelente din punct de vedere al
calitatii, intr-un timp cat mai scurt.
 DESIGNERI DE INTERIOR
La Colorberry oferim servicii personalizate de imprimare pe materiale textile pentru
interiorul casei sau chiar pentru spatii comerciale.

Imprimarea pe draperii sau tapiserie e o metoda perfecta de a personaliza locuinta personala

sau spatiul destinat afacerii dvs, pentru ca ajuta la crearea unui stil unic.

Metoda noastra de imprimare asigura cele mai bune culori si cea mai buna calitate pentru
tapiserii sau draperii personalizate. O varietate mare de tipuri de arta (ex: fotografii, imagini
de promovare sau reproduceri) pot fi imprimate pe mai mute tipuri de material. Fie ca este
vorba despre draperii pentru hoteluri sau materiale pentru re-tapitarea unui scaun,
posibilitatile sunt nelimitate!

Pe laga asta, asiguram livrarea rezultatelor la o calitate excelenta, in cel mai scurt timp! In
plus, nu exista comanda minima, iar numarul designurilor printate nu afecteaza pretul.

Printul digital este o alternativa moderna la printul classic ( offset, serigrafie, tampografie
etc.). In toate domeniile de activitate, printul digital incepe sa castige din ce in ce mai mult
teren, impunandu-se ca o alternativa sau ca o completare la modalitatile traditionale de
imprimare pe diverse suporturi (hartie, pvc, sticla, lemn, aluminiu, otel s.a). O evolutie
speciala o are printul digital pe material textil, fibre naturale sau artificiale.
La nivel mondial se imprima anual 140 de miliarde de metri patrati de materiale textile, in
mare parte cu metode traditionale ( rotary sau serigrafie).
In ultimii 10 ani printul digital a patruns si in acest segment de industrie, in acest moment
ajungand la un procent de 5-7 % din productia mondiala de textile imprimate. Conform
studiilor efectuate de producatorii de utilaje de imprimare, acest procent se va dubla in
urmatorii 3 ani.

IMPRIMARE DIGITALA
 nu sunt necesare investiitii initiale (placi , filme, etc) deoarece imaginea digitala este
exportata in printer si imprimata direct;
 pe o rola imprimata digital putem include oricat de multe designuri sunt necesare, neavand
nici un fel de limitari;
 costurile pentru imprimarea a 10.000 mp sau 1.000 mp de material textil prin metoda
imprimarii digitale sunt aceleasi.
 IMPRIMARE TRADITIONALA
 materialele textile sunt imprimate serigraphic sau prin sisteme rotary;
 pentru realizarea unui imprimeu sunt necesare investitii initiale (filme, placi impresionate
etc.);
 imprimeul poate fi realizat doar in mod repetitiv intr-o rola;
 clientul nu poate comanda o rola de material care sa contina diverse designuri, ci doar acelasi
design repetat;
 un pret mic pe metrul patrat poate fi obtinut doar comandand cantitati foarte mari cu
imprimeuri identice.

http://colorberry.ro/modele-unice/

combines epson digital dye sublimation

and traditional manual screen printing
technologies

T extile and fashion designer Richard Quinn has launched the Richard Quinn Print Studio, a

unique textile printworks offering Epson dye sublimation and traditional screen printing services and

workshops.

Since he graduated from Central St Martins, London, last year with his colourful floral collection, Richard

has won the international 2017 H&M Design Award, is one of Dazed Magazine’s ‘Dazed100’ cultural

influencers in 2017, and is British Fashion Council’s ‘One to Watch’ in 2017.

His new textile print studio based in Peckham, London, features an Epson SureColor SC-F9200 digital

dye-sublimation printer complementing two manual screen printing lines. The space gives fashion

students and designers an affordable facility where they can source their printed textiles and obtain
expert advice about different print techniques, dyes, textiles and alternative materials from Richard and

his expert technicians. In addition, Richard designs, prints and sews his own haute-couture pieces in the

studio and the facility is also available for other designers to print their own textiles onsite if they wish.

“I love the SureColor because it produces superb quality printed textiles,” says Richard. “I used Epson

printers at Central St Martins for my graduation collection and it was important that I had one here in my

studio working around the clock, producing vibrant colours, and capturing all the fine details and textures I

want. This flexible machine gives me the freedom to experiment with many different fabrics and new

substrates. It’s great being able to create a textile design, print it and create an outfit – all on site within

hours. There is no other studio quite like this one, which is run by a designer for other designers. We

provide considerable experience in colour, materials and printing quality fabrics using both digital and

traditional processes and that means a lot to designers.”

Supporting student designers by providing a reasonably priced print service and educational workshops is

important to Richard: “We have already had a great deal of interest from Central St Martins where I

trained and from universities all over the country.”

“Richard is one of the new generation of young designers who are using Epson digital textile printing

technology to create stunning high fashion collections which attract international recognition and
accolades,” says Richard Barrow, Epson Europe. “2017 is going to be a very exciting year for him and we

look forward to supporting him as he develops his studio and new collections.”

From a dingy small space we have blossomed into a light, bright and well stocked textile
print room in Bermondsey, London. Set up by Andy Leggatt after acquiring one print table,
then another and another...

Andy has been in the screen print business as a supplier to the industry for over fourteen
years. In 2008 after acquiring a table, Andy decided to set up a space for screen printing in a
railway arch in Deptford, along with a few loyal textile designers who ran their freelance
business from there.

Demand soon grew, until a new home was needed. Cut to 2015, after 2 moves and 5 years in
The Biscuit Factory, we're expanding yet again and now find ourselves thriving with our
many different print practitioners in our brand new Printall Studios based in the arches on
42 Raymouth Road.

We're excited about our new chapter in the middle of a burgeoning art community in South
East London. Some of our members have been with us since the beginning and many new
faces create an interesting and supportive network of freelancers and independent labels.
http://www.printallstudios.com/printallstudio#membership

Printam pe materiale textile – detinem cele mai bune

masini de printat pe textil din Romania – Mimaki JV5.
Cu o experienta de peste 10 ani in acest domeniu, va oferim posibilitatea de a
printa pe textile (poliester sau bumbac) la cea mai inalta calitate. 100%
poliester la o latime de print de 160 cm, rezolutie maxima 1440 DPI.
Putem printa la o viteza maxima de 58 m² / ora, la o rezolutie de 720 dpi,
adica aproape 1400 m² / zi.
La rezolutie maxima de 1440 dpi cu 8 pasi, printam 25 m² / ora, adica 600 m² /
zi.
Realizam urmatoarele produse:
steaguri printate digital, steaguri personalizate printat, perdele personalizate,
bannere textile, backlit textil si multe altele.

Echipament sportiv
personalizat
Aveti nevoie de echipament sportiv personalizat – va
putem ajuta cu orice tip de echipament: fotbal,
baschet, handbal, ciclism, gimnastica, volei, inot,
polo, hockey, atletism, sporturi de iarna etc.
Ce anume facem? Echipament sportiv standard si personalizat: tricouri, bluze,
sorturi, imprimari pe suport textil: steaguri, fanioane si bannere ce pot fi
folosite la prezentarea echipei.

Fabrica Flash oferă soluții de print digital direct pe confecții și tricotaje, pentru
companii din industria textilă, fashion sau de produse promoționale. Calitatea
deosebită a imprimării, durabilitatea extinsă și costurile accesibile sunt
principalele avantaje oferite de tehnologia din prezent. Nu numai că aceasta
deschide o multitudine de oportunități pentru design și personalizare, în tiraje
de diferite volume, dar permite realizarea de mostre și prototipuri, la costuri
minime.

Serigrafia este cea mai cunoscuta modalitate de imprimare a materialelor textile de orice fel
fapt dovedit de numarul urias de confectii imprimate existent pe piata comerciala.

Procedeul de imprimare are la baza transferul de cerneala (vopsea) de pe sablonul

serigrafic pe materialul textil. Farmecul serigrafiei este dat de multitudinea culorilor folosite
si a efectelor posibile: variatia stratului de cerneala pana la efectul 3D, plastifierea, efectul
de vintage, piele, burete sunt doar cateva ce merita amintite.
Serigrafia pe material textil asigură o foarte buna rezistența în timp la actiunea factorilor
mecanici sau de mediu.
Realizam inscriptionari pe suport textil cu diferite cerneluri (plastisol, plastisol ecologic,
discharge, pe bază de apă), inclusiv policromie de foarte bună calitate.
 Se pot realiza imprimari speciale, gen: 3D, metal-foil, expand, glitter, perl, flock,
reflectorizant, fluorescent etc.

Aplicații ale Imprimeriei textile prin serigrafie:

 Tricouri, polo pique, hanorace, camasi, jachete, softshell-uri, sepci

 Șepci, esarfe, cravate, prosoape
 Echipament de lucru și de protectie : salopete, halate, jachete, pantaloni
 Umbrele
 Tricotaje :pulovere, fulare, manusi
 Echipamente de lucru pentru restaurante: șorturi, bonete
 Echipamente pentru firmele de paza și protectie
 Produse pentru nou-nascuti și copii: bluze, body, bandane, treninguri, jachete, rochite,
fustite, camasi, tricouri, maieuri
 Echipament sau costume medicale: halate
 Geci și veste
 Echipament sportiv: numere și sigle
 Genți textile și de voiaj
 Sacose
 Marochinarie: genti, posete, portmonee
 Incaltaminte: piele, textil

Suntem o echipa tanara, specializata pe toate segmentele tehnologice aferente activitatii de

imprimare textila. Astfel va putem ajuta sa alegeti produsul dorit, modelul grafic si tipul de
imprimare textila potrivit cu produsul ales. Daca aveți deja propriul design sau logo-ul
companiei, il putem transfera intr-un format care poate fi imprimat sau brodat usor și
eficient.

Formata din oameni entuziasti si motivati, echipa noastra are ambitii mari, si raspundem
pozitiv la orice provocare, oferind intotdeauna cea mai buna calitate atat a servicilor, cat si a
produselor.

Prin urmare, va invitam sa ne cunoasteti mai bine si noi va promitem o colaborare

profesionista si plina de satisfactii.
Startup textile designers businesses typically suffer when it comes to
brand recognition because unlike entrenched competitors, new brands
lack visibility and history with their customers.

The Market

The population of the 17 communities in close proximity to Cutting Edge Drapery is

estimated at 277,253. Roughly, this would mean that this area comprises a total soft
window treatment market in excess of $2.7 million annually. All of these treatments must
be produced in decorator workrooms. The company's share of this nearby market is
approximately 7.5%.
The company is in the process of shifting from its current target market of interior
decorator clients to the more higher end interior designer market. A change to this target
market will improve profitability levels since the designer segment is much less price
sensitive and provides greater margins. The designer's clients include the high income
homeowners that demand unique products and a high degree of customer service. This, in
turn, requires a high contact service environment between the designers and workrooms
that can best ne served by a company such as Cutting Edge Drapery.

To penetrate the interior designer-controlled share of the window treatment market

("Designer" being the key word here rather than "decorator"). Within the nexttwelve
months it is the objective of the company to market the 15 targeted designer members of
the American Society of Interior Designers (ASID) who are located in close proximity to its
Loudon facilities, and to establish a business relationship with at least three of them. This
will grow to five in the second year and seven in the third year. The company faces
significant competition from existing workrooms within the local area. Cutting Edge
Drapery's strategy is to lift its image, through advertising in prestigious trade
publications, joining and net-working ASID membership, and actively marketing its
selected target market.
Diary of my
journey through
textiles
Thursday, 16 May 2013

A sample Business plan for textile designers

Introduction

Cutting Edge Drapery is a well established decorators' workroom. The company is engaged
in the production of draperies, slip covers, and other textile products in accordance with
the designs and concepts of interior designers. Cutting Edge Drapery has recently
expanded its production facilities and is well-positioned to market its workroom
production beyond its present client base. The company is dedicated to providing the
highest quality workmanship, meeting the agreed delivery dates, and executing the
custom work exactly in accordance with the designer's concept. The focus of this business
plan is to identify its future target clients, explain its marketing strategy, and to improve
its internal procedures so it can substantially increase profitability.

The Company

Cutting Edge Drapery is located in Loudon, New Hampshire. Soft window

treatments represent the major share of the company's production. The total market for
soft window treatments in the communities which the company targets is approximately
$2.7 million. The share of this market channeled through designers and decorators is
directly proportional to disposable income and real estate valuations.
The company is a sole proprietorship and has been operating for nearly 25 years. The
owner worked out of her home as a seamstress and tailor until her business volume
caused her to move her operation into rented space in Loudon. This expanded space
allowed her to concentrate more on draperies and window treatments. The office is
comprised of 2,200 square feet where seven people are employed full-time. Recently an
assistant has been hired to take on the administrative burden and to help improve the
company's internal procedures. A new outside accountant has been engaged who is
steamlining the computerized accounts.
The Products

Cutting Edge Drapery provides sewing services in the creation of high quality soft window
treatment products such as; draperies, swags, jabots, slip covers, etc.
Although the company could be considered a company making products, because clients
furnish the fabric for each custom crafted unit, it actually only provides the sewing
and installation services to its customers. There are relatively few sourcing costs because
the company does not have to directly provide for fabric, which is the most expensive
input in the production process.

The Market

The population of the 17 communities in close proximity to Cutting Edge Drapery is

estimated at 277,253. Roughly, this would mean that this area comprises a total soft
window treatment market in excess of $2.7 million annually. All of these treatments must
be produced in decorator workrooms. The company's share of this nearby market is
approximately 7.5%.
The company is in the process of shifting from its current target market of interior
decorator clients to the more higher end interior designer market. A change to this target
market will improve profitability levels since the designer segment is much less price
sensitive and provides greater margins. The designer's clients include the high income
homeowners that demand unique products and a high degree of customer service. This, in
turn, requires a high contact service environment between the designers and workrooms
that can best ne served by a company such as Cutting Edge Drapery.

To penetrate the interior designer-controlled share of the window treatment market

("Designer" being the key word here rather than "decorator"). Within the nexttwelve
months it is the objective of the company to market the 15 targeted designer members of
the American Society of Interior Designers (ASID) who are located in close proximity to its
Loudon facilities, and to establish a business relationship with at least three of them. This
will grow to five in the second year and seven in the third year. The company faces
significant competition from existing workrooms within the local area. Cutting Edge
Drapery's strategy is to lift its image, through advertising in prestigious trade
publications, joining and net-working ASID membership, and actively marketing its
selected target market.

Financial Considerations

The marketing research and tailored marketing strategy described in this business plan
will result in after-tax profits of $43,000 in 1998, increasing to nearly $75,000 in after-tax
profits within three years. It is estimated that by year 2000, revenues will reflect an 11%
market share of the local soft window treatment market.
Monthly break-even stands at 35 units. The company must keep stitchers busy producing a
mixed quota of 35 units per month to break even. Total production at the time of this
writing was approximately 98 units, which will increase to 115 by the end of the year
2000. Beak-even is at 30% of capacity initially.
Because it is the policy of the company's clients to provide the fabric for the soft window
treatment products, the company has a very low cost of goods sold account and therefore
a high gross margin. Furthermore, the custom nature of the business means that there is
no inventory cost to speak of or accounts payable. Finally, the company does not posess
any debt or long term capital assets that would affect the cash flow. With the ability to
generate so much cash flow, it is assumed that the company will seek to use this asset to
expand its markets and production capacity in the near future.

Highlights

Objectives

To penetrate the interior designer-controlled share of the window treatment market

("Designer" being the key word here rather than "decorator"). Within the next twelve
months it is the objective of the company to market the 15 targeted designer members of
the American Society of Interior Designers (ASID) who are located in close proximity to its
Loudon facilities, and to establish a business relationship with at least three of them. This
will grow to five in the second year and seven in the third year.
To substantially increase profitability. We will encourage price-sensitive jobs to go
elsewhere by formalizing the pricing mechanics. This will allow for attention to a more
high-end custom work to be performed for the less price-sensitive designer market
sector. This pricing will insure a minimum of $65,000 in pre-tax profits during the first
year.
To improve the administrative machinery of the operation. This will allow a reduction in
the owner's involvement in simple administrative tasks from 50% of her time to 20%,
thereby allowing her more time for sales and marketing tasks.
Mission

Cutting Edge Drapery is best suited to serving the interior designer share of the textile
treatment market because clients of interior designers can afford expensive materials and
custom solutions. The company is unable to compete with large workrooms geared to
mass production runs, nor can its pricing compete with the many "mom and pop" home
workrooms. The company is dedicated to providing the highest quality workmanship,
meeting the agreed delivery dates, and executing the custom work exactly in accordance
with the designer's concept.
Keys to Success

There are a few key factors that spell success or failure for professional workrooms--most
of which stem from the importance of reputation to an interior designer:
The professional workroom must not have private clients. Interior designers are often
paranoid that one of his clients will discover he could have saved thousands of dollars by
dealing directly with the workroom. If private clients contact the company, they should
be referred to a designer who works closely with the company.
Clients who can afford interior designers tend to be very demanding; designers are under
a lot of pressure. The interior designer needs to feel that his workroom considers that
designer the most important person in the world. Any action that might indicate that the
workroom might be busy with other designers' work, such as failing to return phone calls
promptly, must be avoided.
The workroom must be true to its word. The work must be executed exactly according to
plan, when it was promised, and at the agreed price. The ability of the workroom to
communicate effectively with the designer is key.
The quality of the production supervisor is key. The production supervisor must insure
that jobs quoted at 15 hours do not take 20 or more. Profit goals can not be reached if
individual production stitchers do not work efficiently or are left idle.