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Journal of the Textile Institute Proceedings

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TRAINING OF TEXTILE DESIGNERS

John Chirnside

College of Technology, Manchester

Version of record first published: 07 Jan 2009.

To cite this article: John Chirnside (1938): TRAINING OF TEXTILE DESIGNERS, Journal of the Textile Institute Proceedings,
29:7, P184-P186
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Proceedings

TRAINING OF TEXTILE DESIGNERS

By JOHN CHIRNSIDE, Lecturer in Textile Design,
College of Technology', Manchester.

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{Copyright by the Textile Institute)

Introduction
The subject of textile design and the training of designers is a large and
varied one and it is not possible to go very deeply into it here ; it is felt, however, that a really detailed inquiry into the design needs of the industry as a
whole and of the system of supply would be thought extremely desirable by
everyone concerned, manufacturers and training establishments alike.
The term design, when referring to patterned fabrics for decorative and
dress purposes, can be taken to mean structure as well as pattern.
The
particular aspect considered here is pattern as distinct from structure although in
many cases it is difficult to draw a hard and fast line between the two.
Standards of Design
A state of confusion in standards of design is surely evident in the present
day fabrics. Wholly admirable dress tweeds and coatings exist, certain draping
and covering materials of well known firms have reached a point of excellence
never surpassed at any period while at the same time it is difficult to escape from
examples of vulgai" taste and uninspired design. The beautiful traditional
English printed chintzes of floral pattern so ably designed by Voysey, Morris,
Mawson and others are at last dying out and one wonders what is going to take
their place. Now, if at any time, it should be possible for art trained students
to establish a new and contemporary style in textile design.
System of Procuring Design
As regards the system of procuring designs in general, it seems to be left
largely to chance and the particular ideas of the manufacturer.
Some manufacturers prefer to employ a staff designer with a studio of
draughtsmen or copyists to carry out histhe designer'sideas, others buy
sketches from " public designers " working them up in their drawing oflSces and
in both cases not much concern is taken over the question of replacement when
the chief designer retires. A few firms, however, choose to purchase designs
directly from prominent designers, not necessarily always textile men but very
oft* n architects and painters, paying a handsome fee and it is significant that it
is the fabrics of these firms which lead the trend in modem textiles.
Whichever method is employed in securing designs, the manufacturer in
every case pays money for what he terms " new ideas " and paying for what is
really a commodity is entitled to expect value and a return on his expenditure
in sales of his goods. All textile patterns cost money to producesome of them
cost a great deal of money and it is generally conceded that the cost of a
design is but a small fraction of the production cost. It is therefore false
economy to save a pound or two on the design when the cards cost fifty.
Manufacturers must realise the importance of their position in thus
controlling the standard and output of design ; it would react to the benefit of
designers, of training institutions and the trade generally if this control were
used to pass only the best products. Naturall5^ payment must be appropriate
to the excellence of the work.
Training of Designers
A training in the fundamentals of art and decoration should be necessary for
the designer of any type in the textile industry.
The art schools exist to provide this training but there is in too many cases
a bias towards the " pure " arts of painting and sculpture without sufficient
insistence on the industrial application of these principles. Mr. Nicolaus
Pevsner has made a very complete inquiry into the question of training for
mdustnal design and referring to art school training of designers says it is " one

Annual Conference, 1938

P185

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of the principal objectives of art schools in this country, an objective of much

more weight than the training of the independent craftsman, the painter or the
sculptor . " He goes on to say" It is wrong, sociologically and morally
wTong, to base organisation of art schools on provision for future painters and
sculptorsIt helps to create an art proletariat without really furthering the
genius who is nowadays the only artist that matters and who cannot be
materially furthered by any organised training* . ' '
This point of view is in the vniter's opinion substantially correct but one
must not underestimate the importance of the study of aesthetics in the evolution
of a design. " Pure " painting ought to be regarded as a research into new
aspects of form for design uses and not pursued as an end in itself. Many
modem painters have designed textiles and we may say that whatever evidence
exists of a new and contemporary style in modem fabrics is due to the experiments of present day painters and sculptors. Pevsner also feels the need of
architecture in design. " Elementary architecture is also of the utmost
importance to any designer and it is greatly to be regretted that in England the
teaching of architecture is so detached from that of the other arts and crafts.
In architecture classes the student is much more likely than in craft classes to
get some insight into modem materials, modern processes and commercial
calculations, all of which are essential to the future designer.-" Mr. Pevsner is
referring, of course, to industrial design generally but his remarks are
particularly appropriate to the design of textiles. Architects have made a great
tradition in textile design. We have only to remember the designs of Voysey and
think of the designs of Professor Hillerbrand and Raymond McGrath to realise
this fact.
Naturally, printed textiles offer wider scope than any other for the purely
art trained designer as with modem printing machines it is a simple matter to
reproduce exactly the artist's sketch without loss of vitality or freshness ; the
technical hmitations are few and may be taught by lectures or demonstration.
This fact has been utilised by the art schools and the result is a large supply of
" prints " design with corresponding lack of interest is jacquard pattern. The
training of a designer for jacquard fabrics must include a much greater amount
of technical experience and it is questionable whether the art schools alone are
justified in estabhshing such a system of training. Technical schools and colleges
exist pro\dding complete instruction in spinning and wea\dng of the latest
industrial methods and the student of design taking such a course would be fully
equipped to carry his design right from the initial sketch to the finished fabric.
The ordinary- course at such a college takes four years and even allowing a
minimum period of three years for art training, it means a long preparation
by the student for a position in the industry that is by no means assured.
In any case, it may be argued that an over study of the technical processes
of fabric structure and point paper work tends to stunt the development of
creative abilitv^ and it is generally admitted that the designer not too obsessed
with technical limitations often sets problems to the constructor in the solution
of which, a new cloth or a new idea, is bom. The designer must, however,
have sufficient knowledge of technique and the effect of texture to think in terms
of fabric and to appreciate the difficulties of the constructor, deferring in this
respect to the superior knowledge of the practical man.
The production of new ideas in fabrics of this type means close and
sympathetic collaboration between designer and constructor.
It should be possible for the technical schools, already equipped for the
training of the constructor to arrange a simpler course for the potential art trained
designer, keeping the above collaborative ideal in mind. The art schools then
could concentrate on the aesthetic and architectural aspects leaving technical
considerations to the colleges specializing in this branch.

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Proceedings
The art schools might further advance their present system of training in
drawing and painting by instituting a species of research into new fields of
subject matter for design. This has been accomplished with success in certain
art and craft schools on the Continent and to a lesser extent in this country.
The study of microscopic photographs of bacteria and ooze, sea shells and
natural rock forms are all fertile sources in suggesting patterns to take the place
of the dying floral chintz. The study of traditional ornament of course, should
be an essential factor in the training of any textile designer but it must be
tradition interpreted rightly and not simply a mere copying of the outward
appearances of a historical style. We must realise that a really beautiful style
of any period was a contemporary style of that period, and it should be the
aim of every institution devoted to the furtherance of design to remember its
uses in the homes of to-day and to make it appropriate to the twentieth century.
This has been realised by our foremost designers and it is possible to see certain
beautiful fabrics which fully merit this description.
While supporting whole heartedly this feeling for a modem style let it be
firmly understood that the reproduction of the superficial trimmings of modem
art without a profound and sympathetic understanding of the principles
involved is bound to lead to worse and more vulgar excesses than any re-hash
of historical styles.
Evidence of this is unfortunately too plentiful.
Conclusion
If need for improvement exists in the standard of design and in the training
of designers in the textile industr}^ it follows that a certain improvement is
bound to be considered in the conditions of employment. No one expects the
best work without being prepared to pay for it and as we have seen earlier,
these firms already dealing in a high standard of designed fabrics pay the
designer handsomely for his work.
Therefore good conditions of employment must materially affect the training
of designers in encouraging the best students to go into the industry. " Whatever bi- the attitude of the authorities of the schools, the well informed and
capable studi nts will, as far as they can, choose that branch of applied art which
olTers the greatest opportunities of advancement, professional, social and
financial.'" "
Manufacturers, if sincerely interested in this question of design and designers,
have it in their power to influence the course of training by advice and
constructive criticism of the teaching centre.
Too often one hears rather
contemptuous reference being made to sketches as being too " art schooly." It
is as well to remember that whatever artistic talent is in the community is
pretty well bound to gravitate to the art school and it is the responsibility of the
consumer of design, in this case, the textile manufacturer to see that this talent
is directed towards a useful end.
References
1 Industrial Art in England, p. 219
*

,,

p.22i

3 Design and the Cotton Industry. Report of H.M. Inspectors.