My adventure to Hong Kong for the International Design Competition

After winning the UK heat of the  Society of Dyers and Colourists International Design Competition the final was to take place in Hong Kong at the beginning of December.  It was a busy time as I’m now in my final year at DJCAD and the week I returned was to be the assessment and presentation week.  It was so exciting though, the itinerary was very full and Angela at the SDC had kept us well informed of all that was happening, so it was a cold -5 degrees and very frosty morning Jim and I set off for Glasgow Airport to catch the first leg of our flight to Dubai.  IMG_1922



Landing in Dubai where it was warm and very busy and here was our next plane to Hong Kong


very many Emirates planes all in rows!!


and rows


and more rows


good bye Dubai and hello Hong Kong

with an eight hour time difference and no sleep we were extremely sleepy by now

but we met with Tracy from SDC who is the Marketing and Communications Director

at the airport and made our way to the hotel


huge docks with row after row of shipping containers



all amazing colours

Our hotel The Royal Pacific and Towers

Screen shot 2012-12-22 at 02.37.09



After settling in to our room

Screen shot 2012-12-22 at 02.38.22

we had a quick change and then met some of the group for our

evening meal at a local restaurant where I soon learned that if I was

to eat I had to master  chop sticks

After eating we went for a walk with the group to see the laser light

show, the colours and the reflections in the water were incredible


My little camera didn’t do them justice



dancing lights!

After a little sleep and a great breakfast the group met to go and

visit Central Textiles, yarn and denim specialists.

Central Textiles in  Zhanjiang a city in China spins the yarn

and this is sent onto Hong Kong for dyeing with indigo.

They produce 9.4 million lbs a month and create 3 million yards of denim for

the clothing companies such as Gap Abercrombie and Fitch, Levis and Guess


This is their VSEP treat system

Vibratory Shear Enhance Process






Yarn is spun in China


indigo dyeing




indigo dyed floor




washing the yarn



testing area



the Vibratory Shear Enhance Process

is a filter system so the water can be reused in the dyeing process

and the excess indigo is collected and reused too



at Central Textile sales office listening to how the

cloth is used




special finishes



some of the Hong Kong skyline and buildings
Quick change then off for the evening on the Star Ferry
We are going to the Peak !!!!
via a tram but before that we walk a bit and catch a bus
a great way to see the sights
me above and Jim below
Fabulous food in the Cafe Deco restaurant
looking out over Hong Kong
Final day was spent at the CITA in Hong Kong where the  SDC conference was taking place, and
also the presentation to the judges of the students work by the students.
The competition judges were Vincy Cheng, Fashion Communications Manager at The Woolmark Company in Hong Kong,
Dr Joshua Law, Programme Director at CITA in Hong Kong, and Chris Sargeant, Chair of the SDC Board of Trustees.
After presenting we laid out the work for all at the conference to see to see
here is the lovely wife of Dr Sanjiv Kamat the SDC President
modelling my fabric.
Below my certificate which was awarded at an incredible feast of a celebration meal
Birds nest soup – just one of the 13 courses!!!






Above are the only images I have at present of the ceremony
sdc certificate
Above the Veronica Bell trophy.
The trophy is in honour of the late Dr Veronica Bell, (an SDC past-president) to acknowledge excellence in the field of colour and design.
My time in Hong Kong was filled with spectacular culture and sightseeing, business and information. I met nine of the most remarkable designers from around the world, it was an incredible experience added to that, the opportunity to meet, hear and connect with industry experts and make new friends from all over the world. Finally I want to say a great big thank you to everyone involved, to Clariant, sponsers of the event, to the SDC for giving me this incredible experience, especially Tracy Cochrane the Marketing and Communications Director at SDC who looked after us so incredibly and to everyone at Society of Dyers and Colourist from the CEO Graham Clayton to Angela in the head office keeping us all organised by email ~ THANKYOU 🙂

Natures Jewels – its beginnings

by now the news is out that I have won the Society of Dyers and Colourists International Design Competition.

Hong Kong SDC International Design Competition

This took place in Hong Kong at the beginning of December but the work started back in April 2012 where we were set a 4 week brief for 3rd year textile design to explore a trend forecast for the following year.  We were to research this along side the SDC brief which was to demonstrate the creative, imaginative and original use of colour in either fashion or textiles and the theme was to to Fashion Colour Responsibly.


  • colour as an integral component of the design process
  • development of the designs, from concept to final design product or application
  • excellent presentation and clarity of ideas
  • innovative or creative approach to incorporating some aspect of thinking around this year’s theme of ‘Fashioning Colour Responsibly’, within the original design and/or final design application.

The judges will assign marks for each of these four categories.


  • For regional heats, work to be mounted on a maximum of four boards of up to A2 size (please do not include any additional artwork/portfolio or finished garments).
  • type-written statement on one A4 sheet – no more than 500 words!
  • If you win your regional heat, you are encouraged to bring one extra piece of work to the grand final judging, this could be a finished article or a sample garment.

Basis of Submission

  • The work can be based on a fashion or textile design project produced as part of the standard course curriculum or specifically for the SDC International Design Competition.
  • Content is at the discretion of the student, and can include finished roughs, design sheets, illustrations, working drawings, mood boards, photographs, fabric indicators, material swatches, etc. At least one board must outline the colour theme with the colour palette clearly indicated.
  • Each submission must be uniquely titled and must be supported by a typewritten statement in English (no more than one A4 page / ~500 words) explaining the background and inspiration for the work.
  • Boards: these should be A3 (297 x 420 mm) or A2 (420 x 594 mm) in size, with your artwork securely mounted on. Never submit any more than the number of boards requested.
  • Only one entry may be submitted by each student.
  • A maximum of three entries per college; one tutor should be identified as the contact per college and be responsible for submitting an entry form.


In most instances, the students will be invited to bring their boards and statements to the regional heats. They will meet the judges and have the opportunity to give some background on their project and their use of colour. Where this is not possible alternative arrangements will be made.

Additional information

Fashioning Colour Responsibly – what will your approach be?

This year’s theme of ‘Fashioning Colour Responsibly’ must also be included in the design and/or the written statement.

The theme highlights issues around sustainability and the challenge of producing environmentally friendly textiles and fashion. Some people consider the textile industry to be one of the most environmentally harmful in the world. (Ideas to consider can be downloaded from the full brief opposite).

So I thought you might be interested in my process ~ here follows my sketchbook development and textile samples enjoy


Textile View is a trend forecasting journal which was full of inspiration and this was one of my starting points.  I chose their theme Beyond Nature as it was filled with colour and reminded me of the amazing bugs we have in the   D’Arcy Thomson Museum at Dundee University.  Ernst Haeckel was another inspiration with his amazing colourful detailed illustrations.



visit the D’Arcy Thomson Museum

silk cocoons

tied shibori – shaped with marbles, wooden balls, tied with thread

indigo dyeing – research sustainability across all areas of cloth colouring

sheen created with foils, angelina fibres

embroidery – tufted stitches mixed yarns nylon, monofilament


Inspiration from Poul Beckmann’s Living Jewels a beautiful book filled with amazing photography




pleats – heat pressed

gathers – stitch – elastic

folds – fan – paper – origami

 embroidery – free machine embroidery

Smocking use of pleating/pleater



Michelle Griffiths use of shibori

Issey Miyake Pleats Please



pleated fabric by Jurgen Lehl

photos taken in the D’Arcy Thomson Museum




fashion in bold and vibrant colours from Gucci and others



Chanel A/W 2012

Issey Miyake – Pleats Please

Issey Miyake – 3d Dresss



butterflies photographed at the D’Arcy Thomson Museum

Colour inspiration

folded and pleated fabric

below development from my design inspiration

using mixed media and collage

judy scott initial development 3

judy scott initial development 2

judy scott initial development 1

judy scott  development 4

judy scott initial development 8

judy scott initial development 9

judy scott initial development 10

judy scott initial development 11

shapes and marks




stencils and separations


fabric manipulated with heat and coloured with disperse dyes






dyed and pleated


below colour stories which didn’t work so well




judy scott initial development 12

dyes mixed ready to print and colour the next samples

judy scott initial development 13

judy scott initial development 14

stencils cut for the screen-printing

judy scott initial development 10

below initial experiments with acid dye and illuminant dye

judy scott initial development 15

judy scott initial development 16





experimenting with print and pleats

judy scott initial development 9

NOTE ~  The best work comes through developing on cloth as the sketch book pages cannot give the same appearance

and texture as silk cloth ~ below building up layers of dye, print and layers of colour onto silk

 – sand washed, heavy weight habotai, chiffon and organza


Cloth dyed and ready for over printing



Printing with illuminant dyes


after printing but before steaming


after printing but before steaming


after printing but before steaming


below are  some of the many samples I printed after the steaming process it really is like magic

and I am addicted to printing cloth this way




judy scott textile sample 2

judy scott textile sample 3

judy scott textile sample 4

judy scott textile sample 5

judy scott textile sample 6

judy scott textile sample 7

judy scott textile sample 8

judy scott textile sample 9

judy scott textile sample 10

judy scott textile sample 11

judy scott textile sample 12

judy scott textile sample 13


putting the fabric into context using adobe photoshop

judy scott textile sample 14

judy scott textile sample 15

dyed printed and pleated

judy scott textile sample 16

To show my work in context I used a photo of  catwalk model Ginta Lapina to give an idea of how the design would look in fashion


to do this I photographed the fabric

you can see below on the context board

Screen shot 2012-12-21 at 20.04.19

Books that I used as part of my inspiration were

Art Forms in Nature – Olaf Breidbach

Living Jewels: The Natural Design of Beetles – Poul Beckmann

Modern Shibori – Silke Bosbach

Sustainable Fashion and Textiles –  Kate Fletcher –  information about the lifecycle and sustainability  of fashion and textiles looks at practical alternatives, design concepts and social innovation. It challenges existing ideas about the scope and potential of sustainability issues in fashion and textiles and explores human needs and the slow fashion concept. Kate Fletchers’ best practice list explains a number of ways which large corporations can minimize the impact to the environment.

The fabric and yarn dyers handbook – Tracey Kendall

Traditional Scottish Dyers Handbook and how to use them  – Jean Fraser

Indigo – Jenny Balfour-Paul – All about indigo

Eco Colour – India Flint – Explains Environmentally Sustainable Dyeing

Natural Dye – Gwen Fereday – explains how cloth can be coloured using using 5 natural dyes and mordants

Memory on Cloth – Yoshiko Iwamoto Wada – Shibori as a means of patterning cloth

Structure and Surface – Cara McCarty and Matilda Quaid – Amazing textures by Japanese Textile Designers combining traditional Japanese craft  with new industrial techniques using unusual materials to produce incredible results.

Tinctorial – Bloom amazing images of natural dyeing

Three Dimensional Embroidery – Janet Edmonds

Art of Manipulating Fabric – Colette Wolf

You can see from the books above that I was considering colouring cloth using natural dyes, however after much reading I also realised that natural dyeing would not necessarily give me the vibrant colours I was looking for and that it also has an impact on the environment.  With only four weeks to complete I made the decision to use what I was already familiar with. I knew acid dyes on protein fibres would be perfect for this as the silk would have lustre and the acid dyes would give the impact and depth of colour I was looking for.  I also researched  how companies can use these dyes and still protect the environment.

This was my favourite brief, I so loved working with colour and it has set me up perfectly for my final year at DJCAD.  During the summer I created more cloth to make into scarfs to sell, below are some of the close up details of the designs, all inspired and using the same techniques as the above.




















Isle of Mull inspiration

a little of the inspiration I found on the Isle of Mull

I love the colourways

all images © judyscottdesigns2012

Day four at Tessuti Print Studio

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Here is my final day placement with Fiona at her studio – what an amazing week I had.  I learned things you could never learn in the college studio and being in a real life studio really is the way to learn ~ here are just some of the things which were great hands on experience.

How to attach a new backing cloth to the print table.

Working out orders received and the printing  order ~ which dyes to mix so that colours can be used all together without wastage and keeping the dye fresh.

Making use of the huge print table by placing the silk and wool fabrics so colours and designs can be done at the same time.

Most definitely NOTHING goes on the print table  ~ dyes, squeegees, drinks etc etc, although at one point I did have to climb on the table to hold the screen whilst printing!!

That however careful you are, unidentified marks still appear – the joys of hand screen printing.

How to attach fabric to the backing cloth and steam fabric correctly.

Fionas’ special recipes for mixing dyes and discharge dyes with extra special ingredients!!!

I learned you don’t need to ‘work out’ if you’re doing full time printing.

I need to grow or have a plinth created for me around the table!!!

Fiona has been amazing allowing  me to work along-side her and share her working life for a week – its really hard work and for anyone who thinks being a textile designer is easy they should work with Fiona  for a week as she multi tasks between screen printing, running Concrete Wardrobe which she co-owns with James and fitting in trade fairs around the world to market herself and local design markets to sell to the public.

Its been another amazing experience and if anything it has made me want to be a designer maker even more ~  thank you Fiona for your patience, making me feel at home, teaching me so much, allowing me to print under your expert guidance and for the laughs too.  Hope I get to come back one day – Judy

Day three at Tessuti Print Studio

another fantastic day which was packed with lots of steaming and printing enjoy the slide show – thanks to Louise for photographing Fiona and myself, you can see the process well in the slide show. None of the images have been edited!

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