One of the great strengths of the factory is to have Prelle always ready internally, a "cabinet de dessin" - " studio design " extending the tradition that formerly silk companies were run by an association between a manufacturer weaver and designer.
If the focus of the design is now simplified by the use of softwares, however it requires long and meticulous work to resume on the screen Overlap of each threads and refine forms to arrive at an interpretation of pattern. Today, the role of textile designer has expanded considerably since also finishing the drawing, he controls the mapping, the choice of colors, the supervision of weaving trials on one of four looms dedicated to this effect and finally put into production.
These centralized skills allow the manufacture Prelle to offer creative, architects, decorators, designers, assistance very sharp in both the creation of new designs that adaptation of old documents to modern weaving tools.
Creation from artist sketch
The collaboration between Prelle and Ruth Gurvich is exemplary in this respect:
At the invitation of the Museum of Textiles and Decorative Arts of Lyon, the artist has created a visual " artist room ": on fabrics of the walls and seats, shorebirds watch for fishes captured on the series " Etang " - " pond " porcelain.
It is an incentive to meditation and contemplation in a space deserted by humans, where nature would resume its rights.
These four watercolors of great finesse produced by Ruth Gurvich, especially for this occasion, are the starting point for collaboration with PRELLE.
Through multiple exchanges, they are reworked by the textile designer to translate the graphical effects in a subtle weave.
The mastery of this interpretation, which is part of Prelle reputation, can turn into silk work of the artist.
On the left, the sketch, In the center, the mapping. To the right, the fabric.
Gradients are obtained by four frame colors and work " pixel per pixel " on the mapping.
The basic pattern is achieved by the placement of four different birds on vegetal background to a height of 154 cm, then it is repeated a second time in his height working point by point density of weaving on the grid to change " nuances " of feathers and give depth to the design.
The final repeat of 308 cm is either match or jump repeat.
Creation from archive document
Originally from Ousbékistan the suzanis are cotton embroidered hangings once by young women and their families to build their dowry. Four to six narrow strips of cotton, linen fabric or silk were temporarily sewn together to form a large panel on which were painted flower motifs undulating or bouquets. The strips were then removed and distributed to the bride and the female members of his family so that each embroidery patterns with waste silk. Once this work is completed, the strips were sewn back together to form a large panel often brightly colored.
This Central Asia document is part of our archives and especially from Lamy and Giraud funds, our predecessors, and was probably acquired in the nineteenth century. On blue indigo canvas stands a frieze of spiral suns embroidered red and cream.
The timeless character of the symbolic of the protective stars and the current taste for decoration ethnic prompted us to carefully reproduce this document with a complex building complex on a tabbie basis.
In 1921, for the first reproduction, the bias was to go towards perfection curves and repetitive forms with the result of a perfect pattern.
For 2013 re-creation, however, the irregular form is privileged to work different design for each pattern to be faithful to the spirit of the Persian period and the popular belief was that only perfection belongs to God.
The choice of materials as simple silk schappe does not escape this rule of authenticity. Several trials have led us to stay closer to historical colors: yellow as reference to the sweetness of straw marquetry, a reminder of the red symbols of prosperity and fertility of the grenade and the traditional indigo blue.
Asymmetries and imperfections add to the charm of this cloth and restore the custom look of hand embroidery.
At the end of 2014, Guillaume Lebatard announced he would close his family’s workshop that had specialized in one portion of the production of warp prints in the Croix-Rousse, Lyon.
For Prelle this news was heartbreaking because for decades the Lebatard family’s skill in this stage of the manufacturing of warp prints was vital to our weaving:
- The first step is to weave the silk loosely enough while still binding the threads slightly to prevent their displacement while still maintaining them absolutely parallel.
- Next is the application of the colors by hand with successive screens for each color of the pattern.
- Then the removal of all the weft threads by hand.
- Finally re-weaving with a normal tension on the weft.
An agreement was made with Guillaume Lebatard for his machinery and his know-how was passed on to Prelle. After several training sessions the methods, organization and small “tricks" are now mastered by Chantal, Mélanie and Lydia at Prelle: