My Secret Formula for Beautiful Prints, Printed in Como, Italy
Prints are at the heart of everything I design. Customers often tell me they get stopped in the street when they wear one of my printed dresses, and that's no accident. Here's how I create them, and the secret formula I use to make sure a print flatters rather than overwhelms.
Why some prints flatter and others don't
We've all tried on a printed dress that seemed lovely on the hanger but somehow swamped us, or looked busy, or made us look wider than we are. Usually that's not your fault. It's the print.
A print on a dress isn't the same as a print on a cushion or a wallpaper. It has to move with the body, flatter curves and work from across a room as well as up close. That takes a very particular balance.
My secret formula: scale and spacing
Over many years as a costume designer and dress designer, I've developed my own formula for prints. It comes down to two things:
- The right scale of motif. If flowers are too large, they can land in all the wrong places and add visual weight. If they're too small, the print reads as a blur or a texture. I size my motifs so they're generous and joyful but still in proportion with a woman's body.
- The right spacing of ground to motif. The "ground" is the background colour between the flowers. Too little ground, and a print feels crowded and heavy. Too much, and it looks sparse. Getting this balance right is what makes a print feel effortless, elegant and slimming.
When scale and spacing are in balance, the print flows over the body, draws the eye in all the right directions and simply looks beautiful.
Why I love a hand-painted look
I'm drawn to flowers that look as though they've been painted by hand, with soft edges, brushstrokes and natural variations in colour. Hand-painted florals feel more organic and alive than flat, digital designs. They have depth, and they have a softness that's very flattering against the skin.
You'll see this in prints like Inkwell Roses, Rose Reverie, Old Masters and Singapore Gardens, and in the painterly Suzannah Artist print.
Three of my favourites are Charlotte's Roses, the Stevie in Old Masters and Aqua Rose Reverie, where the flowers look as if they've stepped straight out of a painting.
My love of print owes a lot to Alfred Shaheen, the post-war Hawaiian designer who printed his own fabrics, always placing and scaling them with the body in mind.
Why my fabrics are printed in Como, Italy
Como, in northern Italy, has been the heart of luxury silk and textile printing for centuries. The printers there supply many of the world's great fashion houses, and for good reason:
- The quality is exceptional. Colours are rich, clear and precise, and the detail in a hand-painted design is captured beautifully.
- They have a wonderful eye for colour. The craftspeople in Como understand colour in a way I've never found anywhere else, and they help me get every shade exactly right.
- The fabric lasts. High-quality printing means colours stay vibrant wash after wash.
Once printed, my fabrics come back to London, where my dresses are made.
How do I choose the right print for me?
- Look at the ground colour. A deep navy, black or ink ground is slimming and sophisticated. A pale ground feels fresh and summery.
- Consider the scale for your frame. Petite women often suit small to medium motifs. Taller or curvier women can carry a larger, bolder print beautifully.
- Choose colours near your face that flatter your skin tone. If a print brings a glow to your face, it's the right one.
- Trust how you feel. If a print makes you smile, wear it.
Are prints good for hiding a tummy or curves?
Yes. A well-scaled print is one of the most forgiving things you can wear. It breaks up the surface of the dress, so the eye doesn't settle on any one area, and it disguises the lines of underwear. Combined with a defined waist, a print is wonderfully flattering.
Come and see the prints in person
Prints always look even more beautiful in real life. Book an appointment to visit my showroom or browse the collection.
Love, Katya x
