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Long scarf

A touch of organza!
This wonderfully light summer scarf possesses the typical stableness for which organza is so desired by designers.
This plain woven silk's special feel and dull radiance results from the only partially degummed silk threads.

The fine fabric can easily be felted and pained on, and is markedly non slipping.

A touch of organza!
This wonderfully light summer scarf possesses the typical stableness for which organza is so desired by designers.
This plain woven silk's special feel and dull radiance results from the only partially degummed silk threads.

The fine fabric can easily be felted and pained on, and is markedly non slipping.

A touch of organza!
This wonderfully light summer scarf possesses the typical stableness for which organza is so desired by designers.
This plain woven silk's special feel and dull radiance results from the only partially degummed silk threads.

The fine fabric can easily be felted and pained on, and is markedly non slipping.

Difficult but not impossible: we captured the extreme fineness and lightness of this delicate organza scarf in a picture.

The differences of transparency and color depth are especially well noticeable in front of white, black and light backgrounds.

Difficult but not impossible: here we have captured this organza scarf's extreme fineness and lightness in a picture.

The differences in transparency and color depth in front of a black and a light background can be seen very nicely here.

This design example shows an Organza 2.8 scarf with a painting in a classic Gutta technique. The delicate fabric becomes especially smooth and gets a nice grip if it is ironed dry after the fixation and rinsing process has been completed. Keep moving the iron during that process, never holding it in one spot; the rest amounts of silk glue that give the organza its famous stiffness could stick to the iron.

This design example shows an Organza 2.8 scarf with a painting in a classic Gutta technique. The Moiré effect and the shot colored shades, that are created through overlapping organza layers, stand out especially well in this picture.

Blotted on!
Simply try it out: this scarf was not stretched on but only slightly dampened and laid on top of a glass surface. Then, different steam fixable silk paints in primary colors were dropped on. Leave some space in between the spots because the colors flow by themselves in all directions and mix in with the neighboring color drops. Through that many different nuances are created.
A couple blotted on, sharp edged color drops on top of the dried paint and a couple of quick brush strokes with little black paint complete this piece of art.

Blotted on!
Simply try it out: this scarf was not stretched on but only slightly dampened and laid on top of a glass surface. Then, different steam fixable silk paints in primary colors were dropped on. Leave some space in between the spots because the colors flow by themselves in all directions and mix in with the neighboring color drops. Through that many different nuances are created.
A couple blotted on, sharp edged color drops on top of the dried paint and a couple of quick brush strokes with little black paint complete this piece of art.

This design example was made out of a Organza 2.8 scarf, which was first dyed in black and later evenly felted with many squares out of colored FLYFEL^®-web. A square in a contrasting color was placed in the middle of each bigger square. A wonderful, softly falling Nuno-felt-scarf.

This design example was made out of a Organza 2.8 scarf, which was first dyed in black and later evenly felted with many squares out of colored FLYFEL^®-web. A square in a contrasting color was placed in the middle of each bigger square. A wonderful, softly falling Nuno-felt-scarf.

A Shibori variation.
In this pattern example you can very nicely recognize the color separation, which occurs in some colors. The royal blue changes on the edges to a shiny turquoise. Due to that, the scarf appears multi-colored even though it was only dyed in one color.

A Shibori variation.
In this pattern example you can very nicely recognize the color separation, which occurs in some colors. The royal blue changes on the edges to a shiny turquoise. Due to that, the scarf appears multi-colored even though it was only dyed in one color.

The wax technique also delivers spectacular results on Organza 2.8!
Many layers of hot wax were applied onto a light colored scarf, using a large bristle brush. The surrounding areas were colored in darker shades. Due to the high transparency of the silk, especially elaborate color mix effects are created when worn.

The wax technique also delivers spectacular results on Organza 2.8!
Many layers of hot wax were applied onto a light colored scarf, using a large bristle brush. The surrounding areas were colored in darker shades. Due to the high transparency of the silk, especially elaborate color mix effects are created when worn.

An example for a Nuno-felt scarf out of Organza 2.8 and passion red FLYFEL®-tops!
Several stable cotton balls with a diameter of 3 cm were loosely tied into the scarf. The surrounding areas were felted with merino wool and the tied of areas were left open. The fringes at the ends were formed by hand. After felting the cotton balls were removed and because the bubble shaped areas did not come out as planned, they were quickly turned into flowers using a couple red pearls ;)

An example colored with shibori. Matches very well with this touch-of-organza. The fineness together with this silk-quality's typical stability opens a wide range of possibilities for wear and design.

Again the shibori-colored example. It just matches extremely well with this touch-of-organza. The fineness together with this silk-quality's typical stability opens a wide range of possibilities for wear and design.

This nuno felt scarf is made from an organza 2,8 scarf, which has been dyed with black silk colour, using a traditional shibori-technique. The dyed silk is then felted onto natural white FLYFEL^®-web with its entire surface. At both ends the protruding merino-wool is cut into narrow fringes after felting.

For this example an organza 2.8 scarf has been discretely tie dyed in black and white, and laid on white FLYFEL®-web. Then it was felted together with a boldly cut piece of black FLYFEL®-web.

For this example an organza 2.8 scarf has been discretely tie dyed in black and white, and laid on white FLYFEL^®-web. Then it was felted together with a boldly cut piece of black FLYFEL^®-web.

This Nuno felt scarf consists of a organza scarf, on which a chameleon was painted, using the traditional Gutta technique and later felted on to a black piece of FLYFEL®-web. Both layers connect quickly and it appears as if the motif was directly printed onto the wool. Due to the strong light-dark contrast, the colors of the chameleon stand out especially nicely.

This picture is the result of experiments in natural dyeing with walnut hulls and leaves.
The shades of brown always appear a little differently on the different silks and the merino wool, but they blend together wonderfully.
The scarf out of Organza 2.8 was dyed twice: once in an especially intense dark brown in cold contact dyeing, and once simmering in the decoction of dye.