Guest Blog: From Legal Secretary to Textile Artisan - The Journey of Corinne Young

Textile design is more than just a career for Corinne Young; it is a lifelong passion that has shaped her path in the most unexpected ways. In a candid interview, Corinne opens up about her journey, creative process, inspirations, and the challenges she has faced along the way.

Can you describe your journey into textile design? What inspired you to choose this career path?

I have always been passionate about embroidery. I have a memory of seeing some 17th century stump work caskets in a historic house while on a visit with my mother when I was about 6 or 7. I was immediately drawn to them and fascinated by the animals and people depicted in the raised needlework. I couldn’t understand why I couldn’t buy it with my pocket money and take it home with me! My mum was also a talented embroiderer, and her sister my Aunt Dorothy was a seamstress. I loved to watch her take a piece of fabric and turn it into a garment.

However it wasn’t the career path I chose when I left school. I hated school, and didn’t take textiles as a subject as in those days all that was done was to make an apron with gingham. This didn’t capture my imagination at all.

I couldn’t wait to start making a living and became a legal secretary, then went into fashion retail. It wasn’t until I was 40 and my children were a little older that I finally decided to take my love of textiles seriously and study for a degree. I had done a lot of embroidery by then and made clothes for myself and my daughters, so I went into the degree with a lot of experience.

Could you guide us through your creative workflow? How do you transform a concept into a finished textile piece?

I often study a plant in detail before I decide to recreate it. If possible, I grow the plant from seed so I can study it all the way through its growth stages - right through to the seed head.

I spend a lot of time sketching the plant and making templates in paper before I start using the final material. I use a handmade flax fibre paper as a base for my embroidery, so this is made next. I then draw round the templates, colour the paper with water based paint and ‘colour in’ the shapes using machine embroidery. I have a huge palette of Madeira threads as I love the colours, texture and quality of them.

The work is then cut from the background and made up into the flowers and leaves using wire and various different methods to make them 3D. These include using a fabric stiffener to help the flowers to hold their form.

What are your primary sources of inspiration for your designs? Are there specific places, people, or things that consistently fuel your creativity?

My primary source of inspiration is my own back garden where I grow as many chosen specimen plants as I can. I also visit open gardens and plant centres to take photos of different forms and colours. I have had the joy of exhibiting my work for the last four years at the Chelsea Flower Show, and so much inspiration is available there it keeps me going for the whole year!

I am also still hugely inspired by historical embroidery and botanical drawings.

What major challenges have you faced as a textile designer, and how have you navigated them?

I have been very lucky in my career. I think as I was older when I began this journey, I was more confident of my abilities and very determined to make textiles something I could earn a living from.

In the early days it was more difficult without social media. I had to rely on exhibitions, but fortunately I was selected as a member of the Society of Designer Craftsmen when I was still studying for my degree, and my first exhibition brought me a fabulous commission making hangings from my flax fibre paper for the grand openings of the Lord of the Rings stage show. Life was a little less glamorous after that for a few years, and I worked part time as an art gallery curator for a few years to supplement my income. I finally decided to work full time in my practice 12 years ago and have been very fortunate in finding customers for my work.

How do you integrate sustainability into your designs and production processes? What measures do you take to ensure your work is environmentally responsible?

As I have mentioned, I make my background fabric myself. I only make enough at a time for the collection I am working on. The flax fibre is unbleached and undyed and responsibly sourced. I actually use very little, even when I am making large pieces, and actually bought a lifetime supply from a mill in Yorkshire when I was studying for my degree.

Apart from that, I only use a small amount of water based glues and paints and the threads I use are made in as responsible way as possible using todays technology.

What guidance would you offer to aspiring textile designers who are entering the industry?

Be prepared to work very hard and focus on what you are really good at. It takes a long time to get established and it is not something that will make you rich. Don’t be afraid to approach people about your work. Some will reject it, but if you try hard enough you will find those people who love it as much as you do. There are opportunities out there if you look hard enough.

However, it can be extremely rewarding in many other ways. I have had such a wonderful time, and met some lovely people who have become lifelong friends.

How has technology influenced your design process and the textile industry at large? Are there specific tools or innovations that you find particularly beneficial?

I feel that what I do is quite timeless in that it could have been done the same way for a long time. However I do have a new Bernina sewing machine; I have a website made by my daughter that showcases my work and I make use of social media - particularly instagram - that has been vital in promoting my work to the right people in recent years.

Who are some designers or artists that have significantly influenced your work?

As mentioned, there are many historic embroideries that have been hugely influential to me. I have found these during my regular visits to stately homes and museums such as the V&A. I have also studied historic botanical books and drawings at the British Museum and the RHS Library in London. I have a particular love for the work of Mary Delany, an embroiderer and maker of paper cut flower pictures during the 18th century.

Modern influences are a little rarer, but I have always loved the work of Kaffe Fassett (who I was lucky enough to meet and interview for an independent magazine). His use of colour and texture in needlework is incredible. Also Janet Haigh whose floral embroideries are also inspired by historical sources; and my friend Amanda Cobbett who makes beautiful recreations of mosses, lichens and fungi.

Do you have any sewing tips that have improved your methods. This could be something obvious or small, like how to quickly thread a needle or something quirky that the world needs to know about!

Always use the best threads and materials you can afford. When you are using a lot of time and care making something, it is false economy to use cheaper products as the final piece will never look as good as it could.

Corinne Young’s journey from a childhood fascination with embroidery to a celebrated textile artist is a testament to the power of passion and perseverance. Her story is not only inspiring but also a valuable guide for anyone looking to carve out a niche in the creative world. If you're feeling inspired by Corinne's story and eager to start your own journey into the world of embroidery, check out our selection of high-quality embroidery needles, beautiful embroidery threads and embroidery machines at Jaycotts. With the right tools, you can begin creating your own beautiful textile art and discover the joy of embroidery.

Read our other Guest Blog series here: Poppy Treffry