Hand Embroidery Fashion - Student

HAND & LOCK 

PRIZE FOR EMBROIDERY 2017 

First Stage Judging

C E L E B R A T I O N 

C O N T E X T F O R T H E B R I E F 

Embroidered textiles have been used across all cultures to celebrate significant life events and successes. Historically, embroidered textiles were 

highly valued not only because of their use of precious materials but also the time spent in hand production, particularly within the use of the 

technique of goldwork. 

Within industry, technological innovations continue to inspire increasingly more varied and intricate textile surfaces and this is visible through the 

recent proliferation of digital embroidery on the catwalks. However, this is balanced by a resurgence of interest in maintaining craft skills and 

safeguarding this heritage. 

In a reaction to throwaway fast-fashion, textile and fashion designers continue to question the sustainability of their practice and explore. Not only 

do they reuse and recycle, but exploration of slow textiles and the consideration of the longevity of a project is of growing importance, as is using 

their medium draw attention to social issues. 

From a wedding dress to highly embellished hip-hop sportswear, to the uniforms of decorated military officers, sequined party dresses and to the 

couture of the met gala ball, playful embroidery is an integral part of celebration. 

So for 2017 let’s celebrate! Celebrate history, celebrate global culture, celebrate your sense of place, celebrate your sense of identity, celebrate 

embroidery and celebrate life.

C E L E B R A T I O N 

T H E B R I E F 

Of course no CELEBRATION would be complete without an element of FUN and PLAY. This brief asks you to use ‘play’ to celebrate and express your 

personal creativity. Explore the balance between tradition and forward thinking, contrasting and embracing both heritage and innovation in a 

celebratory and creative way. Create you own response to the desire for the playful and unexpected. 

“In a world of austerity and grown up responsibility, we are seeing the increasing desire to let go, to let loose and indulge in childlike freedom or sheer 

hedonistic joy… in a turbulent and ever more serious world, there is a craving for silliness and outright frivolity. 

People are seeking occasions that allow them to let go of all responsibilities and inhibitions, and embrace outlandish hedonism.” 

Barkworth, H. (2014) 

http://www.forbes.com/sites/onmarketing/2014/02/04/sixtrendsthatwillshapeconsumerbehaviorthisyear Forbes 

This celebration and expression of embroidery in response to the brief will be towards textile art or fashion and may choose to also embrace CAD 

machine embroidery within these categories.

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ABI REEDER

Synthetic Sutures 

The concept behind this work is based around viewing surgery in a different light; appreciating the skill and art of it rather than the gore and pain. I have researched to discover 

parallels between surgery, anatomy and textiles by studying clinical and medical stereotypical imagery, the human body and surgical stitches to build together a new interpretation 

of surgery. I have worked with vinyl and PVC materials which immediately add a contemporary edge but also offer unusual properties such as translucency, skin like textures and 

impressionable surfaces. 

I have worked thoroughly with developing my colour choices to add to the concept of surgery but also take away from it by using bloody and skin tones but combining this with an 

aesthetically opposing overall bright and playful colour palette. 

This collection celebrates life, history and science in relation to re-construction of the body, in a re-imagined conceptual fashion textile context. 

The techniques that will be used on these proposed garments range between highly structured embroidery and mixed material embellishment involving hand dyed plastics and 

hand pressed eyelets creating playful and interesting surfaces. 

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ABI REEDER

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AGATHA TELEMACQUE

These garments are inspired by the architecture of Victorian glass houses and the plants that grown within them. It is an investigation into the geometric shapes of the 

architecture juxtaposed against the organic development and free movement of plants. The samples celebrate the diversity of nature throughout the UK with inspiration 

from Kew gardens as well as many other botanical gardens including those in and around the Cornish countryside. 

I have developed hand and machine embroidered samples using traditional techniques such as goldwork, Irish machine embroidery and insertion stitching to create rich 

embellished fashion fabrics. I have used a technique used to create fringing on the Irish embroidery machine to develop a fluffy ethical angora faux fur fabric. I have also 

made handmade goldwork coils and created a soft stretchy fabric using leather with Italian Insertion stitching. I would like to combine these samples into a dynamic outfit 

which will consist of a cropped wool jacket, a bright and playful peplum top and a sophisticated leather pencil skirt. 

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AGATHA TELEMACQUE

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AGUR MAN

I would like to celebrate my family, my parents home and place where I grew up, all of what 

made me who I am. As the years pass by I understand how much does my parents home was a 

sanctuary for me, providing me peace, softness and protection. A place that allowed balance for 

my life, wrapping me on one hand and on the other hand was the only place where I could be 

me in anyway I choose, no filters, no judgement. 

I grew up in "Kibbutz" Yad Moedechai in Israel, a small confined fixated and conservative 

community. As opposed to the Kibbutz society where I wasn't always feeling comfortable in, our 

house represented the exact opposite. I wanted to represent my home familiar melancholic 

softness via the hibiscus flowers that surrounds my Kibbutz area opposing the solid concrete 

structure that have been a significant part of my childhood landscape. I have created a tailored 

system that combines these elements, using a jacket that represents the hibiscus flower, made 

out of layers of soft and transparent linen and layers of special Post-Its adjusted to traditional 

tailoring, cut our as petals and flowers. The embroidery that surrounds these layers is made out 

of various types of white strings, some of them are soft and some are rough and rigid. The 

embroidery connects the Post-It layers to the jacket's body as keeping with the conventional 

practice of traditional tailoring. Underneath the jacket, I have designed a wool dress, that reflects 

a meticulous restrained look as a concrete, but in fact, for me, it is gentle and fragmented. In the 

year 2017, when who I am and my parents home will always remain as a gentle, soft, tolerating 

and loving surrounding, I can go out and celebrate. 

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AGUR MAN

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ALICE TURNER

Looking at gender and male mental health issues and responding to these in a hand embroidered garment. 

The idea for my garment is to make a menswear shirt. This compliments the celebration theme as it is the 

traditional smart attire that someone would wear to a party or celebration, but it would be enhanced from a 

'normal' shirt. There would be hand embroidery and handmade sequins on the collar and the cuffs, this 

would be decorating the entire pieces and would be very elaborate, leaving the rest of the shirt unembellished. 

This would be because the collar and cuffs would be made to be detachable so it would make 

the shirt easier to wear on numerous occasions in terms of the care cycle. 

The concept behind the embroidery design would be a celebration of men and allowing them to express their 

emotions and how they feel freely and easily. It would help to break the stereotypes and tradition of men 

being strong etc. and allow them to show their true feelings and personality. The colours and symbolism's 

being used are ones not necessarily associated with men but show how easily these could be worn by a man 

in modern times. 

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ALICE TURNER

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AMY HAYWOOD

The Bees Knees - My competition entry is a 

celebration of life itself. The bees are hand 

beaded, and the shorts have lots of small, 

hand embroidered flowers on the sides with 

beads in the center. I pattern drafted and 

made the underwear, I chose burnt orange 

silk to give the underwear a luxurious 

aesthetic. The underwear style is inspired by 

1930's Hollywood. I chose bees because of 

their complex structure, with a powerful yet 

elegant shape and striking colour palette, the 

bee represents the freedom yet delicate 

nature of life. 

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AMY HAYWOOD

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ANGELA MAVIN

I wanted to celebrate my mining heritage 

by contrasting the harsh background of the 

miners' lives with their positive spirit. I did 

this by creating embellished "coal seams" 

sewn onto a donkey jacket and hard hat. 

These were further decorated with beads, 

cogs and chain which were appropriate to 

the subject. I also incorporated the crafts 

used in the community by attaching woven 

fabric, knitting and crochet to the collar as 

well as rag-rugging to one shoulder 

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ANGELA MAVIN

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ANJILA GURUNG

My theme inspiration comes from looking back 

at the time of world war where people 

felt chaos, brave and traumatising and ending 

all the suffering behind and leading to the 

celebration and joyous moment ahead. I have 

mainly used manipulation technique like 

applique to give the contrast and hand 

embroidery stitches to have the delicate touch. 

ANJILA GURUNG 

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STUDENT CATEGORY

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BEATRICE GLOVER

Due to this competitions theme being Celebration, the first thing I thought of is Birthdays. So I took the time to do a "Birthday Suit" with a few embellishments. 

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BEATRICE GLOVER

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BUKKY JESUSANMI

I started by looking at what came to my mind when I thought of ‘celebration’; which led me to research parties and what you have at parties and party decorations. 

At parties, or children’s parties anyways, there’s always balloons, streamers, confetti and plastic cups. A fun interpretation of the ‘celebration’ brief is to use these materials as embellishments. 

I spent a while refining the embellishment materials; experimenting with fun and interesting ‘confetti’ like materials whilst still aiming for a high standard for the competition. I decided to mix 

contemporary processes such as laser-cut foam sheets with balloons, plastic cups and microfiber noodles as they worked well as wearable confetti. The techniques used will be hand embellishment and 

beading. 

Gathering inspiration from different eras and childhood memories to create a heavily embellished outfit that not only interprets celebration but is made to be celebrated in. More specifically looking to 

the ‘swinging 60s’ and Victorian children’s wear for the garment silhouette as those style of outfits reflected to me the soul of dressing for fun and celebration. 

The final outfit will be a swinging top with embellished polka dots, accompanied with fully embellished pantyhose style shorts and 50s style swimming cap. 

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BUKKY JESUSANMI

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CAITLYN JONES

Taking the idea of Celebration, I chose to 

make a decorative corset as may have 

been worn to period occasions of 

celebration. The motifs are naturally 

inspired celebrating the beauty of nature. 

I embroidered onto leather as the grain of 

the leather reminded me of leaf veins. 

Using mainly hand stitching techniques 

(open chainstitch, picotstitch, beading) to 

keep with the beauty of traditional 

embroidery and more modern techniques 

(laser cutting the leather, machine running 

stitch on wash away and encorperating 

wire) I aimed to show and celebrate the 

evolution of embroidery. 

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CAITLYN JONES

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CARLY OWENS

The concept of this piece is centered on the celebration of vulnerability. The uneasy emotions that manifest when one experiences being vulnerable are extremely complex, yet 

this complexity is what makes vulnerability so beautiful. The meticulousness and tediousness of the embroidery reflects this nature and is meant to make the viewer think twice 

about what is being seen. At first glance, the garment should come across as visually pleasing. However, the more the garment is viewed, the more it should seem that there is a 

little twistedness and darkness about it. Lightweight elements become rigid and dainty elements become heavy. The sheerness of the fabric chosen as well as the voids created 

within the embroidery pattern are meant to expose the body. 

The garment is comprised of a French seamed bodice attached to a skirt (6 yards) composed of polyester organdy. There is a keyhole opening in the back with button closures at 

the waist and a ribbon tie closure at the neck. The embroidery consists of wool roving French knots, hand ruched tulle poufs and is hand beaded with glass pearls, seed beads, 

bugle beads, sequins and crystals. 

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CARLY OWENS

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CLAIRE DE WAARD

The theme of celebration has pushed me to think 

about my cultural heritage but also life path as 

well as how celebrations were performed around 

the world. I have focused on traditional costumes 

from Savoie, France, which are surprisingly 

colourful and is recognizable especially by its 

highly embellished belt. But I also wanted to link 

this with the years I have now spent in the UK and 

more specifically at the RSN. Throughout my 

course I have experimented with a range of 

different materials and really fell for 'organic' ones 

- the straw, the wood veneer. Straw presents the 

possibility of being able to use it the same way as 

goldwork, which is as we know the perfect 

ambassador for a celebration. So not only the 

technique recalls the theme, but the material is 

also a celebration in the harvest, to reconnect with 

a 'down to earth' living. The wood veneer sequins 

add to this, as well as the sequins made with 

pressed flowers which were collected in my 

surroundings. 

Finally, further inspiration came from traditional 

weddings dresses from Palestina which display 

fantastic embroidery, the patterns being based on 

the flora of the area, and could then be translated 

using the flora of both my home town and London. 

The coins also add further embellishment, using 

both the pound and euro. 

The project is a celebration of both heritage and 

multi culturalism. 

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CLAIRE DE WAARD

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CLAIRE EDWARDS

Rising from the ashes. 

In a land of a thousand castles and royal palaces, 

nestled amongst the brilliant jewels of historic 

architecture, majestic creatures are parading. A 

Phoenix rises, beautiful, strong, playful and immortal. 

I have been inspired by a combination of mythology 

and folklore, Moorish architecture and the intricate 

goldwork on military dress uniforms. The phoenix has 

long been considered as a legacy across all cultures 

and is a symbol of transformation, longevity, strength 

and creation. It is an exciting creature and to me it 

represents rebirth and renewal on both a personal 

level and that of the multi-cultural and fascinating 

world that we live in. It also celebrates the reemergence 

of the excitement of traditional crafts and 

stitch today. 

I have used many different techniques in my work 

starting from a base of silk screen printed and hand 

dyed silk devore. Traditional Goldwork techniques 

have been playfully combined with intricate beading 

and stitching and layered to create a piece that makes 

you look closer, and the more you look the more there 

is to see. Materials include metallic leather, chain and 

woven steel fabrics and Swarovski crystals. 

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CLAIRE EDWARDS

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COLINE BAVOIS

Ethiopian bodypainting celebrating nature, body, cultures, human, melting, traditions. 

- Celebration through the body 

- Endowing oneself to celebrate 

- Embelish oneself or become unrecognizable = universality for celebration 

- Body’s embroidery 

Technique: Natural dye and print, diversion from tradinional gold work, crochet and needle beading, restyled sashiko. 

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Textures and materials research are the reasons why embroidery inflames me. I am interested in creating organical microcosms arousing senses 

and distoring all kind of materials and traditionnal techniques. 

The link between nature and human is at the heart of my artistic process. 

COLINE BAVOIS

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CORAL GAT – SUBMISSION NO. 1

The project was inspired by an outfit consisted of cape and gown, which was designed by Fini Leitersdorf for Maskit Fashion House in the 1970's. 

In my collection, I chose to celebrate the combination of two cultures that I personally attached to: The Israeli Desert, my home country and an integral 

part of my heritage- the shape of the mountains and the desert's dominating colors. 

Japan, the land of my dreams, the origin of the most inspiring and unique art and design techniques- the kimono shape, the obi and the Japanese 

flowers. 

The coat is made of layers of fabric and puppy acrilan which I stitched in the shape of the desert's mountains. 

The coat lining and the gown are made of 8 meters of fabric, on which I printed and hand embroidered and beaded the Japanese Iris Kaempferi. 

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CORAL GAT – SUBMISSION NO. 1

CORAL GAT – SUBMISSION NO. 2 

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From a very young age, aircraft and suitcase became my second home. 

Every destination I visited added its unique inspiration, colors, patterns and textures to the 

growing accumulation of my personal experience in art and design. 

The project combines three destinations- Tel Aviv, New York and Nairobi, three cities 

which represent, each of them in its own unique way, a never ending celebration of 

cultural manifestation 

All have personal attachment to my family and I, which was built for many years- The 

cities where I was born, spent my youth years and matured. 

The project integrates three Sustainability Subjects: Conscience Fashion, Slow Fashion 

& Up Cycle. 

The whole collection set is made of Israel Defense Force’s uniforms, which I 

disassembled, painted and put together to create a new silhouette. The beading was 

made as a tribute and a celebration for the Samburu tribe, whose beading work is 

outstanding colorful and always fun. 

CORAL GAT – SUBMISSION NO. 2 

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DEAN LIGGETT

The concept for this project is pure "Celebration." I took as a starting point the national celebrations which generally have a firework display at their centre. From here I 

developed embroidery patterns based on these firework shapes and combined them with stringart ideas which are also a celebration of my 1970's childhood. 

The fashion shapes were inspired by the Catherine wheel shapes and the Titanic building in Belfast which has recently been a focus for national celebrations. 

The final outcome will be a Catherine wheel gown embroidered with tufting to give the explosive nature of the firework and a 3-D Gilet embroidered with gold string art 

"fireworks in panels forming a titanic type shape around the hips. 

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DEAN LIGGETT

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ELIZABETH LOWE

My work celebrate's 'Spring'. 

The inspiration came from the gardens at 

Hampton Court Palace and a Japanese 

embroidery sample within The Royal 

School of Needlework archive 

The piece of Japanese embroidery has 

illustrative birds and bold colours, which I 

wanted to reference during my design 

development. 

For my final piece I intend to create an A- 

line skirt which explores mixed media 

techniques alongside the traditional skills 

of Silk Shading and Stump work. 

The contrast between the delicate 

embroidery of the birds and the bold 

colours of the tropical flowers will create a 

contemporary feel - based around the 

attached sample images . 

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ELIZABETH LOWE

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HAKYUNG CHOO

I think that the main symbol of celebrate is fire work. such as 'Happy new year'. 

Most of country celebrate new year with fire work at 00:00. I aim to describe 

and express it by embroidery. I used Jacobean embroidery for shape and color 

of it and mixed media embroidery for texture of fire work. I knitted fabric from 

yarns which I dyed from sky color of fire work picture to embroidery on it. and 

I am going to do the Jacobean embroidery on organza for top. 

HAKYUNG CHOO 

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HANA HUSSEIN

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HANA HUSSEIN

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HOLLY MARKHAM

For SS17 I collaborated with Olivia Ward-Hands (Pattern cutting) and Maggie Santos 

(Print) to create a 4 piece non gendered collection. 

The concept used from embroidery was inspired by my individual project - celebrating a 

worker's craft looking a metal casting and processes and combining them with that of 

hand embroidery and incorporating modern techniques together. 

The techniques used were laser cut black acrylic buttons some of which were cast into 

metal pewter and attached to the ends of the tubing. There were also handmade 

jewellery to accompany the collection as well. 

Hand wrapped tubing has been appliquéd onto the fabric with pearl work over the top 

with rondelle bead embroidery to compliment the print as well as zigzag blue princess 

braid on top of the screen printed print. 

HOLLY MARKHAM 

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ILONA TECSON

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ILONA TECSON 

I thought that the best way to incorporate 

"celebration" into my garment would be to 

design a party dress. When I think of 

celebrations, I imagine extravagant gatherings 

and people dressed in beautiful garments. My 

garment allows a woman to "let loose" 

because of the sheer bodice, open back, and 

flirty skirt. I wanted my appliques to resemble 

cute illustrations of bees and flowers. The 

embroidered flowers and bees scattered 

among the bodice of the dress are a playful 

element but also add a sexy component that 

draws attention to the overall look, just barely 

covering delicate areas around the bust. For 

more visually appealing aesthetics, I also 

incorporated beading in the flower and bee 

appliques.

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JASMIN THOMAS

I celebrate transformation between struggle, power, and success. I 

wanted to celebrate the history of my heritage as a African-American. 

African-Americans forced to adapt to the American culture and taught 

to forget about their culture. I tried to tell a story with my hand 

embroidery using thread, beads, and French knot techniques, also using 

water-soluble fabric and bits of pieces of thread, and old scraps of 

materials to make a 3D effect butterfly. 

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JASMIN THOMAS

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JENNA GONZALES SMITH

My work Is still in progress, there will be sleeves that corresponds with 

bodice like in my sketches. 

I married a bit of fabric manipulation with beading and embroidery to 

create something that is unique to me, and something that I have not seen 

before. My color inspiration came from flowers at graveyards, showing me 

rich beautiful colors. My idea of the shapes and overall design came from 

patterns on headstones and wanting to juxtapose the graveyard with 

something fun and playfulI. In working through my ideas I decided to 

create a sweater that evokes comfort and playfulness but be quite rich 

with beading, punch needle embroidery, and soft puffs of knit fabric. The 

entire background will be covered using the punch needle technique 

blending and popping colors. The knitted raised puffs gives the garment 

even more dimension, softness and playfulness. The beading gives a nice 

added harder texture and transition between the puffed shapes and the 

punch needle. All together it is candy for the eyes and rich to touch. 

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JENNA GONZALES SMITH

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JESSICA KITSON

The concept behind this collection aims to 

turn the darkness of war into something 

intricate and beautiful to commemorate and 

celebrate past and present heroes in combat. 

This AW menswear collection derives from 

war, political regimes and recent terror events, 

exploring masculinity through feminine 

fabrics and tactile surfaces, referencing decay 

and destruction through aging fabrics and 

worn military medals. Inspired by the bravery 

of my Great Grandfather who fought in WW2, 

his military memorabilia includes polaroid’s 

exploring the faces of war. Current terror 

events and my personal connection with a 

British military soldier fighting in Afghanistan 

have driven the search for positivity through 

textiles. 

Blue tones and metallic surfaces stem from 

peaceful areas of scenery within military films, 

combined with blue and white medal ribbons. 

Bleached distressed denim, with varying 

weights of matte and shiny oversized metallic 

satin hand stitching, alongside luxury fabrics 

of silk velvet, lambs wool quilting, applique of 

CAD denim and velvet sequins, goldwork, and 

clustered glass beading explores high end 

luxury with casual styling. Combining 

webbing and d-ring detailing with such fabrics 

and techniques provide dynamic contrasts 

between practicality and functionality of war 

within high-end fashion, creating something 

tactile, soft and comforting; everything that 

war isn’t. 

JESSICA KITSON 

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JIAYING WU

How bad can a good girl is a project which inspired by myself broken up story and a 

story of a Syrian refugee girl who is similar age with me. 

Project using more trees less assholes as slogan and main idea, Also victorian 

mourning influenced my final pieces deeply. 

All headpieces made by hand embroidery. Laser cut thick felt which has bonded with 

different fabrics to create special shapes. 

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JIAYING WU

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JIWON WOO

In this project, I have inspired from Yayoi Kusama. Her work is very unique and colourful as through seeing 

hallucination. When she was young she had a lot of pressure as a first child. so she started to express her 

emotion thorough drawing. I also have a similar experience as like her. I was always struggling to represent 

my work because of lower confident. But I have got motivation through her and trying to express myself 

through drawing to have textile ideas. In this project, I want to make visual effects on textiles as using many 

patterns like repetitive shapes and lines. I also make an effort to use different material such as PVA glue. To 

make strong colour contrast, I layered a different colour of fabrics with beads. To make 3D effects, I also 

used crochet with a different thickness of yarns. 

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JIWON WOO

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KAROLINA BRZOZOWSKA

Celebrating humans creative nature through choosing culture prizes 

as inspiration. 

-cultures architecture theathre 

Celebrating everything what human created through using only 

recycled materials. 

KAROLINA BRZOZOWSKA 

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STUDENT CATEGORY

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KATIE BUCKLAND

Entwined Realities explores the notion of human-machine interdependence as the world begins to enter the Hybrid Age. As we revisit the past in order to reimagine the 

future, craft and technology become interlaced and evolve as one. In the spirit of Art Deco, creative opulence brings excitement back to social and technological progress. 

Traditional gold work and millinery techniques get a new lease of life when infused with more future focused, hybrid materials. 

This ongoing textiles collection is not aimed at a single market but instead explores a variety of potential applications across fashion, architecture, interiors and even 

beyond. In response to the ever increasing relationships between the various design industries, Entwined Realities celebrates the collaborative nature that the creative 

world continues to uphold. 

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KATIE BUCKLAND

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KAYLEIGH MACE

The concept of this project has been to celebrate traditional hand craft embellishment and how technology can be used alongside it to enhance the design. Traditional motifs 

from Paris architecture have been used alongside images of light movement at night to reflect the two contrasting themes and provide visual inspiration. Tambour beading 

has formed the basis of the traditional embellishment and will cover the final design. Different materials such as tubular crin have been explored by filling with beads and 

creating a 3D surface to the fabric. Light silk fabrics will be used for all these techniques producing layers of detail of hand embellishment on final garment idea. 3D printing 

has been used to create unique embellishments combining the two themes by filling a tradition leaf motif with a geometric pattern. These have then been attached to a 

screen printed sample and for the final garment will also be placed around the tubular crin along with goldwork details to build up the embellishment. The final garment idea 

reflects how the different techniques can be used together to create a design where the different techniques enhance each other producing an innovative design. 

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KAYLEIGH MACE

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LIVIA PAPIERNIK

My current body of work celebrates my roots 

and my identity. This was prompted by the UK 

voting to leave the EU, Trump’s election as 

the new US president and the growth of the 

extreme right throughout Europe. Saddened 

by this rise in xenophobia and narrow-minded 

views on immigration, I decided to confront 

these ideas in my work by questioning what 

classifies someone as an immigrant. 

By exploring my ancestry and heritage I found 

out where I come from, I followed my French 

roots back to Poland before the Jews were 

persecuted in WWII and my English side to 

the east end of London and back to Ireland, 

Scotland and central Europe. 

I am using family portraits as my main source 

of inspiration as well as whitework, lace and 

archived embroideries from the Royal School 

of Needlework. My aim is to create a unique 

family tree whiles pushing the boundaries of 

traditional hand embroidery techniques and 

Haute couture by using unconventional 

materials. My decision to embroider onto a 

garment reflects that our heritage is part of us 

and we should be able to wear it with pride 

not embarrassment. Ultimately celebrating 

who we are and where we come from. 

LIVIA PAPIERNIK 

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LUCY ILSLEY

My concept is Day of the Dead, a Mexican holiday which celebrates the lives of family members and friends who have been lost. I wanted to use this 

celebration of life to reflect the 250 years since the founding of Hand and Lock, creating elements of ‘fun’ and ‘play’ through a vibrant colour scheme and 

bold pattern designs. Combining traditional symbols of the Mexican festivities such as the candy skull with a contemporary twist. My aim was to create an 

innovative, unique jacket and net crop top suitable for a festival. A place in my opinion that allows you to freely express your individuality. I felt the 

development of a jacket in particular would give me a good surface to work on and act as a statement piece. I have attempted to integrate both hand and 

machine techniques, with a main focus on embroidery. I have also used a laser cutter, screen printing and formed pompoms by hand to give the fashion 

piece that additional feeling of excitement and anticipation. To capture the movement and final outcome of the pieces, I took professional images of my 

work with the setting of being at a festival. 

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LUCY ILSLEY

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LUKE PERKINS

In Chinese mythology, the tiger’s body turns white when it reaches its milestone 500th birthday. To celebrate the 250th 

birthday of Hand & Lock embroidery tradition, the tiger has begun its transformation to white through the brightness of a 

high-luster, pearl embroidered skirt. Thousands of these pearls follow a gradient which also represents the tiger’s gradual 

metamorphosis. Mirror embroidery symbolizes self-reflection and looking back on heritage, tradition and the many 

changes that take place across a long life. The bold yellow of the overall design represents the eye of the tiger, and this is 

accented by the sparkle of custom, hand-painted sequins. Finally, the tiger’s striking visage is depicted on the reverse of the 

crop top in 3D high-relief embroidery with tubular black glass beads – a nod to its heritage and original colors. 

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LUKE PERKINS

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MAISIE TAYLOR

I began by looking into the celebration of 

age, as I enjoy exploring fashionistas, such 

as Iris Apfel. I was particularly inspired by 

Iris’s bold fashion style and enjoyment of 

striking costume jewellery in comparison 

with more everyday granny wear. This 

inspired me to utilise the idea of keeping 

warm for AW17 knitwear in this project, 

and so my idea of creating a beautifully 

and outrageously adorned, abstract, and 

oversized coat gradually evolved. I wanted 

to express boldness by layering my 

beading and stitch work onto a variety of 

backgrounds, such as foils, traditional 

knits, utilising heavy embellishments and 

organza, hoping this piece might be one 

that Iris might actually choose to wear. 

Although I kept my stitches simple, 

copying my original drawings, I always 

considering 'how I could translate that 

mark as a stitch' utilising a wide variety of 

embellishment and stitch, including colour 

blocking, couching, foiling and hot fixing, in 

a more striking way than usual. I kept my 

techniques simple, allowing complexity 

through contrasting textures, sometimes 

stitching boldly with thicker wool, using 

occasionally large, outrageous stitches 

which allowed me to express my granny 

fashion theme in a fun, new and bold way. 

FASHION 


MAISIE TAYLOR

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MARTA BIRO

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MARTA BIRO

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MARY O’SULLIVAN

The concept behind this piece was a celebration and a reconsideration of traditional limerick lace within my hometown of Limerick, Ireland. I subverted 

the notion of what limerick lace is meant to look like and instead put what I believe is some of the characteristics of Limerick City is, into the garment 

using ribbon embroidery on construction netting to make the foliage which portrays beauty and growth which was then afterwards hand painted to mimic 

the graffiti found in the city. I also employed techniques such as satin stitches, long & short stitches, back stitches, french knots, and beading to illustrate 

the characteristic motifs such as a cross, the Munster rugby logo, a local history museum logo, a local fish and chips restaurant exterior, a packet of amber 

leaf, an air max trainer, a ‘no horse and cart’ road sign, a bottle of Buckfast and a hurley and sliotar (ball). 

FASHION 


MARY O’SULLIVAN

FASHION 


MARYAM SIDDIQUI

Hybrid Culture 

An eclectic patch-worked collection celebrating the 

cultural fusion of traditional India and urban 

Nottingham. Inspired by my fascination of traditional 

global techniques and contemporary culture. 

Maximalist responses to intricate embroidery with 

collisions of colour. 

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MARYAM SIDDIQUI

FASHION 


MEGAN SCHNEIDER

The celebration I have used for inspiration is Notting Hill Carnival as I find the West Indian culture very inspiring and also wanted to choose an event that's 

held in London. The vibrant colours, creativity and detailing that goes into every carnival outfit provides endless ideas for embroidery design. I have taken 

influence from various things such as traditional African dashikis, African bead embroidery, tribal designs and different fashion and textile designers who 

have taken inspiration from their culture. I have used traditional embroidery techniques and combined it with unusual materials such as zip ties and jump 

rings to explore the link between tradition and innovation. The colour palette I have chosen reflects what I found when researching into carnival outfits 

and I feel that they all go quite nicely together. I didn’t want too many colours in my designs as the embroidery was already quite busy. I wanted to create 

a playful and dynamic garment, which clearly shows the link to Notting Hill carnival and the outfits with a more couture look. 

FASHION 


MEGAN SCHNEIDER

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MICHELLE FACEY

Celebrating modern freedom within clothing silhouettes for women. Taking inspiration from starling murmurations, how they collectively move together, 

creating, light, fluid movements. I wanted to create a feather like textile using laser cutting techniques and traditional hand embroidery . I started by hand 

designing a ‘feather’pattern, then using Adobe illustrator software I digitised the ‘feather’ pattern. After designing the 3way worn collar/shrug/jacket. I 

created the garment pattern, digitised it using Gerber software, placing the garment pattern pieces into illustrator, I then placed the ‘feather’ pattern into the 

garment pattern shape; manipulating it so that it fits and has a perspective/gradient scale (making it look more organic). Once this was complete I then took 

the file to the laser cutter and using silk fabrics with great drape, laser cut the top fabric, then hand tacked the laser cut piece onto the backing fabric, so I am 

then able to hand embroider (using an embroidery frame) each 'feather' before constructing the garment together. Out of the 8 pieces each piece took 9 hrs 

to embroider not including the process before. The long process was really worth it and am really delighted by the outcome. 3 way wedding jacket. 

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MICHELLE FACEY

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MIETTE FARRER

Following the recent events that have taken place in London, I wanted my project to celebrate the sense of community and support that has prevailed. The idea of 

friendship bracelets came about as an innocent act of showing your love for someone. As these bracelets come in all different colours, shapes and sizes, and so do 

we, I found it a fun way of illustrating the idea of people from all walks of life coming together. This in conjunction with hand stitching and beading will make up the 

pattern on silk organza for my garment. 

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MIETTE FARRER

FASHION 


MOLLY TAYLOR

Tethered; A celebration of nature in the modern world. 

Plants within homes have become a major interiors trend. Plants such as cacti and cheese plants adorn magazines, homes, and offices. Within offices and modern 

architectural spaces living walls fill the space between outside and inside, merging interiors and nature. This is a celebration of nature in the modern world, and of its great 

benefits to mental and physical health. People have personal connections with their plants, they are living pieces of decoration which evolve with their lives and homes. 

Caring for them and nurturing them tethers people to the natural world, when so often their lives are devoid of nature. I wanted to celebrate the importance plant life, and to 

show the escapism and sanctuary that nature gives from modern life and technology. I was Inspired by the textures of plants within homes in contrast with urban buildings, 

this was the starting point and the central aesthetic to the project. I explored contrasts of materials and techniques including: Hand guided Venor machine tufting, hand 

embroidered wool tufts and beading to layer detail onto natural wools. Unexpected larger elements hang creating natural motion for an outer wear garment. 

FASHION 


MOLLY TAYLOR

FASHION 


NANAKO KOBAYASHI

Clothes are not just pieces of fabric, but, like a second skin, bear the trace of many memories of its wearer. For example, clothes 

contain psychological memories such as attachment, emotions and memories associate with the clothes. 

The collection expresses my wish and cerebration for a closer relationship between people and the clothes they wear, cherishing the 

patterns and memories that the T-shirts have accumulated. 

With each use, the wearer builds up an increasingly personalised pattern on the T-shirt; one stitch, one bead at a time. The patterns 

take on the quality of time; memories and emotions the T-shirt and its owner have shared. 

FASHION 


NANAKO KOBAYASHI

FASHION 


RACHEL MAYBERY

Celebrating Feminine Diversity. 

Inspired by the 2017 women's marches I felt empowered to create a 

collection that reflected the diversity of women worldwide and prompted 

equality. I collected imagery of strong and powerful historical women to 

inspire my work and looked at reinterpreting this through my use of colour 

and materials. This gave a contemporary feel to traditional hand techniques, 

which historically has been associated as women work, and therefore 

sometimes overlooked as a lesser skilled discipline. I used unconventional 

materials such as clay and elastic to convey the stitching. 

To reflect the traditional imagery I looked at over adorned, stereotypically 

feminine objects such as clothes, jewellery and hair which created unusual 

3D embellishments that gave structure and movement to the textiles, and 

gave a very contemporary feel to traditional techniques/references. 

FASHION 


RACHEL MAYBERY

FASHION 


RACHEL RISSETTO

I wanted to explore modern embroidery techniques 

whilst celebrating both new and old perceptions of 

glamour. Glamour has its traditional values and also 

what it means to society today. Of course, my magpie 

eye had a lot to do with my choice of materials, 

mixing holographic sequins with traditional and 

beautiful lace to create oversized brooches. I wanted 

to use holographic sequins and jewels in particular 

because I am inspired by how garments catch the 

light, as well as holographic items being extremely 

popular within popular culture and fashion/beauty 

today. I mixed femininity with toughness and ease of 

movement for a fresh, modern take on womenswear, 

embracing many slants on possibilities for femininity 

in the 21st Century, from young women 

chanting football songs to those aspiring to be an 

opera singer, my custom made ‘brooches’ reach out 

to everyone, from traditional teardrop shapes inspired 

by chandeliers and jewellery to fun and funky pieces 

created with more of a tongue in cheek approach 

(eyes, lips and footballs all created with sequins). I 

wanted to create a tactile piece; extravagant 

embellishments abound, inspired by opulence and 

wonder – a piece that will appeal to real, multifaceted 

women of today. 

FASHION 


RACHEL RISSETTO

FASHION 


SAMANTHA HODKINS

This luxurious wool jacket takes inspiration from the offbeat micro trend Trippy florals. Trippy florals is a mixture of vibrant, oversized floral and 

geometric prints with a psychedellic 60’s inspired aesthetic. Individuality and self-expression are celebrated through a ‘more is more’ aesthetic. Rich 

jewel tones of amethyst, citrine and orange topaz with small bursts of coral and lime make up the colour palette. The base of the coat features large 

scale reverse applique, complemented by beading with seed and bugle beads, french knots and machine embroidery with a contrasting chequered lining. 

FASHION 


SAMANTHA HODKINS

FASHION 


SANDARUWANI THAMBUGALA

“Celebrating play and delicateness” 

The delicateness and play in beeralu are the key notes that has been highlighted in the project and is being celebrated. After 

close analysis on hand lace, these key factors are highlighted while the essence of traditional handlace and its rich history is 

displayed through the attire. The whole net is filled with an embroidery stitch to have a smooth surface. Then, after being placed 

on the body, the beginning is marked in the middle. The body here takes a representative of the hand lace pillow. The cluster 

forms of the shoulder represent the clusters of pins. The front drape of the garment is then flowed from the top to bottom 

displaying the true work essence of hand lace process. The brginning is scrunched and plain while being enhanced to the 

bottom towards the hemlines. The thread worked with are left to dangle after its length has demised and represents the 

unevenness of the beeralu material. The then left threads are taken as bobbins and worked as accents. The left edges of the 

garment is weaved and left as dangled bobbins taken detailing with beads of pearls, clay and wood. Geometric shapes are taken 

as the key motif inspirations of the garment and embroidery placements are taken with careful consideration of its essence and 

display. The arm is worked heavily towards to the back from the shoulder cluster. The outcome of this project is to display the 

celebration of hand lace in Sri Lanka through a modern approach in embroidery for the Hand and Lock competition 2017. The 

traditional craft is taken in an innovative and forward thinking path showing the essence of its process, heritage and unique 

qualities. 

FASHION 


SANDARUWANI THAMBUGALA

FASHION 


SARAH PEGRAM

My piece is about the celebrations associated with Girlhood and 'Coming of age'. I have taken inspiration from 

the Sofia Coppola film "The Virgin Suicides", the kinds of memorabilia we collect during our adolescence, the 

excitement of prom, and the feeling of not being quite ready to say goodbye to our childhood. In my sample I 

have used tailor tacking and french knots to build the texture of the rabbit's face, along with a bright colour 

palette, hand embroidery, sequins and beading to make the sample pop! I would like to take this piece forward 

by making a whole top with the same concept, with lots of bright colour and motifs patched together to make an 

exciting garment that echoes the nostalgia of being a teenager – the confetti at the end of a party, the scrap 

books and trinkets strewn across a bedroom floor. 

FASHION 


SARAH PEGRAM

FASHION 


SHACHAR GILADI

Its1900. ‘La Belle Époque”. Paris is the center of the action. 

The dappled shadows of chestnut trees on the board boulevards and seemingly endless avenues splendid 

horses, shining and glamorous, with their owners sitting in exquisite carriages. 

Woman are enjoying outdoor cafes and lovely restaurants wearing a fancy hat, glittering jewels and rustling 

dresses. Pretty girls with golden curls dressed in lace and velvet and charming boys wearing suits. 

Painters are finding a way of painting shadows and movement, light, color and vitality. 

Writers are writing the literature of a great hour of tales and tellers. 

Paris preening with winding lines, sensual shapes of stems and buds of the Art Nouveau style. Magnificent 

music. Poetry. Inventions. Innovation. Highlife. Lowlife. Life- and a real sense of fun. Now imagine those 

people, celebrating in a party under the ground… today! 

The embroidery and the textures are made out of Copper threads, cotton threads, beads, Swarovski, chiffon 

and organza natural silk. 

FASHION 


SHACHAR GILADI

TEXTILE ARTS 


SHANI GABAY – SUBMISSION NO. 1

My project is a celebration of art and science, a playful 

examination of biological technologies and their impact 

on future aesthetics, and especially, on fashion design. 

Will designers be able to really transform the body of 

their client in the future? Will a fashionable thinking of the 

body generate organs as accessories? 

I am questioning the dependence of identity on a specific 

and consistent body embodiment. I am also dealing with 

the tensed conflict between the synthetic and the natural. 

The collection aims to combine raw materials such as fur 

and leather with highly processed fabrics and traditional 

techniques to create a unique outcome that consolidates 

the deep contrasts of legacy craft and modern art. 

TEXTILE ARTS 


SHANI GABAY – SUBMISSION NO. 1

SHANI GABAY – SUBMISSION NO. 2 

FASHION 

STUDENT CATEGORY

My project is a celebration of art and 

science, a playful examination of 

biological technologies and their impact 

on future aesthetics, and especially, on 

fashion design. 

Will designers be able to really transform 

the body of their client in the future? Will 

a fashionable thinking of the body 

generate organs as accessories? 

I am questioning the dependence of 

identity on a specific and consistent body 

embodiment. I am also dealing with the 

tensed conflict between the synthetic and 

the natural. 

The collection aims to combine raw 

materials such as fur and leather with 

highly processed fabrics and traditional 

techniques to create a unique outcome 

that consolidates the deep contrasts of 

legacy craft and modern art. 

SHANI GABAY – SUBMISSION NO. 2 

FASHION 

STUDENT CATEGORY

FASHION 


SHIR NAEH

I am excited to present my project “Rich Safeness”, which discusses safety and celebrating life. I drew inspiration from the colorful 

artworks of Helena Stonaker. 

When encountering them, I first felt overwhelmed, but eventually, the "mass" made sense as a big spiders revealed itself to me. 

I decide to create a spider net, which serves as defense and not as a prey capturer. 

The colorfulness of the net represents safety and allow us to celebrate life and be optimistic about the future; this in light of recent 

events that stir us out of our comfort zone, like terror attacks. 

Looking at the embroidery, you see something new every time as the path the beads take is different; this represents the hope we 

have left. 

The design is oversized aiming to cover its wearer, as a protection shield. It also draws inspiration from the classic white shirt to 

give a sense of everyday casualness to it, representing the "here & now". 

The embroidery is with different type of beads and threads. 

FASHION 


SHIR NAEH

FASHION 


SILVIA DARDON

Celebration 

What style of dress you want to wear on the 

last day or your life? The question was 

shocking for a beginner designer as myself. I 

had never imagine a project for my after life; 

however, the question began digging deep on 

my soul to the point that brought my memories 

from my personal experience from life after life 

when I gave bird to my second so. I survived 

a preclamcy emergency and I returned to life 

with a different point of view. I remember my 

passage when I went into a beautiful place; 

surrounded the most beautiful 

landscaping. Few days after I woke up, that 

experience change my life in many way; my 

love and respect for life was most sensitive for 

caring and compaction. I felt the 

empowerment to protect any living thing and 

respect people protecting our land; this 

reasons are the main support for living the 

Eternal Celebration of life of any human 

being, and of any species on hearth whether 

they are on extinction we have the 

responsibility to protect and preserve them for 

the future generation. 

FASHION 


SILVIA DARDON

FASHION 


SOPHIE LOCK

When I thought about the word fun it took me back to my childhood and playing outside with my friends and not having a care in the world. A skipping 

rope was very often a part of that so I began to experiment with how i could incorporate that into embroidery. The concept is 'upside down', looking at 

how the world looks from a different perspective, like being a child. 

FASHION 


SOPHIE LOCK

FASHION 


STAV OFMAN

In the framework of a "wedding dress" course in Shenkar College we were instructed to go back to our roots and research our own 

family's heritage. Following prolonged conversations with my grandmother about her family's history, I discovered fascinating facts 

about my great grandfather in particular. During one of the conversations, she pulled out a shaving kit which once belonged to him. 

As she opened it, we were surprised to discover that his white hair has been preserved in that kit all these years. I was fascinated 

by this and decided to delve deeper into the preservation of one's hair as a form of memory. I began researching the culture of 

hair work which was a mourning tradition practiced in the Victorian Era. Once a loved one was deceased, a lock of hair was saved, 

made into a flower and then added to the family's hair wrenth. This was used to preserve the family's history as each flower 

represented the memory of a lost loved one. I designed a wedding dress inspired by the Victorian tradition. I created embroidery 

using synthetic hair and pearls, to recreate a couture version of the Victorian hair wreath. I combined metal beads and chains to 

resemble my great grandfathers metal razor. 

FASHION 


STAV OFMAN

FASHION 


STEPHANIE HENLY

The project is a material exploration deriving forms from the application of the long-stitch. This 

challenges the traditions notions of embroidery as a functioning purpose rather than a flat decorated surface. 

The forms is created through the performance of repetitive hand embroidery in conjunction with innovated methods of applications by pulling the embroidery yarn whilst 

embroidering. As a result, the fabrication is reduce in size whilst creating form and volume. This resembles the texture and appearance of a fur jacket. 

The intuitive response found a new function and constructing method, translating a value of material expression relevant to the body as a form. 

These expressions are emphasized by minimal cuts to the manipulated fabric. A comprehensive 

understanding of stitch application initiates creative prospects. 

The context of my design practice aims to communicate the values of handcraft. Through an emphasis of skill preservation, hand crafted methods are recontextualized to 

find new design expressions within a high-fashion context. 

FASHION 


STEPHANIE HENLY

FASHION 


TINGTING HAN

For celebration, we always 

use firework and flowers. 

So, I cut plastic bottle to 

make the flower and 

painted on a plastic board 

to make the firework. 

FASHION 


TINGTING HAN

HAND & LOCK 

PRIZE FOR EMBROIDERY 2017

Hand Embroidery Fashion - Student

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