Hand Embroidery Textile Art - 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.

TEXTILE ARTS
STUDENT CATEGORY

TEXTILE ARTS
STUDENT CATEGORY
ALISON MYERS

The final brief of the year was called ‘Celebrating Beauty in the Grotesque’. This was set with the Hand and Lock competition in mind. I am interested in how death was dealt with in the
past. My research led me to the Egyptian mummies and a book called Heavenly Bodies by Paul Koudounaris, about skeletons found beneath Rome in 16th C and believed to be martyred
saints. I was inspired by the patterns made by the wrappings of the mummies and also intrigued by the mummification of animals, especially cats, to accompany the deceased into the next
life. The Heavenly Bodies book contains amazing images of skeletons dressed in rich textiles and jewels displayed in catholic churches across German speaking Europe. I was inspired by the
grimness of the bones against the beautiful jewels, gold and rich textiles. I used these two themes as inspiration to design my headpiece. The techniques I have used are hat making,
appliqué, laser cutting, bead embroidery, layering, couching and fabric manipulation. The small animal bones I used in the design were ethically sourced from nature.
TEXTILE ARTS
STUDENT CATEGORY
ALISON MYERS

TEXTILE ARTS
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ANOUK FRUMENTO

On one hand I have chosen to work with
plastic materials (straws, HAMA beads, woven
tubes). On the other hand I have
experimented with gold work materials. It
appeared to me important to engage with this
family of techniques, and find playful ways to
experiment with it, as it is an important part of
my education, and an essential one of your
institution. As for the plastic materials, it is to
me an interesting way to take the opposing
view of expected embroidery styles. That kind
of materials allow a great variety of texture
and colors that bring into a complete other
univers the world of embroidery.
I also have been interested in the idea of
composition and arrangement. The idea that
the final piece will actually be an association
of several others. Linked to the ‘playful, it lead
to the the principle of the puzzle; the multiple
embroidered elements are in fact magnets
that can be brought together by the observer
in order to create an elaborate patchwork of
textures and colours. The observer becomes
in fact a player, and is free to interact
differently than just with his eyes.
TEXTILE ARTS
STUDENT CATEGORY
ANOUK FRUMENTO

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ASHLEIGH CHAMBERS

Based on the celebration theme, I would create a boot entirely covered
in goldwork embroidery to look like bursting confetti using bright multicoloured
Purls and Checks on a background of silver goldwork. The
boot will also feature a 3D goldwork fuchsia bow. The giftwrapped shoe
idea was something I created last year as part of my Celebration
project for my footwear degree, which was inspired by Jeff Koons
Celebration series - so when I saw the theme of this years Hand &
Lock prize I knew I would love to recreate the gift wrapped shoe
covered in colourful goldwork!
TEXTILE ARTS
STUDENT CATEGORY
ASHLEIGH CHAMBERS

TEXTILE ARTS
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CASTELLAR MONTERO

LAMP BASED ON A
SCULPTURE AND AN
EMBROIDERY ON THE TOP. I
HAVE USED SOFT TEXTILE
AND CERAMICS
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CASTELLAR MONTERO

TEXTILE ARTS
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CONNIE NORTON

Heavily influenced by nature and organic mark making my concept is based around the great British garden. Gaining ideas from things such as botanical flowers, wings, pollen,
creatures and things that are in the air. Sustainability is part of the story of this project, which celebrated handcraft and how we value craftsmanship. Some of my imagery comes
from bees, which is also a really important part of my embroidery, as I would like to help honour bees and raise awareness of how vital they are to us. Embroidery techniques I have
been using are: French knots, picots, woven circles, princess pleating, quilting, embellishing, beading and I plan on incorporating other techniques and gold work as well.
TEXTILE ARTS
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CONNIE NORTON

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ELENA THORNTON

Cereus is a collection of face and neck adornments created using the traditional technique of Goldwork. Inspired by the Night Blooming Cereus, found on the tropical Island of
Bermuda, this flower blooms for one night a year before perishing by dawn. In celebration of this flower’s short life with it's intriguing beauty and captivating backstory I decided to use
it as the basis of my work. Although it can be found on the vibrant Island of Bermuda, its colour is tame and neutral in appearance. This lent itself beautifully to the technique of
Goldwork. By using padded leather, chipping, cutwork and passing I have been able to create layer and depth within each piece. The final outcomes are delicately detailed with a sense
of celebration for both the technique and the flower, but have a somewhat unforgettable appearance behind it all.
TEXTILE ARTS
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ELENA THORNTON

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EMILY KEYNES

The visual and conceptual focus of my project is the Vulnerability & Fragility present in natural forms, both human and organic. I wish to preserve the delicate
essence of these withering forms in my artwork to celebrate their beauty and worth. I hope to align these qualities in my designs to create a spectacle of
strength through aesthetic weakness, adorning the female form elegantly. I gently manipulate silk fibres, untreated leathers and metal and porcelain
components, to create natural and delicate structures, which mould and extend the body. I braid, wet water mould, machine/irish embroider, cut and gather
my materials to create unique and long lasting pieces.
TEXTILE ARTS
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EMILY KEYNES

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EMMA GUEST

Within a previous project I have looked into the development of drawing, instigating a personal inspiration from the frivolity and innocence of children’s art work. Many lack the
harsh self-critique and desire for realism, leaving more room for imagination and creativity. I decided to focus on the words given in the 2017 brief; ‘Fun’, ‘Play’ and ‘Celebrate’.
Represented by children and the joy and development within their art, celebrating the creativity, free spirit and escapism art can provide individuals. Being inspired by Play
Parks, Indoor Soft Play areas, examples of children’s own drawings and level of stitch technique I drew initial research and primary imagery. I craved to be inspired by areas that
gave joy and represented the words well; including party /celebration themed instillations to draw inspiration from interesting colours and line. Through observational drawings
and leading drawing/basic stitch workshops within a primary school Art club I developed my research and ideas. From this I used hand stitch to represent lines, shapes and
textures. I enjoy experimenting with mixed media material within my work using traditional stitch/textiles techniques. Alongside exaggerating basic stitch to celebrate the finer
detail created within the techniques, enhancing interesting the textures and patterns.
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EMMA GUEST

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EMMA KIRBY

A desire for the unexpected is a collection of fashion fabrics incorporating bold accents of tropical vibrancies with manipulated embellishments to capture the unpredictable effects of
nature in the Amazon rainforest. Designed for Spring Summer 2018, these innovative printed and embroidered fabrics explore the hidden depths and layers of this unique environment.
The aim was to create a collection of textile designs for a daywear women’s collection with an eccentric colour palette and multimedia approach, captured in the multidisciplinary
approach of processes and materials. The embroidered samples and final piece is a celebration of all things tropical, a festival of nature at its most vibrant. Inspiration was taken from
tropical palm houses to engage with the layers and depths of the Amazon Rainforest. The overlapping of large scale leaves with an abundance of brightly coloured florals were the main
focus of my inspiration as well as the exotic explosion of three dimensional flowers and pattern within pattern.
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EMMA KIRBY

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FAYE ARGUELLES

These designs embody a celebration of my ethnicity and making it more of my own from my perspective viewpoint as an individual. The sample are created from
observing traditional embroidery in the Philippines. It also utilizes some plastic waste materials to recreate the beauty that is being destroyed in the ocean; from drawings
of corals, shells and sea nature imageries.The colours represent the richness and importance of our natural resources and that we shouldn’t be taking anything from
granted. I illustrated my samples as headpieces as I feel that it brings more attraction to the body; implementing the significance of showing awareness of these
environmental issues. The placements are influenced by the Ifugao Tribe in the Philippines, where both women and men share work on creating their headdresses. This
“unity of people” is what I would like to show to my audienc, that everything can be restored and even make it better as long as we share and connect together.
TEXTILE ARTS
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FAYE ARGUELLES

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HANNAH SODERGREN

Celebration of Life
Rarely is death associated with celebration. It is generally a sad subject, burdened with sadness and loss. However, if we look to nature, we find that oftentimes
death leaves behind beauty. Bleached corals, the exoskeletons of insects, and preserved flowers are lovely reminders of life that once was. Rather than focus
on what no longer exists, it is possible to hold on to the memories that are left behind. In this way, the burden of loss can be relieved by the celebration of life.
In my piece I have employed beadwork, surface embroidery, and stumpwork. The color palette is only white, to elicit the memory of color and life, while
acknowledging that something important has been lost. The light that the beads catch and reflect help to add contrast and shadow to the piece, and the
stumpwork creates dimension. I created my piece as a collar, to represent the physical weight both loss and remembrance can bear.
TEXTILE ARTS
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HANNAH SODERGREN

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HOLLY MARKHAM

My Embroidery explores the narrative of a worker's craft by experimenting with techniques of metal casting, creating handmade laser cut buttons and intricate metal pieces
combining embroidery crafts, juxtaposing modern ways of utilising embroidery techniques.
The techniques that have been used are handmade pewter pieces, some have been originally laser cut and engraved then cast into metal. Other pieces are created from a
clay putty. I have explored techniques of macrame in particular Scandinavian that has been wrapped around plastic tubing a laser cut acrylic circles.
I have used some pearl work over the tubing to attach it onto the fabric, as well as appliqué to attach threads and princess braid cord down.
There are clear acrylic buttons and jigsaw pieces that have been laser cut and appliquéd on.
Everything has been made by hand to celebrate a workers craft and a practitioners art.
TEXTILE ARTS
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HOLLY MARKHAM

TEXTILE ARTS
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MADELINE WHALLEY

Introducing Granny’s Overgrown Garden, a new textiles collection. My Spring/Summer 2018 Collection shouts Maximalism! I have taken a contemporary approach to exploring the themes
of Kitsch and Nostalgia, through a combination of digital and machine embroidery onto printed design textiles. Exploring the rising trend of Maximalism through the use of materials,
embroidery and embellishment. Celebrating nature through a 'more is more' approach. Granny’s Overgrown Garden takes inspiration from personal memories of my visiting Grandmothers
overgrown garden as a child, to me this Garden was its very own way - Maximalist! Focusing of the creepy crawlies and eccentricity of plants, I have interpreted my theme through
exploring Maximalist design. My textile designs create an escapism from the mundane creatures and nature we see in everyday life to an out-of- this-world secret garden, with the
combination colour and material and the use of innovative embellishment.
TEXTILE ARTS
STUDENT CATEGORY
MADELINE WHALLEY

TEXTILE ARTS
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MARY O’SULLIVAN

The concept behind this neck piece was to examine how people
now communicate through social media and what these types of
people are obsessed with, namely; Kim Kardashian, sex, Calvin
Klein sports bras and the newest Apple product. I chose to work
with denim because of it's universal appeal and used bright colours
to mimic the brightness of an Iphone. . I also employed techniques
such as satin stitches, long & short stitches, back stitches, and
beading to illustrate each emoji and the floral pattern.
TEXTILE ARTS
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MARY O’SULLIVAN

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MONICA RAI

This collection was highly influenced by my
heritage, Nepal. I looked into traditional craftweaving
and took it in a modern approach to
create the pieces. Through the heritage, I was
drawn into using bold colours and patterns.
The pieces are interactive as it can be altered
between textile samples and also as an
accessorise. The collection is also about
exploring materials that aren’t just fabric. It’s all
about pushing the boundary by experimenting
with ropes, different weight of yarn and
materials that aren’t usually used for “fashion”. It
is all about problem solving, innovating and
offering something new to fashion.
The techniques that have be used in this
collection purely focuses on hand rendered
making the pieces delicate and exclusive. The
collection looks into weaving, macramé, hand
beading, hand-made fringes and tassels.
As we live in the era of fast paced fashion, I
wanted to shows that we should appreciate
fashion by slowing down the production and
creating pieces that takes time but are
beautifully made and can be appreciated by its
craft, rather than the piece being easily
replaced.
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MONICA RAI

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PALOMA ALARCON

"A Peruvian Tale”
Throughout the years it has become noticeable that
culture tends to have an influence on the way individuals
experience and perceive life. I have always had a
profound admiration for Peru, its culture, its people, my
birthplace. Being brought up in Lima, the capital of Peru,
has developed my interest and admiration of their
architecture and textiles manipulation. Their colourful
layered houses and diverse historical location such
Macchu Picchu and Chan Chan provide meaningful
illustration of ancient art.
Taking an organic approach from their textures, bold
colours and shapes specifically in ancient Peruvian
cultures. I was intrigued to find out more about the way
people live, focusing on the contrast of architectural
motifs and organic landscapes. The Peruvian community
have managed to demonstrate and share their historical
culture by producing joyful, happy and colourful hand
crafted textiles which include meaning and tradition
behind every colour and motif.
My innovative designs have been greatly influenced by
Peru's arts , textiles illustration and material
manipulation. This collection showcases a variety of
fashion fabrics and accessories which include hand
embroidery and laser cutting, this allowed me to produce
my own beads and statement pieces. My aim is for the
audience to envision Peru through my interpretation and
life journey, which gives them the opportunity develop
their knowledge and understanding of this countries
cultures, tradition, culture and history.
TEXTILE ARTS
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PALOMA ALARCON

TEXTILE ARTS
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ROZALIA TOVAJ

I am living in the capital of Hungary seven years ago... Big city life, many houses, slight sky. Small windows to the nature. Just watch the reflect of the slow
clouds in the opposite house. Contemporary pattern made by archirecture and nature. Contrast between geometric and abstract, stable and varying,
solid and soft, mechanic and organic. Andrássy Palace is in the Street Paulay Ede, by the architecture Erick van Egeraat. Light in the grim sight street. The
leaning glass box artistically reflects the surrondings. Opposites are inspiring me, that is why I use plexi and wool, lasercut and hand embroidery,
transparent and opaque, fast and slow technics. I „draw” floating windows.
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ROZALIA TOVAJ

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SAMANTHA FINCHER

TEXTILE ARTS
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For my project “Painting with Beads and Thread” I tried to emulate shadows and the 3D form using beads and thread. Drawing inspiration from the
art nouveau movement I chose symbolic elements that tell a story about the pressures of graduating and going out in the real world. I utilized bead
embroidery for the flowers, moon and background; Trapunto to make the woman stand out; and long and short embroidery stitching to describe
the body form
SAMANTHA FINCHER

TEXTILE ARTS
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SARAH TARPLEE

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This collection is called Love colour. It brings together painting, colour theory and textiles to explore the idea of embroidery
as art through the process of the artist. "Colour is the most relative means of artistic expression" - Josef Albers.
Inspiration for this project draws upon work produced in the 1960's, including artwork by Jasper Johns and Robert
Rauschenberg and sculptors David Annesley and Phillip King. My personal interest in 1960's album covers, especially Mod
bands of that era has lead to a use of typography within the work.
There is no generic colour palette, but a collection of colour stories. Each sculpted piece focuses on a specific colour
experiment. Every colour has been given its own name and code based on symbolic meaning and to give a different mood.
The names were inspired by songs from bands such as The Beach Boys, The Beatles and The Lovin' Spoonful.
Components are 'painted' onto the fabric, with beads, cording and fabric all hand dyed to capture the different tones in paint.
A wide range of techniques including goldwork, hand appliqué, hand fringing, hand beading, couched cording and hand
stitching create a textured surface of both soft and hard, matt and shiny elements that encapsulate the true beauty of
embroidery as art in itself.
SARAH TARPLEE

TEXTILE ARTS
STUDENT CATEGORY
SHONAEGH COCHLAN

When life is pulling me in different directions creating a ‘beautiful mess’ it is my family
and solid roots that keep me grounded. This is a celebration of the foundation on which
my family is built. With wool, mohair, and tweed yarns reflecting the traditional aspect
associated with Scotland; there is a contemporary aspect of beadwork, which gives the
sophisticated and stylish mood a playful twist. The Lindsay Tartan, my clan tartan,
pattern is followed with French knots, chain stitch, satin stitch, backstitch, and
enhanced with macramé yarn along with variety of beadwork contrasting shiny and
matte, creating different surface textures.
TEXTILE ARTS
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SHONAEGH COCHLAN

TEXTILE ARTS
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STEPHANIE FALK

This is my hand embroidered map of the Indigenous regions of Australia. I started this project
around Australia day on a day of much National Celebration, where there is little recognition for
Australia's first peoples and the fact that the date causes a lot of stress for many Aboriginal
Australians. I made this embroidered map with many different colours and stitching styles as well
as glass beads to express the diverse beauty of the Aboriginal map. This map is an ode to
Aboriginal Australia and a celebration of the culture's traditions.
TEXTILE ARTS
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STEPHANIE FALK

TEXTILE ARTS
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SUNNA YASIN

As today's technology is rapidly changing this collection
explores the change between hand and digital processes in
textiles. Combining traditional and contemporary techniques
using 3D form, this piece discovers the simplicity of Islamic
patterns and strips it down to the basic shapes to produce a
fresh insight of Islamic culture in today's society.
TEXTILE ARTS
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SUNNA YASIN

TEXTILE ARTS
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SZILVIA BURROWS

Dystopian Metamorphosis. Introvert personality.
I imagine in the future we will highly rely on our clothing, not just as layers of clothing but as a protective and functioning tool for communication. I imagine that our clothing will be a huge
part of survival and that we will communicate through our clothing, for instance they could be responsive fabrics that are either visually intriguing and therefore have a hidden meaning
behind it or could send signals via touching it and being tactile, glow or reflect the light back so the wearer is to be seen. I have taken my inspiration from animals whom are able to shape
change, colour change or camouflage as a defence mechanish or to stand out. I brought my concept and context together by creating a futuristic fashion collection based on visual
communication inspired by personality types. The extrovert collection is inspired by sea creatures and birds of paradise, animals whom have the ability to draw attention by shape changing,
colour changing or have special rituals of announcing their presence. Therefore this collection is focusing on bright colours, organic and free-flowing shapes with transparent elements. The
introvert collection is giving the impression that the wearer want to be left alone and therefore create busy, dangerous looking, structured and regimented fabrics with a darker colour
palette.
TEXTILE ARTS
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SZILVIA BURROWS

TEXTILE ARTS
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TERESA STURNFIELD

I begin with a basic framework and continue to design as I
bead. I created "Keep Breathing" intuitively. I used off-loom
bead weaving techniques and embroidery stitches.
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TERESA STURNFIELD

TEXTILE ARTS
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WAJIHA AKHTAR

The Belly Monsters
Wajiha Akhtar’s ‘The Belly Monsters’, project originally inspired by Pica Disorder. This is a rare condition where people ingest substances that are non edible. Pica is a serious problem
that can cause harm to the body. However, Wajiha is responding by raising awareness of this serious condition by taking humours approach.
She developed the ‘The Belly Monster’ project by first creating a fiction comic story about a boy who ate the London City including the buildings and humans. The things he ate
turned into monstrous characters who built a city in the boy’s belly. These character draw on real life personalities and celebrities, who occupy a complex fictional social hierarchy. As
the monsters are being from different tribes the project is also about celebrating diversity and differences.
The collection resembles gothic rave, as the colour pallet mainly consists of dark colours with neon yellow, she also adds primary colours to keep it dynamic.
From the comic book Wajiha has created hand made broaches of the characters. The collection comprises of hundreds of beads and sequins sewn together with traditional cording
techniques that usually used for gold work and Wajiha’s signature slimy looking beads..
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WAJIHA AKHTAR

TEXTILE ARTS
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ZEBA SAFDAR

My concept is about exploring the future possibilities of embroidery, creating new highly tactile textures pieces which celebrate the use of both
traditional embroidery but also push the norms by using usual material such as silicone as a method of embelishment. Hand embellishment
with beads/sequins as well as metal strip embroidery, combined with embellishment using silicone bonded to fabric
TEXTILE ARTS
STUDENT CATEGORY
ZEBA SAFDAR

HAND & LOCK
PRIZE FOR EMBROIDERY 2017