textiles

Hawthorne & Heaney Explores London Craft Week

October 13, 2021 by Intern

Last week was full of London Craft Week events, workshops and open houses. A few of which we had the delight to attend including an open house and embroidery demonstration at Erdem, an exhibition of embroidery artist Rosalind Wyatt’s work and a talk and demonstration by the Heritage Craft Association on the red list of endangered crafts.

We also have enjoyed participating ourselves with twice daily live stitching on display in The Service on Savile Row – thank you to everyone who came to see us!

TOAST & Rosalind Wyatt

We started the week with a trip to lifestyle brand TOAST’s London store where they were running a series of workshops and an exhibition of Textile Artist Rosalind Wyatt’s work titled ‘Stories through Stitches’

Rosalind Wyatt is a mixed-media and embroidery artist, most recognised for her embroidered letters and calligraphy. Some of these beautiful pieces were on show in store!

She considers handwriting a significant part of culture and people’s lives. Where calligraphy and cloth meet in her work signifies the emotion held in the textiles, emotions found in handwritten letters

She writes with her needle onto garments people have worn, encapsulating their emotions into their clothes.

TOAST was also running a live workshop where participants leant the art of mixed-media textiles. The workshop aimed to promote a more thoughtful way of life, sustaining traditional textiles techniques and craftsmanship.

Erdem Open House and Demonstration

We were then lucky enough to attend Erdem’s open house to see some of their embroidery in process.

The demonstration featured a neckline for one of their dresses, being embellished in large crystals and beads on a frame, the dress itself was also on display in store to allow viewers to see the final outcome.

Erdem is a womenswear brand, based out of central London. Their collections are often finished with hand and machine embroidery – it was wonderful to see some of these samples too which were on show alongside the demonstration.

Heritage Crafts Association Endangered Crafts

To end our London Craft Week adventures, we finally had the pleasure of attending the Heritage Crafts Association event held at Fortnum and Mason. Fortnum and Mason are known for their long-associated traditions with craft and quality – the perfect venue to hold this event!

Exhibiting their work was ‘Paula Carnell’ a Bee Skep Maker, ‘Coates English Willow’ who are a company of Basketwork Furniture Makers and ‘Ernest Wright’ who is a traditional Scissor Maker. These crafts are all at risk with Scissor Making and Basketwork Furniture Making being Critically Endangered.

Basketwork Furniture making is a recognisable craft, however is critically endangered as only one company which supports the craft is left. P.H Coate & Son was founded in 1819, and although the business has a new apprentice this wonderful craft is at risk!

The straw baskets used in Beekeeping, known as Bee Skeps are beautiful objects in and of themselves. The straw is twisted and bound in a continuous coil of lipwork with lapping (lapping can be made from bramble, willow and hazel). Whilst highly practical the craft started to wane after the First World War as Skep making is a highly time-consuming craft compared to its value.

The final endangered craft on display was scissor making. One of the last remaining companies to produce this craft is Ernest Wright. The scissors are very high quality and long lasting – a durable crafted item.

We hope you have enjoyed London Craft Week as much as we have, thank you to all of the wonderful events that we attended!

More information about endangered crafts can be found on Heritage Crafts Association’s website

https://heritagecrafts.org.uk/redlist/

Words by and Images: Rosie Watkins

Sneaker Unboxed – Studio to Street

July 16, 2021 by Intern

This exhibition showcased how the sneakers you choose can relate to a particular sport, music genre or subculture. Fast paced production leads to us and the brands themselves dismissing the history of where it all started. The motivation for the exhibition was the innovative attitude and products within the sneaker industry being developed today.

Stock X funded the Sneaker Unboxed exhibition, the brand is a live marketplace for people selling their sneakers online, along with other designer products. The data that they have collected throughout their five year history, has allowed us to see patterns and behaviours of consumers within the sneaker industry.

Sneaker market value has increased by double since 2012 from $40,000 to $80,000 and is expected to reach $100,000 by 2025. An astonishing 1,282 million shoes were sold worldwide in 2019.

Where it all began, Converse All Star sneakers being the oldest shoes at the exhibition, taking us back to 1920. Charles ‘Chuck’ Taylor brought out his first pair in 1917, marketed towards basketball coaches to influence their players. Converse All Stars were the Olympic shoe for 30 years, due to their effective sponge rubber insoles and moulded outer sole, which benefited athletes as the signature diamond tread avoided them slipping on smooth wooden floors. The Converse All Stars were extremely popular until the late 60’s, and then the sneaker industry began to grow.

Customising sneakers was something that was at the forefront of the exhibition. As the 1970’s began young people from diverse inner-city neighbourhoods started to wear sport sneakers as a fashion statement. However brands were unaware of this, therefore still promoting them as sports shoes. Brands saw the new craze and marketed their sneakers to younger people, towards the 90’s started collaborations with fashion brands.

Within the 1970’s, people were having economical issues, yet they still wanted ‘fresh creps’. Therefore they would buy the well promoted sports sneaker, and interchange accessories, such as different width or coloured laces. To match outfits or just to make a statement. People were thriving off the compliment they were getting about their sneakers.

Adicolour kits were available to buy in 1983, which were a set of coloured marker pens. Later in 2005, the kits were reissued with oil paints.

Another sneaker trend began in the 1980’s revolving around Adidas, Run-DMC were a big hip-hop group and they were the first non-sport stars to promote a sports brand. The iconic unlaced Adidas Superstars with the tongue pushed out took New York by storm. Originating from one of the band members being jailed, as the typical prison procedure his laces were removed from his shoes, however when being released he did not replenish the laces and the trend grew from there. Increasing Adidas’ sales, as they had plummeted in the 1970’s.

It was interesting to see which trainers fitted with each subculture and the journey they had taken.

In 1984 Jordan’s were established, a collaboration with Micheal Jordan and Nike. Nike created the shoe particularly for Micheal Jordan, this was the first collaboration of a brand and a singular sports individual, resulting in success and thirty five sneaker models being released to date.

Skateboarders did not really have much choice for shoes, therefore wore basketball shoes to support their ankles while skating. There was suddenly a change in the sneaker market as Van’s rebranded themselves with their famous logo today ‘Off The Wall’, in 1976, they took off in the skating subculture, for their sturdy structure and style. Nike Air Jordans were created as a result of Van’s success, and were very popular within the skateboarding culture.

Casual wearing of sneakers was adopted by football fans in the late 1970’s in Liverpool and Manchester, the subculture the ‘Casuals’ showed their rivalry by their sneaker, your choice showed which football team you supported.

At the beginning of the exhibition it explained that sneakers are constructed by different sections of the sneaker being created in different factories world wide, and then being shipped to one place to be constructed. Therefore adding to the industry’s carbon footprint. As the exhibition unfolded it showed new sustainable methods of making shoes that brands are now considering as well as producing for the market.

There were some great examples of how the sneaker industry is developing, for example Adidas have made their classic Stan Smith’s out of Mylo mushroom leather, looking and feeling like animal leather however totally harmless on the environment.

There was also Stella McCartney Loop Sneakers produced in 2018, which was a new concept of how sneakers are attached together. Instead of using toxic glue, adding to our carbon footprint, McCartney uses interlocking clips and stitch techniques instead. Another issue within sustainability was that each part of the shoe takes different times to degrade. With this shoe the parts can be removed from each other easily, therefore making it easier to recycle or be reused.

To conclude the exhibition was an interesting journey, it was a great way to see how shoes have evolved over the years and how they are going to keep adapting in the future when adapting with a sustainable attitude.

The Sneakers Unboxed Exhibition is on at the Design Museum: Now until the 24th October 2021, tickets are £14.00, some concessions available- see the website for full details and booking.

Words by Victoria Jones

Hawthorne and Heaney Explores the Online V&A Museum Exhibition – Schiaparelli and Surrealism

February 17, 2021 by Intern

With London being placed into tier 4 and the closure of all things deemed as non-essential, I decided to explore some of the virtual exhibitions available online and came across the Schiaparelli and Surrealism collection displayed at the Victoria and Albert Museum.

Elsa Schiaparelli was an Italian fashion designer who challenged the concepts of dressing, playing with silhouettes and traditional tailoring. She was heavily influenced by the Surrealism movement and the Surrealist artists of the time such as Salvador Dali, Jean Cocteau, Man Ray and Bebe Barnard.

Surrealism is an avant-garde movement introduced in the 20th century that was heavily influenced out of the Dada movement. Its focus was to release the imagination of our unconscious mind, by juxtaposing images and ideas. With the freedom of the movement and the collaboration with artists and photographers, she stretched her creative boundaries, creating unique fashion statements.

Evening Coat- 1937 Elsa Schiaparelli and Jean Cocteau

This dark blue silk jersey evening coat was a collaboration with Jean Cocteau, who drew the facial features positioned on the centre back of the coat. Cocteau was obsessed with the effect of double imagery, as did many of the other surrealist artists. Looking closely at the artwork on the back at a first glance, you wouldn’t spot the vase shape containing pretty pink gradient ribbon roses. Instead, the focus would be on the facial forms. The beautiful gold embroidery detailing helps to distinguish both of the shapes as well as adding the glamour and luxury to the tailored coat.

Tear Dress – 1938 Elsa Schiaparelli

I’m sure you will find this dress stunning and intriguing too with the use of colour and print replicating rips and tears to mimic torn flesh. An idea that appeared on women in Dali’s paintings. The veil has the same effect also, however, includes an appliqued fuchsia chiffon underneath the cream fabric. A good contrast to the abstract print. It makes the viewer look into the work and use their imagination to understand the reasoning behind the idea and the design.

Skeletal Dress- 1938 Elsa Schiaparelli and Salvador Dali

Skeleton dress was the most significant garment creation in the collection made with black crêpe sheath and a raised skeletal form using the trupunto technique. The technique involves adding wadding into the back of the fabric after stitching a shape, forming a raised platform on top of the surface. Adding in hooks to link the bones together such as the leg connecting to the pelvis, added a style included in jewellery. The design itself, was sketched by Dali.

Velvet High Heel Hat 1937-38 Elsa Schiaparelli and Salvador Dali

One of my favourite pieces of this collection, was the velvet high heel hat, part of the Autumn/Winter 1937-1938 collection. I liked the way the hat has been thoughtfully positioned on top of the head with the bottom of the shoe face upwards. The idea came from a photo of Salvador Dali with a shoe belonging to his wife, placed on his shoulder. This influenced other ideas to come, placing unusual found objects on the head in three-dimensional structures. One of her other hat creations consisted of a lamb chop meticulously placed above the head to match the design featured on the summer jacket of 1938.

It has been a great way to view and revisit some of the fantastic artwork available online. Google Arts and culture have a vast selection of exhibits that are free and not just from the UK, but also some located all around the world. Worth checking it out.

Words written Jessica Westley

Photo’s sourced from Google Arts and Culture- V&A online exhibition

(This was written before the national lockdown)

Hawthorne & Heaney Visits The House of Bandits Exhibition

October 30, 2020 by Intern

On the 16th of October I got the opportunity to visit the House of Bandits exhibition, which is based at Rembrandt House in London, just down the road from Savile Row. This exhibition is part of the Sarabande foundation created by the late Alexander McQueen to support the new and upcoming visionary talent of today. Offering both studio space and scholarships the foundation has helped many inspiring artists to date.

One of the artists in particular who I went to go see was Esna Su. She creates handcrafted pieces which explore ‘the subtle issues of identity and memory and how these are shaken in the context of political instability’. Within her work she uses the traditional Turkish techniques of weaving, twinning and crochet. As a fellow weaver myself I can understand the complexity and detail that goes into her woven pieces.

Below you can see the process that Esna Su goes through to create some of her final creations. When it comes to knitting, Su uses strips of vegetable leather and knits them together. She lets the designs take shape in their own way as once the leather is dry the organic shapes are exposed. In her own words ‘’through irregular and hollow shapes, she exposes the burden of displacement but also sketches an aspiration towards protection and preservation’’.

“It’s a big part of my life being at Sarabande and I’ll always remember my time with a big smile. I would never have been brave enough to do this without the support of Sarabande.”

Along with Esna Su’s work was another Turkish artist called Berke Yazicioglu who showcased his woven wall hanging which had a particular inspirational point of view. The following designs shown below are woven representations of Igor Stravinsky Rite of Spring. Listening to this piece he used the sound colour theory by different sounds, notes and instruments meaning different textile aspects. For example, the beat inspired the framework, the instruments represent a specific colour and the notes equal to a certain colour tone.

This exhibition is free. And for specific artists you can buy tickets. This is a great exhibition to help support fellow designs and is one to check out.

Words and Images by Isabelle Humm

Hawthorne & Heaney Presents Graduating Class of 2020

July 22, 2020 by Natasha Searls-Punter

This year thus far, it can definitely be said to have been an unusual one at the least but some things must remain and the show go on. This year’s textile graduates may not have had their usual physical showcase of their works but they have worked very hard and will be graduating none the less.

We at Hawthorne and Heaney are very proud to have these young people choose to spend some of their industry experience time with us, and after working with them in the studio for some months it is wonderful to see how their work has grown and progressed since we saw it last. Therefore it is out pleasure to bring you this year’s graduates from the Hawthorne and Heaney intern community:

Kiah Nicole Fisher– Loughborough University- Textiles: Innovation and Design

Luminescence: ”This project is based on the scientific theory of the existence of other dimensional/parallel universes and visualising the journey one might take to enter another dimension. Parallel universes have been a scientific theory studied by many physicists and mathematicians throughout the centuries, including Plato who’s Cave allegory seems to imply that our three dimensional world is but a projection of an even higher dimensional reality. I was initially inspired by the story of Alice in Wonderland, when Alice falls into the rabbit hole. Mathematician and writer Lewis Carroll was able to visualise the idea of connecting multiple universes through the possibility of wormholes within this children’s book.

Taking inspiration from science fiction movies and series that attempted to visualise inter-dimensional travel through hyperspace with flashing lights, such as 2001: A Space Odyssey, I mainly used photography to create original imagery that attempted to capture light in different states such as refraction, emission, and much more.

With this imagery, I was able to create a print design collection for a menswear/unisex utilitarian style collection. This collection would be an accessible fashion collection for those inner nerds who have a love for science fiction but don’t necessarily want to indulge in the fantasy of costume. This collection allows people to express their passion for science fiction, while making it fashionable and wearable.”

Laura Hill– Loughborough University- Textiles: Innovation and Design

Conscious Coastlines: ”Uses organic cotton, organic linen, recycled fibres, and yarn leftover from previous projects that would otherwise go to waste.
All synthetic dyes used contain no animal ingredients and were chosen based on their minimal levels of toxicity to the environment.

My final major project explores the creation of a “conscious” collection of textiles for the everyday interior environment and the everyday consumer. The theme is inspired by the natural beauty of all elements British coastlines. In the context of the project, “conscious” means that no animal products have been used in any stage of production, and so it can be regarded as a vegan collection. “Conscious” also refers to the choices to use more sustainable fibres and less toxic dyes.

Within my work I am a fast learner, observant, and methodical in my process. My strengths include a good understanding and use of colour, and the way in which I successfully translate a design from drawing to fabric. In my future career I aim to promote cruelty-free and sustainable practises within the textiles industry, and hope to work for a company whose values on these topics align with my own.”

Fading Waves

Amy Pickard– Huddersfield University- Costume with Textiles

”This year, I chose the construction with textiles pathway, specialising in embroidery. For my Final Major Project, I selected ‘Awakened’, a modern-day YA vampyre novel by P.C. & Kristin Cast. I’ve created the costume for Queen Sgiach, a powerful feminist and Scottish vampyre Warrior, who resides on the Isle of Skye. This directly inspired the colours, textures and motifs in her portrayal. Creating for a simulcast theatre performance allowed for detailed textiles, goldwork and beading, alongside bold digital embroidery to be explored throughout the project. Sustainability has been the key ethos surrounding my project/ practice this year. I sourced second-hand fabrics and accessories, used surplus or handmade embellishments, e.g. homemade sequins, and minimised waste when creating my costume and textiles collection. Similarly, I used only viscose instead of traditional polyester threads. For these, Madeira UK granted me a student sponsorship. Through this project, I have progressed my passion for embroidery and construction, predominantly corsetry. I also explored my interests with the following companies through a placement year: Oxfam Online Shop; The Alhambra Theatre; Hawthorne and Heaney; Hand & Lock. Additionally, I started my own business to fund my London placements; I am developing this further after graduation.”

Jessica Strain– Loughborough University- Textiles: Innovation and Design

Nature Reclaiming Spaces: ”Jessica’s graduate collection Nature Reclaiming Spaces, focuses on fusing the best of what modern machinery has to offer with specialist hand led embroidery and lacemaking techniques. Passion for manual processes can be seen throughout Jessica’s work; double exposure film photography, shuttle tatting and limerick lace were driving processes for this project.

Sustainability is at the heart of Jessica’s design process; she experimented with natural dyeing at home and spent hundreds of hours embroidering her pieces by hand. This intensive and considered approach to design is something she will take forward in her career. She aspires to continue creating work in a studio environment, honing her embroidery skills through future projects.”

Hawthorne & Heaney Presents Graduating Class of 2020 London Hand Embroidery

Abigail Tominey- Smith – Nottingham Trent University- Textiles

The Feel Good Feminine: ”Bringing together beautiful feminine florals and powerful text to represent strong women of the 21st century. Powerful words to showcase powerful women, to contrast with, and highlight their femininity. Created to inspire positive well-being and to improve the mental health of women through promotion of empowering words. Adding an additional level of meaning and a personal aspect to each design, producing a garment with emotional durability. Designing a luxurious and individual collection for a high-end bespoke womenswear market, personalised with text. Incorporating a calm and delicate colour palette on a range of sophisticated fabrics with mix of digital and hand embellished elements.”

I’m sure that has left you feeling quite inspired by these designers, we can’t wait to see what comes next for them as they embark on their careers.

Hawthorne & Heaney for Jessica Strain

June 12, 2020 by Natasha Searls-Punter

Work In Progress back in April 2020 (design by Jessica Strain, Image from H&H)

Some good news to share with you! During the lockdown period we were presented with the opportunity to spread some positivity and sponsor one of our freelance embroiderers with their graduate collection. Like many people when Covid lockdown began, Jessica Strain was stopped in her tracks from following through with her many months of planning when it came to producing her BA textiles Textiles graduate collection.

Work In Progress back in April 2020 (design by Jessica Strain, Image from H&H)

As a former intern of ours, she approached us to see if we could help with access to the machinery she could no longer use in the workrooms at uni. And so our sponsorship of Jessica’s collection began, making the small missing step in her production chain by realising her designs onto the final pieces. It was also wonderful for us to see her utilise some of the hand embroidery skills she learned during her time with us and weave them into her collection; such as tambour beading and limerick lace.

Hand Embroidered Limerick Lace by Jessica Strain

That collection, ‘Nature Reclaiming Spaces’ is now out as she has finished her course and the results are just beautiful. Have a read of the press release below for a flavour of the themes she explores through her textile collection. However, the images, as I’m sure you will agree, speak for themselves.

Work In Progress, Machine Embroidery (design by Jessica Strain, Image from H&H)

Work In Progress, Machine and Hand Embroidery (by Jessica Strain)

Jessica Strain has created an embroidery collection exploring how mother nature infiltrates all things man-made, whether that’s rust on a metal post or weeds growing through cracks of buildings, beauty can be found in the ordinary.

Combining traditional embroidery techniques with contemporary machine-led processes is at the heart of Jessica’s practice. Jessica began her collection by taking a roll of manually double-exposed film photographs on a 35mm camera. To develop her love of hand-led processes, it was only natural for Jessica to employ embroidery techniques such as tambour beading, limerick lace and shuttle tatting (a form of lacemaking) within the collection.

Sustainability is integral to Jessica’s design process; embroidery techniques lend themselves well to sustainable textiles as they are hard wearing and designed to last. Natural dyeing made up the majority of colour within Jessica’s collection; dyeing organic fabrics with onion skins, nettles and an indigo vat from home during the COVID lockdown. Jessica hand-dyed her digitally embroidered kimono in an indigo vat, each piece requiring 15 X 2-minute dips with additional rinsing between dips. Constituting of 13 pattern pieces, it’s evident how devoted Jessica is to her practice.

Machine Embroidered Kimono By Jessica Strain

Once the textiles side of her collection was complete, she brought the project around to its fruition, moulding them into these stunning garments.

Hand Embroidered Limerick Lace Skirt By Jessica Strain

Tambour Beading By Jessica Strain

Finishing off by taking those garments back into their natural habitat with this look book photoshoot, we are delighted that Jessica’s collection has come together so well and know that this is only the first step in wonderful things to come for this textiles designer.

Thanks for sharing these images with us, all image credits unless otherwise stated are courtesy of Jessica Strain. To see more of her work find Jessica on instagram or her website .

Hawthorne & Heaney visits Kimono: Kyoto to Catwalk

March 24, 2020 by Natasha Searls-Punter

As a member of the V&A, I try to visit most of the temporary exhibitions they put on in the fine institution that is the Victoria and Albert Museum. At the start of March, they opened their doors on their newest addition ‘Kimono:Kyoto to Catwalk‘.

Held in North Court of the building, this exhibition brings a little Asian influence to their corner of the world. The Kimono is a fascinating piece of social history, carrying so much culture and responsibility within its relatively simple folds.

Kosode: From Edo period demonstrating Yuzen dyeing (Cloth tube fitted with a metal tip used to apply a thin ribbon of rice paste, then dyes are brushed within the paste boundaries) 1730-70

I won’t go into all the history as you should be able to make your own discovery of the exhibition and enjoy it fresh yourself, but I will show you a few of my highlights which may stir your interest. For an embroiderer or anyone interested in textiles, the exhibition is full of wonderful examples of hand embroidery and lesser known textile techniques. They draw a lot of attention to them, which was something I had not necessarily expected of the exhibition but was delighted to realise. As the basic form of a kimono is very clean and unfussy, once the structure of the garment has been addressed and the pattern explained there is not very much more to say about the shape. It is the varying and evolving elements of the details displayed on them which holds all the intrigue. Even though this is a fashion exhibition it is the textiles that does the lion’s share of the talking.

Design for a Kimono 1800-50

The historical examples at the start of the exhibition were very strong, the pattern books were a surprise but of course it makes great sense to sell such a garment in this way, with patterns being chosen and customised from a book rather than remade examples. The women of the elite military class could have designs made specifically for them, particularly for special occasions.

Detail from Kimono of a Geisha- a very elaborate example demonstrating the parallels between fashion and the theatre in 18th Century Japan

On the embroidery front, there are many great examples of goldwork and silk floss/ silk shading styles throughout the exhibition. The lion above is quite an extravagant example, taken from the back of the kimono shown in the first image of this blog. Amazingly, the lion is only a very small part of the work on that kimono probably only measuring about 20-25cm high and isn’t even the main centre back motif. However I’m sure you will agree it is an exquisite use of Japanese thread (cotton core wrapped with gold leaf paper).

There are also a few pieces that feature a dying technique called Shibori which you may have heard of. It’s use is using much larger scale and bolder than the examples on the kimonos where it is used to create very small and delicate designs, creating a much more subtle and quietly expensive impression. The technique is quite labour intensive as it require parts of the fabric to be tied off very tightly before dying so they are left in negative as can be seen in the white squares pattern.

Uchikate- Outer Kimono for a young woman featuring Shibori and embroidery 1800-50

When Japan opened up its began trading with western countries such as Holland and Portugal, we can start to see the cultures influences each other, as Japanese kimono makers start to make kimonos from cottons South-east Asia and foreigners eager for everything Japanese started to use Japanese fabrics for their own pieces.

Day Dress: Misses Turner 1876-8

Japanese influenced robe, Victorian Era

Towards the end of the exhibition they turn the attention to more modern applications and influences of the Kimono. This includes pieces from modern fashion houses such as Dior, Commes De Garçons and Alexander Mcqueen. This room brings the exhibition full circle, they also demonstrate the cyclical nature of fashion as you can pick out the elements of kimonos that have influenced that ‘new’ piece.

‘High Voltage Power-Lines’ Yamawaki Toshiko 1956

Evening Dress: also by Yamawaki Toshiko (1956) featuring Obi like bow and scrolling asymmetric designTextile details, couched goldwork and red embroidery imitating kanoko shibori

While this last room holds many beautiful pieces, the real gems of this exhibition are the historical pieces. Many people will be familiar with what a Kimono is on sight from walking through the Asia exhibits, but this exhibition delves so far into this garment and unpicks the elements of it. The V & A puts on lots of great fashion exhibitions and in London we are spoilt that we have fashion specific exhibitions at all. But as this one puts so much detail into the textiles and processes, it has something special to offer in my opinion.

Hawthorne & Heaney visits McQueen’s Old Bond Street Show Space

February 6, 2020 by Natasha Searls-Punter

London is very lucky to be able to offer a wealth of great free exhibitions and museums on many subjects. This open to all attitude really helps to keep feeding the minds of our designers and innovaters that one can go out and have your eyes opened to all sorts of information. One such jem that might be a little lesser known is the top floor of the flagship Alexander McQueen store on Old Bond Street.

They have started to use the stop floor as more of an exhibition type space, sharing insights from the vast archives that the house of McQueen holds. At the moment, the space is dedicated to roses, curated by the Creative Director Sarah Burton.

What we found really special about this space, as an embroiderer in particular is that you can get right up close to the pieces to see the details often lost in show and large scale exhibitions. Something that we found even with very well done exhibitions like Savage Beauty. In addition to this they are sharing a lot of the background research and technical craftsmanship that goes into making a collection and show with this kind of dramatic results. There are development moodboards, fitting notes, embroidery placements onto pattern pieces and draping directed onto the model. There is also a viewing booth with footage from the shows to fully round out the experience and see it in the final context for which it was intended to be consumed.

If you find yourself in the area, it’s definately worth a trip it to see some beautiful things and get some of the background scoop on how these things all come together. The notes and quotes from behind the scenes really give you a sense of being emersed into their world. We are already looking forward