Intern

The Past and Present of Korean Embroidery- Sookmyung Women’s University Museum

August 6, 2021 by Intern

This online exhibition has allowed us to have an insight into the past of Korea’s embroidery. Allowing us to understand the transformation it has made throughout time, and see the stunning collection provided by Sookmyung Women’s University Museum to give us visual aid to appreciate the beautiful, intricate work. The exhibition takes us on a journey of traditional embroidery, incorporating traditional symbols, colours, designs and elegant details. Allows us to understand the divide in the Joseon period, of the rich and less fortunate just through the difference in embroidery. Resulting in an end point of modern and contemporary embroidery, and how Western culture has impacted this development.

Due to the Covid 19 pandemic, online exhibitions have become very popular, and this is allowing other cultures to be shared at such speed and ease. Allowing us to understand other people’s cultures and be enlightened by their traditions and norms. Online exhibitions are an amazing way to share information easily, however there could be a dispute about the experience of an in-person exhibition and the pictures shown within an online exhibition. You cannot physically see the intricate work, however at exhibitions it is rare you can get a real close look due to space restrictions, to preserve the work as much as possible. Therefore as long as the pictures of the work are high resolution it is a brilliant way to showcase the exhibition. Also, embroidery is so intricate and detailed it is a beneficial way to view the work.

Traditional Embroidery: Hyungbae-

Starting off with the traditional embroidery theexhibition shows us Hyunbae which is also known as an Insignia, this is when a larger piece of embroidery is situated on the chest or back panels of clothing. This allows other people to be aware of the person’s hierarchy. For example, Civil officers usually have a bird on their design and a military officer is designated a four-legged animal. Like the two pictures shown here. This became an established way to categorise individuals after the reign of King Yeongjo. This has now developed to form a part of Korea’s national identity. All these were created in the Joseon period, which was five centuries long.

This is a beautiful example of the crane, as it shows the couched golden thread and amazing detail that has gone into these exquisite pieces. With small details of red seed stitch.

Husu-

Traditional Korean embroidery was usually worn at high class events, such as this piece below. The Husu official robe is a piece of material that is worn from the waist down, and incorporates many different designs, within the Korean culture they have different symbols to represent different things. It was a way of expressing themselves in such a controlling period of authority. The more saturated the colours, a better representation of money.

Some designs like the golden crane became a very popular design throughout history later on, however, to begin with it was just for the highest-ranking individuals. It was one of the most popular designs to filter through to the Western Culture influence. This is a beautiful example of the crane embroidered onto a Husu, using the direction of stitch to show the detail in the feathers and a stunning combination of stitch techniques.

Court embroidery (Gungsu)-

Within the royal court, there is the extended royal household, and embroidery was used as a pass time. Subang was their embroidery department and specialised in the production of their high-class embroidery. In the mid to late Joseon period, dragons were heavily used as authoritarian symbols. This is an example of one of the pieces made, a woman’s court robe.

Gifts of embroidery were extremely popular in the royal court, the wedding of Queen Sunwon, an embroidered chest was gifted to her, incorporating ten traditional signals, which are also known as symbols of longevity. These symbols incorporated lotus flowers and mandarin duck designs, wishing the new married couple happiness and to bear many children.

Practical Embroidery-

This type of embroidery was created by the general public, calling this embroidery Minsu. Making it easy to differentiate between Gungsu and the royal court embroidery. The women use to create designs for their husband and children, incorporating symbols which would hopefully make their dreams and desires come true. A lot of the designs incorporated the ten symbols of longevity. These designs were put on many different objects, like the pillow cases above, using silk shading to create the wonderful ombre effect in the delicate flowers. During the time of the mid-Joseon the rules were extremely restricting therefore embroidery was a type of escape, and the only free way to express themselves through design and colour.

Baby’s Embroidered Hat-

There are alot of hidden symbols in traditional Korean embroidery. This design I thought was wonderful, vibrant, full of life and intricate. As well as a good example of practical embroidery.

The meaning behind this design was that a lotus flower can grow in mud and dirt but always remain clean, therefore as a child grows do not let the outside world affect or influence you in a negative way.

Here are some more examples below, buttons, chopstick holders and glasses cases.

Embroidered Folded Screens-

These folding screens were multipurpose. They were used to block wind, conceal spaces and used for decorative reasons. The embroidery on them made them look more luxurious, using the ten traditional symbols of longevity, birds and flowers, symbols of life and fortune. These were normally used by the upper-class families, or gifted to the upper-class families or the royal court. The traditional gold thread on black woven silk symbolises noble dignity. Like the example above.

One example was created by a group of males, from Anju, they embroidered a folding screen, which was in celebration of the King at the time. Which is the picture above. The picture below are some close up images of the folding screen, of parts I thought were particularly beautiful. As time progressed in 1945 upper class women across the globe had these decorative folding screens for changing and concealing themselves.

Modern and Contemporary Embroidery-

The period of enlightenment really impacted many areas of the world including the western influence, changing traditional embroidery. Education was at a turning point, girls’ schools were becoming more common, and embroidery was a skill that was being taught throughout many institutions. A particular girl’s school was established in 1938, Sookmyung Women’s School as well as the Department of Handicrafts to provide an embroidery education. This enabled skills that had been passed through families, and new skills learnt in the schools to merge and create new and exciting outcomes.

This piece of work embroidery with Landscapes created by Yu Han-gyeong in the 1940s. It shows how the Western culture influenced traditional embroidery, because there is an element of dye in this piece. Which would never have been traditionally used. Then added detail with the embroidered trees and house.

This was designed by activist Nam Gung-eok.

It takes the shape of the Korean peninsula through the branches and the roses. The thirteen roses represent the thirteen
provinces of Joseon. On this map embroidered on hemp cloth, there is a text that reads, “In commemoration of the liberation of Joseon.”

I also feel like the picture below is a good way to end this blog as it is a modern day version of the symbols of longevity! Korea has been on an amazing journey with its embroidery, and I hope you can appreciate it through this blog.

Thank you to Sookmyung Women’s University Museum for providing the gorgeous embroidery.

Words By Victoria Jones

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 studies virtual tour of Rei Kawakubo’s collection: Collecting Commes

May 13, 2021 by Intern

A global Pandemic would have thought to close a lot of opportunities to explore and continue with normal livelihood, however one could say it has opened a lot of opportunities for us to stay in touch with radical discoveries more through virtual experiences. The NGV exhibition, “Collecting Comme” features Rei Kawakubo’s contemporary fashion collection.

Cloak from the Blood & Roses collection, 2014 by Rei Kawakubo’s

Rei Kawakubo’s, features 65 garments from over 40 collections, she wanted to make clothes that didn’t exist before. Not only in her fashion, it’s the way clothes are made to reinvent a new style. She overturns conventional ideas of existing fashions and beauty, through this she disrupts normalized characteristics of the fashionable body.

Takamasa Takahashi, a Japanese fan of Rei’s work who collected her work since the 1970s, and put together most of the Collecting Comes, he was purchasing clothes for himself even though the garments were from a women’s collection he felt they could define his character. He would buy a pair of wide, quilted cotton pants, to him the collection held a baggy and genderless style. This notion of breaking typical rules of fashion entices many who seek to find their own fashion which is not the normalised feminine or masculine shapes and colour used in present fashion as we know today.

Installation view of Collecting Comes, 2020 by Rei Kawakubo’s

Transcending Gender collection, 1995 by Rei Kawakubo’s

However, in this exhibition Rei’s work upheld a higher strain on women’s wear, as we can see from this exhibition, the shapes are still androgynous, however the fabrics, colours and the garment making still holds very feminine features, making folds into a flower shape or using bold colours like vibrant reds although, they still hold neutral colour scheme and feature masculine shapes of blazers. Leaving a controversial question when looking at her clothes as you are not left with a certain idea of who will be wearing them.

Collecting Comes, 2020

One of my favourite from Rei’s collection is this plaid poncho garment, although this could be mistaken as skirt used as a scarf. This notion of using ‘deconstructed’ clothing form reinforces the contravention of a new reinvented way of making clothes. Rei is always overlooking normalized fashion and makes it her own with undefining meaning. The purpose through her fashion proposals, reframes predetermined concepts of attraction and rearticulating a new connection between body and dress.

Rei Kawakubo’s collection is very exciting and fresh, the geometric shapes and symmetry used disrupts usual characteristics of typical fashions of the body. Breaking the rules of gender fashion Rei Kawakubo’s collection leaves us refreshed with a new approach to fashion, given though the convenience of the virtual tours.

Words written Mohini Patel

Photo’s sourced from collecting comes ngv online exhibition https://www.ngv.vic.gov.au/exhibition/collecting-comme/

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 and Heaney explore the online Vivienne Westwood: Politics and Fashion exhibition

January 21, 2021 by Intern

With the new National Lockdown measures put into place with the message to stay at home, it has given the perfect opportunity to search for art exhibitions online, exploring work displayed all over the world by various designers. I came across Vivienne Westwood: Politics and Fashion online exhibition by the British Fashion Council.

Vivienne Westwood is one of the most recognised women in fashion, known for her positive activism approach to her collections, displaying issues and disasters happening in the world today. She started designing in 1971 with her partner at the time, Malcolm McLaren in their shop located on the Kings Road, London. It became one of the most desired shops of the time, defining the street culture of Punk and Seditionaries. With the change of fashion over time, Westwood decided to turn to traditional Savile Row tailoring techniques, introducing her own flair and style to garments.

Vivienne Westwood climate change protest outside London Fashion Week

Westwood has spent years speaking out about climate change and the overconsumption of resources that are damaging the planet we live on. She supports charities such as Cool Earth and the environmental Justice Foundation. Her 2016 Spring/ Summer Collection ‘Mirror the World’ campaigned climate change well, using the challenges faced in modern-day Venice and using it as a mirror to show the world what we are all causing.

‘Mirror the World’ Spring/Summer 2016 Collection by Vivienne Westwood

The collection exploited the problems in Venice which include the lack of repair, mass tourism, cruise ships and overall climate change. With Venice being an ‘emporium of culture,’ Westwood used this with the reference to carnivals in a way that people dress and disguise themselves from their own identity and the life they may lead, linking back to the primitive era. Similarly, we are hiding away and masking the negative problems that affect the world.

‘Mirror the World’ Spring/Summer 2016 Collection by Vivienne Westwood

Watching the collection catwalk there were constant links made to nature and the environment in the choice of fabrics, clashing prints and slogans. There were some very interesting material choices used to create structure, shapes giving tailored looks which some may find risky to wear. Some of the pieces had added accessories which looked like they were sourced from emporiums and vintage stores. They were reformed to add bling and express the idea that old things can be reused to make something new. The hair and make-up complemented the looks well, both being conceptual and emphasising cracked or broken mirrors, expressing and exposing the ever-growing damage.

‘Mirror the World’ Spring/Summer 2016 Collection by Vivienne Westwood

Looking through this exhibit, it has opened my eyes to the destruction we all contributing to climate change. It’s interesting to see how Vivienne Westwood portrays these issues and the way she feels so well through her garment structures, fabric choices and accessories. It is extremely important at this moment in time to consider how we can do our bit to slow down damage to our planet, whether that be recycling, choosing alternative travel options or upcycling old clothes. This exhibition was available on Google Arts and Culture, where there are a huge variety of displays which are free to view and definitely worth looking at.

Words written by Jessica Westley

Photo’s sourced from Google Arts and Culture – British Fashion Council (Vivienne Westwood Exhibit)

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts

December 21, 2020 by Intern

On the 10th of December, I had the exciting opportunity to visit the Royal Academy of Arts Summer Exhibition 2020, located just down the road from Savile Row. Due to the current climate with unprecedented challenges and not wanting to miss its 252nd anniversary, the event was postponed to the winter months for the first ever time.

Coordinated by Jane and Louise Wilson, the exhibition supports the exchange of ideas and experiences from any background, shaping cultural conversation to art that we love, hate and smile to. The displays contain over 1,000 pieces of work displayed in 13 rooms ranging from paintings to sculptures to digital art.

Vincent’s Ear by Conrad Atkinson, Shrinking Violet by Ed Mays, Outdoor Minor by Simon Periton

Upon entering Gallery 1, I was surrounded by expressive paintings, textual line drawings put together by Isaac Julien. In the centre of the room stood an installation called Air Kid by Yinka Shonibare. The sculpture is one of 4 in a collection called ‘Earth Kids’, that fights for climate justice illustrating the difficulty of the natural world. Climate change is such a threatening crisis of our time, with sea levels rising, increased temperatures and extinction of many species. It’s important to make people understand the damage and negative effects their actions are having on the planet, a philosophical objective in Isaac Julien’s style of work to make us reflect and visualise.

Air Kid by Yinka Shonibare

One of the pieces that intrigued me the most was the Inter-Concreto sculpture designed by David Batchelor, located in the Large Weston Room. The layering of the coloured geometric grids and multidirectional positionings is similar to the abstract way I like to work when undertaking my own multimedia textiles projects. His work looks at how we analyse and react to colour and hues in this current digital age through hypnotic patterns and shapes. These sculptural installations are made with a variation of industrial material scraps as well as recycled or broken domestic items. In this day and age, I believe it is imperative to reuse and upcycle discarded and unwanted objects to reduce the amount of plastic and landfill constantly entering our oceans. Everything has the potential to be made into something with another form or purpose.

Inter-Concreto by David Batchelor

There was a common theme amongst some of the galleries that reflected the year we have all lived through, learnt and educated ourselves to a brand-new way of life during a pandemic. Gallery 4 curated by Sonya Boyce, portrayed this theme well with mass paintings, photographs and a video named ‘Twice’ by John Smith, who demonstrates how to wash your hands thoroughly whilst singing Happy Birthday through twice.

Twice by John Smith

The Earth is full of violence by Biggs & Collings, Bringing the past to new horizonsby Athena Anastasiou

Every year there is a room that presents small architectural projects and ideas including works from student designers. The inspiration this year was taken from the constructivists in Eva Jiřičná work, displaying bold colours, large plinths, drawings and miniature models.
Inside Gallery 6, Drawing together by Niall McLaughlin

The exhibition was ticket-based priced at £20 and definitely worth the visit if you are in the area. It is a great way of promoting artists as well as supporting the creative arts industry in these difficult times. It is also available to view online for those who are unable to attend in person.

(Exhibition visits were undertaken within contempary covid guidelines)

Words and images by Jessica Westley

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 on Florence Sargent’s Sampling Project

September 11, 2019 by Intern

by Abi Tominey-Smith

During her time here, our last intern Florence Sargent visited the Royal Academy Summer Exhibition 2019 for her research project, where she was briefed to create a sample based on the Summer Exhibition including 3D aspects. She became increasingly aware of how much reference there was to the animals of the world and nature throughout the art. This year the colours were bold and capturing and this was something Flo wanted to reflect when it came to sampling.

At the exhibition, she began by taking photographs to capture her favourite pieces, most of which included animals with an unusual look or aspect to them – bright colours and interesting faces. This sense of the individual and different, she has taken through to her final samples.

Mach Brothers, EASY TIGER, 2019.

Christopher James, MACAW, 2019.

Caroline Piggott, UK FISHING RIGHTS, 2019.

After visiting the exhibition and writing a blog post about her time there, Flo began her development by creating lots of drawings. She has created some really beautiful and realistic work using only pencil and shading.

To develop further Flo began to turn her flat drawings into 3D artworks, using stitch alongside cutting and joining techniques with glue and tape. These gave her work more of a 3D focus and gave her some ideas as to how she could put together and join her final piece to include these 3D effects.

Flo moved on by adding in more character, using bold colours combined with her 3D style, and experimenting with mediums such as paint, pen and pencils mixed together to give her work a bit more life.

Then when it came to actually beginning the sampling process, Flo decided to start with a simple line drawing plan, laying out all the techniques and shapes to be included when it came to creating. This really helped her final piece come together as a success.

You can see here, she has decided to combine 2 of the most popular animals seen at the RA, a fish and a bird combined, to create her own fantastic creature.

Finally Flo took both the Goldwork Beginner and Tambour Beginner series of classes and learnt the basics of both practises. With some time blocked out for her during the weeks at Hawthorne & Heaney, she was able to practise and build on these skills to create her final pieces.

Goldwork was the first class Flo took part in, so this was the first technique she became comfortable and practised in, and is how she became so skilled at putting together these samples in such a short amount of time. Alongside, she also tried her hand at a smaller tambour sample to practise these skills further.

Overall I think Flo has really captured the fun, bright, wildlife inspired themes seen in this years Royal Academy exhibition. You can see the progression through her work and that she has really taken the time to think and plan out what she aimed to archive. This has resulted in these stunning final pieces, full of life and many embroidery skills!

Image Credits:

https://www.countryandtownhouse.co.uk/culture/review-royal-academy-summer-exhibition-2019/
https://www.royalacademy.org.uk/exhibition/summer-exhibition-2019
Own photographs of Flos work, at Hawthorne & Heaney.