Embroidery

Hawthorne & Heaney for Modular by Mensah

November 27, 2019 by Natasha Searls-Punter

Kusheda Mensah with her Furtiture (labels just seen)

Image: @modularbymensah @olivialrhodes ⠀⠀

We just love it when we get to see a great project all come together, event better when we have been priviliged enough to be a part of it. One such project was earlier this year when we are approached by Kusheda Mensah from Modular by Mensah to produce some embroidered labels for her latest project, in conjuction with Adidas.

Embroidered labels

Having graduated from LCC, British born Ghanaian designer Mensah produces pieces in her signature playful but functional style. Seeks to bring people together and promoting better social behaviours, her furniture has values as well as purpose. This collection with Adidas also demonstrates the kinds of beautiful furniture that can be made sustainable and recycled materials.

Revive 1 0754
@kvadrattextiles ⠀⠀
Image: @modularbymensah @olivialrhodes

”Inspired by playfulness, these modular shapes seek to redefine the idea of sustainable social well-being. Made from recycled foam and post-consumer recycled PET fabrics.”

@modularbymensah x @adidas ⠀⠀
Caught waste, 2019
Image: @modularbymensah @olivialrhodes

The very small text and sheer fabrics provided some technical challenges for the embroidery but with some creative thinking, they came out very smart.

Embroidered label

We can’t wait to see what this exciting designer does next!

Embroidered label

Hawthorne & Heaney visits Bridget Riley at the Hayward

November 20, 2019 by Natasha Searls-Punter

On Thursday we were lucky enough to visit the eagerly anticipated exhibition of Bridget Riley’s most comprehensive body of work (spanning an incredible 70 years), on display at the Haywood Gallery.

It was quite a unique experience in the way that the concept behind the paintings made you really think about the theory behind colour, art is about looking; and this exhibition really brings that to your attention. It was also unique in the physical way that the paintings made your eyes and brain hurt – (but in a good way of course!)

The following images are from my favorite series of works:

Stripes and Diagonals. “At the core of colour is a paradox. It is simultaneously one thing and several things – you can never see colour by itself, it is always affected by other colours.” (Bridget Riley, 2009).

Bridget Riley, Chant 2, 1967

Finding that colour is unstable and tangible, Riley used stripes and to bring about powerful colour interactions – pairing or grouping colours along horizontal or vertical stripes, mixing and creating an illusion of hues.

This was one of my favorite series as the work is simple, in the form of perfect clean lines of pigment, but the mixture of colours really make your eyes work and see colours that aren’t there. It isn’t until you go close up to the painting that you can really see what colours the paintings really possess.

Curves “When colours are twisted along the rise and fall of a curve their juxtapositions change continually” (Bridget Riley, 2009).

This series really made my head go in a spin – I think that even from the photos that I took, you can see the illusion of the waves moving and swirling. It is amazing to think that the paint is static, yet with the application of line and colour, there is so much movement.

Bridget Riley, Drift 2, 1966

Studies “The working process is one of discovery and it is worth remembering that the word discovery implies an uncovering of that which is hidden.” (Bridgit Riley, 2019). – I love this quote – it complies the meaning of creative experimentation perfectly.
I found this part of the exhibition fascinating as it showed us the ideas and some of the mathematical and theoretical workings behind the pieces. They were in themselves, very much pieces of art – intricately applied and thought out. It also made you really appreciate just how much thought and time goes into creating the final pieces of work.

Riley produces full-scale preparatory drawings, from which studio assistants under her assistance complete the final work. This gives her the time to solely work on the theory and studies behind the paintings.

Black-and-White “The basis of my paintings is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves.”(Bridget Riley, 1965).

Bridget Riley, Fall, 1963

Bridget Riley, Blaze 1, 1962

Even with the absolute basic level – simply black and white paint, the illusion is arguably even stronger. Maybe it’s the contrast or the simplicity that draws it back in but it was an amazing way to end the exhibition.

Overall I was really impressed by the exhibition, I thought it was well laid out and portrayed a real story. The surroundings didn’t take away from the paintings but added something to them – they really made you focus in on the work and allowed space for reflection.

“The eye roams and the brain roams with it. You think you get it, and then you don’t”.

(Guardian, 2019)

The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.

Hawthorne & Heaney visits ‘Wonderful Things’ at the V & A Museum

November 6, 2019 by Natasha Searls-Punter

‘Tim Walker: Wonderful Things’ is the new exhibition on at the V& A Museum this winter. Looking at the works of fashion photographer, Tim Walker; expect to be amazed and delighted by the fantastical worlds he creates for his photographs and the stunning presentation of them by world leading design museum, The Victoria and Albert Museum.

Chances are, you have probably come across Tim Walker’s work before, whether you knew it or not. He has been working for publications such as Vogue from the the start of his career and over the last 30 or so years, he has come to produce a great number of works. The first room is a celebration of this as many well know pieces are displayed here so you can bounce from one catagory to the next with pangs of recognition.

The Dress-Lamp Tree, Tim Walker, 2002, England

After you are introduced to Walker and given some context about the exhibition, that’s when things get really interesting. For this exhibiton, Walker has produced several series of new works, inspired by the items in the V&A’s own collections as inspiration.

It is always lovely to see a maker’s process, so the addition of sketchbooks to the exhibition is a welcome insight into their minds.

Along with the props, the sets that Walker builds are rich and diverse, providing much interest in themselves alone even without a moving subject in them.

In typical Walker style, there are oversized props which give a fantastical element to both the photos and the exhibition.

I particularly enjoyed the section inspired by a 400 year old embroidery box and chamberlain’s key. Partially because, as an embroiderer, I am pleased to see any uses of embroidery that raise its profile and highlight it’s beauty but also for the resulting series.

The exhibition acts as a masterclass in spring boarding inspiration from existing artworks and creating entirely new pieces from them. If you would like to see all the pieces in person, get down to the museum to experience their true magnitude.

”Tim Walker: Wonderful Things” will be on at the Victoria and Albert Museum until the 8th March 2020. Tickets from £15.00, free for members.

Hawthorne & Heaney on Frogging

October 18, 2019 by Natasha Searls-Punter

Frogging is an interesting word for an embroidery technique isn’t it. It is believed that it referes to the shape of the knot used in ‘frog fasteners’ with the center being the body and the sides being the wide back legs of the frog. The term over the years has come to refer to the embroidery done with this same type of appliqued chord onto garments though not resctricted to the original 3 part knot or for fastening purposes.

At Hawthorne & Heaney, we can produce traditional, hand embroidered frogging, where braid is manipulated and sewn down to create these elaborate patterns that you may recognise from historical garments and costume.

Peacoat with hand embroidered frogging detail by Gieves and Hawkes for Permanent style

Elaborate hand embroidered frogging sleeves before garment construction

We also can produce similar effects using digital embroidery:

Close up machine embroidery frogging on sleeves

Velvet smoking jacket with machine embroidery frogging sleeves for Arjan Blok

Playing cards inspired machine embroidery onto velvet sleeves before construction for Anderson and Sheppard

Playing cards inspired machine embroidery onto velvet fronts before construction for Anderson and Sheppard

Playing cards inspired machine embroidery onto velvet for Anderson and Sheppard

Anderson and Sheppard smoking jacket for the Beaumont Collection (LCW) . As photographed by Guy Hills

It is particulally fun when people want to push the traditional boundries with their order like these frogging inspired sleeves before construction:

Dogtooth sleeves with machine embroidered details for Kathryn Sargent

Hawthorne & Heaney visits Chihuly: Reflections on Nature at Kew Gardens

October 3, 2019 by Natasha Searls-Punter

This visit may not be very embroidery specific, but given any opportunity to see Dale Chihuly’s work is always worth grabbing with both hands. So when they announced that they would be displaying his work in the world’s most biodiverse place, Kew Gardens, a visit was always going to be on the cards.

Temperate House

After falling in love with his work based on just one piece, ‘Chandelier‘ which hangs over the Rotunda at London’s Victoria & Albert Museum, to say that I was excited is somewhat of an understatement. The exhibition does not disappoint. I say exhibition but there is only one small (relatively) part of the displays that is an exhibition in the traditional sense. The way the Chihuly’s works have been displayed amongst the permenent delights of Kew Gardens would be better described as an intergration.

Waterlily House

In the ‘exhibition’ building there is a display of Chihuly’s smaller and support works which gives a good insight into the artist’s process. The images shown here are just a small taste of the pieces on show as there are many to discover arranged thoughtfully around the gardens.

Victorian Glasshouse

You will have to be quick as the pieces will only be on display until the end of October 2019, however they do also offer night tickets for a different viewing experience which sounds pretty magical as the evenings draw in and the temperature drops. If you need any more excuses to get down to Kew, they have a blog that will offer you 8 more reasons.

Chihuly: Reflections on Nature

Until 27th October 2019

Tickets from £12

Images courtesy of @tashasealspunter

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.

Hawthorne and Heaney Attends Amy Barrie 2020 Collection Preview

September 5, 2019 by Intern

This week we visited the preview presentation of the new London based designer Amy Barrie. Amy recently graduated from Central Saint Martins and her 2020 Womenswear collection demonstrates her understanding of how art and culture is central to fashion design. The collection celebrates the history of story telling and the garments are designed to empower the wearer through feminist text and imagery.

Amy Barrie wearing her machine embroidered two piece suit and t-shirt made by Hawthorne and Heaney.

The presentation was held at the Royal Academy and spanned across 3 grand rooms. We were greeted at the door by Amy who talked us through the collection and what we could expect to see in the presentation which involved young female poets modelling the garments in a set of luxurious regal sofas littered with news and campaign posters from the suffragettes. We were then free to walk through the rooms and talk to some of these poets wearing her empowering suits, dresses and t-shirts. When the audience was large enough the poets would perform feminist poetry that bought to life Barrie’s clothing. Their performances were incredibly moving and covered important topics such as sexism, rape and violence.

Spoken Word Poet Priscila Hernandez reading in Barrie’s digitally printed suit.

The idea of performance and event hosting is certainly a modern approach to viewing fashion yet it is understandable why it has become so popular with emerging designers with the growing demand from the consumer for an all encompassing and immersive shopping experience. Many fashion brands have also chosen this route and are rethinking retail as the rise of online shopping becomes a bigger threat to high street stores. Barrie has certainly noticed this and has found her audience through providing a storytelling experience with her clothing.

Her garments are covered from head to toe in written word, both hand and machine embroidered. A casual cotton t-shirt read ‘nether-the-less she persisted’ across the front, achieved through careful hand embroidery. A baby pink satin blazer with renaissance style puffed sleeves and pleating was printed with portraits of influential women such as Malala Yousafzai and Hilary Clinton. As well as using embroidery techniques, Barrie’s collection also involved a lot of print design for accessories; she had made boxing gloves, printed with feminist text as well as a cushion. Perhaps the most impressive piece was Barrie’s flouncy maxi dress, the skirt made entirely from Votes For Women sashes whilst the shoulders were covered in metal fountain pen nibs symbolising the importance of the written word but also taking the viewer on a journey back in time to the ages of calligraphy and poetry.

We found the exhibition both moving and empowering. Barrie’s collection is beautiful and elegant yet gives the wearer a sense of confidence and self-assurance. We cannot wait to see what’s next for Amy Barrie as she carves a path in the fashion industry.

Words and Photos by Florence Sargent

Hawthorne & Heaney visits ‘An Enquiring Mind: Manolo Blankik’ at the Wallace Collection

August 21, 2019 by Natasha Searls-Punter

‘A Girl Threading a Needle by Candlelight’ by G. Schalcken

The Wallace Collection is a hidden gem in London’s art history crown, which even this museum buff and lifelong Londoner has only just discovered. Set in a stunning 18th Century building on Manchester Square (just off Oxford Street) it is hard to believe it has taken this long to come across it. Housing some very famous works of art such as Hals’s ‘Laughing Cavalier’, Boucher’s ‘Madame De Pompadour’ and many Gainsborough’s there is plenty to see if you fancy a bit of an oppulent afternoon in the city. For keen stitchers, there are some stunning tapestry works as well as these 17th century wall hangings from Italy featuring lots of goldwork techniques. Now, until the end of August they have upped the ante a bit further by adding stunning couture shoes into the mix.

Wall hangings, Italian, c. 1650, maker unknown

For a limited time the Wallace Collection is also displaying a selection of footwear superstar Manolo Blahnik amongst their artworks. Unlike many other fashion exhibitions, this is more of an intergration of the shoes in amongst the other art, they sit alongside the permenant collection (sometime on them!) in carefully arranged bell jars. This makes the exhibiton much more intimate as you feel you can get up close to all the pieces on display and all are treated with equal respect.

The selection of shoes in each room has been themed to compliment the artworks they are among. A particular favourite of mine was the oval drawing room where the most decadent shoes Blahnik designed for Sofia Coppola’s film ”Marie Antoinette” are shown amongst the sweet coloured room featuring Fragonard’s ‘Swing’ and Boucher’s ‘Madame de Pompadour’.

From an embroidery perpective there are a few pieces that standout as particulally beautiful. These boots ‘ Lepanto’ (Davee) 2003 look to be a combinations of hand painting and embroidery to a very rich effect.

These pink petal encrusted pair called ‘Amir’ 1997 look like they belong with some of the dresses from the ‘Designer of Dreams’ Exhbition which is still on at the V & A Museum

Of course, there are beads so we couldn’t not mention ‘Zarina’ 2015 which are the very definition of encrusted.

Downstairs is a wall of the original sketches for shoes on display upstairs, showing Blahnik’s distinctive style and flare.

Overall it has all been very respectly done. It is clear from the selection that Blahnik is passionate about beauty and craftsmanship with many skills shown in his designs and revisited throughout the years. There is not much information on each of the pieces, a simple sticker of each one’s name and year leaves you with a few questions perhaps, but lets you enjoy them uninterupted.

‘An Enquiring Mind: Manolo Blahnik at the Wallace Collection’ is on until the 1st Sept 2019, Entrance is free.