embellishment

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.”

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 Eva Habecka

June 18, 2020 by Natasha Searls-Punter

Design by Eva Hebecka Napier, Embroidery and Image Hawthorne & Heaney

Another up and coming designer we have been working for recently is the lovely Eva Hebecka Napier. We worked with this BA fashion Design student from Kingston University on her graduate collection as she has a piece which she wanted to add some extra detail to in the form of embroidery which would refect her syrian ancestry as one of the themes of her project.

Design by Eva Hebecka Napier, Embroidery and Image Hawthorne & Heaney

This is the piece from her design we went on to produce for her.

Image by Eva Hebecka Napier

And the beautiful coat onto which it has now found its home.

Image by Eva Hebecka Napier

If you would like to see more from Eva and the other pieces from her collection, find her on instagram or her website

Images courtsey of @evahebecka unless otherwise stated.

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.

Misshapes: The Making of Tatty Devine

August 8, 2019 by Intern

20 July – 11 August 2019
Lethaby Gallery (Central Saint Martins), 1 Granary Square, King’s Cross, London, N1C 4AA
Free Entry

By Abi Tominey-Smith

Crafts Council have collaborated with Central Saint Martins within the University Arts London to bring you Tatty Devine’s first solo showcase, including jewellery work, video footage, sketchbook drawings, fashion work and installation pieces. Set in a bright, open setting, reflecting the style of this incredibly cool brand.

University of the Arts London graduates themselves, Harriet Vine and Rosie Wolfenden joined forces about 20 years ago to create the brand Tatty Devine, an original and independent jewellery company based in London. They have challenged the basic conventions of jewellery through their acrylic laser cutting, quirky design and use of scale.

Acid Blossom Ultra Bead Necklace by Tatty Devine.

This body of over 100 work shown spans over their whole creative careers as Tatty Devine, with themes across their collections from Rebellion, Space, Music, Magic, Food to even a reference to Haberdashery!

Being one of the first companies to use laser cutting as a jewellery making technique, their work was bound to stand out. You can see the talent and creative spark of these ladies, as their jewellery is full of originality and personality. The fun colours, shapes and larger scale they’ve played with definitely makes a statement.

Lobster Giant Necklace by Tatty Devine.

Inside Misshapes, there are multiple screens to showing a looped step by step video of how the various materials are turned into wearable jewellery through laser cutting and hand techniques. It shows the process of bending, joining and piecing together such pieces as the Lobster Giant Necklace (above). Many more wacky pieces, similar to the Lobster are on display here.

Tatty Devine are a company very passionate about change and equality which is obvious throughout their work and team with all of their jewellery handmade in the UK by a group of 30 women.

They’ve teamed with The Fawcett Society to fight for women’s rights and often pay homage to the movements such as LGTBQ+ through colour and wording, allowing for their platform to speak up and spread empowering, strong messages.

Courage Calls Necklace (left) and Votes for Women Badge (right) by Tatty Devine

‘Courage Calls to Courage Everywhere’, was a line taken from a speech by feminist Millicent Fawcett that was given after the death of fellow suffragette Emily Davidson. This along with the Votes for Women badges are Tatty Devine’s way of showing support for the suffragettes and women’s rights everywhere. This and many more under the theme of ‘Causes’ are displayed at the exhibition.

Rainbow Halo Instillation with Rosie (left) and Harriet (right) by Tatty Devine, 2018.

Another area covered within Misshapes is their public art, where more recently they have been commissioned to make works for spaces such as the Peninsula Square, Greenwich, where they’ve been able to take their use of scale to a whole new level. Themes of Love, Peace and Magic were the inspiration for this Christmas based instillation. More photographs of their crazy public displays are shown in the exhibition, alongside some of the pieces included.

Altogether, the exhibition was buzzing, innovative and a very engaging experience. With a broad range of subject matters, there’s something for everyone – whether you’re a creative mind or not. It’s definitely a must see!

All images (courtesy from the Misshapes exhibition)

Hawthorne & Heaney at Anine Bing

April 15, 2019 by Natasha Searls-Punter

Hawthorne and Heaney have been out and about with our stitching kits this weekend past as we were based at Harvey Nichols for Skandi chic brand, Anine Bing.

All set up in store for stitching

Perusing the embroidery options

Script style stitching onto camo jacket

Block style stitching onto sweatshirt

Script style stitching onto shirt

Large Script style stitching onto sweatshirt for Louise Redknapp

The lovely store ladies modelling their personalised camo jackets

A little lightening bolt detail for the back

Super cute chain stitched S onto knitted jumper

Block style name onto the back of a sweatshirt

Block style Intials onto shirt collar

After what you can see was a very busy and sucessful hand event, we can’t wait for our next one. If you would like to be our next event, get in touch!

Hawthorne & Heaney on Textiles in Art

April 9, 2019 by Natasha Searls-Punter

Embroidery, much like fabric, is not made to last forever. So when we are looking for examples of historical textiles, sometimes, they simply do not exisit anymore as the fabrics disintergrate with age and use. However we do still have a source of what textiles might have looked like in their glory days in the form of painting.

During a recent trip to Amsterdam in the Rijksmuseum, we came across some wonderful examples of historical painting which showed great detail of the textiles that they protrayed.

Girl In White Kimono by George Hendrik Breitner

1894

most likely showing a print of Japanese origin

Pendant portrait of Oopjen Coppit By Rembrandt

1634

Demonstrating the fineness and whiteness of her flat lace collar

Portrait of Emperor Napoleon I by François-Pascal Simon baron Gérard

1804

Depicting traditional goldwork techniques and bullion fringing

We also have had one of our interns, Amy Pickard working on a project for us in house where she chose a painting which featured a beautiful piece of textiles and has been working to recreate it herself.

For the project, she starting point with a visit to the National and National Portrait Galleries. Here she collected primary research of examples of historical textiles. There was a lot of symmetry and geometric shapes as well as a heavy use of floral motifs. It was wonderful to see so many paintings with gorgeous details and being able to name techniques documented.

Hawthorne & Heaney on Textiles in Art London Hand Embroidery

After the trip, the photos were sorted through and drawing were made of some of the details. For this she used a lot of Ecclesiastical paintings or portraits of past nobels.

Along with the photos she assembled a moodboard to help to keep her on track with the aims of the project.

Having attended a tambour beading class with our partner company, (London Embroidery School) she decided to recreate one of the motifs using this technique.

And then followed up with two other samples on velvet in CAD machine embroidery using similar repeats from the isolated motifs.

All in all we are really excited by the outcomes of the project and think that Amy should be really please with them too!

Hawthorne & Heaney’s Special Project

March 29, 2019 by Natasha Searls-Punter

Here at Hawthorne & Heaney we had a bit of a special project on at the moment for a certain wedding that took place in September 2018. We were tasked with creating the chasuble for the priest to wear for our Director’s wedding.

Approaching a garment like this is a sizeable task because of the importance of the imagery and the congregation that will see it. Designed by our director, the cross shaped design features a large image of the holy spirit as a dove at the top. This was inspired by an old piece of cut work embroidery which we are reinterpreting for machine embroidery. We wanted it to retain some of the original cutwork movement which can be seen in the direction of the running stitches and feathers. This also informed the choice of metallic silver for the details to get that shimmer amongst the sheen of the white machine thread.

The middle section has a series of flowers which we focused on the shading of them amongst the raised scrolls and braid work.

Down the bottom we have the lamb of god: “Behold the Lamb of God who takes away the sin of the world.” John 1:29. For his imagery we wanted to emulate a similar texture to that of the dove but with a more ‘wooley’ nature.

Each section of the embroidery has to be tidyed and finished by hand which you may be able to see from some of the earlier photos where the design is still on the machine, the stitching looks a bit rougher than the polished finish we were going for.

We also added some crystals and small hamd details at the end which added those final details to make it sing.

But even when we were done with it, that was not the end of its journey as it was delivered to the tailors who made it into the chasuble itself.

Re-interpretting originally hand embroidered designs in machine embroidery can be quite challenging to give it a style of its own and not to look like a lesser version of the hand embroidered piece. We aim not to replicate it, but to reimagine it.