hand embroidery

Hawthorne & Heaney for H&M Bespoke- Tusse Eurovision 21

May 27, 2021 by Natasha Searls-Punter

A few years ago, we had the opportunity to work the the bespoke devision of H&M on an unusual project which would push our embroidery materials further than we had gone beofre. With them we developed these starburst from a combination of goldwork bullion, swarovski crystals, sequins, beads and most excitingly: reflective threads.

When the flash is on, you can really see these catch the light- perfect for an onstage performance.

Each one is built up out of the surface of the fabric for even more impact.

Up close, you get more of a sense of the detail that went into these piece with the pearle purl edging, raised cutwork purls, bugle beads and sequins coming into view. Playing with the textures to add interest however the light fall on them.

Now we have got to see the project brought to its conclusion when they were feautured as part of the outfit for Sweden’s entry to Eurovision Rotterdam 2021: Tusse. Worn as detatched black sleeves to his red velvet suit, the crystal and reflective thread made quite an impression during the performance. image courtesy of @tusseofc

Follow the link to see the full video of Tusse and the sleeves ‘in action’ during the Eurovision Final 2021.

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 Savile Row: Our New Showroom

October 19, 2020 by Natasha Searls-Punter

From 19/10/2020 the Hawthorne & Heaney team will be residents in The Service, a new lifestyle destination comprising a coffee shop, exhibition, retail and showroom space, now open at 32 Savile Row.

Hawthorne & Heaney are an embroidery firm who have a rich history of working on bespoke projects with Savile Row tailors alongside contracts for the Royal Household, Military, Film, Art, Theatre, PR and many other high profile private clients.

Although modern times and rising rents have seen the character of its future threatened, local landlords The Pollen Estate are seeing the value in ‘The Row’ as a character destination and are supporting innovative new and heritage brands to secure a position in this venerable location. The Hawthorne & Heaney front of house team will be offering bespoke embroidery services, on site, 10-4pm Monday – Friday by appointment and will be continuing large scale and confidential works in their new additional South London location.

“We are looking forward to contributing to the long standing tradition of hand made craft on The Row and we are excited about being in the midst of some of our most important clients again. This is a wonderful opportunity to reconnect with our roots and contribute to the community that was the biggest supporter in our early years.” says Claire Blok, the company founder. “The opportunity could not be missed, with a need for more space in these challenging times we are over the moon with the support we have received from the team behind The Service, Dugdale Bros. and the Pollen Estate in making our new showroom possible.”

There is also the exciting addition of a same day monogram service for the run up to Christmas, making ‘bespoke on The Row’ more accessible than ever.

Hawthorne & Heaney on Wedding Invites

September 25, 2020 by Natasha Searls-Punter

Quite a few months ago, we were working on this really fun project that got us yearning for the summer when it was still a bit grey.

With it’s bright colours and quirky design, these have to be about the coolest wedding invites on the block. We were tasked with adding the stitching to the edges of these postcards in a thick, bright pink thread.

We would be chuffed to get one of these through the post, I’m sure you would agree.

So if you are planning now for a smaller, more personal feel to your invitations, why not consider having us help you with your own stitching style touches?

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 visit’s S.E.W’s International Contemporary Stitched Art Exhibition

December 26, 2019 by Natasha Searls-Punter

Last month, the Society for Embroidered Works held their very first exhibiton dedicated solely to embroidery. The International Contemporary Stitched Art Exhibiton was held in a characterful space in Clerkenwell, the turn out for quite a niche exhibition looked to be pretty good.

‘Despite her strength she remained on guard 1’ 25×21 cm by Christina MacDonald

The exhibition a great cross section of stitched art in its many forms, as you can see from the few photos included here, the range was quite broad so there was a little something to interest everyone.

‘Lady Gaga’ 34×34 cm by Sarah Gwyer

Providing a platform for stitched art is an important step in elevating the stitched art’s status within the artwork as historically it has been downgraded from art and though of more as ‘women’s work’ or ‘home crafts’. Whilst one might argue these terms to be fair, it would be equally fair to say that given the skills and conceptual strenghts of these pieces shown are most certainly ‘art’.

‘A Benediction from the Old World’ 62×46 cm by Kate Tume

Presenting them in this manner is an important part of S.E.W’s bigger mission to ‘redefine’ the stitched arts to a more apropriate status. If you would like to read more about S.E.W’s mission, have a look at their website.

‘Sisters’ 56x72cm by Bridget Steel-Jessop

Given the level of work on display at this first exhibition, we can’t wait to see what they will present to the art world next year!

‘The girl of the Vale’ 33x30cm by Rowena Liley

Hawthorne & Heaney: Christmas 2019

December 16, 2019 by Natasha Searls-Punter

It’s that time of year again. How time flys!

The studio will be closed for Christmas from 1.30pm on Friday 20th Dec 2019 until Friday 3rd Jan 2020. Therfore any orders placed from now onwards on our standard 5 working days service for machine, or standard 10 working days for hand embroidery will be fulfilled in the new year.

See you in 2020!