Friday 7 June 2024

Thursday 6 June 2024

Lauren Drescher


"La femme du ménage is a pièce I created out of century old, mended tea towels or torchon, reflecting on women’s invisible work over generations . translation, 'The house keeper'." Lauren Drescher

Danny Mansmith III

It has been a while since I shared the incredible work of Danny Mansmith and so here is his latest creation, a sacred heart. 


Wednesday 5 June 2024

Rien Bekkers

Rien Bekkers is one of the most renowned costume designers in the Netherlands and, for forty years, has worked as a costume designer for a.s. ‘Toneelgroep Amsterdam’, the Nederlandse Opera and a large number of foreign productions. Since 1980 is an independent clothing designer for large and small subsidized groups in the Netherlands, Belgium and Germany with prominent Dutch directors.

He has worked on more than 150 theatre, ballet, opera performances and film productions.

The most fascinating thing about Bekkers’ design is the tension between the past and the present: it’s always on its way to the new, the unknown and unprecedented, while still being seduced by beauty and enchanted by the imagination. It is inspired by several historical styles that reflects and interprets in its own way guided by the love of craftsmanship. He never just copies. The garment of a particular era serves only as a starting point. Bekkers doesn't think it's dusty to design costumes that often have to look like they were worn hundreds of years ago. On the contrary, he looks for ways to update historical garment.

"My job is to give the actor a feeling that fits his role." “I use beautiful, high-quality fabrics, combined with good panties,” Bekkers continues.

His creativity flourished on the fashion course at the Rietveld Academy in Amsterdam. There, during an internship at Toneelraad Rotterdam  (the precursor to the current Ro Theatre) he discovered his love of costume design. "I am an inventor. I find inspiration everywhere. In a flattened aluminium tube I see a collar.".

After forty years in the profession, Rien Bekkers is far from finished and has shifted his attention to objects of art. “Now I’m making my job my hobby again.” Although he hasn't stopped making theatrical costumes, he now focuses mainly on his costume objects, as he calls his works. This has a big advantage about theatrical locker room: Bekkers isn't restricted by director or actor.. “A singer must be able to hear well. So such an outfit couldn't cover the ears. And with a necklace you have to consider someone's moving larynx. It doesn't bother me anymore.”

Amidst their latest designs: a series of 25 costumes on child-sized mannequins that could theoretically be worn, but are thought of as an object of art.

“Theatre is not a fashion show. There clothes must support an actor. Even the grand and monumental costumes. Now I'm free and all attention can be directed to my designs as an object.” 

"From my experience as a costume designer for theatre and opera, I create costume objects." Without an actor, singer or dancer in motion, a costume acquires the characteristics of a monumental sculpture, it becomes an object."

From fantasy, interest in the material and love for craftsmanship, a shape, an atmosphere and a silhouette, which I hope evoke wonder and intrigue, gradually emerge through modeling and experimentation. Different artistic traditions of my own country and other cultures are a source of inspiration. There is no substantive link between the source of inspiration and the final object in which it appears. It's purely about the shape and atmosphere it creates.From relatively simplicity in lines and tones to very lush.

"There's always something sculptured about it, and a little absurd always stimulates my imagination, seeking timelessness."

Tuesday 4 June 2024

Lynn Mai


Lynn Mai's 'off the peg bodysuits', challenging body norms and body politics and fashion with a humerus felt body sale.

Monday 3 June 2024

Jillian Lee Adamson

Jillian Lee Anderson has been embroidering sometimes on a vast scale metaphorical cellular structures with single threads of floss on water soluble fabric..

"Jillian’s work is a visual distillation of experiential knowledge gained whilst traversing a world not always designed with her success in mind. Through the rhythmic and tactile process of slow stitching, Jillian uses a needle and thread to create intricate and symbolic representations of her journey. The metaphorical cells she embroiders symbolise resilience and adaptability–a testament to the strength she has cultivated in order to contend with life's many challenges.

Cells are potent reminders of our ability to develop resistance and emerge stronger. The cell's protective membrane symbolises safety and stability, and its ability to cleanse itself through autophagy signifies the paramount importance of self-care. 

By allowing her thoughts to surface without judgement, slow stitching enables Jillian to practise mindfulness and process past traumas in a gentle and non-threatening manner. Her embroidery work's intricate and delicate nature belies its true strength, symbolising the incredible resilience and inner strength within us all. 

A single thread is weak, but when that thread is woven around itself, when it is tied and pulled, knotted and twisted, it becomes nearly indestructible whilst maintaining an appearance of fragility." Jillian Lee Anderson

Thursday 30 May 2024

Anna Rooney


"My work explores humanity’s relationship to nature and the ways in which textiles can promote reflection and appreciation for our environment. Urban living makes it increasingly difficult to access green spaces and our busy, fast-paced lives leave little time to slow down and support our wellbeing. I aim to engage the sense and reinvigorate a sense of childlike wonder and joy for the ordinary details present in the natural world.

I have taken conkers as my primary source of inspiration due to their common presence in urban areas and almost universal link to childhood. Photography, sketchbook work and sampling have led to a mix-media approach that involves embedding wood and ceramics into my knitted work and combining hand and machine processes. My work features two seasonal moods - one influenced by the activity and abundance of summer and autumn and the other inspired by winter and its gradual transition into spring." Anna Rooney 

My final collection includes an immersive installation space, with varied scale and consideration of colour, materials and form to make the two subcollections distinct but harmonious and complementary. For my dark collection I highlight the beauty present in quiet deterioration using flowing, branching patterns while my bright collection uses bold shapes and playful motifs. My smaller pieces invite direct interaction while the larger works inspire contemplation, altogether supporting reflection on the interplay between art, the viewer and their environment.Anna Rooney