Hand & Lock Issue III

ISSUE THREE

SPECIAL ANNIVERSARY EDITION

‘Wove n t hroug h histor y’, ‘a t hre ad i n t i me’, ‘emb el lish t he t r ut h’. Why d o we p e pp e r our sp e e ch w it h s o many met aphors b or rowe d f rom ne e d le work? What d o e s it s ay ab out stor ytel l ing , histor y and embroi d er y t hat t he l angu age ad apts s e am l essly. (And t here it is agai n , ‘s e am lessly ’ - to b e d e voi d of a v is ible s e am). It’s not just a qui rk of l angu age; c u ltures d iv i d e d by e ons and o ce ans a l l felt t he s ame pr ima l d es i re to ma ke ar t, tel l stor i es and d e corate t he i r clot hing for r itu a l o c c asions . Thes e ac ts as wel l as t he l angu age, re ve a l a f u nd ament a l l in k b et we en t hre ad and stor y tel li ng .

Embroi der y is p ar t of ceremony and has b e en a stor y tel li ng d e v i ce to re cord and i l lust r ate histor y since t he b eg i n n i ng of t i me. Its l angu age is t he l angu age of stor ytel l ing b e c aus e t hes e t hat’s w hat embroi d er y emb o d i es . There are stor i e s in e ver y st itch; f rom a Me d i e va l cop e tel li ng bibli c a l stor i es to an Indone si an b elt purs e res er ve d for sp e ci a l ceremon i es , and a haute couture gow n t hat st r ives to b e t he pinnacle of crafts manship and const r uc t i on .

Just as humans have a lways tol d stor i es , p ai nte d wa l ls and mad e mus i c, s o t he y have embroidere d. We are t he pro duc t of t hous ands of ye ars of fi ne craft and sk i l l and it’s no wonder our l angu age is s aturate d by words b or rowe d f rom e mbroider y.

Issu e Thre e b e at s t he dr um for t he ar t and craft of embroi d er y and celebrates e ve r y st itch and stor y. The words on t hes e p ages st r ive to match t he d ept h of me an i ng and p assion of embroid er y but i f t he p en is mi g ht i er t han t he s word, su rely it s in k r uns dr y in t he pres ence of a ne e d le and t hre ad.

C o n t e n t s

James Merry Collaboration for the V&A

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The Roundup 5 The Fabric of Time: 250 Years of World History

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Hand & Lock go to Hollywood

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The Butler Bowden Cope: A Masterpiece of Medieval Embroidery

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Publishing Director: Jessica Jane Pile.

The Bishop of Durham’s Coronation Cope

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Embroidery Treasures from the Indonesian Archipelago

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Contributors: Scott Gordon Heron, Hwei-Fen Cheah, Sasha Danker Leclerc.

H&L Prize for Embroidery 25 Fashion category finalists

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Q&A With Prize Winner Jin Kim

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Q&A With Prize Winner Annalisa Middleton

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Textile category finalists

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Q&A With Prize Winner Sally Wilson

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Q&A With Prize Winner Devi Vallabheneni

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2018 Prize Brief

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London Embroidery conference and Exhibition

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Interview with the Curators

65

The Embellished Handbag

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A Hand & Lock Publication Editor: Robert McCaffrey.

Photography: Jutta Klee, Sarah Raymond, Sophia Spring, Elena Molina.

Hair and Make up: Stephie Hoyle.

Models: Antonina Kozerovskaya , Louise Laag, Ramzan Miah.

With thanks: Model Union, London College of Fashion, The Bishopsgate Institute, Agnes B, Alfie Douglas, Aspinal of London, Asprey, BVS Design, Globe Trotter, House of Holland, Jill Haber, Lost Property of London, Lulu Guinness, Patrick Cox, The Cambridge Satchel Company, Vivienne Westwood, The Queen Elizabeth Scholarship Fund, Sotheby’s and The Lifestyle Agency.

18 Question with H&L’s Head of design Scott Gordon Heron 85

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In 2016 Hand & Lock collaborated with contemporary embroidery artist James Merry, on ‘The Embroidered Gaze’ which was developed using cutting-edge eye-tracking technology.

The piece is inspired by the V&A’s collection and influenced by the techniques and colours of James’ previous embroidery work for Björk. Using the Crouching Venus as the main inspiration, the gaze across her body was mapped to create the two metre long artwork. Commissioned to work on the piece, Hand & Lock used contemporary embroidery combined with Goldwork techniques and unique colours to bring the exquisite piece to life.

The artwork was commissioned exclusively for V&A Members – with Members receiving ‘The Embroidered Gaze’ across their Membership Welcome Pack.

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In the spring of 2016, Hand & Lock launched a collection of fashion patches featuring neon pineapples, hashtag fingers, pop-art ‘pows’ and more. The patches are part of the growing trend to personalise denim jackets, jeans, rucksacks and even pyjamas. Along with the launch of the fashion patch collection, Hand & Lock took up residence in Topshop, Oxford Circus with a pop-up where the fashion patches as well as a monogramming service was made available.

Following on from the successful Topshop pop-up, Hand & Lock were made a permanent resident in the flagship store. Offering the ultimate instore customisation service, customers can now add custom ripping, exclusive patches, mini motifs, oversized monograms or custom slogans to make their garment truly special.

patches designed exclusively for the event and expertly applied with an Irish machine by our embroiderers.

Carnaby street has always had a special place in the fashion world through the decades so when London Fashion Week rolled around it wasn’t surprising when we were asked climb aboard The Carnaby Street Pamper-Van. For a small donation to Trek Stock, a local teenage cancer trust, fashionistas could get an exclusive Hattie Stewart tote bag monogrammed in a riot of colours by our expert embroiderers.

Hand & Lock were also present at the Topshop Showroom space in Old Spitalfields Market to witness all the buzz of London Fashion Week and the Topshop Unique fashion show. Eager trend-setters lined up for a chance to customise their newly purchased Topshop denim jackets with patches by NEWGEN.

NEWGEN is an internationally recognised talent scheme promoting new designer businesses, has been sponsored

by Topshop since 2001. This year saw

Burberry SS17

In keeping with Hand & Lock’s commitment to education, embroidery workshops were offered for the first time in Chicago at the Chicago Fashion Incubator. The annual Hand & Lock Prize for Embroidery also benefited from the addition of a new category which saw a significant increase in entrants from around the world. Now offering categories in Fashion and Textile Arts, the Hand & Lock Prize for Embroidery has never been more dynamic, providing entrants with the opportunity to explore their creativity and showcase their talents.

NEWGEN patches

The Roundup

With the success of the concession, Hand & Lock began offering in store embroidery services for brand events and have already worked with Calvin Klein, Tommy Hilfiger, Nike and John Lewis.

Hand & Lock’s military embellishments could also be seen on the Burberry September 2016 runway. Earlier in the year Burberry requested 17,000 metres of silver russia braid which was used to embellish the three intricately decorated jackets. Inspired by the Hussar uniforms worn by cavalrymen in the 18th and 19th centuries, each jacket featured hand worked russia braid, domed buttons and the finest wools.

As well as Fashion Week and the Topshop concession, Hand & Lock have been busy creating pieces to feature in Film, TV and the West End. One of the many comissions involved creating an embroidered banner for the latest J.K Rowling adventure of Fantastic Beast and Where To Find Them.

We also proudly produced an embroidered gown for the latest

As gatekeepers of embroidery Hand & Lock were proud to support the Victoria and Albert Museum’s exhibition: ‘Opus Anglicanum: Masterpieces of English Medieval Embroidery.’ The exhibition revealed a world of embroidered medieval treasures from around the world and provided a rare opportunity to see some truly magnificent pieces of craftsmanship.

During the exhibition Hand & Lock ran a series of special workshops and hosted a variety of talks with expert speakers.

In addition to our wonderful expert talks, Hand & Lock offered a unique and

tailored workshop ‘Opus Anglicanum: The Ancient Techniques Workshop’.

Those attending the workshops learned the same stitch techniques used in the embroideries of the middle ages.

In anticipation of the 250th anniversary, Hand & Lock began a new project which would come to be known as ‘The Embellished Handbag: A Celebration of 250 years of Fashion and Embroidery.’

This new venture would showcase Hand & Lock’s collaborations with 13 international luxury accessory companies and would feature an array of one-of-akind, uniquely embellished handbags.

The collaboration showcases the fusion of the renowned Hand & Lock embroidery with thirteen different brand aesthetics.

Drawing inspiration from hundreds of sources, each of the thirteen bags has a unique visual identity drawing from the brand’s individual history.

Brands involved in the project include Agnes B, Alfie Douglas, Aspinal, Asprey, BVS Design, Globe Trotter, House of Holland, Jill Haber, Lost Property of London, Lulu Guinness, Patrick Cox, The Cambridge Satchel Company and Vivienne Westwood.

The private unveiling of the thirteen piece collection was held at the Victoria and Albert Museum in London. Bags will seen throughout the year at various VIP events before a special Sotheby’s charity auction in December 2017. Proceeds from which, will go to the Queen Elizabeth Scholarship Trust and the Hand & Lock Prize for Embroidery.

We can’t forget the Embroidery Conferences in Sydney and London.

Hundreds of guests were treated to fascinating talks by experts including the principle costume embroiderer on Game

of Thrones, Michele Carragher, Artistic Director of the Embroiderer’s Guild Anthea Godfrey and embroidery author Cheah Hwei-Fe’n. Topics discussed included trend prediction, the state of embroidery training in the UK and the historic impact of naval embroidery on fashion.

The embroidery exhibition that accompanied the conferences featured historic treasures such as an early 20th century embroidered Chinese lotus shoe on loan from the Textile Research Centre, and Hand & Lock’s meticulously restored Victorian military ledger. Modern treasures included the Great British Dress embroidered by Hand & Lock and the Royal School of Needlework for Nicholas Oakwell to highlight British craftsmanship. The exhibition saw the return of an old favourite: the stunning ‘Jumbar G’ fur jumper by British designer Mary Katrantzou with jewellery inspired embroidery by H&L.

Aspinal of London and Hand & Lock

‘An Inspector Calls’

production of ‘An Inspector Calls’.

Having previously been commissioned to create the piece for the original stage production back in 1945, Hand & Lock couldn’t resist the chance to be involved in the production for a second time.

Completed in five weeks, by means of tambour beading with beads, paillettes and bugle beads to create a floral pattern, the final dress was quite the showstopper.

Also on display: The Embellished Handbag collection with all 13 of the one-of-a-kind designer bags featuring examples of contemporary and classical embroidery. The bags might be diescribed as a swan song for the last 250 years and an invitstion to the next 250 years.

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1848: G. E. Street co-wrote an influencial book called ‘Ecclesiastical Embroidery’.

1767: John Kay invents the spinning frame.

1803: First tailor moves onto Savile Row. 1789: The French Revolution begins.

1820: George IV becomes King.

1830: William IV becomes King.

1845: Irish Potato Famine kills more than a million people.

1830: Victoria I becomes Queen.

1760: George III becomes King.

The Fabric of Time: 250 Years of World History Hand & Lock’s long story weaves into a global narrative with a cast of Kings, Queens, designers and inovators; punctuated by discovery and invention, and stained by global conflicts, famines and murder. 250 years of Hand & Lock history have been woven with the history of the world to reveal the epic tale of our times.

1862: Birth of May Morris.

1880

1870

1860

1880: Start of the Arts and Crafts Movement

1850

1820

1810

1800

1790

1780

1770

1760

1780s: Tambourwork, a chainstitch embroidery becomes popular.

1769: Birth of Napoleon Bonaparte.

1878: Royal School of Needlework founded.

1825: Birth of Charles Fredrick Worth

1801: Joseph Marie Jacquard invents the Jacquard punched card loom.

1840

1776: The ‘United States of America’ was formally established.

1815: The Battle of Waterloo and the defeat of Napoleon.

1870: M.Hand move to 27 Lexington Street premises.

1858: Charles Fredrick Worth coins the term ‘Fashion Designer’.

1820s: Mountmellick embroidery developed

by Johanna Carter.

1830

1767: Huguenot refugee M. Hand escapes France to London and starts a lace manufacturing company.

1880: M.Hand & Co Regimental Ledger begins recording sales, samples and drafts.

1867: Birth of Jeanne Lanvin.

Textile History

M. Hand & Co History

World History

Fashion and Embroidery

Textile Technology

S. Lock Ltd History

British Monarchy

Hand & Lock History

1910: George V becomes King.

1972: S. Lock Ltd awarded the Royal Warrant.

1936 (December): George VI becomes King.

1956: CE Phipps retires and Stanley Lock takes over and renames the company S. Lock Ltd.

1919: Spanish Flu kills 50 million people.

1914 - 1918: ‘The Great War’.

1946: Birth of Gianni Versace.

2020

2010

2000

1990: The Gulf War. 1997: Gianni Versace shot dead in Miami.

1953: Televised Coronation of Queen Elizabeth II.

1952: Elizabeth II becomes Queen.

2012: Hand & Lock provide embroidery services for the Queens Diamond Jubilee and the London Olympics.

1990

1940

1930

1920

1910

1900

1890

1908: Chambre Synicale coined the term ‘Haute Couture’.

1936 (January): Edward VIII becomes King.

1980

1945: End of World War II.

1929: Global Great Depression begins after the Wall Street crash.

1901: Edward VII becomes King.

1947: M. Hand & Co opens at 25 Lexington Street.

1953: CE Phipps Embroiders iconic red dresses for Marylin Monroe and Jane Russel in the film Gentleman Prefer Blondes.

1970

1939: Beginning of World War II.

1989: S. Lock Ltd embroider the iconic ‘Elvis Dress’ work by Diana, Princess of Wales.

1998: The Macleod family acquire M. Hand & Co

1960

1911: Singer develop the first multi-head embroidery sewing machine.

1940: M. Hand & Co Atelier at 27 Lexington Street destroyed during the Blitz.

1950

1898: CE Phipps & Co founded.

1988: M. Hand & Co provide goldwork for Michael Jackson’s iconic military inspired goldwork suit

by Gieves & Hawkes.

1981: Wedding of Lady Diana Spencer and Prince Charles.

2005: Hand & Lock move into the Margaret Street Atelier.

2000: The annual Prize for Embroidery is launched.

2001: M. Hand & Co merges with S. Lock Ltd to form Hand & Lock.

2017: Hand & Lock celebrate their 250th Anniversary.

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Hand & Lock go to Hollywood Embroidery, theatre, music and cinema all exist in the realm of showmanship, drama and spectacle, which is why it should come as no surprise that our paths often cross. Those who have never heard of Hand & Lock will have still seen our work worn on stage by singers or emblazed on the flickering cinema screen. Our work has been featured in films as diverse as The Young Victoria, Dracula Untold and Star Wars, here we celebrate just a small fraction of the work we have done to help create the magic of the movies.

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n Fantastic Beasts and Where to find them, Newt Scamander’s adventures in New York bring him to the attention of the Magical Congress of the United States of America. Hand & Lock were called upon to make sure them Congress looked the part.

Head designer Scott Gordon Heron oversaw the painstaking embroidery of the Congress crest which can be seen behind Seraphina Picquery in this key scene.

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P

aramount pictures assembled the biggest and brightest stars of Hollywood to produce a stylish, action thriller with thumping heart. Starring Marion Cotillard and Brad Pitt, Allied tells the story of World War II operatives who never reveal their true identities.

After falling in love during a risky mission, they hope to leave all that double-dealing behind them and start new lives. Instead, suspicion and danger envelop their marriage as both husband and wife become pitted against each other in an escalating, potentially lethal test that has global consequences. The costume department asked Hand & Lock produced period embroideries. The film went on to be nominated for Best Achievement in Costume Design.

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ack in May 2016, Alice Through the Looking Glass had it’s star studded premiere in LA. The affair was always going to be an explosion of colour, character and sunshine with the biggest Hollywood names determined to steal the spotlight.

Anne Hathaway wore a custom made Christopher Kane dress based on the pieces he showed at his AW16 presentation. His collection was inspired by industrial decay and nature in an urban landscape.

For this dress Kane created a scaffold of black stripes being reclaimed by brightly coloured flowers and vines.

For Hathaway’s dress the design team at Christopher Kane called upon embroidery services of Hand & Lock to embellish creeping flowers. Our embroiderers carefully sewed thousands of Swarovski stones, seed beads and bugles to the flowers. These were returned to Christopher Kane to be appliqued to the final dress.

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H

and & Lock were asked to provide essential period costume details for the 2009 film, Young Victoria. Starring Emily Blunt and Rupert Friend, the film was a visual delight and an invaluable portrayal of one of Britain’s most imporatant monarchs. H&L provided the exquisite military goldwork embroidery worn by Prince Albert and seen in the promotional posters for the film.

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efore Hand & Lock there were two embroidery houses: M. Hand & Co and S. Lock Ltd. The latter of these began in 1956 when embroidery protege Stanley Lock took over an earlier company called CE Phipps. Just three years earlier, with Stanley Lock heading up emboroidery design at CE Phipps the company was asked to produce the two iconic red sequin gowns worn by Marylin Monroe and Jane Russell in the film Gentlemen Prefer Blondes.

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The Butler Bowden Cope:

A Masterpiece of Medieval Embroidery

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he ‘Butler-Bowden Cope’ was produced around the early 13th century and is an excellent example of a medieval liturgical garment portraying apostles, saints and scenes from the life of the Virgin Mary. In a ceremonial setting such as a religious procession or candle-lit church service the wearer of the cope would have been mainly observed from the back placing the three scenes from the life of the Virgin in plain view. When observed from the front the saints face each other over the front opening in typical pairings, St Steven and St Lawrence, St Edmund of Bury and St Edward the Confessor and finally St Helen and St Faith. The use of gold threads over a rich crimson velvet would

catch the candle light and bring life to the scenes inspiring devotion and awe.

The crimson velvet that forms the base material likely originated in Italy and would have been coloured using ‘dyer’s madder’ derived from a plant species known as Rubia tinctorum; while the intricate surface decorations were worked on by specialist embroiderers in England. The cope is decorated using an embroidery technique known as ‘Opus Anglicanum’ or ‘English Work’ that became famous throughout Europe in the 13th and 14th centuries. The principle materials used to create the intricate imagery on the cope were gold and silver metal threads. These fine

metal threads were made by taking a thin strip of metal (in the case of the Butler-Bowden cope, silver plated with gold) and winding it around a silk thread.

Often referred to as ‘passing’, this was then laid flat on the base material and secured in place with an embroidery technique known as ‘underside couching’.

With this technique, a single silk thread comes up through the base material, loops around the metal thread before returning through the same hole in the fabric. The loop is pulled tight and then drawn through to the underside bringing the metal thread with it. This technique was prized for creating tiny hinges along the rows of gold thread, reducing stiffness and encouraging the natural movement

and drapery of the material.

part of a major thriving industry. Opus Anglicanum embroiderers were involved in, or at least conscious of, the ongoing developments in other artistic disciplines such as illuminated manuscripts, panel painting and architecture. This is evident in the Butler-Bowden Cope’s decorative multifoil ogee arches, and floral flourishes which resemble the architectural niches typically found on gothic structures of the same period. The industry responsible for making these ecclesiastical garments involved a host of differently skilled individuals and used materials sourced from all over the world. In addition to the velvet made in Italy, seed pearls were collected from rivers in Scotland and raw silks were imported from China.

It is worth noting that the gold, pearls and glass beads that make up the cope are all present in a passage from Revelation 21:21: ‘The twelve gates were twelve pearls: each individual gate was of one pearl. And the street of the city was pure gold, like transparent glass’. Such materials were expensive and would not have been chosen by accident. The luxurious materials and intricate techniques used were intended to inspire awe and wonder at the earthly power and majesty of the church. Pieces such as the Butler-Bowden Cope were frequently donated or funded by wealthy patrons to demonstrate both their extreme wealth and their spiritual devotion. The inclusion of gold, which in the early days of Christianity been associated Examples of Opus with pagan gods before Anglicanum are being rehabilitated into a christian context, was seen rare, due to the as a way for the patrons vulnerable nature to ‘unburden themselves of the materials of wealth and so become involved. spiritually rich’.

The broderers involved in making the Butler-Bowden cope would have been highly skilled workers. The makers of the the finest gold threads might serve as apprentices studying the craft for as much as five years whilst the women charged with sewing down the seed pearls were paid extra for this especially skilled and labour intensive work. These artisans did not work in isolation but rather formed

Examples of Opus Anglicanum are rare, due to the vulnerable nature of the materials involved. Precious stones and pearls might be removed and repurposed and silks may be damaged or infested by pests. In the case of the Butler-Bowden cope the whole thing was also cut up and reshaped into a chasuble, stole, maniple and altar front (likely prior to 1721) before being reassembled in 1884. Its current state demonstrates the immense skill of the original broderers, a history of alterations and modifications and also the determination to faithfully restore and preserve such a fragile and unique piece.

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THE BISHOP OF DURHAM’S CORONATION COPE Hand & Lock’s head of Design Scott Gordon Heron takes a close look at this remarkable cope and explains how its construction uniquely differs from its medieval cousins.

is less time consuming than techniques that were developed much earlier, as well as being effective in exploiting the light reflective qualities through considered stitch direction.

The Bishop of Durham’s coronation cope, last worn by Bishop Michael Ramsay at the Coronation of Queen Elizabeth II, is a prime example of 20th century ecclesiastical gold work embroidery.

Habitually, a technique which characteristically defines the aesthetic of ecclesiastical embroidery can often carry traditional traits of gold work stitch types, however the Bishop of Durham’s coronation cope breaks with convention.

Whilst the piece today may be regarded as visually traditional in execution, on a technical level surface couching has been favoured and used as a means to render the stylized ‘star’ devices we see in the body.

As opposed to many of its medieval counterparts we see gold passing, couched to create the stylised motifs.

Practical in the sense that this technique

Underside couching is a technique in gold work which allows the embroiderer to ‘fold’ gold into the fabric, thus creating a hinge like mechanism through strategically placed stitches, which offer fluidity in drape as well as pattern and embellishment. As this was such a technical achievement in the middle ages that put England on the map for such technical ingenuity, it is surprising, considering it ceremonial significance, that this technique has not been used.

couching. Passing has been worked in a ‘bricked stitch’, resembling a basket-like weave. Which in turn suggests the use of underside couching. It may be argued that surface couching techniques were favoured over more labour intensive applications such as underside couching, most especially if they offer a close imitation.

For the coronation of King Edward VII In 1902 matching copes were made by Watts of London for the bishops of Bath and Wells and Durham who supported the sovereign during the ceremony. With a great amount of work required such as this and to commission two none the less, it is understandable as to why underside couching was not present. Many existing examples of copes and related vestments have been recorded to have taken as long as twenty five years. The piece is a truly stunning example of ecclesiastical design and a shining example of gold work.

Scott Gordon Heron

In contrast to the body of the cope we see a technique in the hood that comes very close on a visual level to that of underside

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Embroidery Treasures from the Indonesian Archipelago

By Hwei-Fen Cheah 22

Hwei-Fen Cheah is an expert in the embroidery traditions of the Indonesian archipelago. In this fascinating article she shares her specialist knowledge about the embridery customs and traditions of this community.

Throughout the Indonesian archipelago, embroideries of gold were coveted for their workmanship and beauty as much as their symbolic and material value. An expression of power and status, it was closely associated with the local courts, whose rulers were often eulogised by the enumeration of their gilded possessions.

Gold embroidery was known by several different terms, the most common being tekat or sulaman benang emas in Malay. An early reference to tekat and the associated embroidery frame, pemÊdangan, appears in the seventeenth century Indonesian text Cerita Kutai [History of Kutai]. Largely a female pursuit, tekat was popular with noblewomen in the archipelago’s courts.

Belt purse [oh pao] with raised silver thread and peacock feather embroidery.

Peranakan Chinese community.

Malacca, Malaysia. 1900s. Private collection

Gold embroidery was also practised by the localised (Peranakan) Chinese, whose hybrid culture mixed Chinese customs with Malay and other local elements.

While gold embroidery must have been for personal use, records suggest that it was also carried out as a small-scale cottage industry. Palembang, Bengkulu, the Padang Highlands, and the northeast coast of Aceh in Sumatra, as well as Perak and Kelantan in peninsula Malaysia were historical centres for goldwork. Batavia (present-day Jakarta) and several other cities on the northern littoral of Java also appear to have had thriving gold embroidery businesses in the 19th and early 20th centuries.

The most extravagant displays of gold embroidery occurred at wedding celebrations. Regarded as king and queen for the day (raja sehari), the Malay bride and groom were sat on a tiered ceremonial platform, their status indicated by the number of tiers

Valance [tirai] with gold embroidery and appliqued glass. Malay or Minangkabau community.

Sumatra, Indonesia. First half 20th century. Courtesy of Minang Art

and bolsters (bantal). Edgings for the platform, valances (tirai or bi), curtains, and bolster ends were embroidered with gilded thread, resembling gold- and silver-work panels from afar. Dress for special occasions, especially slippers and purses, vests, and trousers could also be embroidered.

Methods of goldwork varied, the most common being surface couching. Often, diaper patterns were formed with red or dark coloured couching threads. The designation sulam songket suggests this type of embroidery was meant to mimic the luxurious gold supplementary weft brocade, songket. Mirror pieces and beads could be added, the former perhaps drawing from west Asian embroidery or Indian shisha traditions.

Gold thread or plate (klingkam or keringkam) was couched above padded forms of cardboard, cord, or veins of the ijuk (aren) palm leaf to create a relief effect. This method of tekat timbul or sulam timbul as it was known was probably influenced by both Turkish dival and European military embroidery.

Bolster end [muka bantal] embroidered with metal purl [gim] and sequins [buci]. Malay community.

Probably Palembang or Jambi, Sumatra, Indonesia. Early 20th century. Courtesy of Minang Art

Javanese embroiderers, sometimes working for European clothiers in the Indies, produced gold embroidery for officers’ uniforms from at least the late 19th century.

Embroidery with gilded paper “applique,� known as tekat perada, was carried

out in Johor, Selangor, Kelantan, and Terengganu in the Malay peninsula, the sultanates of Borneo, and along the north-east coast of Sumatra. Inserts of glass bound with a blanket stitch enhanced the glitter of embroideries for the edges of royal platforms, shouldercloths, and bolster ends.

The pieces shown present but a sample of a much wider range of gold embroidery from the Indonesian archipelago.

Nevertheless, they indicate a tradition of fine craftsmanship and love of variety, enriched by the manifold influences embroidered into their glittering textile heritage.

Hwei-Fen Cheah Independent researcher, Australia

Decorative end panel for a long mat [tikar] with raised gold thread embroidery [tekat timbul]. Malay community.

Perak, Malaysia. Early 20th century. Courtesy of Hajjah Azizah bt Mohd Yusuf, Perak

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The H&L Prize for Embroidery Rewarding excellence in embroidery design since 2000 The Prize for Embroidery was originally conceived in 2000 to encourage the continued use of embroidery in fashion and textiles. Each year the Prize brief, flyers and posters are distributed to over 1000 colleges, universities and organisations around the world.

The Prize now welcomes in excess of 500 entries annually and has become the world’s premier embroidery prize. In 2016, H&L added the Textile Art category to encourage the use of embroidery in Textile Arts as well as Fashion. The Prize is now open to embroiderers working in fashion, design, costume, accesories, interiors and fibre art.

Past winners have come from all corners of the world and have been able to fund their designs and start their own businesses due to their heightened design confidence, exposure to industry contacts and all important prize funds.

2017 Brief: Objects of Desire We live in an ever increasing consumer world in which instant gratification fuels rapid purchasing trends, often resulting in design that is unpolished or has mediocre production quality. “Buy less. Choose well. Make it last. Quality not quantity. Everybody is buying far too many clothes.� Westwood, V. (2013).

Designers and artists need to make a concerted effort to react against inadequate design.

The aim of this brief is to create quality design that consumers will cherish for years rather than dispose of when a new trend arises. The product should be well crafted, creative with materials and processes to achieve quality design meant to last and stand the test of time.

The dialogue between art and design is well established throughout history. Modern art can inspire design and relevant concept development, thereby making your work more socially and culturally aware for forward-thinking design. Being able to anticipate what will happen in the future puts a designer in a position to make better decisions and to ensure their work is relevant, inspiring and sustainable. Artists and designers also look to the past to inspire new ideas for the future. The ability to reinterpret the past and highlight hidden histories enriches our artistic culture and brings meaning to the creative arts.

For this brief, entrants were required to choose an established modern artist and an archive to research and inspire their project. They were asked to consider contrasting and combining ideas as well as drawing on inspiration from findings thereby designing something truly unique. Artists and archives could be sourced within their global location and many archives could be sourced and studied online.

Careful consideration should be taken in regards to colour. Colour should be used as an integral component of the design process as it is reputed as the first thing that consumers are drawn to when considering design. The finished design should be suitable for a contemporary consumer design market be it fashion, interior design or pure textile art.

Polly Leonard London College of Fashion

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Prize for Embroidery 2017

FINALISTS & WINNERS

Fashion Category...

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O p en C ategor y FASHION EL ENA

S AV E LY E VA

O p en C ategor y FASH ION VE RONICA

ROW L ANDS

O p en CHARLOT T E

C ategor y FASH ION APPL EB Y

O p en Ana

C ategor y FASH ION

O g u n

Sanya

Stu d ent

C ategor y FASH ION

W I LLIAM

L AT H ROP

Open Category FASH ION LUCY MARTIN

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Stu dent C ate gor y FASHION MARTIN

B ON N EY

St u d e nt C at e g or y FA SH IO N JA SM I N E

B R OU G H T O N

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Stu d ent

C ate gor y FASH ION

RYA N

GAMBEL

Stu dent C ate gor y FASHION J EM MA

PR AT T

JIN KIM FASHION STUDENT WINNER

ANNALISA MIDDLETON FASHION OPEN WINNER

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Q&A WITH JIN KIM FASHION STUDENT WINNER

As winner of the Fashion Student category, Hand & Lock delve into the story behind Jin Kim’s piece and what compelled her to enter into the Prize for Embroidery.

thought that the layering would express the flowing and invisible emotion of the piece.

Did you face any obstacles when creating your piece?

Contrasting, labour intensive, layered emotions.

It was hard to compromise my initial vision due to a limited time frame. I had to make samples with time constraints in the design process for the next development.

What inspired you to take part in the Hand & Lock Prize?

What is your favourite element of your piece and why?

A lot of threads makes fringes and then it makes another texture throughout twisting, layering and tying the knot.

This part meets the contrasting colours, at these point bring together an amazing synergy effect. In spite of the most time consuming task, it was my best expression to convey the theme. I

Describe your piece in three words.

Artwork becomes more valuable over time and collectors tend to buy not only the product but the value of it as well.

This slow fashion (Anti-Fast) fashion manifesto encourages customers to buy less, choose well and to carefully keep certain objects and garments.

My aim is to encourage purchasing decisions based on quality rather than quantity. This opportunity will also enable me to achieve early career goals by promoting my fashion brand ethos and aesthetic.

If you could have any job role what would it be and why?

As I constantly tried to create diverse samples of design development to make products for a collection. Like this, good practice makes better skilled. So I have confidence in ability to make visualisation of any textile design samples. It relates with design creation part.

What has this Prize taught you?

Finishing in a set time is the ability of the designer. As I mentioned above, I thought this opportunity was the first step for my career so I had to be able to show my design ability as much as possible within a set period. Because it needs to come out as a complete product, I realised that it is also important to organise step by step for finishing work.

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You’ve expressed how colour is such an important element of emotion. What does colour represents in your piece?

Colour is an important part in this collection as a means to convey messages and meaning. Colour leads to different emotions depending on the individual and the environment. Colour has a physiological and emotional effect.

The combination of colours represent the identity of this collection. The start of this collection was the death of the muse and old friend. Accordingly, it became a significant story based on the past memories. So, the colour of this collection is about memory and narrative with emotional relationship.

The past emotion of my friend and the present emotion for me meet with colour, which based on the psychology of colour therapy. The memories of the past and the emotion of the present have interpreted that indicate the use of colour therapy that reflected by identity.

Hence the needs in my collection for the colour palette to represent contrasting colours such as orange, royal blue, peach, dark green, blue violet and emerald mint Therefore, the emotions of the past and the present at the same time show based on the contrast colour for textile realisation.

the textile realisation was referenced in the pattern books and textile technique books in order to get the ability of garments making and technical skill of macramĂŠ and knots. I focused on this techniques also it was referenced in website video clip in order to learn.

Basic embroidery skills are taught in University. It depends on how it is applied in a designer’s own way for development. Further developed techniques in this piece are Irish, hand tufted, button dyeing, hand beading, hand embroidery, etc. Based on those research and skills were applied to my design development.

What is your plan for the next year and what do you hope to achieve?

I am preparing to launch my brand based on textile accessories. I have been researching and creating samples and products. I hope we meet at fashion week.

Where did you learn the techniques displayed in your piece?

Research is quite important part to organise whole design concept. I was really interested in collecting image or analysing information about related in design theme. Methods of theoretical research sources from; Necessary for

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Q&A WITH ANNALISA MIDDLETON FASHION OPEN WINNER

Annalisa Middleton, a London based artist with a background in costume design, is currently working on her own fashion collections exploring different applications of textile design in digital print and embroidery.

As winner of the Fashion Open category, Hand & Lock delve into Annalisa Middleton’s story behind her piece.

Did you face any obstacles creating your piece?

I definitely faced a few obstacles creating this piece. I wanted to create a single piece of gold work covering the whole back panel and reaching all the way around to both fronts. I toyed with the idea of doing the whole piece in one big frame, quickly realising this was ridiculous as I wouldn’t be able to reach the middle, and I made separate frames for each panel. To solve the problem of joining the tentacles I had to measure the exact starting and stopping points of the purls on each frame so the angle of the

purls would match up when it came to joining the pieces. I then needle felted the between gaps in the string padding once the seams were together.

What is your favourite element of your piece and why?

Aside from the embroidery itself, which was inspired by various influences from Japanese culture, my favourite thing about the outfit is the pattern which I adapted and tailored from a casual tracksuit/bomber jacket pattern. I feel there is a place for wearable couture fashion outside of the more formal occasion. My aim was to make a sustainable piece of clothing combining modern designs with old techniques like the smocking and gold work.

What sparked your interest in embroidery?

I’m sure a lot of people say this but I first really took notice of the work of Michelle Carragher in Game of Thrones when I

saw some close up pictures. This was the first time I’d looked closely at gold work out of the context of military dress. I’d describe these works as regal, yet organic, beautifully sewn couture garments, themed in medieval fantasy. I was fascinated by the range of materials and textures in her work and how expressive she was able to make the imagery by building up all the layers. I remember making a mental note at the time, ‘I must figure out how all this works.’

If you could have any job role what would it be and why?

My perfect job role would be the one I create for myself. In an ideal world I’d love my own small online business, selling my work, occasionally exhibit it, and take on commissions that compliment my aesthetic, with time perhaps to work on freelance projects, making sample pieces for fashion and interiors. Being in this position would allow me the freedom to work anywhere I choose. I’ve been living on a narrowboat

in London for a few years now and would very much like to travel the wider network without feeling tied to the city.

Variation is also very important for my creative process, I love to work with new people, try different processes and keep reinventing what I do. I love to work with new people, try different processes and keep reinventing what I do.

a rich imaginative folk lore filled with superstition and magic. Peoples beliefs may have changed but the ideas behind them are still as important. After all it’s how we interpret what’s gone before that shapes our own folklore.

What do you think entering the Prize has taught you?

I’m still very much developing my practice as an artist. Much of this year has been about taking the time in my own studio to experiment with new materials and keep pushing the way I think about fashion and textiles. My work often has symbolism or elements of folklore/mythology. I tend to think about the things I make not just as clothing or accessories but as objects worn by characters that are part of an imagined world. Over the next year I’d love to expand my collection. Right now I’m concentrating my efforts into making a few diffusion pieces and smaller more affordable embroidered works, with the hope of engaging a wider audience. I’m more inspired to create than I’ve ever been but there’s still a long way to go in honing my craft and fine tuning my aesthetic. I feel like embroidery definitely has a huge part to play in the future of my work.

For a start I’ve acquired some new skills in embroidery and learnt you can teach yourself a lot with the right books.

However most valuable to me is the way I’ve developed my approach to design.

Working to this level of competition made me question every aspect of my work from the concept of the piece to the materials I’d used.

What was it about Japanese culture that caught your interest?

There’s so many things about the art and culture of Japan I’m inspired by. I started looking at the beautiful and often surreal imagery of Ukiyo-e which are traditionally wood block prints of artists impressions, used as a form of social commentary in the 17th - 19th century.

What caught my eye initially was the stylisation of these graphic works, bizarre erotica, printed textiles like Kimonos and Tenugui towels. However the symbolism behind the imagery is also fascinating.

At one point in Japan, the belief in spirits was central to their way of life. They were believed to be in everything, both animate and inanimate objects. This Shinto notion of another world runs deep through their cultural heritage;

What is your plan for next year and what do you hope to achieve?

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Textile Arts Category...

Stu d e nt C at e g or y T E X T I L E A RT L O K

KA

KO N G

O p e n C at e g or y T E X T I L E A RT E R A N G A

BA N DA R A NAY K E

O p e n C at e g or y T E X T I L E A RT M I YA KO

A S A BA

O p e n C at e g or y T E X T I L E A RT TA N IA

M E L L O

St u d e nt C at e g or y T E X T I L E A RT S A R A H

T IC K N E R

O p e n C at e g or y T E X T I L E A RT A N D R E A

C RY E R

St u d e nt C at e g or y T E X T I L E A RT M OM O E

NA R I TA

Stu d e nt C at e g or y T E X T I L E A RT SU Z A N N E

T R E AC Y

O p e n C at e g or y T E X T I L E A RT E M M A

C A S SI

SALLY WILLSON TEXTILE OPEN WINNER

DEVI VALLABHENENI TEXTILES STUDENT WINNER

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Q&A WITH SALLY WILSON TEXTILE OPEN WINNER

In 2005 Sally Willson had a lifechanging accident, which resulted in a traumatic brain injury. After two years of recovery and rehabilitation, she began to explore art again.

However, the loss of feeling in her hand left her unable to work with traditional methods. She began exploring hand guided machine embroidery. As her fingers regained some feeling, her work became diversified to re-incorporate her love of mixed-media and welding.

Did you face any obstacles when creating your piece?

The main obstacle is my inability to function normally due to a traumatic brain injury I had a few years ago.

It impacts my daily routine and ability to concentrate for sustained periods, therefore, the scale of the piece sometimes overwhelmed me.

This was not helped by the fabric I created for the coat which was far too dense to sew through easily. I ended up using pliers to pull the needle through for each stitch and

embellishment; which was gruelling at times and very time consuming.

What is your favourite element of your piece and why?

I am not usually very impressed by any of my pieces when they have been completed. However, I have to say that I do love the ‘Duck’ as I lived with him for virtually a year and he took over my life for that period. So the element I most appreciate is his ‘character’ and also, he doesn’t talk back.

If you could have any job role what would it be and why?

I love my life as an independent artist.

It allows me to cope with my ongoing health issues of concentration, fatigue, memory and fragmented thinking. Although I do not like to dwell on my limitations, I am aware that I am incapable of leading a ‘normal life’. Textile Art has definitely been a saviour and a fantastic form of rehabilitation and therapy. A long

held ambition is to have a piece exhibited in the V&A museum as I have constantly drawn inspiration from this very special place. I would also love to hold an exhibition of my growing collection of competitions and event works at a reputable gallery. The work would show my gradual recovery from TBI and my artistic development over the same decade; the work diversifies from simple free machine stitch to welded steel and mixed media creations which are all unique.

What do you think this Prize has taught you?

Never to give up and always to try new things! I had not previously produced a piece of work which focused preliminarily on hand stitching. It was a very intense learning curve; I spent many hours researching and learning simple and complex stitches and I also learnt to keep a good supply of finger plasters in stock.

How did you hear about the Central African Shoebill?

To be honest I hadn’t heard of the Shoebill prior to the Hand & Lock Prize. I wanted to create a design which followed Hand & Locks brief to ‘stand the test of time’ whilst ‘celebrating the history’ of something special.

I investigated animals and birds that were nearing extinction and came across the magnificent if not bizarrely featured African Shoebill (Balaeniceps Rex- ‘King of the Swamps’) and thought it was stunningly unique! I do love creatures that have personality and this one certainly did. As I read into its history and background, I realised it had a wonderful story to tell and the visual inspiration from its habitat and ecology was incredibly rich.

What is your plan for the next year and what do you hope to achieve?

I will definitely be producing a piece of the Society of Graphic Fine Art at the Bankside Biennial 5-17 June 2017 and one of my pieces has been chosen to represent the National Open Art at ArtRooms 2017, Meliá White House, London, 20-23 January 2017, so hopefully opportunities may arise from these two fantastic events. I usually enter the NOA competition and the Royal Society of Marine Artists at the Mall Galleries.

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Q&A WITH DEVI VALLABHENENI TEXTILE STUDENT WINNER Devi Vallabhaneni has been studying fashion and embroidery for the past three years. She has long believed that embroidery is her ‘métier.’ She constantly thought about how she could develop unique embroidery designs and configurations using beads and sequins presented in 3D. She tells of waking up in the middle of the night with ideas and can’t wait to try them out the next day.

Did you face any obstacles when creating your piece?

On an existential level, my biggest obstacle was self-identity. I was on a path to excel analytically and take on more and more life responsibilities. I never had the freedom to pursue a creative identity.

Giving myself the space and permission to just create was an unfamiliar and unsettling feeling. The more pieces I created for the Hand & Lock Prize, the more I wanted to create. I was on a virtuous creative cycle for the first time in my life. On a practical level, I was really surprised how much math was involved.

Calculating area, volume, and square roots was commonplace. I used vintage French sequins as much as possible. To make sure the sequin quantity covered the area and volume I intended, I had

to ‘backwards’ calculate a design or find additional materials. Before studying embroidery, I studied accounting and finance, so I guess it’s not a surprise that I created an Excel spreadsheet for each piece. You can call me ‘the mathematical embroiderer’! For as analytical I am, I am just as confident in my aesthetic, which has been informed by examining couture and ready-to-wear for over a decade.

I am deeply motivated by colour and texture, given my Indian upbringing and fascination with the sari. I also knew I wanted to create 3D pieces that were fluid and had movement. Because I knew how I emotionally respond to colours and textures, I knew immediately whether I liked a particular design. For every design I liked, there were probably three to four that didn’t work. Because of the volume of designs I had to create before finding the right one, I knew I needed a system that would help me arrive at my aesthetic.

density, and movement. I’m happy with each piece in isolation. In total, however, it’s visually mesmerizing. I believe the real beauty is seeing all 12 pieces together.

What is your favourite element of your piece and why?

On a simple level, it’s practice, practice, and practice. It’s also discipline, selfcultivation of joy, and dedication to details and precision. More personally, it showed me that I’m capable of being creative on an entirely new level.

That’s like asking ‘who is my favorite friend or child.’ In all seriousness, my favorite element is the totality – the totality of colors, textures, volume,

If you could have any job role what would it be and why?

My ideal job would be one that combines my finance and creative skills. Now the priority is exploring what that looks like.

It could be a corporate role at couture houses or something independent and entrepreneurial where I can collaborate freely with artists, designers, and galleries.

All I know is that regardless of what it looks like, I know I will always be creating contemporary art via my métier of embroidery.

What do you think the Prize has taught you?

With over a 25-year career in business and finance and only three years of fashion education, I knew I could be creative but didn’t know its depth.

Switching mid-career into fashion felt like a risk, and through deliberate practice and commitment, I know now I’m on the right personal and professional path.

I really believe winning this Prize has changed my life. I may not know how but I sure know it did. In some ways, I feel like the new category of Textile Art was specifically created for me.

By preparing for this year’s Prize, I found my métier and how to best express myself creatively. Most importantly, I made creativity an integral part of my selfidentity. I had even created a space in my home to resemble an atelier, where I can be the creative director, the premiere, and the petit mains all rolled into one person.

What inspired your choice of colours for your 3D pieces?

What is your plan for the next year and what do you hope to achieve?

My inspiration was Josef Albers’ ‘Homage to the Square.’ His color combinations were a starting point. From here, I married the visual identity of the couture runway. To me, the black and white series was a nod to the classicism of Chanel and Dior. The pink series incorporated the 3D essence of Iris van Herpen and the softness found in Giambattista Valli.

For the green and yellow series, I tried to channel the individuality of Maison Margiela and Jean Paul Gaultier.

I’d really like to push my creativity even further next year. I have already formulated new contemporary art series and installations to begin dialoguing with art galleries. The reaction from people without fashion or embroidery backgrounds has been extremely positive.

I recently shared pictures of my work with someone who said “I’d love to have your work displayed in my home. The more I look at your work, the happier I become – the colors, textures, and designs create happiness.” That’s the best compliment I could receive. I’d also like to begin designing my own sequins to experiment with color, textures, opacity, translucency, and shapes.

How long did it take to finish all 12 pieces?

With a strong confidence in my aesthetic and analytics, I was free to focus on the precision of the technical execution. All in all, it took about 8 months working around-the-clock.

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Hand & Lock Prize for Embroidery

BRIEF 2018

‘Material Alchemy meets Modern Morality’ Once again, Polly Leonard of London College of Fashion, has kindly written a timely, challenging and stimulating brief for the Hand & Lock Prize. Each year, the brief is made available to educational institutions over the summer to allow them time to build it into the following year’s curriculum. Then, the same brief is released to the public in September. This year however, we are offering some cryptic clues to whet your appetite.

The 2018 brief is titled ‘Material Alchemy meets Modern Morality’ and tackles transformative materials, recycling and the individual in the ever changing social and political sphere. The brief asks you to think about the world today; with its wonder, chaos, technology and transformation, then focus on the person at the heart of this world, the identity of the emerging soul. Your embroidery should reflect these values.

Cryptic enough for you?

We’ve also specially selected some images on the left that should stir your creativity further and offer a few more clues about the brief.

If you want more on the 2018 brief you’ll need to visit the Hand & Lock website in September when the full brief is published. In the meantime if you are an educator at a university and wish to request the full brief email prize@handembroidery.com from your university email and we can arrange for the brief to be sent your way.

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London Embroidery Conference Poster and exhibition flyer

For Two Days Only, the World’s Greatest Embroidery was Exhibited in London The Conference The London Embroidery Conference 2017, explored the enduring appeal of embroidery across craft, fashion and textile arts. By looking at historical textile practices and the history of fashion we are able to recognise emerging practices today and better predict where embroidery is going in the future. Expert speakers, practitioners and teachers from around the world gathered to debate, network and learn about the long history of embroidery and where the practice is heading.

Speakers Included: • Principal Costume Embroiderer on Game of Thrones, Michele Carragher • Fashion Historian, Amber Butchart • Director of the Textile Research Centre, Dr Gillian Vogelsang-Eastwood • Artistic Director of the Embroiderers’ Guild, Anthea Godfrey • Trend Forecaster, Geraldine Wharry • Senior Curators of the Imperial War Museum, Alan Jeffreys • Haute Couture Embroidery Designer, Justine Avril Divided in two three sections, the conference covered Heritage, The Now and The Future of Embroidery.

‘Heritage’ explored the nuanced history of embroidery as a means of religious and secular expression and how the practice evolved into a means of personal fashionable expression, the origins of the techniques still used today and how they have changed. ‘Now’ explored how contemporary embroidery is at once a craft, an art and tool used in high fashion. Our panel and guest speakers shared their experiences as working designers and embroiderers in the 21st Century and discussed the impact of recent economic, technological and social changes. The ‘Future of Embroidery’ attempted to predict the impact technology and globalisation will have on the practice of embroidery in the years to come.

The Exhibition The London Embroidery Exhibition was a rare chance to see precious embroideries from around the globe, exquisite samples from Hand & Lock’s archive as well as some impressive haute couture embroidery from recent catwalks.

Organised to support the conference, the exhibition ran for two days only and was been produced with the assistance of expert curators from London College

of Fashion. The exhibition celebrated embroidery in British ceremonial practices as well as its ongoing use in fashion and the arts. This once in a lifetime unique exhibition took place at the historic Bishopsgate Institute in the heart of the London’s east end, where the story of Hand & Lock began in 1767.

The exhibit celebrated our rich heritage as well as the skill of embroidery as a versatile craft and art-form with a long history.

Highlights at the exhibition included: • Early 20th Century Embroidered Chinese lotus shoes on loan from the Textile Research Centre in the Netherlands.

• A restored Victorian military ledger offering insight into a rich regimental history of embroidery and embellishment in the British army.

• The Great British Dress embroidered

by Hand & Lock and the Royal School of Needlework for Nicholas Oakwell to highlight British craftsmanship.

• 13 one-of-a-kind designer bags featuring the finest contemporary and classical H&L embroideries.

• ‘Jumbar G’ fur jumper by British designer Mary Katrantzou with jewellery inspired embroidery by H&L. • A piece straight from Vivienne Westwood’s AW17 catwalk featuring re-purposed H&L military and ceremonial embroidery.

• Contemporary Embroidered Textile art by Diana Springall, Hannah Hill, Aram Han Sifuentes and Nelly Agassi.

The Conference and Exhibition took place on the 12th - 13th July 2017 at the The Bishopsgate Institute, London.

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An Interview with the Curators Expert curators have spent months looking at the Hand & Lock archives and putting together a unique exhibition for the company’s 250th celebrations. With a background in MA Fashion Curation from London College of Fashion, curators Cisely, Philippa, Shirley and Lisa describe what it takes to put on an extraordinary exhibition and how it feels to immerse themselves in 250 years of history.

What was it about Hand and Lock that inspired your involvement with this exhibition?

Shirley: The stories of both companies, and H&L’s involvement within the community through collaborative projects, competitions and classes.

What do you think makes a good exhibition?

Ciss: Exhibitions that can communicate their subject well and make it

Who have you been in contact with for the exhibitions in London and Sydney?

Lisa: We have contacted many individuals in each of the cities, ranging from fashion designers who use embroidery in their designs, to artists whose chosen medium is embroidery, as well as collectors. The common thread is that all of those we have contacted have in common a shared passion for embroidery.

What is a day in the life of a curator like?

Ciss: The day-to-day work varies a lot, which makes curating so exciting for me. The process for this exhibition really began at researching H&L and their incredible history through the archives, as well as learning more about embroidery itself. Editing is an important part of curating, as we’re constantly working to source what will complement the narrative of the exhibition best.

Choosing the final layout and an exhibition design in order to make everything come together and highlight each object’s quality, and then installing it, makes the process really special.

Ciss: Ultimately, that for 250 years they’ve consistently produced beautiful works of embroidery, no matter the size of the project or the client.

Lisa: I have always been fascinated by embroidery. Accordingly, to have the opportunity to be part of a team involved in curating an exhibition to tell not only the story of Hand & Lock but the history of embroidery over 250 years is a real privilege.

effective design that engages with the overall theme of the exhibition.

illuminating for visitors. If they really engage the senses and make the exhibition design complement the narrative – and not the other way round – then I’d love to visit.

Philippa: To me, it’s about simple yet

Philippa: It’s a curator’s job to discover the story behind each object and consider the best way to exhibit it so it cannot be harmed throughout the duration of the exhibition, which means months can be spent Once this is done it is then the curator’s duty to install the pieces along with their object labels and other relevant material, sketches for example.

Lisa: No one day is ever the same, as there are so many different elements that go into curating an exhibition. We are currently at the stage of finalizing the object list. Once this is done, we will have to work out the exhibition design and then deal with all the logistical and administrative issues that installing a touring exhibition requires.

However, there will be some variations, for example each location will showcase the work of local artists and designers.

In addition, each exhibition space is very different, which inevitably requires changes in the exhibition design.

Does the exhibition tell a story?

Ciss: It tells the story of Hand & Lock, beginning with Hand’s ledger. Through this, the narrative opens up as a tribute to embroidery, featuring numerous artists and designers across cultures.

Lisa: The central theme of the exhibition will be the story of Hand & Lock over the last 250 years. However, through that history we aim to celebrate the craft of embroidery globally by focusing on techniques used variously by artists and designers from around the world, which we hope will create new links and alternative narratives.

As this is a celebration of 250 years, how important do you think it is to preserve traditional methods?

Will the exhibitions be different in each destination?

Philippa: With regards to Sydney the exhibition will have some differences, this is because the venue is considerably smaller and unfortunately we don’t have the space to travel the exhibition in its entirety.

Lisa: There will be a consistent thread throughout each exhibition location, namely a celebration of Hand & Lock and embroidery over 250 years, with certain key pieces displayed in all three locations.

How important it is for local artists & designers to be involved in the exhibitions?

Philippa: With the growth of technology and the fast paced industry I find it amazing the traditional methods are still upheld and respected. Why fix what isn’t broken?

Lisa: Personally, I think it is vital to preserve our heritage. One of the wonderful things I have found is that the hand embroidery techniques such as goldwork and tambour beading used today remain unchanged from two hundred years ago and that is something to be celebrated.

Ciss: As embroidery is such a community-driven craft, it’s actually been incredibly meaningful to be able to talk to local artists and designers. Sydney and London are also quite different cities and it’s been fascinating to really see different inspirations, aesthetics and approaches to embroidery.

Philippa: It is really important and something we are highlighting in each of the exhibitions. We have been in contact with many artists in each area who are keen to display their work.

Lisa: As the exhibition is not only about celebrating the history of H&L but about embroidery generally over the last 250 years, I think it is very important that local artists and designers are represented in the exhibitions and to

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reflect any geographical differences or preoccupations.

What is your favourite guest piece that featured in the exhibition?

Shirley: It is not so much one particular piece that we are proudly exhibiting.

Throughout the making process of the exhibitions, we were struck by the kindness of the embroidery community.

Everybody knows each other and wants to help each other. When we started working on the exhibitions, there was a long list of embroiderers, artists, designers, collectors, curators and other enthusiasts who were more than happy to speak to us and/or lend us objects.

Everybody seemed very excited to have an exhibition coming up that celebrates embroidery and wanted to contribute.

Many of the objects on display also demonstrate this collaborative nature from the field.

Lisa: Hand & Lock have collaborated with and continue to collaborate with a vast array of individuals and entities from couturiers, Royal family, contemporary designers and Savile Row tailors to theatre and film productions. We have been very lucky that many of those who have worked with Hand & Lock have been willing to loan pieces but to choose one is too difficult.

Is there a specific time period in Hand & Lock’s history that interests you most?

completely compelling.

Philippa: This is a hard question because each visit to the archive we open a drawer or a box filled with badges, sketches or letters from Cecil Beaton and Hardy Amies. We all get a buzz when we find a photograph of a dress embroidered

by H&L and then stumble across the original sketches and designs- it’s like piecing a puzzle together.

Ciss: Personally, I would say I’m more intrigued and interested by specific cultures and their approach to embroidery rather than time periods.

Shirley: All periods that are part of the exhibition have taught us something new about embroidery, but working on this exhibition has made me look at embroidery differently in general. Now that I am more familiar with techniques, I can look beyond the aesthetic and also appreciate the craftsmanship behind objects. Furthermore, during the research process I was introduced to techniques and objects from various cultures, which I found very interesting.

What are your three favourite pieces that you have discovered in the archives and why?

Ciss: Before visiting the archives for the first time but knowing about H&L, I was drawn to work produced for the Royal family, but since working in the archive I’ve really enjoyed seeing the range of tools used for embroidery. For example, I find the copperplates used for badges

Shirley: The archive contains so many intriguing pieces, it was already difficult to choose what we will have on display in the exhibitions, let alone to pick three from this selection. The archive not only houses the story of H&L, but also the stories of M. Hand and S. Lock. We discovered pieces from three different companies and eras, which was quite special to us. Every time we went up to the archive, we were in awe of what we were able to find. We have been studying

produced at the same time to show how techniques can easily be transferred.

letters, uniforms, badges, articles, tools, images, sketches, designs and samples.

Usually, the archives of designers and makers are only accessible by employees for internal research. We have selected a number of different objects from the archive and will have them on display, so that everyone visiting the exhibition can have a glimpse.

There are many different sides to Hand & Lock; royalty, military and fashion.

Does this affect putting together an exhibition that encompasses all of H&L’s history?

Philippa: It’s definitely a challenge. When exhibitions are as broad as this, covering 250 years of embroidery and considering the importance of embroidery in military and fashion, it can be easy to lose sight of the overall narrative. As a team we have been concentrating on comparing and contrasting embroidery seen on regimental uniforms with fashion

Shirley: The rich history and versatile practice of H&L does bring one challenge and that is to make a selection out of all the beautiful objects and stories that are available to us! However, talking to employees from H&L and members from the embroidery community has helped us to create a focused selection.

Furthermore, when you group objects according to particular themes, there are many interesting links between them popping up. Deciding on groupings or sections then also becomes a difficult choice to make. Luckily, as we will display at three different venues and with a varying object list, we have three options!

Lisa: The different sides of H&L are part of what makes its history so fascinating.

Inevitably, curating an exhibition for a company with such a diverse history creates challenges, particularly in relation to choosing what pieces to display.

However, we hope this exhibition will at least give a taster of the past, present and future of embroidery and Hand & Lock.

The London Embroidery Exhibition took place at the Bishopsgate Institute for two days only on the 12th -13th July 2017 as part of Hand & Lock’s 250thAnniversary celebrations.

Interview by Sasha Danker Leclerc.

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THE EMBELLISHED HANDBAG ‘The Embellished Handbag’ is an international project in collaboration with luxury accessory companies to design and produce thirteen unique bags to be auctioned for charity.

The private unveiling of the embellished bags was held at the Victoria and Albert museum in London on February 1st 2017 and they will be making appearances throughout 2017 at special VIP events before they are auctioned by Sotheby’s in December. Funds raised at the auction will be donated to the Queen Elizabeth Scholarship Trust (QEST) and the H&L Prize for Embroidery. Both charities support a key Hand & Lock principle; the desire to encourage, support and mentor young and emerging craftspeople.

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Vivienne Westwood ‘Tiger’ bag with embroidery by Hand & Lock

Agnes B. ‘Evening over night’ bag with embroidery by Hand & Lock

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Lulu Guinness ‘The Kiss’ bag with embroidery by Hand & Lock

Aspinal of London ‘English Garden’ bag with embroidery by Hand & Lock

Alfie Douglas ‘Marble Wonder’ bag with embroidery by Hand & Lock

The Cambridge Satchel ‘Poppy’ bag with embroidery by Hand & Lock

Asprey ‘The 1781 Woodland’ bag with embroidery by Hand & Lock

Jill Haber ‘The Guardian’ bag with embroidery by Hand & Lock

Lost Property of London ‘ Mini Elwin’ bag with embroidery by Hand & Lock

House of Holland ‘Sonia’ bag with embroidery by Hand & Lock

Globe-Trotter ‘The Traveller’ bag with embroidery by Hand & Lock

Patrick Cox ‘The Royal Shopper’ bag with embroidery by Hand & Lock

BVS Design ‘Grafton’ bag with embroidery by Hand & Lock

Photography by Jutta Klee.

With Thanks to Agnes B, Alfie Douglas, Aspinal of London, Asprey, BVS Design, Globe Trotter, House of Holland, Jill Haber, Lost Property of London, Lulu Guinness, Patrick Cox, The Cambridge Satchel Company, Vivienne Westwood, The Queen Elizabeth Scholarship Fund, Sotheby’s and The Lifestyle Agency.

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18 Questions with H&L’s Head of Design Scott Gordon Heron

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orn in Newcastle and with a background in Textile Design from Nottingham Trent University, Scott Gorden Heron, 30, oversees all major design projects at the H&L Atelier. Sasha Danker Leclerc poses 19 questions to better discover what drives the company’s youngest ever Head of Design.

What does it mean to you to be head designer of a 250 year old embroidery house?

It means a great deal to me personally. I have for many years been extremely passionate about textile design, especially hand embroidery. To be Head of Design of an embroidery house that has 250 years of history is a great privilege, honour and a great responsibility.

Everyday I see it as my duty to maintain, nourish and progress design aesthetic and embroidery skill to the highest standard through working closely with my fellow designers and embroiderers.

This is an environment where we are exposed to a big part of textile history and tradition as well as what is very current and on trend and allows for the capacity for constant learning and interaction that other design jobs may not posses. I see myself and colleagues as not only design professionals, but crucial bodies within the textile industry.

The work we create may be for a wide spectrum of markets and contexts which is a contribution to the worldwide textile industry.

To become head designer at such a young age is something to be very proud of. What do you think has been the greatest contributor to your achievement?

I feel the greatest contributor to my current position would be having the understanding of where I wanted to go professionally from a young age and having a clear vision of how to get there and what I needed to do to make it happen.

When did you first become interested in design?

I have always been interested in art from a young age. I always drew, painted and excelled at art in school.

Creativity is something I have always expressed. I think my relationship with this helped me understand and appreciate design in my early teens, for example I used to draw fashion illustrations a lot in my spare time.

Moving from drawing and painting to having to think about how you might apply something technically I think helped spark my interest in design and helped me to understand what was and was not possible.

What education and experience do you have prior to Hand & Lock?

I completed an Intermediate one year GNVQ course in art and design at age 16. I then moved to a diploma, studying at college for two years, then a further four years at University in textile design

specialising in hand embroidery.

The time in education I had prior to University allowed me to refine the drawing skills I would later require in the applied design of university.

What has been your biggest design career moment?

I would say that one of my biggest design moments would have been my first major commission; Her Majesty the Queen’s Diamond Jubilee in 2012. This has and always will stick with me for many reasons.

Firstly, the embroidery I designed was for a widely televised event and was discussed on an international level. Secondly, the design development of this project was fascinating. Lastly, I am a royalist at heart and to produce work for The Queen was a great Honour.

What is your biggest challenge working in design?

The biggest challenge I currently face in my role at Hand & Lock is making sure I completely understand what my client is looking to achieve whilst recognising the limitations of what is possible, identifying the possibilities and then taking this information and delivering a resolved piece of embroidery that answers the brief given in every possible way.

How would you describe your design style?

Meticulous, realistic and representational.

What are a few things you like and dislike about your current position I like the sense of fulfillment when concept successfully manifests to reality. Being part of a young, talented, passionate team. And for some of my colleagues who I have had the privilege of passing embroidery knowledge to, seeing them use their newfound skills successfully and creatively. And lastly, working for such a prestigious embroidery company with such a vast history. Unfortunately, I do not often get to see what becomes of the many of the embroideries we produce, unless it is for the catwalk, film or TV. I also don’t do as much hand embroidery as I did when I was back at university, but this is mainly due to embroiderers and designers having separate responsibilities that they must fulfil in order to maintain a healthy practice

the deeply private work of Carlo Mollino, an Italian architect, designer and photographer. Featured in the goldwork designs, there lay a great deal of symbolism and a great deal of meaning was imbued in these array of icons and decorations which held strong ties with the occult, spirituality and science, subjects of which Mollino was very much interested in. These frames harmonised with the subject matters of Roddick’s photography which touched upon themes of femininity, misogyny and sex surrounding the female form.

What would be your dream commission?

To work with Damien Hirst.

What movies or music gets your creative energy flowing?

What do you think is the most important aspect of your job?

Memoirs of a Geisha, Elizabeth the Golden age, Marie Antoinette. Music

by Agnes Obel.

To maintain a high level of skill and craftsmanship in all of our work.

What keeps you motivated and what inspires you?

What has been your favourite commission?

Knowing that people have a great love of embroidery. People generally admire this from various different vantage points, but all of these will agree on it’s beauty. The work we produce on a daily basis may well be for military, fashion, interiors, even film and theatre, to take the military context for example.

Many coat work embroideries we produce on a regular basis form

My favorite commission would have been working with artist and activist, Samantha Roddick. We were approached by Sam to translate a set of three beautiful drawings, which would later become gold work frames for a range of photographs that Sam had shot in response to

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a crucial part of official ceremonial and military dress, uniforms that have been unchanged for centuries, and so if you may ever visit a war museum, or The Victoria and Albert Museum for instance, and see such a garment, and view in with a regard and reverence for its craftsmanship and historical and cultural relevance, the work we produce will be seen and used in the same way in the next fifty, one hundred or two hundred years because goldwork and how we utilise it is unchanging from a technical point of view and all of the processes and materials are undertaken in the same way. This ongoing dialogue I feel is one small example of something very integral to embroidery design and I find it deeply inspiring.

What is your best piece of advice for a new designer?

Stay true to your creativity and make sure that even when you are not able to express your own personal style in the work you create for others, to continue to do this in your spare time.

Where would you like to see yourself in the next five years?

Researching textiles design around the world.

What do you think will be the next big thing in design?

I would like to think that biomimetics (human-made processes, imitate nature) will take more of a hold in everyday fashions. And that

biodegradable embellishments may be explored for the disposable fashion markets of today’s world, where people still think it’s of to throw everything away!

What do you love most about being a designer?

Having the opportunity to make a difference. No matter how small or large.

What is the method to your design process?

My method is to first draw everything out in a specific way, bearing in mind the characteristics of the embroidery materials, and then finally annotate the artwork I have created so that my fellow embroiderers can understand how to embroider the design.

Samanth Roddick Embroidery detail

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Th e Han d & L ock Magazi ne ret urns for i t s t hi rd out i ng t o coin cid e with ou r 2 50t h Anni vers ary. We’re c el ebrat i n g b y g ivin g y o u more i mages of gorgeous embroi dery th an ever b efo re, more i ns i ght i nt o embroi deri es th ro u gh ou t h is t ory and ac ros s t he w orl d.

H an d & L o ck h ave p r oduc ed Is s ue Three t o s hare our p assio n for emb roid ery. We hope i t i ns pi res your s oul an d sti rs your c reat i vi t y.

ISSUE THREE