As a designer I aim to work with my consumer to mean personal style and seasonality macro trends rather than micro trends and mass manufacture. I design and make conscious pieces that incorporate the avant-garde and mixed media.
Always looking into new means of circular manufacture, by recycling farming waste into materials we can lower demand on synthetic materials. This idea was spawned by my countIn the UK we only produce commercial leathers from cow, pig, sheep and goat. By transforming these skins into leather we prevent 7.3 million tonnes of waste going to landfill globally every year (leathernaturally.org), but what about skins that don't come from animals found at the deli aisle? I'm of course talking about game skins and byproducts from luxury meat such as venison. This is the waste issue I wanted to resolve.
Under the bleak cloud of the pandemic we were locked away from our loved ones unable to hold each other, from our isolation we were helpless as our mental health wained and many of us lost friends and family to the virus or corresponding conditions not able to be treated because of limited access. unable to grieve in the Dickensian situation notions me to observe the parallels and contrasts with Victorian mourning customs, and how some might help us in such a trying time.
Exploring Victorian-Edwardian customs I began practicing their techniques, from historical pattern cutting and corsetry, to lacemaking, cyanotype photography and taxidermy. Finding closure in keeping myself occupied with artisan crafts relating to the slow fashion of millinery manufacture we would loose throughout the industrial revolution. One practice that has stood the test of time however Is leather making. In partnership with the Institute for Creative Leather Technologies I was able to make leather.
I design for the women who appreciates craft, have the initiative to support where art and design intersect. For me as a designer I want to collate artisan techniques to produce the most fanciful of high fashion garments.