NNEKA JONES

Nneka Jones

Nneka Jones is a contemporary multidisciplinary artist who enjoys working in mixed media, embroidery, textiles and paint exploring both large-scale mural work and small-scale, intimate pieces. The Trinidadian born artist produces thought-provoking artwork that comments on social and environmental injustice; strongly advocating for the protection of women and girls of color. These are often topics that as a society, we feel uncomfortable addressing but are necessary for positive change.​

Since graduating from the University of Tampa in May 2020, Jones’ work has caught the eyes of Art directors in top publications like TIME where she was commissioned to produce the hand embroidered flag that appears on the cover of the August 31st/ September 7th 2020 issue. She was also commissioned by the Washington Post to capture the history made by Vice President Kamala Harris and even appeared as a keynote speaker for Adobe MAX; emphasizing the importance of art as a vehicle for activism. 

Her unique hand embroidery work has been featured in Colossal magazine, The Jealous Curator blog, The American Craft Council, Embroidery Mag UK and Domestika. With permanent collections in the Florida Craft Art Gallery, Ferman Art Center and Tampa Museum of Art, Jones continues to broaden her professional practice and break barriers at an early stage in her career as an inspiration to other young aspiring artists.

Books:

Links:

• Nneka Jones

• Nneka Jones, a social activist and diverse artist

• Nneka Jones: Time Magazine Cover

MARC CHAGALL

Marc Chagall

Marc Chagall, (born July 7, 1887, Vitebsk, Belorussia, in the Russian empire, [now Belarus]—died March 28, 1985, Saint-Paul, Alpes-Maritimes, France), was a French painter, printmaker, designer (including stage sets and costume design), who composed his images based on emotional and poetic associations, rather than on rules of pictorial logic.

Predating surrealism, his early works, such as I and the Village (1911), were among the first expressions of psychic reality in modern art. His works in various media include sets and costumery for plays and ballets, etchings illustrating the Bible, and stained-glass windows.

Books:

• My Life by Marc Chagall

• Chagall by Chagall

• Chagall at the Met by Emily Genauer

Links:

• Chagall - Fusion of design: Costume performance and Visual Art

• Marc Chagall

• Inside the Fantastical Costume World of Marc Chagall

SIMONE PHEULPIN

Simone Pheulpin

Born in 1941 in Nancy France, Simone Pheulpin is a French textile sculptor who lives and works in the Vosges, France. Her works are the result of an instinctive expression that uses both the suppleness and firmness of an untreated, natural material, a simple non-bleached cotton. From her fabric strips and thousands of pins, a veritable vocabulary of forms and shapes with an organic allure, a supernatural world where surprising rocks and the seabed take form, sprung from her spirit and guided by her hands.

She considers the fabric her partner,“If the fabric doesn’t want to go in the place that I’d like, I’ll do what it wants,” she says. “It’s always the fabric that wins, it’s never me.” 

Her work is in several important collections including the Art Institute of Chicago, Illinois; Savaria Museum, Szombathely, Hungary; Hinaya Textile Society, Kyoto, Japan; Museum of Decorative Arts, Paris, France and the Victoria & Albert Museum, London, UK.

Books:

• Simone Pheulpin Cercle D'Art by Christopher Pradeau ( English and French)

Links:

• Simone Pheulpin - The Design Edit

• Simone Pheulpin - Maison Parisienne

• Simone Pheulpin - Browngotta Arts

CHIHARU SHIOTA

Chiharu Shiota

Chiharu Shiota was born in 1972 in Osaka, Japan and is currently based in Berlin. She studied at the Kyoto Seika University in Kyoto (Japan) from 1992 to 1996, was an exchange student at The Australian National University School of Art in Canberra (Australia) in 1993-93, and a student at Hochschule für Bildende Künste Braunschweig (Germany) from 1997 to 1999, and lastly at Universität der Künste Berlin (Germany) from 1999 to 2003.

Shiota’s inspiration often emerges from a personal experience or emotion which she expands into universal human concerns such as life, death, and relationships. She has redefined the concept of memory and consciousness by collecting ordinary objects such as shoes, keys, beds, chairs, and dresses, and engulfing them in immense thread structures. She explores this sensation of a ‘presence in the absence’ with her installations but also presents intangible emotions in her sculptures, drawings, performance videos, photographs, and canvases.

Chiharu Shiota is known for her site-specific installations in which she weaves enormous webs from black, white, or red yarn and turns entire galleries into labyrinthine environments. Her awe-inspiring works evoke ideas of anxiety, identity, loss, and memory. Shiota’s “The Key in the Hand” display at the 2015 Venice Biennale, where she represented her native Japan, featured more than 50,000 keys dangling from an expansive web of red thread that hovered above two wooden boats.

Other memorable works include Lost Words (2017), for which Shiota suspended thousands of ripped Bible pages in 100 different languages inside Berlin’s oldest church, and Counting Memories (2019), in which paper numbers adorned her clouds of dark thread. Shiota has exhibited across Australia and has exhibited her work at the Taipei Fine Arts Museum, the Royal Museum of Fine Arts of Belgium, the More Art Museum, in Tokyo, and the SCAD Museum of Art, among other institutions.

Books:

• Shiota Chiharu in Memory, published by Gana Art (Korean-English)

• Chiharu Shiota Invisable Line, published by ARoS Aarhus Kunstmuseum (Danish-English)

• Chiharu Shiota Circulating Memories, published by Mixed Bathing World Executive Committee (Japanese-English)

• Carte Blanche A, Chiharu Shiota, published by Musée national des arts asiatiques-Guimet (French)

Links:

• Chiharu Shiota

• Chiharu Shiota - Konig Gallery

• The Soul Trembles - Queensland Gallery of Modern Art

SARAH LUCAS

Sarah Lucas

Sarah Lucas lives and works in Suffolk, very close to the Essex border and Firstsite’s home of Colchester. Over the course of two decades, she has become recognised as one of Britain’s most significant contemporary artists.

Spanning sculpture, photography and installation, her work has consistently been characterised by irreverent humour and the use of everyday ‘readymade’ objects. Sarah studied at Goldsmiths College where she exhibited in the now historic Freeze exhibition in London’s Docklands in 1988.

Her work has since been exhibited in venues across the globe. In 2015 she represented Great Britain at the 56th International Art Exhibition, Venice Biennale.

Lucas is known for bawdy, mischievous and confrontational sculpture, photography and installation. She arrived on the English art scene via the 1988 group show, Freeze, alongside several other young British artists coming out of Goldsmiths, University of London—among them the curator/artist Damien Hirst.

She is a feminist who uses raunchy and morbid humour, irony and sexual puns to explore everyday English culture and sexual and psychological tensions. Her works reflect and satirise misogynist norms in general life, tabloids and pornography. In some of her earliest work (from 1991) this was done through a series of enlarged spreads of extracts from tabloid newspapers that exemplified seedy working-class male attitudes towards women.

Books:

• Sarah Lucas, Au Natural by Massimiliano Gioni and Margot Norton

• Lucas, Au Naturel by Amna Malik

• Sarah Lucas (Modern Artists) by Matthew Collings

• Sarah Lucas Situation: Absolute Beach Man Rubble by Sarah Lucas, Iwona Blazwick and Poppy Bowers

Links:

• Project 1: Sarah Lucas - National Gallery of Australia

• Big Women Exhibition

• Sarah Lucas - Ocula Article

• Project : Sarah Lucas - Sydney Morning Herald Article

LIZ KUENEKE

Liz Kueneke

Born in Chicago in 1976, Liz received a dual degree in Fine Arts and French Literature in 1998 from Georgetown University, and a Master of Fine Arts degree from Claremont Graduate University (Los Angeles) in 2001. In addition to her artistic practice she also curates exhibitions,and gives workshops to art and architecture students on psychogeography and participatory mapping. She has lived in Spain since 2003.

Since 2004, Liz Kueneke has been investigating the relationships that people have with their environment through the use of participatory mapping activities and public interventions. She is fascinated by the human urban experience and the different layers of meaning attached to the public and private spaces that we inhabit, and how the changes taking place in our cities are affecting our lives. She has been especially influenced by people such as the urban planner Kevin Lynch and the Situationists.

In 2020, in addition to her mapping, she created a new branch of investigation using artistic swimming as an artistic tool. Constantly exploring new rivers, lakes, seas and oceans, she attempts both to connect on a deeper level to nature, and to transmit the beauty and fragility of our planet.

Links:

• Liz Kueneke - Oceanic Global

• Liz Kueneke - The Cargo Collective

SUE VICKERY

Sue Vickery’s career centres on embroidery and textiles. An Australian based artist, residing in Fremantle WA, she worked for over twenty years as a costumier for theatre in Australia and the UK. In the last twenty years she has built expertise in development work and fine art embroidery. She works as a craft consultant with income generation projects in India, Nepal, Tibet, Myanmar and Turkey, responding to local materials and artistic traditions.

Sue has also facilitated community art workshops in Mumbai, Nepal and with indigenous Mexicans and Australians. Her work is the inspiration for her embroidered animations, automata and textile pieces.

Links:

• Sue Vickery

• Sue Vickery, Stitched and Constructed Textiles

• Sue Vickery, From concept to construction - textile artist.org

FAITH RINGHOLD

Faith Ringhold

Faith Ringhold is a painter, writer, speaker, mixed media sculptor and performance artist who lives and works in Englewood, New Jersey. Ms Ringgold is professor emeritus at the University of California, San Diego where she has taught art from 1987 until 2002. Professor Ringgold is the recipient of more than 75 awards including 22 Honorary Doctor of Fine Arts Degrees.

In 1970 Ringgold began teaching college courses. In 1973 she quit teaching in New York City public schools to devote more time to her art. In the early 1970s she abandoned traditional painting. Instead, Ringgold began making unstretched acrylic paintings on canvas with lush fabric borders like those of Tibetan thangkas. She worked with her mother, Willi Posey, to fashion elaborate hooded masks of fabric, beads, and raffia, which were inspired by African tribal costume. She also began making fabric “dolls” and larger stuffed figures, many of which resembled real individuals. Ringgold used some of these works in Performance pieces—the earliest of which, Wake and Resurrection of the Bicentennial Negro, was first performed in 1976 by students using her masks, life-size figures, and thangkas, along with voice, music, and dance. In 1976 and 1977 she traveled to West Africa.

Ringgold expanded the format of her thangka paintings to quilt size. Her mother pieced and quilted the first of these new works, Echoes of Harlem (1980), before dying in 1981. It was in 1983 that Ringgold began to combine image and handwritten text in her painted “story quilts,” which convey imaginative, open-ended narratives; in the first one, Who’s Afraid of Aunt Jemima? (1983), the familiar advertising character is turned into a savvy businesswoman. Ringgold’s use of craft techniques ignored the traditional distinction between fine art and craft, while demonstrating the importance of family, roots, and artistic collaboration.

Links:

• Faith Ringhold

• Im not going to see riots and not paint them - The Guardian article

• Faith Ringhold - The Guggenheim Museums and Foundation

JESSE KRIMES

Jesse Krimes

Jesse Krimes born in 1982 in Lancaster Philadelphia, and is a Philadelphian based artist and curator. He is the co-founder of Right of Return, USA, the first national fellowship dedicated to supporting formerly incarcerated artists. Krimes’ work has been exhibited at venues including the Palais de Tokyo, The International Red Cross Museum and the Aperture Foundation. His work has been included in exhibitions at MoMA PS1 and the Philadelphia Museum of Art. He is the recipient of multiple awards and fellowships from institutions including the Robert Rauschenberg Foundation, the Independence Foundation, the Vermont Studio Center, the Captiva Residency, Creative Capital and the Art for Justice Fund. Krimes’ work is included in the Agnes Gund Collection. 

Krimes’ artworks have been cited in numerous publications, including Hyperallergic, The Wall Street Journal, Blouin, The Star Ledger, National Public Radio, Bloomberg, and The Financial Times.

Books:

• Marking Time: Art in the Age of Mass Incarceration (Harvard University Press, 2020) — by Nicole R. Fleetwood

Links:

• Jesse Krimes

• Jesse Krimes - Malin Gallery

• Art and Krimes by Krimes

• American Rendition

• How art and prison let us understand life’s complexities prison, Jesse Krimes - TEDx

THE HONOUR QUILT

The International Honour Quilt (IHQ)

The IHQ is a collaborative, grassroots feminist art project initiated by Judy Chicago in 1980 “to extend the spirit of The Dinner Party” on its tour of venues throughout North America, Europe and Australia. It consists of a collection of 539 individual quilts that can be assembled into a multi-sectional, monumental work of art. The panels, which utilize a wide variety of materials and techniques, have been made by different women or groups honoring and addressing individually selected women, women’s organizations or women’s issues, to expand the number of women honored by Chicago’s The Dinner Party.

The IHQ was gifted to the University of Louisville and its Hite Art Institute in October 2013 by Through the Flower (TTF), a 501(c)3 non-profit feminist art organization founded in 1978 by Judy Chicago. (International Honor Quilt Collection, Hite Art Institute, University of Louisville.)

In addition to the individual panels, the collection contains documentation about the makers, honorees, and techniques used. Panels were added to the quilt at each of the tour venues, beginning in 1980 and continuing through 1988.

Books:

• The Flowering, The Autobiography of Judy Chicago by Judy Chicago, Cloria Steinem (Foreword by)

• Judy Chicago In the Making by Thomas P. Campbell et al

• The Complete Dinner Party by Judy Chicago

Links:

• Judy Chicago

• Brooklyn Museum: The Dinner Party by Judy Chicago

• Judy Chicago at the National Museum of Women in the Arts

• Through the Flower

JUDITH SCOTT

Judith Scott (1943 - 2005)

Judith Scott was born in Columbus, Ohio, in 1943. Isolated as a result of being institutionalized for most of her life due to Down syndrome and deafness, Scott began creating art at age forty-three, after being introduced to Creative Growth in 1987. Fabric quickly became her passion and medium of choice, and for the next eighteen years of her life, Scott created sculptures using yarn, twine, and strips of fabric, to wrap and knot around an array of mundane objects she discovered around her, such as keys, plastic tubing, bicycle wheels, and a shopping cart.

Scott’s vivid and enigmatic sculptures, which evolved in shape and material throughout her career, expressed her imagination in ways she could not through speech. Her abstract works have been compared to nests and cocoons while her processes alluded to both ritual and play. Described as hermetic and complex, the wrapping suggests protection and concealment.

Scott’s work is held by the permanent collections of the Museum of Modern Art, the San Francisco Museum of Modern Art, the American Folk Art Museum, the Museum of Everything, and the Collection de l’Art Brut in Switzerland. Her works have been displayed in galleries, fairs and museums around the world, most notably the 57th Venice Biennale in 2017. In 2014, the Brooklyn Museum held the first comprehensive survey of Scott’s works in an exhibition titled Judith Scott: Bound and Unbound.

Scott lived in Dutch Flat, California, and continued making art at Creative Growth Art Center until she passed away in 2005.

Links:

• Judith Scott - Art21 Article

• Judith Scott - Creative Growth Article

ANNEMIEKE MEIN

Annemieke Mein

Annemieke Mein, born in 1944 in Haalem, is a Dutch-born Australian textile artist who specialises in depicting wildlife. She was the first textile artist to be member of Wildlife Art Society of Australasia and the Australian Guild of Realist Artists. The subjects of her sculpted textiles are birds, frogs, gum and wattle blossoms, and insects such as moths, dragonflies, wasps and grasshoppers. Her fondness for insects and her sympathetic images, often greatly enlarged and showing normally invisible colours and textures, have revealed new aspects of the everyday world.

Annemieke was the only child of a father who was a dental technician and a mother who was a skilled dressmaker, and emigrated to Melbourne with her parents in 1951. Initially unable to speak English, she attended Brighton State School, Mitcham State School and Nunawading High School. She spent long days of her childhood roaming the outdoors and becoming fascinated by the extraordinary diversity of Australian wildlife. She sketched and collected insects, and learnt to breed and raise butterflies.

Her work became well-known and she was acclaimed as one of the world's foremost textile artists. In 1988 she received the Order of Australia Medal for services to the arts.

Books:

• The Art of Annemieke Mein by Annemieke Mein

Links:

• Annemieke Mein

• The Art of Annemieke Mein - Gippsland Art Gallery

• Anemieke Mein - Drawn to Stitch

• Annemieke Mein - ABC Article

SHEILA HICKS

Sheila Hicks

Sheila Hicks was born in Hastings, Nebraska and received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint in Chile. While in South America she developed her interest in working with fibers. After founding workshops in Mexico, Chile, and South Africa, and working in Morocco and India, she now divides her time between her Paris studio and New York. ​
Hicks has exhibited internationally in both solo and group exhibitions. She was included in the 2017 Venice Biennal,  2014 Whitney Biennial in New York,  the 2012  São Paulo Biennial in Brazil. Recent solo presentations include "Lignes de Vie" at the Centre Pompidou in Paris in 2018, Free Threads 1954-2017 Museo Amparo, Mexico,"Pêcher dans La Rivière" at the Alison Jacques Gallery, London (2013); A major retrospective Sheila Hicks: 50 Years debuted at the Addison Gallery of American Art and traveled to the Institute of Contemporary Art, Philadelphia and the Mint Museum, Charlotte, NC. 

Hicks‘ work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York City; Museum of Fine Arts Boston; The Art Institute of Chicago; the Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; the Museum of Modern Art, Tokyo; Museo de Bellas Artes, Santiago; solo exhibitions at the Seoul Art Center, Korea; Israel Museum, Jerusalem.

Books:

• Sheila Hicks by Nina Stritzler-Levine

• Sheila Hicks Lifelines by Sheila Hicks

Links:

• Sheila Hicks

• Article - Artsy

• Riotous Colour, Terrific Textiles - Wallpaper Article

PAUL YORE

Paul Yore

Born in Melbourne Victoria in 1987, Paul Yore is an Australia artist working across installation, sound, video, collage, assemblage and textiles, often employing needlepoint, quilting, and appliqué techniques.

In the narratives of his work, kitsch Australiana collide with sexually and politically loaded images, and popular culture reference to make up Yore’s uniquely garish, playful, provocative and politically astute works. His anarchic and anti-formalist approach to materials and content results in a visual cacophony of imagery and text that critiques the upheaval and dysfunction of contemporary society.

Yore brashly and unapologetically re-centres radical and emancipatory queer expression against the backdrop of neoliberalism and the material excesses of capitalism.

Books:

• Paul Yore: WORD MADE FLESH by the Australian Contemporary Centre for the Arts

Links:

• Paul Yore - Station Gallery profile

• Monstrous Patchwork: Paul Yore Textile Politics by Helen Hughes

ARTICLE 3.

The Versatility of Contemporary Textile Art

For thousands of years, people have been practicing the craft of designing or creating textiles. First emerging from a necessity to fill basic needs, different cultures around the world took it to another level by developing methods of making artistic, creative and beautiful cloth that laid the basis for what we call textile art. The practice that involves weaving, knitting, pressing or knotting together individual pieces of natural or artificial fibers, textile making tradition spans global cultures as one of the earliest human technologies.

Apart from providing shelter and warmth or holding goods, textiles also served decorative purposes and held an important place in arts and crafts of various cultures around the world.

Ever since the 1980s, textile arts have been developing new forms and language involving many creatives along the way. Influenced by postmodernist ideas, textile and fiber work has become more and more conceptual. Various creatives are now experimenting with techniques, materials and concepts, completely pushing the limits of the medium. These re-born practices such as embroidery art, weaving, quilting, crochet and many others, have placed a new focus on the work that confronted social and political issues such as gender feminism, domesticity, women’s work, and identity politics. Yet, not all fiber artists are feminists or even concerned with the political and social connotations of fabric arts. They simply employ textiles and threads as a painting and sculpting material.

Links:

• The Versatility of Contemporary Textile Art - A Widewalls article

ANNI ALBERS

Anni Albers (1899 - 1994)

Anni Albers was one of the most influential textile artists of the 20th century. Working with striking geometric patterns, her works are noted for a radical use of color that helped pioneer the burgeoning ‘Modernist movement’.

Born Annelise Elsa Frieda Fleischmann on June 12, 1899 in Berlin, Germany, she studied under Martin Brandenburg and then with Paul Klee at the Bauhaus school, where would become a teacher herself. Albers once said that “to be creative is not so much the desire to do something, as the listening to that which wants to be done: the dictation of the materials,” and throughout her life she experimented with materials and inspired a cultural reassessment of fabrics as an art form. Along with her husband, the famed colonist Josef Alders she also taught at the legendary Black Mountain College in North Carolina. In 1949, the German-American artist had a solo exhibition of her bold and abstract work at The Museum of Modern Art in New York City, a highlight of a distinguished and celebrated career.

Albers continued to weave, write, and print until her death on May 9, 1994, in Orange, CT at the age of 94.

Links:

• Anni Albers - Artnet article

• The Anni Albers Retrospective at Tate Modern

THE QUILTS OF GEES BEND

The Quilters of Gees Bend USA

The quilting tradition in Gee's Bend may go back as far as the early 1800s, when the community was the site of a cotton plantation owned by a Joseph Gee.

Influenced, perhaps, by the patterned textiles of Africa, the women slaves began piecing strips of cloth together to make bedcovers. Throughout the post-bellum years of tenant farming and well into the 20th century, Gee’s Bend women made quilts to keep themselves and their children warm in unheated shacks that lacked running water, telephones and electricity.

Along the way they developed a distinctive style, noted for its lively improvisations and geometric simplicity.

Books:

• The Quilts of Gees Bend: Masterpieces of a lost place by William Arnett

• Gees Bend by Elyzabeth Gregory Wilder

• Gees Bend to Rehoboth: Women and their quilts by William Arnett

Links:

• Gees Bend

• Fabric of their lives - Article

• The Quilts of Gees Bend: A Slideshow

PIA CAMIL

Pia Camil

Pia Camil (b. 1980) lives and works in Mexico City. She has a Bachelor of Fine Art from the Rhode Island School of Design and a Masters of Fine Art from the Slade School of Fine Art, London.
Camil is a visual artist based in Acatitlán, State of Mexico. Her paintings, sculptures, performances and installations emphasize the importance of collectivity and are frequently done in collaboration with local manufacturers. The subject matter of her work focuses on the rural / urban contexts with a formal yet critical dialogue with modernism and she has her work exhibited internationally.

Links:

Pia Camil

Pia Camil

MAGDALENA ABAKANOWICZ

Marta Magdalena Abakanowicz-Kosmowska (1930 - 2017)

Marta Magdalena Abakanowicz-Kosmowska was a Polish sculptor and fiber artist. She was known for her use of textiles as a sculptural medium and her outdoor installations. She is widely regarded as one of Poland's most internationally acclaimed artists.

As a young girl growing up in Poland, Magdalena Abakanowicz spent a great deal of time outdoors, foraging for twigs and stones in an attempt to "understand the mysteries" separating her from nature. Her interest in natural materials reflects in her earlier work, through her use of rough, textured materials. In the 1960's, Abakanowicz was one of the first artists to establish the use of traditional fiber techniques as a valid medium in contemporary art.

Books:

• Magdalena Abakanowicz à Lausanne, edited by Magali Junet and Giselle Eberhard Cotton; co-published by Fondation Toms Pauli, Lausanne, and Scheidegger & Spiess, Zurich, 2023

• Magdalena Abakanowicz, edited by Ann Coxon and Mary Jane Jacob, Tate Publishing, London, 2022

Links:

• Magdalena Abakanowicz, Every Tangle of Thread and Rope Exhibition

• Magdalena Abakanowicz

• Every Tangle of Thread and Rope - Review

THE RED DRESS PROJECT

A 14-year, award winning global, collaborative embroidery project 2009 - 2023

The Red Dress project, conceived by British artist Kirstie Macleod, provides an artistic platform for women around the world, many of whom are vulnerable and live in poverty, to tell their personal stories through embroidery.

From 2009 to 2023, pieces of the Red Dress travelled the globe being continuously embroidered onto. Constructed out of 85 pieces of burgundy silk dupion, the garment has been worked on by 366 women/girls, 7 men/boys and 2 non-binary artists from 51 countries. All 140 commissioned embroiderers were paid for their work, and receive a portion of all ongoing exhibition fees, merchandise, and the opportunity to sell their work through the Red Dress Etsy shop. The rest of the embroidery was added by willing audience at various exhibitions & events.

Embroiderers include female refugees from Palestine, Syria and Ukraine, women seeking asylum in the UK from Iran, Iraq, China, Nigeria and Namibia, survivors of war in Kosovo, Bosnia & Herzegovina, Rwanda, and DR Congo; impoverished women in South Africa, Mexico, and Egypt; individuals in Kenya, Japan, Turkey, Jamaica, Sweden, Peru, Czech Republic, Dubai, Afghanistan, Australia, Argentina, Germany, Switzerland, Canada, Tobago, Vietnam, Estonia, USA, Russia, Pakistan, Wales, Colombia and England, students from Montenegro, Brazil, Malta, Singapore, Eritrea, Norway, Poland, Finland, Ireland, Romania and Hong Kong as well as upmarket embroidery studios in India and Saudi Arabia.

Links:

• The Red Dress