In my works, I explore themes relating to the female experience through the application of couture techniques and hand work.
Scroll down to explore my portfolio...
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Current work in progress… Earth Mother
Earth Mother explores the connection between fertility and our environment – a subject close to my heart after experiencing premature menopause at age thirty-four.
Merging the imagery of a blossoming tree and that of a fertile female form, the work highlights the dependence of human procreation on the health and fertility of our global environmental systems.
By reducing the impacts of climate change and pollution (including microplastics and hormone disrupting chemicals) humans are in-turn rewarded with the increased likelihood of conceiving healthy children.
Reflecting this idea, natural and biodegradable materials have been incorporated wherever possible into the wearable artwork. The dress main is constructed from silk dupion and silk organza and is lined with cotton voile. In addition, the applique features organic materials such as wood, cotton and silk.
The floral applique was designed in collaboration with textile artist Claire Langsford who also constructed the applique.
The Witch’s Knot
'The Witch's Knot' collection uses Celtic knot imagery to honour the women of my Celtic, red-headed heritage, through a subversive, feminist lens.
Historically, red-headed women, such as those in my past and current family tree, were often perceived to be witches. Knotwork has often been associated with magic and spell casting for its perceived binding properties. In fact, historic Celtic knotwork designs include a specific witch’s knot. Therefore, the incorporation of Celtic knotwork designs, particularly in a colour scheme associated with Wicca culture, was integral to the collection.
Throughout history women have been bound – through marriage, societal expectations and even physically, through practices such as Chinese foot binding and corsetry. In this body of work, it was important to promote loosening of these restrictions through unravelling cords, such as those in the embroidery and cord applique. The choice of a larger garment size (size 14) is also a protest against current societal expectations for women to be thin and therefore diminished.
I hope this collection encourages girls to break loose and let their joy be unconfined!
Fully lined, linen strapless bodice with lace up back and hand-sewn, chainstitch embroidery. Textured knit skirt with overlapping front panels.
Fully lined, strapless, silk dress with gathered drape overlay. Front of dress features Celtic dagger knot detail.
Textured knit cape with Celtic knot clasp. Double georgette mini dress with neckline gathering.
Concept illustration - watercolour and pen
Let Them Eat Cake!
This wearable art ensemble was created as a tongue-in-cheek entry for an occasion wear competition, which happened to coincide with the emergence of the cost-of-living crisis in 2023.
Both garments feature luxurious fabrics and trims that are fit for a queen, including silk, ostrich feathers and beading. The peacock print of the dress also reflects the royal subject matter and her thoughtless extravagance.
FASHION GARMENTS - experiments with diagonals
The diagonal silhouette and embroidery lines of this corset are inspired by a historical corset in the Victoria and Albert Museum collection, constructed in 1864. My interpretation is comprised of a cotton sateen outer layer, featuring machine embroidery, cotton sateen lining and metal boning.
This outfit was created for a racewear project during my Advanced Diploma of Fashion Design. While I do not condone horse racing, I love the bold, geometric shapes of the riders’ jerseys. The asymmetrical bodice and cropped pants are constructed from silk dupion and lined with acetate.
