Bursaries & Awards
Textile Society Award and Lucienne Day Award Winners
Charlotte Street likes to encourage people to look at things differently. She uses drawing, watercolour, photography and
digital manipulation techniques to create layered, trompe-l’œil textile imagery that reveals optimistic "hidden and overlooked beauty".
Like Lucienne Day, who drew on the English tradition of patterns based on plant forms, Charlotte’s design style has been influenced by getting
close up to flowers and plants, and the growing process, while working part-time at her family’s plant nursery. As well as coming to our attention,
she has been talent spotted by several organisations that support United Kingdom artisans, so her future certainly looks sunny and full of opportunities.
Charlotte was chosen by the judges, Mary Schoeser and Fiona Candy, after an extremely enjoyable day at New Designers.
Emily is a Textile Design graduate from the Fashion and Textiles Institute at Falmouth University. Emily has been specialising in working
with leather, and made her own tools to create products for both interiors and fashion. This has involved exploring the potential of embossing,
debossing, laser cutting and etching leather with precise, rhythmic patterns suitable for tiled wall coverings, car interiors, accessories
and personal technology devices.
Judges Mary Schoeser and Fiona Candy were impressed by Emily's enthusiasm for collaborative ways of working, which the judges considered to be an important criteria for the 2015 award.
Rachel has explored many ways of working, including looking at the qualities of
shibori using a kaleidoscopic digital camera, using dip dyeing techniques with remarkable precision and multiple dyeing phases to build up subtle,
ombre shades of colour. Her folio also contained a fusion of traditional and digital techniques and demonstrated her knowledge of material and colour,
and professional application to interior and exterior architectural spaces.
Judges Fiona Candy and Debra Roberts were struck by Rachel's sleek, linear print style with gradated, merging colour imagery that give an illusion of constant motion.
Ruth took inspiration from 1950’s design, including Lucienne Day’s, that had a playful narrative, and from still life paintings by Picasso and Mattise with busy compositions full of colour and juxtapositions of imagery. After first generating a body of drawn and painted development work, in the customary tradition of textile design, Ruth translated these across a range of material and surface applications using a mix of new age and traditional printing methods. The judges were particularly taken by the way she had collaged and moulded screen printed papers onto retro plywood stacking chairs to bring a contemporary twist to the practice of decoupage. Ruth has been offered an internship at the British Museum and is also working with a London based company who collect hand crafted work by up and coming British designers, and who will aid her to take the upcycled chairs to market. She is using the Award as working capital to purchase more furniture for this exciting venture.
The judges were very interested in Sian's approach to weaving , and especially in the beautiful contents of her sketchbook which had underpinned the textile development. Her initial inspiration came from Google earth images- drawing reference from the patterns and vibrant colours created by estuaries. Her Welsh heritage is also apparent in many of her designs where she draws reference to historical Welsh textiles.
Fundamental to her work has been the in depth technical exploration of multi-layered weave structures combined with colour and the deviation of the expected path of a warp thread. Hand manipulated distortions rise and fall from structurally patterned ground weaves, emphasised by carefully considered bands of contrasting colour. Sian has also developed new digital patterns that would be impossible to weave, but that use inkjet print to convey 'woven' qualities that she applies to upholstery. Sian has a strong sense of how her textiles will work in interiors, and the judges felt sure that Lucienne Day would have approved.
Duncan of Jordanstone College of Art and Design
The judges Mary Schoeser and Fiona Candy were drawn to Kate's work because of her interest in the longevity of fabrics and clothing. Her knitted, indigo fabrics are designed to grow old gracefully- even to improve with age. Mary and Fiona agreed that this approach to textile making offers an antidote to the relentless pace of fashion, which will be difficult to sustain in the future. Kate's research in the context of Wabi Sabi - the Japanese art of impermanence - has indicated ways to construct and also to 'coat' her fabrics with other materials that have the potential to wear away slowly and change over time. Her fabrics can show the entropy of wear and tear that evidences time passing in a beautiful way, and to purposefully show the marks that signify the lived experience of their wearer.
2010 Textile Society Award
Soukaina Aziz El Idrissi
Central st Martins
2009 Textile Society Award
BA (hons) Woven Textile Design
During her degree Caroline did 6 months work experience working in London for Margo Selby and in New York for Tom Cody Design. Inspired by an interest in Victorian culture and design she explored the possibilities of mixed fibre shrinkage and quilting to create her final collection. Employing modern colour trends and a lustrous combination of tram silk and dip-dyed cotton she has created an innovative and beautiful collection of fabrics for menswear shirtings and accessories.
Edinburgh College of Art
Selected for her versatile collection of fabrics for fashion and furnishings using printed relief and pleated techniques in glorious colours, Lucy was also awarded the Textprint Interior Fashion Award. Inspired by origami, paper sculpture and the irridescent colours of peacock feathers, her reversible and sculptural screen printed textiles are achieved by concentrating on both sides of the cloth. Equal importance is given to surface pattern and relief effects embossed surfaces in printed textiles.
BA Printed Textile Design
Nottingham Trent University
Rose Garland and Carousel Horse
Brian's designs are a modern take on floral patterns with unexpected additions - all beautifully drawn and incorporating hand and digital printing techniques. Repeat patterns for furnishing fabrics contain old chairs, china figurines and moths as well as overblown roses. His new approach is very much in the manner of Lucienne Day who revisted florals in the 1950's.
Surrey Institute of Art & Design
Seeing but not feeling and feeling but not seeing
Ros wanted to create a textile that reflected the blind as well as the sighted. "Because the ground we walk on, can only be felt by the blind and seen by the sighted , something many of us take for granted failing to see or feel things at all". Crackly textures, multiple creases and ripped edges were produced by mono printing, reminding me of cracks in pavements and textures I would see on eroded concrete and bricks.
BA (Hon) Surface Pattern Design
Anne Marie Jackson
MA Mixed Media and Constructed Textiles
Cleveland College of Art
MA Mixed Media and Constructed Textiles
Royal College of Art
West Wales School of Art
Marilin Delorenzi Waters
BA European Textile Design