| The
following people are set to be speaking at the International Conference:
Dr.
Sandy Heffernan is the Programme Leader of Textile Design,
Massey University.
In
2004 Sandy completed her PhD on J P Coats's Needlework Development
Scheme. Her
research papers focus on issues of cultural exchange in textile design
in an historical and socio-cultural context, and eco-dyeing.
Her 2007 papers include: Visual Splendour:
Liturgical Robes in Colonial New Zealand; Peasant Past Present; Eco-Dye:
simply sustainable; Politics and Trade in Design: Emmy Zweybruck-Prochaska’s
Influential Textile Designs in Needlework Development Scheme Collections
published by Berg Textile.
In 2007, Sandy exhibited eco dyed
and stitched textiles at LUSH, an international juried exhibition
at Grimshaw-Gudewicz Gallery, Fall River, MA, USA.
Synopsis of Stitch Culture:
from Peasant to Global
Centuries of tradition and knowledge
provide a rich embroidery heritage regularly exchanged between cultures.
Design ideas have moved from one geographic location to another, often
enriched in the moving. The influence of industry, in particular the
thread industrialists J & P Coats, transferring design from Central
Europe to Britain and beyond, and from Britain to Central Europe is
discussed. Contemporary 'peasant' examples, such as John Galliano's
designs, reveal constant change and the existence of global culture
in embroidery.
Sue
Prichard is Curator of Contemporary Textiles and Fashion
at the Victoria & Albert Museum.
After ten years experience
(1978-1988) working in the private sector for multi-national corporations
in senior administration and marketing roles, she joined the Tate
Gallery in 1989 and worked on a number of short term contracts in
Gallery Records, as Assistant Registrar and Cataloguer for the Contemporary
Art Society papers 1911-1976; Operations Assistant (1992-1998), co-ordinating
the exhibitions and display programme; Floor manager for Turner Prize
(1992-1998); and worked directly with Senior Management Team to deliver
organisational change programme (1998-2001) prior to opening of Tate
Modern.
In 2001 she joined the
Victoria & Albert Museum as Operations Manager in Furniture, Textiles
& Fashion Department with responsibility for strategic planning
and collections management with Curatorial responsibility for Contemporary
Textile Collection 1945-present from 2002. Planned and delivered series
of contemporary textile displays including Textiles in Context: 40th
Anniversary of the 62 Group; Recent Acquisitions 1992-2002: A Decade
of Collecting Textiles and Concealed-Discovered-Revealed: New Work
by Sue Lawty and Penelope's Thread: Contemporary Tapestry from the
Permanent Collection.
She is currently working on a major exhibition for 2010 'Quilts: Tradition
and Innovation', and the V&A Crafts Champion (2006-).
She is an active panel
member of several important organisations.
" MA Textile Culture External Periodic Review, Norwich School
of Art and Design (2004)
" Black Swan Arts Open Art Competition (2006)
" Hand & Lock Prize for Embroidery
" Honorary Member 62 Group of Textile Artists
" Project Management Team, Constance Howard Resource & Research
Centre
" Committee Member Fine Cell Work
Past lectures;
" Fibre Art and Collecting the Contemporary. Textiles in Focus,
V&A, 8 April 2003
" Contemporary Textiles: Collecting for the Future. Craft Rocks
Friday Late View, V&A 26 March 2004
" Collecting the Contemporary: Freud, Fetish or Fibre Art? Textile
Society of America Symposium 2004
" Grenfell Mission Rag Rugs. V&A 10 March 2005
" Tradition to Techno: International Arts & Crafts Study
Day, V&A 16 July 2005
" Breaking the Mould - Contemporary Textiles in a Traditional
Context. Ambiguous Spaces Seminar, University College for the Creative
Arts at Farnham, 11 November 2005
" In Conversation: Sue Lawty & Sue Prichard. Talking Tapestry
Study Day, 20 May 2006
Synopsis of "
A Stitch in Time: The Needlework Development Scheme."
The Needlework Development Scheme had its origins in Scotland in 1934
and lasted until 1961 when its 3000 strong collection was dispersed
to Victoria & Albert Museum, The Embroiderers Guild, University
of Dundee and National Museums of Scotland. It was the first collaboration
of its kind between art, design education and the commercial world
aimed at raising the standard and awareness of embroidery, it's design,
art and craft.
Elizabeth Elvin
was the former Principal of the Royal School of Needlework
Elizabeth Elvin joined the Royal School
of Needlework in 1960 as an Apprentice and has been associated with
the RSN for over 40 years.
She became Principal in 1987 following the Royal School's move from
central London to Hampton Court Palace. She oversaw the day to day running
of the RSN including;
" the three year Apprenticeship training
scheme
" the Studio where commissions are undertaken
" the class and course programme
" a schedule of exhibitions and consumer shows such as the Knitting
& Stitching shows each autumn
She is much in demand as a lecturer and
teacher through the UK and frequently leads workshops and teaching weeks
in the USA. Elizabeth retired as a principal of the RSN in 2007
Synopsis of "How to not lose the art of Hand Embroidery"
" Apprenticeship in Hand Embroidery
" Many prestigious commissions require Hand Embroidery
" Conversation in Textiles require Hand Embroidery
" Conservation of Antique tapestries require Hand Embroidery
" Prototypes for fashion production require Hand Embroidery
" Commercial kits require the 1st prototype in Hand Embroidery
" Leisure classes around the world require Hand Embroidery
Top
Mary
Brown has an established embroidery business, specializing
mainly in gold work embroidery. She an author and speaker, and is now
being booked up for workshops in goldwork embroidery throughout N.S.W.
and interstate in Australia.
Mary Brown was a Visual Arts teacher in Catholic Senior Colleges for
over 25 years. As a practicing fine artist, she specialized in painting
and printing. She became increasingly interested in textile art and
in 2000-2001, she went to England to do the Certificated Course at the
Royal School of Needlework.
Sally Milner Publishing contracted her
to publish a book on goldwork embroidery in 2005. Mary has spent months
overseas examining metal thread embroidered costumes and textiles in
museums and private collections. Her book 'The Art of Goldwork Embroidery'
will be in Australian and New Zealand bookshops by March/April 2007
and worldwide in the second half of the year 2007.
Mary has entered into discussions with
the Embroiderers Guild of N.S.W. to produce a Power Point Presentation
on Contemporary Embroidery to take into Secondary Schools and Universities
and Colleges. She intends this to be one of her main focuses in the
near future.
Synopsis of "The Place of Goldwork Embroidery on Military and Ecclesiastical
Costumes"
The earliest literary references to English
gold embroiderers date back to the 7th century and the vehicle for their
embroidery was the ecclesiastical vestment! Mary will trace the history
of goldwork on ecclesiastical vestments from the 7th century to the
20th century in England and Europe.
Goldwork embroidery on military uniforms
has a shorter history. It appeared on 17th century military scarves
and on the 18th century mitred caps worn by the Grenadiers. More spectacularly,
it was employed on the famous English military scarlet coats from the
time they were introduced into the system of uniform regulations for
the military during the reign of George II. Haute Couture designers,
such as Ralph Lauren, have referenced the goldwork embroidery on historical
military uniforms in very recent collections.
Top
Alexandra Tynan
is a widely experienced Costume Designer, Public Speaker, Educator and
Consultant.
Following her training in Fashion and
Textiles at Belfast College of Art Alexandra moved to London in 1963,
where she worked in the costume departments of the Royal Shakespeare
Company, the National Theatre and most recently, as Head of Costume
at the Glyndebourne Festival Opera, one of the world's leading opera
houses.
Now living in Australia, Alexandra has
worked as a free-lance designer with the ABC, Channels 7 and 10 and
various film companies.
As a freelance lecturer her talks include:
" Art and Social History
" Costume Design
" Basic Design
" Fashion Design
" History of Costume
" Surface Decoration of Textiles
" Effective Speaking and Communication
" Personal Presentation
" Company Image and Corporate Design
From 1964 to 1968 she was employed by
the BBC as a Costume Designer for light entertainment, period and modern
drama productions. Among her most notable works were the Mark I and
Mark II designs for the Cybermen in 'Dr. Who'. She has regularly made
guest appearances at 'Dr. Who' conventions in Australia and the UK.
Arriving in Australia in 1968 she worked
as a lecturer in Costume, Fashion and Textiles, later becoming a freelance
designer for film, stage and television productions, her principal credits
being for the Australian Broadcasting Corporation in a number of international
co-productions.
As a past member of the National Speakers'
Association of Australia Alexandra is an experienced public speaker;
initiating corporate training programs in Personal Presentation, Corporate
Image and Effective Speaking. When in Melbourne she is a regular lecturer
in Art and Social History for the Council of Adult Education and the
National Gallery Society of Victoria.
Synopsis of "Embroidery and the Costume Designer"
Costumes for film and theatre
demand high levels of research and historical accuracy. The creative
interpretation that goes into making the most successful costumes demands
a wide knowledge of textiles and how they are created. Embroidery is
an essential part of this process.
Top
Polly
Kenny is Senior Lecturer Surface Textiles London College of
Fashion, University of the Arts, London. BA (Hons) Textiles/Fashion,
MA Fashion Studies, member of the Higher Education Academy.
Her recent research explores
traditional embroidery techniques through new technology producing contemporary
womenswear and accessories, incorporating surface textiles and articulates
ideas emerging in response to memory and the exploration of the archive.
Recent work exhibited in;
" eCHO international collaborative fashion show and exhibition
" Queensland University of Technology Australia 2003
" 3rd International Biennial Square-Carré-Cuadrado, Venezuela,
2004
" the Surface Design Association Conference 2005 Uncovering the
Surface fashion event
" Suave 2 international jewellery exhibition.
Within the subject area,
pedagogic interests inform the development of digital resources and
blended learning.
Synopsis of "
Digital Craft: surface textiles"
The talk will focus on the
integration of digital surface textile techniques into the Higher Education
curriculum. It will include information on digital surface textile processes
with particular emphasis on fashion and fashion accessories and will
include personal research exploring CADCAM textile processes in relation
to the mark of the hand.
Top
Anthea Godfrey
Principal Lecturer. Postgraduate portfolio-London College of Fashion.
U.A.L
As an active and well known embroidery lecturer and examiner, Anthea Godfrey
has a detailed and passionate understanding of the embroidery world from
academia to couture. Her research includes;
" Couture Embroidery- 'Couture Embroidery '……. Worth
onwards'
" Life and work of Margaret Nicholson-Or Nue, beading and metal threadwork
" The effects of mirage on camouflage in Kenya---print, bead fringing
and or nue.
Professional Roles and Memberships
Embroiderers Guild - Emeritus Member. ExVice Chairman -5 years; Ex Chairman-6
years.
F.R.S.A - Fellow of the Royal Society of Arts
Member-Textile Society
Academic Qualifications
B.A. Hons - Textiles. London University. Goldsmiths College
A.T.D - Textiles. London University. Goldsmiths College
Teaching Experience
Course Director - A.B.C Diploma in Foundation Studies Art and Design
Mentor - 'Breakaway
Mentor/Director - '4x4'-Professional Textile Group
Mentor - 'E.A.S.T'-East Anglian Stitched Textiile Group
Mentor - Embroiderers Guild Lincold Group
Mentor - Letchworth Settlement Centre- Textiles Group-2007-
Curator - DIDACTEX-Professional H.ETextile Tutors Exhibiting Group
Tutor - Embroiderers Guild -New Zealand
Work in progress - Writing M.A in Surface Pattern course, for validation.
U.A.L start date Oct 2007
Professional/Industrial Experience
City and Guild - External Verifier-U.K. N.Z. U.S.A
A.B.C - External Examiner F.A.D
University of East Anglia - BA Hons External Examiner
BUAC - B.A.Hons External Examiner
Consultant - Knitting and Stitching Show
Lecturer - Embroiderers Guild; Craft University-Denmark; University
of Art and Design Finland
Textile Society - Te Papa Museum Wellington New Zealand
Judge - Pfaff Emb Competition-1996; EEC Textile Competition-1996; Hand
and Lock International Competition Judge-ongoing; Fashion Awareness
Direct Fashion Competition judge-2005; Nairobi Fashion Competition -International
Judge-2005/6
Academic experience
Secondary- 13 years- asst art teacher and pastoral head
LCF - B.Tec Diploma in Fashion Embroidery; B.Tec Diploma in Fashion;
B.Tec H.N.C Embroidery
City and Guild Embroidery Part 1 and 2
A.B.C. Diploma in Foundation Studies art and Design
Examiner AEB; Chief Examiner-AEB; City and Guild External verifier;
'O' and 'A' level Embroidery;
Part 1 and 2---- Embroidery. Costume, Patchwork and Quilting, Decorative
Effects, Machine Embroidery, Miniatures, Fashion, Sewing Techniques,
Tailoring, Lingerie
Synopsis of 'Couture Fashion Embroidery---are we losing our heritage?'
Starting with the changes that came about as a result of the Industrial
Revolution and the development of the computer age, I will trace the
demise of hand embroidery and the reintroduction and rebirth of craft
in the field of Couture today.
Top
Alastair
Rudin Macleod is the Chairman of Hand & Lock
He comes from a tailoring background as did his father and grandfathers
before him on both sides of the family.
In 1998 he with his family acquired M. Hand & Co. Limited the military
embroiderers and fell in love with embroidery. A merger took place with
S. Lock in 2001 forming the international brand Hand & Lock. He
commenced the M. Hand Prize for embroidery (now the Hand & Lock
Prize for embroidery) in 2000 with the aim of promoting the use of hand
embroidered surface embellishment within the fashion and textile industry.
In doing so, it is hoped that contemporary design and fresh approaches
can be matched up with the high quality and expertise expected in the
21st. Century.
The Prize has grown in stature over the years and in 2005 Alastair commenced
a world wide tour to colleges and universities lecturing on:
1. The origins of embroidery, and its development.
2. Gold and silver wire and military embroidery, and how lace and cords
are made.
3. An outline of different techniques in hand embroidery, and the Irish
and Cornely machines.
4. A presentation of seminal embroideries eg. The Bayeux Tapestry.
5. A brief history of Hand & Lock est. 1767
6. Aims and details of the 'Hand & Lock Prize for Embroidery'.
7. Contemporary embroidery and its future.
He represents Hand & Lock as an associate member of Savile Row Bespoke
Limited the confederation of Savile Row Tailors.
Top
Christina
Sumner is Principal Curator Design and Society at the Powerhouse
Museum in Sydney, Australia.
As a curator of decorative arts and design at the
Powerhouse Museum, Christina specialises in traditional textiles and
textile technology and her research interests span the traditional cultures
and textiles of Western, Central, South and Southeast Asia as well as
the textiles of Europe and Australia. She has curated a range of exhibitions
for the Museum on textiles generally and on the textiles and other arts
of the Asian region, and has co-authored their associated publications.
These exhibitions and publications include A material world: fibre colour
and pattern (1991), Beyond the Silk Road: arts of Central Asia (1999),
Trade winds: arts of Southeast Asia (2001) and Bright flowers: textiles
and ceramics of Central Asia (2004). Christina has also contributed
to the following publications: Flowers of the loom (Oriental Rug Society
of NSW, 1990), Decorative arts and design from the Powerhouse Museum
(Powerhouse Publishing, 1991), Australian gold and silver 1851-1900
(Powerhouse Publishing, 1995) and Heritage: the national women’s
art book (An Art & Australia Book, 1995). In addition to exhibitions
and publications, Christina has lectured regularly and widely on the
Museum’s decorative arts and design collection and its diverse
cultural contexts.
Synopsis of “The Powerhouse
Museum embroidery collection”
The Powerhouse Museum was founded in 1880, following
the 1879 Sydney International Exhibition and in response to a clear
need for a technological museum for the state of New South Wales. The
Museum’s collection of decorative arts, science and technology
has been developing strongly since then and is remarkable for its diversity
and range. The embroidery collection, a part of this, features works
as diverse as Chinese court embroidery, early English stumpwork, Australian
quilts and African kasai velvets.
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