the Red dress is heading to bosnia to be exhibited at ‘Speaking out’ with the war childhood musuem, at City Hall in sarajevo 5th-8th dec 2022

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The exhibition is dedicated to and co-produced with women survivors of conflict-related sexual violence, who were children and young people at the time, and children born of war.

Embroiderers

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A 13-year, award winning global, collaborative embroidery project
2009 to 2022


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 2022, pieces of the Red Dress travelled the globe being continuously embroidered onto. Constructed out of 84 pieces of burgundy silk dupion, the garment has been worked on by 347 women and 7 men, from 48 countries, with all 136 commissioned artisans paid for their work (as well as receiving a portion of all ongoing exhibition fees). 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 Iraq, China, Nigeria and Namibia, victims of war in Kosovo, 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, 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.



Initially the project sought to generate a dialogue of identity through embroidery, merging diverse cultures, with no borders. However, over the 13 years the dress has also become a platform for self-expression and an opportunity for voices to be amplified and heard.

Many of the artisans are established embroiderers, but there are also pieces created by first time embroiderers. The artisans were encouraged to create a work that expressed their own identities whilst adding their own cultural and traditional experience. Some used specific styles of embroidery practiced for hundreds of years within their family, village, or town whilst others chose simple stitches to convey powerful events from their past. Some of the women are re-building their lives with the help of embroidery, by using their skill or being trained in embroidery to earn a decent and consistent living.

The Red Dress has been exhibited in various galleries and museums worldwide, including Gallery Maeght in Paris, Art Dubai, Museo Des Arte Popular in Mexico City, the National Library of Kosovo,  National Waterfront Museum in Wales, Fashion and Textile Museum, London, an event at the Royal Academy in London, and the Premio Valcellina Textiles award in Maniago, Italy where it won first prize in 2015.

The Red Dress’s 13-year creation journey around the world is now completed with the dress assembled in its final configuration. Covered in millions of stitches, the 6.2 kg. silk Red Dress is weighted as much by the individual stories and collective voices waiting to be heard as by the threads and beads that adorn it.

Moving forward, as well as continuing to develop a strong online platform the Red Dress will be travelling to many different galleries, museums, and event spaces around the world - with a continued aim to be accessible to all. Kirstie hopes to bring the garment to visit the countries of the artisans who helped create her, and exhibit the Red Dress alongside their own work in their chosen venue.

Practical and logistical support with commissions for the project was provided by the following charities, self-help development projects, social enterprises and various initiatives providing support to women in poverty: Manchester Aid for Kosovo supporting Sister Stitch in Kosovo; Kisany in Rwanda and DR Congo; Missibaba in South Africa; Kitzen in Mexico; Al Badia in Lebanon supporting Palestinan refugees; FanSina in Egypt and The Swansea Women’s Asylum & Refugee Support `group, Wales. Seed investment for the project was provided by the British Council Dubai in 2009 and subsequent funding has been received by the Arts Council Lottery Fund & the British Embassy Pristina, Kosovo.


OUR SUPPORTERS

A huge thank you to all who have given their time, energy, enthusiasm, advice, experience and financial support to the Red Dress project over the years.

In addition to the institutions below, funding has been gratefully received from a number of private donations and 441 individuals around the world via 2 Crowdfunding campaigns in 2020 and 2022.

"
The Red Dress is one of the most power pieces of clothing I have ever seen
Angelica Colleluci, Head of Design & Productions at Ozwald Boateng
The Red Dress in its final incarnation, a magnificent, regal robe, symbolises the empowerment of women through the creation of something beautiful, something which began with bowed heads and tired fingers but also with faith and joy, an openness and willingness to be a part of something which they could not see at that time but in which they could believe had meaning and worth connecting with other women around the world
Lady Alison Myners, Chair of the Royal Academy Trust 2020
The Red Dress is in some respects similar to Mail Art, the populist artistic movement centred on sending small scale works through the postal service. It initially developed out of the Fluxus movement in the 1950s and 60s – but on a larger scale – the journey of the work is part of its identity, process, and in fact function. A signifier of the temporal and physical nature of the process inherent in the creation of the piece. The surface of the dress layered with embroidery slowly transforming into a specific topographical map – completely particular to the work’s journey – and reflective of the burgeoning sculptural landscape of the object
Paul Black, Artlyst 2015
It’s her (Kirstie’s) red silk Dupion bodice and voluminous skirt created for the Red Dress that fully demonstrates her commitment to embroidery and the immense respect for the international community of makers
Denna Jones. Embroidery Magazine 2010
I can't remember when they embroidered that piece of silk (2018?) but I feel that something has changed since. The fact that they could embroider what they wanted and that it is appreciated has given them some strength, some confidence that I didn’t feel so strongly before. Last year, I sent them a drawing and asked them to “interpretate" it the way they wanted; again it came back with a lot of emotions, another beautiful story. Thank you for giving them this opportunity
Nicole Esselan, Founder of Kisany Africa (supporting artisans in DR CONGO and RWANDA)
This is both an extraordinary work of collective art and profound and eloquent social commentary. It is also an example of how potent the Attire language is capable of becoming
Attires Mind (Fashion Blogger) 2020
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