Bristol Women's Voice Event
UK | 2020

Over the course of a day, 47 willing embroiderers came and sat around the Red Dress, adding their own motif onto the skirts edge.

Huge thanks to:

Tortie Rye, Elkie Forfitt, Rachel Devas, Hatty Wells, Poppy Devas, Miya Devas, Alice BD, Ann Musty, Anna Rossetti, Jane Cheasley, Belle Barlow, Esther De Angelis, Carmen Carrol, Millika Khan, Emma Broadhurst, Anne Lippman, Yanet Ramiiez, Erika Jones, Graciala Watson, Nicki Petch, Sue Santi, Carla Osacna (Peru), Indra Noton, Zahara Cases, Jacqui Furneaux, Jemima Lumley, Josephine Slater, Karen Cook, Laila Garzon Deguer (Argentina), Misty Tunks, Deasy Bamford, Nancy Teige, Nile Ahmed, Paula Holiday, Ruth Willcocks, Sherrilea Rickwood, Sadie Fox, Ellie Palmer, Judit Solier, Bessie Spencer, Rebecca Amiel, Joël burgess, Lorraine Joseph, Sue Murphy, Tabitha Horsfall, Jude Edwards

Bristol Women’s Voice is a powerful voice for women making women’s equality in Bristol a reality.

Please see their website for more information and guidance on how you can support their valuable work:


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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