Lekazia Turner, embroiderer from Jamaica, 2022

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: https://www.bristolwomensvoice.org.uk/


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.

Nothing expresses more eloquently the feelings I suspect we share about the importance of embroidery in our lives, and the support we derive from the friendships made through stitch, than Kirstie Macleod’s Red Dress.
Caroline Zoob, Editor of Stitchers Journal 2022
This beautiful object highlights the common ground between individuals, bringing together different identities and uniting people, we are honoured to contribute to it.
Tiny Kox, PACE President at the Council of Europe, Strasbourg 2023
The Red Dress has become an icon of the international textile world.
Suzanne Smith, Textile Society 2022
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
...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 they created the embroideries.
Nicole Esselan, Founder of Kisany Africa, supporting artisans in DR CONGO and RWANDA who created embroidery on the Red Dress in 2018
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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