Sharmin Faeq Sadiq from Kurdistan, Iraq supported by the 'Swansea Women's Asylum and Refugee Support Group' 2022

THE Red DRess is coming to Egypt 17th - 27th September 2022︎

The 10 days wil be spent both connecting with the 50 FanSina artisans in Sinai who worked on the garment in 2015, and then exhibiting the Red Dress in Cairo at CILAS and the British Embassy,

KOSOVO TRIP 2021 

KOSOVO | 2021
A number of small embroideries were added to the garment whilst the Red Dress was exhibited in Kosovo 2021.

Firstly by Zaide Krapi, who stitched a ‘Goddess on the Throne’. One of the most precious archaeological artefacts of Kosovo which has been adopted as the symbol of the country's capital Pristina. Zaide writes:

"I have been a senior Librarian in the National Library of Kosovo since 2008, in the periodical section. To be able to embroider on to the Red Dress, as part of a national wide event is very exciting, I now feel part of it”.

The remaining 5 motifs were added by patients at the Mental Health Centre in Podujevë. The women were part of a small event at the Centre where Kirstie presented the Red Dress and stories of it’s many artisans. Some of the ladies then felt to add their own voices to the garment.

Zadie Krapi

Hanife Cakiqi

Nole Behrami

Bukurije Zhegrova

Belina Hoti

Nexhmije Lepaja



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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