Mariel Osborn
UK | 2009


SECTION OF DRESS: Metallic Drips

From a single thread to a piece of armour.

One of the first commissions on the Red Dress before it was assembled for the first time in 2009, Mariel Osborn a BA student at Manchester university created a striking panel for the centre back of the Red Dress bodice.

Skilfully building up layers of different coloured metallic threads on a sewing machine, Mariel created layers of drips sliding down the top of the back of the bodice. The silk dupion fabric becoming almost rigid; a beautiful example of fragile threads built up in layers to become as strong as a suit of armour.



To contact Mariel for commissions please her website: https://marielosborn.co.uk/




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 344 individuals around the world via a Crowdfunded campaign in 2020.

"
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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