Arts Thread

Lily Cellan-jones
Fashion Textiles Embroidery

London College of Fashion UAL

Specialisms: Textiles for Fashion / Embroidery / Drawing

Location: London, United Kingdom

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Lily Cellan-jones

Lily Cellan-jones ArtsThread Profile

First Name: Lily

Last Name: Cellan-jones

Specialisms: Textiles for Fashion / Embroidery / Drawing

Sectors: Fashion/Textiles/Accessories / Fashion/Textiles/Accessories

My Location: London, United Kingdom

University / College: London College of Fashion UAL

Course / Program Title: Fashion Textiles Embroidery


Hi there! I am a Fashion Textiles designer working mainly with hand-craft processes and embroidery. My work so far focusses on celebrating local businesses and takes a humorous look at British identity. My collections emphasise high quality craftsmanship and materials whilst incorporating up-cycled embellishments and fabrics in a luxury context. I also work with weaving, digital print and CAD. I hope to influence a renaissance in the appreciation of craft processes within fashion and art, whilst returning to a system of slow-fashion whereby we buy less but of a better, hand-made quality. Please enjoy looking through my projects!

‘A Crafted Heart’ is a season-less collection of luxury textiles that focuses on the importance of sustaining and protecting ancient craft processes. To inspire the collection, the craft of butchery was intimately explored at a local South-London Butcher where the designer had been working for two years. This human-focused collection was heavily inspired by the nature of the work environment at 'Chadwick's' and more so by the lives and shared culture of the staff. Photographs of the meat and traditional techniques themselves influenced the subject matter, colour palette and textures of the range, whilst traditional ideas about British culture were subverted to create a collection that reflects the designers own identity as a South Londoner. With the exception of digital print and laser cutting, the collection has only employed hand-rendered techniques, from hand-drawn design work to handmade textile processes including; hand-stitching, beading, hand-weaving, embroidery, quilling, layered cloth-cutwork, quilting, goldwork, gem-work, soutache, fabric manipulation and up-cycled embellishments. Whilst the collection is concerned with story telling, nostalgia and craft, it also maintains a good serving of British humour, irony and, most importantly, sustains the legacy of this local business by celebrating one craft through the medium of another.

'Queens' comically celebrates different perceptions about British culture. Elements drawn from various stereotypes of traditional ideas about Britain are subverted to create a collection that is luxury yet comical, regal yet accessible and which reflects my own identity as a South Londoner. British comedy often highlights the self-deprecation of the nation, actions of the establishment are constantly ridiculed, lambasted and parodied, this is a luxury afforded to us as a nation through our right to freedom of expression. Two such iconic British parodies that have been referenced to inspire fabric choices and subject matter included Matt Lucas’s “Vicky Pollard” from ‘Little Britain’ and Rupert Everett’s “Ms Fritton” from ‘St Trinians’. Both parodies mock stereotypical features of Britain and in doing so highlight the nation’s propensity for self-mockery- a defining feature of ‘Britishness’. Naturally therefore, the collection is fun and tactile featuring ironic artworks and colourful, kitsch motifs. Visually the range is concerned with story-telling and nostalgia whilst maintaining an irony and sense of humour. Traditional processes are used in conjunction with modern techniques including the use of CAD, laser cutting and digital print.

This project intimately explores the world of a local South London pub, the 'Moon Under Water'. Gentrification of this area threatens businesses like this, which serve as important centres of community. I want to celebrate these local businesses whilst they still exist. The textile outcomes were inspired both by the interior design of the pub and the regular customers themselves. This human-focussed project used the pub in every stage of the design process, from colour palette and patterns to materials, processes and techniques. Bottle-caps collected from my shifts were up-cycled into unique embellishments, and some fabrics were up-cycled from old garments. Not only does the project promote craftsmanship and up-cycled-luxury but, more importantly, sustains the legacy of this local business. Sadly, this pub is no longer in existence, it has been replaced by an expensive 'gastro-pub' that locals and previous regulars cannot afford. Although forces of gentrification cannot always be stopped, artworks and projects such as this give locations such as the Moon Under Water a permanence in history that cannot so easily be swept away.