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WilliamRowsell
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Key Themes: Folk, Storytelling,Cornish and English Mythology, Witches and folklore, craft, women, satirical.My collection is an ode to the stories untold, craft that has gone unnoticed,and the hands that tirelessly create. Informed by my heritage and growing up inCornwall surrounded by Women textile makers. My work embraces the decorative,standing against the belief that decoration is lesser because it is feminine.Exploring whether society and the fashion system hates our women? Women andtheir work have been confined to the domestic, textile work is thought torequire patience not artistry. The presentation of women's work as less hasreinforced masculine norms.
The ‘pretty’ profanity motifs, apersonal reclaiming of power in the face of society's disregard. I have takeninspiration from traditional Cornish folk stories that demonize women andmagpies linking them to the devil. A celebration of women, condemning fashion’sWitch hunting, pace and competition. Accordion’s architecture and decorationinform take up space in my silhouettes. The material girl, patch-worked andcross-stitched mocks the association drawn between women and materialism.Exploring fashion’s misogyny towards its market and makers and the preferentialtreatment of men in design. Shown by the number of male creative directors. Myflip bird, lenticular prints reference Zoetrope's, moving and dynamic,showcasing my chosen craft, printmaking. A celebration of folk and traditionalcrafts like patchwork and paper-cutting passed down to me by women’s wisdom inmy family. My project is inspired by the ethos of women's craft, which valuescommunity, sustainability and collaboration at its core. I aim to illuminatewomen’s work in fashion.
Raised in Cornwall amidst afamily deeply entrenched in design—my parents, one a screen printer and theother a fashion/knit designer—I find inspiration in the simplicity of my roots.My work is driven by a passion for women, craft, and community, with a nod to
the folk and mythology of myheritage. My frustration with the fashion industry, its current climate, andthe underrepresentation of women in creative director roles fuels my creativefire. Influenced by my mother, Louise Borgouis, along with figures like IrisApfel, the artisans of Parisian ateliers, and Miriam Schapiro, I draw insightsfrom designers such as Iris Van Herpen, Issey Miyake, Chopova Lowena,Schaparelli, and Dries Van Noten, integrating print to inform imaginativeshapes.
A notable project of mine is thecreation of accordion skirts, featuring a meticulous
process with 120 pattern pieces.I incorporate screen printing, patchworking, and translate traditional papercutting into large-scale textiles and garments. Sustainability is at the coreof my work, utilizing recycled and reworked fabrics. My commitment toengineered print, though time-intensive, minimizes waste.
Looking ahead, my goal is to collaborate with a team of talented women in design. Whether within an engineered print studio consulting for brands or launching our own venture, I aspire to contribute to a more equitable fashion industry. Fair compensation for employees, interns, and crafts people is a priority, aiming to redefine industry norms for a more just future.
A2
Acrylic inks, Acrylics, Japanese watercolour, colored pencil on paper
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