The foundation of Catherine’s work is a passion for long-forgotten crafts and a constant search for innovation from around the world. They fuse together in a modernist twist on traditional techniques. She enjoys experimenting and juxtaposing different elements, fabrics, and techniques. These are crafted, layered and combined until the point of harmony is found. This embroidery technique comes straight from the elegant streets of the 18th century, where it appeared on handbags and dresses. Flowers and tucks stand gently on the fabric, expertly folded and manipulated so that the stitches can never be seen. Originally developed in Asia, metallic embroidery work has adorned royal and military clothing for over 2,000 years. Catherine blends the technique with diamanté in dramatic embroidered neck panels that form a striking frame for dresses and a striking contrast to soft tulle. Archaeological finds prove that people made and used beads as long as 5,000 years ago and many cultures since have enjoyed the versatility of these tiny ornaments. Hand stitched onto Catherine’s garments they create gorgeous detail and eye-catching shapes. Antique Victorian traditions like this are often brought back to life in Catherine’s designs. Embroidered cutwork sees intricate handwork and embroidery layered onto a tulle base, which is then finely beaded and carefully cut out to create what’s known as “negative shape” patterns. The Frastaglio effect was perfected long ago in Florentine workshops, and is one of Catherine’s favourite techniques. Veils of tulle are flat stitched with beautiful lines of embroidery. The tulle is then cut into cord yarn, used to create refined inlay motifs that climb up the fabric. In 13th Century Arabia, weavers created a unique textile by structured knotting. The technique was used for beautiful fringes on table cloths and garments and has now entered the world of contemporary fashion. The miraculous ‘Leavers’ loom was introduced from England to Calais (France) in the 19th Century, a city where precious lace is still made today. They are the only machines capable of working with the number of threads needed to produce such intricate lace, a skill originally only possible by hand. It is believed that the versatile technique of Soutache was first used in the early 11th century. It involves silk ribbon being sewn by hand, loop by loop onto fabrics, until fascinating shapes and textures emerge. <p>This complex technique produces stunning lattice panels – soft thanks to the fine French tulle fabric, but with the cunning benefit of creating a structured bodice that also defines the shape of the wearer.</p> Since the 15th century, specialist London workshops have embroidered with precious metallic yarns. They produced clothing for nobility and clerics, and ceremonial horse regalia for the great livery companies of London – a city that has influenced much of Catherine’s work. Way back in the 17th century, silk organza ribbon embroidery was used as rosettes on coats and gowns, and detail on handbags and hats. Catherine brings this craft up to date by creating organic swirls of different organza combined with flower shapes and metallic beadwork.