NEW Handcrafted Outdoor Waterproof Paper Wreaths

 NEW HANDCRAFTED OUTDOOR WATERPROOF PAPER WREATH
To celebrate the launch of our new range of Hand Made Christmas Wreaths, we are offering an introductory 10% discount on all five designs.
To pre order your hand made Christmas Wreath now for this limited offer, select the design that you want from the shop www.zoebradleyshop.com
Enter wreath10 in the discount code on check out of the shop. This offer starts today Friday 11th November and ends next Saturday 19th November.
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These beautiful wreaths are all hand made and cut and crafted in our UK studio. They have been designed and created by celebrated Paper Artist Zoe Bradley. These really are more than just your average Christmas wreath and look just as good hanging inside your home as outside on your door.
The wreaths have been made in a specialised plastic coated paper, so are totally showerproof and won’t wilt and go soggy on bad weather days!
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The gold paper has all the same qualities as the rich luxurious iridescent papers we use for our boxed roses and lots our big special project installation work. Yet it also has the same plastic coated treatment as the white paper, making it waterproof and weather resistant for use outside.
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We’re pretty certain decorating your door with a hand crafted paper wreath this season will certainly get the neighbours the talking.
We look forward to receiving your order and we wish you happy shopping from all of us at Zoe Bradley Design.

Zoe Bradley creates Red Rose Dress for Chatswood Chase Sydney

ZOE BRADLEY CREATES RED ROSE DRESS FOR CHATSWOOD CHASE SYDNEY

‘Fashion can create a dream, create fantasy. Its a kind of theatre’. says American Vogue Editor in Chief Anna Wintour and we couldn’t agree more with her. British paper artist and former fashion designer Zoe Bradley has created a large scale piece of theatre with her most recent commission the Red Rose Dress. Asked by prestige shopping centre, Chatswood Chase in Sydney to create a special piece of paper art that reflected the new season of Spring fashion collections, Zoe and her team got to work on designing and making the bespoke paper gown back in August.

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It’s not the first time of course that Bradley has created something so spectacular and theatrical. Previous couture style creations have been installed both in Sotheby’s London and Chelsea Design Centre, London. What always surprises the people that come to view these applied art pieces is the fact they are made entirely from paper. A material Bradley has built her name and brand on over the last decade, since leaving the house of the late great designer, Alexander McQueen, where creating wearable art with unconventional materials was seen as ground breaking.

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The dress was designed in the UK and the metal framework that supports the 3 metre high and 4 metre long dress was manufactured in Sydney under Zoe Bradley’s design and specifications. ‘My aim was to create a modern topiary like floral gown created entirely from red roses’ comments Bradley.

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Decorated with 392 individual rose’s and with over 12,000 petals individually hand curled, it took Zoe and her team over 100 hours of work both in the UK and Sydney to produce the breathtaking gown.

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John Klein, Marketing Manager for Chatswood Chase, comments ‘Our customers are absolutely loving it’. The Red Rose dress will be on display until the 30th November.

To see more magical work in paper by Zoe Bradley visit www.zoebradley.com

Sotheby’s Royal & Noble Descent auction exceeds in sale with Zoe Bradley collab

ZOE BRADLEY & SOTHEBYS COLLABORATION 
Paper Artist Zoe Bradley describes in her own words how her collaboration with auction house Sotheby’s produced some of her most memorable and challenging works to date. The recent success of this collaboration in London has meant that the Zoe Bradley pieces are likely to be shown in more of Sotheby’s markets, including Paris, Milan, New York and Hong Kong throughout 2016
‘Sotheby’s contacted my studio as they were looking for a collaboration with an artist that could use the stark simplicity of paper to compliment the artistry of the Old Masters period. They wanted to bring awareness to their forthcoming Of Royal & Noble Descent exhibition and auction alongside a contemporary artist.
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I met with Sotheby’s Old Master paintings specialist and magazine columnist Jonquil O’Reilly. A resident fashion historian and style ambassador. She inspired me with stories behind the paintings of the Old Masters and the traditions behind the garments and reasons for the styles of the fashion pieces. This proved a springboard for my own research. I began looking into paintings and costume books of etchings that documented the fashions of the time. I found the opulent wigs adorned with feathers, flowers, birds, and powdered with wheat flour stories fascinating. Visually these looked like works of art themselves! The enormous dresses with metres upon metres of the finest silks were tremendous fashion statements. Covered in ruffles, bows, fine lace work and jewels. We worked on scoring techniques with the papers to recreate the fine silks that were used in the court dress to emulate the luxurious nature of the fabric. A challenging but an exciting brief.
THE RED DRESS: EAST GALLERY
This monumental dress is 6m in length and 2.5m in height. It consist’s of over 6000 hand sculpted paper ruffles and was adorned with magenta Swarovski crystals along with individual hand crafted roses and ribbons. The symbolism of using red and the shear scale of the piece was created for its symbolism, relating to vast wealth in the 17th and 18th Century. Inspired by the Elizabethan period and the Spanish court dresses, the designs began with the Farthindales (the distinctive shape that goes underneath the dress) and commonly associated with the Tudor’s and worked up to the plunging neckline of a corseted bodice complete with large puff sleeves. The paper ruffle textile was created by hand folding each ruffle and fixing into place to create a delicate shell like textile, that reflected the ornate dress style of the period. The metallic finished paper was chosen for it’s luminous silky quality.

LONDON, ENGLAND - JANUARY 14: Monumental red paper dress sculpture by British Artist Zoe Bradley is unveiled along side Royal and Aristocratic Heirlooms. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby's)

 SHOE: EAST GALLERY
These gold shoe’s were based upon a Venetian shoe, from 1700. Often heels would be worn by men as well as women. A fine and expensive shoe always had red heels and soles – the dye was expensive and carried a martial overtone. This fashion soon spread overseas – Charles II of England Coronation portrait of 1661 features him wearing a pair of enormous red, French style heels – although he was over 6ft (1.85m) to begin with. It was also indicative of how the wearer of a red sole or heeled shoes was part of the elite inner court circle.

LONDON, ENGLAND - JANUARY 14: A gallery technician adjusts paper sculpture shoes adorned with Swarovski crystals. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby's)

 

The texture of the chinese silk was recreated through scoring by hand a scratched line across the metallic card to emulate this fine surface texture. The carnation and blossom flowers and 3D scroll effect were brought to life through pressing textures into the paper to bring these details to life. Every part of the shoe was recreated in acute detail, plaited edging and rolled strips make up the carved paper heals. The paper shoes were finished with a row of clear cut crystals that were placed around a paper buckle. A truly detailed work of art, if only they could be worn!

 

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   CROWN: NORTH GALLERY

This majestic sculpture was based upon Elizabeth I crown from the Tudor era. The crown is clad with over 3000 hand cut gold leaves and scored by hand 36,000 times. We finished this very fine detailed crown off by adorning it with Swarovski crystals and pearls. The detail in this piece really has to be seen to be believed.

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 NECK RUFF: NEW GALLERY


With a diameter of 100cm, which allegedly was the largest size neck ruffs were ever made to, this was technically the most challenging piece .
The 1580s saw the increasing use of lace in ruffs, it was a symbolic fashion accessory that showed wealth & status. The bigger and more frivolous these lacy wheels were the more ostentatious and vain the wearer appeared. We created a repeat laser-cut artwork inspired by Elizabeth I neck ruff, the finely cut details referred back to intricate lace designs of the Elizabethan era. We tried to emulate this detail through the laser cut design. The Ruff is created from over 30 metres of paper. The edges were finely cut to create opulence and delicate edging. Edges were historically kept crisp with straightening irons and we used the same method to give the paper a crisp finish.

LONDON, ENGLAND - JANUARY 14: A gallery technician adjusts a paper sculpture or a ruff made from 48 meters of white paper, cut with an intricate lace pattern. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby’s)

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WIG: WILSON GALLERY

The 18th Century was the era of big hair for both men and women alike. Women’s hair was piled up into towering mounds, helped by padding and hair pieces and added chignons and this was to be my approach in creating the paper wig. Building the strands of paper hair onto an exaggerated mould, I was then able to build up the wig using all the decorations synonymous with this period, from ornament feathered birds, clusters of roses and bows with jewelled centres. Flower chains held in place by Swarovski coloured pearls were placed either side while a plume of feathers jutted from the back of the wig into the air. The fine ringlets at the back of the wig were twisted and rolled around modern day curling tongs, but that’s about where any similarity with today’s hair preparation ended!

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Zoe Bradley creates huge paper chandelier for Team GB British House in Rio

ZOE BRADLEY CREATES HUGE CHANDELIER FOR TEAM GB

Some weeks ago, Zoe Bradley Design studio was asked to design and create a paper sculpture for Team GB’s hospitality venue in Rio de Janerio for the Olympic Games. Known as British House, the venue is to provide a relaxed sanctuary for Team GB and their VIP guest’s away from the sporting venue’s.

EXterior_shot_of_British_House_f2e5aa37-9008-4d87-8989-049d7203fbfe_largeThe exterior of British House. Home to Team GB during the Rio Olympics in Parque Lage.

It’s not the sort of commission you get everyday, while at least not for every four years. Bradley set to work on designing a show stopping large floral chandelier to celebrate Team GB’s new home in Rio. It was certainly a challenge! The studio had to cut and curl hundreds of flowers with less than 4 weeks until the structure had to be shipped from London to Rio.
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The entrance to British House in Parque Lage situated opposite the iconic Christ the Redeemer.
‘I wanted to create a piece that celebrated the rich tropical colours that are synonymous with Brazil, and capture the exotic nature of the host country’s flowers.’ comments Bradley. The design studio was poised to create something quite special. It required Bradley’s renowned paper sculpting skills to produce a floral chandelier on an Olympic scale.
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Artistic rendering of how the paper floral chandler will appear.
‘I wanted the floral chandelier to engulf the space and draw you into the building, which can be viewed from many angles. I want the athletes and guests to be inspired and uplifted as they walk through the entrance.’ says Bradley
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Hundreds of paper flower garlands waiting to be hand curled.
The result was a dense cascading paper floral chandelier that will take pride of place in the entrance to the impressive Parque Lage building. Inspired by Rio’s native Bougainvillea plant, the design has been created from over 2500 hand curled flowers in fuchsia pink, burnt orange, deep violet, lilac, and, of course, gold to symbolise the ultimate achievement. Hundreds of florals cascade down from three separate circular rings inside one another. The piece measures 2.5 metres in diameter and 2.8 metres in hanging length.
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The final Zoe Bradley Paper Chandelier ready to be raised up
Zoe Bradley’s work is aimed at bringing awareness to cultural events, and she believes that art can enhance environments in which we work and live. Bradley recognises ‘This is a great opportunity to take a contemporary art installation outside the usual gallery walls. Hanging the chandelier at the entrance to Team GB British House I hope, will provide a warm and uplifting welcome to the athletes and invited guest’s over the coming weeks.’

Zoe Bradley Creates a Couture Style Paper Gown for London Design Week

ZOE BRADLEY & LONDON DESIGN WEEK

We were honoured to be asked to take part in this years London Design Week at Chelsea Harbour, which launches to the press & buyers from 13th – 15th March this weekend and the general public from 16th -18th March. Expect to see some of the best global names shaping the luxury interiors world today, showcasing their latest collections and ranges.

Screen_Shot_2016-03-04_at_11.44.04_largeZoe Bradley will showcase a blue floral dress made entirely from paper for this years London Design Week 

With this years theme heavily directed by the Geometric trend and the colour blue, paper artist Zoe Bradley went on an inspirational journey to discover past and present artist and designers who made the colour blue a pivotal part of their work.

Always referencing the floral & fauna world that Bradley has become synonmous with, it was no surprise that other artists and designers have found inspiration in the symmetry and formation of flowers.

Zoe looked at works by William Morris, Japanese Osaka prints, the Art Forms in Nature by Ernst Haeckel and paintings of Monet’s blue period as well as Wedgwood and Delft Pottery whose work is defined by the colour blue.

IMG_3697Above: Zoe Bradley’s paper geometric interpretation of the Chrysanthemum.

The shape of the skirt for the dress echoed the roundness of the glass dome ceiling in the South Dome of Chelsea Design Centre where the dress will be on display. The bodice attached to the skirt has a nipped in waist to accentuate the larger than life silhouette.

ZOE_DESIGN_SKETCH_copy_largeThe dress design sketch by Zoe Bradley

The 400 flowers that form the paper textile for the dress were cut and assembled by hand in Bradley’s studio. There is also 3,500 leaves that have been scored over 17,000 times.

IMG_3711Above: A still life shot of the paper flowers that include a Wild Rose, Apple Blossom, Cherry Blossom and Chrysanthemum, along with 3,500 leaves that will go onto the dress frame and bodice.

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Above Paper Artist Zoe Bradley at work creating the huge paper floral dress for #LDW16

For more information and the full programme of events over London Design Week at Chelsea Harbour London click on the link below

http://www.dcch.co.uk/LDW16-Full-Event-Programme