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.
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.
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.
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.
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
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!
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.
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.
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!
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.
The exterior of British House. Home to Team GB during the Rio Olympics in Parque Lage.
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.
Zoe 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.
Above: 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.
The 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.
Above: 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.
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