Inspired Design | Leonora Ferguson
Cast your mind back to 2009! Where were you?
I was in my element, following my dreams, assisting in the photography department, at what I felt for as long as I was there, was the best job ever. I was working in London at the Merlin HQ where Madame Tussauds make their Celebrity Wax Figures.
One of my closest friends at the time, Sharon who was the stylist for all the figures that were produced, introduced me to her sister. Leonora skipped in, a charming, beautiful young lady, full of energy and creativity. She presented these amazing hats which we photographed for her portfolio.
Little did I think that our paths would cross again over 10 years later. Working on a new eco-friendly line she is designing; my curiosity was spiked as her work comes from a lifetime of inspiration and each piece has such a remarkable journey.
Here is a more in depth Q&A with Leonora herself, we get to delve into her designs and motivations a little more.
When did you start your business?
I first set up in 2011, taking my work to vintage and craft fairs. I was inspired at the time by vintage styles and learned a lot by looking at old millinery books and hats.
I was also taking on costume commissions, so got to try out a lot of styles and period techniques.
Where are you based?
I am based in Dublin and work from my studio in the Chocolate Factory Arts Centre.
Where did you study?
I studied in the National College of Art and Design in Dublin. My degree is in Textile Design, with specialisation in Embroidered Textiles.
I did a couple of short courses in millinery at Central Saint Martins given by the brilliant Ian Bennett.
I worked out the lacework for myself after receiving an interesting bridal commission in 2012. I remembered seeing that type of lace up close in an old book and thought it had potential to form a type of metal, sculptable veiling.
Do you love what you do?
I love the challenge that millinery presents, and think of each headpiece as a wearable sculpture. In university, my artwork usually became 3d, so it feels like an extension of that process.
I love the problem solving of turning a design on paper into 3d, and the additional challenge of making it balanced and comfortable to wear on the head, especially if there can be an element of illusion.
It can be like a puzzle - how do I make this look like it’s floating or where does it need a support?
For each hat, it feels like they have a story and are inspired by something very unique, would you be able to tell us the journey each hat took?
I loved studying Japanese prints in art history, and came across a book of prints of Samurai warriors. The riot of pattern and texture, moments of movement and peace and the depiction of their costume all served as starting points for the designs.
One of the headpieces, for example, is inspired by the Kuwagata section of the helmet, so named as it resembles a stag beetle’s mandibles. The edges are covered with Pinatex, a new vegan alternative to leather made from waste leaves of the pineapple plant, which is wonderfully lightweight.
One of the wire lace design ideas in this collection, made as both a whole and partial face veil, has a more organic feel. The wearer can sculpt it a little to frame their face.
A lot of my headpieces are quite solid, but I had been looking at fishing nets in water and I wanted a softer approach. This led to another piece using a natural veiling rather than wire lace. I’m very aware of the damage we are doing to our environment, so have been making a conscious effort to make sustainable, ethical and environmentally responsible choices in my materials and processes, including thinking about the afterlife of my product - can it be recycled or easily biodegrade?
In this vein, I was shocked by recent reports of the huge amount of ghost nets in our waters, the non-biodegradable fishing nets that are broken or discarded after use and the damage they can do to aquatic life. So I think those ideas kind of evolved together.
There is also the influence of historic headwear - the outline behind the blue headpiece is derived from a Tudor headdress.
From your website, we can see that your hats have been worn by some fabulous names and had rave reviews in both the world of art and fashion. Where did it all start from, when did you first know that this was the path for you and how has it unfolded before you?
I was quite lost after college and didn’t really know what to do next. I had been making small accessories to sell in a design market in Dublin and decided to move to London and pursue work in the area of costume. In the midst of this I took the millinery courses and began to take on costume millinery commissions.
I worked as a costume milliner, breakdown artist, dyer and machinist in roles in London, Belfast and Melbourne, but most enjoyed the specialisation of millinery. I set up my fashion millinery business alongside the costume work and mostly took on bespoke work for brides, mums of brides/grooms, and for people going to the races.
Making animal inspired headpieces twice for the Animal Ball (charity balls in aid of wildlife charities such as the Elephant Family) has been a really exciting process where I could have fun making quirky lizard and lemur headpieces for causes close to my heart. It was a magical bonus to have one of my pieces exhibited in the V&A in 2016. In 2017/18/19, my fashion millinery has been accepted for Create, the Irish design project at Brown Thomas in Dublin (the Selfridges of Dublin).
This kick-started my career in Ireland and has really helped me to refine and edit my collections.
In the current Crisis, it is hard for future artists and creatives to see the benefits of choosing creative careers. Can you share some of the lessons you have learned along the way of owning your own creative business and any challenging and rewarding experiences you have had along the way?
You have to adapt and look at what you can do, and that’s never more important than during something like this Covid-19 crisis.
Millinery in particular is very seasonal so I’ve always had something on the side to help during financially uncertain times. Rents in Dublin are among the highest in Europe so I can’t afford not to have a steady trickle of income.
Retail and costume work have kept me above water over the years - I currently work 2 days a week as a buyer which gives me 5 days in the studio. I actually enjoy working in the “real world” as most of the time I’m alone in the studio and there are only so many podcasts you can listen to in a week!
I don’t take many full days off - it’s hard not to feel guilty when you have a ‘lazy’ day as a creative or self-employed person, it always feels like there is something you could be doing, but that can take its toll on your motivation and productivity.
A big investment has been my studio, but it was one of the most important steps I’ve taken. I have space to work and store my equipment, and I am surrounded by a valuable and supportive network of other creative self-employed people. It also, and importantly helps that when I shut the door and go home, I can leave my work behind. It means that when I am at home, it’s my time, and I then have protected time in the studio that helps me channel my creativity and keeps me motivated.
What are the things that inspire you at the moment and how do you see them emerging in your work?
I am taking very seriously my commitment to being more ethical and environmentally responsible. When I replace something or buy something it has to be a step up - for example I’m introducing natural threads to replace polyester thread, and organic materials over synthetics.
I think it has stimulated my creativity as I have to put a lot more thought into the designs and materials, and it has caused me to start trying out designs in hemp cord. This has had a massive impact on my most recent work, and opens up opportunities for complex lace patterns that haven’t worked as well for me with wire.
I’ve always been interested in textiles and have recently been looking at things like antique Assuit shawls with their integrated metal and geometric designs. My current works in progress have been heavily influenced by these aspects in the lace patterns, the integration of metallic pieces and the overall headpiece outlines.
Being particular inspired by her answers, I promptly got to work with my favourite muse Leah Debrincat who has such a wonderful creative energy, we really fuelled each other onset and are both loving the images we produced. It was interesting to see which head pieces she resonated with more and the energy they gave her in her movements.
I have been thoroughly inspired by Leonora’s answers and her journey as a creative, it just goes to show that there is always so much going on in the background to keep the creations alive.
I am very excited to see her next line and her new range of environmentally responsible clothes.
A huge thank you to Linden House Riverside for providing the studio space and parking facilities..
……..
Useful Links:
