Thalassophobia, Fleur Webb, 2024, Image credit: Tas Kyprianou.
The Midnight Zone is the latest collection of wearable art created by mixed media hand embroidery artist Fleur Webb. She has drawn inspiration from the deep sea, specifically the Midnight Zone or the Bathypelagic layer which lays at 1,000-4,000 meters below the surface. For this collection Fleur has been heavily concept led, with the determination of materials and processes being finalised through sampling and drawing the creatures of the deep.
The mysteries of the ocean are of great fascination to Fleur. This began with the perplexing realisation that only 5% of this vast expanse has been discovered, meaning we know more about deep space than we do about the deep sea. This body of work is influenced by the danger and beauty the creatures of the Midnight Zone present and the harsh, cold and dark environment it provides for those creatures. Furthermore, she has been drawn to the bioluminescence that these creatures have been forced to evolve.
Her processes and methodology stems from the use of her own handmade materials which can be seen in her centre piece of wearable art, Thalassophobia. These include making fluorescent beads imitating and representing the bioluminescent creatures of the Midnight Zone and the melted vinyl sequins hand cut for an organic finish, correlating with the textures of this oceanic layer. These are then applied with the haute couture hand embroidery method of tambour. The metal embroidery of goldwork traditionally used in royal and high-status stitchery is also at the forefront of this body of work, as it further contributes to the qualities of the deep.
Fleur’s aim for this collection was to produce a highly detailed piece of wearable art which radiates beauty but invokes a sense of danger and intimidation in the viewer; she would like them to react how she did while researching and drawing these breath-taking creatures: with awe and a hint of unease toward their alien-like nature. She has developed a passion for wearable art through costume, not just for the screen or theatre but for the red carpet. It has become clear to her through the creation of this incredibly intricate piece, that costume, fashion and wearable art can be one and the same.
Thalassophobia is the fear of deep water.
For as long as I can remember, my practice has explored contrasting elements of beauty, femininity and vulgarity. I like to delve into the contemporary and controversial with keen interest and enthusiasm often conducting social commentary through my stitching.
I established these beliefs on the grounds of rebelling against traditional beauty standards asking the question: who truly defines what is beautiful or vulgar? Beauty is in the eye of the beholder and vulgarity is no different. I gain an amount of satisfaction in attempting to advocate, radiate and create both beauty and vulgarity in the way I know best: through hand embroidery.
Embroidering beautifully meaningful pieces with a balance of both physical and internal beauty is where you’ll find me at my happiest. My inspiration derives from nature and the organic forms it provides in both botanical and human anatomy, combined with otherworldly surrealism. This influence is credited to my connection with the natural world through my hometown in the New Forest, Hampshire; where both sea and earth collide.
My art commonly raise questions and invite discussion, subtly conveying my own opinions, however I want my audience to have their own views and decide for themselves where their judgement lies.
Whilst studying at the Royal School of Needlework I have gained significant experience through work placements and live projects with external artists. This includes working with theatrical costume supplier Cosprop, Neil Musson and Jono Retallick, ERDEM, Alexander McQueen and King Charles III’s Coronation.
Above: artist portrait, Fleur Webb, 2024, image credit: Tas Kyprianou
Below left: artist portrait, Fleur Webb, 2008, image credit: Diana Walker
Recording historic costume and textiles on Modes software, including condition and location checks.
Hand embroidery using crystals and beads in specified colours and sizes onto pre-made garments alongside a team of embroiderers.
Catalogued, recorded, and photographed the historic garments and accessories of the John Bright Collection.
Contributed to the collective embroidery project, by the Royal School of Needlework’s Embroidery Studio, for the Anointing Screen for the Coronation of King Charles III, Royal School of Needlework.
Hand, needle and wet felting, hand embroidering with specified stitches and colour palette.
Hand Embroidering a moth motif using requested stitches, onto sheer, organdie fabric.
Hand embroidering a personal motif onto an existing garment for a global project spanning 51 countries and 380 embroiderers.
Part of team hand embroidery and appliqué of letters, layering fabric and stitch onto compositional formats defined by Montini.
Collection of hand embroidered samples, drawings and designs inspired by Victorian Arsenic poisoning, conforming to a set brief requesting unexpected and unconventional concepts held to a polished and professional standard.
Hand embroidering a section of artist’s personal story onto a Victorian lace gown. As part of BELONGINGS exhibition, formally Exile: Sono Oriunda I am of Italian Descent.
A pair of gloves designed based off the 18th century portrait of heiress Dido Elizabeth Belle Lindsay accompanied by a corresponding hand embroidered sample.
Translating a voice recording of a true story told by a resident of Thamesmead London into a hand embroidered piece of textile art. This was then professionally photographed and printed onto a hot air balloon and flown for the first time over Thamesmead in the Summer of 2022.
In association with Hand and Lock's Prize for Embroidery, awarded for hand embroidered wearable art piece, Thalassophobia.
The Clothworkers’ Company Award for a fabric for either fashion or interiors which shows an innovative combination of textile processes.
Awarded for mixed media hand embroidered sample and design, Pystri.
Awarded for hand embroidered textile art piece, M’Lady’s Garden.
One of Twenty-four finalists for Hand and Lock's Prize for Embroidery, exhibiting Thalassophobia, a hand embroidered piece of wearable, as part of my collection The Midnight Zone.
Showcasing hand embroidery based body of work titled The Midnight Zone.
Showcasing hand embroidery based body of work titled The Midnight Zone.
Showcasing hand embroidery based body of work titled The Midnight Zone.
Hand embroidered translation of an audio file story from a Thamesmead resident, printed onto a hot air balloon flown in Thamesmead.
Hand embroidered Victorian lace gown featuring crewel work and gold work embroidery, in collaboration with artist Susan Aldworth and the Royal School of Needlework. Exhibited at The National Centre for Craft and Design.
Hand embroidered Victorian lace gown featuring crewel work and gold work embroidery, in collaboration with artist Susan Aldworth and the Royal School of Needlework. Displayed previously at The Hub, Lincolnshire.
Exhibiting hand embroidered textile art piece, M’Lady’s Garden.
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