How the Red Dress is connecting women across boundaries and borders

The UK needs more spaces for women makers to connect over handicraft, says textile artist Kirstie Macleod, creator of the Red Dress – an award-winning collaborative project that connects women around the world through the power of needlecraft.

For the past 12 years, pieces of this garment – 73 fragments of burgundy silk dupion – have travelled to 136 countries, and been embroidered by 259 women and five men – including refugees from Palestine, victims of war in Kosovo, Rwanda and DR Congo, as well as women in South Africa, Mexico, Egypt, the USA, Russia, the UK and elsewhere.

As part of Crafts Council’s 50th-anniversary celebrations, we attended an embroidery circle of local artisans at ACEArts in Macleod's hometown of Somerton. During our conversation, Macleod told us how her globe-trotting youth sparked a lifelong investigation into identity and storytelling. We heard how the calming process of needlecraft can connect disparate communities and highlight the common ground between individuals who may never have met in person. She also spoke about some of the dresses’ most captivating contributions, explaining how a needle and thread can help overcome language and cultural barriers, amplify voices and help us understand the experiences of women today.

Crafts Council: The Red Dress is an incredible achievement. Can you pinpoint where it all began?

Kirstie Macleod: I was born in Venezuela and spent my childhood living in different countries – Nigeria, Japan, Holland, Canada and Barbados. In my formative years, I was surrounded by a variety of colours, textures, languages and foods, and felt I was the product of many cultures and personalities.

I’ve always had a fascination with bringing together different voices. All the women in my family have worked with thread – one made tapestries, one is an amazing knitter and, growing up, my mum would make all our dresses. Aged 21, I travelled to India where I became immersed in the textiles of the country. I'd often be with people with whom I couldn't communicate with words, but I could sit with them and stitch a jacket. I think that was a seed for this project.

I’ve also been obsessed by the status of women all my life – women not having a voice, not being heard, and being mistreated. All these threads came together in the Red Dress – I wanted to make a piece of work that would evolve over time and place, which would draw together as many women as possible and becomes a platform for their stories to be shared. It’s hard to believe it started as a sketch on a napkin.

Is the dress itself symbolic?

Yes, I associate it with fairy tales. These often talk about the relationship between a dress and its wearer, which can be both supportive and an a battle. Are you wearing the dress or is it wearing you?

The silhouette of this dress is intentionally strong and empowered. I’ve used military pattern cuts along the shoulders and front bodice, but I wanted it to read in a very feminine way. Every line is curved and it’s fully corseted. I think it’s got a regal presence.

When it was initially displayed, I was wearing it, sitting inside a cube in which I would live-embroider as a performance for four hours at a time. After a few years, once I incorporated more voices – especially of women from marginalised communities – I felt it should stand tall, strong, like the women. Not hunched and contained in a box.

The colour red must be an intentional choice too?

Well, the project was originally called ‘Barocco’, which in Portuguese means ‘a rough or imperfect pearl’. The idea was that it was something special but stuck inside a structure. ‘The Red Dress’ was less prone to mispronunciation. But I also chose the colour because you can’t ignore red. I wanted it to be a real statement – and have a relationship with women’s cycles, love, anger, passion. It’s a practical colour as well as it can withstand travel!

How far has the project reached?

Twenty-nine countries now and I have one more piece to add from Vietnam, which just arrived in the post after five and a half years! The project also won a textiles award in Italy in 2015. It was completely unexpected and that was the first time I realised what the dress was beginning to do. It was becoming bigger than me.

What are some of your highlights?

One of them has to be the Mexican panels. I’ve met the artisans who made them – I went to visit them and stay in their houses. Their French-knotted, herringbone and buttonhole contributions are so vibrant and uplifting.

The Australia panel was created by 24 women and it’s the finest work on the dress. It was made with a single thread, and it’s just mindboggling. Look closely and you’ll see 3D wire leaves, kangaroos, Ayres rock and coral reefs all depicted in full-colour cotton.

Receiving a panel from Rwanda, was a very hard-hitting moment. The story is called ‘from darkness to light’. The seemingly naive picture depicts a little child in black, with a man holding a machete over his head. They’re surrounded by tight circles and a burning tree and river of blood, which become more and more expansive until they turn into colour – they symbolise the journey of recovery for these makers since the country's civil war.

One moment you feel uplifted, the next you want to cry. Every time I receive a panel in the post it’s a wonderful moment. You can imagine how much time and energy each person has given to the project.

What brings the project to ACEArts in Somerton?

Covid put a stop to overseas travel, so I redirected my focus on England and Nina, who runs ACEArts, is one of the Somerset artisans who worked on the dress two years ago. She mentioned in passing that I’d be welcome to exhibit here, which got me thinking about the UK and spending more time in my own community. I live just 10 minutes away! This is my nearest local gallery, so it feels like a homecoming.

Why a sewing circle?

I've done them about six times – I find them so powerful. Amazing things have come about through them. I’m very interested in the power of stitching – particularly embroidery – as a healing tool. There’s something about sitting around with a common purpose, working, stitching, talking together that I’m blown away by. This is the last one and it’s the ideal place to finish.

What is your wish for the public to take from seeing the exhibition?

I hope they feel uplifted and that they see what is possible when you come together in a community rather than focusing on yourself and your life. Working together, we can achieve greater things than trying to walk this life alone.

Do you feel the UK needs more communal spaces for women to craft?

Yes, I do hear of stitch groups, but they tend to lean towards those who already have the skill. There should be many more general community groups – spaces in schools, cafes, local clubs.

Embroidery is so peaceful, the pace is so meditative, it's slow and steady. It's just a beautiful connection to witness happening over and over from people of all walks of life drawn together with the same intention. No matter what’s going on in your life, where you’re from, how much you earn, here you’re all on the same level. No borders, no boundaries, it's just a needle and thread.

Any final words for aspiring needleworkers?

Have a go! It's such an amazing way to connect to yourself. Your breathing slows down, your thoughts calm and you can just be with yourself in your purest state. I’m not interested in technical ability – I’m far more concerned with the energy and the intention in every stitch.

The Red Dress remains on display at ACEArts until Saturday 29 January. Find more information about their year-long participation programme, 'Flock Together’ on our What’s on page. Visit reddressembroidery.com