Research vist to The V&A Storehouse, London

Last week I visited the V&A East Storehouse to study a selection of Ottoman and Persian coats as part of my ongoing research into historical textile systems and costume.

I have started and new research project to develop work for the an exhibition with the November UK-Japan Kogei Artists Exchange Exhibition 2026 in Kyoto.

A lot of my work is inspired by movement and the way the body occupies space. Through my sculptural textile pieces, I’m interested in how a fleeting gesture, a change in balance, or a quiet moment of stillness can be held within a material form.

A recent visit to the V&A East Storehouse gave me the chance to look closely at a number of Ottoman and Persian coats. Seeing these garments first-hand was fascinating. Photographs can only tell you so much – being able to study the cut, construction, pattern and surface detail up close gave me a much deeper understanding of how they were made and worn.

This 18thC Persian coat was made of a silk brocade – soft pastel pink and blues and neutral beige with metallic floating threads. What was particularly interesting was the patchwork that made up the back panel of the skirt – the interrupted pattern was only noticeable on close inspection. I can only think this patchwork was made to use up every small piece of very precious and expensive fabric – and adding enlivenment to the hang of the skirt. Just gorgeous.

The brocade kaftan (source unknown) – deep indigo blue background with the design in gold yarn. A soft drape. I was particularly interested in the construction techniques of both coats – the stitch work, hems and how the lining (mounted) was stitched into the top fabric. In this case the lining was a soft, loosely woven, printed cotton fabric stitched into the brocade with a mid-blue cotton ribbon – simple running stitch.

The visit has given me plenty to think about. I was particularly drawn to the way pattern and structure work together to shape the body, and how these historical textile traditions might inform my own contemporary practice.

I find it interesting how a beautiful textile hanging on a hanger can appear so still and inanimate. Without the body, it is limp and shapeless — a surface of colour, pattern and craftsmanship waiting to be experienced. Once worn, however, the textile is transformed. It responds to movement, folds and shifts with the body, becoming full of energy and expression. Together, the garment and the wearer create a relationship where material, movement and identity come together.

The research is already feeding into ideas for new work as I continue to explore connections between movement, textile systems and sculptural form.

If you happen to be in London the V&A Storehouse is well worth a visit!