B
2015
Materials Innovation supported by The Clothworkers' Foundation
2017
Furniture Design supported by the David Collins Foundation
2016
Jewellery Design
2010
Graphic Novels
2010
Graphic Novels
C
2012
Product Design
2012
Product Design
F
2010
Graphic Novels
2006
Furniture Design
2016
Materials Innovation supported by The Clothworkers' Foundation
2017
Furniture Design supported by the David Collins Foundation
G
2015
Materials Innovation supported by The Clothworkers' Foundation
H
2001
Landscape Design
2014
Materials Innovation supported by The Clothworkers' Foundation
2016
Materials Innovation supported by The Clothworkers' Foundation
2008
Lighting Design
K
2012
Product Design
2003
Graphic Design
2018
Twenty Fifth Anniversary Awards
2002
Fashion Design
2016
Jewellery Design
L
2012
Product Design
2014
Materials Innovation supported by The Clothworkers' Foundation
M
2017
Furniture Design supported by the David Collins Foundation
2010
Graphic Novels
2017
Materials Innovation supported by The Clothworkers' Foundation
2016
Materials Innovation supported by The Clothworkers' Foundation
N
2003
Graphic Design
P
2014
Materials Innovation supported by The Clothworkers' Foundation
2017
Furniture Design supported by the David Collins Foundation
R
2016
Jewellery Design
2017
Materials Innovation supported by The Clothworkers' Foundation
S
2016
Materials Innovation supported by The Clothworkers' Foundation
2015
Materials Innovation supported by The Clothworkers' Foundation
2017
Materials Innovation supported by The Clothworkers' Foundation
v
2014
Materials Innovation supported by The Clothworkers' Foundation
V
2016
Jewellery Design
W
1996
Furniture Design
2017
Materials Innovation supported by The Clothworkers' Foundation

Rhian Solomon

Materials Innovation supported by The Clothworkers' Foundation - Shortlisted 2015

Rhian Solomon trained in Wood, Metals, Plastics and Ceramics at Brighton University and later continued to experiment with materials and processes in the field of printed textiles. Her experience wtih different materials has resulted in her working focus which considers the fundamental aspects of specific materials and how this directly informs and influences methods of design and practice. Her work currently takes inspiration from the ‘materials’ of the human body, creating ‘hybrid design practices’ which bring together the disciplines of pattern cutting and reconstructive and plastic surgery. She explores the restrictions and capabilities both disciplines have as a result of using the human body, specifically visual and physical use of the skin, as their primary resource. Enabling interdisciplinary production, dialogue and knowledge exchange, sKINship is a pioneering project which has brought surgeons to Saville Row and pattern cutters into the operating theatre. Rhian has discovered that the cross-discplinary interest and shared language which unites both sets of specialists is in their ‘making’ and craftsmanship, In the sKINship workshops that Rhian leads she says that ‘much of the conversation…between surgeons and cutters is based around technical and material considerations and processes’. This results in a productive exchange of knowledge unrestricted by the limitations of disciplinary-specific terminology and has created a forum for experimentation and integration of new knowledge ultimately informing design, implementation and approaches within practice. Her exhibition ‘Skin’ in 2010 at the Welcome Collection asked the question which remains open to consideration; ‘Can we cut our clothing the same way that we cut our skin?’ and vice versa.