The 'Queer as Folk' 20/21 fabric collection was inspired by my intersectional identity as both a proud Romany woman and a queer, gender-fluid artist. I drew from the dichotomies within these identities, reflecting on Romany folklore, witchcraft, and the rituals embedded in my family’s history, both past and present. At the same time, I celebrated the ‘weird and wonderful’ within the DIY art and music communities of the LGBTQ+ UK scenes.
I aimed to highlight the importance and vitality of these "outsider artist" and grassroots venues, which often provide safety and security to those cast out from their homes, families, and communities. These spaces offer refuge to those marginalized for being queer, neurodiverse, or simply not fitting into the boxes placed upon them by generational expectations, homophobia, misogyny, and more.
My goal was to create a textile collection that honors the diversity and multidisciplinary nature of the expansive, rich, and viscerally creative Romany culture—its folklore, magic, witchcraft, philosophy, textiles, prose, poetry, music, art, and deep respect for Mother Earth and nature. During my research, the process of creating this collection became deeply emotional. I explored my family’s vast migration history, constantly moving away from violence, social prejudice, and the Porajmos. I was especially struck by how the women in my family had to constantly mold, shape, and shape-shift in order to survive.
In retrospect, through making this collection, I felt a deep desire to "come out" to my own family about my sexuality and queerness. I wanted to express my gender fluidity and show, through the medium of visual art and printed textiles, that two truths can coexist. Being queer and Romany can coexist within identities, realizing that I may not be a man nor a woman—I could be both, all, or none. My external body- ‘flesh-suit’ - does not define me, I am a constantly changing being.
Additionally, I aimed to bring attention to the need for supporting and nurturing LGBTQ+ youth within the Romany community. Issues such as suicide, drug abuse, and other challenges are shortening lives in our communities due to lack of social security, racial prejudice, and more. This collection also became a homage to George Ward, aka. ‘Cherry Valentine,’ who tragically took their life in 2022. This fabric collection is more than just a textile art form; it’s a cry for help—a call to inspire individuals to choose life, treat each others with kindness, fairness, and love. It’s a scream into the Instagram void for social change, innovation, and for Romany stories that have long been swept under the carpet to finally be told.
My print designs are meant to catch the eye, jar the senses, and provoke reflection. They incorporate narratives like ‘Craft Is The Future,’ ‘Ethical Ambition,’ and ‘How Do You Want To Live Your Life?’ to encourage the audience to contemplate inequality in our world—particularly discrimination based on gender, race, and sex—both within the Romany community and beyond—and to consider how we can better support one another.
The carefully constructed prose and poetry in my prints explore my experience living as a Romany woman and queer person, constantly navigating between jobs, worlds, and the metamorphosis of contrasting identities. ‘Ethical Ambition’ dissects the challenges faced by a young girl who wants more than what is expected of her. Wanting to break free of these limitations and ultimately follow her own path, regardless of what others may think, this narrative is, but not limited to, an exploration of how intersectional feminism can help our children think critically for themselves.
‘Craft Is The Future’ challenges the elitist, close-minded view that textiles do not belong in the contemporary art world. This phrase underscores the importance of textiles, not only in fashion—such as how print design can evolve a silhouette or how the composition of wool provides longevity and warmth—but also acknowledges the women in the Romany community who were pivotal artists, designers, and innovators. These women, who created lace and sold their handmade products, were pillars in the Romany community. They were not only mothers, sisters, friends, and wives, but also activists for change.
I wanted to inspire community, hope, and innovation through this collection. By blending modernity with heritage, my goal was to create a fabric collection that celebrates both cultural roots and the bold, expressive spirit of contemporary queer life. The final clothing looks are gender-fluid, embodying inclusivity and challenging traditional fashion norms.
Final Look 1: Lycra Swimsuit Leotard and Denim Maxi with pigment screenprint ‘Ethical Ambition’.
Clothing, Styling, MUA & Edits: Emmally Parsons.
Model: Yung Feldon.
Photographer: Amy Marsh.
Final Look 2 & 3: Mesh Lace Overcoat and Poplin Puff Mini-Dress.
Clothing, Styling, MUA & Edits: Emmally Parsons.
Models: Atkin & Gail.
Photographer: Amy Marsh.
Final Look 2 & 3: Poplin Puff Mini-Dress and Mesh Lace Overcoat.
Clothing, Styling, MUA & Edits: Emmally Parsons.
Models: Gail & Atkin.
Photographer: Amy Marsh.
Final Fabric 36: 'CRAFT IS THE FUTURE,' woven cotton with silk screen-print.
Final Fabric 22: 'Romany Creole Earrings,' digital print design.
Final Fabric 54: 'Warm waters, eyes shamed,' silk chiffon with screen-printed text.
Various Final Fabrics Selection: Digital print designs on chiffon, felt, silk, and vegan leatherette.
Final Fabric 60: 'Romany Creole Earrings 2,' digital print design on lycra.