Colourful Heritage Blog

Jon Stokes found that working as the photographer on the Zandra Rhodes Colourful Heritage digitisation project a truly unique and engaging experience. Capturing the legacy of an iconic designer like Zandra Rhodes, known for her bold prints and theatrical garments, offered both creative and technical challenges that kept things interesting.

Photographing these pieces wasn't simply about producing clear images; it was about honouring the artistry and history of Zandra's work. The garments, many of them vintage and fragile, required incredible care to handle and light. I worked closely with interns who prepared each item, steaming, mending, and dressing mannequins with patience and precision. It was a pleasure working with such passionate and motivated people.

There's something magical about seeing a historical garment come to life on screen, all the care and preparation involved in bringing them back to life in their original form was a really involved process. I particularly like shooting the details to show intricate hand stitching, elaborate trims, and the energy of Zandra's textiles.

It was very rewarding working on this project and to be part of a passionate team, including Zandra herself. All the hard work that happened prior to shoot days, made my job more straight-forward and meant the final results the best they could be. Digitisation projects are so important for preserving heritage and being an invaluable resource. I'm proud to have played a part in documenting Zandra Rhodes' vibrant legacy for generations to come.

The Colourful Heritage Project, between UCA and The Zandra Rhodes Foundation has only been made possible thanks to a grant from the National Lottery Heritage Fund - and the vital support of project evaluators Anna Cullum Associates.

UCA alumni Claire McQuillan, who graduated in 2008 with a BA in Fine Art from Canterbury, works for Anna Cullum Associates as a Project Evaluator, and has been applying her skills to Colourful Heritage.

Anna Cullum Associates work with arts, heritage and cultural organisations who have been granted funding (usually from National Lottery Heritage Fund or Arts Council England) to ensure they are getting the most out of their funding.

“We help the organisations reflect on what is going well in their project and what they can learn from”, said Claire. ""We usually get involved early on in a project so that if there are lessons to be learnt they can be implemented straight away. We also offer training and advice to clients, and sometimes just act as a sounding board for ideas. At the end of the project, we produce a report for the funders showing how the money has been spent, which can be used to guide future projects. It's fascinating, as we get to see a real cross section of what's going on across the arts and heritage sector."

Claire, who also sews as a hobby, was naturally excited to be assigned Colourful Heritage for her next project and was thrilled when Dame Zandra appeared as a surprise guest on one of her online meetings.

“There was just this sudden flash of bright pink hair on the screen and there she was. She's fab - so much drive and so inspiring”, she said. “It's been great - highlights so far have been working with the UCA team, especially around the learning side of things which combines my previous career in teaching (I as a design technology teacher) with my current heritage one, and just getting to see some of Zandra's wonderful creations through the work the interns have been doing.”

In her opinion, Claire thinks the project is important because it is making sure Dame Zandra's work is never lost and preserved for future generations to study.

“I think in future Dame Zandra and her work will come to represent our era - much as sack back dresses are so obviously 18th Century or the flapper dress is the icon of the 1920s”, she said.

“Equally important, it is giving the next generation the opportunity to interact with these designs and this amazing designer through the intern programme and the schools' workshops - making them aware that all this creative output comes from one woman who has a work ethic, a determination and strong convictions around craft skills and environmental issues, and who understands the importance of the creative process.”

“Seeing what she has achieved in her career will hopefully open avenues for new generation creatives to forge their own paths. The legacy will long outlast the project.”

This groundbreaking National Lottery funded project between UCA and The Zandra Rhodes Foundation has been a journey of discovery so far, and not least for the many UCA alumni who have also found themselves involved.

Take Sam Creamer and Yousef al Nasser, who graduated from UCA in 2014 and 2018 with degrees in BA (Hons) Broadcast Media and MFA Photography respectively, and who have been brought into the action to document the project via the medium of film and photo.  We caught up with them to find out about their work, and what they're gaining from Colourful Heritage.

Hi Sam and Yousef! Can you tell us how you get involved in the Colourful Heritage project and what have been the highlights so far?

Sam: Several years ago, Helen Curston and I collaborated on films for the Orchestra Network for Europe project with UCA, including a behind-the-scenes piece alongside Phil Gomm during the production of ‘Red & The Kingdom of Sound’. Since then we've worked together on several occasions. So, when Phil and Tony Reeves reached out about contributing to the Colourful Heritage project, it was an exciting and unexpected opportunity.

Yousef: I was approached by the team organising the project to cover behind the scenes photography of multiple interviews with famous creatives who have worked alongside Zandra Rhodes in one form or another. When the job was explained I knew I had to say yes because of how iconic Zandra is and candid, natural photography is my forte. Honestly the highlight of this project has been being able to honour the Medway area and its role in creating artists of all kinds and one so influential and unique as Zandra Rhodes.

In the project, Yousef and Sam have been documenting many interviews between Dame Zandra and her collaborators and contemporaries, through film and photograph. They've also been capturing behind-the-scenes content, and footage of Dame Zandra in action in workshops and exhibitions. This footage will go alongside the work to digitally capture Dame Zandra's designs.

So, what has it been like, working with Dame Zandra?

Yousef: Working with Zandra is thrilling! Hearing stories when the cameras are off or listening to her express her love and passion for fashion design, her inspirations and techniques to get where she has gotten, they can light a fire in anyone that listens! And not to mention having her look right down the lens as I snap away, she has a way of drawing you in and next thing you know you're hooked on every word. Such a powerful woman.

Sam: You always aim to deliver your best work, regardless of the context, but working with a high-profile figure like Dame Zandra Rhodes brings an added sense of responsibility. For me it's about ensuring that the standard of your work not only meets their expectations of quality but also honours their work and legacy. You've been afforded the privilege and trust of being a part of their story in some small well and so for that brief moment when your paths are intertwined, you're saying to them implicitly ‘I’ll stick the landing'.

So, in your opinion, why is the Colourful Heritage project so important?

Yousef: The Colourful Heritage project is so important for preserving, not only the amazing amount of creative genius that has come from Dame Zandra Rhodes, but also for giving the Medway area credit for being a birthplace for incredible artists of all kinds! Putting it on he map as it were and highlighting the fact that anyone who works hard enough, gives passionately enough and believes enough, can make it in this crazy world.

Sam: I think a project like this beings an immense value and enduring impact to the community. Medway has a rich artistic history and of course is part of Zandra's own story. In places like the Medway area especially, access to the arts for young people is, in my opinion, highly dependent on socio-economic factors. I hope that this project will inspire and provide access to something many young people feel is simply out of reach.

In terms of the digital collection, the processes of archiving and preservation are becoming more arcane in the digital age, and I get the sense that we collectively take the data that is available to us for granted, so having this new curated digital collection is incredibly valuable both for those you will access it in the present day but also many years in the future.

Following the first Zandra Rhodes Digital Study Collection project (Jisc, 2011-13), which was led by Amy Robinson, Digital Curation Manager at University for the Creative Arts, I was privileged to reprise my role as Cataloguer for Zandra Rhodes’ Colourful Heritage.

The first project involved setting up the database, metadata schema and controlled lists for cataloguing. As Cataloguer on the first project I was able to work closely with Frances Diplock, Zandra Rhodes’ Production Manager, whose knowledge of the garments was awe-inspiring. Frances shared specialist in-house terms for colours and techniques, as well as a few stories. An interview with Frances was captured as part of the oral histories for Zandra Rhodes’ Colourful Heritage (available as a series of video clips from: https://mylibrary.uca.ac.uk/az/zandra-rhodes-videos).

In the intervening decade between the Jisc project and the new Zandra Rhodes’ Colourful Heritage project, more treasures were uncovered by Zandra Rhodes and Piers Atkinson, Head of the Zandra Rhodes Foundation. One of my favourite Zandra Rhodes’ collections is The Lily Collection (Autumn/Winter 1972), for which we now have a strong set of records. This includes the bridal top (Style Number 72/45) that was tried on by Freddie Mercury and inspired his iconic cape on stage with legendary rock band Queen. The Lily Collection also includes women’s blouses with a shocking (for its time) use of outside seams as decoration; similar designs (see Style Number 72/47) were worn by glam rock pioneer Marc Bolan.

Also new for the Zandra Rhodes’ Colourful Heritage project was Zandra Rhodes’ and Piers Atkinson’s amazing discovery of hats, headpieces, accessories and jewellery, which could be photographed and catalogued for the first time. From pillbox hats hand-beaded by Tina Chow and worn by Donna Mitchell on the cover of British Vogue (1973); to early designs by legendary Dior milliner Stephen Jones such as a medieval snood headdress worn on the catwalk of Zandra Rhodes’ An Indian Collection (Autumn/Winter 1982); to a bejewelled mosaic crown by British Sculptor Andrew Logan made for Zandra Rhodes’ Indian Saree Show (held in India in December 1987); to an outsize bow headpiece made by milliner Piers Atkinson for Zandra Rhodes’ The Sketchbook Collection (Spring/Summer 2013).

Thanks to National Lottery Players and the funding from the National Lottery Heritage Fund, the digital images are available free for use in education via VADS.

Working as the Project Manager (Digitisation) for the Zandra Rhodes Colourful Heritage project has been an incredibly rewarding experience. It is not often you get to combine your passion for heritage, with hands-on work alongside an iconic designer like Zandra Rhodes and a talented team of interns and creatives.

My role focused on overseeing the entire digitisation process, ensuring that each garment, accessory, and document was captured to the highest possible standard for long-term preservation and online access. This involved managing a carefully structured workflow—overseeing the preparation of garments and accessories for photography, coordinating shoots, and managing consistent file naming—while supporting interns as they developed their own practical skills. We worked with fragile, often heavily embellished garments, which required patience, precision, and delicate handling.

It was a privilege to guide a team of passionate interns and to watch their confidence grow as they learned to handle historical pieces and dress mannequins ready for photography. Seeing the interns connect with the garments, not just as objects, but as living pieces of design history, was a real highlight. From spotting hand-stitching techniques to discussing the science of creating pleats in fabric, every day offered an opportunity to share knowledge and learn something new in return.

Throughout the project, I led on adding social media content to Instagram. Having had minimal experience with Instagram beforehand, I enjoyed developing new skills to produce eye-catching reels, posts, and stories that brought the collection to a wider audience.

As someone who works daily in a university digitisation studio, it was refreshing to lead a project with such a vibrant mix of creativity and heritage. The Colourful Heritage project has reinforced for me how important it is to document and preserve not only the physical garments, but also the stories, processes, and people behind them.

This project has deepened my appreciation for what a digitisation project can achieve—and I hope the legacy we have built continues to inspire others for years to come.

This internship has been an incredibly enriching experience, providing me with invaluable insights into the heritage and history of garments. I learned about different types of trims and fabrics, the patience required to iron intricate clothing with many layers and ruffles, and the delicate process of repairing and mending historical pieces for photoshoots.  Additionally, I gained practical skills in pinning and positioning fabrics on mannequins to showcase each garment as closely as possible to its original state.  Some pieces were particularly challenging to put on due to their intricate designs and fragile materials.  This required careful handling and precise techniques to ensure they were displayed correctly and safely. This hands-on experience has deepened my appreciation for the craftsmanship and cultural significance of these garments, and I am grateful for the opportunity to apply these lessons to my future endeavours.

The best thing about this internship was the opportunity to see and interact with Zandra Rhodes in her studio nearly every day.  It was mesmerising to witness her dedication and hard work firsthand, something I never expected when I started.  The welcoming and inclusive atmosphere was eye-opening, showing me what a positive and supportive work environment looks like.

Completing this internship has given me a new perspective on my future career, One significant realisation I've had is understanding just how tough the fashion industry is, and the immense amount of work required to establish a successful career. Despite these challenges, I am more determined than ever to pursue my goals and eventually launch my own brand. This internship has reinforced my commitment to working hard and persevering until I achieve my ambitions.

Zandra is quite a legend among myself and my peers.  Studying print, Zandra is a pioneer of printed textiles and to work alongside her has been a privilege.  I'm so proud to have been a part of the Colourful Heritage project.  It's been very inspiring to meet Zandra and see her screen print room and all the components that go into her making an creative process.

I love sewing and garment construction so being able to handle these garments up close and examine their production process is very insightful.  That element of heritage, the story behind the garments is told by the visible hand stitching of the person who made it, the screen print is done by hand.  That human element in the history of the clothes.

I have expanded my skillset into documentation and archiving which is a brilliant experience to have.  I wear a lot of vintage clothes, so I am familiar with mending and delicate handling of old fabrics.  It has been thrilling to put those skills into practice with Zandra's legacy.

Overall, it has been an amazing experience that I shan't forget.  I feel inspired and motivated to keep working and create my own legacy.

The day when I heard the good news about being selected for the Zandra Rhodes internship I felt over the moon to have the chance to learn from a well-known designer.  I did research even before the interview and believed that I would learn so much from this experience.  The designs and prints posted on the website and social media caught my eye because they are truly beautiful and I wanted to see them in person.  Since I had done some printing back when I was doing my bachelor's degree I was also interested in understanding it further.  I wanted to develop my knowledge of how prints are created and how the elements of a print can be developed.  Every day I kept wondering and could not believe that I was part of this Colourful Heritage internship project.

The first day of my internship with Zandra Rhodes finally came, I was really nervous but also excited and I tried my best.  I learnt how to press garments nicely and met new people - Zandra Rhodes, everyone in the Studio, Lorna, Ellen, and the other interns.  The following day I did some preparation again for the next photography session.  I steamed and ironed different types of materials and designs, which always inspired and amazed me.

Then, my first photography day arrived.  It was great to make sure the garments were properly placed on the mannequin and ready to be photographed.  After a few garments I swapped roles with the other intern.  My fourth and fifth days of the internship were really great and I learnt a lot from them.

On my sixth day, after all the garments were well prepared for the next photography session, we moved on to the accessories.  The accessories - hats and hairpieces - were amazing.  Unfortunately, I did not get a chance to attend the photography day for the accessories due to my university class schedule, but at least I had seen the great pieces.

The following internship day was my final photography day, focusing on the remaining garment pieces that had not been photographed yet.  And my last day of my internship also went well.  I still cannot believe that my last day was highlighted by a stunning piece hanging on the rail, and I got a chance to see and take a picture of the cape that Freddie Mercury had worn.

I am really happy and enjoyed this internship. I will never forget this opportunity.

I had an amazing experience at Zandra Rhodes' studio as an intern, working on a Colourful Heritage project.  I've learned how to iron, mend and steam vintage garments carefully, and dress them on mannequins without causing any damage.  This taught me that time can make things fragile and this is why they are so valuable.  Also, I've met many experts at the Studio each time and learned so many things from them.

Meeting Zandra Rhodes was so inspiring to me.  Her passion for fashion was clear as she dedicated her life to her work and fashion, and working with her and the team was truly unforgettable.  During this project, I realized how creativity and teamwork can achieve great things.

I also met 3 other students from different majors at UCA which was so interesting.  We've learned a lot from each other and made great connections.  Also, good communication helped us to support each other during this project.

This internship showed me how time can add history and meaning to each garment or piece.  Working at Zandra Rhodes' Studio was a great opportunity during my academic journey and it was full of new lessons, inspiration, and new friendships.  I feel so lucky that I was part of this project.

A new phase of the project is about to begin, working with young people from underprivileged backgrounds and inspiring new audiences to access creative education and in turn, cultural heritage.

Growing up in a working-class family in the Medway area of Kent, Rhodes’ father was a lorry driver and her mother a lecturer at the local Medway College of Design (which later became UCA). Rhodes’ worked hard at Fort Pitt Grammar School, and from a young age would draw and sketch every day. One of her iconic textile designs ‘Wiggle and Checks’ was inspired by jigsaw puzzles her family and her did as a family on holiday.

With that in mind, Ellen Brown, Project Manager (Education & Outreach) from UCA will be working with schools in the Medway area of Kent, to encourage 16 and 17-year-olds to be inspired by this example to #draweveryday and to find inspiration in everyday experiences.  Workshops will be taking place in the Spring of 2025, and those who take part will receive a special Dame Zandra Rhodes pink and gold sketchbook to record their work.

A big #ThanksToYou to National Lottery players for funding The Colourful Heritage Project courtesy of the National Lottery Heritage Fund.