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Liliana Rochado

UK

Hi, my name is Liliana Rochado, and I am a fashion design student at the University of Central Lancashire in the United Kingdom. I discovered my love for working with leather during my second year at university. While completing my tailored blazer brief, I wanted to challenge myself and chose to explore leather as my primary material. I conducted extensive research into different types of leather, even using this topic for my second-year essay. I had the opportunity to collaborate with a local upholstery artist who generously allowed me to use her surplus leather scraps, which enabled me to bring my creative vision to life. My project is inspired by my Portuguese grandfather, as I am both English and Portuguese. It is titled Avo Antonio in his honour and delves into the beauty of who he is, portraying him as a fruit and vegetable farmer in his late eighties. The project explores Portuguese tiles and my personal connection to them through my grandfather, all expressed through the creation of a tailored leather blazer.

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NAVEGADOR P-J.H.

Category: Apparel

Competitions: International

NAVEGADOR P-J.H. imagines PJ Harvey retreating to my family's farmhouse in Portugal to write her next album, fusing her rebellious artistic energy with the architecture, craftsmanship and cultural heritage of my Avô's hand-built home. Portuguese tile motifs taken directly from his floors, kitchen, bathroom and exterior walls were transformed into digitally etched leather surfaces, preserving fragments of place and memory through contemporary craftsmanship. At the heart of the collection is 50FT QUEENIE, an oversized leather coat developed from reclaimed upholstery leather offcuts. A bespoke digital pattern-matching workflow was created to align every individual leather panel before construction, allowing intricate Portuguese tile motifs to flow seamlessly across complex seams as one continuous architectural surface. Working with irregular reclaimed leather increased the number of pattern pieces required, transforming material limitations into a richly layered composition while maximising the value of every hide. Innovation extended beyond surface design through precision leather construction, engineered shoulder structures and material experimentation across the wider collection, including sculptural copper pipe developed in collaboration with the university engineering department. Sustainability informed every stage of the project. Deadstock upholstery leather was selected for its exceptional durability, repairability and ability to develop a rich patina over time, creating garments designed to become more beautiful with wear rather than be replaced. Material waste was further reduced through digital planning, efficient etching trials and the selective replacement of only damaged leather sections during production. The collection demonstrates how digital innovation, traditional craftsmanship and responsible material choices can transform reclaimed leather into contemporary heirlooms that preserve both cultural heritage and the enduring value of real leather.

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Avo Antonio

Category: Apparel

Competitions: International

My competition piece, created as part of my second-year tailoring project, is a tailored blazer inspired by my Portuguese grandfather, Avo Antonio. I’m proud of my dual British and Portuguese heritage, and I aim to bring this cultural richness into my designs. Avo Antonio’s life: from his service as a mounted police officer in Portugal and Germany to running our family farm he has always inspired me. Summers spent working on the farm in Portugal have shaped my understanding of durability, practicality, and craftsmanship. For this blazer, I wanted to reflect my grandfather’s hardworking spirit through a garment that combines function and elegance. The blazer’s pockets, doubled for extra storage, are inspired by the shape of his denim jeans pockets. Flat-felled seams echo the durability and hard-wearing nature of his work clothes. The silhouette, featuring a fitted waist and exaggerated balloon sleeves, draws influence from Schiaparelli’s historic couture, blending tradition with modernity. Leather plays a central role in my piece. I chose cow leather scraps sourced from a local upholsterer, ensuring the project remains sustainable while allowing me to explore new leatherworking techniques. The leather elements are inspired by the dark oak furniture my grandfather owned and by Chesterfield sofas, connecting my design to both heritage and material luxury. One of the most meaningful details in my blazer is the leather sleeve moulding, inspired by the architectural tiles on the exterior of my grandfather’s 1970s-built home. I replicated the arches from these tiles and incorporated them into the sleeve design, while the floor tiles inside the house were etched into denim for the lining. This felt poetic — exterior tiles on the outside, interior tiles hidden inside — symbolising the duality of heritage and personal narrative. Though the creative journey wasn’t without challenges, I embraced the process wholeheartedly. Even when the blazer wasn’t fully finished before my photoshoot, I pushed ahead, capturing imagery rooted in my story and summer memories in Portugal. Embracing imperfection added authenticity to the final piece. After returning from the shoot, I completed the finishing touches, subtly integrating the tile motifs into the front bodice and back panels. Hardware details, including rivets and a braces clasp closure, as well as fine detailing around the collar and pockets, contribute to a modern “quiet luxury” aesthetic, aligning with current trends while honouring traditional craft.

In association with Arts Thread

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