Clark uses tartan sourced from the Scottish Borders and lace fromMYB in Ayreshire

Clark’s love for Scottish textiles began when her grandmother gave her a bag full of Harris Tweed, a fabric often  kilts for sale seen as stuffy, which now retains a strong presence in her feminine collections. “I think I’ve got quite a good eye for mixing up the textiles with different colors and fabrics and I think that has [created] a new market for me and for other people to see that it could be feminine and very wearable.”

Courtesy of Judy R. Clarke

Courtesy of Judy R. Clarke

In Scotland, Clark says, people are starting to realize that the great fabrics are already on their doorstep. As well as Harris Tweed, Clark uses tartan sourced from the Scottish Borders and lace fromMYB in Ayreshire, the last remaining lace mill in Scotland which produces Madras lace on 19th century looms. Romantic lace touches are a hallmark of Clark’s—enabling other Scottish designers to realize they don’t have to travel far to source fabric. “It’s quite nice that people are starting to hone in on Scottish textiles and are starting to use them more.”

Like Rae’s work, Clark’s designs seem to take inspiration from the environment. HerLace Noir collection particularly echoes the Renaissance architecture and Gothic spires of Edinburgh, where she is now based. Though lace, bustles, petticoats and high collars abound in Clark’s theatrical bespoke tailoring, her ready-to-wear Regency Collection, with its frock coats and waistcoats, has a notably masculine edge. “All the bespoke pieces were so flamboyant and over-the-top that I tried to give women a ready-to-wear collection that they’d feel great in, in a business sense [so they would] feel feminine but quite powerful as well,” she says. “I was trying to create a line women could go to work in and really feel like the boss.”

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