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Fashion (MA)


Shanice Palmer is a humanwear designer and multidisciplinary artist from south London. 

Graduating from London College of Fashion in 2017 with a degree in Fashion Design Menswear, she has since gone on to have a successful career as a product development specialist for a variety of brands within the creative arts.

Shanice has used her time on the MA fashion programme at the Royal College of Art to expand her design expression beyond products for the traditional body and welcome an expansion of the body beyond the individual. Her work is inspired by community contribution, exploring notions of identity and value as a collective. Her current body of work stands as a testament to the transformative power of storytelling, offering glimpses into a future where the black experience is reimagined as a collective using curated workshops as a catalyst to unveil honest narratives.

Her work has been featured in various exhibits and publications including London Design Biennale, Dezeen, the Evening Standard and Dazed Digital. Shanice is also the recipient of The Sir Frank Bowling Scholarship, which ensures that students from ethnic minorities and marginalised communities have equal access to Art and Design education. 

A black and white image of Shanice Palmer side profile.

‘UBUNTU. I.. am what I am because of who we all are.’ Archbishop Desmond Tutu

My practice is a reflection of my lived experiences merged with the parables passed down to me by my Jamaican grandmother. These narratives serve as the foundation of my artistic expression. I utilise my design skills to capture the imperfect beauty that comes with growing up in an inner-city environment, juxtaposing it with the profound and prophetic interpretations shared by my grandmother. My intention is to bring these golden tales to life and share their transformative power.

My current body of work serves as a testament to the power of storytelling and its ability to shape the future, particularly in relation to notions of luxury and identity. I believe that by sharing honest expressions and creating inclusive spaces that amplify unheard voices, we can tap into a collective consciousness that nurtures a sense of community, healing, and empowerment.

Through my recent engagement with the local community in Croydon, I have hosted workshops that impart heritage crafts such as clay mould-making and lost wax casting. These workshops serve as catalysts for play, conversation, and exploration, guiding participants towards the co-creation of a new narrative that celebrates our shared heritage.

My art seeks to transcend boundaries, challenge conventional norms, and ignite meaningful dialogues. It stands as a testament to the transformative power of storytelling—an instrument through which we can shape a future of infinite possibilities, driven by collective imagination.

knotting tying and braiding of yarn a communtiy installation
Installation — Knot, Tye, Braid [community workshop]
Workshop In Motion
bronze lost wax casting by shanice palmer what I am because of who we all are
Adornment Artifact — Bronze
Research traditional heritage craft grills black parade worship hands gold golden face community
Research — Adornment + Devotion
lost wax casting in bronze
Process — Wax Water Mould, Lost Wax Casting
contents page from the book ubuntu  A word of African origin translating to humanity towards others with the belief in a univers
Research — Contents of UBUNTU
communicate with symbols in clay workshop collective expression metal and clay mould make narrate, classification.
Symbols in Clay — Workshop Stills
clay and acrylic abstract symbols painted in gold acrylic
Clay Symbols — Workshop Outcomes
The bronze in true form. The bronze printed on paper. The bronze image in the digital.  What form would you prefer to have?
Understanding Value

Does the natural essence of bronze, an earthly element, truly embody its intrinsic worth? The hands of artisans and the workings of machines can enhance its value through manipulation and shaping. Nevertheless, bronze remains infinite, unyielding in its existence regardless of the forms it assumes. It cannot vanish or dissolve.

If I were to secure the bronze in a safe place and carry a paper printout of it instead, would the visual representation hold equal value to the genuine article? Does this signify the initial stage of artifice? Could it be a pledge, ensuring the presence of the element? Can I replicate it and more? Will the paper image ever restore the value back to its elemental form?

And then we delve into the realm of the digital. Without the need for physical prints, the bronze image can reside on a digital device. Can the aid of technology retain the same value, competing with the tangible essence of the element? Can I generate numerous digital copies, manipulate them in diverse ways, and effortlessly share them via email and transfers to others? Will I ever find necessity in grasping the tangible bronze once more?

Does beholding the visual representation of bronze suffice to justify the value it holds?

Are the value systems upon which our societies are constructed now outdated, rendered obsolete by the passage of time?

abstract bronze artefact used as a fastening to adorn the body
Bronze Artefact — Fastening
abstract bronze artefact used as a fastening to adorn the body
Bronze Artefact
abstract artefact fastening used to support yarn folds
Artefact Fastening + Recycled Yarn
images of outerwear garment on the body with aluminium metal used to create shape and structure
Inspired Body Form — Recycled Yarn + Aluminium Metal
fittings of garment inspired by workshops on the body
Workshop Inspired Body Fittings
think cards are used to entice discussion during workshop events to start to reimagine existing narratives
Game — A New Narrative Discussion Cards
Divine creation empirical ancient knowledge creative force ancestral power sacred rhythm adorned devotion ticker tap reading
a process flow of shanice's sketchbook

“If its not good for everyone, it’s no good at all” some native people

Sir Frank Bowling Scholarship