QEST Sanderson Rising Star Craft Award: Interview with Hanny Newton

Nominations are open for the second edition of the QEST Sanderson Rising Star Craft Award, celebrating exceptional emerging makers with the ambition and talent to shape the future of craft. Ahead of the 5 June deadline, we spoke to inaugural winner Hanny Newton, embroiderer and 2023 QEST Broderers’ Company Scholar, about how the award has supported her practice over the past two years. From international exhibitions and exciting new collaborations to growing confidence in her creative direction, Hanny reflects on the opportunities, visibility and momentum the award has brought at a pivotal stage in her career. 

Looking back two years on from receiving the QEST Sanderson Rising Star Craft Award, how has the funding shaped your practice in ways that might not have been possible otherwise?  

Receiving the Rising Star Award in 2024 was a pivotal moment in my career as a maker. I applied just as I was completing my 2023 QEST Broderers’ Company Scholarship training, and the award enabled me to continue aiming high, with rigour and confidence in my direction. It has allowed me to deepen both my material and contextual research, building a strong foundation for what I intend to be a lifelong career. 

Crucially, it has given me the freedom to develop my practice without the immediate pressure of making my straw work commercially viable. Instead, I’ve been able to invest meaningfully in my development, building depth in my understanding of materials, techniques, and what I want from my career.

I am able to say ‘yes’ to mentoring, courses, study trips, exhibitions, and other opportunities that expand my perspective and push my work and career forward, because of the award. Having that financial support at such a formative stage has been transformative, and not something I would have been able to do to the same extent otherwise. 

For example, I am currently preparing for my first solo exhibition in Switzerland in 2027. The award has made it possible to undertake research trips to study rare straw craft archives, work with leading artists to refine my exhibition pieces, and receive business mentoring to ensure I can use this opportunity to build my reputation strategically. That level of support is invaluable. 

Please could you share one or two standout projects, commissions, or moments since winning the award? 

Immediately following the award, I began developing a range of straw embroidery pieces in collaboration with a global fashion brand. While I can’t share full details just yet, it has been a dream project—pushing my technical skills and encouraging me to think in a more industry-focused way, which has significantly developed my practice. 

I am also about to begin an exciting residency exploring the potential of different species of meadow grasses for embroidery, set within a remarkable historic parkland. This material research—likely unprecedented in this context—has come about through QEST connections following the award. It will be announced publicly soon. 

^{Images by Liam Bray}

How has winning the award influenced your confidence, visibility, or the way you think about your future as a craftsperson? 

The application process itself was incredibly valuable—particularly when I was shortlisted—as it pushed me to articulate what I truly wanted from my career. Coming straight out of my scholarship, it gave me permission to think ambitiously and define my aspirations with clarity. 

Winning the award was a significant vote of confidence, especially within a relatively little-known craft. To have my work recognised by such an esteemed panel has been deeply affirming. It has given me a real sense of permission to think big—if I could achieve this so early in my journey with straw embroidery, it opens up a much wider sense of what might be possible. 

Numerous features in magazines, including Country Life, House & Garden, Homes & Antiques, World of Interiors and Wallpaper, followed the award, significantly expanding my reach and generating increased interest and enquiries about my work, which was really exciting. In general, the award has really boosted my visibility and been a huge boost as I grow my career.  

You were nominated for the award, do you have any advice for others hoping to be nominated? 

I was fortunate to be nominated by a mentor who knew my work and my specific area of practice extremely well. We discussed the nomination in advance, ensuring she had all the information and imagery she needed. As someone who had supported my development throughout my QEST Broderers’ Company Scholarship, she was ideally placed to advocate for me. 

My advice would be to choose a nominator who understands your work deeply, is connected to your field, and can add real credibility to your application. It’s also important to allow plenty of time for preparation, as there will inevitably be some back-and-forth to gather the necessary materials.  

I would also say, use the application process to get really clear on what you want for the next stage of your career – what would you do if the sky was the limit? And what is your most ambitious goal for yourself and your craft in 20, 30 or 40 years, and what would you do now, if there were no limits, and you had the funds, support and visibility to start making that happen? 

Would you like to nominate a craftsperson for this year’s Rising Star Craft Award? Find out more here.