Textile Sculptor Mia Sylvia Herrod on Reimagining Reception Styling

Awe-inspiring and otherworldly, Mia Sylvia Herrod’s creations flow with a Baroque grace that feels almost musical — like ocean waves captured in linen and silk. Nature, one of her greatest inspirations, informs her work. Hand-dyed textiles, her specialty, drip from ceilings and cascade over tables, transforming high-end events and weddings into immersive, dreamlike spaces that linger in memory long after the last guest has departed.

Her draped sculptures, also crafted for the likes of The Lane, exude layered elegance and a sense of movement, as though the fabric itself is alive. “I want my installations to feel transformative, like being part of something much bigger,” Mia shares. “It should give you that sense of awe.”

As we speak, she is expanding her practice into the art world, collaborating with galleries and exploring exhibitions to elevate her work. “This year, I’ve started to notice a lot of symbolism within my work – it’s like a story that I’m weaving into everything I do,” she explains.

This evolution is connected to her past as a dementia specialist in end-of-life care. “I’ve always felt my work reflects the circle of life – celebrations of love and marriage, but also rebirth and death,” she says. “I think those experiences gave me a profound sense of how important it is to create spaces where people feel held, inspired, and connected.”

Throughout school, Mia immersed herself in the arts, eventually pursuing a diploma in art before studying textile design at university. “Coming from a single-parent, working-class background, I never thought university was an option for me, so I made the most of it,” she shares. There, she discovered natural dyeing and fabric manipulation, catching the attention of a wedding photographer during a university exhibition. “The wedding element was always somehow present,” she reflects. Her early fascination with couture resurfaced in her third year, as she began upcycling wedding dresses — dyeing, stitching, and drawing inspiration from spoken word and poetry. “That’s really where I started to shape who I am creatively,” she adds.

Describing her approach to creating bespoke draped sculptures, Mia says, “I kind of look at it as painting in a space.” Her large-scale installations reimagine traditional draping, a craft that has graced historical venues for centuries. “The Baroque era is definitely having a revival right now,” she reflects, citing its luxurious ruffles and gleaming satins. She also draws inspiration from the romantic, dreamlike qualities of Pre-Raphaelite paintings.

Her work is as much about spatial harmony as it is about beauty. “Fabric installations can feel overwhelming, but the textiles I work with open up a space,” Mia explains. “They cocoon it in a way that feels soft and airy, making you feel held, not confined.” It’s this balance that defines her artistry.

Perhaps surprisingly, given the dreamlike, ethereal quality of her work, Mia loves derelict, industrial buildings. “There’s something magical about their disheveled charm, with exposed beams and high ceilings that allow so much room to play,” she says. Her creative process begins with observing and understanding the space — its structure, flow, and the atmosphere it evokes. “I think about how people will move through it, where their eyes will naturally fall, and how I can create moments of surprise or calm,” she shares.

Mia’s creative process is deeply rooted in her surroundings. “I definitely always look to nature for inspiration,” she says. “Wind and the ocean inspire me a lot — their movement, their unpredictability. The wind can be super challenging, but I enjoy that challenge, seeing how textiles respond to it.”

Architecture is another consistent source of inspiration. “I love consuming all types of architecture,” Mia explains. “There are a few UK programs where architects design people’s homes, and I find those fascinating. I also watch Architectural Digest on YouTube — it’s lovely to see how design is approached differently in each episode.”

The fashion world also excites her. “It’s always so innovative. Designers play with materials and textures in ways that are really fun to watch,” she notes. Among her inspirations, Vivienne Westwood stands out. “She’s a role model for me. I love her sculptural designs, the corsetry, and the anarchy side of her work,” Mia says with a smile. Reflecting on a recent spark of inspiration, Mia recalls a designer’s universe-themed collection. “There was a dress covered entirely in tiny gemstones. The way it moved, the way it shone in the light—it didn’t look real at all. It was mesmerizing,” she says.

Mia’s inspirations, whether drawn from the natural world, groundbreaking fashion, or architecture’s diverse forms, reflect the breadth of her creative curiosity. Each element informs her practice, shaping designs that feel both timeless and boundary-pushing, imbued with a sense of wonder and artistic integrity.

She is clear about her ambition for 2025: to create emotive pieces, displayed in galleries accessible to the wider public, that go beyond decoration and invite a deeper connection. “I think my work brings a lot of magic into people’s lives — magic that so many don’t experience anymore,” she reflects. “To step into a space and feel excited, playful, and held within fabric creates something so special, almost sacred. Moving into the art exhibition space feels like the natural evolution of that — allowing me to use my voice to tell stories and make people feel something profound.”

To see more of Mia Sylvia’s work, visit her website or The Lane Directory.