I have been periodically revisiting this beautiful vintage needlepoint tapestry of wild birds over the past few months, adding my hand beaded embellishment, and searching for the perfect reverse cloth for the cushion. Thankfully the Guy Goodfellow Collection has just launched a new emerald courway of their popular Fez Weave which coordinates perfectly, so at last the cushion is finished!
This week sees the official launch of the ‘Makers Tales’ series of artisan showcases in the Guy Goodfellow Collection Showroom in Chelsea, London.
Sarah Burns, who works under the name ‘Dora Fabrics‘ is a devotee of natural dyestuffs and has spent the last few years searching for native plants in the fields and hedgerows around her Sussex studio on the South Downs, and experimenting to develop an array of sumptuous colours that you would never imagine coming from plants such as the humble Ash tree or bramble.
Sarah escaped her life in the city working as an economist to follow her creative dreams, and re-trained as a printed textile designer, moving out of London to the idyllic countryside of Sussex.
The designs in the Dora Fabrics collection are reminiscent of 1950’s woodcut prints; simple, graphic designs that originate from Sarah’s observations of her local surroundings. The graphic qualities of the prints are belied by the gentle colour palette created from the naturally dyed base cloths that Sarah creates.
For the ‘Makers Tales’ show Sarah has dyed sumptuous lengths of crunchy silk with dyes from the weld plant, which gives a glowing warm yellow, walnut and Ash bark which has given a rich pewter grey-green. Colours change depending on the mordant (or fix) that is used and on the fabric base, so Sarah’s dye recipe books are like a bible of invaluable observations.
When talking with Sarah, the joy of what she does is infectious and luckily for us she offers courses in dyeing where we can all experience the excitement of the unknown, foraging for plants, chopping, boiling and testing to our heart’s content in the fresh air of the Sussex countryside. Coming away with ranges of colour swatches and a new found respect for nature’s incredible bounty.
Of course, if you don’t fancy the process of dyeing then Sarah can be commissioned to create lengths of hand dyed linen or silk to suit your colour scheme, but be aware that the nature of the method means that you may need to wait until a particular plant comes into season, as in the world of Dora Fabrics Mother Nature dictates the seasons and their colours!
Sarah can be contacted via: http://www.dorafabrics.com
The show runs until the 14th June 2017
In all the many years I have lived in London, I am ashamed to admit having never visited the Archives before, and was delighted to find such a fantastic resource for historians, researchers and genaeologists, not to mention artists, who often neglect their intellectual stimulus in favour of practicalities of producing new artwork!
The theme of the evening was ‘Fancy costume – the art of dressing up” and the talk was given by Charlotte Hopkins who works for the archive. We were a small group of creative people all with a common interest in textiles and history.
The lecture took a long and sometimes sideways look at the fascinating subject of ‘dressing up’ and it’s traditions in European and English society, from the Pleasure Gardens of Vauxhall to photographs taken by students at the London College of Fashion in the 1970’s.
One of our primeval instincts, completely acceptable in childhood, but modified and subverted in adult life is the need to ‘dress-up’ or take on another transient identity for the pleasure of ‘pretend play’. The escapism and anonymity of dressing up burgeoned in the 17th and 18th centuries, becoming part of upper class social life, and often viewed at the time as a pathway to depraved behaviour. Aristocracy and high society families spent large sums on having beautiful costumes created, and there was a large industry of costume and mask makers in London. The lower and working classes were more inventive in their creations for dressing up opportunities,
The Lord Mayor of London hosted masquerade balls for the children of the professional classes, and no expense was spared in the creation of their children’s costumes.
The London Metropolitan picture archive’s online resource ‘Collage’ allows free access to thousands of the documents and images in the collection, and is a fascinating resource for historians and artists alike. Tiny snippets from historic documents are available to view on request, old newspapers, photographs and illustrations are a rich resource of inspiration and a little window into lives led in another era.
We were lucky enough to be shown into the strong rooms of the archive, deep in the building.
Long corridors filled with shelves and files, all housed in custom made archival boxes, with one member of staff purely responsible for creating these custom made boxes! The wonderful aroma of ancient documents and slightly musty books pervades the space. What look like really old bound books are stacked on some shelves, but on closer inspection date back only to the 1950’s, maybe the mere fact of them being in this environment has given us a preconception of their antiquity!
London coroner’s court records are stored here, with files containing both the mundane and the macabre details of lives prematurely reaching their end. A sobering view as we peer into the corridors of files. Illustrations of dress design and fashions were displayed for us to see, and I was delighted to find plates of Leon Baskt illustrations amongst the pages of the London Illustrated News from 1913. Radical costumes for the time, unstructured and body hugging in comparison with contemporary fashions.
I could happily return (and probably will!) To explore more of this fantastic free resource, but leave you to explore either through the virtual portal of ‘Collage‘ or in person, do let me know if you find a treasure!
The current ‘Opus Anglicanum’ exhibition of Medieval ecclesiastical embroidery at London’s Victoria and Albert Museum took me way back to my student days when I was lucky enough to be of the generation when it was still possible to study Embroidery A’level. My lovely embroidery teacher allowed us to take off on flights of fancy with creative embroidery whilst instilling a respect for the timeless techniques of the past. It is hard nowadays to imagine a state school sixth form running an A’level course with only three students, but at the time we never even questioned it! Alongside our study of artistic and contemporary stitch techniques the history of embroidery was an integral part of the course and I was thoroughly absorbed for a while in the world of ecclesiastical embroidery and it’s techniques. The no photography protocol of the V&A meant me taking out my note book and sketching some of my favourite fragments, and even this was time consuming, leaving me to speculate on the unnumerable hours that were spent actually stitching these pieces!
The language of this exhibition was not unfamiliar to me as a past student of ecclesiastical embroidery, although I did hear several people wondering “What is a ‘chasuble for?” or “Which is the ‘split stitch’ and which is ‘couching’? ” ( A chasuble is the highly decorated tabard that a priest wears over his normal robes whilst celebrating Mass) Split stitch and Couching are shown here:
In the 13th Century, English embroiderers were at the pinnacle of embroidery workmanship. Church and high society aspired to commission their garments from the English embroiderers in London.
Large embroideries like the Butler Bowden and Syon Copes were made by highly trained professionals, both men and women. They were employed in workshops which were funded by merchants and noble patrons. The merchants took the profits, not the embroiderers who received only modest payments for their work. Most workshops were in London where the necessary capital was available and which was the principal port through which the imported materials arrived. The phrase ‘opus anglicanum’ was first coined to describe the highly-prized and luxurious embroideries made in England of silk and gold and silver thread, full of elaborate biblical imagery.’English Work’ or Opus Anglicanum remained the most sought after work until well into the 15th century.
I was looking forward to the rare opportunity to see ‘up close and personal’ the incredible detail in the embroidered vestements worn in the Medieval Church. I found it sad to think that the hours of work that were put into the embroideries were lost on the congregation, as they would not have had time or opportunity to ‘read’ the pictorial stories depicted on the garments, nor would they have been able to see the minutiae of the stitches that created these incredible works of art. There are exquisite examples of intricate stitching and beautiful fragments of embroidery in this exhibition, but I did feel that it was a missed opportunity on the part of the V&A. In comparison with the recent exhibitions of the past year , this one fits the norm of a dry, old fashioned, ‘museum’ exhibition. I had the impression of wandering amongst embroidery and theological aficionados, who, albeit enthusiastic, certainly did nothing to enliven the atmosphere.
The staging of this exhibition is in a dry, traditional style, some of the beautiful work is presented so far back in the glass cabinets, that it is impossible to make out the details. There are fantastic stories depicted in many of the Church garments, none of which were adequately told in the labelling. The minute stitches really needed to be magnified, but there was no way of doing so. A short film demonstrated the technique of one style of stitching, but was small and nestled between two glass cases, so difficult to see if there were more than two or three people looking. All in all I left, even after my second visit, feeling frustrated at the lack of interactive or engaging display.
However, if you have any interest at all in the world of textiles or history, then this may be the only opportunity for a long while to see such a comprehensive collection of some of the worlds greatest embroidered treasures, so essential viewing !
Having spent the last couple of weeks looking at various design exhibitions I couldn’t help but notice a predominance of Pink in the new launches this autumn.Not that ‘Barbie pink’ we all love to hate, but a fluctuation between soft dusty pink and what I always think of as a hot ‘Indian pink’.
There are so many preconceptions about the colour pink, but it has recently come to the fore of home furnishing palettes as a sophisticated and fresh tone within the home. Despite today’s misconception that “pink is for girls’, historically the colour has had masculine associations, notably in Japan, where the coloured pink-blossomed cherry trees are seen as representing the young Samuraii who fell in battle in their prime.The flowers took on a similar meaning during the second World war, when they were painted on the side of Japanese kamikaze warplanes
The city of Jaipur in India is known as the ‘Pink City’some say that the Raja Jawai Singh had the city painted pink to welcome the Prince of Wales on an official visit, and the colour has become part of the reatition of the city with new constructions taking on the colour to this day. As Diana Vreeland said; “Pink is the navy blue of India”
This dusty pink plays a part in the current colour trend, adding a subdued tone to the pink palette. Icons of Denmark have used this soft tone in the upholstery of their contemporary chairs as seen at Design Junction last month.
Chanel’s iconic pink tweed has been re-invented over and over in their collections, this season it ranges from the original soft pink through to hot “Shiaparelli” pink.
In the home textile collections launched at this season’s Focus show at Chelsea design Centre several companies reference this pink tweed, for example ‘Cestino Flamenceo’from Harlequin, which from a distance, gives a softly undulating pink tone. Villa Nova also introduce their design Koji geranium; a warm, dusty pink, textured weave from their Hana Weave collection.
Whilst Romo have created a new tiny geometric weave using the same tones of soft pink.
Don’t be concerned by today’s prejudices against pink as only being ‘for girls’, This is a relatively new phenomenon. For centuries, according to Jean Heifetz (When Blue Meant Yellow: How Colors Got Their Names . Henry Holt, 1994), European children were dressed in blue because the color was associated with the Virgin Mary. The use of pink and blue emerged at the turn of the century, the rule being pink for boys, blue for girls. Since pink was a stronger color it was best suited for boys; blue was more delicate and dainty and best for girls. And in 1921, the Women’s Institute for Domestic Science in Pennsylvania endorsed pink for boys, blue for girls. It is a matter of debate as to when the colour pink became tagged as being only for girls ( I blame Barbie, but am probably wrong!)
Pink is generally known as a colour of happiness and innocence and it has been shown to have significant effects on our psycological state.
- It has been used in prison cells to effectively modify agressive or erratic mood swings in inmates.
- Pink is a symbol of joy in Catholicism
- The color pink is thought to have a tranquilizing effect. Sometimes sport’s teams use pink to paint the opposing team’s changing room!
- Pink encourages friendliness while discouraging aggression and ill-will.
- Male weightlifters performance has been diminished when surrounded by pink, whereas female weightlifters performance was enhanced!
Of course The Pink House By Rebecca Cole collection is right on trend with our “Love Walk” hand printed cushion design too!
Brighter pinks are youthful, fun, and exciting, while vibrant pinks have the same high energy as red; they are sensual and passionate without being too aggressive. This is on show in Mauel Canovas’ Indian inspired embroidered linen, Clermont Pivoine which lifts the spirit in the true tradtition of pink design. Brighter pinks are stimulating, energising and can increase the blood pressure, respiration, heartbeat, and pulse rate.They also encourage action and confidence. So we will keep an eye open for this positivity in seasons to come!
As each season of new products approaches, I look forward to visiting the Top Drawer Show in London. This is in the knowledge of course, that after so many years of trend spotting, I am extremely difficult to please, and find it hard to be ‘wowed’ by the products launched by the multitudinous companies that show their wares to the trade buyers at these shows. However, I am the eternal optimist and turn up every time looking for that wonderful object, design or personal ‘click’ that makes me feel warm inside!
I am of course always drawn to the textile products, as that is my background, and this week chanced upon the stand of Peaceable Kingdom. The Peaceable Kingdom cushion collections came about through the artist designer Hugh Dunford Wood creating an image of a cat for his daughter and subsequently grew into a range of lino block printed cushions.
The random qualities of hand block printing lend an individual element that I love to these simple and striking designs, and I feel that they embody the pared-down and simplistic feel of the current trend for naturally produced, bespoke furnishings.
Mon Amie are a couple of florists from Leicestershire who have designed a simple work apron that is deliciously stylish, just the kind of thing I can imagine Vita Sackville-West donning to collect fully blown roses in her Sissinghurst garden! I was initially attracted by the sumptuous colour of their stand, a combination of soft slate, earth and warm mustard aprons simply hanging and folded in unassuming piles.
Again I was drawn to the organic simplicity of the presentation and products from this duo, and love that they have been brave enough to make a limited colour statement for the launch of these linen aprons. Mon Amie living has a gentle and restrained sense of style that so many of us aspire to, but are not often brave enough to make that statement.
Moving from garden to kitchen in a smooth transition, the understated luxury of The Silver Duck cutlery collection is an example of form and function pared down to a beautiful simplicity. Charlotte Anne Duckworth ihas refined the craft of silversmithing to forge light and elegant pieces of silver cutlery, combining this luxurious metal with the pale wood of holly for the handles. I personally can’t resist a lovely wooden box, and Charlotte has presented her pieces in simple presentation boxes, with the pieces of cutlery nestled amongst wood shavings. These little cabinets of curiosity are beautiful in themselves, but don’t be fooled into thinking that the utensils can’t be used, they are perfectly functional and Charlotte provides a litttle bottle of oil and a soft cloth for us to maintain the holly wood after it has been washed!
These were my pick of the Top Draw show this season, minimal, organic and functional all, but above all exemplary pieces of timeless design.
I revisited one of my favourite art venues this weekend in the Cotswold town of Cirencester. The Brewery Arts Centre was one of the pioneers in encouraging designer makers to set up workshops and studios in their purpose built hub.For the past 40 years the Cirencester Workshops’ aim has been to ‘give the public good quality crafts, provide craftspeople with a fair rent and encourage them to produce creative work of a high standard, and to put the enterprise on a sound financial basis’. I have been priveleged to witness the evolution of this centre over the years and have always enjoyed popping in to see what’s on in the gallery or peep into the workshops to witness some really stunning works being created. (Not to mention the fab coffee!)
The current exhibition, “How does your garden grow?” has been curated by garden designer Geoff Carr. He has created an indoor garden design which features ceramics, sculpture, garden furniture and tools. Although I was not a great fan of the synthetic lino ’tiling’ which didn’t really do the works sitting upon it justice, I thoroughly approve of the concept behind the show. So often, garden design elements are shoved to the background, overshadowed by showy plants and flowers, but this exhibition gives us the opportunity to see gardening staples, such as terracotta flowerpots, trowels and bird boxes in a new light as bona-fide pieces of craft in their own right.
The sculptural qualities of woven willow are more apparent in a gallery setting, before they have been overgrown with the plants they are destined to support. The ceramic forms of Nigel Edmonson incorporate ‘landscape based abstraction that responds to the Lakeland fells’ that lie on his doorstep.
Karen Edwards also works in clay , exploring her interest in plants and landscape. The pieces are hand formed, using various techniques to create individual pieces which are then embellished, embossed or polished and glazed.
The palatial clay birdboxes created by Peter Garrard are a fantastical journey into his world of fascination with Chinese, Medieval and Pre-Renaissance artefacts. Lavishly decorated and glazed these dwellings would be for the most discerning of feathered property tycoons!
A row of beach hut striped teracotta pots spans the width of the gallery and I love the idea of these colourful elements added to the simplest form of garden pottery. The humble flowerpot has been given special treatment by potter Simon Hulbert who works in Haye-on-Wye. Simon says;”My work has always been varied in scale and complexity- from the humble plant pot, simply thrown, through to the larger one-off pieces which are often monumental in scale.” I am so pleased that he has treated us to this display of ‘humble’ pots.
I seem to have focussed on the ceramic elements in my photographs but there was a range of other mediums on show, including some stunning steamed wood baskets from Jane Crisp
And just in case you feel the need to get your hands dirty and actually plant something in your garden here are some really splendid bespoke tools from Implementations to adorn your garden shed walls!