Embroidery - Textil Art Sep Oct 15

September /
October 2015
£4.90
THE TEXTILE ART MAGAZINE
Embroidery
Volume 66
THE DEMENTIA
DARNINGS
SEPTEMBER / OCTOBER 2015
Jenni Dutton’s
moving tribute
National
Assembly
Louise Saxton
collaging a
bright future
LIVING BY THE BOOK

Jessie Chorley begins
a new chapter
Plus
Elizabeth Brimelow
Graduate
showcase
2015
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contents 28
13
36
44
REGULARS FEATURES
NEWS 14 SCHOOL’S OUT
08 The Beryl Dean Prize We shine a light on some of the graduate talent and emerging
12 News trends from the UK’s degree courses this summer
13 Diary
20 THE LONG GOODBYE
The Dementia Darnings, Jenni Dutton’s moving portraits of
BOOKS her mother as she succumbs to dementia reaches beyond the
07 Kimono Now, Manami Okazaki personal to provoke strong reactions from all who view them
11 Fabric Pictures, Janet Bolton
28 NATIONAL ASSEMBLY
WHAT’S ON The Melbourne based artist Louise Saxton deconstructs
58 Exhibition listings vintage needlework into stunning collages of flora and fauna
that are attracting attention at home and abroad
EDITORIAL SUBSCRIPTIONS ADVERTISING

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September 2015
I’m passionate about the importance of drawing
and can always appreciate the qualities of
observation that shine in good work, even if the
end result is not at all figurative. But – as
Elizabeth Brimelow says in this issue – you have
to know what it is you want to draw. Speaking to
this year’s graduates, I don’t regard it as
coincidence that those who had embraced
11 42 drawing showed real breadth and quality in their
portfolios but, just as importantly, they had a
20 strong focus to their work, and were passionate
about it. We have chosen a selection of graduates
whose work stood out for just these reasons.
Likewise the artists featured in this issue each
have a unique point of view that has grown out
of a passion for some aspect of textiles – whether
it is a love of cloth, of narrative or of making for
the sheer joy of making – each explores the
potential of textiles in highly personal ways. The
selection is diverse, and it’s this diversity I find
exciting. I feel we are still only scratching the
surface in terms of exploring cloth, stitch and
textiles as an art form but some things might do
well not to change – that is building good work
on a foundation of observation, drawing and
practiced skills. Once you have mastered these
you are free to break the rules.
EDITOR
EXHIBITIONS
36 DRAWN FROM THE LAND PREVIEWS On the cover:
Landscape and drawing are just two of the passions that drive 42 Dialogues & Small Talk, Quilt Art Louise Saxton,
Queen Billie,
Elizabeth Brimelow, one of our most distinctive British quilters 2010 after
REVIEWS Sarah Stone
44 LIVING BY THE BOOK 54 Shoes Pleasure & Pain, London
1790 (detail)
Jessie Chorley’s quirky brand of stitched ephemera has earned PhotograPhy:
55 Revisiting Romania, London gavin hansford
her a loyal following: now a new chapter of her life is unfolding ©Louise saxton
as she expands her studio into her Columbia Road shop 56 New York City Apartment, Bristol
57 Seeds of Memory, Sleaford
50 THE CURATOR
We talk to Laura Hamilton, who cemented her reputation as a
curator during her 20-year tenure at the Collins Gallery, Glasgow
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ISSUE DATE ARTWORK DEADLINE each copy to
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Editor or the
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jjardine@embroiderersguild.com ISSN 1477-3724.
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6 EMBROIDERY September / October 2015

EMBROIDERY loves...
Kimonos are the sumptuous,

elegant and extravagant
national dress of Japan.
However more than being a
costume, they are a living
culture and kind of fashion
© SEBASTIEN LEBEGUE
BOOKS
Kimono Now
Nothing evokes the essence of Japan quite like the kimono. Most are
simple in construction – the timeless coat-like garment is held in place with a sash
(obi) – yet its wearing is imbued with ancient ritual and custom. But how does
centuries-old traditional costume remain relevant today?
The author Manami Okazaki reveals that the kimono has many more sides to it than
tradition would have us believe. From gangsta chic to Harajuko street style, he explores
the many facets of this garment in modern-day Japan – from its role in traditional
ceremonies to the new wave of designers who are subverting its associations and
presenting wildly creative versions of the kimono as art, fashion and pop icon.
So why has the kimono enjoyed a renaissance? The answer lies partly in its
simple construction, which provides young designers with a blank canvas on which
to experiment. At first the move towards individual expression drew criticism from the
traditional kimono houses – now many of them produce their own casual line, and
are taking advantage of this development of the market.
It is a time of great change for the kimono industry and Kimono Now showcases
the brilliance and imagination of designers both new and established. Each page is
saturated with stunning colour images exploring every facet of the garment’s design
– from traditional artisans at work to street fashion innovation. More than an overview,
Okazaki takes us on a journey into the creative evolution emerging in Japan: whilst MANAMI OKAZAKI
charting the endless ways in which the surface can be modified and Prestel £24.99
embellished to express new ideas, hope and progress. 978 1 7913 4949 7
September / October 2015 EMBROIDERY 7

AWARD
The Beryl Dean Annual Award

for Teaching Excellence in Embroidery
This year there were two recipients of this prize, which was
founded in memory of Beryl Dean with the aim of recognising and
celebrating the skills and dedication of our textile tutors
Debbie Gonnet
‘The thing that excites
me about embroidery is
its versatility... I am
particularly committed
to hand embroidery and
I always try to impart
my love for it to the
students, as I feel that
these traditional
methods and skills are
so important to pass on
to the new generation...’
Debbie studied
Embroidered and
Woven Textiles at
Glasgow School of Art
and then a Masters the
Royal College of Art.
After leaving the RCA,
she freelanced, working
with fashion and textile
designers on a diverse
range of commissions,
as well as producing
embroidery for TV. In
1996, Mitchell Beazley
published her book,
Contemporary Machine
Embroidery.
Today she is a senior
lecturer in Embroidery
at Nottingham Trent
University, teaching
Textile Design to
undergraduates, as well
as being a joint module
leader for MA Textile
Design Innovation.

AT A TIME WHEN CHANGES within about the vocation of teaching. This year, as with the last, the judges did
higher education are seeing the Applicants have come from colleges not compare like with like – a level playing
assimilation of embroidery into general of art, from City and Guilds’ courses, field remains unlikely. However it was not
textile courses, and cutbacks in further museums and outreach programmes. too difficult to view and consider quite
education continue to erode its reach, it It’s hoped that in the future, the Prize will different paths. The evidence to date
is vital to perpetuate and recognise the attract innovative and remarkable teachers shows a significant contribution to
value of teaching embroidery. from secondary education. the survival and joy and relevance of
The Beryl Dean Annual Award for Embroidery is a widely loved subject and embroidery. The choice of winner, in the
Teaching Excellence in Embroidery goes is practiced at many levels but a end, had to go to the strongest master
some way to highlight the subject in its prerequisite of the Prize remains to of their craft and the teaching of it – this
search to identify passionate role models. recognise the highest endeavor in year there were two who could not be
So far the shortlisted candidates have all teaching embroidery, regardless of the divided and the prize was shared.
been selfless, generous and passionate establishment in which it is taught. Diana Springall
Jan Dowson
‘The most rewarding thing
ever is to see a person grow
creatively, produce amazing
work and begin to talk about
it. They have suddenly found
their place in the creative
world, and I have had a part
in that. I have facilitated their
creative journey – wonderful.’
Jan achieved Distinctions for
both Parts 1 and 2 of her City
& Guilds courses in
Embroidery. Soon after, she
took an art foundation course,
later gaining her teacher
training qualification.
Her career began in 1990 at
Grimsby and Scunthorpe FE
Colleges, but she has taught
within North East Lincolnshire
Community Learning Services
since 1997, now based at the
Thrunscoe Centre, Cleethorpes.
She currently teaches both
City & Guilds up to Diploma
level, as well as non-vocational
courses in embroidery.
In 2014 her students
nominated her for a C&G
Lecturer’s Medal for Excellence
for teaching, which she was
awarded. The Livery Company
also selected her for the
Worshipful Company of
Broderers’ Prize – Teacher
Stitched Textiles (Embroidery),
which was presented to her at
Buckingham Palace.

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BOOKS
JANET BOLTON
Creating a
textile story
The simplicity of Janet Bolton’s textile pictures is often imitated
but never equalled. Her stitched images have a measured quietness
about them, yet they are executed with an artist’s eye for composition
and personal expression. Fabric Pictures starts with a delightful stroll
through her portfolio and we learn that Bolton never trained as an
embroiderer, a fact that allowed her freedom to develop a unique style.
The large practical quilts she started out making to draft-proof her
home soon became smaller, pictures – painted in thread with tiny
stitches and found objects. But Bolton is also a seasoned tutor, with
invitations to teach around the world and in this book she shares her
insight into her working methods with step by step instructions for
the reader – from selecting imagery to expressing your ideas. FABRIC PICTURES
Jacqui Small £20
I, for one, will be turning again and again to its pages. 978 1 909342 96 5

EMBROIDERY loves...
John Thomson,
A Manchu Bride,
Beijing, 1871-72 Kids Today, a series of small
portraits of children by Emily Jo Gibbs,
goes on show at Craft Central Showcase
Gallery from 13-18 O ctober.
www.emilyjogibbs.co.uk
THE WEllCOME lIbRaRy, lOndOn
PREVIEW
China through the lens
Between 1868 and 1872, photographer and travel
writer John Thomson (1837-1921) traversed vast
expanses of China with his camera, documenting
China’s diverse landscapes and communities. His
portraits depict people from all levels of Qing society,
from high officials to brides to monks. An exhibition
at the Textile Museum in Washington DC presents a
selection of his photographs displayed alongside
pieces from the museum’s collection of late Qing
dynasty garments, accessories and textile furnishings.
museum.gwu.edu
Rhiannon Williams,
Sowings for New
GETTING CRAFTY Tribute in stitch Spring, 2015
The annual celebration
Earlier this year, Whitchurch Town
of northern craft and Council allocated funds for a
design that is the Great memorial to the experience of
Northern Contemporary Whitchurch people during the First
Craft Fair (GNCCF) World War, to be called Sowings for
opens its doors from 8-11 New Spring, a title inspired by Wilfred
Owen’s 1914 poem.
October at the old The artist Rhiannon Williams beat
Granada Studios in the competition to win the £2,000
Manchester. Among the commission and her embroidered
160 exhibitors are 30 hanging is now on permanent display
textile makers including in Whitchurch Town Hall.
The memorial also reflects the
embroiderer Louise
town’s creative and industrial textile
Gardiner, printed textile heritage. Whitchurch Silk Mill is the
designer Amy Buchanan, oldest silk mill in the country, and
artist Kate Whitehead celebrates its bicentenary this year. It
and Sarah Jane Murray, still produces woven cloth in the
who upcycles vintage original building in which production
was carried on throughout The
escape and evasion maps Great War. Rhiannon spent more
into unique homewares. than 1,000 hours stitching and
www.greatnorthern embroidering the piece, salvaging old remnants of cloth, along with silk from the Mill, to create
events.co.uk a beautiful embroidered hanging that mediates upon unity, bravery, resilience and hope.

DIARY
PREVIEW SEPTEMBER
Textiles with bling Tilleke Schwarz,
Birdcage 2001
2
Earlier in the year, artist and Makers Guild in
Wales member Mandy Nash invited six other
makers working in the field of textile jewellery
design to exhibit at Craft in the Bay. After a
successful outing, Intrinsic now tours to Leeds
Craft Centre this month. 8
The work on display outlines the breadth of Both Dutch artist
practice within this niche of the jewellery world. Tilleke Schwarz and
Hannah-May Chapman, Kathryn home-grown talent
Stewart Easton have Freddie
Partington, Joanne Robins,
developed unique
Haywood, Liz Willis, ways of working
Basketcase,
2015
Yu-Ping Lin, Mandy with embroidery.
Nash and Julia Catch their solo What Do I Need To
Usel each shows at Shire Hall Do To Make It OK?
experiment Gallery in Stafford is an exciting touring
exhibition of textiles by
with the until 6 September.
Dorothy Caldwell,
aesthetics of Freddie Robins, Karina
adornment, Thompson, Saidhbhín
whether led
by their 22 Gibson and Celia Pym.
Pumphouse Gallery,
exploration Battersea Park until
Photo:
of technique 1 November. Douglas
atfielD
or materials. makeitok.org.uk
Intrinsic
28 From the folk who
brought you the
Leeds Craft Centre annual textile
5 September-17 October Michala festival in Stroud,
Gyetvai with
www.craftcentreleeds.co.uk L'après-midi comes Select
d'un faune
Yu-Ping Lin Showcase, with
the unicorn returns

This year’s galleries at the autumn
Knitting & Stitching Show include
crochet wiz Kate Jenkins, felt artist
Michala Gyetvai, contemporary
4 established and
graduate makers
across textiles,
for the first time, visitors to stirling Castle will be able to textiles from New Zealand and the ceramics, fashion,
marvel at the complete series of seven tapestries that graduate showcase. Alexandra Palace, jewellery, furniture
make up The Mystic Hunt of the Unicorn, in much the same London 7-11 October and metalwork.
way as James V and his daughter Mary Queen of scots www.theknittingandstitchingshow.com Cheltenham Town
would. the 14-year project to recreate the lost tapestries
was completed in June by West Dean tapestry studio,
marking the culmination of the biggest tapestry project in
9 Hall 23-25 October.
sitselect.org
the uK in the last 100 years.

www.stirlingcastle.gov.uk
24 Join a class in
decorative darning
with Ton of Holland
on Saturday 24
October at the
Warner Textile
Archive (£30).
The Fashion & Textile www.warnertextile
Museum explores archive.co.uk
Liberty’s impact on
British fashion. Grab a Art
ticket and celebrate Nouveau
fashion using
this iconic British Constantia, 1961
establishment. ©Liberty London
9 October-28 February
2016. £9
ftmlondon.org
31
OCTOBER
GRADUATES
School’s out
Embroidery shines a light on some of the
hot graduate talent emerging from the UK’s
textile degree courses this summer
Katherine Taylor Detail of kimono

inspired garment
Multi-Media Textiles – Loughborough University embellished with
vegetable dyed
These complex but subtle beaded pieces created sesame seeds
by Katherine Taylor stopped us in our tracks.
Katherine’s work is concerned with themes of
authenticity, harmony with nature and humility
in craftsmanship. As a practitioner of zero waste
living, she wanted to explore the concept further
through her textile practice – these ‘beads’ are
actually sesame seeds, which she hand colours
with vegetable dye. She explains: ‘The value of
the works is based solely in the time and skill
invested rather than in the raw materials used.’
She aims to continue ‘exploring ways to produce
fabrics and embellishments with rejected or
overlooked materials in order to produce
beautiful and desirable items. I hope to open
people’s eyes to the possibilities and to
demonstrate that beauty can still be
created with great limitations.’
ks-taylor.com
Catrin Jones
Surface Pattern Design
Swansea College of Art
Catrin Jones’s sample
range of luxurious,
high-end fashion
fabrics in sugary sweet
pastel tones caught
the attention of the
Tigerprint judges, who
awarded her their
£500 prize and a two
month paid
placement. They
agreed that Catrin’s
skill in enhancing
digitally printed
surfaces with quirky
elements of hand
embellishment lent
Jemma Scanlon her prints a dream-
like, surreal ambience.
Textile Design – Falmouth University
catrinjones
The palette may look bold but Jemma Scanlon managed to combine impact and restraint in her design.co.uk
collection of hand-embroidered samples collectively titled Subtle Brights. Combining traditional hand
embroidery and digital stitch, the result is a contemporary take on artisan, bespoke surfaces.
jemmascanlon.com

EMBROIDERY & BEADING
laura Kent
toP left: Photo lAurA Kent. fAr right: PhotogrAPhy MAry hAll
Textiles in Practice – MMU

laura Kent’s embellished surfaces for
fashion are intent upon capturing the organic
movements produced by the shoreline. ‘i am
interested in the concept that no two patterns
produced by the waves are ever identical; [they
are] continuously changing and combining to
create a series of serendipitous and individual
markings, with each movement providing its
own identity and beauty.’
laurakenttextiles.co.uk
Mary Hall
Design Crafts – De Montfort University
Mary Hall’s playful take on embroidery reveals
her obsession with stitch.
‘I am fascinated with random ephemera
that holds some aspect of nostalgia
amongst us all. My inspiration is often
drawn from the everyday, familiar
objects that surround us, and these
themes form the basis of my work. My
current inspiration has been taken from the
school classroom, using print and stitch to
recreate common,
mundane school
objects in a quirky,
playful manner,
restoring their beauty
and evoking delight.’
www.maryhalltextiles.co.uk
Photo: Stine AAS nundAl

GRADUATES
Natalie esmaeili
Textile Design – Nottingham Trent
a playful take on the kind of
fun foods that scream nostalgic
americana – among them
hotdogs, donuts and pretzels –
stood out in Natalie esmaeili’s
collection, titled It’s my Party.
she translated a strong portfolio
of playful, acutely observed,
drawn illustrations into vivid
printed scarves and bags, each
embellished with colourful
embroidery as bright as confetti.
Isabel Howe
Contemporary Crafts – Falmouth University
There are always surprises at the
student shows and this year, Isabel’s
laser-cut wood embroidery was
amongst them. After laser cutting the
designs, Isabel hand stitches her own
patterns using an adapted version of
Berlin woolwork. The applications are
only as limited as your imagination.
isabelhowecraft.wix.com/craft
Photo: Isabel howe
Flower House and detail (left)

POP & MIXED MEDIA
Christine Mcdonald
She may be a knitted textile designer
for menswear but Christine Mcdonald’s
quirky embroidered embellishments
stood out on this garment from her final
collection. She explored a combination
of domestic and industrial machine knit fabrics, taking her inspiration
from the 1960s’ space race – perfectly capturing the geeky appeal of
the subject, with the embroidered patches adding impact and
interest. Who knew space exploration could be so inspiring?
Photo: tilly halden
Victoria
Wayman
Staffordshire University
Childhood memories
provided the impetus for
Victoria Wayman’s final
collection, creating a
narrative that explored
nature through digital
embroidery and printed
fabrics for children’s
fashion, interiors and
stationary.
The highlight of her Little
Explorer blankets were 130
digitally embroidered
vintage-style patches,
reminiscent of the badges
awarded by organisations
such as the Scouts and Girl
Guides. Each boy’s and
girl’s blanket consists of 12
different badge designs,
with five motifs on each.
www.victoriawayman-
designs.co.uk

GRADUATES Penny Jeffries
Textiles Design for Fashion & Interiors – Bath Spa University
The large scale of Penny Jeffries’ work (like most of her Bath
Spa contemporaries) was refreshing in its boldness. Penny’s
original screenprints revealed the depth of her drawing
practice but she had expanded the process a step further
with small stitched marks in a series of quilted pieces that
found their inspiration in the natural world.
Penny says that her love of patchwork, whole cloth quilts and
Kantha stitch inspired her to embroider into her bright and
bold bohemian prints, just as a penchant for hand processes
led her to favour screenprinting over digital reproduction.
Instagram.com/penny_jeffries
Photo: Jo hall
Vicky olivera
Vicky olivera is interested in the intimacy of handmade
processes and the individuality of artefacts created by hand
rather than those mass-produced by automated means. her
work explored how life experiences and thoughts leave
visible and invisible marks that influence our wellbeing.
www.vickyolivera.co.uk
Photo: Penny Jeffries
Bryony Pimble
Staffordshire University
An appetite for exploring
different media marked out
Bryony Pimble’s final year show.
The standout pieces – a number
of delicate hand-fashioned
garments – were intended both
as artist-made garments and
samples for fashion.
Highly conceptual in nature and
each unique in its entirety,
Bryony is inspired by Japanese
embroidery, wabi sabi and the
sarah Bradney notion of finding perfection in
imperfection. Tiny seed stitches
Creative Practice – MMU embellished worn and patched
Many makers enjoy the physicality fabrics. Unpredictable processes
of working with materials, not least such as mono printing and hand
sarah Bradney who has a passion for painting directly onto fabrics
the tactile qualities of the materials were exploited. Meanwhile her
she works. ‘i enjoy creating the sketchbooks were full of
fabrics with which i work, through beautifully observed sketches
hand dying and printing. i stitch text and samples – her small paper
into my work; enjoying the sculptures ensuring this
contemplation of individual words collection was both installation
and phrases and the individual mark and talking point. Jacket Flat by Bryony Pimble: hand
and beauty of handwriting.’ www.bryonypimble.com dyed, painted and embellished fabric

DRAWN & CONCEPTUAL
Photo: Fozia Kauser
Fozia Kauser
Contemporary Surface Design
& Textile Innovation –
Bradford College
A love of embroidery led mother
of three Fozia Kauser to study the
subject at Bradford, where she
excelled at translating her large-
scale drawings into expressive
embroidered and embellished
fabrics for fashion.
foziadesigns.blogspot.com
Lynne Barker
Textile Crafts –
University of Huddersfield
Minus One is a project born from
Lynne Barker’s experience of the
death of her husband. in making the
work and describing mourning,
Lynne managed to create a
therapeutic distance from the loss
through a tangible manifestation of
grief, in the process helping others
Photo: Ben Jones
to reflect on the subject.

www.lynnebarker.co.uk
Tanya Fryer
Textile Design for Fashion and Interiors – Bath Spa University
A flick through Tanya Fryer’s sketchbooks revealed a
wealth of beautifully observed drawings inspired by
architecture and cities around the world, all of which
stood out for their originality.
Tanya has developed an illustrative style of her own,
built upon many hours spent sketching and observing
the urban landscape. This led to exploring negative
Photo: amy Law PhotograPhy
space, colour and natural forms, abstracted and

captured in a series of unique murals and hangings
that featured areas of intense embroidered detail.
tanyafryer.com

PROFILE
the long goodbye

Jenni Dutton’s series of portraits of her mother’s
dementia started out as a personal diary for the artist – one
that provokes powerful reactions from all who see it
JENNI DUTTON NEVER intended to make her woman looking confidentially out at the viewer.
Dementia Darnings as a series and still seems Dutton started it when she first began caring for
surprised both by them and by the powerful her mother and had to stop working in her own
reactions they inspire. A group of textile studio. At the time she was working on a
portraits of her mother, Gladys Dutton, worked conceptual dress sewn with small family
in wool and cotton on dress netting, Dutton portraits and, noticing that her mother always
started making the first one almost accidentally recognised these images in spite of her growing
in 2011. Now four years on she has made a total dementia, Dutton decided to make a bigger
of 14 portraits and earlier this year had the portrait of her.
whole series exhibited in a solo show at ‘It was a way of including her in my work’, she
London’s City Hall. Now there are plans afoot for explains. She chose a favourite family
further exhibitions in Bristol and the Eden photograph of her mother taken in the 1940s as
project next year. a starting point and was so pleased with her
The earliest piece in the series, Mum with mother’s reaction to the piece, that she decided
Spotty Bow (below), depicts a smiling young to keep on going. ‘As I developed them I just
wanted to make more, although I never
intended to make so many,’ she says.
These portraits are

about ageing, about mother
daughter relationships and
very much about loss
Although the series was a practical way for
Dutton to combine her professional work and
new role as carer, the biggest motivation was
her mother’s evident engagement in the work.
Given her mother’s deteriorating mental health,
Dutton found it astonishing how she reacted so
positively to the pieces. ‘Her response to them
was exceptional – really significant. She enjoyed
having me there working and watching me and
she was always curious about what I was
making’ she says.
The first couple of works are based on old
family photographs and feature a younger Mrs
Dutton, but the more recent pieces are based
2
Mum with Spotty Bow
H220 x W140 x D45cm
PhotograPhy: ruPert Mardon

Mum wearing Cream Cardigan
H130 x W90cm

Above l-r: Mum with Flowery Headscarf;
Mum Rubbing Her Hands;
These later images carry a huge
Mum Resting her Eyes and Tapping her Feet; emotional punch, Mrs Dutton acting
Mum with Red Scarf. All 130 x 90cm as a visual ‘every woman’ for all our
parents and our own fears of aging
on a picture Dutton took specifically for the series. These through a fine art prism, describing them as pictures in
document her mother’s decline from an alert, energetic- thread rather than embroidery: ‘I am not using textile
looking woman to a frail, crumpled figure and then, in the techniques – it’s more conceptual’ she tells me. What is a
final heart-breaking image, to a wraith-like presence curled surprise though, is how skilled Dutton is at manipulating
up into a painfully fragile, tiny ball. threads. She made the technique up as she went along and
These later images carry a huge emotional punch, Mrs is modestly down-to-earth about it. ‘What I am doing is not
Dutton acting as a visual ‘every woman’ for all our parents embroidery as such, as it’s not that organised, it’s more a
and our own fears of aging. Dutton has an artist’s acute very loose collection of threads’ she says. Dutton uses her
observational skills, and she depicts her mother’s physical experience in life drawing to create tonal qualities and
and mental decline with great honesty leavened with great depth, pushing the threads through the netting in big loopy
tenderness: the images are full of emotion – both grief and stitches and then over-working them to gradually build up
joy. Each portrait takes Dutton between one and three areas of light and shade: ‘It’s like cross-hatching in a
months to make, and the labour-intensive nature of the drawing except you are working with threads.’
process means they are in effect embroidered meditations Dutton’s use of colour is particularly remarkable,
on her mother, life and its passing. ‘They are about ageing, reflecting her painter’s skill in analysing tone. She is able to
about mother-daughter relationships and very much break down colours, for example adding touches of purple
about loss,’ says Dutton. to her mother’s eye sockets, or strands of blue to her hair, to
Dutton is not a typical textile artist, indeed she describes give a greater sense of immediacy. In the final picture
herself as a conceptual mixed media artist on her website, Dutton has been able to reproduce the terrifyingly papery
and her background is fine art rather than fibre based. And quality of her mother’s skin using pale mauve to create a
so it’s unsurprising that she views the Dementia Darnings sense of fragility. In other places she uses the threads in an
2
Mum with her Parents
130 x 90cm
Mum with White
T-shirt and
Black Cardigan
130 x 90cm
Collection: Standard
Chartered Bank

Mum Asleep in a Chair
(detail), 130 x 90cm
Mum Awake
(detail) 130 x 90cm

‘What I am doing is not embroidery Above: Mum in Bed
as such, as it’s not that organised – it’s Right: Mum Lying in Bed Holding a Sheet
more a very loose collection of threads. All works comprise thread sewn into
dress netting stretched over canvas
It’s like cross-hatching in a drawing PhotograPhy: ruPert Mardon
except you are working with threads’
almost sculptural way, using the direction and size of old age but Dutton believes it’s a subject we shouldn’t
stitches to describe form in the same way a sculptor would ignore. ‘It’s very important that we face up to this ageing
use slabs of clay to mould shape. thing and don’t shy away from these types of images,’ she
Dutton also uses thread metaphorically. The pictures says. Perhaps this fearlessness explains why her work is so
depicting her mother as a spirited, healthy women are powerful, but what makes it so moving is the way Dutton
worked with tight, neat stitches, reflecting her mother’s has been able to use her skill as an artist to celebrate her
mental strength, while later pieces are much loser and mother’s life, both the happy moments and the
sketchier, echoing the way her mother is losing her grasp on increasingly painful moments. ‘She’s now just a little old
reality. In some pieces the threads are left dangling as a lady with dementia, but rather than letting her be
direct comment on the way Mrs Dutton’s mind is gradually forgotten I have been able to do this for her’ she says with,
disintegrating. Sometimes Dutton cuts out the threads on I think, justifiable pride. e
the front of the picture surface, picking colour and form out DIANA WOLFE
to replicate the way her mother is fading away. She also uses
the thickness of thread symbolically; in the later portraits The Dementia Darnings go on show in the exhibition
Dutton divides the threads into thirds so it’s much paler, Mother Love at Sidcot Arts Centre, near Bristol from 11
giving the pieces a ghostly, transient air. ‘My mother’s only January 2016. Talks are underway around the possibility
five stone now, she’s hardly there, so I’ve used finer wools as of a joint project between Jenni and the Eden project, who
I didn’t want to give the picture any solidity,’ she says sadly. are keen to develop their work around Dementia
These last pictures are harrowing in their depiction of www.jennidutton.com

PROFILE
National
Assembly
Louise Saxton’s dramatic reconstructions of
found and vintage needlework reference art’s
inexhaustible fascination with flora and fauna
Much of her
L
ouise Saxton describes Saxton, who is based in
current work, herself as an artist whose Melbourne, Victoria, has an
created mainly practise entails ‘salvaging exclusive arrangement now for
and reconstructing detritus from commercial exhibitions in Australia
with reclaimed the home, which has included with the prestigious Gould Galleries
needlework, pins vintage wallpapers, envelope based in South Yarra, where her
and nylon tulle is linings, discarded textiles and book second solo commercial show will
memorably illustrations’. The assemblage wall- open 12 November (the first, in
beautiful, intricate works in reclaimed textiles form 2013, was a sell-out and was
and inspired, a significant part of her current titled Sanctuary Too).
demonstrating a oeuvre, resulting in well-deserved Earlier in her career Saxton
union of crafting attention in the past decade both explored painting and printmaking
with evocative art in Australia and internationally. while feeding a personal interest
making that is Heide Museum of Modern Art in decorative arts traditions,
irresistible in Melbourne staged her highly including quilting and collage:
popular exhibition Sanctuary in ‘My interest in reclaiming the
2012 and at the time feted her as detritus of home for art goes back
an important emerging artist. For to 2001 and a large installation of
this show, she reinterpreted 500 individual arabesques made
historical paintings of birds and from recycled blue and white
insects in her own unique style. business envelope linings. which PhotograPhy: gavin hansford ©Louise saxton
When writing about it for Craft ‘quilted’ the walls of the gallery.’
Arts International magazine Much of her current work,
(No 85, 2012), Gib Wettenhall created mainly with reclaimed
referred to Saxton as ‘the goddess needlework, pins and nylon tulle is
of small things’ and she does memorably beautiful, intricate and
indeed have an intriguing ability inspired, demonstrating a union of
to combine tiny elements into a crafting with evocative art making
dynamic whole that is truly greater that is irresistible. Strong messages
than the sum of its parts. are contained in the colour
2

Queen Billie 2010 – after
Sarah Stone, 1790 (detail).
Reclaimed needlework,
lace pins, nylon tulle.
H127 x W95cm.
Private Collection
Melbourne, Australia

saturated flora and fauna that Integral to the new series is the
generate powerful responses from image of a skull and the notion of
viewers. For her November 2015 Vanitas, which emphasises the
solo exhibition Wild with Gould transient nature of earthly goods
Galleries, Saxton has left fauna and pursuits. Saxton elaborates: ‘In
behind to focus on a celebration researching Dutch still lives I came
of flora, ‘its glorious variety, colour across some wonderful Vanitas
and form, its strength and fragility,’ painted in the early 1700s by
continuing her ‘use of reclaimed Herman Henstenburgh (1667-
needlework to draw a link between 1726). He painted in watercolour
the domestic archives of home and on velum, which gives the flowers
the public archives of the museum surrounding the strangely
and, to acknowledge the value in smiling skulls, a wonderful
disappearing domestic art luminosity... On a recent trip to my
traditions and species in the mother’s home in regional Victoria,
natural world’. I found some exquisite needlework
This body of work is more including Chinese silk embroidered
eclectic than the previous and eagles in a sunset tree-scape and
includes works constructed from a pair of cross-stitched humming
reclaimed botanical illustrations, birds set among honeysuckle.
‘which to me are very similar in These are incorporated, along with
arrangement, skill and beauty to other pieces from my collection,
the embroidery which is inspired by into the floral arrangement
PhotograPhy: gavin hansford ©Louise saxton
it’. As well there will be a ‘porcelain adorning my reinterpretation of

garden’ installation created from Henstenburgh’s skull.
the collection of porcelain flowers ‘My original plan was to model
she is currently amassing, ‘which, the skull in lace, to more closely
like the doilies and other linens I reinterpret the original painting but
collect, are discarded domestic further work on the piece has
objects mostly found in opportunity resulted in the flora defining the
shops – remnants of another era skull as an outline only. I like the
and of past lives’. reference to tattoo imagery that
2
Above: Vanitas #2 – The Twitcher, 2015. Reclaimed needlework,
silk, beading pins on museum board. H92 x W98cm
Far left: Marianne’s Clianthus 2013 – after Marianne Collinson

Campbell, l800s. Reclaimed needlework, beading pins on museum
board. H146 x W65cm
Above left: Vanitas #1 – The Bather, 2015. Reclaimed needlework,

silk, beading pins on museum board. H92 x W98cm

Flaming Flamingo, 2011 – after John James audubon, 1838.

reclaimed needlework, lace pins, nylon tulle. h116 x W98cm
Private Collection Melbourne, australia
opposite: Adam’s Dendrobium, 2014. reclaimed botanical

book illustrations by adam forster (1920s), brass beading
pins, pastel, museum board. h85 x W136cm

this creates and also, that it gives ‘assemble the entire 250 This body of work,
a sense of the flora creating the illustrations of Australian wild more than Sanctuary,
drawing.’ flowers which (Adam) Forster is a celebration of
Magnolia Georgiana, 2014 – after painted for Thistle Y Harris’ book,
the medium and
Georg Ehret 1743 will also debut at Wild Flowers of Australia… into one
Gould Galleries. It continues large floriferous form’. For now
in particular how
Saxton’s fascination with paintings she is painstakingly arranging embroidery has
that call out to her for reinvention. individual flowers within the larger always embraced the
‘Magnolia Grandiflora, first painted in form of a Rock lily (Dendrobium garden, and brought
1743 by Georg Dionysius Ehret speciosum) so they can be pinned the garden into the
(1708-70)... continues my well worn into the archival backing-mount. domestic sphere
relief/assemblage technique but This too will be part of the Wild
uses a cropped image to fill the exhibition.
whole picture plane. I’m also using When asked about her references
whole flower and other motifs to to ‘cornucopia’ in describing works
build the image, rather than always for Wild, Saxton explains that this is
dissecting them into tiny fragments not so much literal as conceptual;
as I have done previously and her notion of the exhibition’s
vintage velvet to build the leaves. impact is one of abundance ‘in skill,
The cropped nature of the work is a in past craft/art forms and in the
reference to Georgia O'Keefe, whose actual material I have collected and
work I also greatly admire.’ deconstructed. This body of work,
Saxton admits a desire to more than Sanctuary, is a
2

celebration of the medium and in it will remain in demand from a
particular how embroidery has growing public following but it also
always embraced the garden, remains a technique that is firmly
brought the garden into the controlled by the artist’s own
domestic sphere. motivations and her strong visual
‘I see flora as representing sensibilities. To some extent, the
abundance and our need to protect diminishing size of her collection of
it as vital – abundance in the desirable needlework may also
natural world is life. The title Wild determine how the future unfolds –
also refers to this idea – even though as could the sudden discovery of
not all my flowers are native, species new treasures. The revelatory
need to be wild in order to flourish nature of her work, which is
and I think botanical artists have invariably strong enough to sustain
this in mind when they dedicate her vision, whether taken directly
themselves to creating a flora, as from nature or via the books and
Forster did.’ artists who inspire her will certainly
That being said, Saxton confirms remain a key feature and a well
she does also hope to reinterpret an received one. e
actual Cornucopia painting by Janet De Boer OAM
Sydney artist Adrian Feint (1894- In 1981 Janet De Boer created the
1971). The work is titled Happy Australian magazine Textile Fibre
Landing (1944) and is ‘one of his Forum for The Australian Forum for
Surrealist-inspired still lives, which Textile Arts Ltd (TAFTA) and was
shows a clam shell filled with an managing editor for 30 years and 114
abundance of native flowers, copies. Textile Fibre Forum is now
hovering just above the floor’. owned by ArtWear Publications and Janet
Will the ‘well worn continues as CEO of TAFTA. She was
relief/assemblage technique’ awarded the Medal of the Order of
continue to define Louise Saxton’s Australia in 2004 for her service to the
artistic future? It seems certain that development and promotion of textile arts.
www.louisesaxton.com
Louise Saxton is exhibiting at Gould Galleries, South Yarra
from 12 November-6 December 2015

Far left: Lung Flower in White, 2015. Reclaimed needlework, Swarovski crystal Louise Saxton in the studio with work in
beads, silk, lace pins, on museum board. H22 x W27cm progress – Magnolia Georgiana, 2014 – after
George Dionysius Ehret, 1743. Reclaimed
Left: Lung Flower in Blue, 2015. Reclaimed needlework, tulle, lace pins, nylon needlework, lace and beading pins, vintage
thread, Swarovski crystal and vintage glass beads. D14 x L83cm velvet, tulle, silk. H95 x W95cm

PROFILE
Drawn from
the land
As a mature art student, Elizabeth Brimelow came
late to quilting but today her work is held by two
national and many private collections
A
large circle of quilted changes to the land; abstracted lines enough but this is what we aim to be.’
fabric rests on the floor. that echo ancient maps; jagged winter Over the years, Brimelow has
The work in question, trees; stoic standing stones. explored many different formats, as
Around Here by Elizabeth Brimelow made this piece for another recent piece demonstrates.
Brimelow – reflects a way of working Dialogues, the touring exhibition that Lone Furrow will be shown in Small Talk,
that fuses her love of landscape, celebrates 30 years of Quilt Art, a small Dialogues’ sister exhibition. Made of
drawing and cloth. Much like the walks group dedicated to exploring the transparent layers of white silk and
she enjoys in the hills around her Peak boundaries of quilt-making – so much paper nylon, it represents a single,
District home, viewers must circle so that many would not recognise ploughed furrow and stretches from
Around Here if they are to decipher its Around Here as a quilt, certainly not in the ceiling to a plinth on the floor.
meaning. Around the periphery, she has the traditional sense. In the world of Both demonstrate how Elizabeth
added hand-written labels, clues that art quilting, form is firmly dislocated Brimelow can call upon an arsenal of
root the piece in its origins: To Buxton; from function. ‘In Quilt Art, we give practiced and honed textile techniques,
Sheep cote field; Winter beech. Then ourselves permission to break all the yet she never relies upon them in
there are the familiar signifiers that this rules: there doesn’t have to be three resolving a work. Much more
is an Elizabeth Brimelow quilt – marks layers,’ explains Brimelow. ‘We should fundamental to her practice is drawing,
that pace out ploughed fields; layers of be at the cutting edge of quilt making: both spontaneous and studied, and
fabric added then cut away that hint at I’m not certain that we’re really brave even the most cursory glance through

Elizabeth Brimelow, Felt Furrows, 2010
Double sided transparent quilt. Silk, paper
nylon, satin, sequins. Hand and machine
stitch, hand knotting. 150 x 150cm
Photo: Michael Wicks

her sketchbooks reveals the back and designed to be viewed from both whole lot of friends behind’ and wanted
story to many of the works she has sides. Both these pieces relate to to meet people. So she cut her work
produced over the years. ‘You have to Around Here in Brimelow’s fascination hours to four days and signed up for a
learn what it is what you want to with marks, maps, and codifying the City & Guilds course under Joan
draw,’ she says, ‘so you have to draw landscape. She shows me a photocopy Archer’s tutelage at South Trafford
anything and everything. . . There’s of an old strip map that inspired Rook College. She smiles at the memory: ‘She
quite a lot of work that goes into Road. Produced in 1675, it was drawn has got a lot to answer for. Joan Archer
getting to a quilt. Sometimes it’s about by John Ogilby, the first person to absolutely drew every ounce out of her
how you make a mark, and I try to chart Britain’s roads at a scale of one students and it was just by chance that
get that into a piece of work. There is inch to the mile. Unlike contemporary I happened into her class. She was
a relationship between the very early maps, it is completely linear – its sole absolutely brilliant as a teacher: she has
pieces I did and my work now and I focus is the road. had such an influence on so many
think it’s important.’ In similar vein, Rook Road charts the people. She altered my life.’
In pieces such as Drawing Day (2012), journey local rooks take between One vital piece of advice Joan imparted
there is a strong correlation between Macclesfield and Elizabeth’s home. to Elizabeth was to pursue drawing. So
the first sketches and the final piece, ‘I liked the idea of their journey, and Elizabeth signed up for a two-year art
whilst works like Round Meadow what they might see. John Ogilby was course in Macclesfield, before applying to
(2013) are more meditative and a interesting. It was inspirational looking the embroidery degree course at MMU
perfect example of that exploration of at those maps, which are like looking (then Manchester Polytechnic) in 1990.
non-traditional formats. The piece, 8cm at landscape in its basic form. I got ‘I was a seriously mature student when
high by 2.68m long, is presented as a very interested in things like lay lines, I did my degree. I am still in touch with
coil. ‘It was designed to stand up. It was marks and the journeys people took.’ Anne Morrell, who took me on. And
shown like that so you could only get Judy [Barry] was amazingly inspirational.
a glimpse of what’s inside. I wanted it STARTING OUT It was a brilliant experience: I learned
to work like a surface – like the There was no one moment when everything there. Isabel Dibden Wright
surface of a field. There are so many Elizabeth Brimelow decided that she was meticulous about the way things
techniques in this piece: I didn’t want it would forge her way as a quilt maker. were finished and I think that influenced
to be a reproduction of the drawings.’ Thirty five years ago she moved to me. I also learned a heck of a lot from
It follows in the footsteps of Rook Cheshire from Cambridge with her the young ones who weren’t inhibited
Road (2010) – another linear, double- husband. An occupational therapist at all, even about ruining something.
sided work, which was hung in folds and mother of five, she had left ‘a They would just dive into a project.’

Photo: Michael Wicks
Around Here, 2015. Circular quilt.

Silk. Hand and machine stitch, appliqué
and reverse appliqué, hand knotting.
182.5cm diameter
Right: Elizabeth unfurls the piece
Lone Furrow, which goes on show this
month in Macclesfield

PhotograPhy: Michael Wicks
Left: Round Meadow, 2013.
Silk, cotton, card labels. Hand and
machine stitch, hand quilting and
knotting. 8 x 2,068cm
Above: Drawing Day, 2012.
Silk, cotton. Hand and machine
stitch, screenprint, hand knotting,
158.5 x 62.5cm
Opposite: Devon Red, 2009.
Red hand-dyed cotton, green silk.
Hand and machine stitch, hand-
knotting. 160 x 167cm
another influence was Pauline the back is as beautiful as the front.’ center & Museum, Nebraska and
Burbidge. ‘i went and worked with her When she decided to stay on for a privately. ‘america has been brilliant,’
for a week as work experience and Masters, she was serious about she says. ‘People there are prepared to
she was very generous. at that time, i developing the work and ‘got quite spend more on textiles than here.
had no idea i was going to make quilts.’ into finding out about the geology i would love to go to Nebraska and
By the time Brimelow signed up for and what’s happened there before – see my work there. i was thrilled when
the degree, she was already intrigued planting and ploughing a field throws they bought a piece.’ she also has
with landscape as a theme. ‘i got up all sorts of things’. summers spent several prizes under her belt. Despite
interested in why the land is as it is – in east anglia, with its vast, ploughed this, Brimelow does not regard herself
which is quite an obvious thing if you fields also provided a sharp contrast as an artist. ‘i find the word art really
live here – what’s underneath and to the rolling green hills of home, difficult – worse than the word quilt.
what causes the lumps, bumps and sowing ideas for quilts to come. i’m quite happy to call myself a quilt-
hollows under the surface. Working in after the Ma, she faced the prospect maker and then, of course, i have to
layers provided rules to do that. i was of stepping out alone but says she say i don’t make proper quilts,’ she
making double-sided pieces – so you knew she needed to be part of a laughs. ‘i think to call yourself an artist
could see them from two different group – ‘i needed that community’ – is quite presumptive. My work is not
seasons, or from underneath or on and so eventually joined Quilt art. about issues. i hope what i do says
top of the ground – in one piece of today elizabeth Brimelow’s quilts can I like being here.’ and with that, we turn
work. it got quite complicated. i don’t be found in the collections of the to enjoy the view from her studio in
make double sided pieces so much National Quilt Museum in Paducah, all its summer glory. e
now but i still think it’s important that kentucky, the international Quilt study Jo Hall

An expanded version of Small Talk opens at www.quiltart.eu/elizabethbrimelo.html
Macclesfield Silk Museum 15 September-30 October.
The show then travels to Die Schierstins,
Veenwouden, Netherlands from 9 January-28
February 2016. For details of Dialogues, turn to p42.
Elizabeth Brimelow features in Approaches to Stitch: Six Artists
£16 inc p&p from www.d4daisy.com

1 2
As part of its 30th anniversary
The language of quilts celebrations, Quilt Art is staging

two touring exhibitions of new
work opening this month
The 18 arTisTs that form Quilt art opportunities for artists whose work was UK and Europe, along with many more
may take the quilt as their starting point experimental and sometimes challenging. opportunities to show work. The group
but they remain diverse in their The Quilters’ Guild recognised this need responds to the challenge of producing
interpretation. Their work does not and selected the first eight members to innovative work by maintaining a small but
necessarily conform to the traditional form a new group with the title Quilt Art. rigorously selected membership of leading
definition of a quilt, and several members After a few years operating under the practitioners who exhibit nationally and
have backgrounds in other textile and art umbrella of the Guild, Quilt Art became internationally. Their work has been
disciplines. Some experiment with paint, independent and self-supporting and now acquired by public institutions such as the
dye and print, unusual materials and has the status of an educational charity. Victoria & Albert Museum, the American
methods of display or three dimensions. The founder members included well- Museum of Arts & Design in New York
Some work with technology, using known artists such as Pauline Burbidge, and the International Quilt Study Center in
digitally programmed embroidery or Mary Fogg, Dinah Prentice and Michele Nebraska, as well as by numerous private
photographic techniques. Others confine Walker. Another was Inge Hueber from collectors. Quilt Art mounts travelling
themselves to fabric and thread, feeling Germany, who was instrumental in exhibitions every two or three years, and
that their expressive potential is far from attracting members from elsewhere in this month sees the opening of two
exhausted. But all are united by their Europe. One of the unusual features of exhibitions: Dialogues at The Quilt
passion for fabric, stitch, colour and Quilt Art is its international membership. Museum in York and Small Talk at The Silk
texture and the limitless creative Today more than half the artists come Museum, Macclesfield. The accompanying
possibilities of the textile surface. from outside the UK – from Ireland, The book includes a text by the quilt historian
The first such group in Europe, Quilt Art Netherlands, Germany, Belgium, Denmark and academic Dr Susan Marks, illustrated
was founded in Britain in 1985 to develop and Hungary, with one American member. with artworks from both. e
the quilt as an artistic medium and For many years, Quilt Art was the only Sara Impey
promote its recognition as an art form. group of its kind, but today there are
At the time there were few exhibiting numerous exhibiting groups across the www.quiltart.eu

PREVIEW
Dialogues is at The Quilt Museum in 1 Sara Impey, Hustings, 2013.

York from 11 September-31 October; 129 x 129cm. Photo: Kevin Mead
Small Talk opens at The Silk Museum, 2 Val Jackson, The Lilac Dress (detail),
2014. Photo: thoMas valentine
Macclesfield 15 September-30 October.
3 Fenella Davies, Seam/stress Bloodline,
A book accompanying the shows is
2014. 100 x 124cm. Photo: Matt lincoln
available at show venues and from
4 Allie Kay, (l-r) Happy Days, Contained,
www.quiltart.eu priced £18 plus P&P Fractured and Phantom, 2014.
5
350 x 100 x 10cm. Photo: Rob laMb
It is with much sadness that Quilt Art heard
of the death of Allie Kay on 14 July. Allie, who 5 Dirkje van der Horst Beetsma,
lived in Ireland, had been a member since 2009. Skoda 1, 2013. 28 x 594cm.
Photo: woRldonPhoto.coM nl
Her beautiful work and her valuable and insightful
artistic input will be greatly missed by the group.

PROFILE
Living
by the
book
Jessie Chorley grants a new
lease of life to all manner of
forgotten objects with her
highly personal brand of
narrative embroidery
‘I
am passionate about giving life and a
new beginning back to a forgotten object.
To see someone using something that I
have recreated is like a completion to the
story,’ Jessie Chorley tells me.
Chorley, who graduated in 2005 with a degree in fine
art and textiles from Goldsmiths College, is a magpie-
like collector. She seizes lost or discarded objects –
books, furniture, items of pre-worn clothing – and
makes them beautiful and functional again. Through
combining carefully chosen text and imagery with
simple hand embroidery and the placing of her found
fragments, she create scenes and ‘narrative experiences’
for interior spaces as well as items to be worn. Her
exquisite bespoke journals, albums and memory books
– made by collaging and repurposing old hardback
books – are much loved by artists and musicians.
These ‘altered’ books are adorned with buttons,
stitching, lengths of embroidered ribbon and pearl
hearts. Inside they contain hand-stamped messages
and reminders, envelopes and stitched pockets to keep
important memories safe. People buy them as diaries,
travel journals or wedding albums.
2

Right: Jessie
outside her
shop and
workshop,
which you can
visit at 158a
Columbia
Road, London
E2 7RG

Making things has always been a Jessie is
huge part of her life. Growing up in rural
Snowdonia in North Wales, Jessie and her
fascinated by
brother were home-schooled by their parents, the intimacy
both textile artists. The emphasis was learning and physicality
through creativity – art, gardening, collecting,
weaving and embroidery. They made toys and
that the book
presents for each other. provides and
Her mother, the artist Primmy Chorley, the way that
has a huge cottage garden and as a child
as a form it
Jessie kept a garden diary full of the different
plants and flowers from each season, bound allows her
up with ribbons. As an adult, it triggered a to explore
fascination with books as objects. ‘I used to narrative
always find so many books just abandoned
outside my house. People would leave piles
of books on the road. So that’s how I stared
making the journals. Lots of clothes get chucked away but
people don’t realise how many books get pulped – thousands,
from library clearances.’ She is fascinated by the ‘intimacy and
physicality’ that the book provides and the way that, as a form,
it allows her to explore narrative. She compares it to a journey
– she refashions the book, then the person who buys it, takes it
in another direction.
She admits that the highly conceptual nature of Goldsmiths’
degree course came as a shock. ‘It was totally opposite to
anything that I’d known before. I’d had a super-creative
childhood but more than half the course was writing, which
I found quite tricky at the time but it made me stand up for
what I believed in, and that was making things. I felt
passionately that I was a maker rather than a thinker.’
When I visit Chorley in her Columbia Road
shop in London’s East End, I’m overwhelmed
by the sheer diversity of the work on display –
reworked dresses and coats, jewellery and
hand stitched souvenir hankies, framed lace
pieces, screen-printed tea towels and greeting
cards. She invites people to bring her items to
be personalised – dressing gowns to have
initials embroidered into, a pair of ballet
shoes, a handkerchief or homewares. Sadie
Frost was an early champion of her work.
Friends will often donate fabric for her.
‘Someone brought me this lace today,’ she
gestures. ‘But I’ll only take a small amount
2

of it, then pass it on to someone else. I never go on eBay or
online to look for things; stumbling across something is very
important to me. I go a lot to Spitalfields antiques market as
a little ritual, and buy lots of books. And I was at a big fair in
France a few years ago and I found these really beautiful
pillow cases just thrown in the road.’
Sometimes she loves a piece so much, it’s painful to sell it.
One beloved salmon pink poem dress – where the neck was
hand-embroidered with a poem inspired by the Angela Carter
novels, Nights at the Circus and The Magic Toyshop – was
eventually bought by a store in Tokyo. So she’s since made
a new version stitched on a bright 1930s yellow dress.
For inspiration, she goes to the theatre a lot with her friend
the maker Julie Arkell. In many ways, styling the shop is like
creating a stage set. ‘I love making it different each week and
then watching the customers come in and their response to
it.’ It’s no surprise the shop has been hired for fashion and
location shoots as it looks so quirky and intriguing.
She opened the concept shop 10 years ago with fellow
Welsh maker Buddug Humphreys. And now that Buddug is
moving back to north Wales, Chorley is about to change the
shop completely. It will double as her studio, and she’ll teach
her popular workshops here too.
You need to be quite rounded as an individual to be a maker
and shop owner at the same time she says, but: ‘I put things in
that window and so many amazing collaborations and
commissions have come to me.’ Embracing social media and
selling online have also really helped. And to celebrate her 10th
anniversary as a designer-maker, she’s also publishing a new
book on her website, The Story of a Maker. ‘I’ve worked with so
many photographers over the years so I’ve just been gathering
text and photos from people.’
She is passionate about continuing to use such traditional
techniques in her own work (she signed up for a bookbinding
course a few years ago). The key is to pass on skills, she says.
She runs embroidery workshops worldwide and sells rubber
stamps and Make Your Own Journal Kits so customers can
experiment themselves (you can find the details on her
website).
There is a lovely meditative quality to Chorley. In a high-
stress world obsessed by mass-production, she is a breath
of fresh air. She treats the pieces she reworks with reverence
but subtly adds her own imprint. ‘When I stitch into a piece
of clothing it’s almost like stitching into a new canvas,’
she explains. e
LIZ HOGGARD
www.jessiechorley.com

In many ways, styling the shop is like
creating a stage set. ‘I love making it different
each week and then watching the customers
come in and their response to it.’

THE CURATOR
Crossing
boundaries
Laura Hamilton’s reputation as a curator of
textiles was cemented during her 20-year tenure
at the Collins Gallery. Today as a freelance
curator, she continues to push boundaries
and encourage opportunities for artists
Laura HamiLton is one of textiLes’ quieter curatorial

presences. it can be easy to overlook such figures but it would be
remiss to do so, for her 30-year career to date (and still on-going)
has been significant.
Reviewing the projects she has instigated, it is tempting to say that
the work speaks for itself. Deirdre Nelson and Jilli Blackwood are just
two of the makers who have benefitted from her support at a crucial
period of their practice. Set those individuals alongside international
exhibitions of felt, stitch and basketmaking – each accompanied by
an ambitious education programme of workshops, masterclasses,
symposia and publications – and one begins to get a sense of
the impact she has made.
Equally noteworthy, is the manner by which all this has been
achieved. Her collaborative and inclusive curation has enabled projects
to develop organically, one leading naturally to the next as knowledge
and relationships have been built. ‘It’s less about exhibitions and more
about working with people,’ she explains. ‘It’s great to be able to
encourage and give opportunities.’ Reflecting on her current project
on outsider craft, she adds: ‘What I’m looking for is a cross-generational
and cross-skill base. It’s what we always did at the Collins really…’
That reference to the Collins is significant. Laura Hamilton and the
Collins Gallery, Glasgow were synonymous for over 20 years.
Appointed Director in 1988, Laura was responsible for the curation
of both its exhibition programme and its collection of fine and applied
art. The gallery closed in May 2012 but her programming over those
years was highly creative and has left its mark.
‘The Collins was a lovely story – a real joy. I went there after six years
at Tullie House Carlisle. That was my first experience of textiles. I’d
trained in art history, so textiles was a new and fascinating departure
for me!’ Given a relatively free rein to work with the collection, Laura
demonstrated something of the approach that characterised her ‘What I’m
time at the Collins.
Divisions between disciplines were broken down as she displayed
looking for is a
historic costume and textiles alongside artefacts from the social history cross-generational
and fine art collections. Relationships between historic and and cross-skill
contemporary material were also explored and a programme of base. It’s what we
temporary exhibitions and education activities established. It was here
too, where links were first made with Jenny Cowan, Mary Burkett and always did at
Paddy Killer, who later became part of the Collins programme. the Collins’
Prior to her arrival in Glasgow in 1988, the Collins exhibitions
programme had concentrated on photography. ‘It was an artform barely
represented elsewhere in the city, hence the decision, but the crafts,

Above and right, top: Installation by Lee Dalby
Middle: Maggie Smith and below, Norie Hatakeyama
These works featured in East Weaves West: Basketry
from Japan and Britain, curated in collaboration with
Mary Butcher at the Collins Gallery, Glasgow 2007
PHOTOGRAPHY: DAVE J FORD

‘A key aim of my curating
textile exhibitions was to inspire
makers, especially new makers
or those grounded in tradition,
towards a more lateral and
experimental approach’
applied and decorative arts were in a similar position’ Laura

explains. ‘For that reason, along with my personal interest in these
areas, I decided to focus on historic and contemporary material
related to this field.’ Over the next 24 years, the gallery presented
several textile exhibitions each year as part of its programme.
Curated in-house by Laura, many then toured to other UK venues.
‘A key aim of my curating textile exhibitions was to inspire makers,
especially new makers or those grounded in tradition, towards a
more lateral and experimental approach and to provide Scotland
based specialists and students with first hand access to work by
leading exponents in the field. Looking back, it’s interesting to
identify threads which linked many of the exhibitions: solo shows
often evolved from seeing a particular maker’s work in a group
or themed show while contacts made through the display of a
particular medium – felting, quilting or basketry – gave rise to
international projects and to working in collaboration with other
curators and venues.’
That desire to inspire, combined with Laura’s interest in
exploratory approaches to practice, led also to a series of projects
in which makers were encouraged to experiment with unusual
processes or techniques. This was exemplified by Philip O’Reilly’s
exhibition Art-Artist-Artisan in which his paintings of piles of
Turkish kilims were interpreted by Turkish makers in designs for
woven rugs, and by Philip, in designs for felted rugs.
‘Many of our textile artists opted to incorporate film or music
and even scent, into their work whilst others, most notably Deirdre
Nelson, employed a play on words and later, animation, as a means
of expounding ideas and concepts. Some of the more experimental
work proved more accessible and palatable than others. Agnes
Nedregard’s stitching a garment directly onto her naked torso,
for example.’
Working freelance since the closure of the Collins, Laura admits
to missing having a gallery to programme but speaks with fervour
about the exhibition of outsider craft she is currently co-curating
for Craftspace. This will feature the work of eight international
artists alongside pieces selected from an open submission of
outsider artists in the UK. ‘There’s some fabulous stuff including
an artist from Finland who makes life-size figures out of woven
birch bark. He even clothes them. It’s beyond the realms of most
contemporary basket making. It’s a purely intuitive response to
materials – something from the heart.’
Asked to assess the current position of textiles, Laura’s thoughts
turn back to her own recent experience. ‘It would be great to have
more venues to show textiles. There is nowhere in Glasgow now
and a lack in Scotland generally. Somewhere open all year where
you could see textiles permanently would be wonderful. Also, I have
to confess that some of the most innovative and stimulating textile
work I’ve seen in recent months is that being created by outsider
artists. It would be very interesting to have one take a residency at
an art college and see what people learn from the experience.’ e
June Hill
Outsider Craft is at Pallant House from 12 March to 12 June

2016 and then tours to eight UK venues

Clockwise from above: Kathy Schricker & Philip O’Reilly:
Digital Perceptions. Collins Gallery, 2006
JR Campbell: Digital Perceptions. Collins Gallery, 2006
Iranian shepherd’s cloak by Bita Ghezelayagh for Namad –
A Persian Journey. Collins Gallery, 2009
Pam Hogg with the winner of contemporary twist on
18th century costume competition: Robert Adam’s Glasgow.
Collins Gallery, 2009
Installation view of Felt Directions, International Feltmakers’
Association. Collins Gallery, 1994
A rare image of black cowboys wearing Turkey Red bandanas
in Seeing Red: Scotland’s Exotic Textile Heritage, curated with
Liz Arthur. Collins Gallery, 2007
Felted Shyrdak (rug) by rural makers and traditional chiy
(top left) From Quilts to Couture in Kyrgyzstan, curated with
Dr Stephanie Bunn. Collins Gallery, 2011

Exhibitions
Shoes: Pleasure and Pain
Victoria & Albert Museum, London 13 June 2015 – 31 January 2016
IF, LIke Me, yoU believe you should be able to run for a bus even fame and fortune. This story is
when wearing fancy heels, this exhibition will turn your perception displayed alongside Beckham’s
of shoes upside down. The V&A has one of the biggest shoe football boots, perhaps the
collections in the world and now some 250 pairs showcase the most subdued exhibit, yet
extremes of footwear. Tiny Chinese shoes for bound feet and these boots whisper the
Christian Louboutin’s Ballerina fetish shoes, in which the stiletto possibility of heroic
heel is parallel with the sole of the foot, go beyond discomfort to feats.
the realm of distortion; Mojaris worn by the Muslim ruler of Transformation is
Hyderabad are covered in emeralds, rubies and embroidered with explored more
gold and silk thread, displaying prosperity and high status; a gilded tragically in several pairs
egyptian leather platform sandal (30BC) is the oldest exhibit, and of tiny Chinese shoes
Julian Hakes 3D printed Mojito shoe represents a taste of the future. (about 1900) made for bound
Displayed in cabinets with low lighting, sumptuous crimson velvet feet. The exquisite silk embroidery Evening shoe, beaded silk and leather,
curtains semi-divide the sections, which explore three core themes: and delicacy of these shoes belie France. Roger Vivier (1907) for
Christian Dior (1905) 1958-60
transformation, status, and seduction. the agony behind them (and ©VICTORIA AND ALBERT MUSEUM, LONDON
A sparkling glass slipper from Disney’s Cinderella (2015) dominates sometimes death from infection).
the first display. Unyielding and unmalleable, the fairy tale shoe that The ideal length of ‘lotus’ feet was
will fit only the rightful owner is emblematic of how mere mortals 7.6cm, the size of a toddler’s foot
can come to think the right pair of shoes may change their life. This today. Footbinding involved breaking the feet and forcing toes
myth has traversed history and cultures and has applied to boys and under the foot and resulted in a mincing gait, then considered
men too – the tale of the slipper test can be traced back to first desirable, as gravity shifted from the front to the back of the foot.
century egypt. In the story of the Seven-League boots from When we think about shoes as status symbols, we may envision silk
european folk tales, the boots allow a boy to run so fast he wins bejeweled encrusted slippers, or highfalutin celebrity designer
stilettos, but some of the status shoes here were never intended to
High & Mighty shoot, be walked in. The Indian men’s ‘Sitting down shoes’ (1855-79)
American Vogue. embroidered with metal thread, with a skyward spiraling pointed
Model: Nadja
Auermann. Dolce & curled toe, can only be shuffled about in and, by virtue of their
Gabbana suit, impracticality, denote great wealth.
Summer 1995.
February 1995
Mid-18th century shoes made from brocaded Spitalfields silk
were complemented by velvet pattens (overshoes). These were not
for a woman walking grubby London streets: they would have been
used indoors or to take the few steps to a waiting carriage. Indeed,
one of the most astonishing aspects of this exhibition is the number
of shoes made that could never be walked in, and the divide
between those who would have been happy to simply own a pair
of shoes (in ancient Greece slaves had none) and those whose
status allowed footwear to become symbolic of their power –
monetary, sexual or class.
The second floor focuses on the technical business of making
shoes, a process involving design, sculpture, and engineering, and
there’s a fascinating film documents each stage of producing
bespoke shoes. Several collections by high-street buyers are
featured, bringing shoes back down to earth as accessible,
desirable, and – for some – addictive.
Upstairs too, are a collection of Roger Vivier shoes (shoe designer
for Dior from 1953-1963 and creator of the Stiletto heel)
immortalised in acrylic blocks, as if embalmed, and defining shoes
as works of art far removed from humble footwear.
Hattie Gordon
Tickets £12. A catalogue is available: Shoes: Pleasure and Pain

by Helen Persson. £25, exhibition price £20
PHOTO ©ESTATE OF HELMUT NEWTON / MACONOCHIE PHOTOGRAPHY

The front and reverse
of an apron – part of a
dazzling dance costume
from Transylvania. The
apron is made of a
combination of
commercially printed
fabric and plain cream
fabric panels heavily
embroidered with tube and
round glass beads, metallic
thread and sequins in
floral and bird motifs
Revisiting Romania: Dress and Identity

Horniman Museum, London 4 October 2014 – 6 September 2015
THE HORNIMAN’S ANNUAL TEXTILE In contrast to societies in which royalty wool before Saint Teodor’s Day, on the
exhibition documents the abiding influences fashion, in late nineteenth and first Tuesday of Lent or, they believed,
cultural importance of Romanian early twentieth century Romania evil would punish them. They then had
textiles. Handcrafted rugs, weavings to it became fashionable amongst the to finish weaving and embroidering by
drape around icons in the home, aristocracy to wear clothes based on those Easter Sunday.
embroidered sheepskin waistcoats, worn in the Romanian countryside. A Fiona found that inside women’s
aprons, veils and costumes for child’s woollen coat, exhibited here, wardrobes or in their bottom drawers
ceremonial days have always been the embroidered with black thread is similar are the handcrafted shirts, smocks, silk
art of the Romanian people – created, to coats worn by members of the royal scarves, and waistcoats, they had woven
worn and used by them, a source of family, and inspired by traditional peasant and embroidered long ago. The garments
inspiration for the aristocracy, and designs. The country became are treasured for their associated
admired by visitors. a kingdom in 1881 and wearing such memories as much as for themselves.
Indeed, much of the museum’s rich costume was a symbol of national identity. Photographs are often kept with the
collection of 800 Romanian items (the In 1947 the Romanian People’s Republic clothes to preserve the memories
largest holding of any museum in the was created, and under the communist and link to the past.
UK) came from donations by travellers regime peasants were transformed into Despite modernity, a desire and a
from the 1950s onwards. Enchanted ‘workers’ on collective farms or in market for traditional clothing remain.
by the costumes worn by peasants factories. ‘Folk art’ was replaced by A wonderful short film shows Dumitru
(in Romania the word peasant suggests ‘people’s art’ (arte populara). From the Sofonea (aged 76), from Dragus in
farmer with his own land), particularly 1950s, objects representing peasant life Transylvania, explaining how he makes
on feast days, visitors brought examples began to be made in factories and co- sheepskin coats using the traditional
home. Industrialisation had all but operatives for mass consumption. No techniques his father – Romania’s most
obliterated such material in Britain, and longer crafted by hand, these objects famous coat-maker – had taught him.
nostalgia and admiration for what was were designed to evoke an idealised past. Both the processing of sheepskin and its
termed ‘folk art’ grew and evoked a Ceramic figures in regional costumes embroidery were traditionally men’s
romanticised view of Romanian rural life. were displayed with pride by the new tasks. The embroidery was often
One such outfit shown here is a child’s working class in modern living rooms. completed on separate strips of
dance costume from Tara Calatei, Horniman curator Fiona Kerlogue visited sheepskin, and applied to the outer
formerly Kalotaszeg in Transylvania. It Cerbal, from where some items in the surface of the coat or waistcoat. The
consists of a full skirt, a floral printed collection originate. People no longer stitching was simple, but the dense
shirt, an apron and waistcoat wear or make traditional dress in Cerbal arrangement and striking colour
embroidered with bright flowers and but memories are strong. Fiona spoke combinations have ensured these
embellished with shining beads. This with women who recalled nights of their garments popularity. Dumitru says
traditional costume is still worn in Tara youth spent sewing, often by candlelight, with pride, ‘My father served well,
Calatei on special occasions like the gossiping and telling jokes or frightening and I have not let him down.’
‘sheep weighing’ ceremony. stories. They had to finish spinning the HATTIE GORDON

Do Ho SuH
New York City Apartment / Bristol
Bristol Art Gallery & Museum 28 March – 27 September 2015
©BRISTOL MUSEUMS GALLERIES & ARCHIVES

BRISTol MUSeUM & ART GAlleRY It is delight rather than the devil, which is admittedly very different to those of
deserve congratulations for commissioning in details such as the phantom-like reality Suh and perhaps closer to the themes,
Korean artist Do Ho Suh to create New of the light switches and the self- which Caren Garfen examines in her cloth
York City Apartment/Bristol, an intriguing supporting latches and closing mechanism kitchen installation She Was Cooking
acquisition, which will be on display until of the door furniture. These, not wholly Something Up. Moving from Korea to
27 September, before travelling on loan expectedly, call to mind the astonishingly America was a traumatic culture shock
to various UK art institutions. Constructed sculptural couture of Issey Miyake and for Suh, which has its reverberations in
from translucent polyester over slender are remarkable proof that, in addition to his preoccupation with architectural themes
metal rods, it can be disassembled and studying sculpture at Yale University, Suh and the many implications associated with
packed into a comparatively small container also followed courses in pattern making the concept of ‘home’.
when one considers its dimensions: 29.8m and architecture, as well as painting at This piece represents the finale for a
high by 97.8m long. Moving from practical Rhode Island School of Design. collecting project developed by Bristol
to conceptual deconstruction, this light and The stitching – of which there is a great Museum and Art Gallery over seven years,
airy edifice breaks down the function of a deal – is all completed by machine, but known as the International Art Fund it was
building – it feels vulnerable and certainly calculating how to achieve the tension funded by a large grant from the Art Fund
is not a celebration of the home as of the fabric so as to create the faceting and includes works by Chinese, African and
protective fortress. on the banisters, for example, must have Middle eastern artists. As Julia Carver, the
other than the very appropriate presence been no easy task. curator of this exhibition, points out, the Do
of a transparent Philippe Starck chair, the These textile surfaces are taut in Ho Suh installation allies itself so well with
Suh work stands alone in the large gallery comparison with the element of draping this project particularly in the sense that a
space and details such as its stitched so often encountered in soft sculpture, corridor can be seen, ‘as a metaphor for
architraves find an echo in the architecture such as certain of the large-scale work by the passage between two cultures’. It is also
of the museum. Great care has been taken Polish fibre artist Magdalena Abakonowicz, a fascinating experience to walk along this
with the lighting and, feeling that diffused or in some of the rooms of Womanhouse passageway, the fingers tingling to grasp the
lighting would be the most suitable, (1971), the famous feminist co-operative door handle, the eyes and mind delighted
wall-washers were chosen in preference project headed by Judy Chicago and Mimi by the beautiful precision of the making.
to spotlights. Schapiro where the intentions were Ian Wilson

Michael
Brennand-Wood,
New Worlds –
Spells, 2015
Hand & machine
embroidery,
interlacing, fabric,
collage, animated
tape, text, braids,
wire, resin, blocks,
acrylic on wood
base. 91cm x 5cm
PHOTO: PETER MENNIM
Seeds of Memory
National Centre for Craft & Design 18 July – 29 November 2015
THERE IS SUCH DEPTH of content in else and whose DNA – the seeds of its There are echoes here not only of other
the work of Michael Brennand-Wood memory – the show seeks to explore. gallery exhibits, but also of his
that it can be difficult to know where to Meshes, lace-inspired works, flower extensive back catalogue. The most
begin any analysis. There are so many pieces, music, duality, order and chaos, immediately striking link is with his
lines to follow, so many angles to pattern as communication and textiles paper works of the 1990s (Yellow Pages,
pursue, so many questions posed. To as mnemonics are all areas of Port of Call), echoes of which can be
some degree this is also an issue the investigation represented here. seen in Spells and Paper Trail, the latter
artist himself faces, as evidenced by the Whilst every exhibit bears close a stunningly subtle tonal piece imbued
consistently varied work he has created examination, it is the New Worlds with fragility.
since his emergence in 1975. This Series that forms the core of the There is much to be absorbed within
exhibition sets out to both reflect this exhibition, both physically and these new works. Each is truly a world
diversity and provide insights into his conceptually. At first sight these works to be explored. The layering of
thinking by enabling the viewer to trace seem familiar, their grid form providing structures, textures, materials, colour
the relationships between its different a direct reference to the artist’s early and imagery rewards time given in
elements through the prism of a new meshes, represented here by El Rayo X looking. For some years, the artist has
body of work that is itself an (1982) and Archive (1984). Whereas those spoken of his desire to create new work
exploration of his practice. are rectangular, however, these new that responded to his earlier pieces. The
Seeds of Memory features 21 works pieces are round; circles as a site for New Worlds Series is part of that
dating from 1982-2011 alongside the exploration being another subject of process, yet none of his work ever falls
New World Series, nine framed circular long term fascination. The analogy far from the tree. Or perhaps, as this
mesh pieces made specifically for this (think petrie-dish), is epitomised in this exhibition illustrates, it is rather that it
exhibition with the support of Arts exhibition by Nine Dreams Within the is all part of the same tree; a tree to
Council funding. Sympathetically Here and Now (1998-99). which more rings are added with every
displayed in the NCCD’s main gallery, Look closer into the New Worlds Series cycle of making.
the extant work sits around a central and more elements of the artists’ visual JUNE HILL
ten-sided room in which the New World language emerge. Embroidered stars,
Series is hung. It is, in effect, a world floats of thread, fragments of cloth (in Michael Brennand-Wood is leading
within a world; indicative of something some instances from the same textile) a weekend masterclass 4-15 November.
which has emerged from something cross reference one artwork to another. www.nationalcraftanddesign.org.uk

WHAT’S on
ON SHOW NOW LAMPETER The Welsh Quilt
Party, Eirian & Denys Short and
LOUGHBOROUGH Nursery
Rhymes and Fairy Tales, East
HIGHCLIFFE Contemporary
Stitched Textiles Yvonne Morton
AYLESBURY Beyond All Price: Cefyn Burgess, plus Quilts from Midlands Region EG until 5 16 September-1 November.
Jane Wildgoose until 25 the Jen Jones Collection until 31 September. Charnwood Highcliffe Castle, Rothesay Drive,
October. Waddesdon Manor, October. The Welsh Quilt Centre, Museum, Granby Street, Christchurch, Dorset BH23 4LE.
Aylesbury, Buckinghamshire The Old Town Hall, High Street, Leicestershire LE11 3DU. T 01425 278 807
HP18 0JH. T 01296 653 203 Ceredigion SA48 7BB Wales. T 01509 233 754
T 01570 422 088 KINGSTON UPON THAMES
BATH Dress of the Year; MACCLESFIELD Home Ground Carry on Stitching Kingston &
Georgians; Great Names of LLANIDLOES Quilts 15 The Quilt and Andrea Zapp: Inspired by District EG 25 September-10
Fashion, all until 3 January Association summer show until Macclesfield until 5 September. October. Kingston Museum Art
2016. Behind the Scenes until 12 September. 2 High Street, The Silk Museum, Park Lane, Gallery, Wheatfield Way KT1 2PS.
6 November 2015. Bath Fashion Powys, Wales SY18 6BY. Cheshire SK11 6TJ. T 0161 613 210 T 020 8547 5006
Museum, Bath Assembly Rooms, T 01686 413 467
Bennett Street, Somerset MANCHESTER Textiles Green LANCASTER Ten Plus Textiles
BA1 2QH. T 01225 477 789 LAUNCESTON Joining Forces, until 6 March 2016. The @The Storey Gallery 22
Anglia Textile Works until 5 Whitworth Art Gallery, Oxford September-10 October. The
BATH Hatched, Matched, September. Cowslip Workshops, Road M15 6ER. T 0161 275 7450 Storey Gallery, Meeting House
Dispatched & Patched! until Newhouse Farm, St Stephens,
Cornwall PL15 8JX. Lane LA1 1TH. T 01524 582 394
1 November. Claverton Manor, PRESTON Style and Substance:
Claverton, Somerset BA2 7BD. T 01566 772 654 Fashion Society Change 1880s- LEDBURY Daphne’s Glove 29
T 01225 460 503 1930s until September. Harris September-11 October. The
LEEDS Indian Embroidery Museum & Art Gallery, Market
the Indian Collection at ULITA Weaver’s Gallery, Church Lane.
BURNLEY Cotton Queens Square, Lancs PR1 2PP. Herefordshire HR8 1DW.
Emma Blackburn until mid- September visits by appoint- T 01772 258 248
ment. ULITA Archive of T 01531 633 325
November. Queen Street Mill
Textile Museum, Queen Street, International Textiles, St Wilfred’s RAVENSHEAD The Dreaming
Briercliffe, Lancashire BB10 2HX. Chapel, Maurice Keyworth LEEDS Intrinsic, exhibition of
House: Art Textiles at Newstead textile jewellery 5 September-
T 01282 412 555 Building, University of Leeds, until 27 September. Newstead
Yorkshire LS2 9JT. T 0113 343 3919 17 October. Leeds Craft Centre
Abbey, Ravenshead, Notts & Design Gallery, City Art Gallery,
BURY ST EDMUNDS NG15 8NA. T 01623 455 900
Flowerheads public artwork LEEDS All Things Bright and The Headrow, Yorkshire LS1 3AB.
by Michael Brennand-Wood Beautiful until 24 October. SLEAFORD Seeds of Memory T 0113 247 8241
until 19 September. Abbey Leeds Craft Centre, City Art Michael Brennand-Wood
Gardens Suffolk IP33 1XL. Gallery, Yorkshire LS1 3AB. until 29 November. The LONDON Open House: Textiles
T 0113 247 8241 National Centre for Craft and Susie Goulder & Eleonor Rollen
CLITHEROE Black Sheep: Design, Navigation Wharf, Carre 19-20, 26-27 September.
The Darker Side of Felt until LONDON Christina Mackie: Street, Lincolnshire NG34 7TW. 61 Compton Road, Wimbledon,
3 October. Platform Gallery, The Filters until 18 October. T 01529 308 710 London SW19
Station Road, Lancashire Tate Britain, Millbank SW1P 4RG.
BB7 2JT. T 01200 425 566 T 020 7887 8888 STAFFORD Tilleke Schwarz and LONDON The Domestic Veil
Stewart Easton solo exhibitions Carol Quarini 8-12 September.
COMPTON VERNEY The Arts LONDON Revisiting Romania: until 6 September. Shire Hall The Crypt Gallery, St Pancras,
and Crafts House Then and Now Dress and Identity until 6 Euston Road, London NW1 2BA
September. The Horniman Gallery, Market Square, Staffs
and The Dan Pearson William ST16 2LD. T 01785 278 345
Morris Meadow until 13 Museum, 100 London Road MACCLESFIELD Small Talk, Quilt
September. Compton Verney. SE23 3PQ. T 020 8699 1872 Art 15 September-30 October.
YORK Kaffe Fassett: Ancestral
Compton Verney, Warwickshire Gifts until 5 September. Macclesfield Silk Museum, Park
CV35 9HZ. T 01926 645 500 LONDON Riviera Style: STYLE Lane, Cheshire SK11 6TJ.
Resort & Swimwear since 1900, Quilt Museum & Gallery, St
Anthony’s Hall, Peasholme T 01625 612 045
CWMBRAN Portal until 17 and Rayne: Shoes for Stars
until 13 September. Fashion & Green, Yorkshire YO1 7PW.
October. Llantarnam Grange T 01904 613 242 PEEBLES Past and Present,
Arts Centre St. Davids Rd, Textile Museum, 83 Bermondsey FibreXFive. 7 September-24
Cwmbran, Torfaen NP44 1PD. Street SE1 3XF. T 020 7407 8664 October. Tweeddale Museum &
T 01633 483 321
LONDON Shoes: Pleasure OPENING Gallery, Chambers Terrace, High
Street, Scotland EH45 8AJ.
GATESHEAD Blooming and Pain until 31 January 2016 SEPTEMBER T 01555 660 668
Marvellous until 5 September. and What is Luxury? until 27
Shipley Art Gallery, Prince September. Victoria & Albert ABINGDON The Thames
Museum, Cromwell Rd, South PRESTON Art & Soul, Natural
Consort Road, Tyne and Wear Shifting Perspectives, Hapticart Progression Textile Group
NE8 4JB. T 0191 477 1495 Kensington SW7 2RL. 12 September-20 December.
T 020 7942 2000 19 September-17 October.
Abingdon County Hall Museum, Primrose Mill, Primrose Hill, Lancs
HAMPTON COURT Whitework Oxfordshire OX14 3HG. PR1 4BX. T 0800 0851 080
Embroidery until December. LONDON Small Stories at Home T 01235 523 703
Tours on specific dates only: in A Doll’s House until 6
September. V&A Museum of SEDBURGH Rebel Rag Rugs,
booking essential (£16). Royal AUDLEM 25 Years of Stitch, 5 September-4 October.
School of Needlework, Apt 12A, Childhood, Cambridge Heath South Cheshire branch EG 18-
Hampton Court Palace, Surrey Road, Hackney E2 9PA. Farfield Mill, Garsdale Road,
T 020 8983 5200 20 September. Audlem Public Cumbria LA10 5LW.
KT8 9AU. T 020 3166 6941 Hall, Cheshire Street CW3 0PH. T 01539 621 958
LONDON Vivienne Westwood: T 01270 629 567
HULL The Yorkshire Ones in
Antarctica Part 2 until 31 Cut from the Past until 31 SNAPE MALTINGS Looking for
October. Danson House, 41 CHELMSFORD The Plot the Unexpected in the Everyday,
October. Community Display Thickens, 02 Textiles Group
Area, Hull Maritime Museum Danson Road, Bexleyheath Chain Reaction 5 18-23
Queen Victoria Square Hull, DA6 8HJ. T 020 8303 6699 12-27 September. RHS Garden September. Pond Gallery, Bridge
HU1 3DX 01482 300300 Hyde Hall, Creephedge Lane Road, Snape, Suffolk IP17 1SR.
LONDON What Do I Need To Essex CM3 8ET. T 0845 265 8071 T 01728 687 100
KENDAL Georgian & Victorian Do To Make It OK? An
Fashion until 4 January 2016. exploration of damage and CLITHEROE Transitions by THORNHAM Links & Layers On
Museum of Lakeland Life & repair until 1 November. Etcetera 12-26 September. View 4-6 September. Thornham
Industry, Abbot Hall Art Gallery, Pumphouse Gallery, Battersea Platform Gallery, Station Rd, Lancs Village Hall, High Street, Norfolk
LA9 5AL. T 01539 722 464 Park SW11 4NJ. T 020 8871 7572 BB7 2JT. T 01200 425 566 PE36 6LX. T 07831 935 903

YORK Dialogues Quilt Art LONG LOAD Connections
11 September-31 October.
Quilt Museum and Gallery,
Annual Textiles Exhibition 31
October-8 November. Long Canford
Needlework
St Anthony’s Hall, Peasholme Load Village Hall, Somerset
Green, Yorkshire YO1 7PW. TA10 9JX
T 01904 613 242
OPENING OCTOBER
MANCHESTER A Common
Thread Ariella Green 18-31
October. The Parsonage Gallery
Festival
ASHBOURNE Exhibition by
Stenner Lane Manchester. Sunday !"th September #"$%&'"pm
T 0161 445 7661 Hamworthy Recreation Club( Magna Road(
Mainly Stitch 3-11 October.
Visitor Centre, Ilam Park Stable PUDSEY Material Evidence Wimborne( Dorset& BH!# 'AP
Yard, Ilam, Derbyshire Hannah Lamb, Clare Lane, Admission )' Free Parking
DE6 2AZ. T 01335 350 503 Claire Wellesley-Smith 24
October for one month. Sunny Materials for all stitching enthusiasts&
BANBURY Second Chances Zero Bank Mills, Farsley, West Yorkshire, Beading( Braiding( Dyeing( Felting( Fusing( Embroidery( Knitting( Quilting
LS28 5UJ. T 0113 256 3239 Lacemaking( Machine Embroidery( Patchwork( Spinning( Weaving
5 Stitchers 28 October-30 Free Demonstrations all day plus exhibitions& Lunches( Bar
November. The Mill Arts Centre, RHOS ON SEA Making Waves...
Spiceball Park, Oxon OX 16 5QE. in Stitch, North Wales Branch EG www&canfordneedlework&co&uk
T 01295 279 002 Biennial Exhibition 2015 30-31
October. United Reformed
BURY ST EDMUNDS The Church, Colwyn Avenue, 20 SEPTEMBER Canford OVERSEAS
Journey Still Unfolds... Out of Conwy, Wales LL28 4RA Needlework Festival (see above).
the Fold textile artists 24-31 www.canfordneedlework.co.uk/ CANADA Artist Textiles: From
October. Workwise/Cavern 4, 4 ST ANDREWS Diamond Picasso to Warhol until 4
Whiting Street, Suffolk IP33 3NR. Threads: Celebrating 60 Years 19-23 SEPTEMBER MA Degree October. Textile Museum of
T 01284 700 009 of the Dundee & East of Show. Bath Spa University. Canada. www.textilemuseum.ca
Scotland Branch EG 3 October- www.bathspa.ac.uk
FARNHAM Surrey Artist of the 29 November. St Andrews GERMANY zero3 Textile Artists
Museum, Kinburn Park, 19-27 SEPTEMBER London 5-23 October. Quilt Et
Year Competition 4 October-14 Doubledykes Road, Fife Textilkunst, Muenchen.
November. New Ashgate Design Festival. Various
KY16 9DP. T 01334 669 380 locations around the capital. www.quiltundtextilkunst.de/
Gallery, Waggon Yard, GU9 7PS. www.londondesignfestival.com
T 01252 713 208 SEDBURGH Kutch to Kantha, NETHERLANDS 4th Rijswijk
Jenny Bullen, Lynda Gray, 24-27 SEPTEMBER Stitching Textile Biennial until 27 Sept.
ILMINSTER Mapping Evolution: Shelley Rhodes, Dorothy Tucker Sewing & Hobbycrafts. www.museumrijswijk.nl
An Exhibition of Contemporary 10 October-14 November. Westpoint Centre, Exeter.
Art Quilts Alicia Merrett and Farfield Mill, Garsdale Rd, Cumbria www.thecraftshows.co.uk SWEDEN Traces of Life
k3n. 5-31 October. Ilminster Arts LA10 5LW. T 01539 621 958 Textil 13, Textile Study Group
Centre, The Meeting House 3 OCTOBER World Textile Day until 13 September. Dalarnas
WINDSOR Art quilts & West. Saltford Hall, Bristol. Museum, Falun.
East Street, Somerset TA19 0AN. embroidery by Janet Atherton www.worldtextileday.co.uk
T 01460 54973 www.dalarnasmuseum.se
19 Sept, 17 & 31 Oct, 21 Nov.
Cumberland Lodge, The Great 7-11 OCTOBER Knitting & USA Pathmakers: Women
LEATHERHEAD Olympics and Park, Windsor, Berkshire. Stitching Show Alexandra in Art, Craft and Design,
the Cycle Race, Maggie Martelli T 01784 435 434 Palace, London. www.the Midcentury and Today
3-30 October. Leatherhead knittingandstitchingshow.com 30 October-28 February 2016.
Theatre, 7 Church St, Surrey National Museum of Women
KT22 8DN. T 01372 365 141 UK EVENTS 8-11 OCTOBER Great Northern
Contemporary Craft Fair Old in the Arts, Washington DC.
3-5 SEPTEMBER Creative Craft Granada Studios, Manchester. nmwa.org
LONDON Liberty in Fashion Show. Sandown Park Exhibition www.greatnorthernevents.co.uk
9 October-28 February 2016. Centre, Esher, Surrey. USA China: Through the Lens
Fashion and Textile Museum, www.sccshows.co.uk 15-17 OCTOBER Creative Craft of John Thomson (1868-1872)
83 Bermondsey Street SE1 3XF. Show Belfast. Titanic Exhibition 19 September-14 February 2016.
T 020 7407 8664 10-12 SEPTEMBER Heritage Centre. www.sccshows.co.uk The Textile Museum,
open days at the Crafts Study Washington DC.
Centre. Free (booking essential). 22-25 OCTOBER Made London. museum.gwu.edu
LONDON The Edge, 6328 Studio www.csc.ucreative.ac.uk One Marylebone NW1 4AQ.
5-8 October. Brixton East Gallery www.madelondon.org
100 Barrington Road SW9 7JF. 10-12 SEPTEMBER Stitching To advertise your exhibition in
Sewing & Hobbycrafts. 23-25 OCTOBER Select a highlighted boxed listing,
LONDON The Fabric of India EventCity, Manchester. Showcase. Cheltenham Town please contact Leanne Hills
3 October-10 January 2016. www.thecraftshows.co.uk Hall, Gloucestershire. sitselect.org on 01354 818012
V&A Museum, Cromwell Road,
South Kensington SW7 2RL. 11-13 SEPTEMBER Weald of 24 OCTOBER Crafting the
T 020 7942 2000 Kent Craft & Design Show. Future – Technology and the Venues may charge admission
Penshurst Place, Tonbridge. Handmade: SITselect and dates and opening times
www.thecraftshows.co.uk conference. www.sitselect.org may be subject to change at
LONDON Thirteen Textile
Group Exhibition 19-24 12 SEPTEMBER World Textile short notice. We recommend
30 OCTOBER-1 NOVEMBER that you contact the venue
October. WAC Gallery, 14 Baylis Day East Mundford, Norfolk IP26 Made by Hand. Cardiff, Wales.
Road SE1 7AA. T 020 72611404 5DW. www.worldtextileday.co.uk www.madebyhand-wales.co.uk before making a special journey.
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September /

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