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industry
Queen Street Mill
THE LAST STEAM-DRIVEN WEAVING SHED
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Tucked away in the village of Harle Syke, high above the old cotton town of Burnley, lies Queen Street Mill Textile Museum, thought to be the last steam-driven weaving shed in the world.
In the 1890s when workers' cooperatives were popular, the Queen Street Mill Manufacturing Company was set up by selling £5 shares to local folk. In 1894 they had £20,000, enough to build the boiler house, engine house and a 1000-loom weaving shed.
The 20th century brought swift developments in man-made fibres and technology, but Queen Street Mill steadfastly continued to produce the local speciality ‘grey cloth’, a plain, unbleached and undyed calico, until March 1982 when it finally closed.
Lack of money or vision to invest in modernising the mill became its saving grace. Local people petitioned the council, which backed the conversion of the mill into a working museum. So while many Lancashire looms were scrapped or exported to developing textile industries, the last 307 of the Queen Street looms continue to demonstrate the full sensory experience of working in a cotton mill – noise, smells and all.
Cloth production is now limited to demonstrations. This cotton calico is used for the ‘Simply Textiles’ range of aprons and tea towels sold exclusively in Queen Street Mill Textile Museum and its sister museum Helmshore Mills Textile Museum that spins the weft for the shuttles on its original spinning mules.
The weaving shed was chosen by director Tom Hooper for the mill scene in the BAFTA and Oscar winning film ‘The Kings Speech’. During filming Colin Firth described the mill in the visitors’ book as “a thing of beauty” – and it is. Margaret Nowak
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The North Norfolk coast is loved for its big skies, its white sand, windswept beaches and being a bird watcher’s paradise, but unspoilt countryside is not all it has to offer. East Anglia was once the richest county in England and is peppered with historic buildings including churches and stately homes.
In the 18th century Norwich was the second wealthiest city in England after London due to its wool trade and textile industry that thrived since medieval times until the 19th century. The city’s 31 medieval churches and its 11th century cathedral stand testament to its wealthy past.
The Norwich textile industry was best known for developing a type of worsted cloth and for its expertise in dyeing and weaving. When the industry began to wane in the 19th century, local weavers turned to making shawls inspired by the fashionable but expensive imports from Kashmir, India. The English word 'shawl' comes from the Persian 'shal', meaning a 'type of woven fabric'. Norwich Shawls were made in two different styles: as wide scarves with plain centres and decorated borders, or big squares with plain centres, woven borders and fringes on all sides. Formal rows of pine-shaped motifs, a design originally from Persia, were typical and on the early shawls these patterns were often embroidered on rather than woven into the cloth. The Norwich shawls, also known as Fillover shawls, were woven on a draw loom, which allowed more elaborate patterns to be woven than the ordinary hand looms.
Norwich and its surrounding area has a treasure trove of museums with fine examples of Norwich’s textile history as well as modern day art and craft galleries, antique shops, vintage clothes shops and stately homes to explore.
Houghton Hall This grand Palladian style house built between 1722-1735 was home to Sir Robert Walpole, Britain’s first Prime Minister. Its sumptuous interior dates back to the original William Kent designs.
Textiles take centre stage and many of the rooms are named after the gems that line the walls or cover the beds. The Green Velvet Bedchamber is dominated by a four poster bed draped with the eponymous cloth, a colour associated with sleep and Venus. Four Brussels tapestries, telling the story of Venus and Adonis, were made to order and fit the room exactly.
The Embroidered Bedchamber has a bed covered in mid 18th century oriental needlework and Bruges tapestries line the walls. The Tapestry Dressing Room has an unusual Mortlake Tapestry that depicts James I, Charles, I, Christian IV of Denmark and the Stuart children.
Lining the walls of the glamorous White Drawing Room is fine brocaded silk woven by the Huguenots in Spitalfields, London given as a present by the Prince Regent – he also had some made for Buckingham Palace. Kingfisher blue and white hand-blocked and hand-painted Chinese wallpaper stretches over tea chests in the Cabinet Room and envelops the bed draped with intricate Chinese silk embroidered hangings. Equally striking is the stunning crimson wool and silk caffoy wall and furniture coverings in the Saloon. Take plenty of time here – the garden is wonderful too. Near King’s Lynn, Norfolk PE31 6UE T: +44(0) 1485 528 569 www.houghtonhall.com
PLACES TO EAT AND STAY Byfords 1-3 Shirehall Plain Holt, Norfolk NR25 6BG T: +44(0) 1263 711 400 www.byfords.org.uk The Victoria Hotel, Park Road, Wells-next-the-Sea, Norfolk NR23 1RG T: +44(0) 1328 711 008 www.holkham.co.uk/victoria The Crown Hotel, The Buttlands, Wells-next-the-Sea, Norfolk NR23 1EX T: +44(0) 1328 710 209 www.thecrownhotelwells.co.uk The Hoste Arms The Green, Burnham, Norfolk PE31 8HD T: +44(0) 1328 738 777 www.hostearms.co.uk Morston Hall, Morston, Norfolk
NR25 7AA T: +44(0) 1263 741 041, www.morstonhall.com Voewood, Cromer Road, High Kelling, Norfolk NR25 6QS T: +44(0) 1263 713 029 Tours are available of this Arts and Crafts House. Interior fabrics are by Annabel Grey who sells at Verandah Wiveton Farm Shop and Cafe, Holt, Norfolk NR25 7TE T: +44(0) 1263 740 525 www.wivetonhall.co.uk The Walpole Arms (food only) The Common, Itteringham, Norwich, Norfolk NR11 7AR T: +44(0) 1263 587 258 www.thewalpolearms.co.uk
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Beastly habits MARK HEARLD’S ARTISTIC ANIMAL SANCTUARY
Appearances, as the cliché has it, can be deceptive. Entering artist/designer Mark Hearld’s warren-like flat, tucked away in a converted Victorian terrace off historic Gillygate, hard by the Medieval walls in York, one has the immediate impression of a man Doctor-Dolittle-dotty about animalia art.
Crowded on shelves, plate racks, tables and walls (in fact, on every horizontal or vertical surface bar the ceiling), and in a variety of media, from slipwear to papier mâché, are flocks of seagulls and chickens, a clowder of cats, a sloth of bears, a husk of hares, a sword of mallard. There’s even a herd of deer antlers jutting from the wall. But sadly, given this is Yorkshire, no business of ferrets.
To better understand Hearld’s collections, not to mention his own quixotic collages, prints, textiles and ceramics, you have to go into the bedroom. Here he reverentially displays a series of panels, the names upon them serving as a directory of 20th century British artists: John Piper, Edward Bawden, Eric Ravilious, Christopher Wood, John Minton… and so the names roll elegantly on.
“I commissioned the panels from a sign-writer in Hull – a middle-old boy who was the apprentice to an old-old boy,” recounts Hearld. “I saw his lettering and wanted to use him and it came to me to make a list of the people I admire. I limited my list to the British artists, a lot of whom are Neo-romantic landscape painters. Although I am more interested in creatures, these artists looked at nature with a poetic eye, which is why their work appeals to me.”
Having grown up in bucolic bliss on the outskirts of York (the old roses, foxgloves and cow parsley, spilling out of numerous jugs are courtesy of his parents’ garden) Hearld studied illustration at the Glasgow School of Art. From there, he headed south to undertake a master’s in natural-history illustration at the Royal College of Art. “My tutor on this quirky little course was John Norris Wood, who’d been taught by Minton, Bawden and Cedric Morris. He has fantastic anecdotes about Bawden’s fascination with nature.” Hearld believes his own obsession comes out of a “feeling rooted in the English tradition”.
Having completed his MA and returned to York, Hearld was given an
Pin money MERCHANT & MILLS ARE A COUPLE WITH OLD-FASHIONED VALUES
Carolyn Denham and her partner, Roderick Fields are the driving force behind Merchant & Mills – a company determined to get us all sewing our own clothes. Carolyn creates the patterns, sources the notions, chooses the cloth and makes sure everyone behaves while Roderick is responsible for the photography, writing and that lovely black and white packaging...
What do think makes a handcrafted object special? If you have made it yourself it has something of you in it. It is from your hand, your imagination and because of this, it already comes with a story. Tell us about your background. I studied fashion at Newcastle and lived in New York and Italy for many years. Did you teach yourself how to sew or have you studied textiles? My mother taught me to sew when I was a child. She is a great seamstress and thought everyone should know how to sew, darn and make do. She would send off for Harris tweed and Cavalry twills to make jackets and trousers for my father. Soon I was making my own clothes and had a small production line in alternative school uniforms. When he was fourteen Roderick bought a treadle sewing machine for a pound from a jumble sale. He later progressed to an electric Singer which we are still using. He made simple square tops to sell to friends and some absurdly high-waisted trousers... Where do you find your inspiration? We both watch people. My influences are flavours; utilitarian living or industrial architecture. In times of need I turn to books that I have collected over the years. Current favourites are The Wardrobe of Gabriele D’Annunzio, a Japanese military catalogue from the sixties and Appearances, a V&A collection of fashion photography. What do you listen to as you work? Mostly to Roderick babbling on with some Radio 4 in the background, there is always lively discussion in the studio, from organic veg to the Middle East. Do you have any particular designers that you admire? There are many designers I think are geniuses but I try not to look too much at what other people are doing. I love Cristobal Balenciaga for his silhouettes. But I want to create clothes more than fashion. I admire designers who concentrate on this with a distinct signature, such as Margaret Howell or Alberto Biani. Is there a particular era you identify with? Probably the 50s and 60s mostly because it was the area of most influence when I started to study fashion. I love a sculpted silhouette! We enjoy cinematography from the forties, all those harsh shadows and snappy dialogue. Left to my own devices though, I am more likely to design a land girl outfit. Do you feel there is a growing interest in rediscovering textile skills? Dressmaking has always been popular but never cool. At last I sense a sewing renaissance which I’m proud to be part of. I think people love to create and cloth is friendly. It doesn’t make too much mess or demand huge financial investment. The ratio of effort to satisfaction favours the maker! I see a real interest in people taking control of what they buy and wear. Roderick and I are committed to
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66 Animal habits Mark Hearld’s artistic animal sanctuary We visit the Yorkshire home of illustrator Mark Hearld TextbyAliWatkinson,photographsbyJamesMortimer
GLOBAL 60 COVER STORY Norfolk East Anglia has a rich textile history Clare Lewis reveals this county’s manyhighlights.IllustratedbyJennyBarrs
EVENTS 83 Selvedge, in association with the National Trust, brings you this special event, ‘We Love Linen’ at Fenton House, Hampstead, 28th June, 6.30-8.30pm, with Amanda Vickery author and broadcaster. The event will include light refreshments and a glass of wine. Tickets are limited so please book early T: +44 (0)20 8341 9721, www.selvedge.org, see pg 83 for more
WIN The chance to win a two-night stay at the Manor Coach House in Cley, Norfolk (pg 83), one of three Orla Kiely tote bags or one of three Mark Hearld screen-printed cushions (pg 80)
DON’T FORGET... All new subscribers now receive free access to the digital edition of Selvedge. Visit the Selvedge website for more information, www.selvedge.org
INFORM the latest news, reviews and exhibition listings
03 bias /contributors A letter from the editor-in-chief and anecdotes from our contributors 07 correspond Letters and comments from the Selvedge community 09 news Essential textile news: Tracey Emin at Collect, Savile Rogue, Toast, Liberty, William Morris, Merci-Merci, Festival of Britain, Lucienne & Robin Day, Cole & Son, Sanderson, Need to know: William Morris’ Strawberry Thief 80 Subscribe to Selvedge
A set of Mibo paper animals for every new subscriber and renewal, plus win Orla Kiely bags and Mark Hearld cushions 84 listings Exhibitions, fairs, and events. 88 view Yohji Yamamoto at the V&A, Judy Chicago Tapestries: Woven by Audrey Cowan, 19th Annual Art of Motion Picture Costume Design, Color Moves: Art and Fashion by Sonia Delaunay 83 noticeboard Selvedge’s noticeboard, join us for events and keep up to date with the latest news 93 resources Websites and reading lists for those who want to know more about the Britannia Issue 95 coming next The Coastal Issue: Wonderful, windswept textiles... silk scarves and how to wear them, Victorian bathing suits, the highs and lows of hang-gliding plus fashion on the coasts of France, England and America 96 Greensleeves Fashionable theories on a traditional English ballad
SELVEDGE ('selnid3 ) n. 1. finished di fferently 2. the non-fraying edge of a length of woven fabric. [: from SELF + EDGE]
