Reading recommendations and volunteering opportunities

Here are a few book recommendations to help keep your mind off the COVID-19 lockdown.

For those of you who are interested in books which relate in some way to textiles and/or clothing, here are a few suggestions:

·         Arnold Bennett, The Old Wives’ Tale (1910): This novel focuses on the lives of two sisters in a provincial draper’s shop, offering a considerable insight into the importance of such shops in Victorian communities. One sister manages the shop, while the other sister runs away to Paris. Lots of references to clothing and fabric in a novel which is a masterpiece.

·         Joan Lindsay, Picnic at Hanging Rock (1967): This is set in Australia in 1900 and concerns a group of schoolgirls who visit an enigmatic local landmark, the Hanging Rock. Some of the girls are mysteriously ‘lost’ and if you are interested in the history of clothing and its cultural significance, then this novel offers a fascinating read. There are wonderful images of girls freeing themselves of their corsets as they climb.

Still from the 1975 film version of Picnic at Hanging Rock

·         Colm Toibin, Nora Webster (2014): Set in 1950s/60s Ireland, the novel is focused on the recently widowed Nora. There’s lots of references to clothing and home dressmaking. A wonderfully evocative novel.

·         H.G.Wells, Kipps (1905): You may have seen the film version, but the novel offers a negative view of the drapery trade. Kipps, a young draper’s apprentice, hates the fabrics he has to sell, dreaming of a more adventurous and ‘manly’ career. Nevertheless, H.G. Wells was himself a draper’s apprentice as a teenager, and he certainly knows a lot about fabrics.

Poster for the 1941 film version of Kipps

Hillary Lette:  I am totally engrossed in Threads of Life by Clare Hunter - it has even stopped me knitting! What an AMAZING book, on so many levels.

Wendy Riddick: The book I’m reading at the moment is The Golden Thread: How fabric changed history by Kassia St Clair

Rosamond Peet: I have at last started to read the book my sister gave me to enjoy on winter afternoons and evenings.  It is Alexander Mc Call Smith’s reworking of Emma but brought up to date.  He certainly has brought his clever wit to the work, but so far I am in the early chapters so I will have to see how it progresses.  I feel at the minute it centres on Emma and Isabella before the Austen story starts.  Other than that, I have lots of books to reread on my shelves and some that have been unread and really I should put my head into some French literature and exercise my brain, but not Proust.  Marcel Pagnol is nice to read to perhaps I shall start there.

Janice Knight: I couldn't resist replying to your email about books when I saw your reference to Barbara Pym. I've almost finished all my books from Oswestry library with no chance of getting any more in the foreseeable future but I was lucky enough to find a Barbara Pym I hadn't read in a charity shop a few days before our enforced self-isolation. So I'm really looking forward to reading Excellent Women.

As for suggestions, I always find Tracy Chevalier books worth reading especially for their references to art/textiles:  Girl with a Pearl Earring (Vermeer); The Lady and the Unicorn (tapestry); The Last Runaway (quilting); A Single Thread (embroidery).

Poster for the 2003 film adaptation of The Girl with the Pearl Earring

The last library book I read was, surprisingly by a male American author, but is well worth reading: The Last Ballad by Wiley Cash (the story based on truth of the fight for equality and fair pay in the cotton mills of USA in the 1920s so vaguely to do with textiles).

Elaine Rowland: I'm currently reading Millions Like Us, Virginia Nicholson's study of women's lives during World War II. I have already read and enjoyed her books about the 1950s and the inter-war years (both of them were referenced in my dissertation), but reading this one at present serves as a useful reminder that being forced to stay at home and sew is hardly the greatest hardship ever encountered.

Ann Martin: I'm reading books about the detective Vera as on TV. (Anne Cleeves, Vera Stanhope books).

Darcy Lear: I thought I’d let you know that I’ve just read A Single Thread by Tracey Chevalier. A definite link to craft and textiles! Some time ago I read a book called Singled Out by Virginia Nicholson - a social history covering the period just after the Great War. It looked at the issue of ’surplus’ women, the many who’d been trained only to fulfil the career of wives and mothers and who now suddenly found themselves without husbands and in need of jobs to support themselves. Tracy Chevalier’s novel explores that idea.

I’ve also thought of another novel I enjoyed ages ago with a textile theme running through….Alias Grace by Margaret Atwood…..a theme of quilts and quilt making running throughout.

Sharon Forsdyke: Reading recommendations: Carola Dunn’s ‘Daisy Dalrymple’ series and I’m bingeing on Agatha Christie’s Poirot books.

Volunteering opportunities:

Maralyn Hepworth: Friends of Shrewsbury Flaxmill Maltings have now set up and extra Volunteers facebook page where people can post. If you have any interesting snippets about anything to do with the Flaxmill, it would be great to share.  I have posted about the dye planters there, all ready to go when it re-opens to the public, and spinning wool for an 18th century shawl. Others do research and random other things!!!  

Debbie Marais: Here's a link for a volunteering-from-home opportunity:

https://www.leedsbeckettsu.co.uk/volunteering-opportunities/nhs-heart-project-knit-crochet-a-heart-volunteer-from-home

Here are a couple of links to patterns:

https://blog.weareknitters.com/free-patterns/knitted-hearts/  3-4mm and double-knit wool works

https://www.youtube.com/watch?v=HH9PMEYxH6w crochet tutorial - not quite the 6.5cm required but could add a second layer of double crochet all round or use bigger wool and hook

How to Crochet a Heart

How to crochet a simple heart measuring about 2 inches by 2 inches. I hope you enjoy! (^-^) Written version: http://www.happyberry.co.uk/how-to-cr... Instagram: https://www.instagram.com/happyberryc... Website: https://www.happyberry.co.uk Facebook: https://www.facebook.com/happyberrycr... Patreon: http://www.patreon.com ...www.youtube.com

Textile Therapy: Craft ideas for the Covid-19 Lockdown

Now are in 'lockdown' and unable to do our usual activities, many people are appreciating the therapeutic value of crafting. Here are some suggestions:

Hillary Lette

Last autumn I went to Blists Hill and saw a blanket that gave me some inspiration as a change to the knitted square blankets I had been making for the dementia ward at the hospital. So, I started knitting diamonds as opposed to squares. They don't take very long, use up any left-over wool (even tiny bits long enough to do a couple of rows) and when stitched together look kind of quilted. 

I join them into bigger diamonds of 9, which makes sure that the colours can be very random, and also makes it easier to put them together. When it comes to the edge, as you can see in the bottom right hand corner, I am finishing it off with black triangles to make it a regular rectangle shape. Just in case it helps, I use Size 4 needles, knit in rib, increase up to a 25 stitches, then start decreasing.  I think it is the rib that makes it look as if it is quilted. Very much a work in progress, and will be for some time.  Most of the wool comes from charity shops, so it is a win win situation. My fingers are busy, and the charity shops benefit.

Wendy Riddick

I have been keeping myself happily occupied with working on the small pieces and research for my Attingham Park four panelled screen and my family piece called ‘DNA’. Unfortunately, the screen itself, which is in progress and already has some applied pieces on, is down at my studio. My last outing too Attingham was with the Friends of the  the Flaxmill in March just before everything shut down which has given me some more inspiration to work from.

The ‘DNA’ piece is based on my own family members that share my DNA. I have been drawing family members past and present in a sketchbook, transferring the images onto fabric which is then stitched with my hair. I have been saving my hair for this project for some time. This week I have been stitching the manipulated pieced silk bases which they will be applied to. I have a very large family with some interesting stories. My cousin has been doing research into our family tree and I have the family albums here fortunately to work from.

Rosamond Peet

I wonder how far I will get with my project. I have started to work on a tapestry cushion cover for my first grandson to mark his birth - ….4 years ago??!!  I have had some design help from my very talented sister (thank you Hester) and am doing William the Whale squirting his friend Huffin the Puffin, the intention being to use his initials W and P as a sort of rebus.  I think it was a device the Tudors liked.  Fortunately I went to Abakhan to buy more wool before they closed for the time being.  So far only William and Huffin are stitched.  I want to do Holly the Honeybee on a poppy for my grand daughter I wonder how old she will be when it is finished??

Ann Martin

Just showing what I'm up to craftwise. I'm spinning recycled jeans from India mixed with raw cotton and on another wheel I'm spinning merino mixed with silk. I'm also knitting socks and a jumper and needle felting.

Daphne Wiggett

I do knitting for the homeless; the neonatal unit, & for refugees. Anything is appreciated. 

Free patterns are available online also wool needles etc . Folk may not realise that patterns: wool:needles & knitting info. can be found on line. There is a site "knitting for charity " which could be useful. We could become a new circle. ..maybe called the Knitwits! !

Georgina Spry

It would be worth looking at the Facebook group creating in the teeth of corona created by one of the ladies in my north wales Feltmaking  group. It’s taken off massively ans has lots of posts every day:

https://www.facebook.com/groups/2744495075599109/?ref=share  

Sharon Forsdyke

I managed to set up a WhatsApp sewing group... It went really well.  Here are some photos of e knitted puppets made by one member and a collage of my work:

Ann Gibson

I have been knitting a cushion cover and here is a detail:

And the pattern:

Allow 3 balls of 100g double knitting wool. Size 4 needles. To fit a 16 x 16” (40x40 cms) square cushion (will vary according to tension).

1         Cast on 200 stitches (sts)

2         Work 30 rows in moss stitch (knit one, purl one first row; purl one, knit one second row)

3         Next row: work 20 sts moss; 60 sts plain; 40 sts moss; 60 sts plain; 20 sts moss

4         Next row: work 20 sts moss; 60 sts purl; 40 sts moss; 60 sts purl; 20 sts moss

5         Repeat last two rows for 88 rows (making 90 rows in total)

6         Work another 30 rows in moss stitch

7         Next row: cast off 100 stitches; knit remaining 100 stitches in moss stitch

8         Work a further 30 rows in moss stitch (to form inside/outside flap of cushion) and cast off

9         Fold and stitch up sides to form cushion shape, leaving flap to fold inside/outside

1       Attach buttons and button loops                                                                               amg/24.3.2020

Behind the Scenes at Attingham Park

Holly Kirby, a National Trust curator at Attingham Park, has kindly explained what essential work is currently being done in the House during the Covid-19 closures. Usually, the Easter period is a very busy one at Attingham Park, but at the moment Holly works alone in large empty rooms protecting the textiles. 

Here is Holly in a 'selfie' taken in the Sultana Room at Attingham Park

This is what Holly’s working life is like at the moment:

We have been cutting down on the number of staff in on any one day and working a distance apart to minimise the risk of the virus spreading. We are fortunate that Attingham is large enough that we can easily find separate areas to work in! My typical week involves 2-3 days taking care of the collection at Attingham and the rest of my work is done from home.

T

The closed Drawing-Room

We are working through each room giving the items a deep clean and condition check. We do things like vacuuming textiles, waxing furniture and dusting paintings from the orange scaffolding you can see in the Picture Gallery photo.

The Picture Gallery

Then we cover each item to protect it from dust whilst we are closed. It brought back memories getting out the gingham dust sheets and making acid-free paper ‘hats’ to cover collection items. Last time we did this was in 2012. As we’ve been open longer in winter it hasn’t been necessary to close the house down properly for a while. Many of the gingham covers have been specially shaped to fit specific items of furniture and when they’re in place it looks like everything has been spread with jolly picnic cloths! 

The Dining Room table looks spooky with items covered in white paper – it reminds me of Miss Havisham’s wedding feast!

The dining-room looking like Miss Havisham's wedding feast

We would like to thank Holly for kindly sending the account of her working day along with these wonderful photos. I'm sure that you all, like us, can't wait to be able to visit National Trust properties again.

Hidden Stories from a Costume Collection: Revealing Historical Treasures at Wrexham Museum, 29th February 2020

There was considerable excitement at Wrexham Museum on 29th February 2020 when people gathered for a unique occasion. The purpose of the event was to reveal some of the costumes which had been bequeathed to the museum in the 1980s but which had never been on display. Hidden Stories from a Costume Collection’ was co-organised by Professor Deborah Wynne, Wrexham Museum and the costumier and fashion designer Ruth Caswell.  The day began with Deborah interviewing Ruth about her long career as a designer and costumier, focusing on her work in Vogue and the costumes she created for the films Elizabeth, Elizabeth: the Golden Age, and Shakespeare in Love, as well as her current work running masterclasses for young students interested in a career in textiles and fashion.

Ruth Caswell being interviewed by Deborah

Ruth created the costume worn by the Duke of Anjou (above) in the film Elizabeth (1998)

Ruth made this costume worn by Eric Cantona in the film Elizabeth

The 'bird dress' designed and made by Ruth. 

This featured in Vogue in December 1971, photographed by Norman Parkinson. It was voted 'Fashion Photograph of the Year', 1971.

After the interview, Ruth opened the first storage box to reveal one of the costumes, which we named 'the governess dress'. It resembled the gowns worn by Charlotte Brontë in the 1840s. 

Photo:Wrexham Museum

As the box lid was lifted, one participant exclaimed, 'It's just like Christmas!'

Photo:Wrexham Museum

Ruth, assisted by her daughter Amy, mounted the 'governess dress' and it was brought to life.

The next garment, a late-Victorian gown with a bustle, made from a beautiful dark purple velvet, was revealed and we all were able to see the complicated structure inside the bodice. Ruth explained how the dress was constructed and, from the label, that it was made in Chester.

Ruth and Amy set about bringing this dress to life by mounting it on the dummy and showing the complexity of the details, such as the buttons and the magnificent bustle.

Photo:Wrexham Museum

This is the third dress to be revealed, and participants were able to get up close to examine the detail of the fabric and the ways in which it had been altered to fit different wearers.

Ruth was inspired by George Richmond's portrait of Charlotte Brontë depicting her wearing a ribbon at the neck of her dress. Ruth recreated this effect on the 'governess dress'.

George Richmond's portrait of Charlotte Brontë 

Ruth revealing how undergarments are important to the shape & fitting of the dress.

All three dresses displayed.

Feedback from participants was very positive. Here are a few sample comments:

•         ‘Another inspiring and informative textile day. So many aspects in design, construction, dyes, stories. Thank you.’
•     ‘INSPIRTIONAL! A fascinating and informative day and to see such a wonderful collection up close and with Ruth whose knowledge is phenomenal. I loved it and to have it in Wrexham. Thank you.’
•      ‘It has been an absolute privilege today to be part of this costume story! The whole unfolded with professional grace as Ruth broke us into the subject so well – sharing the rich textile career she has enjoyed and is enjoying! Ending on the subject of the museum costumes was a perfect lead into the museum’s costume collection. It was so natural but carried us on an informed story of each dress. Thank you all!’
  
  

Ruth's masterclasses inspire a younger generation to consider careers in fashion and costume design.

The English Banner at University Centre Shrewsbury

By Professor Deborah Wynne


The English programme at UCS began in 2015 and developed from strength to strength over the next few years.  As programme leader at the time, I wondered how we could find a way of celebrating the wonderful experience of studying literature next to the banks of the River Severn and close to Charles Darwin's childhood home.  I'd been involved in a community quilt project before, but only as an observer, rather than a participant.  I thought it would be a challenge for me, my colleagues, and the students on the programme to create a large textile banner as a permanent memorial of our first years of working and studying together.  None of us were expert with the needle but we all were keen to create something which reflected an aspect of ourselves, our love of literature and our appreciation of being in the lovely town of Shrewsbury.  Despite a few qualms about our skills, we all decided to give it a go!


The result is 17 different 'textile stories' which have been expertly brought together in a banner by the virtuoso sewist, Elaine Rowland.  Here are the various stages of her careful construction of disparate textile squares into a beautiful whole:

Finding a possible layout

The blocks are attached to the backing fabric

The completed banner.  Elaine kindly created a centrepiece which helps explain the rationale for this banner:

Elaine created an image of books and a mug sewn onto a piece of fabric with piles of books in the background.  In the finished version she added the words 'University Centre Shrewsbury' in gold thread to the spine of the red book.

We held a special 'unveiling' event on 31st October 2019 to celebrate this symbol of our sense of community:

Deborah Wynne and Elaine Rowland holding the finished banner.

Philip Jones decided to create a block based on the texts he's enjoyed studying.  He said, 'This quilt square represents three years of studying literature and young adult fiction in the most wonderful of company.  Depicting: the time-keeping rabbit from Alice's Adventures in Wonderland to keep us punctual, the fruits of our labour from 'Goblin Market', symbols from the Gothic novels that we remember, and the treasure from Treasure island, to symbolise the prosperity desired for everyone, and all enclosed within the House colours of Harry Potter to make the magic happen.'

Medeni Evens created an image of the Guildhall and St Chad's Church in Shrewsbury, with a daffodil representing Wales, where she lived.

other contributors explained the stories behind their blocks.  Naomi Walker said, 'My square represents a map of Shrewsbury as PhD thesis is about the two Shropshire writers, Mary Cholmondeley and mary Webb, and how place is represented in their writing.  I use G.I.S. mapping in my research and I wanted to demonstrate the importance of maps in my textile square.'

Dr Giulia Miller, who teaches literature and film at UCS, said that her 'square represents a particularly busy but wonderful term, when I was commuting several times a week, taking both the bus and the train.  One morning, whilst on the bus, I spotted an owl and was very excited.  my daughter Noa was also excited and loves arts and crafts, hence her contribution.'

Student Chloe Norton explains, 'My quilt square is a simple 'tribute' to the novels that fully sparked commy love for literature - The Hunger Games series.  The mockingjay is a symbol of change, reflecting my journey through 3 years of studying and onto the next chapter of life.'  Andie MacDonald, who graduated in 2019, said that 'This vibrant red tartan reflects my proud Scottish heritage, and represents the bloodshed of the MacDonald clan at Glencoe from the murderous scunne Campbell.  The font is ironic; McDonald's restaurants use the same font and name is constantly misspelled!  The peace sign is ubiquitous and timeless.'

Dr Lucy Andrew, the current English programme leader, has created a block reflecting her research interests in Harry Potter, while I created a pile of books by the nineteenth-century authors I love most, as well as including a bee to reflect the meaning of my name 'Deborah'.

Elaine Rowland has explained her role in the making of the banner on her blog, which you may wish to read: http://blacktulipsewing.blogspot.com/2019/11/the-university-centre-shrewsbury-banner.html

Many thanks to Elaine for all her hard work and for letting me use her photographs for this blog post.

Hidden Stories from a Costume Collection

Wrexham County Borough Museum and Archives with the University of Chester Department of English announce their event - Hidden Stories from a Costume Collection, to take place Saturday 29th February 2020, 11.30am to 3.30pm. The cost of this event is £20.00 including lunch.  To book a place contact Wrexham Museum on 01978 297460 or a museum@wrexham.gov.uk

The Missing Shoe

The Missing Shoe

Inspired by the Textile Collection at the Foundling Museum, London

By Kath O'Gallivan

Her mother gone, her Mistress dead and the Master away to war.

She, in her 13th year has a secret to keep, hidden beneath her stained apron.

A kitchen maid smooring the fire, the goose wing scattering embers, sending soot specks flying.

Back aching.

Head spinning.

A weight pressing.

She is sick.

Cook feeds her a milk posset and camomile tea sweetened with honey.  Brings her linen strips to bind her belly.

She bruises rosemary pressed into her pocket.  Feels a heart shaped shell folding it in her hand.

The pantry store has laden shelves.  Full sacks and empty kegs, stacked crates, heavy basins and demi johns, all jostle for space.

In here she finds her safe place.

She lies on a cot strewn with lavender sprigs and meadow sweet.  Soft layered ticking comforts her and she falls into a busy sleep.

The candles burn sage.

Through the slats garden birds sing.

She labours through the night.  Cook waits, brings rosemary oil to stretch her skin.  Her body ripples, writhing in pain.

Her daughter is born in a rush of dawn chorus.

Cook busy with hot water and muslin, swaddles the child in scrim and pudding cloth.

Wrapped tight, secure in a tea towel the child cries, then settles, suckles, strong and persistent.

All three are content in the smell of warm milk.

The new mother and child sleep, their breathing shared.

Dark brings the night owl screeching.

Blackbird's morning song arrives with pale sunshine touching their sleeping shape.

Cook gives her beef broth, raspberry leaf tea and cabbage leaves for her swollen breasts.

Days of feeding and listening to bird lullabies, cocooned together happy inside each other.

For the journey the Cook offers a cotton-sprig dress, heavy and full gathered with pleating.

The daughter is given tiny silk shoes taken from the nursery for her tiny perfect toes.

Her small body swaddled, wrapped in a fine linen table cloth, corners folded and embossed.  A muslin square anoints her crown.  The cook's soft woolen shawl protects and conceals.

A child with child pretending.

It is time.

The new mother walks slowly, boots tight, feet dragging scattering the pigeons over the cobbles.

The crows caw in the field.

Gulls screech along the river path.

She finds a magpie feather, rests on a stone wall watching the finches feasting on thistle heads.

Her daughter feeds hungrily pressing into her breast.

They cry.

She is frightened, clutching, her bundle closer, tighter.

"A scrap of a thing"

Towards the town, swallows are screaming over the chimneys.

The smoke is stinging her eyes.

She opens the gate, steps lightly through the yard and hears the sparrows squabbling in the mulberry trees.

The doorbell, shines.

The Nurse, kind.

The room, waiting.

Her daughter, given.

The silk shoe, missing.

Her heart, splintered.

Her daughters missing shape, remembered.

Her arms a dull emptiness.

The shoe still warm, safe in her pocket.

Her tired feet recall the morning's steps.

Cook feeds her stew and makes Penny Royal tea.

"It's for the best" she says and lights a candle.

The new mother grips the tiny silk shoe in her pocket.

She watches the starlings as they gather the evening in and she draws a line under the day.

Kath O'Gallivan is a textile artist based in Shropshire making research-led pieces with a focus on eclectic techniques and found materials.  Her career as an art teacher began in 1972 and she now researches the archives at the London Foundling Museum.  Her artistic practice includes painting, material manipulation, dyeing, printing, stitching and mixed media application.  She leads mixed media workshops based on her projects, and delivers talks about her work which prioritise a tactile and interactive pedagogy.