Q: When is a tapestry not a tapestry!

A: When it is an embroidery

How often is a large scale embroidery given the title "tapestry" despite the fact that they are techniques as different as ceramics and glasswork, metalwork and carpentry, being a plumber or an electrician?  Apparently the original brief for the Hardhome Embroidery (see above) was to create a "tapestry" like the Bayeux Tapestry (which is an embroidery).  I purchased a book on the Bayeux Tapestry later on the day I saw this exhibition*.  Although I am still reading, it suggests it is probably down to some (male) antiquarians who were interested in all types of things but usually with little expertise.  Now it seems almost any large scale textile works is given the title of tapestry, and many despair.

This particular embroidery was the creation of members of the Embroiderer's Guild, the Royal School of Needlework, Hand & Lock and Fine Cell, under the direction of Embroiderer's Guild Creative Director, Anthea Godfrey.   It is a combination of hand and machine stitching, applique, beadwork, metal thread work, quilting, and digital printing.  One press report highlighted the fact it was made by pensioners and prisoners but it was also made by students and people of working age too - men and women.  How many hours it took to stitch was another questioned asked, but as any embroiderer (or other craftsman/woman knows) we rarely count.  Also does anyone consider how long it takes to plan and organise, etc, etc?  Did anyone ask Picasso or Van Gogh how long they took to paint something - I think not.

Rant over!

Luckily I had already planned to visit London on one of the days it went on display at Central St Martin's, near King's Cross in London.  It is hoped that it will travel over the coming weeks and months.  The Embroiderer's Guild website should have details when available.

I have never watched Game of Thrones, where the character of the White Walker, (the central image of the piece), comes from but seeing this did tempt me to seek it out.  I am told that some of the costumes have some fantastic embroidery too.  

The edge of the embroidery has a border of family crests (see above) - emblems of allegiance and kinship.  I think most (if not all) of these were made by individual Embroiderer's Guild members.

An impressive work, in a short time scale - an achievement in terms of creativity, technical skill and a logistical challenge.  A chance to show that embroidery is a cutting edge art and at the same time built on traditional techniques.

Look out for it if it comes your way.

*"The Bayeux Tapestry: The Life Story of a Masterpiece" by Carola Hicks (2007), Vintage Books

Hand & Lock - a textile tardis with 007 on board!

This week I went on a visit to the atelier, Hand & Lock.  Like Dr Who's tardis, the building itself seemed much bigger on the inside than it appeared on the outside (mainly because of the scope of work created within its walls) and we were constantly shifting between the past and the future. We were also given an insight into the secret side of embroidery, which is the 007 component of this blog title.

We were shown around by their excellent Communications Manager, Robert who started with a brief history of the company from its early beginnings as the shop of Mr Hand, who specialised in military work, and who was later joined with Mr Lock, whose specialisation was in fashion. The company now designs and creates work as varied as monogrammed shirts, military badges, items for royalty, pieces for West End Shows as well as unique pieces for artists and the world of haute couture. 

The whole building was bursting to the seams (excuse the pun) with badges and insignia (mainly military) kept ready for dispatch, along with braids and other supplies any self-respecting general or peer of the realm might require. One of their star items is a set of body guard's epaulettes almost ready for the next coronation - they just require the addition of the appropriate insignia which cannot be designed until the next sovereign is known.  It was an interesting reminder of how such occasions have to be planned even though the full preparations might not be needed for decades.

As well as the traditional pieces that Hand & Lock are involved a large part of their output is very contemporary including bespoke embroidery for fashion runway shows - London Fashion Week is one of their busiest times. Skill is obviously important but secrecy is also of the essence. Sometimes the company itself does not know where their designs are going to be used - it can be years later when they spot something and find out its true destination.  

For me one of the highlights of the tour was learning about the development of a design.  Usually starting with pencil and paper, although computers can also be used in designing or, attached to the appropriate machine, stitching.  All the designs start as an annotated drawing marked with techniques required, colour and the direction of stitch etc. In order to explain one of the ways designs are transferred to fabric, we were given a demonstration of a traditional technique - prick and pounce.  A simple leaf design was used to show the development from sketch to a stunning sampler of techniques in gold work and silk shading.

Head Designer, Scott then explained a little more about the techniques of gold work.  He also showed how looking at the back of a piece of work is the best way of understanding how it was created. This cuff was used to demonstrate a range of techniques including elements at different heights and different materials to create contrasts in the design.

Not surprisingly one of the most rewarding aspects of Scott's job is seeing something drawn on paper appearing in the news or in the fashion press.  One such example was a piece of work used in the chair on the royal barge (Gloriana) as part of the Diamond Jubilee celebrations.  

This led on to learning how traditional techniques can also be used in contemporary art and fashion. Individual pieces currently in production have to be kept secret but one recent work we could look at was a piece commissioned for the artist Samantha Roddick who commissioned embroidered work for inclusion in her photographic work - "Hidden Within", an exploration of the objectification of women.

We completed the day with a mention of their workshops and their annual competition that encourages expertise in hand embroidery.  The competition provides a platform to display the range of talent and skill of individual artists.  Another way of promoting contemporary embroidery is in their use of a window display to showcase textile art and something worth looking out for if you are in the area of Margaret Street, London.