Hand & Lock, an embroidery atelier located in Oxford Circus, London, is celebrating its 250th anniversary this year.
I am writing a feature on the company for Workshop on the Web, being published in March but I was very excited to be invited to the start of their anniversary celebrations at the V&A last week. I had visited the Hand & Lock offices a few weeks before and met their Communications Director, Sasha Danker who filled me with great enthusiasm for what they do. These are some of the samples I was lucky enough to get within touching distance of.
This event was The Embellished Bag and in keeping with the embroidery and design that H&L are so famous for, it was an amazing example of the work and skill their team have. Thirteen different designers provided bag piece templates for the embroiderers to embellish and the resulting bags were on display in the entrance hallway of the V&A. I managed to take some pictures before it really filled up.
It was quite magical there. Beautifully lit and the bags were on plinths to the sides so you could look at a selection of bags without it getting overcrowded. The bags ranged from very traditional, such as Asprey's 1781 handbag adorned with Goldworked oak leaves and beautifully worked acorns to the larger-than-life Vivienne Westwood Tiger Bag, recreated with traditional goldwork, tambour beading and sequins. It was difficult to fit it all in when taking a photo.
Here are a selection of detail shots of the bags on display. You can see professional photos of the bags on the Hand & Lock website but my photos are getting in close and looking at some of the detail. The majority of the embroidery was done in the traditional techniques that Hand & Lock specialise in so it was a real achievement to see how vastly different the styles of bags ended up.
The agnes B. bag was inspired by a photo of Paris at night in a car. As many of the agnes B. 'photoprints' are incorporated into their fashion collections, this was a perfect fit for how the bag design would be interpreted. It was stitched in silk using shading techniques.
The Cambridge Satchel Company Poppy bag used beautiful bullion threads in pink and bordeaux and was exquisitely finished.
The Aspinal of London bag was equally covetable. Using the Mayfair Bag as its base, it also incorporated a poppy motif adorning the base of the bag whilst hand embroidered butterflies lay gently, almost fluttering as they were so delicate. This was one of the bags that showed off the detail and craftmanship of the embroiderers and merited more than one examination.
The aforementioned Asprey 1781 bag was striking in its traditional use of the goldwork techniques of oak leaves and acorns which fit with Asprey's woodland themes as used in the current jewellery collections. The 1781 motif was also hand embroidered goldwork.
Another eye-catching bag had to be the Lulu Guinness Lips Wristlet which you couldn't help but be drawn to. Finished in leather, this allowed the gold metal work on the front and traditional goldwork 'love Lulu' on the back. Such vivid colours created a magnetic effect on the handbag connoisseur.
Jill Haber's bag was striking and colourful. Using her signature 'Charles' bag shape, this was entitled 'The Guardian' and emblazoned with the Hamsa amulet. The silk embroidery and goldwork was stunning and exquisite.
The Patrick Cox tote bag featured the brand's trademark fleur-de-lys logo and it was created using the traditional Or Nue technique. Fitting for it's exhibition at the V&A where Opus Anglicanum was in its final week. The Or Nue technique was a particularly time-consuming technique used by the Medieval embroiderers and was also adopted by Anthea Godfrey to embroider her motif of Pope Innocent III for Cornelia Parker's Magna Carta - An Embroidery. It was also a technique her mother Margaret Nicholson championed in her stunning embroideries.
Here are a few other pictures of other bags included in the showcase - a marbled effect created for the alfie douglas bag; the cheetah claws in goldwork on the BVS Design bag; a particularly glitzy flamingo patch from the Globe-Trotter overnight bag and Vivienne Westwood's Tiger Bag goldwork tiger's eye.
This was a showcase of the bags just there for the night but as part of the 250th Anniversary of Hand & Lock, they are going on a tour with the company to Sydney, onto Chicago and then back to London when in July they will be exhibited as part of a larger exhibition at Bishopsgate Institute on 16 and 17 July. The London exhibition will be more extensive than those in the travelling exhibition because there are pieces too delicate to travel that can only be seen in London.
The Hand & Lock website has extensive information about what they do, the services they offer and what the 250th anniversary celebrations will be but please look out for my feature in the March issue of Workshop on the Web for a more in-depth look at this fascinating company.
As our Bucks Open Studios exhibition finishes on Saturday at Blossom & Grey in Chesham Bois, I wanted to share some of my work (as I’ve been putting examples of work by the other artists on Facebook for the past few days). I seem to have gone off-topic a bit here and ruminated on my experience of putting together the work for my first Open Studios.
My original idea was linked to shadows and silhouettes which managed to morph into angels and heaven. You might have seen some of the pictures I took of angel statues at the V&A which got me moving from figures and shapes back into my favourite things - capes and feathers.
I made a new cape for this exhibition. The cape I made for the book Cut Shape Stitch has been the most popular piece I've made so far and it regularly comes out for an airing (I'm always grateful when Maggie Grey uses it in any of her talks) and I wanted something this time to be slightly different and more structured. My mum, who is clearing out nearly 40 years of belongings, found a vintage cape pattern (there's a rather fetching poncho in there too) and gifted it to me.
Recently, I have become more interested in mixed-media work and I wanted to incorporate that into the new cape. I had a length of Lutradur (heavy weight) and this created a good firm base on which to work. I included stencilling with moulding paste, coloured with Adirondack Colour Wash in Stream and an outer layer of silk crepeline (inspired by my interview of Game of Thrones embroiderer Michele Carragher who uses this for her embroideries) stamped with archival sepia ink. The stiffness of the Lutradur had it’s challenges and my original lining fabric didn’t have the give for the curves around the collar but after a few stressful days (embarrassingly close to the start of the exhibition), I pulled it together and got it finished. It is called Heaven’s Cape and stencilled with words associated with angels. The real angels I think turned out to be my family, having to live with someone who had all her ideas two weeks before the exhibition and spent one of those weeks on a half term break (to quote Withnail, “We’ve come on holiday by mistake!”). The last week of frenzied Panic Stitching and beans on toast for tea all round was mercifully short-lived. I knew I could live on crisps and Ben & Jerry’s for a week with no lasting damage.
The angel wings were featured in the piece ‘Winging It’. You can tell the state of mind I was in when I got to this piece and named it (on Wednesday, with the Private View on Friday).. Luckily this piece had had a little more planning before the holiday so it was more of a case of finishing the machine stitching of the background and stitching lots of Lutradur feathers to attach on top. I had a visit from a friend whose advice I asked about the placement of the feathers. She favoured a sculptured form (which is what we ended up with), holding the piece up to see how it would look, only for us to stand and watch as all the carefully placed feathers fluttered to the ground (I hadn’t quite got to the stage of securing anything at that point). A minor setback, marked by regular texts from me to her that two more, three more, four more etc feathers had now been stitched back on. It was good advice though and using the idea from Pauline Verrinder‘s article in the current issue of Workshop on the Web, where wire was used to create sculptural stitched pieces (Pauline’s work is wonderful), I used a wire-stitched backing and moulded it when all the feathers were where they should be.
For the other feathers floating round, I made some cards and one more piece which used some of the printed silk crepeline from the cape. Is that creative recycling, creating a body of work using techniques and materials that are linked together or the fear of having to throw anything away? I managed to get it framed, although fought with the frame in order to do so. I think it sensed my vulnerability at that point so did everything it could to hinder my progress. I got there in the end (sigh).
Finally, there was Heaven’s Handbag. Again, I’d miraculously done some of the feather stitching well in advance and using stencilled Lens Tissue (same stencils of text that I had created for the exhibition), used this as an outer layer. The sequins were from a dress that Caroline Kirton’s daughters (stars of many of her works) were throwing out (yet more recycling) and some handles and pendant Christmas decorations that in my years of hoarding them, I must have known I would need to use them at a time when time was of the essence. The bag is quite fragile but there’s room inside for some of the essential everyday items your average angel might need. Those are planned for another day.
By contrast, the pieces which used Gelli Plate printing as a base were made up of machine embroidery and I found these came together easily. The frames were not out to get me on this occasion either….
As this was my first Open Studios and exhibition of any kind, it was a steep learning curve. How to get your work done on time was one, trying to create work that is cohesive (whether through a starting theme or using techniques as your basis) was another and also thinking more commercially about what people might like to buy. It will be interesting at the end of the exhibition to sit down with the other people in the group and see what they thought, what ideas is gave us and how we can move forward. The panic and stress of putting it all together was a new experience for me but now that it will shortly be over, I am hoping to learn from the experience and note down any creative thoughts as I go along.
I am currently doing some work for Bucks Open Studios where I will be exhibiting as part of Common Thread Artists at Blossom & Grey cafe in Chesham Bois from 11-25 June. The group was recently formed as the brainchild of Juliette Orton and comprises of artists Caroline Kirton, Jo Gill, Dhrooti Mills, Juliette and myself. You can see more information about us via the link on this site.
My initial thoughts were of shadows and silhouettes. Whilst at the Crafts4Crafters exhibition in Exeter in February, I did some Gelli Plate printing and created some stencils of figures that I have since developed into printed pieces, particularly when doing demos at the Fashion, Embroidery and Stitch show at the NEC in March. The Gelli Printing was very popular and I was lucky enough to have access to AVG's big crate of goodies and used a wider range of colours and mediums than I have myself.
I have been doing some samples in my sketchbook and I liked the shadow effect of this one:
This is something I will explore further in stitch but I have gone in a different direction for now. As you can see in the photo on my home page, I created a feather cape for the book Cut, Shape, Stitch (written by Maggie Grey, myself and Paula Watkins) and I love the shape of feathers. I hadn't planned on going back to this shape but recently visiting the V&A I took some pictures of angels and the shape of their wings appealed to me. It has brought me back to the shape of feathers and I am just creating some angel wings for the exhibition. Using my favourite laminating technique of the moment, this surface was created using Panduro Snow Paint (which I love) and dyed Lens Tissue on a base of Vilene S80.
I've also designed some new feather shapes and have outlined them on the Scan N Cut which have been cut into stencils as well and Molding Paste stencilled onto Lutradur. I'm still deciding how to use these white feathers.