Esme, Kit and I went to see the knitting exhibition at Bermondsey. We were rather disappointed. Compared to our marvellous free museums (like the V&A) paying £8.80 each meant this was an expensive treat. So the fact that the exhibition space is made of packing cases, and appears actually or artfully to be in a state of disrepair, was not a good start.
Scruffy setting
We came with a buggy (Kit is 3 months old), so the fact that there is no customer lift to the second floor wasn’t ideal. Although the staff offered to operate the goods lift for us when required we carried the bundle of joy, who seemed to like the punk section especially. Well I did. I have always wanted to knit a jumper in the wrong weight of yarn and this top was a nice example of that.
Jumper in three different yarns
The exhibition had been marketed as from Chanel to Westwood and there was an item from each designer. Chanel’s was a mauve golfing jacket – unremarkable.
One of these “might” be a Chanel
Vivienne’s men’s jacket-cardigan was super though – draped with a great big piece of sheepskin that looked like the shepherd had a lamb on his shoulders. unfortunately no images of this. Overall there were around 200 items of knitwear that come from the collection of Mark and Cleo Butterfield who also curated and arranged the exhibition. Most images are from their blog.
This is the main weakness of the exhibition – what we see is a personal collection, much of it hand-knitted. It is arranged chronologically but it didn’t feel very complete. Nor is it very beautiful. Lots of the items were a bit brown, a bit too vintage, if you know what I mean. Many of the items looked worn out – not the pristine artefacts that we often see in our museums, based on, say, a designer’s own achieves. I felt like it was from Great Aunt’s wardrobe, plus a good eBay haul rather than a carefully curated show. The poor lighting and lack of any detailed commentary did not help.
1930s knitwear
We got a few insights, but the whole thing just seemed jumbly and random. I was fascinated by one intricate cardigan knitted by Cleo herself, with bees, which apparently was such an effort she couldn’t be bothered to put the buttons on. Well, I expect a number of us have been there, but this just contributed to the amateur feeling I got. The swim suits were fun – horrible to wear though! Especially when wet.
1920s knitted swim suits
The two wars are covered, making do and mending (or unravelling and restyling). I liked the selection of Fair Isle jumpers, made popular by the Duke of Windsor wearing one sent by the Fair Island people to golf.
The Fairisle wall at the exhibition
There was a selection of the kinds of novelty American style jackets with kitch embroidery or loud patterns. There were cocktail sweaters with a slim waist and pretty shoulder embellishment, and the iconic crocheted mini-dresses we got our Nans to make.
Twiggy in 1960s dress
The best bit for me what the most up to the minute Visionary Knitwear section of really creative and beautiful graduate work which was put together by Professor Sandy Black from the London College of Fashion. Everything here was brand new, untouched, colourful and desirable.
Modern Knitwear
I took a keen interest in the performance jersey Nike trainers on show – and noticed my daughter was already wearing a pair!
Nike Flyknit
There were also some lovely photographs of Knitwear in Fashion photography. Overall I struggled to get excited about knitting. Why do you think it lacks the glamour that is generally associated with designer fashion?
Have you met Mrs Mole? She is a professional seamstress who makes and alters wedding dresses – around 80 already this season! She generously shares lots of useful information and offers hilarious insights about the brides, their mothers and how she tackles their egos as well as their tulle. She has just started a special Saturday feature where hapless amateurs admit to what happened when they made up a particular pattern. I admitted I had an item in my pyjama drawer that fitted the “Sew Bad” criteria. Today the true tale of Vogue 1247 can be told.
Front view Vogue 1247
Why did you pick this pattern?
I picked Vogue 1247, a Rachel Comey pattern, because lots of bloggers had made it up, and loved it. SewRuth, Did you make that? and Sew Busy Lizzie to name just three. I bought it for the skirt, which is nice basic A line with interesting apron pockets. I have made up three times. However I don’t like to see a pattern go to waste, and am interested in learning new techniques, so I thought I would make this up. It has French seams throughout. I usually like Kimono sleeves and this pattern has them, with cuffs.
Vogue 1247, sleeves
What size did you think you were according to their envelope numbers?
I am a size 10 according to the pattern envelope. I measured the pattern pieces and thought this would drown me.
What size did you cut and did you alter before cutting?
I cut out the smallest size, the size 6, flaring out to a 10 at the hips. Even so I shaped the side seams to create the semblance of a waist.
Did you encounter difficulties others would like to avoid?
Its actually quite fun to make, especially joining up six sections to make the front. It is a bit like the union jack! The main issue is the huge amount of ease, and for me, the very unflattering design. The curved hem seems to emphasise the size of my hips and thighs in an unhelpful way too.
Back view V1247
Is there anything in the photos we cannot see that you wanted us to know about?
The photographs do not lie. There are no fastenings so it doesn’t gape and is pulled on over the head like a T shirt.
Is this garment wearable with tweaking or not?
I think it is probably a good pattern if you
are bigger at the top than at the bottom
suit V necks
like your clothes to billow about the body
enjoy patchwork but don’t get the time
are in the first trimester and don’t want to tell people yet
Pouchy look
Thumbs up or thumbs down on buying this? Worth the effort?
I don’t think this works as a “set” with the skirt. I have noticed people using the top pattern and hating the skirt and vice versa. The very short skirt is ideal for a youthful figure (or lengthen and wear tights), the top, well? I think it would not be out of place on my dentist, or an intensive care nurse. Woe betide the person who made it up in green.
Do you want to make any suggestions on how to “make it work” or is it beyond that?
Lie on the operating table, breathe deeply and count from 10 to zero.
The weekend is coming. What are your plans? It may surprise you that half of all UK women and one in four men consider shopping to be fun.
Obviously posed by models
Let’s recap the “Ready to Wear” experience
Go to town
wander around fairly aimlessly
enter shops you have frequented before
look at the wide range of merchandise
find something similar to what you have bought before
find something in black or familiar colour
take the permitted six items into changing room
drag off your jeans and jumper, stand in underwear and socks
try items on for size
struggle to find items that fit in more than one place eg shoulders, waist, hip or length
find something that fits, but the colour looks wrong
find something that fits, but style is too old/young/fashionable/short/expensive/dry clean only/has unpleasant trim
find a top in a nice colour but dislike the polyester material
by now feel frustrated, hot and bothered
blame self for not being the right size, age, shape etc
sit on the little seat and have a cry
put everything back on the hangers
carry rejected bundle to changing room exit
assistant says “you don’t want any of these items?” with a sneer
go home empty-handed or with unsuitable, compromise, garment.
Only one in ten items tried on in a shop is subsequently purchased. With on-line clothes shopping three out of every four items are returned to sender.
Good colour, bad fit
Unfortunately making clothes for yourself can also prove frustrating
Select pattern that looks nice on very tall, thin model on pattern envelope
choose fabric that you like the look of eg light green “Moose pattern” jersey
as you are a size 12 in the shops cut out the size 12 pattern
try to follow the instructions but not sure you are doing it right
discover you need more thread/a longer zip/extra buttons/interfacing/lining
make up garment
feel frustrated as your skills are underdeveloped
the garment just looks home-made
try it on
not sure it suits you due to colour, fit, style, length of sleeves, shape of skirt etc
add some high heels/lipstick/yellow handbag/small dog and take a selfie
post on Instagram or Facebook where all your friends say they “like” it
It fits, but….?
Either way – it’s a thoroughly dispiriting experience.
I regard RTW as too hit and miss, although I do look round the shops to see what is trending. I prefer the choice, fit, and originality of a personal wardrobe that I have crafted myself. When making our own clothes we have to
look at a drawing, or create our own, and know that this shape will flatter our shape
choose a pattern that is within our capability, in terms of difficulty
alter the pattern to fit our specific measurement
amend the design to suit our own preferences eg sleeve shape, length of skirt etc
choose the right fabric for that style eg medium weight jersey for a wrap dress, heavy wool for a structured coat
choose the right interfacing, notions and trimmings
wear it with confidence, knowing that it fits and flatters
It’s a tall order. But it beats shopping. This weekend I am going away with my board to consider how we are going to carry on producing homes for low income Londoners.
Thank you marvellous Marianna of the Sew2Pro sewing blog for nominating me to participate in the Writing Secrets of the Bloggers. She emails, with impeccable manners “I realise this invitation might be as welcome as a chain letter”, giving me an easy get out. However this challenge simply involves answering a few questions and nominating two further bloggers to do likewise.
Mural at Angel, London
Why do you write?
I love writing. I enjoy putting a sentence together. I made illustrated books when I was in my teens. I was a faithful pen-friend to Rainy Belcher from Ohio for many years. I have had a go at writing a novel, being a journalist and producing short stories. I like to send, and receive, a well crafted email. I suppose a blog was inevitable. Because…
the writing finds its own audience
instant customer feedback is assured
it’s almost free to play
total editorial control is addictive
I like lots of pictures
the technology is brilliant
Essentially I write for myself, for my own pleasure, but I love it when I get a reaction – a comment, a “like”, or (best of all) an argument. For this reason I try to comment on other people’s blogs, favouring those that are thoughtful and reflective, well laid out and beautifully written. I am impressed with the inventiveness and talent of humanity. Work done and then displayed with love, skill and commitment thrills me – cooking, sewing, embroidery, painting, musical composition, photography, critique, dance, and pure writing for its own sake. Whatever your interest there is someone, somewhere, keen to share. There is so much to learn and it is always exciting!
Doing the blog on holiday
What are you working on?
It started with the colours – going through them, explaining who suits what colour and why, discussing the connotations and so on. I have a few more series up my sleeve – types of garment (eg skirt styles), types of fabric, the personal style of well known people, famous dress designers, national style. I seem to have a never ending list of interesting subjects. Plus some guest blogs. I also take requests – Galina asked about Bias hemming, and Karine about Obama’s beige suit – and I was happy to respond.
Vogue 2031
How does your work differ from others in the genre?
Fit and Flare is at heart a sewing blog, but I don’t need new clothes every week. The writing slows down the sewing. My blog is different because it covers
the Romanian blouse and Ghanaian hair
Hillary Clinton’s Pant suit and Nigel Farrage’s tie
printing on synthetics and Matisse cut-outs
shorts at work and how to impress in an interview
vintage styles and an emphasis on work wear
and so it goes on. I just try to make interesting observations about clothes and what they convey, and reflect the diversity of London in my posts and images.
Girls on their way to a wedding, Kings Cross
How does your writing process work?
Every day thoughts occur to me that have a connection with the type of blog I write – style, making clothes, political and social issues associated with what we wear, international perspectives. I choose topics by
seeing someone wearing something
reading a post or comment on a blog
reading the paper or watching the news
meeting someone with a different perspective
going to an exhibition or watching a film
sharing my experience
and covering my sewing and printing work in progress.
Then, as the mood takes me, and usually in a state of excitement I choose the working title. I research, using books or the internet, combining it with my own history, experience and perspective. I take photographs, or gather pictures, to illustrate the post. I always like to see something with my own eyes, as well as read words. I spend roughly an hour a day on the blog. I write each post, then revise it between 6 and 20 times until I am happy with it. I try to find a catchy title. I think about which post to feature each day when I go to bed. Then, when I get up, at about 5am, I give it one last read through and push “Publish”.
“Your 156th post has been published” it replies.
Great Grandmother’s brooch
I would like to take this opportunity to thank everyone who reads Fit and Flare. It means a lot to me.
And, with their consent, I would like to hand the baton to Stephanie of My Vintage Inspiration, who writes beautifully and interestingly, and Ann of Annie Loves Linen who knows quite a lot about technology as well as sewing.
One of the lovely things about being female in the modern world is that we can wear trousers all of the time if we want to. We can pair them with shirt, jackets and flat lace up shoes, short hair, waistcoats and a moody look. These models look very feminine, but comfortable. I love that we have the choice. Personally I tend to wear masculine shoes despite a fairly feminine aesthetic as I like to be able to walk and run. Men’s wear can emphasise femininity too, and elements of traditional male clothing can stop senior women looking too girly. I find it unacceptable that in this day and age men do not feel able to wear a skirt or dress. Sometimes a loose unstructured lower garment is just what we all want to wear. Many men drift around in dressing gowns that look like wrap round dresses, at home. Eddie Izzard has suggested,”Women wear what they want and so do I”, to explain his desire to wear dresses and nail varnish. The unisex trend of the 70s, and later the Metrosexual look, implied men wearing more feminine fabrics, colours and styles.
1970s unisex
And why ever not?
Tilda Swinton
When women first started “borrowing” their boyfriends cardigans, jeans and shoes it was a fairly radical act of defiance. For comfort and style. Here is Coco Chanel. Although, in the 1920s and 1930s, wearing a men’s hat or tie, tailored trousers or a Breton top with casual pants was slightly shocking, it soon caught on.
A more determinedly masculine look was pursued by others. Katherine Hepburn, for example. She wore jeans in the 1930s when this was unheard of, and usually paired her tailor-made strides with flat, masculine shoes. She was an individualist, with a 5’7″ athletic frame and an angular face and bodyline. Just the sort of shape that looks great in menswear.
Katherine Hepburn
As well as women who want to wear the pants some of the time, of course some women want to look decidedly masculine. In response to the demands of women marrying women there are now many companies specialising in tailored men’s suits for women. It is a trend I think is worth celebrating. The charming image below is from lesbian wedding site A Bicycle Built for Two.
Emily and Rachel
If you want to wear men’s clothes go right ahead. Here are a few guidelines that might be useful
male clothes look best on women with slim, straight bodies
generally women’s clothes need a different cut
unless you are very slim bust darts are necessary
women’s shirts look better when they are closely fitted – Thomas Pink have a good range
if you have a shaped, curved body then you may be better to take elements of men’s wear rather than going the whole hog
tailored trousers with a shirt is a great look for work, but consider a feminine element – belt, shoes or jewellery
masculine shoe styles or hats can give an edge to a feminine outfit
high-waisted tailored trousers will emphasise a willowy waist
consider a floppy bow, an undone tie, or a bow tie in pretty fabric
“pant suits” as done by Hillary are a bit naff – coordinating trousers and jacket are better
if you don’t want to look too androgynous wear make-up, feminine hair and earrings
Boyish?
She talking about herself, of course. She aimed to become Queen (consort) of the United Kingdom, one of the richest women in the world. And she was very slim and straight – slim hipped and flat chested – almost masculine in her physique. As we can see in the photograph of her wedding in June 1937 to Edward, now the Duke of Windsor. This gorgeous light blue (Wallis blue, like her eyes) Mainbocher dress and jacket, worn with a halo, has had a little place in my heart ever since I first saw it. Doesn’t she look a bit like (the original) Madonna? He wears a traditional Morning Suit.
Wedding No 3
Wrapped round her wrist is a bracelet featuring a set of crucifixes constructed from symbolically chosen gem stones. Each cross, given to her by her doting lover, then husband, commemorating an event in their love life, is engraved on the back. His greatest gift however was to resign the Kingdom in order to marry her. His younger brother (Albert – the current Queen Elizabeth’s father) succeeded him. Her outfit says: “Look what you could have won!” Wallis apparently hoped that her wedding, which no Royalty attended, would outshine the Coronation that had occurred a few weeks earlier.
The Coronation of George VI
She and her husband were sympathetic to the Nazis, it seems, and she was an unbearable snob. They were fabulously wealthy and spent money on an extravagant lifestyle when the population of Britain was still emerging from the war. But. In my opinion she had an unerring ability to dress beautifully, that she shared with her husband. And although she was much more conservative than Coco Chanel and Frido Khalo – dramatic, original dressers who knew what suited them – she had such a great eye for a wonderful outfit, that I would put her up there with the greats. Look at the wide revers on this jacket, the slim, tapered waist and the curved pockets; tailored garments of the most impeccable construction and excellent fit, perfectly accessorised. In this case a fur wrap, pearls and a brooch that looks like a military decoration, a simple but perfect handbag and shoes that show off her slim ankles. Her severe hairstyle and little hat draw our attention to her striking, if not traditionally beautiful, face. He wears double-breasted pinstripe, probably in grey, with heavy padding in the shoulder area. He always gets the length and details just right and in proportion. The overall silhouette is flattering on him – a man of just 5’5″.
Many of her outfits were quite severe and somewhat stark, and her amazing, even gaudy, jewellery was carefully chosen to rival the Crown Jewels.
Although Wallis did suits superbly she also had some sensational evening wear. Again her iconic lobster dress is exquisite and unique. Designed by Elsa Schiaparelli, in collaboration with Salvador Dali, it shows that Wallis was determined to make a statement. She was willing to showcase the most accomplished designers and painters of her generation, with this cutting edge dress. The highly erotic, reddened crustacean, carefully positioned on the skirt of the dress, is stunning. But it was partly chosen because such a look would be unimaginable and preposterous on the woman who inherited her crown – Queen Elizabeth, (later the Queen Mother). I went to silk painting classes in order to be able to recreate this wonderful textile.
Schiaparelli /Dali dress
Hubert de Givenchy made the white cotton dress below in 1954, embroidered with woollen monkeys. Worn, as ever, with gorgeous jewellery. How charming, and something perhaps to copy or inspire?
I recently posted about natural grey hair, and my own decision to stop bleaching and colouring my hair. I got a great reaction from my friend Michala who tweeted that like grey hair, “Afro hair just needs to be embraced for its own beauty”. Funnily enough it was Maame-Yaa Bempah, who first got me thinking about natural hair. Over a nice lunch in the Notting Hill Housing canteen she mentioned that she had once attended a lecture about natural African hair and had been letting her hair be itself ever since. I asked her write a guest blog and she sent me some lovely photos and personal reflections.
I can only give my own perspective. I am a black woman, part of a family that originates in Ghana, West Africa. Obviously my natural hair type is Afro, although it hasn’t always appeared that way at first glance. Here I am in the traditional Kente woven cloth from Ghana, with my hair in curly twists.
Curly Twists
I have worn my hair in a wide range of styles. Below is a style known as “relaxed” which sounds kind of gentle and laid back, but it is a sort of reverse perm. The hair is permanently straightened using harsh chemicals, and the resulting de kinked hair doesn’t really swish like naturally straight hair, and has a tendency to frizz when it meets water.
Relaxed
In the next photograph I have straight styled twists. This hair style took about five hours to create, and involves integrating artificial kinky Afro-style hair to increase the length and volume. This is my favourite and style of the moment, although I am always mindful to take care of my edges (i.e. my hairline)!
Straight Styled Twists
And here I am with straight plaits, or braids as they are known in the USA. Both the twists and the braids are developments of traditional African styles but commonly include additional artificial hair, in this case in a different, lighter brown, colour. Both the plaited and twisted styles here display versatile African inspired designs without doing any fundamental damage.
Straight Plaits
One style I have never wanted to countenance is a straight weave. This is where straight hair (actually taken from a lady who looks nothing like me) is attached to chemically straightened Afro hair. The additional hair is attached with glue, heat or weaving giving an effect of long, straight hair. For me personally, the idea of projecting a style which would never naturally grow from my own head, seems bizarre and to my mind produces an unnatural look. Many Black women do enjoy having straight hair through weaves, and straightened hair is ubiquitous. Michelle Obama, for example, sports straightened hair. She looks glossy and well turned out but conforms to the American norm.
Mrs O
By the time I was 27 I had been bending, twisting, heating, shaping, and treating my hair with powerful chemicals for at least a decade, and had had enough. I eventually went for the Big Chop, vowing never to use anything unnatural on my hair ever again. One day I had limp, straight, relaxed shoulder length hair. The next I had a glorious, bouncy and short teeny-weeny afro (colloquially known as a TWA). It was probably the most liberating decision I had ever taken in my life!
“TWA” – Teeny-Weeny Afro
Over the last five years I have studied how to nurture my natural Afro hair.
I enjoy my hair most when it looks naturally African. Dark, proud and unique. In Ghana, plaiting and cornrows are one of the traditional ways we style our hair, although the Western influence has meant that large numbers of women also straighten and weave their hair. Consciously deciding to wear my hair as nature intended gives me a great sense of confidence, inner joy and I feel at ease with myself. I no longer worry about what will happen when my hair is exposed to the many elements the British weather throws at us. Nowadays going for a swim or a work out is just something I do when I fancy it. It is no longer something of a military operation!
I watched an interview some time ago in which Chimamanda Ngochi Adichie mentioned that, unintentionally, black women’s hair is always political. I agree. The way an individual Black woman wears her hair generates a perception and/or discussion in a way that no other women’s hair does. When I had my TWA, I used to receive almost daily comments (mostly positive) on some aspect of it, both from friends and strangers, black and white, which was an interesting experience.
I find that the best way to keep Afro hair strong and healthy is to shy away from any kind of chemical products, and to focus on natural products like shea butter, coconut oil and everyday items such as egg or avocado to create a deep conditioner at home. As Afro hair is quite brittle, applying any kind of laboratory generated emollient, and/or direct heat such as straighteners or blowdrying, is a fast route to breakage (similar to split ends, only worse as the hair often breaks off completely).
Wishing everybody the best of luck on their hair journeys, I’m enjoying the calm that is now mine.
Natural Afro
MYB has glorious glossy hair that is soft and pliable to touch. Thank you for sharing this personal story Maame-Yaa.
In Romania recently I naturally took a close interest in fashion, fabric, style and stitching. I was unaware that Matisse had painted many versions of the Romanian blouse. But how inspirational are these images? Matisse’s love of textiles and his commitment to featuring clothes, fabrics and textiles in his work, making his paintings rich, colourful and full of life and joy. I asked my friend Ionela Flood to tell me more.
The blouse is known as “ie” and is basically a traditional T shaped garment. The gathering at the neck is usually secured with a simplified smocking stitch. There is embroidery on the sleeves which are either loose at the cuff, or pulled in with further decoration. This picture is a close up of some of the very fine and beautiful embroidery on show at the Parliamentary Palace exhibition of the clothes of each region of Romania.
Old blouse (detail)
The blouses are normally made out of white light weight cotton, cheese cloth or silk. These ie would be made at home and many of the versions we saw on sale in Romania are embroidered by the grandmother’s who live in the country. This phenomenon is, itself, very interesting. Young city dwellers receive relatively low wages. Those that can supplement their expensive diet with eggs, chicken or vegetables from the family farm can enjoy a higher standard of living as a result.
Like many commodities in Romania they are fairly expensive (between £70 and £150), reflecting the significant amount of work entailed in the hand embroidery. Certainly in Moldavia and Translyvania these hand crafts are stil widely practised and pride is taken in the work. But today many Romanians will buy these items from a shop. Here is a simplified diagram, in case you would like to make one. This pattern does not require a shoulder section which is fairly common on the blouses. I always enjoy these kind of “you can make it at home” diagrams – common to all traditional wear. People always made their clothes in this way before the advent of the graded tissue paper pattern in about 1860.
Ie pattern
As well as the cross stitching there is also some very fine drawn tread work to be seen.
Romanian blouse with drawn thread and cross stitch work
The blouse below, in the more traditional red embroidery, shows the design which includes a shoulder piece for greater ease of movement, plus a gusset at the underarm, and a wide sleeve shape.
Gusset and shoulder piece
This gorgeous version with several subtle and deep colours doesn’t have a gusset.
Here, at a festival in Slatina (River Olt behind) local men and women wear traditional dress with pride. They also offered everyone delicious bread and local wine. The young woman is wearing an ie blouse under an embroidered over-coat. The men wear a similar long shirt with plain white decoration and a collar, gathered into the waist and finished with a wide woven belt.
Traditional folk wear
I must say I was tempted by this £150 skirt, with its lovely embroidery.
My project is to produce a contemporary Christening gown which, while traditional (as requested by parents), also avoids yards and yards of lace, pin-tucking, embroidery, and hand sewn French seams. A short history of the garment can be found here. The Ann Ladbury pattern I have chosen, interestingly offered a “modern” take in the 1970s – a patchwork version. This harked back to Victorian times when hexagonal patchwork was popular. Modern and traditional are not really polar opposites – everything gets re-invented and recycled over time especially in the world of clothes and fashion, doesn’t it?
Here is the 1970s “modern” version. Personally I don’t really like the placement of the patches on the yoke, but I suppose if the fabrics were right this might work. The baby modelling the grament doesn’t look too impressed.
1970s “Modern” patchwork Christening robe
So I approached the modern/traditional issue with a desire to bring some freshness to this garment. The silhouette, colour and fabric are what you would expect. But I decided against buying and applying layers of delicate lace, or driving myself mad with rows of tiny pin tucks. As the garment is for a modern boy, and quite a heavy one at that, I decided we could do without a flounce and lacy neckline.
Instead I fancied using (ancient) printing techniques to create an impression of lace, embroidery or smocking. My idea was block printing some patterns, in white fabric paint, on to a slightly transparent white lawn cloth. I tried printing with lace but this wasn’t very satisfactory. I needed a bolder effect. Here are the tools I used.
Wooden block print roller, hair comb and printing blanket
I also tried another technique, which involved sticking individual grains of rice on to a piece of cardboard and covering it with PVA glue to make it waterproof. Here it is at the end of the printing process, still covered in the white textile paint.
Block printing with Uncle Ben
The cotton lawn was laid out on the blankes and I printed two boarders and a stripe across the middle.
Printed cotton lawn
This look is created by using the roller, with the comb used in between. And here is the rice print, close up.
rice print
Here is the work in progress. I have still to add sleeves, hems, button holes and press studs. The printed design is limited to the yoke, hem and sleeves.
Is there an English style? What we see, in our towns and cities, is women in leggings and baggy jumpers and men in shapeless jackets and jeans. What we imagine is pinstripes and bowlers, tweed skirts and cosy woolies, Wellington boots and a Barbour.
Wool
We don’t grow cotton or linen in the UK, and its too cold for silk worms, but we have 23m sheep. Our primary fabric is wool, despite a significant and varied textile industry. Yorkshire is the county (and Huddersfield in particular) which produced the foremost fabric for men’s suiting for a least a couple of centuries. They use 2-ply yarns in the warp and weft (which makes the cloth strong) and are finished with the English “pressed finish” which produces a very flat, “hard” finish, adding to the durability of the cloth. The Saville Row suit is a particular style and fit and one which is quite different to both European and American styles. At its most formal the English suit includes a waist coat, a top hat, and tails.
Worsted wools
In addition England is famous for its tweeds. These are the sporty version of wool, woven with a twisted yarn, often with a heathery look. It is great to see this beautiful fabric celebrated with the annual Tweed Run (on bicycles) through the streets of London. The flat cap, often worn by country dwellers of all classes, is often made in tweed.
Tweed Run London
For keen dressmakers there is always Linton Tweeds, which are famous for being used by Coco Chanel. If bought online these are good value, and there are many wonderful colourways and effects.
Linton Tweed samples
And then there is knitting wool, and the long tradition of English women knitting. For their men. For their babies. And for themselves. The twin set and pearls look is seen as an upper crust English look. I love a nice cashmere twin set, and the kind of look worn by Miss Moneypenny in the James Bond films.
Kit in hand-knitted wool cardigan
Leather shoes
Another very English component is the leather Brogue shoe, made in Northampton. Suitable for men and women – the punching which allowed the water to escape originally as men plodded across boggy landscapes.
Edward Green factory, Northampton. (Euan Denholme)
I am from Lancashire and used to wear clogs in celebration of my roots. These were originally worn by men and women in the factories to keep their feet out of the water. Mine were red, and laced up and I felt invincible walking along in them. The noise they make on the pavement give out a “don’t mess with me” message – and I felt they kept me safe. There is a charming article on clogs by Gitika Partington, who has kindly supplied the photograph.
Clogs for grown up and kids
Also the English are known for their sheepskin coats, riding boots, their Pittard leather gloves from Yeovil, and high quality handbags.
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