Chintz

To describe something as “chintzy” nowadays is to describe it as rather blowsy, a bit “Mills and Boon” and not very sophisticated. So let’s see whether this is deserved…….

Interior by The Prince of Chintz,  Mario Buatta (US) who is best known for his English Country House style using Chintz widely.

Interior by The Prince of Chintz, Mario Buatta (US) who is best known for his English Country House style using Chintz widely.

Chintz, when first discovered in India by pioneering European tradesmen was a hand printed, mordant- and resist-dyed patterned Indian cotton cloth flattened and burnished with buffalo milk and myrobolan (a dried fruit containing tannin) to give it a smooth surface. Pattern was usually large scale and exotic in the Mughal style.

18th Century Block Printed Indian Chintz

18th Century Block Printed Indian Chintz

Spice traders of the late 17th century brought this new bright and colourfast cotton to a world used to rather dull wool and silk fabrics. Cotton was something new and it was immediately adopted for bed-coverings and home furnishings. It may have been at this point that the fabric gained a poor reputation as it is reported that the worn-out wall coverings were recycled by servants for clothing. It wasn’t long before the comfort and vibrancy of these fabrics became popular for all classes of society; reportedly, Daniel Defoe protested that ”persons of quality dress’d in Indian carpets.”

Jacket in chintz, skirt in wool damask, 1750-1800. Jacoba de Jonge Collection in MoMu - Fashion Museum Province of Antwerp, www.momu.be / Photo by Hugo Maertens, Bruges

Jacket in chintz, skirt in wool damask, 1750-1800. Jacoba de Jonge Collection in MoMu – Fashion Museum Province of Antwerp, www.momu.be / Photo by Hugo Maertens, Bruges

Soon after its introduction in the West, orders for specific designs were sent back to India with the Traders. These would include heraldic motifs and European flowers, for example, desired by the home market. As trade became established orders for small scale designs were made, the cloth being used for waistcoat lining and other uses in dresses and coats.

Enter the protectionist backlash: England may have been tired of the dull wools, linens and even silks but they were a little more “homegrown” and livelihoods were under threat by these imported Chintz fabrics. In 1701 a law was passed forbidding the import of printed cotton or silk chintz fabrics – unless they went back out of the country as exports! David Garrick and his wife even lost their bed coverings to the law.

The workaround; passion for chintz was unstoppable. In a sense the original artisan cloth was a victim of its own popularity. Demand was so high that quality suffered and reputation fell opening the door to an innovative and lawful imitation. Plain cottons were brought in and roller-printing techniques developed which are still in use within the commercial fabric industry today. This Western “take” on Chintz is what is broadly recognised today.

So, there are two generations of Chintz in the West – the original artisan-produced labour-intensive fabric imported from India and Asia and the second later European version which, by 1850, roller-printed cloth using synthetic dyes.

Putting a good “shine” on Chintz increases the vibrancy of colour and so, from the beginning, Chintz was coated with wax, starch or resin and hot calendered between polished rollers to produce a sheen on the printed side of the fabric. This also helped to protect colours from damage from sunlight as the face surface became to some extent reflective. This finish is now part of the definition too.

So, is Chintz to be looked down upon? It seems there are chint and chint fabrics – but let’s go to the source and say that exotic, large scale and vibrant designs printed with a confident depth of colour can be very effective and bring something really rich to a room.

From Tinsmiths' range of Extra Wide Cotton Fabrics:  Pondicherry

From Tinsmiths’ range of Extra Wide Cotton Fabrics: Pondicherry

From Tinsmiths range of Extra Wide Fabrics: Bukhcotta

From Tinsmiths range of Extra Wide Fabrics: Bukhcotta

 

 

Crewel Work

normandy_bayeux_7383cBayeaux Tapestry, depicting the events of the Battle of Hastings and Norman Conquest in 1066, record of it first appears on the Bayeaux Cathedral  inventory in 1429.

Well, I thought I knew what was meant by Crewel Work, but there is debate amongst embroiderers, historians and enthusiasts. So, to be specific, I am describing raised embroidery on heavyweight linen or cotton using wool rather than silk or any other yarn. I say “raised” because the designs do not completely cover the back cloth, leaving a texture to the fabric. Traditionally, a rough pattern was marked on to the back cloth using either a pricked pattern and a pounce (a talc-filled bag, padded onto the pattern and allowing talc through to mark guides) otherwise the technique was “free” allowing interpretation and embellishments, in contrast to the thread-counted silk embroideries.

english-crewel-v&aThis curtain is from a set of bed hangings which, when pulled closed around a bed, provided warmth and privacy. They were usually the most important part of the bed, generally referred to as the ‘furniture’, and were often valued more highly than the wooden bed frames they decorated.

The curtain is embroidered in a technique known as crewel work, from the crewel or worsted wool used. Crewel work was popular through much of the second half of the 17th century, and was used extensively for bed hangings. It was usually carried out on a strong ground fabric of linen and cotton twill. The embroidery is worked in stem, satin, coral, herringbone and link stitches.

Needlework was a skill taught from early girlhood in 17th-century Britain. Adult women might earn their living from it, or use it in the upkeep and decoration of their households.

The seventeenth century was a high point in the production of crewel and it is often referred to as Jacobean embroidery featuring highly stylized floral and animal designs with flowing vines and leaves. Many of these would be exotic and incredible to their audience. The term “Crewel” is thought to be derived from curl, meaning the staple or average length of fibre used to spin into the yarn used for such a technique.

waistcoatImage traditionally called Dorothy Cary, later Viscountess Rochford, c. 1614-1618 showing richly embroidered waistcoat.

Outlining stitches such as stem stitch, chain stitch and split stitch create areas that are often filled with satin stitch, using tonal graduations to give the impression of shade and light. Occasionally couched stitches (where one thread is laid on the surface of the fabric and another thread is used to tie it down and create a trellis effect), Seed stitches and French knots embellish the overall design.

stem_stitch-LGNchain stitch

frenchknotseedsatinsplit stitch

 

 

 

 

The crewel work of the 17th century was used lavishly for bed drapes and wall hangings – it was a time of affluence in Britain and, with the establishment of trading links via the East India, crewel work began to be produced in Asia. A wave of interest also carried across the Atlantic to America and there are many fine examples of crewel work appearing in the USA in the 18th century up to the time of the revolution.

bed rugBed rug, 1796
Maker Unknown (American)
Colchester, New London County, Connecticut
Linen/cotton and wool;

The Arts and Crafts Movement of the late 19th century next saw a revival in the UK. Led by William Morris, the movement believed in going “back to the earth” and his marriage to Jane Burden and the establishing of their home was the pivot that steered Morris to his devotion and study of the decorative arts.  In particular, Morris invested time in producing natural dyes to provide soft shades of blue and green woollen yarn. Morris expanded medieval design to reflect his generation and need. The long and short stitch was nicknamed the Kensington stitch and a cottage industry was formed to produce the embroideries.

morrisEmbroidered hangings or bed curtains designed by May Morris (1862-1938) in 1891-2 and stitched between 1898 and 1902. Worked in crewel wools on natural linen in stem stitch with satin, chain, running and knitting stitches and French knots, the ground is of narrow widths of hand-spun and woven linen with the edges butted and seamed prior to embroidery.

crewel-fabric-berrington2[1]morants4[1]When we, at Tinsmiths, found a supplier of crewel work fabric a couple of years ago, we decided to offer the fabric on the basis that it has a weirdly austere luxury – a contradiction in terms but one that describes a cloth that is quite distinct from any other.

You can find our “Hall” fabrics Berrington & Morants in the patterned fabric area of our on-line fabric shop. If you are inspired to sew some crewel of your own, linen backclothes can also be found in our web-shop. We would suggest using a linen such as Wholemeal, Highland or Linen Flax.

crewel-fabric-berrington3[1]

 

Double Cloth

Our 2015 series of blogs all relate to cloth weaving, printing or otherwise embellishing. The hope is that we further educate ourselves about the products that we sell and visit some of our fantastic suppliers who are busy manufactering high quality textiles in the UK.
The First of these blog posts is on ‘Double Cloth’. Double cloth is a two-layered woven cloth, the layers can be quite different; a tapestry design on one face with a plain layer behind, or they can be a reverse of each other (a double faced double cloth); as seen in ‘Welsh Blankets’, where there is no’wrong side’ just a different version on each side.

A Welsh 'Tapestry' style blanket showing the two different 'faces'.

A Welsh ‘Tapestry’ style blanket showing the two different ‘faces’.

Having read up on this and had it explained to me a couple of times by experts I still don’t feel like I have the best grasp on the actual technicalities of how this miracle happens but essentially two fabrics are woven simultaneously with binding yarns interconnecting the two layers to form a single cloth.
At the ‘National Wool Museum’ (Wales) in Llandysul, Carmerthenshire the story of the woollen industry is followed through from fleece to finished product. The production of woollen cloth has a long history in Wales with different areas having different moments of success and decline, the production of blankets became centred in West Wales in the 19th century with a high point in the first decade or two of the 20th century with plain colours and stripes forming a large part of the prodcution as well as the ‘tapestry’ style Welsh double cloth blankets. Originally the double cloth blankets were woven from a fairly coarse two ply woollen yarn and their weight and durability mean that they found use as rugs and curtains as well as blankets. It is interesting to note that many of the 19th century American quilt designs, particularly those produced by the Amish of Pennsylvania, seem to owe much to the traditional Welsh double cloth blankets.

The clear geometric designs associated both with traditional Welsh blanket design and 19th century American quilt design.

The clear geometric designs associated both with traditional Welsh blanket design and 19th century American quilt design.

As well as housing a large variety of working machinery associated with woollen cloth production, The National Wool Museum also home to a good collection of historic blankets, outfits and cloth samples making it especially valuable for today’s designers.

The collection of vintage Welsh blankets at the 'National Wool Museum' in Llandysul, Carmarthenshire.

The collection of vintage Welsh blankets at the ‘National Wool Museum’ in Llandysul, Carmarthenshire.

Very much a working museum current production is run by Raymond Jones of Melin Teifi who has a vast knowledge and understanding of both the history and processes of the Welsh woollen industry. Melin Teifi produce both their own range of woollen flannels and commision weaving for other designers and it was exciting to see some very contemporary designs on the looms.

Welsh Blanket weavingWelsh blanket loom

Current production on the looms of Melin Teifi.

Current production on the looms of Melin Teifi.

http://www.museumwales.ac.uk/wool/

What do Cider Maker’s Do All Day? Tinsmiths’ Calendar Post

Simon Day Cider MakerIn this series of “working lives posts” I have tried to ask everyone comparable questions and not assume that anyone chose their career! Cider-maker Simon Day gave me a great set of answers so I have simply given them, unedited, and added photographs.

How did you (or did you) choose to become a cider-maker?

My background is in winemaking, having been brought up at Three Choirs Vineyards, and then working in various wineries and vineyards around the world, so I wasn’t expecting to become a cidermaker. That all changed when my wife Hannah & I moved to Putley.

In May 2007 I went along to the Big Apple Blossomtime Festival and tasted ciders and chatted with a number of producers – it was the proverbial “light-bulb” moment  – so many ciders in so many styles, it brought it home to me just how alike wine and cider really are.  At the same period I was enjoying taking our dog walking around the Putley countryside.

As I walked alongside Dragon Orchard throughout the seasons I could see that it was very well looked after and produced beautiful looking cider apples. Dragon OrchardsSo, there is a saying that “Wine is made in the vineyard” – in other words you can only make good wine from good grapes.  If the same applied to apples and orchards, I felt I was witnessing some potentially excellent cider! We got to know Ann & Norman Stanier, owners of Dragon Orchard later that year, and after a couple of meetings I proposed a coming together of skills – growing and making – and we formed Once Upon A Tree, making our first ciders in Autumn 2007.

Days and Staniers Walking in the Orchards

(left to right) Norman & Ann Stanier with Simon & Hannah Day in Dragon Orchard

I had made cider before at a winery and distillery in Jersey, but most of the cider production went into the pot still.  Once Upon A Tree was an opportunity to be more experimental and innovative with the raw materials, particularly to make cider in a wine-like way, to make ciders that were perfectly matched to enjoying with food – something I felt was lacking in the industry at the time.

* What is your daily routine?

The routine varies enormously.  We are a small company, so everyone tends to pitch in wherever needed.  One minute I might be in a meeting with a buyer discussing the minutiae of an export contract, the next, shovelling spent pomace from the press!

As production has grown we are now able to employ a small but very capable team, and I am spending an increasing amount of time in the office, but my heart belongs in production – tasting, blending, watching the ferments develop into the final ciders, coaxing the very best out of each vintage.  That’s where you will find me throughout harvest – September through to November, 7 days a week 12-16 hours a day and loving it.

pressing the pulp

Squeezing out the apple juice from apple pulp

* Who/What inspires or has influenced you?

I do enjoy our industry – cider makers are a very friendly bunch indeed, and I have to say that there are a number who have influenced our methods over the past few years.  From retired cider scientist Andrew Lea of Long Ashton with his incredible in depth knowledge and scientific approach, to the more traditional cider makers such as Mike Johnson of Broome Farm and Tom Oliver of Oliver’s Cider.  They may not know it, but they have all given generously with their knowledge and experience they have taught me to be more open minded in my production methods.  But perhaps my greatest inspiration goes back to the 17th Century when Lord Viscount Scudamore of Holme Lacy was working (with others) on in bottle fermentation – the Champagne method as it is now known – a time when cider was the drink of choice of the aristocracy and was lovingly served in the most ornate cider glasses as can be seen at the Cider Museum in Hereford.  I hope that we are a part of a cider revolution that celebrates the diversity and quality of a crop that so perfectly suits our county.

3650166746* What spurs you on when things don’t go to plan?

Sometimes when things don’t go to plan, you end up with something exceptional.  Our dessert pear wine “The Wonder” is testament to that being the case when I couldn’t manage to stop the fermentation at normal perry levels, and then onto 13% alcohol – deliciously warming and ice-wine like, it is now a regular!

The WonderWhenever things don’t go as expected, you look for the opportunities that may arise from the situation.  If I’m having a particularly bad day, I’ll drag my dog out into the orchard, and very quickly things straightened out in my mind.

* What are you planning in the near future?

Expansion!  We are joining forces with Haygrove to build a new cider making facility that will enable us to cope with the demand we have created – currently we are selling out of stock each season before the next ciders are ready.  We have already been making a small amount of wine and have recently launched our new range – Sixteen Ridges – available in our Three Counties Cider Shop at 5a The Homend, Ledbury (01531 248004).  Look out for our limited release of Sparkling Pinot Noir Rosé in time for Christmas and the New Year!

Three-Counties-cider-shop ledbury

Have a treat & visit the most wonderful cider shop – well, actually much more than cider. The word comprehensive comes to mind.

What do Blacksmiths do all Day? Tinsmiths Calendar Post

Blacksmith Luis de la TorreUntil now our working lives have been those advanced in their careers. Luis, at 19yrs and just six months out of college, is at the beginning of his working life and we asked him few questions.

How did this begin? “When I was fifteen my school programme of work experience came along and I had no idea how to spend the five days allocated. ‘Well, think about what you have enjoyed most in your life to date’ suggested my Dad.”

“A day with Ben Orford, a multi-disciplinary craftsmen, had so far been the best day of my life. With Ben I was allowed to really use tools and equipment to forge a blade and horn mount a woodsman’s knife” and Luis’ response led to a week with blacksmith, Alex Wilkins at Stretton Grandison, followed by six evenings at Holme Lacy College. “I was lucky that I had just had my sixteenth birthday – allowing me to enrol for the evening class and follow up my work experience”.

Luis at Ben Orford's

* Luis (14yrs) linishing at Ben Orford’s workshop

How did you learn? From there, after GCSE’s, Luis spent three years at Holme Lacy College, which is part of Hereford College of Technology, learning blacksmiths’ “sets” – that is the sequence of processes to achieve particular functions. The sets are essential and these were practiced over and again until perfect; a thorough approach that “sold” the course to Luis. “The college felt so different to school. There was mutual respect; I showed that I wanted to learn and the teaching staff gave me 100%.”

Hand-made Tools* Handmade Tongs for specific tasks, made at Holme Lacy

In a summer break, Luis built a forge at home and about that time began selling his small fire irons. “My forge wasn’t perfect – I little poisonous in fact – but selling my work was really encouraging, it was great to know that people wanted what I was making.”

Water-twisted Pokers* Water Twist Fire Pokers by Luis

Luis completed his course this summer and turned to improving his own forge and building up equipment, “It was quite a shock to come from the biggest and best equipped teaching forge in Europe to a small outhouse with forge and anvil – with rather inadequate ventilation! At college we learnt to make all our own handtools, but that didn’t stop me missing both the power hammer and the company of enthusiastic students”. Time management and self-discipline would be a challenge to most teenagers but Luis tries to put in six hours at the forge most days, admin and designing taking up more time. “If I’m working on a new idea or in the flow of making a group of pieces I work until I’m finished, recently I’ve been making for three Christmas events and have commissions to get out too”.

Plans for the future? Get a driving licence and go on the road. Luis is keen to get working alongside experienced blacksmith in a team or as an assistant on larger projects.

 Did family background play a part? “I think there has been a sub-conscious influence on me as I was growing up – having parents who are skilled in art and craft has trickled down to me. Most of their friends are creative and work on their own in this field so it was normal to me to see people working fairly autonomously. However, college really opened me up to learning, exciting my interest widely, so I’m thinking of a little more education  – I’ve always enjoyed Biology and would like to speak Spanish.” Well, all he needs to find is a Spanish Blacksmith, making enormous animals who needs an assistant!

Luis’ work can be found in little Tinsmiths – toasting forks a speciality  

What do Fruit Growers do all Day? Tinsmiths’ Calendar Post

This morning was not the best time to turn up at Cilla Clive’s Fruit Farm, Redbank, close to Ledbury.

Cilla Clive Fruit Grower

Cilla Clive Fruit Grower

Despite the pressures of harvesting, monitoring ripening apples and huge decisions to be made as the fruit market across Europe reels at the fallout from Russian blockades, Cilla was welcoming.

“I grew up on a farm growing hops, cider, blackcurrants and Hereford cattle. My father believed that women should have proper roles and, when I planned to go to agricultural college at Seale Hayne, he suggested I study agriculture, rather than specialise in dairy from the start. He didn’t want me to be tied to a cow’s tail”.

father

Cilla’s Father, Denys Thompson.

Her father wasn’t the only person to encourage Cilla to furnish herself with the knowledge that she needed to be an independent woman and fruit grower. In 1974 she embarked on a “crash” course in fruit growing with instruction from Dick Clive.

Dick Clive Grafting

Dick Clive Grafting

The winter of 1976 found Cilla planting strawberries in the snow on the south-facing banks of Wall Hills, near Ledbury which became Red Bank – the nucleus of a many enterprises in later years. The strawberries were a cash crop to help fund the longer-term investment in orchards which have been Cilla’s main concern in the intervening years.

 

‘Long term’ is a phrase that crops up around fruit growing – commercial fruit tree nurseries and marketeers need to know what you will be planting in the next five years and what you will be harvesting in the next decade.

Preparing the Ground 1976-1977

Redbank before Fruit

Redbank before Fruit 1976

Clearing Orchard Boundary 1976

Clearing Orchard Boundary 1976

Planting the First Strawberries 1976

Planting the First Strawberries 1976

 

Building the First Apple Store 1978

Building the First Apple Store 1978

 

 

 

 

 

 

pyo

First Strawberry Harvest 1978

scales

Weighing them up 1978

 

 

 

 

 

 

 

 

 

Work starts at Red Bank at 8am at this time of year when workers arrive and the length of the day depends entirely on the season.Cilla at 73 yrs, has only just, under advice from medics, given up tractor driving but is firmly in the driving seat making decisions daily if not hourly.

Cilla Tractor Driving

Cilla Preparing the Ground 1976

First Apple Harvests

Buckets of Apples

Buckets of Apples

First Pickings

First Pickings

 

 

 

 

 

First Apples for the Apple Store

First Apples for the Apple Store

 

Of course, Cilla takes advice and she takes it widely and with great care. I was struck by the way she is constantly comparing fruit growing across the world, listening and filtering facts and anecdote. What in her working day would she gladly be rid of?

“There is a ton of office work, which is a pain, but I am lucky to have the back-up of my son’s business, Haygrove, which allows some relief from it. I am a grower – that’s it”.

Misty Morning at Redbank, Sept 2014

Orchards on a Misty Morning at Redbank, Sept 2014

So what to grow in the future and what drives her forward?“Inheritance Tax!” she exclaims, and, as it turns out, global warming. The champagne regions are on the move North and growing grapes for wine is becoming a real option in Ledbury. But this isn’t the first time that the slopes of Red Bank have been vineyards.

 

In 1266, Thomas Cantilupe, Bishop of Hereford and last English Saint, visited his palace in Ledbury to hunt boar on the Malvern Hills, instructed that the vineyards on the south facing slopes of the Wall Hills be re-planted. Now Cilla is doing it again. Bacchus (grape variety) is gradually re-claiming the slopes, and in this, its first year, looking good.

“I realised that apple growing was unlikely to be of interest to my son whereas grape-growing and wine-making would excite him. I put it to him and was delighted by his interest.”

Cilla’s excitement at this new area of activity is tempered by her practical, business-like approach and years of experience; she explained that it is always important to grow for demand rather than personal preference and to spread risk in this weather-dependent realm of horticulture. The world of wine-making is short of Bacchus, hence Bacchus……

First fruitings of Bacchus at Redbank 2014

First fruitings of Bacchus at Redbank 2014

Cilla has no plans to retire, she enjoys being part of a multi-generational and international fruit growing community all around her home in Ledbury and making research trips nationally and internationally.

“I had a great road trip two years ago to see my first batch of young grape vines growing in a specialist nursery in Luxembourg. The nursery-man was surprised to see me, apparently nobody visits their young plants, but it’s good to make the connection and I think people make a special effort in response”.

Jazz Apples at Red Bank

Jazz Apples at Red Bank

Many thanks to Cilla Clive for an hour of her time – in the middle of apple picking!  I look forward to a Spartan, Jazz, Cox or Bramley soon and a little later, a glass of something from Bishops’ Vineyard.

Ledbury Country Market 1944-2014

Next Friday ‘Ledbury Country Market’ is celebrating it’s 70th birthday. The ‘Market’ takes place every Friday throughout the year in St. Katherine’s Hall (handily situated between the towns main carpark and the High Street) and sells all manor of locally produced goods. Everything comes from within a 15 mile radius of Ledbury, which means that of course all fruit, veg and flowers are absolutely seasonal, cakes and bakes home cooked without weird and wonderful preservatives, eggs free range from a farm just outside Ledbury and Jams and pickles made from local fruit and veg – all wonderful stuff.

This market began life as the WI market and the very first one was on August 4th 1944, because of rationing there were no cakes, bakes or preserves (no ingredients) but lots of locally caught rabbits! The market progressed in the post war years taking surplus produce from local gardens and farms and when the W.I. sought charitable status the ‘Ledbury Country Market’ was born as a co-operative.

The Market also serves as a meeting place where you can enjoy a cup of tea and a home made biscuit, many of the customers and ‘members’ have been regulars at the market for years but there is a warm welcome for all and no where is the feeling of Ledbury as community stronger.

w i flowers

If you have ever noticed the wonderful flowers that grace the shop all summer and wondered which of us has the amazing garden that produces such beauties – the actual answer is that they all come from the ‘Country Market’ on a Friday.

WI 7W I 99W I 9So congratulations to ‘Ledbury Country Market’ on your 70th anniversary and I do hope that the folk of ‘Ledburyshire’ will still be meeting each other and buying wonderful local produce in 2084!

WI 6

Ledbury Country Market every Friday 8.30- 1pm in St. Katherine’s Hall

Linen for curtains & blinds

linen band

Subtle colours of our Linen Curtain Fabric

In the latest in our occasional series of posts about cloth the focus is on linen. Starting with the basics; linen is a fibre which is obtained by processing the ‘Linum’ or ‘Flax’ plant. ‘Flax’ has a pretty blue flower and is grown for both the fibre and the seed all over the cooler regions of the world, with high quality linen being particularly associated with Ireland, Belgium, Latvia and Lithuania.

Linen has a number of properties which make it really good to use in the home; it is cool to touch and can absorb up to 20% moisture before it feels damp, it is lint-free, does not pill  and is durable to abrasion although because it has low elasticity repeated ironing of folds will eventually cause the fibres to break (the cuffs of linen shirts bear witness to this) . It is not of interest to moth or carpet beetle and is easy to take care of washing well even at high temperatures and has only moderate initial shrinkage. It can be finished to maximise or reduce these properties and can be woven as a ‘union’ with other yarns to produce cloth with particular characteristics. Linen has been used by humans as a textile for at least 30,000 years and with such a long history and with it’s particular properties the uses that linen are put to are extensive; bed linen, tablecloths, napkins, dish towels, glass towels and bath towels, home and commercial furnishing items (wallpaper/wall coverings, upholstery, window treatments, etc.), apparel items like dresses, shirts and suits, luggage, artists canvases, it is used by bookbinders and bakers and for paper and banknotes. The Tinsmiths selection of ‘Linen Fabric’ has grown steadily over the years and we now offer linen in qualities from very fine sheers to the chunkiest 712gsm upholstery linen.

 

curtain making in linen

As curtain makers we have always been slightly dissatisfied by the drape achieved by some of the stiffer linens and we now offer ‘Washed Linen’ in a really good range of colours and stripes – curtains made with this ‘Washed Linen’ drape fantastically, falling heavily to the hem.

Washed Linen Curtains; with a super soft drape this curtain is made in ‘Washed Linen, Indian Ink’

Linen has always been the luxury choice for bedlinen in hot climates because it keeps cool and dry even in the most humid conditions, however we have always felt that natural unbleached linen for curtains and furnishings is an excellent option for bedrooms where a calm and relaxed environment is required.

Irish Linen Unbleached Linene

Natural Unbleached Linen, our Heavy Irish Linen drapes softly for these curtains, the valence is Ticking Large, cream and the cushions are from our folk prints selection, Rondo

Of course Linen is a good upholstery cloth, the heavier weights are required for durability and for ‘severe domestic use’ some linen unions stand up to wear outstandingly, achieving very high rub tests; our Irish Linen Union has a 40,000 cycle rub test putting it in this very durable category. For loose covers the stability of linen comes into it’s own, because it generally washes with a minimal initial shrinkage and takes washing and cleaning processes well, it is the ideal choice for loose covers.

A washable 100% linen loose cover on our showroom sofa

A washable 100% linen loose cover on our showroom sofa

wing-armchair1

Printed 100% Linen – Deerpark designed by Lewis & Wood

 

 

 

 

 

Bright Young Things: Hereford College of Arts

Abby

A strong collection of printed & stitched linens by Abby Bury

Herefords Textile Design BA(hons) course has become outstanding over recent years with a talented and committed group of tutors; the excellent degree show is one of the events I really look forward to. So I was delighted when Tinsmiths was asked to provide a ‘Real World Brief’ for the level 5 students.
The students were set a brief to design a small collection of fabrics suitable for the Tinsmiths brand and they had 6 weeks to work on this project (alongside a marketing project and some work placements – who ever said students don’t work hard!). The first part of their brief required them to find out about Tinsmiths; research the designers and fabric companies whose cloth we sell, the type of fabrics that we like and try to identify a ‘house style’. They then had to work through design ideas; some identifying our natural fabric theme worked from a starting point of the ‘natural world’ and others spotted our love of Central Asian and folk textiles and so drew on historical references like tapestries and folk designs.
The final part of the project required each student to present their collection to me in concise 10 minute presentation which covered the research, design development and finished pieces.
We have not been involved in a project like this before but what a treat it was! The Level 5 group, which includes students specialising in weave and print, although not large, are all committed, hard working and completely engaged with their work.
I was so impressed by the quality of the responses, each student had either a clear and coherent overall idea for a collection or one or two strong individual designs and on the whole they all seemed to have almost too many ideas for the time allowed. What a pleasure and well done all of you – I can’t wait to see what you do in your final year!

alice

A subtle collection of wool mix weaves by Alice Noble

sadie

Soft ombre weaves by Sadie French

Holly

Holly Griffiths collection with an urban feel included a smart linear print.

jess

A monochrome collection by Jess Evans based on observational drawing.

becky

With depth and subtlety Becky Chambers-Perola’s work is based on Russian folk motifs.

 

 

 

 

 

2014-05-29 12.24.57

Sarah Fereday’s indigo collection including a lovely small repeat shell print.

 

 

 

 

 

 

 

 

 

 

Do click on the images to view full size.

 

Hereford College of Arts, Textile Design BA(hons) degree show 14th – 21st June for details visit https://www.facebook.com/events/286465278196181/

Tinsmiths’ Calendar Post – What do Potters do all day?

Trying to keep to a format for our Working Lives interviews has been a bit of a struggle. Visiting places of work often means that my mind veers off immediately to ask about a tool or technique, forgetting to stick to the questions I had planned; however I made an attempt this time when I visited potter, Patia Davis at her workshop near Ross on Wye.

Patia Davis

Patia Davis at her kick wheel.

What is Patia’s daily routine? There isn’t one, she said, but the perfect set-up is a 7am walk through her local woods with Ruby, her ever present, quick-witted, whippet/poodle. The apron is usually on by 9am. Every day is different.

Modern Malvernian Ware Jug by Patia Davis

Replica Pitcher for Brockhampton ready to be fired, also glaze & clay tests

The day I visited she was sieving grit for a project with the National Trust to produce replicas of medieval jugs for Lower Brockhampton, near Bromyard. “I’ve realised that every year is unusual. This commission came out of the blue and has meant interesting research – I’m partly using river grit to make a close match to the type of clay body used  by the potters in medieval times, known as Malvernian ware and galena (now very restricted) to make a lead glaze. When unusual requests come through it stretches my own understanding and  potentially adds to my own pots.

Pottery is a slow process, clay changes its physical properties according to the environment and it’s a part of the potter’s job to control this. Therefore, everyday is different since nothing is done from start to finish in a day. For instance, a kiln firing may take over 18hrs not including the cooling period! It takes a patient and accepting approach.

“When I was eighteen, after “A” levels, spending too much time lying on the sofa watching  Dynasty on tv, and about to fall-off into unemployment, my mum brought me up short. She wasn’t one to stress about things, so when she said “Patia, you’ve got to sort yourself out and decide what you want to do”, I sat up and took notice”. Patia was a self-motivated artist, painting and drawing unprompted throughout childhood. An application for an arts foundation course was made by slipping in through the back door, from there she enjoyed the famous studio pottery course at Harrow, meeting Mo Jupp and Mick Casson who gave their support without stint, afterwards joining the degree course at Cardiff.

Wobage Farm is Patia’s first and only workshop and she has always shared facilities with other makers, including its founders Sheila and Mick Casson. Her work has changed over the 24 years since leaving college and she has become well-known for her “Homage to Slipware” an individual approach to a traditional form of decorating earthenware vessels.

Slipware bowls by Patia Davis

Slipware bowls by Patia Davis

Pottery, historically considered a lowly artform, and certainly part of the everyday, nevertheless has significance. “The mug you have your first cup of tea in enhances your mood – it is my responsibility to put my creative energy into my pots. mugs by patia davisThat’s what I’m aiming for and is what I appreciate in other people’s work”, explains Patia.

So, what is a potter’s least favorite chore? There is nothing that Patia doesn’t enjoy about making pots, although when I got all excited about witnessing the opening of her latest kiln firing, she was pretty firm that this is a solitary moment.

” I’m pretty useless at promotion and marketing myself. I just find that aspect the least interesting”. Patia  accepts she on is the ‘creative introvert’ side of the spectrum. She began at  Wobage with a shared space, but later realised that a lone space is her ideal,   as creative ideas are ‘flighty’ and thoughts easily interrupted. This is not to say, that sharing ideas and thoughts is not equally vital.

Slipware Buttons by Patia Davis

Slipware Buttons by Patia Davis at Tinsmiths

Patia’s ideas are as fluid as the liquid clay (slip) that she uses so breathtakingly to decorate her platters, bowls and buttons.

She throws the more upright designs, like jugs, mugs and deep bowls on a kick wheel but the more shallow forms she makes from sheets of clay slumped and dried over formers.These shapes she relishes for their “canvas” – almost flat surfaces that allow expressive use of poured and trailed slip.

detailing the handle of a baker

Applying liquid slip to an un-fired “baker” – note use of tin cans.

 

The day I visited a group of mugs were off to Japan for an exhibition, but most of Patia’s pots are sold at exhibitions, or through galleries in the UK. Patia is also in demand to give talks, demonstrations and short courses. Wobage has an annual programme of  classes run by potter Jeremy Steward, with visiting tutors and taking up to 12 student potters.

 

We usually have a good selection of Patia’s work in the showroom at Tinsmiths and if you are touring around Herefordshire in September, Patia (and 129 other arts venues) will be open for H.art from 6th September to 14th September – it might be worth getting out a map and working on your itinerary.

Tile shelf

Oak Tile Shelf at Tinsmiths