BIAS
CONTRIBUTORS
We asked our contributors: How do your textiles illuminate the solstice?
ari e Tai l l efer
M
Until recently ‘manufacturing’ was thought of as a dirty word, and factories considered dirty places that were hidden from the public, far away from the consumers of their products. This has changed over the last few years, in part prompted by the Rana Plaza disaster in 2013. Now factories are opening their doors and are finding that their customers increasingly want to know where and how their purchases are made.
I saw this first-hand on a recent visit to La Manufacture Bohin in Northern France. The former manager bought the failing company in 1996, which has since opened up its doors to the public who can now visit the factory and see how their pins and needles are made, enjoying a modern museum that celebrates the company’s past, the genealogy of the local area as well as an exciting programme of temporary exhibitions culminating in a fascinating visitor experiece. Contrary to expectation, their productivity has actually increased, as the workers relish the attention. I am not the only visitor to be inspired by a pin factory. Adam Smith the Scottish philosopher and father of modern economics quotes the factory as an example of the division of labour in his treaties The Wealth of Nations 1776.
LESLIE JACKSON p86
Bohin pins can be found around the world; from the pinscreen animation of Alexander Alexeieff and Claire Parker, to the intricate embroidery produced by Karen Nicol. In this issue, we visit Karen’s beautiful London home as she prepares for a white Christmas. We also examine the ribbon weaving industry in Warwickshire and discover that as well as a culturally defining past, the industry has a thriving future thanks in part to the efforts of Neil Halford, whose 30 year career has helped sustain the tradition at Benton and Johnson, part of the larger company Toye, Kenning and Spencer; one of the oldest family-run businesses in the country. Their vibrant gold threads and silk ribbons bring the festivities to the front of our minds as we settle into winter. If you do make it to a service of carols this year, take a moment to look up at the stained glass and see if you can spot some textiles shining through the panes above.
DANI TREW p24
LISA GEE p90
Polly Leonard, Founder
SELVEDGE 3 SELVEDGE 3
On long winter evenings, I light a fire in the living room of our 18th century hilltop farmhouse in Yorkshire, then draw the spectacular 1960s Edinburgh Weavers’ curtains across the bay window and switch on our lovely Hannah Nunn lamps. Then I either curl up with a good book (the Brontes are the perfect comfort reads for winter) or tackle the mountain of ironing generated by Elmet Farmhouse, our mid-century modern-themed holiday cottage just next door.
I always make sure that I mark winter solstice with good company, delicious food and a large glass of wine. Last year I went to a solstice party my friend threw in her home – filled with branches, clementines and candles. Almost intuitively, each person was dressed in deep berry hues of velvet or sparkling gold numbers, injecting light into the bleak midwinter. After the meal, as we all merrily glugged our wine, someone gave a reading of John Donne’s A Nocturnal upon St. Lucy’s Day – the perfect end to the shortest day of the year.
To me a long winter evening means keeping our wood-burning stoves going and often trekking to the wood pile. I'll settle down with some background TV and my knitting. I used to knit complicated fair isle bobble hats at college and as they're back in fashion now I always try to have one on the go, giving them to my kids and their friends. I’m also planning to work on a beloved old American quilt with Louise Presley, who runs a textile workshop at The Harley Gallery. She’s kindly offered us the use of her sewing machines. She's a brilliant teacher and makes everyone feel that their project is worthwhile.
