An Unbroken Thread

Updated to include the Coronation of Their Majesties King Charles III and Queen Camilla

W

‘Fascinating book …’ Stitch magazine ‘… a beautiful keepsake book.’ Textiles magazine

Celebrating 150 Years of the Royal School of Needlework

This richly illustrated book tells the remarkable history of the Royal School of Needlework, from its founding 150 years ago to the present day. Its visionary initiative was to popularise traditional embroidery techniques, whilst providing a suitable livelihood for women in need of employment. An Unbroken Thread highlights work for royal and other special commissions, shows the evolution of the school as fashions changed and details the school’s association with everyone from society ladies and theatre impresarios in the late 19th century to working with great fashion designers in the 21st.

sus a n k ay-w i l l i a m s

Celebrating 150 Years of the Royal School of Needlework

Updated and expanded to present the most recent projects worked by the RSN, this new edition showcases their skilful work on regalia for the Coronation of Their Majesties King Charles III and Queen Camilla.

su s a n k ay-w i l l i a m s

ISBN: 978-1-78884-260-0

9 781788 842600

55000

£35.00/$50.00

www.accartbooks.com

AN UNBROK EN TH R E A D Celebrating 150 Years of the Royal School of Needlework sus a n k ay-w i l l i a m s

ACC ART BOOKS 2

a n u n b ro k e n t h r e a d

AN UNBROK EN TH R E A D Celebrating 150 Years of the Royal School of Needlework sus a n k ay-w i l l i a m s

ACC ART BOOKS 2

a n u n b ro k e n t h r e a d

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workers could not be stitching commercially while teaching. By November 1989 the overdraft stood at £130,000. The only option remaining, less than two years after buying it, was to sell King Street. Perhaps not surprisingly there were also significant resignations from Council and the Finance Committee at this time, including by the chairman.

On Jenny Fitzgerald-Bond’s departure it was Mr Piggott (the man behind the scenes who had got on with all the moves and changes) who was asked to take on the overarching role after he pointed out to Council that each part of the RSN was being run separately. He was not, however, given the title of principal or director and what he oversaw was a shrinking vista. The loss of King Street meant the end of courses, except for the apprenticeship. The paint room was downsized and moved to Hampton Court, who had agreed to additional rooms, as did the administration.

By 1989 the RSN was a shadow of its former self. Not since the beginning of the 1960s had there been such a retrenchment. Externally, Council tried to present all this in a positive light, issuing a press release in 1989 entitled ‘To meet demand for professional embroiderers Royal School of Needlework to Double Number of Apprentices. Covent Garden premises to be sold to endow pupils’.

The release began in a very upbeat way talking about increasing the number of apprentices, but the corollary was the loss of all classes, because the workroom must continue. The press release gave the idea that the income from the property sale would endow the training places, alas this was not so. The money went to pay the debts.

(below) The RSN contributed lace given by Queen Mary to the wedding dress of Lady Diana Spencer.

[Photograph: Anwar Hussein/Alamy]

(opposite) The cover of the Radio Times in the week of the wedding of the Prince of Wales to Lady Diana Spencer, worked by the RSN [RSN Archive]

Work and Events in the 1980s

As has been seen before, the RSN can be a tale of two parallel lines: internal and external. The Chairman’s annual reports in 1988 and 1989 make no mention of the impending catastrophe. Instead, they talk of work accomplished, clients pleased and to add to the positive, the people presenting the certificates to graduates these years were celebrities and significant figures: 1985 Elizabeth Emanuel (co-creator of Princess Diana’s wedding dress) and the Queen Mother visited the apprenticeship exhibition; 1987 The Lord Mayor of London; 1988 actress Nanette Newman; and in 1989 actress Una Stubbs, both actresses were keen stitchers.

In the 1980s, as well as creating designs in the paint room, Sue Skeen was undertaking a PR role for the RSN, and several articles followed in popular magazines of the time such as Pins and Needles in 1984 which interviewed apprentices and Miss Bartlett

152

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ch a p t er 6: t h e most ch a ll e nging dec a de

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workers could not be stitching commercially while teaching. By November 1989 the overdraft stood at £130,000. The only option remaining, less than two years after buying it, was to sell King Street. Perhaps not surprisingly there were also significant resignations from Council and the Finance Committee at this time, including by the chairman.

On Jenny Fitzgerald-Bond’s departure it was Mr Piggott (the man behind the scenes who had got on with all the moves and changes) who was asked to take on the overarching role after he pointed out to Council that each part of the RSN was being run separately. He was not, however, given the title of principal or director and what he oversaw was a shrinking vista. The loss of King Street meant the end of courses, except for the apprenticeship. The paint room was downsized and moved to Hampton Court, who had agreed to additional rooms, as did the administration.

By 1989 the RSN was a shadow of its former self. Not since the beginning of the 1960s had there been such a retrenchment. Externally, Council tried to present all this in a positive light, issuing a press release in 1989 entitled ‘To meet demand for professional embroiderers Royal School of Needlework to Double Number of Apprentices. Covent Garden premises to be sold to endow pupils’.

The release began in a very upbeat way talking about increasing the number of apprentices, but the corollary was the loss of all classes, because the workroom must continue. The press release gave the idea that the income from the property sale would endow the training places, alas this was not so. The money went to pay the debts.

(below) The RSN contributed lace given by Queen Mary to the wedding dress of Lady Diana Spencer.

[Photograph: Anwar Hussein/Alamy]

(opposite) The cover of the Radio Times in the week of the wedding of the Prince of Wales to Lady Diana Spencer, worked by the RSN [RSN Archive]

Work and Events in the 1980s

As has been seen before, the RSN can be a tale of two parallel lines: internal and external. The Chairman’s annual reports in 1988 and 1989 make no mention of the impending catastrophe. Instead, they talk of work accomplished, clients pleased and to add to the positive, the people presenting the certificates to graduates these years were celebrities and significant figures: 1985 Elizabeth Emanuel (co-creator of Princess Diana’s wedding dress) and the Queen Mother visited the apprenticeship exhibition; 1987 The Lord Mayor of London; 1988 actress Nanette Newman; and in 1989 actress Una Stubbs, both actresses were keen stitchers.

In the 1980s, as well as creating designs in the paint room, Sue Skeen was undertaking a PR role for the RSN, and several articles followed in popular magazines of the time such as Pins and Needles in 1984 which interviewed apprentices and Miss Bartlett

152

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Two further topics were introduced, responding to a rise in interest in the embroidered boxes of the 17th century, that is box-making and stumpwork or raised embroidery. Church vestments was another subject straight out of the workroom. Apprentices made scale versions of a burse, stole, alms bag, banner and a cope to understand the principles of how they are made. Creative box was added as an extension to basic box, and, because it is never quite known when it might be needed, coronation goldwork.

Also introduced in the late 1990s was the joint project, where the first two year-groups of the apprenticeship would work together on a piece. The largest of these celebrates being at Hampton Court and features a lion, two griffin supporters, the rose window and a selection of chimneys, being some of the key symbols of the Palace building.

There was the recreation of an 18th-century dress and two gauntlets made to commemorate the 1805 battle of Trafalgar. These projects fostered teamwork, but more than that they reinforced the aim of the RSN which was that a group of people should work on a piece and it should appear as if it were the work of a single person. During the latter stages of the apprenticeship, this was learned from making a series of kneelers for the Clothworkers’ church, St Olave’s, in the City, a project which was continued into the Future Tutors programme. While this used the simplest of stitches, it had the greatest potential for revealing any stitching that did not match.

By the early 2000s the fundraising was getting harder and was not covering the cost of the course, albeit that several other livery companies had come on board such as Dyers, Girdlers, Haberdashers and

164

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(left) Coronation goldwork was continued in the apprenticeship to keep the skills alive. This example by Shelley Cox. (right) Highland cattle embroidered by Sarah Homfray was one of the Hilda Watson award winners.

[Photographs: John Chase]

(above left) The RSN was asked by Hampton Court Palace to recreate the King’s Throne Canopy of William IV, following the fire at the Palace. The request was a little unusual as the RSN was asked to make it to mirror the condition of its predecessor, so while being newly made, it needed to appear as if 300 years old, complete with tarnished metal thread and conservation netting.

[RSN Archive]

(above right) Banner for the Worshipful Company of Gold and Silver Wyre Drawers, one of several livery companies with which the RSN still has connections [RSN Archive].

(left) Sample panel for Eurotunnel designed by David Gentleman and embroidered by the RSN [RSN Collection]

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Two further topics were introduced, responding to a rise in interest in the embroidered boxes of the 17th century, that is box-making and stumpwork or raised embroidery. Church vestments was another subject straight out of the workroom. Apprentices made scale versions of a burse, stole, alms bag, banner and a cope to understand the principles of how they are made. Creative box was added as an extension to basic box, and, because it is never quite known when it might be needed, coronation goldwork.

Also introduced in the late 1990s was the joint project, where the first two year-groups of the apprenticeship would work together on a piece. The largest of these celebrates being at Hampton Court and features a lion, two griffin supporters, the rose window and a selection of chimneys, being some of the key symbols of the Palace building.

There was the recreation of an 18th-century dress and two gauntlets made to commemorate the 1805 battle of Trafalgar. These projects fostered teamwork, but more than that they reinforced the aim of the RSN which was that a group of people should work on a piece and it should appear as if it were the work of a single person. During the latter stages of the apprenticeship, this was learned from making a series of kneelers for the Clothworkers’ church, St Olave’s, in the City, a project which was continued into the Future Tutors programme. While this used the simplest of stitches, it had the greatest potential for revealing any stitching that did not match.

By the early 2000s the fundraising was getting harder and was not covering the cost of the course, albeit that several other livery companies had come on board such as Dyers, Girdlers, Haberdashers and

164

a n u n b ro k e n t h r e a d

(left) Coronation goldwork was continued in the apprenticeship to keep the skills alive. This example by Shelley Cox. (right) Highland cattle embroidered by Sarah Homfray was one of the Hilda Watson award winners.

[Photographs: John Chase]

(above left) The RSN was asked by Hampton Court Palace to recreate the King’s Throne Canopy of William IV, following the fire at the Palace. The request was a little unusual as the RSN was asked to make it to mirror the condition of its predecessor, so while being newly made, it needed to appear as if 300 years old, complete with tarnished metal thread and conservation netting.

[RSN Archive]

(above right) Banner for the Worshipful Company of Gold and Silver Wyre Drawers, one of several livery companies with which the RSN still has connections [RSN Archive].

(left) Sample panel for Eurotunnel designed by David Gentleman and embroidered by the RSN [RSN Collection]

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(top left) Jacobean crewelwork

by Liz Hands

(top right) Jacobean crewelwork

by Diana Cargill

(above left) Blackwork by Gillian Wilde

(above right) Blackwork does not need to be in black, Carole Holmes’s interpretation of the Alhambra

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(top left) Silk-shaded lily by Susan Cameron

(top right) Silk-shaded poppy

by Eileen Dalziel

(left) Chinese lanterns in canvas stitches by Belinda Calaguas

(above) Canvas stitches by Elizabeth Barnett referencing Wordsworth’s golden daffodils, with Windermere in the background

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185

(top left) Jacobean crewelwork

by Liz Hands

(top right) Jacobean crewelwork

by Diana Cargill

(above left) Blackwork by Gillian Wilde

(above right) Blackwork does not need to be in black, Carole Holmes’s interpretation of the Alhambra

184

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(top left) Silk-shaded lily by Susan Cameron

(top right) Silk-shaded poppy

by Eileen Dalziel

(left) Chinese lanterns in canvas stitches by Belinda Calaguas

(above) Canvas stitches by Elizabeth Barnett referencing Wordsworth’s golden daffodils, with Windermere in the background

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Celebration and Coronation

The RSN team were keen to make the most of the anniversary. As has been noted through the ups and downs recorded in this book, it was not a given that the organisation would ever reach such an impressive milestone. However, even the pandemic could not stop the current team of staff and tutors from working to ensure we were around to commemorate the achievement, and our next 150 years got off to an exciting start.

To make the most of the year, our principal outreach was through holding exhibitions to enable more people to learn about the RSN, its work and its Textile Collection and Archive. By the end of the year, the RSN had been part of five exhibitions, four in the UK and one in the United States.

We had been scheduled to hold a second exhibition at Ely Cathedral in 2021,1 but with the ongoing Covid-19 issues it was postponed.

Following on from the original very successful exhibition we had taken there in 2015, at the request of Ely, we combined a second part of For Worship and Glory, featuring ecclesiastical objects from the RSN Collection, with recent work by RSN degree students. The request for recent work was because of the strong textile programme at King’s Ely school. To make this exhibition truly special, we loaned all 12 of the Litany of Loreto embroideries, making it the first time they had all been seen together since 2013. Thanks to the team at Ely these beautiful pieces were hung in the Lady Chapel at eye level making it possible for visitors to have a very close look for as long as they wished. Nearly 5,000 people attended the show between January and March.

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ch apter 9

Celebration and Coronation

The RSN team were keen to make the most of the anniversary. As has been noted through the ups and downs recorded in this book, it was not a given that the organisation would ever reach such an impressive milestone. However, even the pandemic could not stop the current team of staff and tutors from working to ensure we were around to commemorate the achievement, and our next 150 years got off to an exciting start.

To make the most of the year, our principal outreach was through holding exhibitions to enable more people to learn about the RSN, its work and its Textile Collection and Archive. By the end of the year, the RSN had been part of five exhibitions, four in the UK and one in the United States.

We had been scheduled to hold a second exhibition at Ely Cathedral in 2021,1 but with the ongoing Covid-19 issues it was postponed.

Following on from the original very successful exhibition we had taken there in 2015, at the request of Ely, we combined a second part of For Worship and Glory, featuring ecclesiastical objects from the RSN Collection, with recent work by RSN degree students. The request for recent work was because of the strong textile programme at King’s Ely school. To make this exhibition truly special, we loaned all 12 of the Litany of Loreto embroideries, making it the first time they had all been seen together since 2013. Thanks to the team at Ely these beautiful pieces were hung in the Lady Chapel at eye level making it possible for visitors to have a very close look for as long as they wished. Nearly 5,000 people attended the show between January and March.

210

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dandelion (here to represent the Passion but indicative of all wild flowers). It has been brought to life by showing the dandelion clock beginning to blow away and each seed is represented by a tiny pearl.

The rendition of the dandelion has made it the most popular of the flowers, from the appreciation of Their Majesties when they saw the work in progress to later commentators; Hello magazine singled it out as their favourite motif of the whole coronation regalia.

‘So many of the pieces … wouldn’t have existed without the skills of the RSN. The dandelion seeds realistically worked to appear as if they’re blowing across the silk velvet are, perhaps, a favourite.’ Hello magazine, Monday 24 July 2023 In the typical way of RSN working, a team of people worked on the Robe and when one got up, another would carry on, yet it still looks like the work of just one person. This remains the hallmark of the RSN professional embroiderers.

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Working on the Queen’s Robe of Estate (see pages 84 and 106 for the same scenes from 1937 and 1953) [RSN Collection. Photograph: John Chase]

(top left) Working on the Queen’s Robe of Estate

[RSN Collection. Photograph: John Chase]

(top right) Detail of the Queen’s Robe of Estate, showing the rose

[RSN Collection. Photograph: John Chase]

(right) The Queen’s cypher [RSN Collection. Photograph: John Chase]

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dandelion (here to represent the Passion but indicative of all wild flowers). It has been brought to life by showing the dandelion clock beginning to blow away and each seed is represented by a tiny pearl.

The rendition of the dandelion has made it the most popular of the flowers, from the appreciation of Their Majesties when they saw the work in progress to later commentators; Hello magazine singled it out as their favourite motif of the whole coronation regalia.

‘So many of the pieces … wouldn’t have existed without the skills of the RSN. The dandelion seeds realistically worked to appear as if they’re blowing across the silk velvet are, perhaps, a favourite.’ Hello magazine, Monday 24 July 2023 In the typical way of RSN working, a team of people worked on the Robe and when one got up, another would carry on, yet it still looks like the work of just one person. This remains the hallmark of the RSN professional embroiderers.

232

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Working on the Queen’s Robe of Estate (see pages 84 and 106 for the same scenes from 1937 and 1953) [RSN Collection. Photograph: John Chase]

(top left) Working on the Queen’s Robe of Estate

[RSN Collection. Photograph: John Chase]

(top right) Detail of the Queen’s Robe of Estate, showing the rose

[RSN Collection. Photograph: John Chase]

(right) The Queen’s cypher [RSN Collection. Photograph: John Chase]

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(opposite) Her Majesty Queen Camilla wearing the Robe of Estate at Buckingham Palace for the official Coronation Portrait

[Royal Collection Trust/All Rights Reserved. Photograph: Hugo Burnand]

(right) The full splendour of Her Majesty’s Robe of Estate [Royal Collection Trust/All Rights Reserved]

In addition to the flowers, the robe needed to include Her Majesty’s crown and cypher. As for previous robes, these were worked separately and we chose to give this work to our most senior tutor, assessor and moderator, Debra Jackson. Debra started as an apprentice in 1979 and graduated in 1981; she led the work on this piece but in true RSN style, she was assisted by several others.

Her Majesty loved the Robe of Estate and was only sad she could not wear it the entire time. She sent the RSN a very warm personal note of thanks after the coronation.

Altogether the List for 2023 would certainly rival that of 1937 with the conservation of three items and the creation of six. This was an immense amount of work, especially as only one was in production by Christmas 2022, but it was a task the RSN professional embroiderers were able and willing to rise to. Watching the coronation, work by the RSN was visible during almost every moment of the ceremony.

While all the coronation work was going on in secret behind the scenes, normal day-to-day life was continuing, even tours in the Studio

236

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c h a p t e r 9 : c e l e b r a t i o n a n d c o ro n a t i o n

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(opposite) Her Majesty Queen Camilla wearing the Robe of Estate at Buckingham Palace for the official Coronation Portrait

[Royal Collection Trust/All Rights Reserved. Photograph: Hugo Burnand]

(right) The full splendour of Her Majesty’s Robe of Estate [Royal Collection Trust/All Rights Reserved]

In addition to the flowers, the robe needed to include Her Majesty’s crown and cypher. As for previous robes, these were worked separately and we chose to give this work to our most senior tutor, assessor and moderator, Debra Jackson. Debra started as an apprentice in 1979 and graduated in 1981; she led the work on this piece but in true RSN style, she was assisted by several others.

Her Majesty loved the Robe of Estate and was only sad she could not wear it the entire time. She sent the RSN a very warm personal note of thanks after the coronation.

Altogether the List for 2023 would certainly rival that of 1937 with the conservation of three items and the creation of six. This was an immense amount of work, especially as only one was in production by Christmas 2022, but it was a task the RSN professional embroiderers were able and willing to rise to. Watching the coronation, work by the RSN was visible during almost every moment of the ceremony.

While all the coronation work was going on in secret behind the scenes, normal day-to-day life was continuing, even tours in the Studio

236

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c h a p t e r 9 : c e l e b r a t i o n a n d c o ro n a t i o n

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(above left) Final major project by Jenna Riddell

[RSN Collection. Photograph: TAS]

(above right) Final major project by Elizabeth Gray (detail) [RSN Collection. Photograph: TAS]

(bottom left) Final major project by Tomas Asmelash [RSN Collection. Photograph: TAS]

(bottom right) Final major project by Imogen Marmont [RSN Collection. Photograph: TAS]

(top left) Final major project

by Freya Stanford [RSN Collection. Photograph: TAS]

(top right) Final major project

by Chloe Angrave [RSN Collection. Photograph: TAS]

(bottom left) Final major project by Rebecca Ash

[RSN Collection. Photograph: TAS]

(bottom right) Final major project by Emily Barnett [RSN Collection. Photograph: TAS]

240

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(above left) Final major project by Jenna Riddell

[RSN Collection. Photograph: TAS]

(above right) Final major project by Elizabeth Gray (detail) [RSN Collection. Photograph: TAS]

(bottom left) Final major project by Tomas Asmelash [RSN Collection. Photograph: TAS]

(bottom right) Final major project by Imogen Marmont [RSN Collection. Photograph: TAS]

(top left) Final major project

by Freya Stanford [RSN Collection. Photograph: TAS]

(top right) Final major project

by Chloe Angrave [RSN Collection. Photograph: TAS]

(bottom left) Final major project by Rebecca Ash

[RSN Collection. Photograph: TAS]

(bottom right) Final major project by Emily Barnett [RSN Collection. Photograph: TAS]

240

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W

‘Fascinating book …’ Stitch magazine ‘… a beautiful keepsake book.’ Textiles magazine

Celebrating 150 Years of the Royal School of Needlework

This richly illustrated book tells the remarkable history of the Royal School of Needlework, from its founding 150 years ago to the present day. Its visionary initiative was to popularise traditional embroidery techniques, whilst providing a suitable livelihood for women in need of employment. An Unbroken Thread highlights work for royal and other special commissions, shows the evolution of the school as fashions changed and details the school’s association with everyone from society ladies and theatre impresarios in the late 19th century to working with great fashion designers in the 21st.

sus a n k ay-w i l l i a m s

Celebrating 150 Years of the Royal School of Needlework

Updated and expanded to present the most recent projects worked by the RSN, this new edition showcases their skilful work on regalia for the Coronation of Their Majesties King Charles III and Queen Camilla.

su s a n k ay-w i l l i a m s

ISBN: 978-1-78884-260-0

9 781788 842600

55000

£37.50/$50.00

www.accartbooks.com

An Unbroken Thread Cover.indd 2

14/12/2023 2:11 pm