The Clothworker: Autumn 2020

Page 1

AUTUMN 2020 | No. 22

THE CLOTHWORKER

www.clothworkers.co.uk


CONTENTS ‘THANK YOU’ FROM SIR JONATHAN PORTAL, BT

4

WEAVING HISTORY...

5

COVID-19 RESPONSE: CECP

6

NEW TRUSTEES...

7

COCKPIT ARTS...

8

NEW DESIGNERS...

12

BRITISH TEXTILE WEEK (UKFT) 14 MADE IT (UKFT)

16

CHARITY GOVERNANCE AWARDS 2020

18

TRIBUTES

20

ST OLAVE’S WELCOMES A NEW RECTOR

22

MILITARY AFFILIATES (SCOTS GUARDS)

23

NEWS & NOTICES

24

“I am honoured and humbled by my election.” Cover: Design from Cockpit Arts weaver, Sophie Graney, who received a Clothworkers’ bursary in 2018.

2

THE CLOTHWORKER | AUTUMN 2020

Mr Alex Nelson, Master (2020-21)


MESSAGE FROM THE MASTER, MR ALEX NELSON

I

am honoured and humbled by my election on Wednesday, 2 September. The Election Court was held later than usual owing to the pandemic, and the Court met at Clothworkers’ Hall for a hybrid meeting; those present at the Hall maintained social distancing and wore disposable visors, while others joined virtually on big screens erected in what is now a ‘Zoom Room’ in the Court Room. Although this was the first such hybrid meeting, I suspect this is going to become a regular part of our meetings in the future to avoid long journeys and overnight stays. I was worried what would happen if my temperature was too high on entering the Hall, but it was only 35.9 C, so I was duly admitted. The normal gap from June’s Election Court to the Installation of the new Master was reduced from around 35 days to about

three hours, as we held both Court meetings in the same day. I shall serve The Clothworkers’ Company and its membership to the best of my ability. It will be a challenging year inevitably, and we do not yet know what those challenges will be. But we have work to do on Diversity, Environmental Action, Mental Health and supporting BAME communities, as well as a review of The Clothworkers’ Foundation. We also need to consider carefully how to go ahead with the development of the Hall Island Site (‘50 Fenchurch Street’), given the changes to working practices in the City of London. The date of the Election and Installation Court meetings, 2 September, also marked the

anniversary of the start of the Great Fire of London, when Alderman Nicholas Bonfoy was Master. The Fire cost us our third hall, even though we were on the very edge of the burnt area. In 1752, the Master was James Crawforth; in his year, we changed from the Gregorian calendar to the Julian one, and from 2 September we jumped overnight to 14 September. He had a short year, like me. Our motto, ‘My Trust is in God Alone’, comes from Psalm 62. Although an uncomplicated phrase, it is – perhaps surprisingly – only used by ourselves and Sutton Valence School, which was governed by The Company until 1910. Trust in God, in good times and bad, it exhorts. He will guide you; have faith in Him. My trust is in God alone. I hope yours will be also.

The first hybrid Court Meeting, using our new ‘Zoom Room’ technology at Clothworkers’ Hall.

THE CLOTHWORKER | AUTUMN 2020

3


‘THANK YOU’ FROM SIR JONATHAN PORTAL, BT

F

ellow Clothworkers! [In September], I handed over the magnificent Master’s Badge. I’m proud to have been your 500th Master. The latter part of my year was unexpectedly extraordinary, but the first half was extraordinarily wonderful and fascinating. It was a great privilege to represent The Company at so many different events in London and around the UK. They were such happy times and worthwhile, too, as connections and friendships were made, both for me personally, and for The Company.

enthusiastic membership we have!

I look back on the latter part of my year with a smile. I’m still absorbing the energy generated from all the lovely communications I’ve had with so many of you during lock down – and more recently, too. We’ve all been challenged in our different ways – but the conversations, the fellowship, the engagement, the sometimes-rather-random chats have been truly amazing, unforgettable and encouraging. What a dynamic and

I look forward to seeing how these projects develop and also the evolution of socially-distanced programmes for us to meet and engage with The Company’s and Foundation’s missions.

4

THE CLOTHWORKER | AUTUMN 2020

You will have read about The Company’s successes: planning permission for 50 Fenchurch Street, the enormous sums channelled into a COVID-19 charitable response, the 500th Master’s banners, new website, and more. You will have noticed that we’ve made our first social investments – an exciting step for us; making loans to suitable charitable projects. In time, that money will be repaid, then recycled to benefit other organisations.

Thank you to our wonderful staff and to everyone who contributed to making my year work. It’s certainly been different. But with the fun, the evolution and the sheer variety, the truth is I enjoyed it all – before and after lock down.


WEAVING HISTORY AT WHITCHURCH SILK MILL

W

hitchurch Silk Mill is the oldest silk mill in the country and thought to be on the same site as one of the four mills recorded in the Domesday Book. Situated only a few miles south of Newbury, it is beside the River Test on a piece of land called Frog Island. Now a working museum, the Georgian mill is a reminder of Britain’s industrial heritage and continues to weave silk fabrics using 19th-century machines. It was built in 1815 by Henry Hayter, and initially focused on the ‘fulling’ process – cleansing woven materials in order to remove oils. After the Battle of Waterloo, the country’s economy declined. The mill went bankrupt and was sold in 1817, 1844 and again in 1846. By 1866, the mill passed into the ownership of James Hyde, a nephew of Thomas Burberry – founder of the clothing chain of the same name – and produced 22 different coloured serge linings for trench coats. In the 1890s, the mill was modernised; the waterwheel was widened to allow it to operate at 11 horsepower. The waterwheel was the sole power source of the looms until the 1920s, when the power source was converted to electricity. Hyde owned the mill until 1955, when it was bought by a silk weaver to preserve the Victorian machinery and looms. It was then sold to a company that made barristers’ robes and graduate gowns. In 1985, the building was on the market for housing development, but the Hampshire Buildings Preservation Trust stepped in to save it. The mill re-opened as a working museum, under the management of Whitchurch Silk

Mill Trust, to ensure the survival of winding and weaving using traditional technologies and methods. Today, the mill operates three looms built in the 1890s, and aims to preserve traditional weaving skills. Its output includes exclusive fabrics for the luxury market such as scarves and silk face masks, giftware and miscellaneous accessories made of pure silk, linen, worsted wool, taffeta, twill and more. But traditional production methods are not fast; delivery of a 150-meter order of silk can take up to 16 weeks to ensure the highest quality of production and preserve the historic machinery and traditional processes for the future. In 2019, two weavers collaborated on a project for The Clothworkers’ Company, producing 600 silk fish, filled with lavender, to be presented to guests of the Master and the Master’s Lady. The mill partners with The Weavers’ Company and art colleges to support four student placements each summer. However, beyond the commercial production, the mill welcomes in excess of 30,000 visitors each year, inviting them to learn more about the history of the mill and silk weaving in the UK. In 2020, Whitchurch Silk Mill won a TripAdvisor Travellers’ Choice Award and received an award (with £1,000) from Ecclesiastical’s ‘Movement for Good’ programme. In 2019, the Grade II listed mill earned two RIBA awards. You can find out more – including how to visit – through the website at whitchurchsilkmill.org.uk. Left: Working on a loom at Whitchurch Silk Mill. © HCC Architects. THE CLOTHWORKER | AUTUMN 2020

5


COVID-19 RESPONSE: CECP Initial Inisights into the Clothworkers’ Emergency Capital Programme (CECP)

T

he Clothworkers’ Foundation was among the first major UKfunders to launch a response to the COVID-19 pandemic. That response included the Clothworkers’ Emergency Capital Programme (CECP), which was open from April to June 2020, and awarded 327 grants, or £1,120,800. For organisations supporting disadvantaged communities and individuals, COVID-19 has been particularly difficult. The demand for services and other support has increased, whilst government restrictions have prevented organisations from using traditional delivery methods. The CECP awarded small capital grants to organisations adapting their services during the pandemic. Priority was given to organisations supporting disadvantaged and ‘at risk’ groups within The Foundation’s nine programme areas. The Foundation, which itself had to adapt to remote working as the UK

went into a national lock down, had to change its normal processes in order to deliver quick decisions on the extraordinary grants programme during the crisis. A new report, which was executed internally and presents initial insights into the CECP, has been published. In summary, it shows that: • •

the average grant was £3,430; in more than 50% of the cases, the grant covered the total cost of the capital project; 80% of grants were used by organisations to purchase IT equipment (to be used both by staff to deliver, and beneficiaries to access, services); the annual income of grantees ranged from £2,500 to over £2 million, and the average income was £484,000 per annum; two thirds of grants went to organisations supporting people with disabilities, disadvantaged young people, and older people;

whilst 12% of grants benefited individuals from BAME communities, only 5% of grantees were ‘BAME’ organisations as defined by the Race Equality Alliance’s data audit tool (the report outlines a response).

The Foundation has not requested monitoring information from grantees as part of the terms and conditions of the CECP. However, the team is developing a simple and optional monitoring process for the programme, to better understand how effectively its grant making has supported charities through the pandemic, and intends to publish these findings in due course. The Foundation’s full COVID-19 response budget was £2.1 million, which included funds distributed via the CECP as well as a £500,000 contribution to the National Emergencies Trust (recognising the expertise of Community Foundations and the value of place-based funding), c. £300,000 to the London Community Response Fund (working with Londonbased funders to support the capital’s voluntary organisations), £100,000 to existing grantee RedR in support of their international COVID-19 response, and the development of ‘DigiSafe’ – a new step-by-step guide to digital safeguarding. The next phase of The Foundation’s COVID-19 grant-making will be focused on two proactive initiatives: (1) working with BAME intermediary partners to distribute grants to smalland medium-sized BAME organisations responding to the pandemic and (2) supporting the domestic abuse sector. Read the full report online at: www.clothworkersfoundation.org.uk.

6

THE CLOTHWORKER | AUTUMN 2020


TWO NEW TRUSTEES APPOINTED TO THE CLOTHWORKERS’ FOUNDATION BOARD For the first time, The Clothworkers’ Foundation held an open application process to recruit Clothworkers – Livery or Freedom – for two seats on its board, with a view to broadening the skills and experience among trustees. Anyone with relevant skills, expertise in the charity sector, or lived experience in one or more of The Foundation’s main programme areas was encouraged to apply. It was important that the right candidates had: • Ability to operate within a board environment (although need not have served on a board); • Ability to build and sustain relationships with key stakeholders and colleagues to achieve organisational objectives; • A consultative, collegiate, constructive and supportive style; • Good communication skills and the ability to listen sensitively to the views of others, gaining trust and respect from other board members; • Ability to represent The Foundation internally and externally; • A commitment to fairness and to promoting equality and diversity. We’re delighted to announce that Emma Ingham Clark and Neel Patani have been appointed, following a competitive and rigorous application and interview selection process. We know that both will broaden the skills and experience available on the board, and help The Foundation better fulfil its mission. ABOUT EMMA Emma is a Management Consultant working within Accenture’s Health & Public Service division. Her CV describes her as passionate about engaging with public sector and charitable organisations to drive

impactful and lasting change. Inside and outside the workplace, Emma embraces innovative and collaborative ways of working to improve outcomes. She champions a human-centric approach, putting the individual at the heart of every initiative. Emma completed a Change Management Certification Programme this year and earned a Bachelor of Arts in Politics, International Relations and Arabic from University of Cambridge. She became Free of the The Company in 2018. ABOUT NEEL Neel is a Finance and Investment postgraduate scholar who is currently working for MUFG Securities PLC as a Relationship Manager and Vice President. His CV highlights his extensive experience combining a high level of technical skill with an aptitude to work under pressure in a fast-paced, results-orientated environment in pursuit of excellence, both individually and collaboratively as part of a team. Neel has earned CFA Level I, CFA Level II Candidate, is a full member of the Chartered Institute for Securities and Investment (CISI), and holds a Master of Sciences in Finance and Investment as well as a Bachelor of Arts (Hons) in Economics from University of Exeter. He became Free of The Company in 2019. At the time of publication, The Clothworkers’ Foundation has now begun the search for another two trustees – this time recruiting externally to The Clothworkers’ Company community. This expansion of the board of trustees is also part of our intentional effort to create a more diverse and inclusive board, broadening skills and experiences to better understand and serve the people and communities impacted by funding from The Clothworkers’ Foundation. Watch this space for more news!

THE CLOTHWORKER | AUTUMN 2020

7


COCKPIT ARTS: THE CLOTHWORKERS’ AWARD Three New Weavers Join the Deptford Studio, as the 2018 Award Recipients Take the Next Step

T

hree new weavers have joined the Cockpit Arts studio with a bursary funded by The Clothworkers’ Company. Alicia Rowbotham is a bespoke textile designer with a focus on sustainable and responsible design. Her practice focuses on collaboration between manufacturers and designers, harnessing the potential of textile mill waste and utilising this resource for the benefit of both the industry and the designer. Since graduating from Central Saint Martins with a specialist degree in woven textiles in 2019, Alicia has been driven by the reclamation of traditional, established craft methods in a contemporary context. She is currently working with Joyce Wang Studio on the refurbishment of The Berkeley Hotel, Knightsbridge, and creating a range of decorative textile elements with waste materials inspired by a ‘Makers House’ concept of collaborative craftsmanship. Francesca Miotti graduated from

8

THE CLOTHWORKER | AUTUMN 2020

Central Saint Martins in 2020. She works with weaving as a medium to be included in several contexts, moving away from the usual idea of cloth and using the technical restrictions of the process to allow a more conscious experience with materials and their qualities. Recently, Francesca collaborated with a Reggio Emilia Approach nursery, gathering inspiration from the natural responses of children towards materials and textile techniques, using hand-weaving as a way of translating the actions into sculptural sensory and interactive pieces which embody this relationship. She uses a variety of weaving and traditional hand-finishing techniques, as well as basketry, to combine paper yarns and different fibres. After graduating from Central Saint Martins in 2018, Millie Thomas worked within the woven textiles industry in Italy, designing for an Italian weaving mill, and in London for a heritage woven textiles company. Millie takes

a biomimetic approach to her work, drawing inspiration from nature to create bold patterns, 3D textures and elegant structures. She uses extra weft figuring techniques and warp floats – mixing yarn types, colours and finishes. She aims to continue developing her practice to explore the intersection between science and design, integrating the beauty and complexity of nature into fabrics and products.

Below: A sample of Millie’s work. Facing page: One of Francesca’s projects features on the top, with an example of Alicia’s work beneath it.


THE CLOTHWORKER | AUTUMN 2020

9


COCKPIT ARTS: THE CLOTHWORKERS’ AWARD (CONTINUED...) Three New Weavers Join the Deptford Studio, as the 2018 Award Recipients Take the Next Step

2018 AWARD RECIPIENTS Meanwhile, Our Clothworkers’ Award recipients from 2018 are getting ready for the next step and new challenges. We’ve seen amazing things from Poppy Fuller Abbott, who creates abstract textile designs often inspired by magic, and has an experimental approach, using sustainable paper yarn and natural dyes in her textiles. Follow her work on Instagram: @PoppyFullerAbbott. Elle Decoration Award winner (2017) Vicky Cowin is moving into her own studio at Cockpit. She specialises in hand-woven art and interior products, using complex techniques to weave tactile designs. Follow her work on Instagram: @VickyCowin. Sophie Graney combines hand-woven techniques with a passion for material exploration and unconventional yarns. Rubber-coated yarn dominated one of her recent collections, alongside handdeveloped PVC and leather with thick, chunky sections. Follow her work on Instagram: @SophieGraney.

10

THE CLOTHWORKER | AUTUMN 2020

Elizabeth Ashdown focuses on hand-woven, hand-constructed and hand-embellished Passementerie that are designed to be worn on the body as playful, luxurious and exuberant decorations and accessories. She also weaves bespoke lengths that are used to decorate interior accessories and furnishings. Shortly after joining Cockpit, Elizabeth won our commission for a decorative woven insert for the 2019 Charity Governance Awards trophies. Follow her work on Instagram: @AshdownTextiles. MAKING COMMUNITY: THE COCKPIT EFFECT 2020 Makers based at Cockpit Arts make a big contribution to the capital’s thriving creative industries, according to the Cockpit Effect (2020) report. The 147 businesses based at Cockpit’s studios enjoyed increasing profitability in 2019. Together these jewellers, ceramicists, weavers and woodturners (some of whom are international leaders in their field) generated £5.9 million in total annual sales. Profits

and GVA grew by an average 12% and 20%, respectively, against an increase in turnover of 7.7%, for those reporting two years’ data. In the craft sector, as with retail more generally, market conditions continue to challenge. Last year, the Mayor of London highlighted the threat to studio space in the capital – with a loss of 17% of affordable spaces and a forecast drop of a further 24%. Cockpit makers’ success is down to how they marry exceptional skill and artistic excellence with savvy business sense cultivated by the inhouse enterprise support at Cockpit’s Deptford and Holborn studios. This impressive impact has not gone unnoticed. For a second year, Cockpit was recognised on the NatWest SE100 index of the top 100 UK social enterprises. And this year the social enterprise was also shortlisted for the SE100 Impact Champion Award. Find out more about Cockpit Arts, the ‘Cockpit Effect’, and our weavers at: cockpitarts.com.


Facing page: Example of Vicky Cowin’s work. When she won the Elle Decoration Award, she said, ‘I’m inspired by signs and symbols, alchemy and traditional costume. I mix up ideas, creating a drawing effect with warps and wefts.’ See more at vickycowin.co.uk. Above: Home goods by Sophie Graney, who is also featured on the cover of this magazine. See more at sophiegraney.co.uk. THE CLOTHWORKER | AUTUMN 2020

11


12

THE CLOTHWORKER | AUTUMN 2020


NEW DESIGNERS: ELLEN MARTIN The Clothworkers’ Company Printed Textile Design Award

“I am absolutely delighted to have won The Clothworkers’ Company’s Printed Textile Design Award. New Designers is an important event in the textile design calendar, and I had been looking forward to it throughout my studies.”

F

or 2020, the New Designers awards were managed remotely and celebrated with a virtual ceremony this past September. Clothworkers Fiona Ginnett, Scarlet Oliver and Emily May acted as judges for the Printed Textile Design Award. They awarded our Clothworkers’ Associate Prize to Ellen Martin. The award brief invited applicants to be brave, trend setting, innovative and have a good sense of colour with a specific end use in mind. Applicants were asked to also demonstrate preparedness to ‘cross over’ into other merchandise arenas. This past July, Ellen graduated from The Glasgow School of Art with a BA (Hons) in Textile Design. Her graduate collection, ‘Kyoto’ is based on research she gathered while studying traditional Japanese textile techniques at Kyoto Seika University in 2019. Photographs taken in the streets, shrines and temples of the city were translated into detailed drawings and collages, with a focus on repeat pattern. This led Ellen to experimentation with pleated and folded papers, informed by origami, to

Ellen, Award Recipient consider how patterns change when manipulated and folded. From the research drawings and collages, a series of repeat patterns were developed digitally, then layered over images of pleats and folds to achieve a three-dimensional effect. The textile outcomes include digitally printed silk habotai with subtle pleat and fold illusions, which has been used to produce a range of hand-made scarves and tops. In addition to the digital print designs that Ellen submitted to New Designers, her collection features designs made with a combination of other textile techniques, including samples of Katazome (a Japanese resistdyeing method). During the virtual award presentation, Clothworker judge Emily May said, ‘We were impressed by the subtleties in Ellen’s work, her use of colour, and her commitment to a wide variety of textile processes. We feel that her dedication to thoroughness will be an asset to the industry.’ After receiving the news, Ellen wrote, ‘I am absolutely delighted to have won

The Clothworkers’ Company Printed Textile Design Award. New Designers is an important event in the textile design calendar, and I had been looking forward to it throughout my studies. I am so pleased that my work has been recognised, despite not being able to take part in a physical showcase this year. The prize money will help me to produce my own collection of textiles to sell, which I am currently working on while looking for other opportunities as a print designer. Thank you!’ You can see more of Ellen’s work at www.ellenmartintextiles.com. Judges also commended the work of several shortlisted applicants, including Catriona Battensby, Cara Fraser, Sarah Hampson and Heather Rumble. Sponsorship of the New Designers Associate Prize helps The Company meet its strategic objective to encourage innovation and foster talent among students and young designers – particularly those who demonstrate an advanced understanding of textile technologies and possess the ability to convert ideas into products. THE CLOTHWORKER | AUTUMN 2020

13


HRH THE PRINCESS ROYAL LAUNCHES BRITISH TEXTILE WEEK WITH UKFT

U

KFT launched British Textile Week last month (September 2020) to provide a digital showcase of the craftsmanship, creativity and technical skills of the UK textile industry whilst the COVID-19 pandemic makes appearances at traditional trade fairs difficult in the UK and abroad. Her Royal Highness The Princess Royal officially opened the virtual event, in her role as President of UKFT. In a video, she said, ‘While 2020 has been a difficult year on a number of levels, the British textile industry has taken the opportunity to make use of new technology to promote itself to a far wider audience. As we launch the first ever British Textile Week, the UK Fashion and Textile Association (UKFT) has brought the length and breadth of British textiles and textile design together so that we can celebrate their talent and expertise, and their unique contribution to the economy and the quality of our daily lives. The week would not have been possible without the generous support of The Clothworkers’ Company and the Campaign for Wool. ‘The United Kingdom is renowned around the world for the quality and originality of its textiles... Less well known perhaps is that the UK is also home to extraordinary textile designers, colourists and technologists inspired but not constrained by our history. The UK is at the forefront of inventing new and more sustainable ways of spinning and dyeing fabric and produces innovative technical textiles and performance fabrics which are used across a wide range of sectors including medical, defence and aerospace. ‘UK textile mills supply quality, sustainable textiles from the high

14

THE CLOTHWORKER | AUTUMN 2020

street, right up to British and international designers, from Marks & Spencer to Paul Smith, not forgetting Vivienne Westwood and Stella McCartney, the tailors in Savile Row and the next generation of smaller tailors and brands. Their passion for using and supporting British textiles is truly inspiring...

people from both home and abroad study textiles at university each year on courses including textile design, technology and engineering.

‘In my work as President of UKFT, I have also visited numerous textile mills throughout the country. Recent visits have included Harris Tweed Hebrides, Lochcarron and Alex Begg in Scotland (pictured above), Mourne Textiles in Northern Ireland, Corgi in Wales and Luxury Fabrics in Yorkshire. Wherever I go, I am always impressed at the mills’ commitment to quality, sustainability and creating beautiful products as well as investing in stable employment for so many skilled workers.

During the week, UKFT shared stories from British textile companies and put the spotlight on some of the UK’s textile pioneers through articles, images, interviews, case studies, videos, seasonal trends and more.

‘The UK has a strong textile heritage and a promising future – and has demonstrated its ability to adapt and reinvent itself. In the UK 4,800

‘There is much to be proud of and celebrate and I am delighted to be able to launch the first British Textile Week and wish you all much success.’

UKFT co-ordinated the nation-wide project. Look back at the virtual event by searching #BritishTextileWeek on Facebook, Instagram or Twitter, or from the UKFT website at: www.ukft.org/britishtextileweek. In 2019, The Clothworkers’ Company committed £150,000 in funding over three years to support UKFT in raising the profile of UK Textiles at home and abroad.


“There is much to be proud of and celebrate, and I am delighted to be able to launch the first British Textile Week and wish you all much success.” HRH The Princess Royal

Facing page: HRH The Princess Royal in her virtual launch video. Right: ‘Made in England’, Alfred Brown supplies fabric to leading UK and international menswear brands. Creative and Product Manager Sam Brown discussed how lock down helped the Alfred Brown company evolve the business in a swiftly changing retail landscape. THE CLOTHWORKER | AUTUMN 2020

15


“We are delighted to be able to offer these opportunities to fashion and textile students across the UK. Graduates with a strong understanding of the production side of the industry are highly valued. The chance to work within some of the UK’s brilliant mills and manufacturers is invaluable.” Adam Mansell, CEO of UKFT

Left and facing page: Scenes from MADE IT II, which launched in 2020. The programme will work with UK university partners to provide enriched opportunities for fashion and textile graduates.

16

THE CLOTHWORKER | AUTUMN 2020


MADE IT: THE UKFT UNIVERSITY PARTNERSHIP Five UK Universities Sign Up for MADE IT II

T

he MADE IT programme, which UKFT first launched in 2017, is back. It has been developed to enrich the production and sourcing knowledge of fashion and textile graduates and to illustrate the wealth of technical and creative roles available throughout the UK supply chain. The universities selected to take part this academic year (2020-21) are Plymouth College of Art, Winchester School of Art, De Montfort University, University of Salford, and Bucks New University. Bashir Aswat, Programme Leader for MA & BA Fashion Design at University of Salford, said, ‘We are proud once more to be working with UKFT as part of the MADE IT project. It’s a great opportunity for our students to learn more about UK manufacturing for the apparel sector, and there is no better time given the current circumstances and changes

within the fashion industry. In particular, it’s a tremendous opening for one student to gain hands-on experience of production processes working with some of the best companies [in] the UK.’ The programme is made up of the following three elements: PRODUCTION AND SOURCING MASTERCLASS The masterclass will be delivered to each participating university, with the aim of promoting the importance of production and sourcing within a rounded fashion education and to highlight the breadth of job opportunities across the supply chain. PRODUCTION INTERNSHIP The MADE IT Production Internship was developed after observing the

impact of immersing students in the production environment. One student from each participating university will be offered a fully financiallysupported internship opportunity within a fashion or textile production environment in the UK. QUALITY INTERNSHIP MATERIAL UKFT will work with students and employers to develop two sets of publicly-available collateral that aim to raise the quality and expectations of internships across the industry: (1) Quality Internship Collateral for students and (2) Quality Internship Collateral for employers. This round of the MADE IT programme will run for the next three academic years and is supported by The Clothworkers’ Company and CapitB Trust.

THE CLOTHWORKER | AUTUMN 2020

17


CHARITY GOVERNANCE AWARDS 2020

W

e held our fifth annual Charity Governance Awards ceremony virtually in May 2020. We organise the annual event with partners NPC, Prospectus and Reach Volunteering, and our collective opinion was that good charity governance was more important now, in a time of crisis, than ever before. Our Clothworker Judges finished the first review of entries early in the year, and our team of Professional Judges persevered through the early days of the COVID-19 lock down to complete the second review and select the 2020 shortlist. This year, the Awards received more than 120 amazing entries, and the 21 shortlisted charities raised the bar on what good charity governance in the UK should look like. Although we couldn’t be together at Clothworkers’ Hall to raise a glass, we were still able to applaud the inspiring work of our shortlisted charities via a virtual ceremony on social media – mainly on Twitter, but also Facebook and LinkedIn. Clothworker Michael Jarvis (Past Master, 2016-17) opened the ceremony with a welcome video, and our ‘keynote speaker’, Becca Bunce,

18

THE CLOTHWORKER | AUTUMN 2020

provided us with an amazing and insightful article about trusteeship. We were able to confidentially contact representatives of the winning charities before the big reveal to record candid reactions to the good news, and to share them as part of the virtual ceremony. The winners of the Charity Governance Awards 2020 were: Board Diversity and Inclusivity: Public Interest Research Centre Embracing Digital: upReach Embracing Opportunity and Harnessing Risk: Muslim Women’s Network UK Improving Impact (0-3 staff ): Older Citizen’s Advocacy York Improving Impact (4-25 staff ): Sport 4 Life UK Improving Impact (26+ staff ): St Mary’s Hospice Managing Turnaround: Smallwood Trust

A round-up of the virtual event is posted to the Charity Governance Awards website, including a link to ‘Becca Bunce on Governance, Small Actions and Big Impact’ – an insightful article on changing the way we think, personally and as trustees or charity professionals. The article continues to resonate for trustees and their charities months after Becca first penned it. Visit charitygovernanceawards.co.uk. Alternatively, you can visit the Twitter account, @CharityGovAward, or search for #CharityGov20 across Twitter, LinkedIn and Facebook. We’re grateful to the nearly 60 Clothworkers who helped us in the first round of judging, allowing us to create a ‘long list’ of entries for our second round review by Professional Judges. If you’re interested in serving as a Clothworker Judge for 2021, please register via the link from the October e-Clothworker, or contact the Membership and Communications Manager, Renée LaDue, by email at reneeladue@clothworkers.co.uk.


Above: Becca Bunce is a passionate advocate of ensuring typically unheard voices are listened and responded to in decision-making. Her work focuses on enabling people with lived-experience to participate in and lead social change. She is a trustee at John Ellerman Foundation, and PhD student at King’s College London and UAL. Becca was on the Governance Code advisory group and co-directed the award-winning, law-creating IC Change campaign. President Obama called her an inspiration for her work on violence against women and disabled people’s rights and the University of London named her as one of its 150 leading women. Below is an extract from her ‘Keynote’ article.

An extract from ‘Governance, Small Actions and Big Impact’ by Becca Bunce: ‘Coronavirus disproportionately impacts black people and people of colour, disabled people, and people from low income backgrounds. The challenges that are now amplified by coronavirus aren’t new. BAME organisations have been underfunded for years – and now we could lose 9 out of 10 BAME organisations in the next three months. Disabled people’s organisations, migrant and refugee charities and domestic violence organisations all warned us of the increased demand for their services and decreased funding during austerity,

and are now facing terrible pressures. ‘We have to acknowledge that the systems that work in our own favour may be causing harm to others ... ‘How many boards have previously turned down disabled people who needed remote access to join? Some of these could benefit right now from their skills and insights into how to run effective online meetings. How many boards have recruited from the same circles, ignoring board diversity and inclusivity, and now lack the necessary knowledge and skills about how COVID-19 is impacting different communities? It is by doing the same things over and over that we do harm ...

‘The last few months have demonstrated how our everyday lives can be redesigned by us taking small, vital actions. At this moment, charity boards are facing a lot of tough, big decisions. It would be easy to say “We don’t have the time…,” to put our heads down, to ignore that the world as we know it has changed, to ignore the harm we are doing. ‘Or we can accept that the normal was never normal ... We can resist the urge to do what we have always done. Many of the shortlisted charities ... demonstrate how small actions have resulted in big impact. We know how to take action, we just need to choose what we will act on ... ’

THE CLOTHWORKER | AUTUMN 2020

19


TRIBUTES ENID GODWIN, LIVERYWOMAN & HEADMISTRESS OF THE MARY DATCHELOR SCHOOL Words of Appreciation by Vaninne Parkers (Chair, the ‘Old Girls Club’)

years. We’ve also been to see the Mary Datchelor stained glass, now hanging in Blackheath High. We’ve been on tours of Parliament, the Tower of London and more besides.

as a vehicle for understanding. He greatly enjoyed travelling and meeting individuals from other cultures; and he felt at home in most of the countries of the Middle and Far East.

[Enid passed away in December 2019.]

In 2014, we were delighted and grateful to be allowed the use of Clothworkers’ Hall, so that we could celebrate the 125th anniversary of our club. Dr Carolyn Boulter (Master, 2017-18) was our guest of honour. How we remember her and also her grandfather, Major Beachcroft when he was Chairman of the Governors!

Life for Hugh started out on the Cumbrian coast at St Bees, where his father – a man of the cloth – was headmaster during World War II.

O

ne can never know how farreaching may be the effects of a small generosity or a practical, but wise, decision. Miss Mary Datchelor’s bequest of 1726 – to enable the apprenticeship of two poor children of the City of London – eventually lost its original purpose, as social conditions changed. In the 1870s, her endowment was freed up; with it, the Mary Datchelor School was founded in Camberwell in 1877. The school struggled financially until it was transferred from the control of the Charity Commissioners to The Clothworkers’ Company in 1894. The Company provided generous support for generations of girls (and a few boys in early times), up to and during the post-World War II period, when the Mary Datchelor School entered the state system and came under the administration of the London County Council. It received additional help from the Clothworkers. The school’s closure in 1981, due to changes in education policy, remains a great sadness. All is not lost though. Nearly 40 years on, there is still a very active ‘Old Girls’ Club’ with 810 members worldwide. Miss Enid Godwin, the final mistress of the Mary Datchelor School, was one of them. The club holds regular local meetings with lunches, theatre or concert visits – essentially any excuse for friendly connection. Members have visited Wilson’s School to view the mural that once hung in the Mary Datchelor School’s main hall. The small draft for it was spotted and purchased at auction by an old girl in recent

20

THE CLOTHWORKER | AUTUMN 2020

Even now, like birds coming home to roost, many of us gather at St. Olave’s, Hart Street, for the Mary Datchelor carol service each year. Sometimes members have come from the Highlands, Solomon Islands and once, Tasmania! On the day of the carol service, just as we notice the bust of Samuel Pepys up there on the wall, always looking towards that of his wife across the nave, so we remain forever mindful of the strong resonance that the Worshipful Company of Clothworkers holds for Mary Datchelor women.

HUGH BOULTER, CONSORT TO PAST MASTER CAROLYN BOULTER (2017-18) Words of Appreciation by Past Master Michael Jarvis (2016-17) [Hugh passed away this past June.] Hugh’s background was in education and charities. He had a most admirable passion for dialogue between faiths in the Middle East – in which he was an indefatigable chair, facilitator, trainer and mentor. He was awarded a PhD in which he studied the role of the Holy Spirit in Christianity and Islam

Leaping two decades, he took his first degree at Corpus Christi, which members of the Court will remember as the centre point of the Master’s Outing at the completion of his wife’s year of service. He is alleged to have taken the rather opaque comment of the Oxford careers office to heart: ‘Mr Boulter; it is a pity we no longer have an Empire; you would have made an excellent Colonial Officer’. Instead, he volunteered to teach in Nigeria and shortly thereafter found himself as acting headmaster. His administrative talent and quiet leadership were to permeate the rest of his career. Carolyn and Hugh were of course the first full-time occupants of the new Master’s flat at our Hall. I asked a member of the staff about their recollection of the Consort to our first Lady Master. The reply referred to how quite extraordinarily supportive Hugh was of Carolyn – the unobtrusive companion, always there when needed. And that same member of our staff suggested to me that one very high point of ‘their’ year must have been their 50th wedding anniversary celebration, perfectly timed to take place at Clothworkers’ Hall. Finally, a very keen cook himself, you may remember that Hugh sought recipes to which our 2017 St Thomas Eve oranges might usefully be put. He was very kind about my resulting marmalade!


Court Assistant Peter Langley (left) presided over our first London Craft Week event at Clothworkers’ Hall (2018). During the event, we welcomed public audiences to enjoy a lunchtime lecture about the creation of our tapestry, The Caged Bird’s Song, and several opportunities to participate in a masterclass with the Master Weavers of Dovecot Tapestry Studio.

PETER J LANGLEY, ASSISTANT EMERITUS Words of Appreciation by Head of Collections and Archives Jessica Collins

Peter generously lent some of his own bindings for display in the Hall; in his typically modest way, he didn’t want any formal acknowledgement.

[Peter passed away this past October.]

As a member of the Court, he was a driving force behind our new Charter, Ordinances and Standing Orders, and his extensive knowledge of The Company’s holdings was immeasurably valuable to the Property and Investment Committee. The highlight of his tenure was his instrumental role in the ‘Chris Ofili – Dovecot’ tapestry commission, 2014-17. He insisted on calling it so, in recognition of the Master Weavers who painstakingly wove our triptych from Ofili’s small watercolour drawing.

Peter Langley was raised in Brighton and Hove, and began his legal career in Littlehampton before joining Slaughter and May in 1970. He acted as The Company’s legal adviser for more than 20 years prior to his retirement in 1999, joking that Clothworkers’ took such a long-term view of its property holdings, he was often tempted to negotiate 999-year leases, rather than the customary 99-year term. Peter was presented with the Honorary Freedom and Livery in 2000, and joined the Court in 2004. However, a quiet retirement was not for him – he completed his Bachelors and Masters degrees in the History of Art at Courtauld in 2003, indulged his love of books by assembling an important collection of fine bookbindings, and chaired our Collections and Archives Committee from 2008. It was at that point that our Company became actively involved in supporting endangered crafts – making significant strides in commissioning silver and bookbindings from talented craftsmen and providing key funding for a number of apprenticeships and bursaries to preserve and develop threatened skills.

Recently, Peter had taken a welldeserved step back from Clothworker affairs in order to build and enjoy his new home with his beloved wife, Sue, and was thrilled to have welcomed a new grandson into the family last year. Nevertheless, he was always happy to help with any problem big or small, so long as he never became ‘an interference.’ Peter had an effortless ability to make conversation and find common ground with everyone he met. Over a dozen years and countless meetings with binders, conservators, makers and artists, he was never anything other than his warm jovial self, gesticulating animatedly when something enthused him, but

importantly, making everyone feel welcome and valued. He was a pleasure to work with and will be deeply missed by his fellow Court Assistants and by all the staff at Clothworkers’ Hall. Peter is survived by Sue; his children Catherine (Katy) and James, both members of the Livery; his stepchildren Cathryn (Kiki) and Tim; and his ‘collection’ of grandchildren (as he so fondly referred to them).

IN MEMORIAM We regret to announce the following deaths: F W Loyd Moore Livery (September 2019) Janice Didriksen Freedom (October 2019) Brenda Jenkins Freedom (April 2020) Dame Ingrid Mary Roscoe Freedom (June 2020)

THE CLOTHWORKER | AUTUMN 2020

21


ST OLAVE’S WELCOMES A NEW RECTOR Rev’d Canon Arani Sen

T

his past spring, The Clothworkers’ Company welcomed a new chaplain at St Olave’s, Hart Street. Rev’d Canon Arani Sen was born in Wakefield, West Yorkshire, of Indian and Hindu parentage – his parents originated from Kolkata. After completing A Levels, Arani spent a gap year in Berlin before studying for a Modern Languages degree at Royal Holloway, University of London. During this time, Arani began his Christian journey and church involvement. After university, Arani served in an urban parish and began to consider

ordained ministry as a vocation. For many years, Arani developed wider skills as a secondary school language teacher and faculty head. He went on to train for ordained ministry at Ridley Hall, Cambridge, where he studied Theology and Religious Studies, Tripos Part 2, at Fitzwilliam College. Arani served as a curate in Islington and as vicar in Southall, both in diverse urban settings. He is very interested in vocations and has a strong track record in this field. Arani has a book published, Holy Spirit Radicals – Pentecost Acts and Changed Society (MD Publishing, 2018).

Arani is married to Alison, who is a lecturer in adult education, literacy and numeracy. She has trained as a Lay Reader. Together they enjoy learning Italian and travelling extensively. They are keen skiers, and try to go to the gym and swimming pool regularly. They enjoy the theatre, concerts, opera, and playing the piano. Rev’d Canon Arani Sen is looking forward to welcoming you back to St Olave’s for a service soon. In the meantime, why not tune in to one of the virtual services? Find out more: saintolave.com.

INTER-LIVERY SHOOT - SEPTEMBER 2020 Before the Government’s ‘Rule of Six’ came into effect, Clothworkers were able to form a small team and represent The Company during a socially-distanced meet-up for the shooting event at Holland & Holland. The occasion had been eagerly anticipated as so many events have been cancelled or postponed this year. All participants happily complied with the necessary health and safety protocols that allowed them to compete in this annual tradition among livery companies. We look forward to the time when we may bring Clothworkers together again for other inter-livery sports and events at Clothworkers’ Hall. To be contacted directly about sports, update your online profile to include ‘golf ’, ‘sailing’, or ‘shooting’ as a ‘sport you play’.

Golf Team: Adam Walker (adwchiefy@gmail.com) Sailing Team: Andrew Yonge (andrew.yonge@zen.co.uk) Shooting Team: Charlie Houston (charles@goingsolar.org.uk)

22

THE CLOTHWORKER | AUTUMN 2020

To find out more about inter-livery activities, and how you can become more involved in events in the City of London, check out the Inter-Livery ‘Diary’ online. On the same website, you can also read more about the work livery companies are doing across the City of London under the ‘Livery Briefings’ (found in the ‘Library’). Visit: www.liverycompanies.info.


BRIGADIER HARRY NICKERSON RETIRES From Our Military Affiliate, the 1st Battalion Scots Guards

T

he Clothworkers’ Company was again pleased to support our military affiliate, the Scots Guards and their Family Welfare programme for 2020-21. We hope that our funding has a positive impact in lifting the spirits of soldiers and their family members, especially during these difficult times. In 2019, we held the inaugural Clothworkers’ Scots Guards Community Awards. Although the 2020 Awards have had to be delayed,

we are looking forward to hosting them again at the Hall in 2021.

meet the new Regimental Lieutenant Colonel, Brigadier Chris Bell CBE.

Despite the current crisis, early this past September we were able to have a small, socially-distanced lunch to say goodbye to Brigadier Harry Nickerson, who recently retired. We wish him well during this next chapter! The Immediate Past Master Sir Jonathan Portal Bt and Master Alex Nelson were delighted to celebrate Nickerson’s service, and at the same time to reconnect with Major James Kelly and

Saying goodbye to Nickerson, the Scots Guards had a full Battalion turn out that finished with a Beating Retreat by the Pipes and Drums. ‘Brigadier Nickerson has dedicated a lifetime to the growth and support of our Regiment...Thank you, Sir.’ Follow the Scots Guards on Facebook (@1stBnScotsGuards) and Instagram (@Scots_Guards).

Above: The Scots Guards said goodbye to their Regimental Lieutenant Colonel on 8 September. © Scots Guards, 2020. Right: Brigadier Harry Nickerson has visited us at Clothworkers’ Hall many times over the years. Here, he is greeted by then First Warden Alex Nelson (Master) at the Masters’ and Clerks’ Dinner this past March. THE CLOTHWORKER | AUTUMN 2020

23


NEWS & NOTICES FOR CLOTHWORKERS DATES FOR YOUR DIARY Young Freedom Reception (29 October) We welcome younger members of the Freedom, providing an opportunity for them to get to know other Clothworkers. This year, the event will be virtual and will include a cider tasting by ciderologist Gabe Cook. Invitations have been sent. Virtual Livery Events (TBC) The Members’ Activities Committee and our staff are planning at least one virtual Livery activity or event before the end of 2020. E-invitations will be sent to eligible members.

St Thomas’ Eve (18 December) Virtual All-Members’ Activity We are delighted to announce that the Master, Alex Nelson, will welcome all members to a virtual event this December. St Thomas’ Eve is traditionally the occasion of our annual Freedom Lunch, a festive occasion for members before the Christmas and New Year period. The eve of the feast of St Thomas the Apostle, it was once the day that The Company distributed charity to Clothworkers in need. The Beadle would prepare a list of members, who would then be invited to receive gifts of money and, from 1858, refreshments of cold meat, bread and beer. Since 1967, all members of the Freedom

have been invited to a luncheon at Clothworkers’ Hall. In recent years, we have celebrated our philanthropic legacy with an annual St Thomas’ Eve charity appeal, and sent our Freedom home from the event with a gift of oranges. For 2020, we will collect donations on behalf of Pecan, a South London charity chosen by the Master. Pecan is building a stronger community and encouraging people toward sustainable employment. Pecan never stops believing that with the right support people can unlock their potential. We will send invitations and further information by email and by post soon, and hope you will be able to join us!

Visit the Members’ Area at www.clothworkers.co.uk or connect with us at: @ClothworkersCo @ClothworkersCo @Clothworkers_Co 24

THE CLOTHWORKER | AUTUMN 2020


Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.