Hand & lock Issue One 2014

I S S U E

O N E

Royal Coat of arms embroidery draft and embroidery piece (opposite) for Queens Elizabeth II Diamond Jubilee

G ood

tailoring

without

embroidery

is

like a blank canvas without paint or a blue sky without clouds. Embellishment oers colour, drama, sunsets and accent.

It takes beauty and edges it in gilt or highlights in sequins. Embroidery is the jazz singer that accompanies the band.

For

thousands

of

years

decorative

p a tt e r n s h a v e b e e n s t i t c h e d i n t o t h e m o s t humble

garments

techniques

used

sophisticated

art

and

have

over

time

developed

forms.

This

the

into

a

magazine

is a celebration of embroidery from the company that knows it best.

1

C

o

n

t

e

n

t

s

Ye a r i n R e v i e w

3

Cecile Beaton: Hollywood Glamour and Fashion Royalty in the Hand & Lock Archive

7

The Hand & Lock Spring Summer 2015 Collection

9

Designing a Riot: The storybehind the Hand & Lock SS15 Collection

11

L e tt e r f r o m H a r d y A m i e s

27

That Kate Moss Dress

29

Goldwork Cypher offers insight into a rich Royal history

31

2014 Prize for Embroidery

33

A F a s h i o n fi l l e d We e k e n d i n L o n d o n Te x t i l e a n d E m b r o i d e r y e v e n t s f o r 2 0 1 5

49 47

Editor: Robert McCaffrey.

Publishing Director: Jessica Pile C o n t r i b u t o r s : A l i c e E v a n s / S c o tt Gordon Heron / Robert McCaffrey.

Photography: Saoirse Crean / Seher D i w a n / Y u tt a K l e e .

Illustrations: Steven Sheldon

Restoring traditions: C i t y M a r s h a l B e l t a n d E p a u l e tt e s

51

The Borrowed from the boys look

53

Te x t i l e a n d E m b r o i d e r y E v e n t s f o r 2 0 1 5

55

A Hand & Lock publication

Hair and Makeup: Stephie Hoyle / Guillaume Ossant.

M o d e l s : C h a r l o tt e D ’ e s t i v a l / Mauro Bismarque / Lydia Costello / Anna Nause / Max Keens / Stephanie Crick / Erian O’neil.

With Thanks: Renata Salazar Lasocki / Maxine at Model Union / Lucy Guinness at Poplin / Tristan S c u tt a t N a n ’ s B a r .

2

2014

Year in Review

2014 saw the usual host of high profile embroidery commissions at Hand & Lock but no-one could have guessed that casual conversations in our bead-room would lead to eight foot tall posters of our embroidery suspended over Oxford street. Or that pictures of actor Michael Gambon wearing our monogrammed pyjamas would appear in the Daily Mail. Each and every job has been a pleasure; here is a selection of some of our favourite commissions from 2014.

Early in the year we were approached by Lisa Salama, the head of embroidery at Mary Katrantzou, to work on the designer’s AW14 collection. Katrantzou envisioned jewellery as embellishment; crystals, precious stones, Goldwork of all colours heaped high creating her signature dynamic designs. Supplied with photo collages of trinkets and jewels our production director Jessica Pile set to work creating an embroidery interpretation of Salama and Katrantzou’s ideas.

When the designs were handed over to our head embroiderer Stéphanie Bonneau we decided to set up a stop motion camera to capture the complex process. Hours of footage, building the embroidery up, assembling and appliquéing the separate pieces into one symmetrical whole were captured. The final video, accompanied by MIA’s Papers Planes was uploaded to YouTube and was picked up by fashion press and bloggers.

Mary Katrantzou / Photo: Saoirse Crean

The collection was heralded as a revolutionary change in direction for Katrantzou who, at that time, was more famous for high definition prints than elaborate embroidery. The final collection featured three pieces worked on by

3

Ed Marler

the Hand & Lock team. The ‘Jumbar G’ and ‘Jumbar B’ pieces ultimately sold for £14,580 and the ‘Medaglioni’ £12,150.

The story did not end there, in September during London Fashion week, Oxford Street was host to a celebration of British fashion and a selection of designers were celebrated with their best catwalk designs suspended over London’s busiest street.

Hand & Lock’s embroidery for Mary Katrantzou hung proudly over the constant stream of red buses and black taxis. We couldn’t have been prouder.

Before September Fashion Week we met a young designer with a clear vision and distinct style called Ed Marler. He was designing his pieces for his London Fashion Week debut at Fashion East and decided to call upon the services of Hand & Lock. In his first meeting he brought a selection of reference images and discussed the idea of applying intricate Goldwork to stab vests.

Goldwork, traditionally associated with ceremonial wear and military badges, would be wrought into the fronts in a design reminiscent of the body armour designs from ancient Rome.

Further meetings led to the addition of of fully

embroidered and jeweled bandanas echoing attending the Queen at ceremonial events.

Marler’s use of crowns in his graduate collection. These include attending the Sovereign at State arrivals of foreign Heads of State, the Garter Before his appearance at Fashion East Ed Marler service at Windsor, the State Opening of was already being talked about as a designer to Parliament, and the evening reception held by watch, but judging from the response to his LFW Her Majesty for the Diplomatic Corps. The debut there can now be no doubt. So far Ed accoutrements were last replaced in 1936 when Marler has been written about in dozens of King George VI ascended the throne and if influential titles including ID, Dazed & cared for will last well into the next century.

Confused, The Guardian, Style.com and Vogue.

Not bad for a lad from High Wycombe.

Earlier in the year Hand & Lock worked on pieces for another young and brilliant designer called Gracie Wales-Bonner. She went on to win the ‘L’Oreal Professionel Talent Award’ at the Central Saint Martin’s BA Show. Her seventies inspired menswear collection featured embroidered motifs on hats and accessories.

Eppaulette for Her Majesty's Bodyguard

Gracie Wales-Bonner

Wales-Bonner who hails from South London first approached Hand & Lock in January presenting her Jean-Michel Basquiat inspired sketches to Assistant Designer Laura Campbell. Excited by the designs, Laura worked tirelessly to turn sketches into embroidery and help perfect Wales-Bonner’s vision.

Away from London Fashion Week in 2014 we had another exciting opportunity to work with Royal Household. Hand & Lock were instructed

by Buckingham Palace to commence work on a replacement programme for Her Majesty's Bodyguard of the Honourable Corps of Gentlemen at Arms. The project encompassed the full production of new epaulettes, cuffs, collars and pouches made from the finest materials and worked on with exceptional care.

The full uniform with our accoutrements was made by Warrant holder Gieves & Hawkes and will be seen when members of the corps are

Contemporary artist Jake Chapman is the art curator for the organisation Peace One Day and asks other artists produce art from decommissioned M16 assault rifles. In 2014 Kim Jones of Louis Vuitton was asked to work on a rifle to be exhibited at the Institute of Contemporary Arts during Frieze week. Jones approached Hand & Lock with the idea of a fully embroidered rifle wrought in Goldwork.

The rifle arrived at the studio in July and caused a commotion when it was finally unwrapped.

Under the many layers of bubble wrap lay the dark steel and light-weight aluminium rifle presenting the team with an unusual embroidery challenge. Jessica considered possible options for two weeks before beginning her designs. Once the designs were completed with their careful annotations they were followed diligently by Stéphanie and her team of embroiderers. Slowly the hard steel was covered with cloth of silver and the hard edges and details were embellished in gold and black bullions. The completed gun will join others made by Damien Hirst, Sarah Lucas and Sam Taylor-Johnson before being auctioned to raise funds for the charity.

Other highlights of 2014 included working on the costumes for the all new Lord of the Dance show that ran for a limited time in London’s Palladium Theatre before going on a UK tour.

The dazzling costumes were worked on by two embroiderers at a time and included delicate Goldwork; a Hand & Lock specialism.

In July Hand & Lock celebrated it’s 247th Birthday by hosting the first ever Festival of The sashes worn by Miss World 2013 and Mr Embroidery in London. The week-long World 2014 were designed and made by Hand celebration include a series of talks from textile & Lock’s head designer Scott Gordon Heron. artist Diana Springall, cross stitcher and blogger Made with vintage Swarovski crystals, silk Jamie Chalmers and textile journalist Philippa dupion and silver oakleaf lace they are worn by Watkins. The evening talks were just part of a the crowned winners at official events all busy schedule which included day workshops around the world. with guest teacher Renee Lindell as well as classes taught our own Stéphanie Bonneau and Jessica Pile. Students had the opportunity to learn basic embroidery techniques as well as more complicated ones such as Tambour beading, Goldwork and Silk shading. The week proved extremely popular and is now a permanent fixture in the Hand & Lock calendar.

More events here in the UK and around the world are being planned for our 250th birthday celebrations in 2017. Between now and then watch out for more news from Hand & Lock by visiting www.handembroidery.com Robert McCaffrey Mr. World 2014 / Nicklas Pedersen

4

Cecil Beaton: Hollywood glamour and fashion Royalty in the Hand & Lock archive The Hand & Lock archive is continually sharing its secrets with us and revealing intriguing parts of the company’s history, from forgotten designer collaborations to military embroidery draughts from the nineteenth century and earlier. So when we opened a plain brown folder containing three delicate pale blue envelopes addressed to Mr Lock postmarked 1947, along with a few photographic prints, little did we know we’d uncovered quite a special part of the company’s past portfolio of work. Connecting one of the greatest names in fashion from the twentieth century, to Hollywood and back to the British Royal family.

‘Thank you so much for the wonderful embroidery you have done on Paulette Goddard’s dress,’ begins the first letter in a looping hand, and not quite believing our eyes we read on to see the it was most certainly signed by the hand of Cecil Beaton, one of the most inspirational fashion photographers of the twentieth century.

Finding both one of the most famous names in fashion photography alongside Charlie Chaplin’s leading lady was certainly not what we were expecting to find. Neither was the accompanying photo in Beaton’s signature romantic and whimsical style displaying Lock’s embroidery work as worn by Paulette Goddard herself, as well as prints of Beaton’s later portraits of our current monarch, Elizabeth II. This fascinating find lead us to look a bit into the background behind this collaboration, from Beaton’s early work in Hollywood through to his Royal appointment, and on to his awarding winning costume design where S. Lock’s embroidery work comes in.

7

Beaton, who was born in London in January 1904, is an intriguing character in the story of fashion of the twentieth century. As a self-taught photographer, he developed his signature portraiture style using decadent backgrounds and props when capturing the Bright Young Things of the 20s and 30s, alongside his early contributions to Vogue and Vanity Fair. Yet it was during the 1930s that all the strands of our story of Royalty and Hollywood begin to intertwine. On Beaton’s first trip to Hollywood in 1931, he fell instantly in love with the life and the glamour of the actresses he photographed including the legendary Joan Crawford and the mysterious Greta Garbo.

His elegant style and world famous subjects assured his international fame and propelled him on to some of the biggest commissions of his career.

His first Royal commission came shortly after the abdication of King Edward VIII in 1937, to take portraits of Wallis Simpson to counter the negative press of the time with his soft signature style. They were such a success that one month later he was summoned again to France to take their official wedding photographs. Following these higher profile commissions, the last years of the decade saw him move from smaller scale portraits to bigger projects for Vogue, sharpening his technique and skill as a fashion photographer rather than simply a portrait artist.

Then, in the final year of the decade, fashion and Royalty combined in the ultimate appointment.

The telephone rang. “This is the lady-in-waiting speaking. The Queen wants to know if you will photograph her tomorrow afternoon” … In choosing me to take her photographs, the Queen [mother] made a daring innovation. It is inconceivable that her predecessor would have summoned me – my work was still considered revolutionary and unconventional.’

Cecil Beaton’s diary, July 1939 This first sitting, that lasted several hours, proceeded to make Beaton one of the most successful photographers in the country. From then onwards the Queen Mother called on him as her official photographer, and recommended him to her daughter, our current Queen, and Beaton went on to document her life from child to woman, from Princess to Queen. These photographs celebrating her 43rd birthday in 1969 shot by Beaton are just a few of the strikingly beautiful images he captured of her during his time as official photographer.

Following the war, and his often overlooked work documenting the destruction to London during the war, Beaton embarked on his successful career as a stage and costume designer. It’s at this part of Beaton’s story amidst costumes and props that our real treasures appeared. In 1947 Beaton took on some of his most exciting design projects to date, with the film adaptation of Oscar Wilde’s play An Ideal Husband, whilst simultaneously working on Anna Karenina starring Vivien Leigh.

This photo, signed by both Beaton and Goddard to Mr Lock himself, sees her on the film set that he designed in a beautifully exquisite beaded costume for her leading role. The dress and its embroidery work are the focal point of the picture, while Goddard is strikingly sat in profile, with the elaborate set behind adding more decadence to the image. Their close relationship as designer and photographer with the actress is reflected in another portrait held at the National Portrait Gallery of Goddard by Beaton in the same year, yet this on set image seems unique. His work with Hollywood and film continued, winning multiple awards for his design work for the Broadway production of My Fair Lady in 1957, as well as photographing some of the most famous faces of the century from Marilyn Monroe to Audrey Hepburn.

Beaton’s success as a photographer and designer was recognised in 1972 with a knighthood for his contributions to the arts, and his importance and relevance continues to this day. Only two years ago the Victoria and Albert Museum in London celebrated the Queen’s Diamond Jubilee with a unique exhibition charting Beaton’s lifetime of photographing her spanning three decades. Hand & Lock’s relationship with the Royal family also continues through our work for the Diamond Jubilee Celebrations in 2012.

‘Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.’

Cecil Beaton His mantra of imagination and invention created a unique style that made him one of the most respected fashion photographers and costume designers of our time. His iconic images of debutantes, hollywood stars and Royalty, have inspired photographers, costumiers, and fashion designers to the present day. His portfolio shows a grand sweep of the story of fashion of the twentieth century.

S. Lock’s embroidery work is only a small part of Beaton’s story, but working with such a great man is certainly a part of Hand & Lock’s heritage and history that we are proud to be a part of.

Alice Evans

HA ND

&

LOC K

Spr i n g S ummer Col l ec ti on

1 5

Designing a Riot:

The Story behind the Hand & Lock Spring Summer 2015 Collection

11

The idea to produce a Hand & Lock collection for London Fashion Week first came up in January in a staff meeting. Another year had passed when we saw our embroidery for other designers showcased and applauded. The time felt right to produce our own pieces to highlight our skills and expertise.

A brief was written factoring in elements of Hand & Lock military heritage and then inverted with ideas of rebellion and jungle law. The strict order of military badges was supplanted by silk shaded parrots and feather maned Lions. The team envisioned a kind of anti establishment uniform – early on the concept of rioter’s clothing was a key influence.

This vision was paired with the idea of an urban jungle full of rebelling animals. Sportswear was the perfect choice being so far removed from the idea of a military uniform literally and metaphorically.

In typical H&L style the team decided to introduce a competition element inviting other aspiring designers to read the brief and submit a design for the collection. After receiving over 200 designs the team gathered to decide which ‘look’ best fitted with the vision.

One designer, a graduate of Huddersfield University named Steven Sheldon stood out with his stunning artwork, inventive construction and attention to detail. He was ultimately selected as the winner and invited to meet the Hand & Lock team before commencing work on the collection.

For weeks different materials were considered while samples were made up and discussed. More drawings and more research followed with the team sharing inspirations on Pinterest and gradually becoming more obsessed. As the sampling process went on the designers undertook primary research trips to Kew Gardens and London Zoo to sketch and Premier Vision to gain a firm understanding of the key future trends.

Sketches became embroidery designs and the key colours for the collection were decided.

In April the first embroidery samples were made and the team began to make the hard decisions about what designs to pursue and what to discard. The collection began to take shape in a precious bulging folder full of sketches, Photos, designs, embroidery and material samples. As the team finalised their designs the collection started to tell its story.

The Tweed Parrot garment subverts traditional couture twin sets by adding a sports wear ribbing element. The silk shaded embroidery captures a pandemonium of parrots taking urgent flight; hinting at some unseen disturbance. The Lion face jumper signifies self empowerment and the ‘self’ made strong. Constructed meticulously from metal and feathers the lion has long been a symbol of inner strength.

12

The fully sequinned tracksuit drew inspiration from Military jackets and tiger stripes; a uniform of protest, it represents the strength and power of the dispossessed.

Giant technical drawings were meticulously drawn by hand in the Hand & Lock workroom. Instructions from the designers to the embroiders about the stitch direction, relief, colour and material were written much the same as an architect might leave notes for a builder.

In July a theatrical costume construction student from the Royal Central School for Speech and Drama called Renata Salazar-Lasocki joined the team.

For three months Renata helped with pattern cutting the collection.

Silhouettes were cut and hung on mannequins or models while the team circled tweaking and pinning.

Garment construction isn’t new to the design team at Hand & Lock but their primary expertise lies in embroidery design first and foremost. How the embroidery will sit on the fabric and how it will work with the overall cut of the garment were key considerations as the pieces began to take shape.

On Wednesday 3rd September Hand & Lock’s Production Director Jessica Pile was sewing the last of the the ribbing to ‘Tweedly Dressed’. The first garment to be completed, it was placed proudly on the mannequin. One down, six more to go.

A photo-shoot had been organised for the 6th and 7th September and the pieces were being finalised right up until the very night before. The last piece completed was the ‘Bryony’s Baboon’ jumper adapted from a competition submission by designer and illustrator Bryony Moss. Bryony’s striking design had been awarded a special commendation earlier in the year and now joined the collection alongside designs by Steven Sheldon and Hand & Lock.

Photographer Seher Diwan shot the collection in an urban landscape telling the story of the ‘Radicalisation of Nadia’. The concept behind the shoot was a story of a protagonist going gradually from ingénue to the gang leader over the course of the seven images.

Narrative runs through the collection as it does through the long history of Hand & Lock. For nearly 250 years the company has produced some iconic pieces of embroidery for Marilyn Monroe, Kate Moss, Princess Diana and The Queen. These strong women have long used fashion to convey vulnerability or strength, assimilation and rebellion. The collection speaks to fashion as part of the establishment and as an act of revolution. Moreover, the Hand & Lock debut collection is a celebration of contemporary embroidery and a showcase of British skills.

The team are taking a short breath and returning to normality but it won’t be long until conversation turns to the next collection. Watch this space.

Robert McCaffrey

13

radicalisation

(ˌrædɪkəlaɪˈzeɪʃən) noun the act or process of making (a person, belief demands, etc) more radical or favouring of extreme or fundamental changes in political, economic, or social conditions, institutions, habits of mind, etc

14

14

Lydia Wears ‘Palm Leaves’ Coat designed by Steven Sheldon and made by Hand & Lock for the Sprimg Summer 15 collection.

Lydia Wears silk shaded ‘Tweedly Dressed’ from the Hand & Lock Spring Summer 15 collection and carries ‘Big Bang’.

Anna wears ‘Cat amongst the pigeons’ by Hand & Lock for the Spring Summer15 Collection

Mauro wears ‘Bryony’s Baboon’ based on an illustration by Bryony Moss and made by Hand & Lock for the Spring Summer 15 Collection

Anna wears ‘Feathered Lion’ wrought in Goldwork and feathers by Hand & Lock for the SS15 Collection

Anna wears ‘My baby shot me down’ with ‘Big Bang’ clutch bag in gold from the Hand & Lock Spring Summer 15 Collection.

Lydia wears ‘Sequin baby’ tracksuit by Hand & Lock for the Spring Summer 15 Collection

L

etter From Hardy Amies written on the 2nd June 1972.

Hand & Lock Archive

Dear Mr Locke, The remnants of a slight cold keep me at home and give me the time to do what I have meant to do for some time: namely to write and thank you and Peggy for the trouble you took to make the embroidery so beautiful for the Queen's dress for Versailles.

I was lucky enough to be standing with Marc Bohan of Dior, Cardin himself and Guy L'aroche in the Galerie des Glaces when she passed through and she truly looked splendid and quite outshone Madame Pompidou who had chosen not quite suitable red embroidery from Dior.

27

It's a shame you can't get more mention in the press: but I expect like us you have enough to keep busy the few skilled workers you have.

Anyway the Queen is now aware that it is the House of Locke that does the embroidery.

Please tell Peggy and her workers how grateful we are for the co-operation we receive from all.

Yours Sincerely Hardy Amies

From Left to right Madame Pompidou The Queen and Georges Pompidou in Paris in 1972

28

That

Moss Dress 29

Hand & Lock’s head designer Scott Gordon Heron has selected one of his favourite samples from our collection that perfectly demonstrates the tambour technique. His chosen piece was commissioned by the Arcadia Group for the Kate Moss début at Topshop on the 19th October 2007.

It is crucial that we endeavour to understand and successfully capture the essence of an embroidery’s final use and most often, before we move into production, this may relate to a particular design movement or era . For example the 1920s inspired embroidery sample which is executed in the tambour technique, consists of thousands of Swarovski crystals that have all been in the majority tambour beaded upon a ground of tulle.

Larger crystals were simply hand sewn to the ground, with many areas consisting of bead fringing to emulate the embellishments of 1920s flapper dresses.

Flappers were the young girls of the 1920s who broke all the rules of normal society that were placed upon women of the past. They wore they hair in bobs, drank, listened and danced to jazz music, smoked and would often wear over the top make-up. Many would agree in saying that flapper fashions came into play as a result of Coco Chanel’s new dress style which omitted the constrictions of a corset from the dress designs of the time.

Chanel was one of the first women to embrace the more masculine aesthetic of the period and introduced clothes that celebrated the eras interest in boyish figures, like the little black dress and Chanel’s signature cardigan jacket. The flapper style meant that women flattened their chest, and wore dresses that were straight, to offer the appearance of a

straight waist. The flapper style could be seen as symbol of revolution and freedom, a break away from the past and embrace the future.

This piece of couture embroidery is embellished in the tambour beading technique. Tambour is a form of hand beading by which the embroiderer uses a hook as opposed to a simple needle to fix materials such as beads, pearls and sequins to the ground. What is quite unique about this technique, is that the embroiderer works the framed fabric upside down, securing the beads from the underside. Great skill and patience is key to successful execution of this technique.

The advantages of tambour once mastered is time efficiency and the ability to easily gage a consistent sequence of placement throughout the applied surface area.

In the Hand and Lock archive, we hold many hand drawings, drafts patterns and even hand embroidered samples of past commissions that we have produced for a wide range of clientèle.

The spectrum of work that we have produced over the past two hundred and forty seven years sees itself in many contexts that differ considerably from one another. From fashion to interiors, tailoring and military to ecclesiastical. We also extend our skills to the theatre and film industries, whilst having our skills utilised by artists, stylists and many private clients who simply enjoy the luxury of bespoke embroidery.

Scott Gordon Heron

30

Goldwork Cypher offers insight into a Rich Royal History

The Hand & Lock archive contains mostly design drafts but occasionally a physical piece of embroidery is uncovered. Originally made as a sample or perhaps something that never made it to the customer they are precious to us and offer a wonderful glimpse of our past. The delicately made Royal cyphers are a tangible reminder of the events of the past, none more so than the rare cypher of King Edward VIII. Made in 1936 it is by no means the oldest piece of embroidery in our collection but it is heavy with historical significance. HRH King Edward VIII famously reigned for less than a year before abdicating to be with Wallis Simpson. His abdication led George VI to take the throne and subsequently set us on the path to our current Royal family headed by Elizabeth II.

Along with the crown, the cypher, presently read as EIIR signifying HRH Elizabeth Regina II, might have to change if the design is from before 1952.

This is a big part of the day to day work at Hand & Lock and much unchanged in 250 years. Our team of designers will still take delicate drafts written out on tracing paper and redraw them with updates and changes by hand. The designer will add annotations detailing the direction of stitch, the height of ‘relief’ and the exact colours to be used for the embroiderers to work from. Working entirely by hand the embroiderers will then painstaking lay each coil of bullion to bring the design to life. The process cannot be replicated by machine and remains a rare and difficult skill requiring patience and an exceptional attention to detail.

Our involvement with the British Royal Family dates back nearly 250 years.

Hand & Lock formed when M. Hand and S. Lock merged in 2000 but before that Royal Warrant Holder S. Lock was famous for working on couture for the Royal Family and top European design houses whilst M. Hand had been focused on traditional, ceremonial and military embroidery.

In 2013 HRH Queen Elizabeth’s Bodyguards ordered new epaulettes, pouches and cross belts all delicately finished with goldwork and 2% gold laces. The intricate EIIR cypher is wrought by hand in Goldwork into each pouch with the St. Edwards crown above. The epaulette ‘bullions’ are made from gold wire twisted on the same machine, called a Bullion twist, exactly as they have been since 1875. All of it, just as it was for HRH King George V and HRH King Edward VIII.

Our present day Margaret Street Atelier remains a treasure trove of M. Hand’s military badges and laces all under the careful guardianship of Lynn in our Military Department. Drafts for rare badges and emblems dating back to the 1700s exist in our archive and are often retrieved to make new designs. Designs in the archive that might incorporate Royal crowns have to be updated to the present Monarch and their chosen crown.

The long and popular reign of Elizabeth II has meant cyphers of EIIR will never be in short supply but the rarity of the cypher EVIIIR shows that history is full of unexpected twists and turns. We can only hope Hand & Lock is around another 250 years to serve the British Royal Family.

Robert McCaffrey

31

Orit Feig

“Royal cyphers are a tangible reminder of the events of the past, none more so than the rare cypher of King Edward VIII.�

32 32

Hand & Lock Prize For Embroidery

Pattern is a universal inspirational tool in practically every culture, both historical and contemporary. It uses everything from simple motifs to complex, interdependent ideas. Pattern is everywhere requiring engagement with colour, form, texture, line, structure and scale.

Floral motifs too have enjoyed a near continuous appeal from the beginning of human decorative ideas concerning pattern. Flowers themselves are conveyors of geometry and pattern and this can be exampled by looking at the arrangement of leaves on a stem, the uncurling of ferns and where flower heads reflect the ‘Fibonacci series’ of numbers and the ‘Golden Mean’.

This brief asks you to re-examine the theme of floral in combination with pattern and the geometric.

The future will see the overwhelming return and reconsideration of textiles in our lives. Within this saturated world, these textiles will need to speak loud and clear and become again the fabric of life, designing pattern around us and narrating stories.

As digital becomes mainstream, a craving for originality and tactility has led designers to reconsider the role and design of fabrics and the world we live in – so pattern, colour and texture remain the focus but demanding a reconsideration through deconstruction, reconstruction and reinventing.

We want you to consider, explore and exploit pattern in a saturated world. It is a challenge to be original when so much has been explored. Designers must question and push boundaries to bring elements of originality to blend together.

Look to subcultures in fashion and music for influence. See how youth in history has used a combination of historical and social symbols within their surroundings to create something (whether distinct or hidden) that differentiates

33

2014 Brief Floral: Pattern & Geometry them from the larger culture to which they belong.

Explore both traditional and modern embroidery processes and look to reinvention of design to support innovation.

Synthesise: research; reassemble; re-colour; reorganise and redesign.

Be experimental in your research through photography, mark making, drawing and illustration. Consider how you will interpret and explore colour, pattern and texture when gathering information. Your project must blend your floral research with other original influences and approaches.

The brief supports future fashion through slow fashion with an emphasis on the creation of timeless objects of desire, heirloom textiles and garments. For this reason Metal Thread embroidery is identified this year as a technique to explore within your mixed media samples. Embroidery has been used historically in specific ways to denote status and power whether secular or religious using materials with intrinsic wealth or rarity. There are examples of medieval church embroidery in the Victoria and Albert Museum to study and examples can also be seen within portraits of Elizabeth 1 and the current Queen. These vestments are encrusted with gold thread, silks and seed pearls with many being covered completely by couched gold thread grounds or stitched onto silk velvet cloth. Be bold and sumptuous, use these research resources to inform contemporary abstract developments using metal thread within your mixed media textiles.

Resources and research The Private Life of Plants (1995) by David Attenborough. Amazing time-lapse sequences can be viewed on bbcearth.com.

The Plant (1994) part of the Eyewitness nature series The Hidden Geometry of Flowers: Living Rhythms, Form and Number. Keith Critchlow. Floris Books. (See You Tube for part of a lecture by Critchlow). Flowers are conveyors of geometry and this can be seen through the arrangement of leaves on a stem, the uncurling of ferns and where flower heads reflect the Fibonacci series of numbers and the Golden Mean.

Plantsinmotion.bio.indiana.edu website shows time lapse sequences and images of flower development, opening and senescence with instructions for your own time lapse capture.

Bloom book: horti-culture for the 21st century / by Li Edelkoort ; with introductions to each chapter by Li Edelkoort ; text by Lisa White and creative direction by Nelson Sepulveda.

Victoria and Albert Museum, examples of medieval church embroidery

34

M y r a student

C h u n g

A n a

M a r i a R e s t r e p o G u i t i e r r e z student

J u s t i n e student

M o n c e v i c u t e

Wa n

H u n g

C h e u n g student

M e t a student

M c K i n n e y

U m m e

S a l m a student

J u s t i n e open

B o n e n f a n t

K a t r i n a

Vi p e r open

E r a n g a B a n d a r a n a y a k e open

K r i s t a

Te r a u d a open

J u l i a open

T i t c h f i e l d

M a r i a

A l i n a

H e r a open

A Fa s h i o n f i l l e d Weekend in London

DAY ONE For a rare treat, start your day at The Clothworkers Centre located at Blythe House, Blythe Road, Kensington. A lesser known part of the V&A, it is an essential destination for anyone interested in textiles.

Since October 2013 in-the-know visitors have been permitted the opportunity to gain entry to the Clothworkers Centre, seeing up close precious textiles normally stored away from the public. Viewable by appointment only, curators can retrieve a specific piece upon request and present it for close inspection. Academics, designers and students can use the Clothworkers Centre as a resource for their projects but the V&A is keen to stress that enthusiasts are also welcome.

The centre is open Tuesday to Friday and all you need to do is send an email a few weeks before your trip specifying what you would like to see and what your main areas of interest is.

Before heading to your next destination, refuel at L'Elysée located around the corner at 93 Hammersmith Road, with a great selection of hot drinks and pastries you will be ready to take on your next

49

destination. We suggest you head to 1 Garrick Road, Hendon, where Angels the costumier offers textile, embellishment and styling inspiration and a wealth of costumes from every era. Angels make costumes for theatre, TV, film and fancy dress and the Brent Cross Store is a treasure trove for anyone interested in costume. Their tours last 90 minutes and includes the whole store room. Tours are £20 per person or £300 for a private tour for up to 12 people.

After your long day of fashion and textiles head back into the city. No trip to London is complete without a walk along the South Bank. As day turns to night start at Westminster Palace in the shadow of Big Ben and walk over Westminster Bridge before heading eastwards along the edge of the Thames. Appreciate the silhouetted skyline reflected in Thames as you pass South London landmarks, City Hall, the London Eye, the BFI, Shakespeare’s Globe, the Tate Modern and the OXO Tower. If your legs grow weary and you crave a bite to eat try Gourmet Pizza at Gabriels Wharf. Relax and take in the view over the Thames over to St Pauls Cathedral. A perfect way to end your first day in London.

DAY TWO Just behind Oxford Street discover London’s oldest working embroidery atelier. For 247 years we at Hand & Lock have worked behind the scenes for Military tailors, the Royal family and Couturiers.

Tours of the studio offer a chance to witness first-hand in-house embroiderers working on actual projects, using techniques such as Tambour beading, Trapunto and Cornely. Visitors are shown samples provided for the Fashion industry and theatre along with examples of Diplomatic and Military Court Dress. If requested, booking guests can also see precious drafts archives from the XVIII century.

Looking at London’s finest embroidered garments might leave you craving a big lunch. Yalla Yalla on the corner of Eastcastle Street and Winsley Street offers a great selection of Lebanese and Middle eastern street food in it’s lively colourful surroundings.

Once rested and recharged you can tackle the shops along Oxford Street. Its worth exploring some of the streets behind the main thoroughfare where you will find great embroidery, sewing and textile suppliers such as the Button Queen and VV Rouleaux in Marylebone Lane, MacCulloch & Wallis in Derring Street, and the amazing fabric stores in Berwick Street.

You can then consider indulging in some more research and retail therapy at Old Spitalfields Market. Hop on the tube at Oxford Circus and head eastwards to Liverpool Street station on the Central line. Old Spitalfields market is a short walk up Bishopsgate where the traders market is open daily and is a great chance to witness some truly innovative designs. One trader to be found at weekends at the market is Nina Davies who upcycles forgotten clothes into completely new individual creations often very far from their first use. With a particular love of menswear tailoring, Nina cuts, pins, twists and reconstructs into a creative, sculptural, feminine range of new wardrobe favourites. Definitely a must see. Or if you’re able to visit on a Thursday, you’ll find the vintage market, full of wonderful ephemera, household, furniture and clothing. You’ll find wonderful pieces of lace, beaded trims and clothing adornments.

After an afternoon shopping you can kick back and reflect on your fashion forays in one of the innumerable cafe’s and restaurants in and around Old Spitalfields Market. We like to treat ourselves to something healthy and homely at Leon but you could be more daring and venture into Galvin La Chapelle. If you do we suggest you book in advance and prepare yourself for a stunning culinary experience.

TAKE A TOUR OF HAND & LOCK Tours are £13 per person, £10 for students, Monday to Friday. All tours must be booked in advance and groups must be at least five people.

Email jessica@handembroidery.com for more information or visit the Hand & Lock website.

Robert McCaffrey

50

Restoring traditions: City Marshal Belt and Epaulettes

Back in mid August Hand & Lock were commissioned by Philip Jordan, the City Marshall of The City of London to refurbish some crucial accoutrements that make up a significant part of the City Marshall uniform. This included a pair of ceremonial epaulettes and sword belt to be worn by Philip Jordan himself.

The origin of the City Marshall can be found in correspondence belonging to Queen Elizabeth I dated 1595 which gave powers to a marshal to maintain order in the City.

An Under-Marshal was appointed along with six Marshall men. All were provided with horses. With the passing of the Police Acts of 1829 and 1839, many of the policing duties were removed from the marshals. Nevertheless, the City Marshal is still the Lord Mayor’s peacekeeper. As such he ‘clears the way’ by the marshalling of civic processions ‘and calls the names of the members thereof in their proper order.’ He also represents the Lord Mayor at all Entry of Troops. He challenges, then escorts those regiments (seven in 2008) honoured to be allowed to exercise their privilege to march through the City ‘with drums beating, bayonets fixed and colours flying.’

Our City Marshall epaulettes were originally made by M. Hand and Co. before the merger with S. Lock. so it was wonderful to have these visit us once more. They were made by non other than Mrs Hand, also know as 'Bunty' by many of the industry. After around 40 years all that was required to update them were a row of bullions with all other aspects of the embroidery and craftsmanship remaining intact.

51

However, the belt that was brought us was very well worn indeed; this is very much expected after the long life and purpose it had served to its wearer. Previously, the belt may only have required a new length of lace, or perhaps some re stitching to offer security to the body of the belt. But in this instance the body of the belt itself was well worn and parts of the leather were coming away.

Utilising clasps, buckles and fastenings from the original piece, we fashioned an exact replica. We incorporated a specialist Military lace featuring a beautiful Oak leaf pattern – very much in keeping with the English Heritage of the position of office. The lace is quite a significant element which gives the finished accoutrement its overall look and and sense authority. The lace itself, is woven, and very different to the usual fabric ones that might come to mind. The lace we used is technically a woven ribbon rather than a lace, however as a material used throughout the military and many other practices such as robe making and costume design, it remains as ‘lace’ by name.

The lace that has been used is ‘2WM’, otherwise know in the industry as two percent gold and meaning just that. Working with 2wm lace will always offer a more authentic look in finishing.

Materials with a higher content of gold will always tarnish over time and will dull in colour.

The body of the belt is made from burgundy calf leather, and worked with great skill by our tailors to created the same form as that of the original pattern.

The new Hand & Lock embroidery will be worn in a ceremonial sense, as part of the official uniform of the City Marshall and will likely return in another 40 years for minor repairs. Between now and then you can see our restoration work at the annual Lord Mayor’s show each November.

Scott Gordon Heron

52

The Borrowed from the Boys Look From Marlene Deitrich to Diane Keating, womenswear inspired by menswear is an enduring style that guarantees maximum impact. Since the time of Deitrich, adopting and adapting traditional men’s clothing has become more accepted but the trends and tastes are still constantly evolving.

Coco Chanel embraced mens’ tailoring in the 1920s to make an entirely new silhouette for the fashion forward woman. The strong new shape and style was embraced almost universally with previous ideas defining traditional womenswear and mens fashion facing fresh challenge.

In the 1940s women were firmly entrenched in apparel inspired by mens’ suits. The military uniform look of air stewardesses after WWII inspired the next evolution in womens’ design.

Accoutrements typically reserved for men in the armed forces made their way on to the stewardesses uniforms in subtle stylised ways. High shine buttons, epaulettes and hats went from military wear, to aviation wear and then gradually moved into everyday 50s fashion.

By the 80s and 90s women snatching up their boyfriends workshirts and walking around the house on a lazy sunday morning became a well worn cliche. Evolving further by 2014 to the less chic adoption of a pair of tracksuit bottoms and an oversize t-shirt.

53

Now, every woman seems to own a pair of tracksuit bottoms and an oversize t-shirt that qualifies as their sleepwear. The emphasis is on comfort; like wearing trainers paired with a pencil skirt and chiffon blouse on your morning commute, rather than on style.

Perhaps the borrowed-from-the-boys look that started with Chanel has finally overborrowed and left otherwise glamourous girls looking boyish in their downtime.

Thankfully, the tailored loungewear look synonymous with Katharine Hepburn is making a comeback. Hepburn was a trailblazer when it came to gender reappropriation. In 1935 the notion of a woman dressing as a man was akin to a woman announcing she disregarding the codes of femininity and disinterested in the attentions of men. Hepburn embraced a preppy boyish style that included tailored sleek lines and comfortable chic.

Contemporary designers embracing the tailored loungewear trend include Lucy Guiness, Olivia Von Halle, Ralph Lauren and J.Crew.

British born, Lucy Guiness who started up Poplin in 2011, found herself in hotels rooms perpetually working on her laptop in loungewear or sleepwear. As a freelance writer covering the Venice Binennale or reviewing a hotel in Singapore she was in work mode even when she was in the privacy of her hotel room.

Evidently a tracksuit and t-shirt ensemble didn’t feel right and Lucy instead looked to create her own fashionable loungewear that could be both chic and comfortable.

Inspired by quintessential British men’s tailoring Guiness searched the globe for luxury fabrics and finishes before engaging London based Hand & Lock embroiders to monogram the finished garments.

Women’s fashion will always borrow from mens; adapting and repurposing styles to serve the ever changing face of contemporary style.

Combine this love for gender appropriation with a love for styles from decades past and the outcome is truly unique.

Monogramming the pyjamas also speaks to a long history of male fashion being adopted by women. The delicate art of personalising garments with fine threads dates back to Roman times and has worked it’s way through the history books on the trail of various monarchs. In the 20th and 21st century, monograms are most likely requested on Savile row shirts and grace the sleeves and breast pockets of the city boy elite.

Monogramming is a fine and delicate skill that takes a typical embroidery student months to master. With the wide array of fonts and styles, not to mention the 26 distinct letters in lower and upper case, it is a dizzying amount to learn.

Hand & Lock’s Production Director, Jessica Jane, believes the recent explosion in monogramming is a reaction against poor quality, disposable fashion. ‘People are investing in quality garments that they want to have for life. When investing in the highest quality, monogramming is a natural progression’. She went on to explain, ‘in an age of austerity, when people are looking to spend more wisely and to cherish what they own, monogramming is a perfect way to ensure a throw, pyjama’s or a purse always remain treasured.’

With some designer’s luxury loungewear costing in excess of £200 it can be assumed that the women buying them are looking at an investment.

Like the enduring appeal of all vintage clothes there is something to be said for paying that little bit more and getting enduring quality. There is also something to be said for going that extra step and giving your latest couture investment a bespoke finish. A few delicate initials in finest cotton on a borrowed-from-the-boys set of silk pyjamas can make lounging by the fireplace with a trashy detective novel everyone’s idea of heaven.

Robert McCaffrey

54

Textile and embroidery events for 2015 J A N U A R Y Saturday 17th - Sunday 18th.

Tambour beading Weekend class. Hand & Lock use the French art of Tambour Beading to embellish and decorate garments. The technique was devised as an easy, fast and effective way to give instant glamour and texture to clothes or accessories. www.handembroidery.com £180 per person

Tuesday 10th - Thursday 12th.

Première Vision Paris, Parc d'Expositions Paris Nord Villepinte. Constant fieldwork, and a unique ability to anticipate, are the twin engines driving Première Vision's development and its success. www.premierevision.com

Tuesday 14th.

STITCH @ SIX: Contemporary beading evening workshop. The Hand & Lock team present a special evening workshop teaching beading techniques for beginners.

Friday 20th - Tuesday 24th. www.handembroidery.com London Fashion Week, Somerset House. £25 per person International clothing trade show held in London twice each year, in February and September.

Saturday 25th - Sunday 26th. www.londonfashionweek.co.uk Monogramming Weekend class. The Hand & Lock team present a special weekend of classes teaching monogramming. suitable for all abilities. www.handembroidery.com £180 per person

M A Y

Thursday 22nd - Sunday 25th.

Creative Craft Show, Esher Surrey - at the Sandown Park Exhibition Centre. Every show offers a wide choice of interactive workshops and ‘Make and Takes’; so you can benefit from expert tuition and even take a completed project home with you. www.sccshows.co.uk Adults £8.00, concessions £7.00

F E B R U A R Y Friday 6th - Sunday 8th.

The Stitching, sewing and Hobbycrafts Show, Eventcity Manchester. Indulge your passions for stitching, arts and crafts at the Stitching, Sewing and Hobbycrafts Show, returning to Manchester this autumn. www.stitchandhobby.co.uk/manchester/spring Adults £8.00, concessions £7.00

A P R I L

M A R C H Saturday 14th.

Tambour Beading Day workshop. Hand & Lock are now running exclusive one day workshops sharing our impressive know how and experience in this field. This is a rare chance to visit our central London Atelier and learn from a highly experienced master. www.handembroidery.com £95 per person

Tuesday 12th.

Introduction to embroidery day workshop. This is an ideal starting place for anyone new to fashion embellishment. Students can learn a host of effective disciplines and styles including an introduction to monogramming. Incorporating modern twists this technique is ideal for updating garments, accessories and interior furnishings. www.handembroidery.com £95 per person Saturday 15th Sunday 16th.

Tambour beading Weekend class. Hand & Lock use the French art of Tambour Beading to embellish and decorate garments. The technique was devised as an easy, fast and effective way to give instant glamour and texture to clothes or accessories. www.handembroidery.com £180 per person

Tuesday 17th.

STITCH @ SIX: Monogramming evening workshop. J U N E The Hand & Lock team present a special evening Saturday 14th - Sunday 15th.

Friday 5th - Saturday 6th.

Goldwork Weekend class Hand & Lock have been class teaching monogramming basics for beginners. Springfields Quilt Show, Spalding UK. Wonderful www.handembroidery.com using the ancient technique known as Goldwork to £25 per person. displays of quilts, patchwork and quilting suppliers apply a metallic, rich finish to couture for nearly 250 stands. years. Traditionally for ceremonial, ecclesiastical or www.grosvenorshows.co.uk/html/Springfields.html military garments, Goldwork is a great technique to Sunday 29th.

Adults £8.00, concessions £7.00 Goldwork Day workshop. Hand & Lock are now instantly give a dynamic aesthetic and glamour. www.handembroidery.com running exclusive one day workshops sharing our £180 per person impressive know how and experience of Goldwork. www.handembroidery.com £95 per person

55

Saturday 13th.

Goldwork Day workshop. Hand & Lock are now running exclusive one day workshops sharing our impressive know how and experience of Goldwork. www.handembroidery.com £95 per person

Tuesday 11th.

STITCH @ SIX: Contemporary beading evening workshop. A special evening workshop teaching beading techniques for beginners. www.handembroidery.com £25 per person.

Saturday 27th.

Silkshading Day Workshop. Hand & Lock are now running exclusive one day workshops teaching the art of Silk Shading. www.handembroidery.com £95 per person

Sunday 23rd.

Tambour beading day workshop. Join us for a one day workshop where you can learn the fine couture technique of Tambour beading. www.handembroidery.com £95 per person

Tuesday 16th STITCH @ SIX: Mini Goldwork workshop. Join us for this fun evening workshops sharing where you can learn the Goldwork basics. www.handembroidery.com £25 per person

Saturday 29th.

Monogramming day workshop. The Hand & Lock team present a day workshop teaching a host of monogramming techniques. www.handembroidery.com £95 per person

S E P T E M B E R J U L Y Monday 20th. - Friday 24th The Embroidery Festival returns in 2015 with daily workshops and a series of evening talks.

Monday 20th: Introduction to Embroidery Tuesday 21st: Silk shading Wednesday 22nd: Tambour Beading Thursday 23rd: Goldwork www.handembroidery.com Workshop + evening talk £95 per person Eveningb talk: £10 per person

A U G U S T Thursday 6th - Sunday 9th.

Festival of Quilts, Birmingham NEC. A celebration of quilting with over 300 exhibitors offering essential supplies, extraordinary galleries from international artists and a magnificent display of over 1,000 competition quilts – it’s the ultimate quilting experience. www.thefestivalofquilts.co.uk

Saturday 5th.

Goldwork day workshop. Learn the delicate art of Goldwork in our one day workshop. www.handembroidery.com £95 per person

Saturday 13th.

Silkshading Day Workshop. Hand & Lock are now running exclusive one day workshops teaching the art of Silk Shading. www.handembroidery.com £95 per person

N O V E M B E R Tuesday 24th.

STITCH @ SIX: Mini Goldwork workshop. The Hand & Lock team present a special evening class teaching goldwork basics for beginners. www.handembroidery.com £25 per person.

Friday 18th - Tuesday 22nd.

London Fashion Week, Somerset House.

Saturday 28th.

International clothing trade show held in London Goldwork Day workshop. Hand & Lock are now twice each year, in February and September. running exclusive one day workshops sharing our www.londonfashionweek.co.uk impressive know how and experience of Goldwork. www.handembroidery.com Thursday 24th. £95 per person STITCH @ SIX: Introduction to Embroidery. Learn the embroidery basics in at a relaxed evening D E C E M B E R workshop. www.handembroidery.com £25 per person Tuesday 1st STITCH @ SIX: Monogramming evening workshop.

The Hand & Lock team present a special evening class teaching monogramming basics for beginners.

O C T O B E R www.handembroidery.com £25 per person.

Saturday 17th - Sunday 18th.

Tambour Beading Weekend class. Hand & Lock use Saturday 12th. the French art of Tambour Beading to embellish and Tambour beading day workshop. Join us for a one decorate garments. day workshop where you can learn the fine couture www.handembroidery.com technique of Tambour beading. £180 per person www.handembroidery.com £95 per person