When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.
With continual reference to my photograph of the Isaiah panel of the rood screen, I began selecting my colour combinations and mixing up the dyes. Then I started painting.
As the colour was added the whole piece began to take shape.
At this stage I felt the painting looked too flat and clean, so with a wide stiff brush I added sweeps of thick, brown resist to give a hint of ageing. Edlyn gold is now finished and awaiting steaming.
You may have noticed I like pink and I like flowers, so naturally I have painted quite a few scarves inspired by pink flowers.
However, sometimes when nature is doing it so well I feel intimidated by her perfection and find myself turning to the manmade for alternative sources of inspiration.
Firstly, I take a photo of an everyday object, remove the distraction of colour, then turn the image upside down to stop myself from recognising the object. The idea is to stop seeing the motor bike and just see shapes. Then using Photoshop I soften and blur the lines to produce a picture that gives an outcome similar to the resultant image we see when we squint.
With a little more tweaking I eventually get an image that I can use to work from.
And here’s a little first go, freewheeling in monochrome inspired by a motor bike.
Of course, I’ve used the classic black and white combination before giving a very clear area of contrast. But, wait, I can also see some pink flowers!!
From the spring of this year, the British women’s fashion brand ‘Jigsaw’ has been running an ad campaign with the strapline “For life not landfill”. There has been a media wall running along the walkway at Oxford Circus underground station showing Jigsaw posters in front of an enormous photograph of a landfill mountain.
It is an interesting theme for a contemporary fashion brand to highlight. The snappy slogan, “For life not landfill”, also appears at the top of a series of magazine advertisements showing vintage clothing paired with a new, Jigsaw garment. Naturally, in other parts of the world and in our past the idea that we would consign cloth to landfill would be an outrage. Clothing was worn, restyled, passed down, patched and repaired. Textiles were routinely recycled.
My mother was a great collector of scarves and when she died I inherited some of her ‘heirloom’ pieces which poignantly (but I guess not really surprisingly) included some of my early work. So here is my version of ‘For life not landfill’. Top of this blog post photo shows silk scarf (1993) paired with my vintage navy blue wool and cashmere coat purchased secondhand in 1988. And, below, same crepe de chine silk scarf with contemporary linen shirt and suede skirt finished with a leather belt (1975).
But our best family clothing heirloom is a brick-red, mid-weight wool waistcoat made by my mother in the 1950s. She made this waistcoat and also a skirt from a wool coat. She had originally bought the coat from a shop on Oxford Street, London, when she first started work. She passed on her waistcoat to me when I was a teenager.
I would post a photo of it, but the waistcoat is now with my daughter back in London. However, I’ve still got the original paper pattern which my mother used. So, that’s a coat restyled to a waistcoat and worn by three generations – 1948, 1979 and 2015!
And, finally, a quick reminder whilst we are on the theme of buying quality, so-called heirloom pieces, it is ‘Buy British Day’ this Saturday, October 3rd which coincidentally was my mother’s birthday.
It’s not often that I wish I had a gigantic television screen, but last week was one of those rare occasions. Watching the first episode of Wolf Hall I was captivated by the lustrous beauty of so many of the shots. The creativity, knowledge and skills of all the designers (costume, interior/set and lighting) came together and gave us, the viewers, an enticing version of the Tudor elite lifestyle – as long as you kept your head! The overall impression was that displaying luxury textiles was the key to the making of a lord, his lady and their noble abode. And, of course, up until the Renaissance tapestries were the most high status wall coverings a wealthy individual could acquire.
The critical reception of ‘Wolf Hall’ has been good although a few people have moaned about the dark lighting – apparently real candlelight in some instances. I thought the lighting was superb, and as somebody who is used to photographing silk you don’t want powerful harsh artificial light. It is the soft reflection of diffuse natural light from the surface of the silk that captures its rich lustre and intense hues.