Textile Treasures

The exhibition was wonderful, and though it was hard work it was worthwhile in order to see the reaction from visitors - so rewarding. We began with an empty room, in which a shell scheme had been built.

Each exhibit had to be identified and checked off the list. Sorting out the large number of lace edged tablecloths was a challenge - was that meant to be a crochet lace edge tablecloth or a tatted lace edge?

And any exhibition of tablecloths means that certain equipment is inevitable:

There was a model to be dressed, and some hastily arranged plastic bags to provide a bit of cleavage!

All came together beautifully, thanks to the skill of designer Sue, who resisted all demands to squeeze as many things in as possible and left each piece plenty of space to breathe and be shown to best effect.

This is one of my favourite pieces, a banner from the 1928, made for Cannington WI in Somerset, costing £5 11s 6d. At the time, a judge wrote a comment which stated that "an allegorical design is not suitable for a WI banner. Artificial silk unsuitable. Rejected"

This was my favourite grouping: a box in the shape of a guitar (very 1960s), a wool felt cushion (a la Needlework Development Scheme) a pair of slippers made to present to a retiring President, a modern box with embroidered top and a piece of inlay applique done by Mrs Christie - recognise it from "Samplers and Stitches"? The group sits in front of a rather wonderful banner from Norfolk Federation, upon a crochet bedspread.

All of these things, together with another 200 pieces, will be touring the ICHF shows next year, starting in Exeter in late September and going on to Harrogate, Glasgow, Brighton, Cardiff and Birmingham. Not only that, but I get to go with them!!

Maybe see you there?

Like minds

Isn't it good to have the company of like-minded friends? I first met Maggie years ago, when we were both stalwarts of our local Embroiderers Guilds and the cross stitch phenomenon was in full swing. We despaired of the way so many embroiderers became stuck with the technique and tried to make sure we were providing as many opportunites as we could to tempt them further into more creative stitching. I don't think we were altogether successful for I think that many cross stitchers have simply gone on to rubber stamping, then scrapbooking, proving that commercial persuasions are more successful than merely enthusiastic ones!

Anyway, we've kept in touch, are members of the same mailgroup and as we live fairly close, get together from time to time. We did exactly that yesterday - rather impromptu but none the worse for that. We didn't really have time to play - but anyone who tried to get a word in edgeways would have struggled.

Maggie, it was good to see you again, to learn more about your new toy (I'm envious!) and to share a few hours talking about stuff which would have most people dozing off. What's more, it will be fun to get together again next week, at the Textile Treasures exhibition, when we might even think to take a photo.

Happened to be passing, so we dropped in

Way back in the Compuserve days, when several of us were chatting via the Bernina forum, I "met" Sue Yannone of Sue's Sewing Palace, Helena MT. Actually I really did get to meet her at a Knitting and Stitching Show when she very kindly brought me a whole heap of resources for my 1630 machine which were unavailable in the UK. Since then, I have regarded Sue as my Bernina Guru and though, of late, I haven't been using my machine much, the occasional email has kept her in my thoughts.

So, when we found ourselves in Helena today, of course, we had to drop in. Sadly Sue wasn't there, but Carol telephoned her and we enjoyed a chat, which was great. I even offered her a transfer to Gloucestershire, but for some reason, she prefers Montana ;-)

Her store is indeed a palace with a huge stock of machines, notions and fabric. Not only that, but there's a service depot and the most amazing classroom. Sue, perhaps it's as well you're not a little nearer, for I fear I'd spend so long there, you'd never get rid of me!

We spent most of the morning at the Montana Capitol building, where once again, we were surprised at the unrestricted access we had, never mind the fact that no-one asked to look inside our bags or ask any other security questions. We found a grand interior with an interesting collection of paintings and stained glass, though sadly, the guide's commentary did not take into account our lack of Montana local history! Never mind - we enjoyed the tour and the subsequent tour of Helena itself.

Upon our return to Bozeman, however, I needed to get a pair of shoes repaired and whilst they were being done we browsed the main street where we'd been yesterday. Sure enough, the Yarn and Fiber company were open and able to supply a skein of Mountain Colours yarn for the next pair of socks. But also, next door, we found Reproduction Fabrics where Margo Krager, the owner, was on hand to share her enthusiasm for vintage fabrics. Not only that, but she told us of her longing to visit Manchester to visit mills and other remnants of the cotton industry. My own meagre knowledge was put to shame by her comprehensive textile history and I promised to share some details I have at home upon our return.

She also recommended "The Secret Life of Textiles" of which I had no previous knowledge, but clearly I should investigate further.

Her collection of vintage reproduction fabrics, shelved in chronological order was fascinating. We especially liked her range of indigo prints, formerly UK sourced but now made in South Africa. Due to weight restrictions I had to limit myself to a couple of small bags of samples, but there were many very tempting goodies on those shelves, I can tell you.

So, on to pick up my newly heeled sandals from the cobbler - but no ordinary cobbler this, for we are in cowboy country and the boots for sale in here were rather out of the ordinary. My little white Italian sandals looked a bit forlorn amongst the Western cowboy boots and leather chaps and saddles! But my, did they do a great job!

Textiles in Performance

Fantastic concept, beautiful textile art shown in an altogether amazing setting, sadly let down by the logistics. Nevertheless, we had a fascinating (if rather short) evening.

We live in an area renowned for its textile heritage and I'm the first to admit that I don't take as much advantage of this as I ought to do. The Textile Festival is running right now though, and upon hearing about the "Textiles in Performance" from our good friend, Anne Rogers, we immediately got tickets and looked forward to....we had no idea! Anne's one of the artists involved in the show, so I knew there would be felt in there somewhere. Added to which we've long thought there was a call for something along the lines of WOW in the UK and whereas it was clearly not going to be anything so huge, perhaps there might be a flavour of that in there somewhere.


Apart from instruction to arrive promptly for a timed shuttle departure from the car park to the remote and partly derelict Woodchester Mansion, we knew nothing more. Details were pretty thin on the ground and perhaps, with that wonderful skill of hindsight, the organisers might reconsider the information to send along with the tickets - after all, audience members can't toe the line if none has been drawn! As it was, our group was HUGE (about 75); as a result there were parts of the show which we didn't/couldn't see and the dancers had trouble negotiating the crowds.


Each (small!) room was set simply for one of a number of linked dance scenes and the architectural framework of the uncompleted building provided a stunning backdrop for some magnificent textiles. The chair in the background behind all that scaffolding is actually made from human hair - intriguing, but like so many other small details, easy to overlook.

The atmospheric and ethereal soundtrack was key to the success of creating an intimate and intriguing fantasy - if only there were not the huge number of people crammed into each set, stepping on each others toes and jockeying for the best position. People who couldn't actually squeeze into the room stood around chatting - creating a less-than-welcome disraction for the lucky few who could.



I'll say now that, though I was glad to be able to take photographs, I think it would have been wise to request no photography.

Constant flashes, clicks and whirring didn't help maintain the concentration, and must have been distracting for the performers. In addition, the chap who I assume to be the "official" photographer/cameraman had a little higher profile than I would have thought necessary!


All of which sounds carping, which is unfair, for this was a brave and technically demanding show. Textile artists are seldom required to create works of art that withstand the rigours of real life and creating costumes for dancers enabling quick changes and free movement is a challenge - I was particularly sorry that my favourite piece in the show, Anne's blouse with felted neckline and cuffs, with matching cummerbund, was not shown to best advantage due to the lack of time to do all the buttons up! Nevertheless, it was a beautiful piece of work which stole the show as far as I was concerned.


If only I could return to watch the rehearsal, alone in the room to take full advantage of all the small details, the little nooks and crannies full of witty and intriguing items which were crowded out of every scene. I'd love to see the interaction of the dancers across the room - impossible because of all the people in between them, and most of all, I'd like very much to go back and have a closer look at some of those wondrous creations they were wearing.


Having reached the end of the performance, we found ourselves in a room with far too many people standing cheek by jowl with glasses of wine. One exit...via the same route as the incoming groups...and sad to say, having had the briefest of words with Anne, to congratulate her on such amazing work, we took the opportunity of a swift exit before the next crowd was shepherded in.


On the way home, we chatted about how our experience could have been improved. Clearly, fewer people in the audience would have helped. But, it would seem that the demands of the Arts Council, who supplied funding, specified high audience numbers. Perhaps the timed entry wasn't controlled as efficiently as it might have been, for we suspected that the cool evening breeze was a factor in propelling everyone indoors as quickly as possible. On a warmer summer evening, maybe we would have enjoyed a longer linger with a glass in hand. As it was, we were on our way home around 8pm and though we didn't quibble at the £25 ticket price, we didn't really feel we had value for money.

We would have appreciated the freedom to wander at our own pace, watching and viewing the small sideshows, rather than being coralled as a herd. It seemed as though that as the dance scenes were ongoing, the route was clearly marked with a red ribbon and the elegantly dressed stewards were able to keep everyone on the right track, this would not have been difficult. Being better informed as to what to expect would have helped all concerned, I think - and future performances will surely benefit from the challenges of last evening's premiere.

We wouldn't have missed it for the world, though. We are so fortunate to be able to enjoy such an inspired event in magnificent surroundings. The concept was remarkable and I hope the designers will feel encouraged to go on and create similarly exciting ventures. I would like to see the show again in a different setting - the next is planned for the Fresh Air event at Quenington, next month - another wondrous location.