W E N
EXPLORE THE BEST OF TRADITIONAL BRITISH CRAFTSMANSHIP
Made in
BRITAIN BROUGHT TO YOU BY BRITAIN MAGAZINE
WIN a fantastic
glassblowing experience
BY ROYAL APPOINTMENT Behind the scenes with the stitchers of Hampton Court
WHISKY ISLES Historic distilleries of the Inner Hebrides
MEET THE MAKERS
Discover the best of Britain's heritage crafts
TWININGS FLAGSHIP STORE - 216 STRAND The oldest tea shop in London. Welcome to our 300 year old historical flagship store. Shop favourite Twinings blends, gifts and premium teas from around the world, sample new flavours at our state of the art Loose Tea Bar and sign up for a Masterclass with one of our expert Tea Ambassadors.
Tea Lover’s Dream Our historical shop at 216 Strand is a must visit place when you are in London. Located in the heart of the capital directly opposite the Court of Justice, Londoners as well as tea fans from all over the world have been coming to our beautiful store for more than 300 years to shop.
TEA MASTERCLASSES Discover the unique Twinings tea tasting experience with our Tea Masterclasses at 216 Strand in the heart of London.
We will to take them on a sensorial journey, from the welcoming cocktail, to the last food pairing. All while we walk them throughout centuries of
For decades Afternoon Tea has been all about the elegant surroundings, the delicate crockeries and the delicious food. But what about the tea? Tea has been relegated as a side-lined supporting character, sometimes almost forgotten and often over brewed. Here at Twinings’ historical store, we want to bring the focus back on the Tea. To do so we have created a different Tea
Twinings and Afternoon Tea history, showing them where the tea they are drinking comes from and how it is made, and why we paired it with that specific food, based on the art of food pairing with tea. At the Strand we want to make the quintessential British experience of Afternoon Tea as memorable as possible for all of our customers.
Experience, where our customers won’t simply enjoy delicious food with a decent cup of tea.
Telephone 0207 353 3511
|
Email strand@twinings.com
Website www.twinings.co.uk/about-twinings/216-strand
TEA MASTERCLASSES Discover the unique Twinings tea tasting experience
We will to take them on a sensorial journey, from
with our Tea Masterclasses at 216 Strand in the heart
the welcoming cocktail, to the last food pairing.
of London.
All while we walk them throughout centuries of
For decades Afternoon Tea has been all about the
Twinings and Afternoon Tea history, showing them
elegant surroundings, the delicate crockeries and
where the tea they are drinking comes from and
the delicious food. But what about the tea?
how it is made, and why we paired it with that
Tea has been relegated as a side-lined supporting character, sometimes almost forgotten and often
specific food, based on the art of food pairing with tea.
over brewed. Here at Twinings’ historical store,
At the Strand we want to make the quintessential
we want to bring the focus back on the Tea.
British experience of Afternoon Tea as memorable
To do so we have created a different Tea
as possible for all of our customers.
Experience, where our customers won’t simply enjoy delicious food with a decent cup of tea.
Telephone 0207 353 3511
|
Email strand@twinings.com
Website www.twinings.co.uk/about-twinings/216-strand
Chimneypieces | Lighting | Furniture 020 7730 2122 | jamb.co.uk
COVER IMAGE: EMBROIDERED CROWN © ISTOCK
10 EDITOR'S LETTER Welcome to Made in Britain, a magazine that celebrates the skill and craftsmanship of British artisans and traditional industries. We’ve travelled the length of the country in search of great British craftsmanship, from Hampton Court Palace – where world-class embroiderers have stitched many a royal robe – to the whisky distillers of the Hebridean isle of Islay, whose peaty single malts are enjoyed the world over. The master craftsman William Morris once said, “Have nothing in your house that you do not know to be useful or believe to be beautiful.” In a world where mass production is the norm, these are wise words to live by, and the beautiful and useful wares produced by Britain’s craftsmen are certainly a fine place to start.
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Natasha Foges, Editor
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LONDON TOUCHED BY GOLD With its origins in the 14th century, the Goldsmith’s Company is one of London’s most prestigious liveries A STITCH IN TIME The Royal School of Needlework, housed in Hampton Court Palace, has worked on everything from Oscar gowns to a certain royal wedding dress COMPETITION Enter for your chance to win a fantastic glassblowing experience for two in London MADE IN BRITAIN
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www.britain-magazine.com Made in Britain is published by the makers of BRITAIN magazine: The Chelsea Magazine Company Ltd, Jubilee House, 2 Jubilee Place, London SW3 3TQ Tel: 020 7349 3700 Fax: 020 7901 3701 Email: info@britain-magazine.com Editor Natasha Foges Deputy Editor Zara Gaspar Art Editor Clare White Head of Market James Davis Senior Sales Executive Paul Beckham Senior Sales Executive Jamie Smith Managing Director Paul Dobson Deputy Managing Director Steve Ross Publisher Steve Pill Chief Financial Officer Vicki Gavin Director of Media James Dobson Senior Marketing Executive Drew Brown
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CONTENTS
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SOUTHERN ENGLAND
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UK and Rest of World: Seymour, 2 East Poultry Avenue, London EC1A 9PT, England. Tel: +44 (0)20 7429 4000
SIGNS OF TRADITION Hand-painted pub signs are as much a part of traditional British pubs as the ale served inside
Made in Britain (ISSN 2631-5653) Made in Britain is published by the makers of BRITAIN magazine (ISSN 1757-9732 print) (ISSN 23969210 digital) (USPS 004-335), published bi-monthly by The Chelsea Magazine Company, Jubilee House, 2 Jubilee Place, London SW3 3TQ , UK POSTMASTER: Send address changes to BRITAIN, PO Box 37518, Boone, IA 50037-0518 Publications Mail Agreement Number 41599077, 1415 Janette Ave, Windsor, ON N8X 1Z1. Canadian GST Registered Number 834045627 RT0001
PRECISION PRINTING We go behind the scenes with Britain’s last commercial Monotype printer
HEART OF ENGLAND 52
BEST FOOT FORWARD One heritage shoe brand is considered better trodden than most
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THE ART OF POTTERY A visit to Britain’s last working Victorian pottery reveals many of its original techniques intact
NORTHERN ENGLAND 66
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PHOTOS: © ROB SCOTT
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© The Chelsea Magazine Company Ltd 2018. All rights reserved. Text and pictures are copyright restricted and must not be reproduced without permission of the publishers. The information contained in Made in Britain has been published in good faith and every effort has been made to ensure its accuracy. All liability for loss, disappointment, negligence or damage caused by reliance on the information contained within this publication is hereby excluded. The opinions expressed by contributors to Made in Britain are not necessarily those of the publisher.
MASTERS OF GLASS Meet the stained glass makers with a passion for tradition and conservation
WALES 79
WORLD OF WOOL We tour a woollen mill in deepest Snowdonia, where time seems to have stood still
SCOTLAND 88
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THE WHISKY ISLES Any self-respecting Scotch whisky lover should make the pilgrimage to the isles of Islay and Jura
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LONDON
PHOTO: Š VALERIOGENOVESE/GETTY IMAGES
Home to the livery companies of the City of London, established to protect and regulate the various crafts and trades carried out in the capital, London has a powerful and long-standing association with artisans and merchants, ranging from goldsmiths to spectacle-makers, drapers to vintners. For many though, the craft most associated with the capital is tailoring. In the market for an eyecatching hat or an impeccably cut suit? Head to the legendary Savile Row, where tailors have honed their skills since the late 18th century; the term "bespoke" as applied to fine tailoring originated here, and came to mean a suit cut and made by hand. Gieves & Hawkes, Savile Row tailors of distinction, made a name for themselves by crafting uniforms for the army. Now proud owners of three royal warrants, they are tasked with making the ornate uniforms of the Queen’s Guard. An impressive ensemble of brocade, scarlet wool and shiny buttons, they strike a fittingly regal note at June's Trooping of the Colour parade in honour of the Queen's birthday.
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PHOTO: © ANDREAS VON EINSIEDEL/THE LIVERY HALLS OF THE CITY OF LONDON/MERRELL PUBLISHERS
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The
GOLDEN TOUCH
With its origins in the 14th century, the Goldsmith’s Company is one of London’s oldest and most prestigious liveries WORDS SALLY COFFEY
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london Previous page: The opulent Goldsmiths’ Hall Clockwise from top left: the Trial of the Pyx; gems and rings by Mark Nuell; admiring the wares at the Goldsmith’s Fair
I
f you’ve ever bought British-made jewellery of gold or silver, the chances are its creators have had some help along the way from the Goldsmiths’ Company, or to give it its full name, the Worshipful Company of Goldsmiths. One of 12 Great Livery Companies of the City of London, the Goldsmiths’ Company was set up in 1327 (when it also received its first royal charter) to regulate the craft and trade of the goldsmith. However, even before the formation of the livery, in 1300 King Edward I had passed a statute requiring that gold and silver of a defined standard be marked with a leopard’s head. The leopard’s head – still used to this day by the Goldsmiths’ Company, though its design has evolved somewhat – is believed to have come from the King’s mark. In the 15th century the first official assay office was set up in Goldsmiths’ Hall (there are now three others across Britain) and craftsmen who used gold and silver in their wares had to bring them here to be marked in this way, hence the term ‘hallmark’. As well as assaying (testing) the quality of gold and silver, since the 1970s the Goldsmiths’ Company has also been charged with testing platinum, and since 2010, palladium has come under its remit too. The hallmark is a sign of quality – all British items of silver over 7.78g,
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gold and palladium over 1g, and platinum over 0.5g should be assayed and bear a hallmark (traditionally done by hand, but nowadays often marked by laser too). Today the assay symbol (the leopard in London but different for each of the other assay offices) is joined by two other compulsory marks: the sponsor’s mark and the metal and fineness mark. Optional additional marks include the traditional fineness symbol, and the date letter. If you’re considering buying a piece of gold jewellery but it doesn’t have a hallmark, steer well clear. Perhaps the most famous function of the Goldsmiths’ Company is the annual examination of coins produced by the Royal Mint in a ceremony known as the Trial of the Pyx. Dating back to the 12th century, the Trial of the Pyx is one of the oldest judicial procedures in Britain. Other than the location (the ceremony, which was first held in Westminster Hall and later in the Exchequer at Westminster), little has changed in the annual ceremony since the reign of King Edward I. Since 1871 it has taken place in the grandeur of Goldsmiths’ Livery Hall, an opulent room with Corinthian columns and an intricately moulded ceiling decorated in gold leaf.
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london Left: a student learns enamelling at the Goldsmiths’ Centre
During the opening ceremony, held each February, chests known as pyx (from the Latin ‘pyxis’, meaning small box) are brought in by members of the Royal Mint, ready for inspection. Inside, the boxes contain over 50,000 coins – randomly selected from each batch of denomination struck. It is a formal court of law, and the trial jury, made up of members of the Goldsmiths’ Company, is summoned to the hall by the senior judge in the Royal Courts of Justice, known as the Queen’s Remembrancer. During this opening ceremony, the coins are counted and weighed and set aside for assaying, and the Company then has two months to test them against a Trial Plate – metal plates usually made of gold, silver or platinum. The verdict, three months later, is also presided over by the Queen’s Remembrancer and is traditionally attended by the Chancellor
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of the Exchequer (who is the Master of the Royal Mint), or a representative. But while the annual Trial of the Pyx is an excellent example of British pomp and ceremony, and it beautifully demonstrates the heritage of this ancient organisation, the Goldsmiths’ Company is by no means stuck in the past. The Company plays a very active role in both assuring exacting standards are met and encouraging creativity among the arts and crafts. The Company not only funds apprenticeships for aspiring craftspeople, but in 2012 it also created The Goldsmiths’ Centre – a £17.5m building in London’s Clerkenwell that encompasses workshops and training rooms, that it hopes will safeguard the industry for future generations. Peter Taylor, Director of the Centre, says: “The Goldsmiths’ Centre, the UK’s leading charity for the professional training of goldsmiths in London, is the jewel in the crown of today’s Goldsmiths’ Company. We manifest the Company’s 700-year connection to the craft, trade and industry into the 21st century and beyond; and play a pivotal role in nurturing the next generation of craftspeople, creating a skilled workforce and promoting the goldsmiths’ craft.” In addition, the annual Goldsmiths’ Fair, held over a fortnight in late September and early October each year, is a stunning showcase featuring the wares of over 80 modern designers and craftspeople, where you can buy fine jewellery and contemporary silverware. Metalworker and jeweller Mark Nuell, who displays at the fair, says the support of the organisation has been instrumental in launching his career. Nuell says: “Goldsmiths’ Company has been great in providing me with a network of craftspeople working in precious metal and gemstones. The annual Goldsmiths’ Fair has given me a wonderful way for the public to see my work.” Find out more about this historic livery and its annual fair at www.thegoldsmiths.co.uk www.britain-magazine.com
PHOTOS: © THE GOLDSMITHS' CENTRE/RICHARD LEA-HAIR/MARK NUELL/RORY LINDSAY/SAM FROST/JULIA SKUPNY
Below: an 18 carat gold ingot bearing the leopard’s mark
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PHOTO: © ROYAL SCHOOL OF NEEDLEWORK
A stitch in TIME In the glorious setting of Hampton Court Palace, the Royal School of Needlework has worked on everything from church vestments to a certain royal wedding dress WORDS NATASHA FOGES
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london Previous page: Hampton Court rendered in appliqué by student Jung Byun Clockwise from right: Hampton Court was the favourite palace of King Henry VIII; stitchers in the Studio; the Royal Opera House curtains; ladies of the School working on the Queen’s coronation robe
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PHOTOS: © ROYAL SCHOOL OF NEEDLEWORK/HISTORIC ROYAL PALACES
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very day, hundreds of visitors flock through Hampton Court Palace’s grand gateway to admire the tapestries in Henry VIII’s Great Hall or get lost in his famous maze. Few of them realise that the Royal School of Needlework, an international school of excellence in the art of hand embroidery, is tucked away at the heart of the palace. The School is in two parts: the Embroidery Studio, which deals with new commissions, restoration and conservation, and the School itself, a thriving education programme offering courses at all levels. The School began in 1872, in rather humbler surroundings: a small room above a bonnet shop in London’s Sloane Street. It was founded both to revive a dying art and to provide educated women with a source of income, saving them, in the event of widowhood, from penury. Some 20 ladies stitched the days away here under the patronage of Princess Christian of SchleswigHolstein, Queen Victoria’s third daughter, known to the School as Princess Helena. Concerted fundraising efforts by Princess Helena led to the opening of a purpose-built centre on Exhibition Road, close to the V&A Museum, where the School grew and flourished, employing up to 150 workers. The School soon gained prestige, with large-scale embroidery commissions for the likes of William Morris and Edward Burne-Jones in the 1870s and 1880s. In 1901 they made Queen Victoria’s funeral pall – “a labour of love” as Princess Helena described it – and embroidered the coronation robes of Edward VII. The coronation gowns of George V in 1910 and Her Majesty the Queen in 1953 followed. The School’s history isn’t all robes and regalia, however. During the First World War the RSN taught shell-shocked soldiers how to stitch as an active therapy: unlike knitting, whose rhythmic, methodical stitching allows you to switch off, embroidery requires intense concentration, and is an excellent way of distracting the mind from troubles. The Royal School still works with Armed Forces charities today. The RSN moved to Henry VIII’s favourite palace, Hampton Court, in 1987: a setting
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Advanced Goldwork by student Katharine Creighton-Griffiths
They also take on private commissions to restore cherished family heirlooms, bringing a precious christening gown or veil back to life
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truly befitting of an association with its royal pedigree. Since then, it has gone from strength to strength. Commissions range from the restoration of the curtains of the Royal Opera House – so big that they had to be stitched in situ – to the balcony hanging at Buckingham Palace for the Queen’s Golden Jubilee; not forgetting their most famous commission of recent times: the wedding dress of HRH The Duchess of Cambridge, designed by Sarah Burton of Alexander McQueen. For important commissions such as this, the studio calls in backup: both rooms of the studio filled with an army of stitchers – sworn to secrecy, of course – working around tables on the fine lace of the gown, veil and shoes. Stitchers washed their hands every 30 minutes to keep the lace pristine, and needles were renewed every three hours. The Studio follows the mantra, “Never shall a seat go cold”: when one person round the table takes a break, another takes their place and continues their work seamlessly. All www.britain-magazine.com
PHOTOS: © ROYAL SCHOOL OF NEEDLEWORK
Below: the Studio with its ‘wall of wool’
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london The finely worked lace was central to the design of the Duchess of Cambridge’s wedding dress
PHOTOS: © HUGO BURNAND/CLARENCE HOUSE/ROYAL SCHOOL OF NEEDLEWORK
Below: a degree project at Hampton Court Palace
stitchers are rigorously RSN-trained, so that their embroidery, while the work of many, will look like the work of one. The Studio features a floor-to-ceiling “wall of wool”: a kaleidoscope of colour that includes worn vintage yarns as well as new ones, so that when conserving an old piece they can accurately colour-match the thread. The room is a place of quiet and peaceful industry, with stitchers working on a variety of projects: not just the famous royal commissions, but textiles for churches and abbeys (they have recently hand-embroidered vestments for Buckfast Abbey’s millennium celebrations), grand stately homes, Oscar nominees and fashion houses. They also take on private commissions to restore cherished family heirlooms, bringing a precious christening gown or veil back to life. Two exhibitions are put on annually; one to look out for in 2019 is ‘The Embroidered Home’, which will feature pieces from the RSN’s unique collection, with finely embroidered items from cushion covers to table mats. Close by the Studio, overlooking the handsome Fountain Court, the rooms of the
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School bustle with activity. Students of all abilities, from complete beginner to degree level, occupy a number of light-filled rooms, with grandstand views of the palace’s magnificent formal gardens. Students are trained in techniques ranging from the (relatively) simple Jacobean crewelwork to silk shading, an incredibly intricate technique that creates a three-dimensional effect, akin to painting with a needle. While needlework might seem like an old-fashioned art, the skills acquired here are at the very highest level and are much in demand in the worlds of fashion, interiors and film. With the advent of high definition, costume dramas require costumes to look the part. The revival of traditional embroidery methods give period productions an added lustre, as well as an air of authenticity. ‘The Embroidered Home’ exhibition runs from 28 January 2019 until August 2019; booking essential. To book, or to find out more about courses at the RSN, including their new long-distance learning programmes, see www.royal-needlework.org.uk www.britain-magazine.com
competition
W IN
A GLASSBLOWING EXPERIENCE FOR TWO IN LONDON
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nter our competition to win a once in a lifetime creative experience and unlock the secrets of glassblowing. Spend half a day in one of Europe’s foremost hot-glass studios and receive tuition from one of the UK’s most respected glass artists. London Glassblowing was established by Peter Layton in 1976 and was one of the first hot-glass studios in Europe. Since then it has become one of Europe’s leading glassmaking workshops with a flair for the use of colour, form and texture. This amazing competition includes a half-day hands-on creative learning experience for two people at the glassblowing studio in Bermondsey Street in London. Become a gaffer for a day, learn to use the blowing iron and experiment with colour and shape. You don’t need to be an athlete for the workshop, but you will need a bit of puff in your lungs. You’ll be shown the process and will acquire an understanding of the
working properties of glass in its molten form. Then under supervision, you’ll start to manipulate this extraordinary material into different shapes. The workshop includes the use of all materials and equipment and you’ll be able to make some unique pieces to keep and treasure forever. Once you’ve made your pieces, they will need cooling in the annealing kiln for 36 hours. They’ll then be finished by your tutor and must be collected during the following week. Alternatively, they can be shipped at an additional cost. www.londonglassblowing.co.uk
HOW TO ENTER For your chance to win, go to www.britain-magazine.com/ competitions/glassblowing or fill in the coupon below with the answer to the following question: Q: What is a glassmaker called? a) a gaffer b) a glasser c) a glover
ENTRY FORM SEND YOUR COUPON TO: US readers – Glassblowing Competition, C/O Circulation Specialists, 2 Corporate Drive, Suite 945, Shelton, CT 06484 UK and Rest of World readers – Glassblowing Competition, BRITAIN magazine, The Chelsea Magazine Company, Jubilee House, 2 Jubilee Place, London, SW3 3TQ , UK My answer: Name:
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Hop King The UK’s first beer and skateboard company www.hopking.org Instagram: @hop_king Facebook: @hopkinguk
H
op King is the UK’s first dual Craft Beer and Skateboard brand set up in July 2017 by my brother and I (Ben and Ludi Hopkinson). In a world of overcomplicated, and often over hopped craft beer, the Hop King Pale Ale aims to provide a bit of clarity and drinkability in what is an intimidating market. Hop King is a flavoursome and balanced pale ale that thanks to its filtration has a lovely light colour and easy drinking appeal. The beer is now stocked in around 40 pubs in the UK with hopes to expand abroad in 2019. With such a competitive market, we knew that Hop King needed to stand for much more than just good beer, and with a shared love of skateboarding stretching back to our teens, we decided that it made perfect sense to create a marriage between these two passions. Energy drinks have long been aligned with skateboarding so we thought ‘why not with beer?’ There are definite crossovers through the music, art www.britain-magazine.com
and social aspects of both beer and skateboarding and we felt that the skate culture perfectly matched our approach to brewing. Over the past year, we’ve embarked on the process of putting a skate team together comprised of skaters from across the world who we felt best represented the brand. With 4 pros in the form of Scottish ripper, John Connolly, Columbian maestro, Christian Estrada, English back flip king Tim Fury, and Spanish shredder, Carla Calero, we hope to build a skate team that can compete on the world stage. Our number one goal is to help facilitate our skaters reaching the 2020 Olympics in Tokyo. Hop King doesn’t own a brewery. Why? The Hop King Brewery model uses toll or contract brewing, as it is known in the business. We created the Hop King Pale ale recipe brewing at home on a 25 litre homebrew kit, creating batch after batch until we were happy with the results. We then passed this recipe on
to our brewing partners, Hambleton Ales based in North Yorkshire, and Fourpure based in Bermondsey, who produce the recipe under contract. These breweries have great expertise and equipment that provide Hop King with the quality and consistency that many micro-breweries struggle to achieve. By using multiple breweries, we increase our production capacity, spread our risk and support regional craft breweries across the country (and eventually internationally). We want to be the biggest beer company in the world without a brewery. Uber doesn’t own any taxis, Air BnB doesn’t own any property. Why does Hop King need a brewery? In August this year, we successfully crowdfunded and raised £165,000 to build Hop Kingdom, our London HQ with a difference. An office, bar and skatepark all under one roof in Southwark. We’re opening in November 2019 and would love to see you down there. MADE IN BRITAIN
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Ettinger 215 Putney Bridge Road London, SW15 2NY www.ettinger.co.uk T: +44 (0)20 8877 1616 Facebook: @EttingerLondon Twitter: @EttingerLondon Instagram:@ettinger.london
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F
ounded by Gerry Ettinger in 1934, Ettinger has established its reputation in the UK and abroad as one of the finest leather goods manufacturers in Britain. The company is still run by the same family today and its head office and luxury showroom is in South West London. Discretion and quality have always been the basis for Ettinger’s success and this is epitomised by the fact that it was granted a Royal Warrant of Appointment by HRH The Prince of Wales in 1996. The wide range of luxury leather goods designed by Ettinger in London is still made in its own factory in Walsall, near Birmingham, which has been in continuous use as a leather factory since 1890. The Ettinger style is timeless, elegant and imbued with typical English flair, allowing for some confident use of colour and resulting in contemporary classics with singular appeal. It is this distinctive style, along with the Royal Warrant, which has sealed Ettinger’s reputation among connoisseurs worldwide, making this most British of brands also one of the most highly regarded by those looking for quality leather bags and accessories with a difference. Products range from wallets and purses to stud boxes and photo frames, to travel accessories and bags, portfolios, briefcases and attaches. Many items can be personalised with initials for gifts and special occasions, and a gift wrapping service is also available. All customers are welcome to visit Ettinger’s showroom in Putney, London, by appointment. Alternatively please visit the website to view the collections, make a purchase or find a stockist.
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Bespoke British Pens www.bespokebritishpens.co.uk T: +44 (0) 333 006 4646 E: sales@bespokebritishpens.co.uk
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T
he Pen... Still mightier than the sword? In an age when mobile phones, social media and emails dominate communications, a British company has tapped into a market that many thought had long since died. By the 1970s and 80s fountain pens had almost disappeared from view, but there were always some professionals who refused to give them up, such as lawyers, accountants, doctors and university professors. A fountain pen was essential as their tool of trade, and many swore their pens helped their thinking and improved their writing. Step in Bespoke British Pens, which in 2014 acquired the stock from one of the great names of British penmaking, Conway Stewart, and has continued to assemble and sell many of their iconic pens. These British-made fountain pens are now sold all around the world. Managing Director Alastair Adams explains: “We export over 60 per cent of the pens we manufacture, and we are seeing an ever-growing demand for British-made quality products. We are constantly extending the range of pens with new products such as the Shakespeare Pen, the Doctor’s Pen and the Lawyer’s Pen, to name just a few.” With over 100 pens in its range, Bespoke British Pens has pens for most tastes and pockets. As well as fountain pens, they make rollerballs, ball-points and propelling pencils. The company will also design a one-off bespoke pen specially made to your requirements. Want an 18ct Gold pen with diamonds and your family crest? “We can do that!” says Alastair, who has designed pens for many prestigious clients such as car manufacturer, Rolls-Royce, and supplied pens for use in high-profile films, including both the Kingsman movies and Darkest Hour starring Gary Oldman. BBP can make hundreds of pens for a corporate client or a one-off for an individual who wants a unique object.
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DELIVERING CRAFTSMANSHIP & QUALITY
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Makers of Fine Leather Furniture for Generations
SINCE 1981
Steph Rubbo Saddlery & Leather Work Steph Rubbo Saddlery specialises in making beautiful, durable, bespoke leather goods by hand, using traditional saddlery tools and techniques. Our range of products includes briefcases, satchels, handbags, belts, card holders, pet collars and leads, as well as bridles and saddles, all created with the highest quality craftsmanship. From cutting to finishing, each of our pieces is unique, made from best quality English bridle leather, hand stitched with waxed linen thread, has solid brass or nickel fittings, the linings are soft nappa and embossed monograms on request. The result is a truly personal product that gains character over time.
enquiries@stephrubbosaddlery.co.uk | Mobile: +44 7733 320 969
www.stephrubbosaddlery.co.uk
VINTAGE CHESTERFIELD 3 SEATER SOFA WAS £1959 - NOW ONLY £1399 ● Made
in our own UK factory ● Direct from the factory prices day money-back promise ● 2 year guarantee ● British and European Standard tested and approved To view our entire range or to order your free colour brochure ● 21
call 01443 771222 or visit www.thomaslloyd.com
Romor Designs Hand crafted Japanese textiles dyed with indigo and natural plant dyes offered as a range of lampshades and home textiles. Visit our website and bring a little light into your home.
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The Royal Air Force Museum London Grahame Park Way, Colindale London NW9 5LL rafmuseum.org T: +44 (0) 20 8205 2266
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he Royal Air Force has shaped modern society. It has influenced how we live our lives today through its impact on world events, humanity and technology. The Royal Air Force Museum’s purpose is to tell the story of the RAF through its people and collections. Discover a place of storytelling and sharing, revealed through the fascinating stories of serving RAF personnel, veterans, cadets and reserves. Explore innovative, accessible exhibitions dedicated to technological development, archive documents, personal items and the heritage of our sites. Our stories are drawn from times of war and keeping the peace, at home and abroad. They include tales of courage, fear, love, loss and laughter. Find out about them through our galleries and online – and contribute stories of your own. Drop in for a visit, debate the future, test your flying skills, marvel at our aircraft and explore the fascinating history of the first 100 years of the RAF. Enjoy an invigorating cup of coffee underneath the wings of our Sunderland Flying Boat or in our restaurant, before immersing yourself in one of our 4D or VR experiences. Younger visitors will love our themed outdoor play area and calendar of family events. OPEN: The museum is open daily from 10am ADMISSION: Free
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TAILOR-MADE PRIVA TAILOR-MADE PRIVATE TOURS FOR THE DISCERNIN TOURS FOR THE DISCERNING
www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 62
www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 620173
TAILOR-MADE PRIVATE TOURS FOR THE DISCERNING www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 620173
We listen to what our clients want and then exceed their expectations.
TAILOR-MADE PRIVATE
n to what our clients want TOURS FOR THE DISCERNING exceed their expectations.
We listen to what our clients want and then exceed their expectations.
www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 620173
TAILOR-MADE PRIVATE TOURS FOR THE DISCERNING www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 620173
TAILOR-MADE PRIVATE TOURS FOR THE DISCERNING www.bhctours.co.uk | info@bhctours.co.uk | +44 (0)1296 620173
MAKE A WINDSOR CHAIR! 5-day chair making courses
We listen what our clients want want We listen totowhat our clients and then exceed their expectations. and then exceed their expectations.
t our clients want their expectations.
Suitable for all levels of experience © Highclere Castle LLP 2014
Take your chair home with you Set on a farm in West Sussex, England
MICHAEL FRYE B S-O16.indd 1
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Self-catering accommodation available onsite
© Highclere Castle LLP 2014
Contact James Mursell for further details
11/07/2016 13:35
+44 7733 543 022
james@thewindsorworkshop.co.uk
Instagram: windsorworkshop © Highclere Castle LLP 2014
MICHAEL FRYE B S-O16.indd 1
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www.thewindsorworkshop.co.uk
11/07/2016 13:35
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Georgina Keeley G www.georginakeeley.com www.instagram.com/georginakeeley E: info@georginakeeley.com
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eorgina Keeley is a niche fashion lingerie brand which launched in 2018 selling luxury robes designed by Georgina herself. Made from a beautiful crepe fabric with an elegant pure silk sash, these classic robes will make every woman look and feel feminine, beautiful and relaxed. The collection is available in three neutral colours and they are practical too, with double pockets hidden at the hip. For a special touch and to make it truly personal, Georgina offers a bespoke personalisation service. Using silk-embroidered stitching and an elegant font, initials of the wearer can be embroidered on to the robe to ensure a meaningful gift for yourself or someone else. All embroidery is tastefully placed with understated elegance at the base of the inside flap. On what inspired the collection Georgina explains: “More women are putting an increasing importance on relaxation and mindfulness and luxe-lingerie wear is the perfect accompaniment. A robe is something so simple, yet it can truly transform how you feel and can be worn time and time again.” These robes are directly available to buy on Georgina’s website, and come beautifully gift wrapped by hand.
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STORMCHASE
THE ULTIMATE WRIST AND HAND WARMER TEL: +44 [0] 1638 428771 storm-chase.co.uk The ultimate extra layer to keep you warm in the harshest of weather conditions. Using the latest technology & materials the warmers are designed specifically for outdoor sports & Pursuits. • • • •
Retains warmth down to the tips of your fingers Water wind resistant & breathable Thermal, flexible, durable & cosy Can be used on their own, or with gloves which slide over smoothly • No bulk in palm of hand • Excellent for those who need that extra warmth • Ideal for skiing, horse riding, gardening, shooting, dog walking/ training, to name a few
You don’t know you need Stormchase wrist and hand warmers until you’ve tried them!
stormchasepro storm_chase StormchasePro
Our gloves are made from the finest leathers & materials, carefully selected by the Master Glovemaker. Unlike the majority of gloves which are produced for today’s market, Chester Jefferies gloves are made from leather skins which have been individually inspected and prepared before being cut by hand. It is this careful preparation and the traditional making methods used by the company’s craftsmen/women which ensure the perfect fit and excellent wearing characteristics of our fine English gloves.
Rent a Twizy or drive your own tour
We offer a complete bespoke buying experience, from leather and colour choice, to lining and stitching detail across all our classic and modern styles. Enjoying a worldwide reputation for excellence in the design and making of fine leather gloves, the company is firmly committed to the highest standards of quality and customer service.
PROUDLY MADE IN BRITAIN
www.chesterjefferies.co.uk
GPS guided audio tours and rentals from £29.99 per hour from Marble Arch.T&C apply. Visit twizytours.com for details and bookings or ask your concierge.
websales@chesterjefferies.co.uk
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Selfridges www.selfridges.com T: +44 (0)207 160 6222 E: customerservices@selfridges.com @theofficialselfridges @theyellowdrop
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n 1906, Harry Gordon Selfridge arrived in London from Chicago with his heart set on opening his dream store. With his innovative approach to publicity and the theatre of retail, Selfridges flourished under the direction of its charismatic chief. The only store to be named the Best Department Store in the World four times, today Selfridges is more than just the sum of its products – it’s a shopping experience that promises to surprise, amaze and amuse, both in store in the UK and online at selfridges.com (which ships to 130 countries worldwide). Its flagship store on London’s iconic Oxford Street, as well as its regional stores in Manchester and Birmingham, are home to the world’s most exciting brands across fashion, beauty, homeware and technology, showcasing both iconic, well-established brands along with up-and-coming and innovative design talent. Offering world-class in-store services (including a luxurious Tax-Free lounge, personal shopping suites and complimentary hotel delivery), as well as unrivalled shopping destinations (don’t miss London’s fine jewellery treasure trove The Wonder Room and the largest selection of eyewear frames in the UK), there’s nowhere quite like Selfridges. To this day, as Harry Gordon Selfridge said, ‘Everyone is welcome’. Discover the world’s best department store.
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House of Lucan www.houseoflucan.com T: +44 (0) 208 286 0285 E: info@houseoflucan.com www.instagram.com/houseoflucan www.facebook.com/houseoflucan www.twitter.com/houseoflucan
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ntroducing Lucan, shooting inspired outdoor wear that’s equally well tailored for country days and city nights. Ergonomically correct and aesthetically bold, the Lucan collection is tradition refined and a striking union of heritage and innovation. The brainchild of Anne-Sofie Lucan, the Danish-born Countess of Lucan (known to her friends as “Fie”) - a professional “Gun” who also runs a bespoke shooting agency and has competed for Team GB – Lucan offers a collection of coats, jackets, caps, cashmeres, capes and trousers, cut for mountain or moor but stylish enough to turn heads in the watering holes of the metropolis. “Shooting wear inspired this collection, but doesn’t define it,” says Fie. “The clothes are cut for extra movement, so they work beautifully if you’re wielding a gun in the field, but the colour and the detailing allow the modern generation of Guns – men and women, entrepreneurs, leaders, independent people who want to stand out – more self-expression.” “We’ve taken these traditional garments and given them a contemporary twist,” says Fie. “We’ve sharpened up the cut, used lightweight and durable fabrics, and added funky stitching to buttonholes and top-stitching along with contrast turn-back cuffs, vents and linings that pop with colour. These are clothes that can take you straight from competitions to black-tie dinners. It’s event dressing that goes far beyond shooting. They’re incredibly versatile.”
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Short Stay self catering accommodation in London
We’ll arrange a car to meet you at the airport and take you to your rental where one of our charming team will meet you, explain how everything works and answer all your questions. Your rental will be ready for immediate occupation, beds made up etc. and a welcome pack provided. During you stay we’re available at the end of a phone line to provide support if you need it.
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Southern England is characterised by its beautiful rolling landscapes, from the idyllic Cotswolds hills to Suffolk's picturesque country lanes. All fertile ground for a vast array of home-grown produce. Kent, in the heart of southeast England, is often referred to as the ‘Garden of England’, a name bestowed on it by a grateful King Henry VIII after eating a particularly satisfying bowl of Kentish cherries. The county has long been a major grower of fresh produce, most famously hops, as evidenced by the traditional crooked-roofed oast houses – used for drying hops in preparation for beer-making – that still pepper the landscape. Britain’s oldest brewer, Shepherd Neame (since 1698) is still based here, and a host of craft breweries continue its rich beer-making heritage. Further west in rural Somerset, local produce is equally prized, but here the oast houses are replaced by cider farms, making full use of the county’s most famous export: apples. Somerset’s ciders are rich, golden-hued and bittersweet; the local farmhouse ‘scrumpy’, made by some distillers for centuries, certainly packs a punch.
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PHOTO: © ANDREW BUTLER/NATIONAL TRUST IMAGES
SOUTHERN ENGLAND
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SIGNS OF
PHOTO: © ROB SCOTT
TRADITION Hand-painted pub signs are as much a part of traditional British pubs as the ale served inside WORDS ANTHONY BURTON
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t is perfectly possible to enjoy a pint of cider or beer, or a dram of whisky, in the comfort of your own home, but there is for many of us an extra pleasure in taking our favourite tipple in a traditional pub. These days, however, it is not that easy to find what you are looking for in the world of gastro pubs, and pubs punctuated by multiple television screens. One thing that at least offers hope is a genuine handpainted pub sign, an indication at the very least that someone respects tradition. And if the sign happens to hang outside a pub in the West Country, chances are it was painted by Andrew Grundon in his Signature Signs studio at St Breward in Cornwall. Andrew had always wanted to
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be a painter, but of a rather more conventional type. But, as he said, starving in a garret may be romantic in grand opera, but tends to be less so in real life. Then he heard that the St Austell Brewery was looking for a sign painter, applied for the job and got it. He soon discovered that the job entailed a good deal more than simply painting attractive pictures. Fortunately, the old sign writer stayed on for a while to teach him the specialist skills, from lettering to applying gold leaf (there is no cheap imitation here; this is genuine gold he’s working with). Since then, Andrew has become established with his own business, still working for St Austell as well as for www.britain-magazine.com
southern england Previous page and left: Andrew Grunden at work in his studio in St Brewards, Cornwall
PHOTOS: © ROB SCOTT/ECONOMIC IMAGES/ALAMY
Below: the finished sign hanging outside the London Inn in Padstow, Cornwall
many independent pubs. It was only after he had been working for some time that he discovered his grandfather had actually been a sign painter, and he inherited – and cherishes – some of his old brushes. The paintings have to be bold: no one’s going to see the detail unless they get up a step ladder, as most signs hang well above head height, and the materials have to stand up to the British climate. Andrew paints with enamel on wood and the result is work that matures rather than simply looking scruffy with age. In many cases he can use his own imagination, but there are times when he has to spend a good deal of time on research. When he did a sign for the North Inn in the heart www.britain-magazine.com
of Cornwall’s old tin- and copper-mining district, for example, he used an underground scene, and he could be absolutely certain that if what he depicted was the least bit inaccurate, there’d be a queue of locals at his door telling him where he’d gone wrong. The biggest test comes with any pub where the name involves the Something-or-other Arms. This usually calls for the appropriate heraldic shield, and there is no room for error. Some pubs present a real challenge. The Bucket of Blood can be found near Hayle in Cornwall. It gets its name from an old story dating back to the 18th century, when a local went to get water from a well near the pub, and when he pulled up the bucket he found it contained a human head. MADE IN BRITAIN
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Above: the Napoleon Inn, a 16th-century pub in Boscastle, Cornwall Right: the Bucket of Blood pub with its grisly sign
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Now the sight of a severed head is not guaranteed to attract customers, so what Andrew painted was the horrified man at the well, without showing what had astonished him. So it was true to the story – and provided an intriguing mystery for anyone passing by, who, even if they didn’t fancy a pint, might pop in to find out what it was all about. That surely is the great thing about the good pub sign: it is individually tailored to each pub to tell its own particular story. The good news is that Andrew is busier than ever, so we can only hope that the traditional pub is thriving in the shadow of its traditional sign. www.britain-magazine.com
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Ever dreamt of a stylish home with luxury lifestyle pieces designed for daily living. Our workshop can be found nestled in the heart of rural Devon, where each piece of furniture is carefully handmade by our dedicated team of skilled craftspeople. Our makers use, contemporary, modern and traditional techniques to produce furniture of the highest quality to enhance your home. Not only do we have our own range, but we produce a variety of bespoke work for our discerning clients, producing work from the traditional to the avant-garde. We work with you and your ideas to produce individual furniture that will meet your requirements and tastes. Marsh lane, Lords Meadow trading Estate, Devon, EX17 1ES
T: +44 (0) 1363 772031 M: +44 (0) 7757856152 E: david.bridgerandbuss@gmail.com
www.bridgerandbuss.com www.britain-magazine.com
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Houghton Hall & Gardens Houghton, King’s Lynn Norfolk, PE31 6TY www.houghtonhall.com T: +44 (0) 1485 528569
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ne of the grandest survivors of the Palladian era, Houghton was built in the 1720s for Britain’s First Prime Minister, Sir Robert Walpole. It is a magnificent showcase of the work of architects James Gibbs and Colen Campbell, complemented by the richly ornamented interiors of William Kent, and furnished to reflect Walpole’s growing wealth and power. Today it is the home of the 7th Marquess of Cholmondeley, Walpole’s descendant, and his family. Situated in traditional parkland, Houghton has a herd of beautiful white fallow deer. Visitors can also enjoy the magnificent award winning 5-acre Walled Garden designed by Julian and Isabel Bannerman, with its formal rose parterre, Mediterranean garden and spectacular double-sided herbaceous border. The Stables built from locally mined carrstone, contain a range of original wooden stalls, with a tack and harness room. There is a fully-licensed café, gift shop and a model soldier museum that houses one of the largest personal collections in the world with over 20,000 figurines on display. In recent years, the Houghton Arts Foundation has built up an impressive collection of contemporary sculptures and other works by world-renowned artists, which are displayed in the gardens and grounds. The first to be commissioned in 2000, was a “Skyspace” by American artist James Turrell. Since then artworks by Richard Long, Anya Gallaccio, Zhan Wang, Phillip King, Jeppe Hein, Stephen Cox and Rachel Whiteread have been added, with some created specifically for Houghton. Each year Houghton hosts the International Horse Trials incorporating FEI Eventing Nations Cup in May, an Art & Music Festival in August and a special contemporary art exhibition. OPEN: In 2019 Spring to Autumn Selected Days – See website for details. ADMISSION: See website for dates, ticket prices and special events, private tours and group bookings. Under 17yrs Free. www.britain-magazine.com
04/12/2018 11:14
Britain’s Greatest Palace Birthplace of Sir Winston Churchill
WORLD HERITAGE SITE Buy one day get 12 months free* blenheimpalace.com *Terms and conditions apply
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Precision
PRINTING We go behind the scenes with Britain’s last commercial monotype printer WORDS SALLY COFFEY
Scenes from Stanley Lane's printing studio
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PHOTOS: © STEPHEN BENNETT
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and printing in Britain is a dying trade, yet one man has made it his life’s work to perfect the art of Monotype printing. Now he is the last commercial printer to offer this unique way of typesetting, which creates beautifully precise typography. In our fast-moving modern age, sometimes it’s nice to slow down and do things the good old-fashioned way. At Gloucester Typesetting, a modest operation on the outskirts of Stroud, Stanley Lane is doing exactly that. Having worked as a printer for over 60 years, Stanley’s attention to detail is second to none and his techniques, which have been honed meticulously since his apprentice days, have earned him a select group of clients, from the Folio Society – for whom he prints Shakespearean texts – to The Book Collector, a journal that was set up by James Bond writer Ian Fleming. According to Stanley, Monotype, which was invented in the US in the late 19th century and developed in Britain, was “revolutionary”. Prior to this system, which has changed very little since its 1920s heyday (despite the industry taking a slump), printing presses had compositors who would each hand set a few lines each. However, monotype allowed pages to be set using individually cast letters. He says: “It created a system where you could produce books cheaply and you could spread knowledge. Monotype wasn’t always so perfectly printed. What I’m trying to do now is to turn it into an art form and try to get every page precisely right.” This art form includes using a pneumatic typewriter – each typeface has its own set of key bars that match the matrices in the matrix-case layout – to produce a perforated spool that then goes into the Monotype caster. Using hot metal this caster then produces individual pieces of type, which it pushes onto a tray, which is then carried to a stone and made ready for press. The results are immaculate, with type perfectly justified and the ink absorbed into the page, showing the full body of the text to beautiful effect. For Stanley’s part, with retirement looming, unless he can find someone to take over the business, he will have to shut up shop one day. For now, though, the beautiful books printed here are objects to be collected and savoured. MADE IN BRITAIN
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Thomas Smith’s Trug Shop
Christmas is a great time for Trugs as they make unique, thoughtful gifts. Made for over 189 years Trugs are timeless pieces of gardening equipment much loved around the World. Someone you know would love to have one this Christmas so have a look on our website for the full range with prices delivered to every part of the globe! Thomas Smith’s Trug Shop, Red Lion Hall, New Road, Magham Down, Herstmonceux, East Sussex, BN27 1PN, England. Tel: (0)1323-871640 E-mail: sales@sussextrugs.com
www.sussextrugs.com
Introducing our exciting new Contemporary Collection, printed in England +44 (0) 2392 599585 www.titleyandmarr.co.uk
“Impossible to resist ... a pure shot in the arm for those of us feeling jaded by our increasingly automated modern world” Saga Magazine
Crafted in Britain: The Survival of Britain’s Traditional Industries by Anthony Burton and Rob Scott Published by Bloomsbury (RRP £25). A celebration of Britain’s unique surviving industries and crafts, the people who practise them today, and the wonderful objects they create. It is a celebration of Britain’s traditional crafts and industries that have survived into the modern world, not as museums but on their merits. In an age of increasing automation and standardisation, it is a joy to find such places, where craftsmanship and personal skills are still valued.
For 20% off this book use the code CRAFTED1819 at the Bloomsbury website checkout. Readers pay P&P. UK & IRE only. Valid until Feb 16th 2019.
www.bloomsbury.com
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Drakes of Brighton Drakes Hotel, 43-44 Marine Parade Brighton BN2 1PE www.drakesofbrighton.com T: +44 (0) 1273 696934 E: info@drakesofbrighton.com
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f all the independent Brighton Boutique hotels that boast luxury and contemporary design, this is our favourite; especially with the added bonus of the superb seafront location. The iconic Brighton Palace Pier is in full view from all sea facing rooms - a splendid sight, particularly at sunset. Created by award-winning architect Michael Phillips, the 4-star Drakes of Brighton oozes romance and style. With nods to its original Georgian town house roots, the sweeping cantilever staircase ascends to expertly designed bedrooms. Bespoke furniture and luscious hand-made beds are features of all the rooms; some have balconies, others with split levels to great bathrooms or monsoon wet rooms. The best are the Super-King and Circular sea facing rooms with freestanding baths big enough for two, set in front of triple aspect windows. Expect indulgent velvet throws, cool Egyptian cotton bedding, goose down pillows, with waffle robes and White Company Products to cosset yourself. A whole host of additional Arrival Treats are available to further enhance your stay; be sure to ask at the time of booking and a deep, steaming bubble bath scattered with rose petals will be ready for your arrival. On the ground floor is a slick sea facing Bar, serving hot and cold libations to all though out the day and evening. Reception can also be found here, with the friendliest, most efficient team of Hosts you’re likely to find anywhere. The highly acclaimed fine dining Restaurant at Drakes is discreetly located on the lower ground floor. You’ll be wowed by the creative seasonal cuisine which has won this restaurant the top position as the longest standing (10 years) Brighton restaurant in the Good Food Guide 2019. Be sure to book one of their Stay and Dine packages to fully enjoy the whole Drakes’ experience. This delightful 20 guestroom hotel is the perfect venue to hire for exclusive use weddings, special celebrations or festive parties. MADE IN BRITAIN
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Nelson & Forbes Sculpture Free delivery worldwide www.nelsonandforbes.co.uk T: +44 (0) 1442 256290 E: debbie@nelsonandforbes.co.uk
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ooking for a really special gift? Treat the one you love with a beautifully handmade, solid bronze sculpture from British luxury gift specialist Nelson & Forbes. Lovingly hand crafted by skilled artisans in an English foundry, each stunning, limited edition sculpture arrives individually numbered and beautifully gift boxed with a signed certificate of authenticity – simply add a bow! Choose from a wide range of children and animals, with prices from £95/$125, free worldwide delivery and a 45-day money back guarantee. Founded in 2009 by Deborah Foster, the daughter of a portrait sculptor, Nelson & Forbes was created to deliver truly delightful gifts to enthusiasts around the world, with free express delivery and a wonderfully traditional approach to customer service that that we all love to receive, but seems harder to find by the day. The company still uses the traditional Lost Wax casting process, developed 6000 years ago, to create every one of their limited edition, entirely handmade bronze sculptures. From the original sculpture to the highly skilled and labour-intensive casting process, each sculpture takes up to eight months to complete, creating a beautiful gift that lasts a lifetime. With an enticing collection of children and animals to choose from, you are sure to find the perfect something for that special someone! Enjoy effortless ordering online in Pounds and US Dollars, with free delivery anywhere in the world. Order a gift for delivery in time for Christmas by Monday 10th December for US delivery and Friday 21st December for UK delivery, or email or call Deborah Foster directly, who will be delighted to answer your questions or send you a free 130-page colour catalogue.
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Blackdown Shepherd Huts Ilminster, Somerset www.blackdownshepherdhuts.co.uk T: +44 (0) 1460 929774 E: info@blackdownshepherdhuts.co.uk
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E
ver dreamt of a private space where you can cosy up and get away from it all? A Blackdown Shepherd Hut is the answer. Your private retreat should be a place for contemplation and new beginnings – a time to pause, rethink and spend a little time chilling. A shepherd hut can make a gorgeously cosy hideaway: think lazy summer days with a long drink and a good book, and autumn evenings inside and out, with woolly blankets, candles, hooting owls and maybe even some stargazing. At the workshop near Ilminster in Somerset, the family-run company handcrafts Blackdown Shepherd Huts to various different designs, all inspired by the traditional shepherd hut – a mobile structure designed to follow the flock, whatever the weather. Although Blackdown’s huts retain much of their original rustic charm, they’ve been updated to embrace our modern lifestyle, and luxury is now part of their appeal. The huts are made to your own specifications by a skilled team of designers, carpenters and metalworkers, so you can make your mark at every step of the build, whether it’s on the interior layout, construction materials or colours. The Turnkey Hut, for example, is ideal for socialising, as the kitchen has a beautiful hand-made oak worktop, Neff hob and integral fridge. The Retreat, meanwhile, is a snug space where you can unwind after work or a bracing walk, or just escape to when you need a little headspace. Or go all out with the fabulous Brace Hut, a roomy double hut kitted out with a copper William Holland roll-top bath and a stargazing roof above the bed. If you love DIY or are feeling adventurous, you could even build your own shepherd hut. First, choose your design and size, and Blackdown will deliver all of the materials and instructions you need to craft a beautiful hut at home. Then it’s up to you to get out your toolbox and start drilling and hammering. MADE IN BRITAIN
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HEART OF ENGLAND
PHOTO: Š HORST A. FRIEDRICHS
Once known as the "workshop of the world", the Midlands prospered on coal and iron, but also had a particular concentration of potters, brewers...and bicycle-makers. For generations of Brits, the word Raleigh still has a nostalgic pull, conjuring up fond memories of the bicycles of our youth. This historic British firm was founded in 1885 in Nottingham and within a few years was employing 1,000 workers and producing 30,000 bikes a year, distributed from their East Midlands factory worldwide. Their most iconic bike, the Raleigh Chopper, was the height of cool for 1970s kids: with its unusual frame and high-rise handlebars, it was not the most practical bike, but an object of desire that became a design classic. The days of Choppermania may be long gone, but the cycling craze has come around again. Stylish bikes are everywhere, and the demand for must-have accoutrements has skyrocketed: gloves from Aspinal, shorts from Rapha, sprung saddles and panniers from Brooks (trading since 1866 and still proudly based in the Midlands). Responding to popular demand, Raleigh recently reintroduced their iconic Chopper. Virtually unchanged but for a few safety modifications, it gives big kids a chance to relive their youth.
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Clockwise from top left: a teapot mould; 'Weeping Window' at Middleport Pottery, 2018,
BEST FOOT
FORWARD The Midlands has long been associated with shoemaking, and one heritage brand is considered better trodden than most WORDS SALLY COFFEY
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hough there is evidence of shoemaking in Northampton as early as the 13th century, it was in the 15th century that the East Midlands town on the River Nene really began to make a name for itself in the manufacture of shoes. Back then, shoemakers were known as cordwainers – from the Anglo-Norman ‘cordewaner’, which actually referred to someone working with a specific type of leather in Cordoba, Spain. Indeed, the Worshipful Company of Cordwainers – one of the Livery Companies of the City of London – was set up in 1272 to regulate the trade in the capital, though its regulations would have had some impact on how
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cordwainers operated elsewhere too. Nevertheless, the 1452 courts of assize dictated the prices and weight of shoes, and also underlined certain standards that should be adhered to: “The Assize of a Cordwainer is that he make no manner of shoes nor boots but of good neats leather and that it be thoroughly tanned”, it said. There were two main reasons that shoemaking flourished in Northampton. Firstly, it was centrally located, in the heart of England, meaning wares could be easily dispatched, and secondly there was plenty of cattle to provide the leather required. For the first couple of hundred years, output in Northampton was modest, but
when local shoemakers began producing shoes for the army during the English Civil War, the industry boomed. By the mid-19th century there were as many as 2,000 shoemakers in and around Northampton. For a long time, shoes had been handmade in local homes, but with the introduction of mechanisation from the 1850s onwards, all that began to change. In 1861 the first shoe factory opened in Northampton and a decade later, the welting machine was patented by Charles Goodyear, which improved how soles were secured to the bottom of the shoe. Almost 200 years later, Northampton is still the largest producer of Goodyear www.britain-magazine.com
heart of england
The Crockett & Jones factory in Northampton Left: Crockett & Jones are known for their smart styles
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Throughout the Second World War production of usual footwear stopped as the company provided a million pairs of boots to the army Welted shoes in the world. One company that still employs this tried and tested method is Crockett & Jones. Founded in 1879, this illustrious shoemaker has been making Goodyear Welted shoes pretty much from the off. Its founders, brothers-in-law James Crockett and Charles Jones, first set up shop on Exeter Road in Northampton. In 1890 they moved into their headquarters on Magee Street, also in the town, where the company still resides today. As early as 1900, the duo, now joined by their sons Harry Crockett, Fred Crockett and Frank Jones, were exporting their high-quality shoes across the world. In 1911 James’s youngest son, Clifden Crockett, joined the fold and in 1912 Charles’s youngest son, Percy Jones, joined. Percy Jones worked at the company for an astonishing 67 years – making him the longest serving member of the company. A true family business – today Crockett & Jones is run by the great grandson of Charles Jones, Jonathan Jones. The
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company’s enduring success owes much to some very high-profile associations. In 1914, shoes made by the company were worn on the Shackleton Endurance Expedition, and throughout the Second World War production of usual footwear stopped as the company provided a million pairs of boots to the army. The company received its first royal patronage in 1924 when the Duke of York (later King George VI) visited the factory, which no doubt boosted its profile. By the 1950s and 1960s advertising posters described the company’s footwear as ‘shoes of tradition’ and ‘shoes of character’, and though they were still exporting at this time, mainly to Commonwealth countries, the lion’s share of the footwear was now being worn by people in Britain. Remarkably, despite a long tradition of shoemaking, it wasn’t until 1997 that the company opened its first retail shop, on London’s salubrious Jermyn Street, and it soon expanded with shops in Paris, the Royal
Exchange in the City of London and Burlington Arcade in Piccadilly. In 2006, the Midlands finally got their first shop on Colmore Row in Birmingham and in 2010 the firm expanded to New York. Other successes followed, including a starring role in James Bond’s Skyfall (and later Spectre), and in 2013, HRH Prince Charles visited the factory as part of a tour highlighting the importance of encouraging young people into the manufacturing industry. The visit must have had quite an effect on the Prince of Wales, as in 2017 he awarded the company its first ever Royal Warrant in recognition of their services. Today Crockett & Jones shoes are made using fine calf leathers from tanneries across Europe. The shoes are individually crafted on lasts designed to produce the best possible fit, with each pair taking up to eight weeks to make. The shoes are smart and classic in design with sophisticated styles such as Oxford, Derby and Monk for men, and elegant low heels and boots for women. www.britain-magazine.com
STOKE-ON-TRENT Stoke-on-Trent is the World Capital of Ceramics. Factory Tours, outstanding visitor centres and museums, and hands-on opportunities including the chance to throw your hand on the potter’s wheel mean you’ll have an entertaining insight and tradition of a time-honoured craft. And of course, a visit to “The Potteries” wouldn’t be complete without a visit to one of the many pottery factory shops and outlets for some great big-brand bargain shopping. For information about great places to visit, things to see and do, fantastic events and accommodation in the area... Call +00 44 1782 236000 Email stoke.tic@stoke.gov.uk or go to visitstoke.co.uk
VISITSTOKE.CO.UK
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heart of england
The art of
POTTERY
A visit to Britain's last working Victorian pottery reveals many of its original techniques intact WORDS ANTHONY BURTON
N
Teapots at Middleport Pottery are all carefully ďŹ nished by hand www.britain-magazine.com
o one can be certain how long pots have been made in the area in and around Stoke-on-Trent, but there is ample evidence that the city and its surrounds were sending out ware to the rest of Britain as long ago as the 17th century. It developed in this area simply because all the necessary elements were found here: suitable clay for making fireproof bricks with which to build the kilns, coal to fire them and, of course, the clay itself from which the pots would be made. The only problem was that the clay was quite dark: if you wanted a snowy white plate or cup, then it had to be covered in a heavy glaze. Great changes were made in the 18th century that were to make Staffordshire pottery acceptable to aristocratic taste and popular with an increasingly affluent middle class. One of the leaders of the movement was Josiah Wedgwood. He made use of an established technique, incorporating ground flint into the clay, which lightened MADE IN BRITAIN
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PHOTOS: © ROB SCOTT/NICK HATTON/ALAMY
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heart of england Clockwise from top left: a teapot mould; 'Weeping Window' at Middleport Pottery, 2018, part of a country-wide tour of ceramic poppies, each flower
the colour during firing, and imported lighter-coloured clays from Devon and Cornwall. Another innovation – transfer printing – made it easier to produce elaborate designs on an industrial scale. All of these changes can be seen at Burleigh Pottery. The business began back in the middle of the 19th century, and by 1889 it had moved to a factory regarded as a model of modernity: the Middleport Pottery in Burslem. You might expect such an important works to be situated on the main road, but instead you turn off down a series of narrow streets lined by small terraced houses. The main building is typical of a 19th-century pot works: a long brick range with a single high, wide entrance. Once you are inside, the odd location makes complete sense: the pottery might not be on a main road, but it was built on the most important transport route: the canal. Here too is one of the traditional bottle ovens, a shapely structure in which the ware was once fired. It is altogether elegant, but there was nothing elegant about the smoke that erupted from this and other kilns, often leaving Stoke darkened under man-made clouds. No one mourns the fact that it is no longer in use, but many are pleased that it has survived, even if the five other kilns that were once part of the works have gone. So, there have been great changes, but what is amazing is just how many traditional ideas and techniques have survived. The processes start with the raw ingredients, which are much as they were in Wedgwood’s time – clay from the West Country and powdered flint. These have to be carefully mixed with water in just the right proportions in a blunger – a great cast-iron tank – and stirred by rotating blades. The process has to be continued for many hours, before the mixture, known as ‘slip’ – about the consistency of double cream – is run off into tanks under the floor. From here it can be pumped up to workshops for casting. Casting involves making the original pot, a jug or teapot for example, and using that to create a plaster mould. The www.britain-magazine.com
representing a fallen soldier from the First World War; patterned tissue paper ready for transfer; fragile ware is carried on wooden boards
actual moulds into which the slip is poured don’t last for more than a few castings before they have to be replaced with new moulds made from the master case. So the first step in the process involves taking out the correct case – and there are literally thousands of moulds and cases held in the company store, itself the most complete collection to be found anywhere, many items that date back well into the 19th century. The mould maker mixes plaster and fastens the two parts of the case together with a cat’s cradle of string. Once the plaster is ready, it has to be poured quickly into the cases, before it starts to set. Once the plaster has hardened, the cases are unwrapped and the new moulds set aside to dry. Like so much of the work here, it looks deceptively simple, but actually requires considerable skill. A mould is rather like a negative in a photographic studio: with a negative, what is black will come out white, and vice versa; with the mould, what is blank will become solid. The actual casting of the object, for example a teapot, starts with pouring the slip into the mould, filling all the teapot-shaped gaps. The plaster absorbs some of the moisture and the clay gradually hardens until, at the right moment, the mould is broken open, leaving a version of the teapot in hardened clay. It will not be perfect: the spout will have a ragged end and there will be a line of raised clay where the two parts of the mould met. To remove the blemishes, the pot is passed on for sponging and fettling. A damp sponge can be used to smooth over rough parts, and the ridges and blemishes are removed with a scalpel-like knife. It is now ready to be moved on to the next stage. The method of moving pots around the works is unchanged from Victorian times, simply because no one has found a more efficient way of doing it. They are carried on ware boards made of very light wood. The ware is lined up on top, the board is hoisted onto a shoulder, and away it goes. One wonders how many pots got broken by newcomers before they mastered the technique. MADE IN BRITAIN
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Telling the story of the famous author of The Pilgrim’s Progress, museum visitors walk through Bunyan’s life and times. Part of Bunyan Meeting church which stands on the site of Bunyan’s original church where he was minister from 1671 to 1688.
Open February to end of October Tues – Sat 11am-4pm, Sat only Nov and Jan 11am-4pm *Closed Good Friday and all Dec
John Bunyan Museum & Library, Bunyan Meeting Mill Street, Bedford, MK40 3EU, UK www.bunyanmeeting.co.uk/museum curator@bunyanmeeting.co.uk +44 (0)1234 270303
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heart of england
Kelmscott Manor Lechlade, Glos. GL7 3HJ www.kelmscottmanor.org.uk E: admin@kelmscottmanor.org.uk
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K
elmscott Manor was the inspirational country home of William Morris: poet, designer, craftsman, socialist and founding father of the Arts and Crafts movement. This Grade I listed house was loved by Morris as an example of the survival of traditional craftsmanship in harmony with the surrounding landscape, inspiring many of his most important designs and writings. Today the Manor welcomes thousands of visitors from across the world every year to experience the same beauty and sense of history. Visitors will find an outstanding collection of unique furnishings chosen by Pre-Raphaelite painter-poet Dante Gabriel Rossetti and pieces from each of Morris’ London homes. The iconic portrait of William’s wife Jane Morris by Rossetti, The Blue Silk Dress, hangs in the White Room. The domestic charm and ambience of the house is retained, and visitors can draw inspiration from the Manor and its surrounding gardens. An enchanting place within walking distance of the Thames Path, the Manor offers much to visitors both young and old. During the season they host several Family Activity Days focusing on embroidery, drawing, miniature books and other crafts. They put on house & garden trails for children aged 5 to 9, as well as an activity table in the attic with jigsaws and other puzzles. The Manor is set in the beautiful village of Kelmscott near Lechlade. Visitors can view the gravestone of William Morris and his family designed by his friend, Philip Webb, in the churchyard of St George’s Church. After visiting the house, the tearoom, with its delicious home-made meals and cakes, is a must, whilst the shop is packed with decorative and unusual items that make wonderful gifts or mementoes. OPEN: The Manor is open on Wednesdays and Saturdays from April to September. MADE IN BRITAIN
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Evening and Sunday group bookings taken by prior arrangement JellyPickleJam, 16-17 Vine Mews, Evesham, Worcestershire, WR11 4RE.
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northern england
NORTHERN ENGLAND
PHOTO: © WHEATHILLS
Perhaps best known for heavy industry such as shipbuilding and mining, the North also has a fine artisanal heritage. Otley in West Yorkshire is the birthplace of Britain’s finest cabinetmaker, Thomas Chippendale (1718–1799). Young Thomas learned his craft in the workshop of his father, a carpenter. From humble origins he rose to become furniture-maker to the 18th-century A-list, with aristocrats, politicians and businessmen clamouring to commission him. The publication of Chippendale’s book, the Gentleman and Cabinet-Maker’s Director, a catalogue of his celebrated designs, made him even more famous; indeed, his was the first furniture style named after an artisan rather than the reigning monarch, something that was revolutionary in his time. Collections of Chippendale’s furniture – still the gold standard, 300 years on – can be seen all over the country, with a particular concentration in the stately homes of Yorkshire, the county of his birth. And if you’re not lucky enough to be the owner of an original Chippendale, an array of artisans, furniture makers and restorers – such as Wheathills, based in Derby – continues his legacy in the North.
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MASTERS OF
GLASS
Meet the stained glass makers with a passion for tradition and conservation WORDS ANTHONY BURTON
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www.britain-magazine.com
northern england Left: Keith Barley at work Below: leading secures the glass and delineates outlines
PHOTOS: © ROB SCOTT
T
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oday, we tend to think of stained glass windows – or at any rate the best of them – as works of art, but originally they were set in place not as decoration but to reinforce a message. In an age when most of the population was illiterate, they told stories. Some of the most dramatic examples can be seen in the church at Fairford in Gloucestershire. There are 28 medieval windows in all, and the most striking represent Heaven and Hell. They are intended to remind the congregation of the glories they can expect if they lead good Christian lives; and conversely, just what horrors lie in wait for the wicked. The grinning demons are literally meant to put the fear of God into you. They survive today because of a long process of careful restoration that began in 1987 and was only completed in 2010, the work of the Barley Studio in York. As a boy, Keith Barley was always being taken to look at churches, whether by his mother, who had a keen interest in church history, or by his grandmother, who was fascinated by gravestones. Few buildings in Britain can boast finer stained glass than York Minster, and it was there he went as an apprentice at the York Glaziers' Trust to learn his trade. As he explains, you cannot be a conservator unless you fully understand the materials you work with, and before you can be a stained glass restorer, you must first learn the craft. Since Keith set up his own studio in 1973, he has worked on many major projects and has never lost his passion for conservation. During our visit, he was working on nine 16th-century windows from Lichfield Cathedral. Seeing the fragments laid out was like viewing a nightmare jigsaw that it seemed impossible to ever put back together again. That is where the craft of the restorer comes in. It was while working on the Fairford windows that Keith took an important decision. Much medieval glass had been lost during the Reformation, when Puritans destroyed the ‘Papist’ images, but Fairford was different: the windows here were damaged during the great storm of 1703, and later restoration had muddled things up. The general rule of conservation at that time was to treat a window MADE IN BRITAIN
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as simply something to be preserved in the state it was at the time they started to work on it, with no additions or attempts at replacement of missing parts. But Keith believed it was more important to restore the windows so that they reflected the original artist’s intention, and told the story he was trying to tell. Where necessary, he would insert and paint a new piece to create the image. It had also become common to use much heavier leading than would have been used by medieval glaziers. Sometimes, it could be as much as 3/8 of an inch thick; Keith, however, would normally use between 1/8 and 3/16, making the image far clearer and closer to its original appearance. Once completed, the new window would be protected by a system of isothermic plating. The new stained glass is hung, rather like a
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picture, in front of a new plain glass window. The plain glass provides protection against the weather and any objects that might cause damage, from a bird to a pebble from a lawnmower. Equally importantly, because the space between the two layers is at the same temperature as the body of the building, the glass will not be affected by condensation. Throughout the process of conservation and replacement, Keith keeps a careful record of exactly what was done so that if attitudes change at some date in the future, changes can be reversed. The studio also creates new windows as well as restoring the old. Keith is a firm believer in the apprenticeship system as the best way of learning his craft. One of those apprentices was Helen Whittaker. When she was a student at art school, her tutor remarked on the fact www.britain-magazine.com
northern england Left: the completed windows at Westminster Abbey Below: Helen painting panels
that she liked adding heavy outlines to her work to emphasise the subject matter. The lines reminded him of the leading in windows and he suggested she might like to try designing stained glass. She came to the Barley Studio and Keith was so impressed that he kept a place open for her while she completed her MA. Now she is back and designing full time. The process starts with carefully measuring the window space to be filled and making a paper template. The next stage is to produce a coloured design for the client, and when that has been approved, the actual work can begin. The original design is used as the basis for a ‘cartoon’ – not a comic strip, but a full-sized pencil drawing. Using a tracing of the cartoon, the lead lines are marked in, indicating where the leading www.britain-magazine.com
that holds the glass will be placed. From this tracing, the coloured glasses can be cut to the correct shape and laid out on the cartoon. The finished window will not just be an assemblage of coloured glasses: it will be painted over to create a more intricate and interesting design. The paint is actually mixed with powdered glass and when the work is complete it is heated in a kiln. The powdered glass, when heated, bonds the paint firmly to the glass background. The work is completed by leading. The lead does more than simply hold the glass pieces in place: it can also be used to help create the pattern – just as Helen’s heavy pencil strokes did in her art school drawings. Now the whole window is ready for installation. On our first visit, Helen was working on designs for Westminster Abbey. The work is now complete and installed in all its glory. MADE IN BRITAIN
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northern england
Belmond www.belmond.com Reservations T: 0845 077 2222 E: reservations.europe@belmond.com (Hotels) reservations.uk@belmond.com (Trains & River Cruises)
C
urator of exceptional travel experiences, Belmond operates some of the most celebrated trains, hotels and river cruises in the world. With the launch of our latest retreat, Belmond Cadogan Hotel, you can now combine a stay at this historic Sloane Street gem with a journey on Belmond British Pullman, sister train of the Venice SimplonOrient-Express. Indulge in two iconic London experiences in one thrilling escape. Begin or end your adventure at Belmond Cadogan Hotel, a sanctuary at the crossroads of stylish Knightsbridge and artistic Chelsea. Once the haunt of Oscar Wilde and Lillie Langtry, the hotel is a place to revel in cosmopolitan living before lounging in the private gardens, curling up in front of the fire or sipping a local gin at the elegant bar. Our rooms and suites blend classic British charm with modern style and elegance, every detail honouring the hotel’s rich heritage. Flashes of bold colour, vibrant flowers and captivating works of art offset luxurious neutral fabrics. Experience brilliant British cuisine at our flagship restaurant. Under the direction of celebrated chef www.britain-magazine.com
Adam Handling, traditional regional dishes are reimagined as light, daring masterpieces. Indulge in a rejuvenating massage or facial in our Spa Suite, or step out to explore compelling attractions ranging from the nearby Saatchi Gallery and Chelsea Physic Garden to world-famous stores and boutiques. From the hotel, it’s a short hop to London Victoria Station where the Belmond British Pullman awaits. Settle into your gorgeous Art Deco carriage and look forward to the gastronomic journey ahead. We offer an exciting array of excursions to stately homes, enchanting cities, exhilarating sporting events and prestigious flower shows. Or stay on board for a round trip, savouring the changing views through your window as mouthwatering dishes are served at your immaculate, linen-clad table. In 2019, our line-up of Celebrity Chef Dinners includes James Martin and Raymond Blanc. Relish dishes from an exclusive tasting menu before meeting the Chef himself as he passes through the carriages. To enjoy even more of M. Blanc’s fabled cuisine, join of one our coveted excursions to Belmond
Le Manoir aux Quat’Saisons for lunch at the twoMichelin-starred restaurant. Further gourmet experiences can be enjoyed during an effervescent Laurent-Perrier Afternoon Tea, or a tour and tasting at Hush Heath Winery, a Kent-based vineyard famed for its award-winning sparkling wines. Celebrate a special occasion on board: invite your loved one to a romantic Valentine’s Day lunch, treat your mum to a lavish Mother’s Day tea or gather friends for a glittering Christmas lunch with decorations, entertainment and all the trimmings. Or travel back in time to Shakespearean and medieval England with our riveting new excursion to Warwick Castle and Stratford-upon-Avon. Sparkling Bellinis, delicious brunches and dinners accompanied by our sommelier’s choice of wine are part of every unforgettable journey. If you’re planning a group celebration, our two London-based experiences are ideal. Reserve a spacious hotel suite and a private carriage for a wonderful shared adventure. With the enchanting, personalised flourishes Belmond is renowned for, every intoxicating moment is a memory to treasure. MADE IN BRITAIN
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wales
wales
WALES
PHOTOS: © DAVID WESTERN LOVESPOONS
Wales’s eclectic history has led to an intriguing array of national emblems – a dragon, a leek and a daffodil among them. These symbols are to be found everywhere, even cropping up in Welsh lovespoons, a folk craft dating back to the 17th century. Traditionally carved by a young man using a block of wood and a pocket knife, and presented to his beloved, lovespoons were a practical gift that demonstrated the suitor’s skills to his sweetheart’s family, as well as a token of affection. Young men in rural areas were often illiterate, so the spoons acted as love letters, with meaningful symbols carved into the wood. The dragon and daffodil indicate Wales, of course, while the Celtic knot means eternal love and twisted stems togetherness. Bells signify a wedding, while balls in a cage indicate the number of children hoped for. Over the years, the tradition of lovespoon making has evolved to include not just weddings but christenings and birthdays – so now there’s no excuse not to treat someone you love.
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wales
WORLD OF
WOOL
We visit a woollen mill in deepest Snowdonia, where time seems to have stood still WORDS ANTHONY BURTON
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F
or centuries almost all the clothing worn in Britain was made from wool. Workers in cottages carried out all the preliminary stages: women and children carding and spinning, men weaving. The cloth from the loom was liable to be greasy and, if not treated, would shrink when it got wet. It was treated with fuller’s earth to clean it, and stamped on repeatedly in water to shrink it – the origin of the common surname Walker. These last processes were mechanised in the medieval period in water-powered fulling mills. The wheel turned immense hammers, fulling stocks, that pounded the wool in the water mixed with the cleansing agent. Where there were sheep and water for power, there were clothiers and fulling mills. Wales had ample supplies of both. A fulling mill, or pandy as it was known in Wales, was built in 1829 on the busy river Crafnant that flows down the hillside to the village of Trefriw in Snowdonia, and
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was just one of several different kinds of mill powered by the same water. In 1859 it was bought by Thomas Williams, and the business has remained in the family ever since. The 18th and early 19th centuries saw great changes in the textile industry: first, spinning and carding were mechanised, and shortly afterwards power looms were introduced. Work began to move from the home to the factory, and Trefriw Woollen Mills moved with the times. Today the enterprise is run by brother and sister Morgan and Elaine Williams, and in an age when textile mills – especially woollen mills – were closing all over Britain, something had to be done to stay in business. The answer was to build a new mill on the valley floor, but with a large shop to sell what was produced. The result is that they are still manufacturing, running through the whole range of processes from spinning to weaving. www.britain-magazine.com
PHOTOS: © ROB SCOTT
wales
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Ironically, the only operation not carried out here is the one the original pandy was built for: if cloth needs finishing it is sent to Scotland. A walk round the mill is a journey into the textile past. Many of the machines, although scarcely modern, are new in terms of the long history of textile manufacturing, but if a mill owner from the 19th century came back here, there is little he’d fail to understand. The obvious starting point is the power source. This is still essentially a water-powered mill, but where in the predecessor the water had turned a wheel to power the machinery directly, here it turns a turbine attached to a generator to provide electricity. Everything came to a standstill during a recent harsh winter, when the water that came down from lakes high in the hills froze and burst the pipe. It has been repaired, fortunately: without this source of energy the works would struggle to survive. www.britain-magazine.com
The different processes begin in the blending shed, where the wool is delivered. The wool has been packed in bales, squashed up, and now it is laid down, layer by thin layer, and oiled. You can see how deeply the wool is stacked by the oil stains that rise up the wall. Next it needs to be loosened in a machine whose name says it all – the shaker, basically a drum with teeth. It also has to be thoroughly mixed together with a tenterhook machine, which passes the wool through toothed rollers to mix the lumps together. The mixed wool is still tangled, and in order to be turned into thread the fibres have to be aligned. Originally, this was done by hand, drawing the wool between a pair of cards, objects looking rather like table tennis bats studded with wire. The process is still known as carding, but now instead of the cards, the wool is passed between studded rollers. It is, like so much in this industry, an
Above from left: Morgan Williams weighing wool at the Trefriw Woollen Mills; bobbins of yarn are arranged on a frame ready for warping
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wales Top: the yarn is wound onto a roller that is then fitted to the back of the loom Bottom: the finished cloth is inspected for flaws
absolutely fascinating process to watch. The wool can be seen passing through from one set of rollers to the next, until it emerges as a delicate sheet of fibres. The wool fibres are all straightened out and aligned, but there is no strength in them. They now need to be drawn out and twisted together to make thread, and this is done on a pair of spinning mules. The wool is fed through rollers at the back of the engine and then passes to 360 bobbins set on spindles on a moving carriage. At the start of the operation, the rollers, moving at different speeds, pull out the threads. The carriage moves away, pulling the wool out still further as it goes. Then the carriage stops, the spindles whirl round and the threads are twisted together. A bar drops down over the row of threads, releasing the tension, and the carriage returns, winding the twisted thread onto the bobbins. The operative walks backwards and forwards, retying broken threads. Once again, this is
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a machine that has its origins in the days of the Industrial Revolution. But these ones are quite modern by Trefriw standards – only 60 or so years old. From the mule, the wool goes to the doubler, a machine as simple as the mule is complex: it takes two sets of threads and winds them together, but twisting in the opposite direction to the twist from the mule. The result is two-ply wool. At this stage, the wool is ready for dyeing. It is wound off the cones to make loose hanks. At the dye house, the wool is washed and then heated up with the dye in a huge vat, and then dried. Everything is now ready for the final stage, weaving. Before any actual weaving can begin, the loom has to be prepared by adding the warp threads. These are arranged on a roller at the back of the loom and, greatly simplifying the process, the individual threads are passed through eyes in wires, heddles. These allow threads to be raised and lowered, leaving a gap through which the shuttle, containing the weft, can be passed. In case you ever get confused over which is which, remember the old weaver’s joke: the warp goes up and down and the weft goes from weft to wight. Once you have your pattern worked out, the threads are wound onto a warping frame that is used to order them on the roller. The cloth grows as you watch; on this occasion the loom was developing a traditional Welsh pattern for a bedspread. Materials such as this don’t require finishing, so go straight to the shop. Once woollen mills were spread throughout Wales, providing employment for communities throughout the country and especially in rural areas. That Trefriw Woollen Mills has survived is a tribute to the perseverance of many generations of the Williams family. Long may it continue. This is an edited excerpt from the book Crafted in Britain: The Survival of Britain’s Traditional Industries, by Anthony Burton and Rob Scott, published by Bloomsbury (£25). For 25% off the book use the code CRAFTED1819 at the Bloomsbury magazine checkout. www.britain-magazine.com
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Portmeirion Village Penrhyndeudraeth, Wales LL48 6ER www.portmeirion.wales T: +44 (0)1766 770000 E: visit@portmeirion.wales
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ortmeirion is a holiday resort like no other. A flavour of Italy on the coast of Snowdonia, this Italianate Village has been delighting visitors since 1926. The idyllic village of Portmeirion was designed and built by Sir Clough Williams-Ellis in the 1920s. The architect wanted to create a tightly grouped coastal village, inspired by the town of Portofino on the Italian Riviera. With its warm Mediterranean colours, this wonderful resort takes its inspiration from warmer climes. The magical village looks like it could have been transplanted from the Mediterranean, but it’s tucked away in the heart of Snowdonia on the Gwynedd coast. With stunning views, glorious gardens and amazing architecture, Portmeirion is a sight to behold. Part of its charm is its huge mix of architectural styles. Angel Cottage on the village green recalls glorious curving West Country architecture, while Battery Cottage evokes 18th-century Kentish design. Clough wanted to show that good architecture could enhance a beautiful site. And it’s grown and changed throughout the 20th century, driven by Sir Clough’s determination to “cherish the past, adorn the present, construct for the future”. In addition to its architectural heritage, its stunning setting and sub-tropical gardens, Portmeirion has two stylish hotels, a cluster of self-catering cottages, an art gallery, five shops, a spa, four cafes and three restaurants as well as an authentic Italian style gelateria, making homemade ice cream on-site. Enjoy a free guided tour, free audio-visual show, free train through the Woodlands and much more. Portmeirion boasts over 70 acres of Woodlands including 20 miles of pathways to explore.
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Snowdon Mountain Railway Llanberis, Gwynedd, LL55 4TT www.snowdonrailway.co.uk T: +44 (0) 1286 870223
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et Snowdon Mountain Railway take you on the journey of a lifetime to the rooftop of Wales. Snowdon, at 1,085m, dominates the landscape of the Snowdonia National Park in North Wales. Since 1896, visitors have been travelling to the village of Llanberis at the foot of Snowdon to experience this unique journey to the summit of the highest mountain in Wales and England. From the first views of the waterfall plunging into the gorge below at the start of the journey to the breathtaking sights over the edge of Rocky Valley, every moment is memorable. This heritage narrow gauge railway operates two services, the Heritage Steam Experience and Traditional Diesel Service. On a clear day, the views stretch as far as Ireland from Hafod Eryri, the Snowdon Summit Visitor Centre. All summit services last two and a half hours, including a 30-minute stop at the peak. OPEN: Subject to weather conditions and passenger demand, trains run every day from mid-March until the end of October. The first train departs at 9am, and then at regular intervals. In March and April, trains are expected to run to Clogwyn, three-quarters of the way up the mountain. ADMISSION: See the website for details.
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Snowdonia Attractions Pwllheli, Gwynedd LL53 6PG www.snowdonia-attractions.com www.snowdoniapass.co.uk +44 1766 810715 E: info@snowdonia-attractions.com @GoSnowdonia @SnowdoniaPass
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orth Wales is incredible. It’s why we were voted in the Top 10 places to visit in the Lonely Planet! With a unique culture, a warm Welsh welcome, and delicious local produce, North Wales offers some of the most stunning coastline and dramatic mountain ranges in the world. Our land is steeped in heritage – with tales of mythical legends and dragons around every corner. Snowdonia Attractions brings together the uniqueness of North Wales with the best visitor attractions in the area – some of which are world firsts. From the fastest zip wires and RIB rides in the world – and the world’s first inland surf lagoon – to century-old heritage steam trains taking you through stunning landscapes, and even to the top of Snowdon, the highest peak in in England and Wales. There’s family fun galore with eco-friendly adventure parks in the forest, to Segway safaris, wakeparks, sea and mountain zoos. If it’s adrenaline you’re after, we can take you to the lowest accessible point in the UK with so many underground adventures, or stroll through unique and wonderful gardens and parks, or our museums and galleries for a more relaxing and serene experience. Find it all at www.snowdonia-attractions.com And why not save some money whilst you’re visiting us? The Snowdonia Pass Discount Card offers savings on over 50 attractions, accommodation providers, eateries and retailers. Buy it online for just £5 at www.snowdoniapass.co.uk or visit one of our participating attractions and receive your Snowdonia Pass for free! Just register for your Snowdonia Pass before your visit at www.snowdoniapass.co.uk/register-your-pass.php Each discount card is valid for up to 4 people, for the whole calendar year – so you’ll just have to keep coming back to Snowdonia again and again and again! MADE IN BRITAIN
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SCOTLAND
PHOTO: © JIM RYCE/ALAMY
As Scottish as single malt whisky and the Loch Ness Monster, the sound of the bagpipes instantly roots you in the country and its heritage. Spend any time in the country and you’ll soon hear the familiar wail, conjuring up images of tartan-clad pipers in the misty Highlands. Historians debate whether the pipes were originally brought over by the ancient Romans or colonising tribes from Ireland. Whatever the truth, the Scots have certainly made the instrument their own, and the country’s bagpipe-makers still do a roaring trade. The bagpipes’ ear-splitting noise can be heard for miles around, and it’s no surprise that they were used to rally troops into battle and became an instrument of war. They were even banned by the loyalist government after the Jacobite rising of 1745, though dedicated pipers secretly kept the tradition alive. These days, bagpipes are to be found all over Scotland – in parades and Highland Games, on street corners and at festivals – playing both toe-tapping jigs and mournful laments, and never failing to thrill.
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The WHISKY
ISLES
Any self-respecting Scotch whisky lover should make the pilgrimage to the Hebridean isles of Islay & Jura, with nine single-malt distilleries between them WORDS SALLY COFFEY
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ven if you’ve never visited Islay, the chances are, if you drink whisky, you’ve probably tried some of its single malts. This whisky island, off the west coast of Scotland, is responsible for around a quarter of the whisky produced and exported from Scotland, and while much of it comes proudly branded with the singlemalt stamp of one of its eight distilleries, much more appears in blended whiskies across the globe. Though the origins of whisky-making in Scotland are hazy – not helped by the fact that illegal stills operated here for centuries before the taxman got wind of them and they had to get proper licences – it’s likely that it began here in Islay. It is thought that Irish monks may have brought whisky to Scotland, and with Islay being the most southerly isle of the Hebrides – just 20 miles across the Irish Sea from Antrim – and by far its most fertile, there’s a good chance they came here first. Whether it began here or not, Islay distillers proved their staying power in the 19th century when saturation of the market and huge competition led to the closures of many distilleries across Scotland. On Islay, though several distilleries closed, many survived. So how is single-malt Scotch whisky made, you may ask? And how does it differ from Irish whiskey (apart from the spelling)? In truth, before it is distilled, all whisky is beer. There are three main ingredients that go into making whisky: barley (which must be ‘malted’, or dried out to release starch, which is turned into sugar), yeast and water. Each and every distillery in Scotland will tell you that their water source is essential to the whisky that they produce. On Islay, there is no shortage of natural water sources – burns and streams that more often than not tumble down from the hillsides, through the peat-rich land. Laphroaig, one of the island’s most famous whisky distilleries, is so protective of its water source, the Kilbride Stream, that in 1907 it fought a lengthy court battle after the managers of the neighbouring distillery of Lagavulin diverted the stream to their distillery. Much of the flavour of whisky actually comes from the malting, and Islay’s reputation for producing peaty, smoky whiskies harks back to a time when the island’s infinite peat resources were used to dry out the malt. Although today the island has other heat resources, most distilleries, including Laphroaig – which has its own malting floor and is renowned for its strong peaty flavour – still use peat in the malting process as the character it gives the whisky has proven popular. Once malted, the barley is added to a mash tun where water is added in three stages (each time a little hotter) to release as many sugars as possible. From here it is cooled and added to a wash back, where the yeast is added. It is this fermentation stage that essentially turns the barley and water into beer. After that, whisky-making is all about the distilling process – boiling and condensing the liquid in copper stills to separate the desirable and undesirable elements and produce a safe alcohol by volume (ABV) level. Once a
Clockwise from left: Lagavulin Distillery and Dunyvaig Castle; grains, casks and stills are all used to make whisky
PHOTOS: © ALAN COPSON/GETTY/BOWMORE DISTILLERY/STEPHEN BENNETT
This whiskey island off the west coast of Scotland, is responsible for around a quarter of the whiskey exported from Scotland
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spirit has been distilled, it goes into a cask for maturing. There are five categories of Scotch whisky with varying guidelines, but for a spirit to be labelled single malt Scotch it must contain water and malted barley only (no other cereals), be aged for a minimum of three years, and since 2012 it must also be bottled in Scotland. The main difference between Scotch and Irish whiskey is that the former is distilled twice, while Irish whiskey is normally distilled three times to produce a lighter finish. It’s unsurprising that the taxman took a while to get to Islay: even today a visit here takes a degree of determination. For most, the route here is a two-and-ahalf-hour drive from Glasgow to Kennacraig on the Kintyre peninsula, before a two-hour ferry crossing with Caledonian MacBrayne, which will either land you at Port Askaig on the northeast coast, or Port Ellen on the south of the isle. If you arrive into the latter, then there are three distilleries – known as the ‘big smokes’ – within a short drive or manageable walk of each other (there is also the occasional bus) along a particularly attractive stretch of coastline. Laphroaig, a giant of a distiller, is like the Marmite of whisky. Its fans love its strong peaty flavour, its detractors
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Above: The Laphroaig Distillery on Islay is known for its peaty whisky
don’t, describing it as too medicinal. Nevertheless, it is a big operation – the distillery even has its own malting floor to give their barley a unique flavour, and tours are well run. Lagavulin, the next distillery along, is now on much friendlier terms with its neighbour following its early 20th-century fallout, and it’s renowned for making a complex and rich whisky, using unusual pear-shaped stills and adopting a long maturation process. Ardbeg, just a short drive further along the coastal road, is like a phoenix rising from the ashes. Having been forced to close twice in its 200-year history, today Ardbeg is on its uppers again, and tour guides bring to life its intriguing history with tales of smugglers and illicit goings-on. You’ll also get to taste one of the distillery’s many expressions – the smokiest on the whole of Islay – and eat a fresh seafood lunch in the excellent on-site restaurant. For less peaty whiskies, head to the distilleries on the north of the island (Caol Lla or Bunnahabhain), which will shortly be joined by Islay’s newest distillery of Ardnahoe. And if you are on the north of the island, it would be rude not to visit the isle of Jura (there’s a regular ferry service from Port Askaig) to sample some of its single malt whiskies, which you won’t find in a blend anywhere else. www.britain-magazine.com
PHOTOS: © PAUL TOMKINS/ VISIT SCOTLAND/SCOTTISH VIEWPOINT
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McRostie The Harness Room, Bowfield Howwood, Johnstone, PA9 1DB Scotland, UK www.mcrostie.co.uk T: +44 (0) 1505 705030 E: info@mcrostie.co.uk
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cotland’s fine artisans. With its Scottish roots dating back to 1887, McRostie Scotland is renowned for creating hand crafted fine leather goods in classic styles that continue to stand the test of time. Featuring an authentic collection of leather belts, sporrans, bags and accessories, each product is handmade in The Harness Room by their craftsmen using the very best of British materials. The company began as a saddlers’ ironmongers before expanding to become a wholesale saddlery. Having established a reputation in heavy horse and carriage driving harnesses, the company then went on to specialize in premium personalised leather goods. Passing skills down through generations, Colin, director of McRostie Scotland, is one of the few remaining leather artisans in the UK and his passion is intrinsic to the company’s heritage. McRostie’s prestige artisanal bridle leather accessories are celebrated around the world. Traditionally made but boasting contemporary, innovative design and character, each product is highly functional and reliable. As well as offering the McRostie collection, the company’s range of services include customization and personalization, creating a special occasion gift of choice designed to be as lasting as the memories themselves. To arrive at a meaningful and lasting gift, Colin welcomes detailed discussions. These may be with individual clients or corporate representatives, whose requirements might range from Highland dress accessories for a groom and his ushers to memorable gifts for graduations, or even a simple key ring to say ‘thank you’. Drawing on the company’s specialist skills, McRostie also offer a restore and repair service for treasured leather items including briefcases, gun slips, bags, belts, country sporting accessories and family heirlooms. The rich leather aroma that wafts from their Studio amidst the rolling hills of Renfrewshire is a delight to the senses. A hearty welcome is guaranteed. Get in touch to arrange a personal visit. MADE IN BRITAIN
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Harris Tweed Hebrides www.harristweedhebrides.com T: + 44 (0)1851 700046
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mong classic British brands, Harris Tweed is revered as a fabric which embraces tradition, style and craftsmanship in equal measure. It has long been loved and used by some of the world’s leading design houses including, recently, Chanel, Vivienne Westwood and Zegna. Historically, Harris Tweed was mainly associated with men’s jackets and, particularly in North America, it was a ‘rite of passage’ for the well-dressed male to own at least one of these fine garments. Now, however, the uses are far more diverse in both men’s and women’s fashion. Harris Tweed Hebrides, the premier producer, exports to more than 60 countries from its base at Shawbost in the Isle of Lewis, on the north-westerly edge of Europe. The natural environment of the Hebridean islands is reflected in the depth of colour that makes Harris Tweed so special. It is the only fabric in the world which is governed by an Act of Parliament that both defines the process and protects it from imitators. True Harris Tweed www.britain-magazine.com
must be made from pure virgin wool, handwoven at the home of the weaver, in the Outer Hebrides of Scotland. The famous Orb stamp which authenticates each length is the oldest British trademark in continuous use. Harris Tweed’s reputation is worldwide but ultimately rests on the skills of fewer than 200 home weavers. Just a decade ago, there was a danger of these not being passed on to another generation, but a resurgence in the cloth’s popularity has transformed the age profile of both weavers and millworkers. To stay at the cutting edge, Harris Tweed Hebrides regularly collaborates with other high-end British brands, such as Triumph Motorcycles and Johnnie Walker whisky, to create special products. The smart, casual fabric is well-suited to sports teams and there have been official partnerships with the Ryder Cup and Scottish Rugby. The uses to which Harris Tweed is applied has expanded in new creative directions. It is now
embraced by streetwear brands like Supreme and Stone Island. As well as being a fabric of fashion, it is widely used to create accessories and for interiors in discerning hotels. Preston-based furniture manufacturer Tetrad has brought handcrafted Harris Tweed furniture into homes across Britain and the wider world. Harris Tweed Hebrides sells fabric direct to individual, as well as trade, customers. The great majority of the limited production goes to design houses, at home and abroad, which turn it into that vast range of finished products. Visitors to Edinburgh can find a Harris Tweed Hebrides store on the Royal Mile, in partnership with Kiltane, who have recently opened a retail outlet in Windsor. There is also close collaboration with Walker Slater, who have boutique stores in Edinburgh, Glasgow and London. Whatever the final product, the quality, durability and sheer beauty of Harris Tweed remain as constants. MADE IN BRITAIN
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Trespass introduces DLX Vermont House, 149 Vermont Street Kinning Park, Glasgow, G41 1LU www.trespass.com T: +44 (0) 141 568 8000
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nyone who has experienced a Scottish springtime snow squall at 60 miles per hour – rain and sunshine within minutes of each other – needs to trust their equipment. These are fabled proving grounds of the early climbing pioneers and their legacy continues to this day. Scotland has always been a hotbed of invention, born of necessity and enquiring minds. Figures such as Scottish born John Muir laid the foundations for an appreciation of wilderness, and a desire to embrace life outdoors. This land of dramatic vistas and historical significance inspired us to create a very special collection of clothing and equipment that thrives in wild conditions. As with any adventure, it started with building on experience, intricate planning and researching the details. We knew we wanted to create a performance focused range. It had to perform at the highest levels, for hiking and trekking, skiing and snowboarding, amongst other active pursuits. We understand functional simplicity and put this into practice. We wanted to create a set of tools that allows users to access the places they love in weather that is less than desirable. DLX®warms up winter with an emphasis on traditional style. While still providing weather protection this collection combines expedition level outerwear with everyday style. It emcompasses waterproof down jackets, insulated outdoor jackets, fleeces and base layers. All feature DLX® performance. DLX - “Designed for Life in Extremes.” Available in Trespass stores throughout the UK and online at Trespass.com
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BROCHURE B RAI OC AV HB ULE RE LA AVAILABLE
Come and discover what Scotland has to offer Come and discover what Scotland has to offer and escape with Wilderness Cottages. and escape with Wilderness Cottages. Quality self-catering properties throughout Scotland from Qualityappeal self-catering properties throughouttoScotland from rustic to 5 star luxury, countryside seashore. rustic appeal 5 star luxury, seashore. Whatever yourtopastime come countryside and explore to Scotland. Whatever your pastime come and explore Scotland. Short Breaks Available. Pets Welcome. Short Breaks Available. Pets Welcome.
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A house number or house name plate from Celtic House Name Plates will help to complement and enhance your property. Our unique, high quality signs – cut from only the finest Welsh slate will appeal to the more discerning home owner, who is looking for a number or name plate that is more distinctive than normally available.
www.celtichousenameplates.co.uk Carberry Tower Mansion House, Carberry Tower Estate, East Lothian, EH21 8PY
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T: 0131 665 3135
T: 07766832914 E: sales@celtichousenameplates.co.uk
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Edinburgh Castle Castlehill, Edinburgh EH1 2NG www.edinburghcastle.scot +44 (0)131 225 9846
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mighty fortress, the defender of the nation and home of the famous Royal Edinburgh Military Tattoo, Edinburgh Castle has dominated the skyline for centuries and is part of the Old and New Towns of Edinburgh’s World Heritage Site. Marvel at the nation’s Crown Jewels, smell the gunpowder after the One O’Clock Gun, hear the castle’s great story on a guided tour and taste the best of Scottish produce – all in this magnificent fortress. Standing proud above the city on Castle Rock, Edinburgh Castle dominates Scotland’s capital. The historic fortress has existed since the Iron Age and has a complex history. During the Wars of Independence the castle changed hands many times. In 1314 it was retaken from the English in a daring night raid by Thomas Randolph, nephew of Robert the Bruce. The stronghold is the most besieged place in Britain, providing sanctuary and security for many of Scotland’s kings and queens. Queen Margaret (later St Margaret) died here in 1093, and Mary Queen of Scots gave birth to James VI in the royal palace in 1566. Her great-great-great grandson Charles Edward Stuart captured Edinburgh but couldn’t take the castle during the 1745-6 Jacobite rising. From the 1600s onwards the castle was a military base with a large garrison and it later held prisoners of war. Today countless treasures are protected within the castle walls. In 1996, the Stone of Destiny, on which kings were enthroned for centuries, was returned to Scotland and is displayed in the Crown Room, alongside Scotland’s Crown Jewels. These are just some of the treasures on display at the castle: once an embattled fortress, now a world-famous visitor attraction and a key element of the Edinburgh World Heritage Site. www.britain-magazine.com
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Discover Newmarket offers a unique opportunity to go behind the scenes at horseracing’s headquarters to learn about the fascinating heritage and culture of the town with our industry expert guides. Explore the history of racing at The National Heritage Centre for Horseracing & Sporting Art, learn about the bloodstock world at The National Stud, feel the buzz of a thoroughbred sale at Tattersalls, admire the collection of art at the prestigious Jockey Club Rooms or experience the thrill of a day at Newmarket Racecourse. From fun family days out at top attractions to meeting champion trainers, breeders and racehorses in person, Discover Newmarket has the perfect experience for everyone.
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