QEST Magazine Summer 2014

Issue 30 Summer 2014 THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE

In this issue Scholar Events

Monty Don’s Real Crafts

Winning Ways

New Apprentices and Scholars

QEST

RWHA Annual Luncheon 2014

Graphite to G-Force

Oluwaseyi Sosanya (left) shows Nick Farrow of QEST and Ian Callum of Jaguar (right) a piece he has made where the stool represents a scanned area where he sits in nature. It represents "the perfect seat" in Hyde Park.

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an Callum, Director of Design, Jaguar, has been responsible for some of the most iconic vehicles including Aston Martin, DB7, DB9 and Vanquish and Jaguar XK, XF, XJ, RD6 through to his current work on the next generation of vehicles for 2020. He began his presentation at the Annual RWHA Luncheon with one of his favourite Einstein quotes: “Imagination is more important than knowledge.”

Ian emphasised the need for QEST’s vital work in encouraging young craftspeople into industry, as the impact would be felt within the global economy. His words resonated with scholars and Royal Warrant holders alike, both rely on bespoke craftsmanship to create the crucial difference in their products: “It is taking the tools and materials that might be available to others, but using them with a skill and artistry and a love beyond what

is necessary. So that object that you create, is better than it needs to be; is better than its function demands and it has a value beyond that function. The skill and love and art that you invest in that object will live on for its lifetime and which, if you made it well, might be considerably longer than yours.”

Through a series of images, Ian gave an insight into the process of designing a car

and stressed that their current projects would probably not be seen for at least another five years. “Car designs all start with a simple pencil line on a sheet of paper. Just a few micrograms of graphic and graphite on one sheet of a sketchbook. If that line is good enough, if it is spontaneous, if it is graceful and if that line tells a story; it might become a new Jaguar.”

Issue 30 Summer 2014

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“I am really encouraged by Mr. Callum,” commented Tara Osborough, textile designer and hand weaver, “it is exactly what I do. I start with a pencil sketch, we all start with that level of basics, but it is where you get to with the process that really counts.”

“The idea of a pencil sketch transforming into a Jaguar is a seemingly simple yet highly complex notion,” said Billy Lloyd, potter. “Designing and making a collection of tableware relies on similar principles; a rigorous series of processes each informed by skilled craftsmanship, that ultimately aim to capture the energy and endeavor of the hand.”

Oluwaseyi Sosanya, an innovation design engineer who uses traditional craft to break barriers, found much in common with what Ian said: “The question is that we must reinterpret craft; we must start adopting a modern approach as we maintain the tradition in order to push our craft to the next level. The proof is when you take design to this level of detail and success is the final product. His talk reinforced that we are on the right track with our concept of enabling initial design in 3D; it means stunning products result from the process.” www.gravitysketch.com

Potters Billy Lloyd and Isatu Hyde at the RWHA Luncheon

QEST Award for Excellence 2014 Inspired by Japan’s Living Legends, Tom Fattorini initiated an award to honour a QEST scholar for their lifelong commitment to their craft. QEST Trustees unanimously voted luthier, Shem Mackey as this year’s winner.

He will receive a specially struck silver medal by Thomas Fattorini and a cheque for £1,000.

Shem receives this award for outstanding research he conducted into a specific historical instrument, the viola da gamba made by Michel Colichon in 1683. It is considered to be the prototype seven-string viol and the instrument from which the French Baroque music of St. Colombe and Marin Marais is derived. It is difficult to overstate the impact that his findings have had on original musical instrument construction; it has led to a new way of making the viola, not only the choice of wood, but the method employed. Despite a burgeoning order book, he continues to quietly inspire and teach the next generation of instrument makers as the Programme Leader of Making Stringed Musical Instruments at West Dean College.

‘I feel very honoured and humbled with this award. I strongly believe in the value of research into original work, particularly where there has been a break in tradition. Through observation we have the opportunity of apprenticeship to the great makers of the past and, as artisans, we have a responsibility to pass on the skills to the next generation. It is a natural part of the job,’ said Shem Mackey.

Shem Mckey (left) receives the silver medal from Tom Fattorini at the RWHA Annual Luncheon.

Shem received a £9,750 scholarship from QEST in 1998.

QEST

Scholar Visit

Johnstons of Elgin Share Secrets with Scholars

Tara Osborough, a 22-year old hand weaver from Surrey meets Charlie Fraser, a weaver at Johnstons for fifty years.

Jenny Houldsworth, Human Resources Officer at Johnstons of Elgin, was keen to see how its exclusive mill in Moray could benefit QEST scholars specialising in textiles.

She invited four designer/makers, each with very different specialisations, to visit the only mill in Scotland to transform the raw fibre into the finished product on one site. “Retaining and developing these traditional skills is crucial for us,” explained Jenny, “we have to make it exciting and encourage young people into our industry to ensure we pass down the skills of great craftsmanship to the next generation.” A new apprenticeship scheme enables operatives to formally learn their skills through a robust, structured 2 year training plan. They receive a nationally accredited qualification once successfully completed; it is a firm commitment from Johnstons to the 800 strong workforce that indeed there is scope to follow a career in textiles at Johnstons, not just a job.

In 2013 Johnstons of Elgin received the Royal Warrant of Appointment for Estate Tweed to HRH The Prince of Wales. It has always been an innovative company as illustrated by the experimentation of wool sent

back to Moray from a young local man travelling in Peru in the early 1800’s. Textiles made from that Vicuna fleece were included in the Great Exhibition in 1851 where Johnstons won a medal for their ‘superb Vicuna shawls’. Today, ‘from goat to garment’ is more than a slogan, as cashmere is shot with silk and woven into the sheerest apparel for catwalk shows across the globe, whilst the same looms weave heavy weight winter blankets and popular Estate Tweeds to be used in men’s fashions. It is little wonder that it has been standing strong since 1797. A family led business that is completely independent can adapt, evolve and innovate.

“It was a fantastic opportunity to see in person the whole process,” enthused Mandeep Mann during the tour of the mill, “the woollen fibres taken through a number of processes to arrive at finished woven lengths of fabrics. The different weights of fabrics being produced were so inspiring.”

Asking technical questions along the way the scholars started at the Wool Store moving through to dyeing, carding, spinning, weaving, washing and finishing and seeing scarves gently packed in tissue paper, resplendent with individual couture labels.

Issue 30 Summer 2014

Mandeep Mann works with textiles by fusing the warp with rubber to create a more stable piece.

She was keen to find out if an element of the manufacturing process might enable her to take on larger pieces of commissionable art. Jessica Coleman had recently returned from Holland transcribing television sounds into a weave design on a Jacquard Loom. Tara Osborough uses locally sourced British wool to produce hand woven pieces inspired by the colours of her native Irish landscape. All three sat with Joan Johnston, the head of design and explained their journey through textiles and how they wanted to use the spun yarn to create very different effects.

“This trip has informed me as a designer and will allow me to develop my own work further,” commented Mandeep.

“Seeing first hand the excellent skills practiced in Elgin and learning how they export all over the world gave me the encouragement needed to pursue my own collection,” reflected Tara. “As a

Mandeep Mann (left) with Morag Duncan, Quality Manager (right)

weaver that hand dyes and hand weaves all my own fabrics, it was very interesting to see the dyeing and production processes that Johnston’s use; it has definitely fuelled my passion for creating fabrics.”

“I understand that producing a collection using solely British Wool will always present me with a challenge but it is one I am willing to try, despite all the experts telling me how hard it will be. I hope to find a company that I can partner with to produce a collection, using wool solely sourced from the British Isles. The end consumer tells me that they want to be a part of regenerating an industry that was once known the world over,” explained Tara.

Cheryl Brandford-Peers received her QEST scholarship in 2005 and her clients include established designers such as Givenchy, Donna Karan and Nicole Farhi. She visited Johnston's specialist knitwear mill at Hawick in the Scottish Borders and commented: “The highlight of my visit was Operations Director, David Hamilton’s tour of the mill.

As a machine knitter, it was very interesting to be able to view the whole production process and the range of specialised machinery.

David’s explanation of new technological developments in producing knitwear and his insightful and informative tour were inspirational. It was a great privilege to have someone of his experience share their knowledge. The level of quality in Johnstons’ products was astounding and I couldn’t resist picking up some goodies in the shop on my way out!”

Planning is essential. Five tons of fleece are delivered to the Wool Store each month and its journey is allotted to ensure maximum use of the equipment that operates 24/7. Eight hundred people from local communities are reliant upon this family led business; it is essential that the design team be ahead of trends whilst holding true to traditions. The investment in smaller equipment continues to enable a greater variety of bespoke work in Johnstons’ legendary textiles, which are sold internationally and proudly proclaim: “Made in Scotland”.

QEST meet Charlie Fraser and Morag Duncan of Johnstons of Elgin.

QEST

News

Aidan McEvoy (left) is presented to HM The Queen by Nick Farrow, Chairman of QEST. Aidan designed and made the table for the Coronation Festival.

Aidan Helps C4 Champion Crafts

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ine furniture designer and maker Aidan McEvoy was selected by Ricochet TV as a mentor for the Monty Don Real Crafts series on Channel 4. A workshop was built for Aidan who spent six weeks under the camera’s ever-present eye.

Aidan was presented with three keen amateur furniture makers who dreamt of turning professional. Through a series of tasks, he encouraged them to raise their standard sufficiently to design and make a side table.

Benchmark Furniture inspected the finished pieces with a view to selecting one to be reproduced and sold commercially. As it turned out, two students were both given the retail opportunity. One of whom has asked if he might become his apprentice to develop the precise skills that Aidan had begun to instill in him. Aidan’s website has been inundated, all his stock was quickly sold out and his series of masterclasses in furniture making are in demand.

“I have never been on television before,” said Aidan about the experience, “and I did find it somewhat daunting. It was inspiring working with Monty Don, who is a consummate professional and genuinely curious by the detail involved in fine crafts. It was good to form friendships with the other mentors working in different disciplines and I really enjoyed nurturing the raw talent. I had always planned to take on an apprentice, but thought that would be something I would do when I was more established. Now I realise that there is no time like the present.” www.amfinefurniture.co.uk

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QEST on a Pedestal This year, QEST invited a number of scholars to showcase their work at a variety of different events around the country. The first was Handmade in Britain on the Kings Road and Mandeep Mann (textile designer and maker); Joey Richardson (wood turner); Gordon Robinson (metalsmith) and Katherine Pogson (leather designer) were able to talk directly to their audience and sell from the stand.

It was the first time, since 2009, that QEST had exhibited at the Festival of Living Crafts at Hatfield House and were delighted to return to celebrate the Fair’s 40th anniversary. Mark Angelo-Gizzi (leather maker); Makiko Tsunoda (book conservator), Mandeep Mann (textile designer), Ruth Emily Davis (cordwainer), Sophie D’Souza (stained glass designer and maker), Graham Ashford (armourer) and Richard Mossman (sculptor) displayed a range of skills representing the variety of crafts that QEST has supported since 1990.

Demonstration by Alan Moore

Royal Windsor Showcase The Royal Windsor Horse Show, the largest outdoor equestrian event in the UK, was an opportunity to showcase crafts associated with equine within the RWHA’s pavilion. Royal Warrant holders were able to see how scholars have excelled by using funds allocated to them for their education.

Alan Moore introduced his diverse range of Harris Tweed jackets: “Although tweed jackets were in abundance at the show, none were like ours. The depth of rich colour in our Harris Tweed, hues of purples, charcoals, blues and oranges stood out in a sea of typical country tweeds of browns, greens and windowpane checks. The fact that we were the only stand to be using Harris Tweed was amazing and, being able to tell the story of the cloth and the detail in our jackets was great.”

Clare Barnett, Tiffany Parkinson, Mia Sabel, Mary Wing To and Nicola Watson showed their exquisite saddle and bridle making skills, although not always in the traditional sense. Mia Sarosi’s ceramics with hand painted horse designs were extremely popular, as were the artefacts made by silversmiths Wally Gilbert and Elizabeth Peers.

Monty Don tries on Graham Ashford’s armour glove for size

QEST

News

Craft on the Catwalk Flett Bertram (embroidered textile designer) collaborated with two other RCA students and designed a capsule collection of embellished and printed garments for the high summer season, exploring Monsoon’s heritage of working and manufacturing in India. Flett was drawn to the threadbare patches of the antique Indian block printed textiles and used this as inspiration for her embroideries, as she worked across the threads. The shapes were initially inspired by the drapery and layering of saris and robes worn by the Indian men and they played with colours and scale to create a contemporary feel.

As winners of the competition, the trio were invited to put their collection into work; they travelled to Hong Kong and India and worked at Monsoon’s head office with their occasion wear team.

“It was fascinating to meet with suppliers and factories and to learn about the manufacturing process,” explained Flett. “Chinese companies are specialists in working with silk, digital printing and digital embroidery, whereas Indian companies are fantastic at hand embroidery.”

Whilst in Mumbai, Flett spent two days in a jewellery factory on the outskirts of the city developing some pieces to accompany their collection, now entitled, Threadbare. “Watching our initial swatches and designs transform into genuinely commercial garments was enormously exciting and it was fascinating to discover the possibilities and limitations of high street manufacture.” The Monsoon RCA Collaboration collection can now be purchased online and in larger Monsoon shops including Westfield and Marble Arch.

Monsoon RCA Amrita Fringe Dress, designed

by Flett Bertram

Issue 30 Summer 2014

Pewter Live At the RWHA’s AGM at St. James’s Palace the Association kindly gave scholars a forum to exhibit a signature piece of their work and, at Pewter Live, an exhibition highlighting the malleable use of this increasingly popular metal, Gordon Robinson represented QEST. The Worshipful Company of Pewterers has once again generously supported QEST with scholarship funding.

All these opportunities served to increase awareness of the work QEST does within the crafts industry, helping artisans fund their education. www.gordonwrobertson.com Etched pewter, copper and brass cuffs, Gordon Robinson

Crafted for Commercial Success Guy Salter founded the Walpole British Luxury’s Crafted mentoring programme in 2007, a scheme to help small craftsmanship businesses access the expertise of senior luxury and fashion executives. Of the fifty makers who have been supported by this programme, five QEST scholars have greatly benefited from the opportunity to take their skills to the next commercial level. Mia Sabel (leather worker and saddle maker) was the latest to be awarded.

The Royal Academy’s Burlington Gardens was the venue for Crafted: Makers of the Exceptional, an important retrospective and celebration of their work. Curated by QEST scholar Peter Ting, the work of new scholars Billy Lloyd, (potter) and Wayne Meeten (silversmith) were on show alongside two of QEST’s ambassadors of their craft, Jacqueline Cullen (Whitby Jet Jewellery) and Deborah Carré (cordwainer). www.miasabel.com

A bespoke watch strap, Mia Sabel

QEST

News

Playing an Historical Tune In 2008, aged just 20, Ben Marks received an £11,000 QEST scholarship to fund a two year apprenticeship with Lucy Coad, a specialist in the conservation and restoration of historical square and pianofortes.

Ben embarked upon a freelance career working for private clients, heritage institutions and collections before being approached by Mimi Waitzman, a National Trust curator conservator. Ben was offered a yearlong programme of curatorial instruction in plucked string keyboard instruments at the National Trust owned Fenton House in Hampstead.

The Benton Fletcher Collection comprises of historic keyboard instruments maintained in playing condition for historical performance, practice and research. During this incredible and intensive year of study, part of a formal one-off programme created by Mimi and funded by The Clothworkers’ Foundation, Ben worked closely with the collection and also on associated projects with some of the UK’s leading historic keyboard instrument specialists and experts. He was elected to the committee of the internationally important Galpin Society. Also, during this time, he was invited to conserve and care for the historic pianofortes in The Bate Collection at Oxford University’s Faculty of Music.

When Mimi Waitzman left her post at Fenton House in late 2012, Ben was asked by The National Trust to adopt her role as a consultant conservator for The Benton Fletcher Collection. He is now fully responsible for their rare and important harpsichords, virginals, spinets, clavichords and early pianos, which between them have a date range of 1540-1805. He maintains them all in good playing condition as well as a Ruckers harpsichord of 1612, which belongs to Her Majesty The Queen and has been on loan to The National Trust for many years. He continues to work in a freelance capacity for his own clients and other specialists and is currently involved in an important restoration project for The Horniman Museum.

Regal celebration John Smedley Ltd. is currently organising a special visit by Her Majesty The Queen and HRH The Duke of Edinburgh to their Lea Mills manufacturing base in Derbyshire this summer. During this historic occasion, Ian Maclean, Managing Director and a member of the 8th generation of the family that owns John Smedley will present Gillian Murphy (textile knitwear designer) as the first ever QEST John Smedley Scholar. The scholarship will make an enormous difference to Gillian, as she embarks upon her Masters in Knitwear at the Royal College of Art in September.

Ben Marks maintains the rare English Virginals signed by Robert Hatley, London, 1664 in playing condition. It is believed to have survived the Great Fire of London and is the sort of domestic keyboard instrument which Samuel Pepys would have recognised.

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Cycling Renaissance The 101st Tour de France started in Leeds and the peloton sped through Harrogate, York and Sheffield before heading to London for a spectacular stage finish on The Mall. Success of British riders in The Tour and at the Olympics has done much to encourage a renaissance of cycling in Britain.

This sharp focus has done a great deal to help the likes of QEST scholar, Robin Mather whose handmade bicycles attract a considerable following.

Robin’s bikes are not generally designed for racing but for travelling comfortably and efficiently, sometimes carrying camping gear for a journey across a continent, at other times groceries for a journey across town.

Robin is currently working on a cargo bike designed to carry a small printing press to the town of Mainz in Germany, where Gutenberg invented the letterpress printing process. The bike will be ridden by Nick Hand, prominent advocate of the crafts, author and founder of The Letterpress Collective, a Bristol based project that aims to help perpetuate the craft of letterpress by gathering together printing presses and collections of lead type and making it available for use by local artists.

Nick’s journey will be documented in the form of a series of postcards, printed on route and available through a small Kickstarter campaign.

Robin also spends some of his time teaching at The Bicycle Academy in Frome where students learn how to cut, fit and braze their own bicycle frame.

© Nick Hand

© Nick Hand

www.robinmathercycles.co.uk

QEST

Winning Ways

Swans of Stone The stunning Italian Gardens in Kensington Gardens, commissioned by Prince Albert for Queen Victoria in the 1860s, were in desperate need of restoration. In 2011, thanks to a generous gift from The Tiffany & Co. Foundation, the Grade II listed site was restored to its former glory.

QEST scholar, Marcia Bennett-Male joined two other carvers on-site to carve new swan necks and heads, as well as the arms of broken nymphs on the ornate Tazza fountain. Marcia was on site for four months working for the stone specialists, Cathedral Works Organisation.

© Farrows

For the past nine years, Marcia has taught a one-day introductory class on stone carving at the British Museum where participants work on a relief inspired by the Museum’s collection.

Golden Hues

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Marcia is currently working on a lettering project for the Red Cross Gardens in London’s Southwark. The Gardens were created in 1887 by Octavia Hill, the co-founder of The National Trust, as the first Victorian community garden. www.marciabennett-male.com

hurches and Cathedrals have long been a showcase for exemplary craftsmanship, breathing life into Christianity’s rich culture and heritage. When the opportunity arose for a new stained glass window for Canterbury Cathedral, it was decided to select a designer-maker through a competition with the winner being awarded £3,000.

QEST worked together with The Garfield Weston Foundation to attract a diverse selection of applications and helped to select the final contestants. QEST scholar, Mel Howse, a noted stained glass and enamel designer-maker, gave additional support in detailing the traditional techniques required.

The winning design by glass architect Emma Lindsay, took wheat as her theme. “It is a symbolic image of love and charity. A bountiful wheat harvest is seen as a blessing from God to his people,” explained Emma.

She spent two days in the Cathedral’s stained glass studio, discussing technical and aesthetic approaches and subsequently produced full-sized coloured cartoons for all the panels, and a small sample stained glass panel. “The actual manufacture and installation of the stained glass panels was undertaken by Grace Ayson, one of our most experienced and talented glass painters. I felt that Grace was most likely to translate Emma’s vision into glass with the expressive and yet sensitive style that the cartoon and sample demanded,” said Leonie Seliger, head of the Stained Glass Conservation Department at the Cathedral.

Emma’s design was unveiled at a ceremony by the Very Reverend Robert Willis, Dean of Canterbury Cathedral on 2nd June 2014.

Marcia worked in Portland stone and white marble during the restoration.

QEST

Winning Ways

Honours for Craft Gail McGarva, boat builder, received the British Empire Medal for services to Heritage Crafts and Clinker Boat Building. This award recognizes Gail as an outstanding craftswoman and for bringing her craft to an audience that would not otherwise be involved.

“I am truly honoured to be awarded the British Empire Medal,” said Gail. “The whole thing has been overwhelming. A huge thank you goes to the Heritage Crafts Association for nominating me and for their determined efforts to give focus to the traditional crafts of Britain. I hope this award will shine a light on the craft of traditional wooden boat building, helping give vibrancy to the life of this craft for future generations.”

A proficient sign language interpreter, Gail found her passion for boat building less than ten years ago. Her career changed direction after she trained at the Boat Building Academy and since then has worked on the builds of a 38ft Bantry Bay gig, three Cornish Pilot gigs, a Cornish Skiff for the Lyme Regis Gig Club, and replica of a Lerret, a Dorset boat in danger of extinction.

Daniel Meek receives his award from HRH The Princess Royal

Returning to the Palace HRH The Princess Royal presented Daniel Meek, stone sculptor and letter carver, the Prince Philip Medal at an awards ceremony at Buckingham Palace in May, in recognition of his outstanding professional achievements.

“Being nominated for the Prince Philip Medal and winning the City & Guilds Highly Commended Certificate has been so exciting and rewarding,” said Daniel. “At the same time, the QEST scholarship has opened up tremendous opportunities and provided me with the chance to concentrate on creating individually designed memorials and produce three dimensional sculptures using stone from around the world. Earlier this year I travelled to India to track down some of the most beautiful and unusual stones on the planet.”

Daniel first came to QEST after several years as a member of the Commonwealth War Graves Commission’s team. He used his QEST scholarship to study and improve his letter carving skills, since then he has completed a Foundation Degree in Calligraphy and Design at Kensington Palace. He designed and made the Portland stone plaque to commemorate the Coronation Festival at Buckingham Palace.

The Prince Philip Medal was first awarded in 1962 and presented as a personal gift from His Royal Highness The Duke of Edinburgh. The Princess Royal has presented the award since she took over from her father, The Duke of Edinburgh, as President of the City and Guilds of London Institute in June 2011.

Gail McGarva, BEM

Issue 30 Summer 2014

The Year of the Horse QEST scholars excelled at the Annual Society of Master Saddlers’ National Competition Awards. Chris Gransbury received the most accolades: one trophy; three Premium Awards for Excellence in Craftsmanship; two third prizes and the Tony Byrne Memorial Trophy for the Best Harness entry by an Apprentice or Trainee in the Open Harness class. In addition, his competition double bridle has been selected by the Worshipful Company of Saddlers as one of their premium prizes at prestige events. It will be presented by the Master of the Saddlers’ Company at the 34th National Side Saddle Show in August at Addington Manor, Buckinghamshire to the Junior Open Side Saddle Rider of the Year.

Tiffany Parkinson won the side saddle class and together with Nicola Watson, they both received a Premium Award for Excellence of Craftsmanship in this category. “It was especially lovely to win at this competition,” said Tiffany, “as it is sponsored by the Company of Saddlers who have supported my QEST scholarship.”

Mary Wing To was awarded the Premium Award for Excellence of Craftsmanship for her entry of a Handcrafted Leather Ruff and Clare Barnett received a Premium Award in the President’s Choice Class for a fascinator modelled in leather.

Tiffany Parkinson with her winning side saddle (Credit: John Deehan)

Making The Final Cut In the previous issue, Hayter, “Makers of the Finest Lawnmowers”, launched a poster competition for QEST scholars. Entrants were asked to design a poster that would celebrate the heritage of the Hayter brand, personify style and tradition, whilst bringing a splash of colour to dealer showrooms.

Julie Dommett of Hayter said, “We’re thrilled to have received a number of high quality entrants to the competition and to be able to select two designs which met our brief perfectly. We are now working with the artists to develop these designs into printed materials. It has been a pleasure to work with QEST on this project.”

Winning designs were submitted by Anneliese Appleby (printmaker & linocut artist), and Mark Angelo-Gizzi (leather worker) and their winning posters will be revealed in the January edition.

Julie Dommett, Mark Thorp and Chris Cooper of the Hayter marketing team judging entries.

QEST

Supporting QEST

Skills Advisor to QEST Richard Thompson: Buckingham Palace, Foreman It was the heady aroma of polish and glue that first attracted Richard Thompson into a furniture restoration workshop in Dorset in 1978. He began an informal apprenticeship at Castle House Antique Restoration reviving abandoned pieces and restoring furniture for dispatch to distinguished antique shops and auction houses in the area and, by supporting the large trade fairs, the small business attracted a great variety of work. at events including HRH The Duke of York’s wedding. The balance of craftwork and unique historic events illuminated a special period of personal development and progress.

In 1995 Richard transferred to the Royal Collection at Marlborough House, specialising in furniture and works of art conservation.

“It was a fantastic opportunity,” enthused Richard, “as not only was I working day-today on some fabulous pieces, but part of my remit was to courier works of art around the world, wherever and whenever works from the Royal Collection were lent to exhibitions. He frequently criss-crossed Europe and the United States of America. The opportunity to install works of art from the Collection in leading museums, fulfilling the Royal Collection Trust’s aim of allowing a wider audience the chance to experience the Collection, was very rewarding.

Richard Thompson Royal Collection Trust © Her Majesty Queen Elizabeth II 2014

When the recession took a grip of the business in 1982, Richard volunteered to leave and established his own company working for local private customers and antique dealers.

For three years he built up his own loyal clientele through furniture conservation and handmade furniture. However, an advert in the Cabinetmaker Magazine intrigued him and he applied for a position in the Master of the Household’s Department at Buckingham Palace.

Aged just 24 he and his wife relocated to London.

He took a pay cut as he realised this would be an opportunity to gain a completely diverse experience; although it took him about six months to realise that he had taken on something far more than being a furniture restorer.

The Palace craft personnel were also called upon to do a variety of jobs and for Richard that included acting as front of house support

His most memorable piece of conservation was undoubtedly a desk made in New Zealand in the 19th Century from native timbers that had not coped well with the strains of life in the occupied palaces. The full restoration project challenged his early cabinet making knowledge alongside his careful restoration and conservation practices, the end result was to bring the piece back to a state in which its remarkable qualities, as a symbol of New Zealand culture, could once again be fully appreciated.

The opening of The Queen’s Gallery at Buckingham Palace in 2002, following re-building and expansion to celebrate The Queen’s Golden Jubilee, provided a brilliant focus for the display of newly conserved works in optimum conditions.

Richard was keen to extend his conservation skills into a role that could add more value to the Royal Household. When the position of Palace Foreman became available in 2010, involving a return to the Master of the Household Department, he felt his experience would increase the Department’s potential. The job

is all-consuming, offering the opportunity to engage his team in a remarkable variety of tasks in practical support of the modern Monarchy.

He is responsible for a team of Palace Attendants (house porters), conservators and craftsmen and managing the movement of works of art and furniture around the Royal Palaces in preparation for large events. It is not unusual that an event for over 450 people would require all the furniture to be removed and stored safely, only to be returned the following day for, say, an Investiture Ceremony.

The organisation required prior to the opening of Buckingham Palace to the public takes months of planning to ensure that everything is exactly where it should be and in good order. Events such as the Coronation Festival and the Diamond Jubilee Concert ensure the Palace is increasingly more accessible to the public and therefore requires more of his specialist attention.

Despite having a pressured job, Richard has always found time to give back to his community, whether it is as a magistrate or mentoring young people, but today his spare time is completely focused on QEST. “QEST has definitely satisfied the conservator within me,” commented Richard. “One of our ceramic conservators, Penny Bendall is a QEST trustee and suggested that I might help with the increasing number of applications.

I took leave and spent several days reading, grading and commenting on the applications within my sphere. Meeting the scholars gives a more rounded picture and it is inspiring to see such enthusiasm coming into the conservation practice.”

Richard’s roots remain in rural Dorset where he retreats to his home and, more importantly, his workshop, to make once more; his trusty toolbox is ever ready.

Issue 30 Summer 2014

Mary Wing To demonstrated whip making at the Royal Windsor Horse Show

QEST Partnerships Historically, QEST has been entirely funded by the Royal Warrant holders who have been generous in their support. However as the number of applications received continue to increase exponentially, it is essential for the future of British traditional crafts that we continue to support those that have the talent and determination to excel.

During Her Majesty’s The Queen’s Diamond Jubilee year, QEST took the initiative to go beyond warrant holders to seek funding in order to double the number of scholarships allocated each year. The success of this strategy has enabled us to pilot the QEST apprenticeship scheme this year and six new apprentices have taken up their roles. One with a QEST scholar, Deborah Carré in her company CarréDucker; one with the Marches Pottery in Ludlow and the remaining four are training with Royal Warrant holding companies. In order to ensure that we can continue this work and thus support young people as they start their careers, we will need to raise additional funds. There are a number of ways that you might be able to help us:

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Sponsoring a scholarship or apprenticeship that is in your area of expertise is a way of acknowledging your support and, at the same time, giving a craftsman a direct contact with your company, ensuring you too will benefit from their creative input and knowledge as they progress.

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Other successful donations have come from giving a small percentage from every specific product sold: Angostura’s bitters, Zone Creations’ iconic floor clock, Clarins’ hand cream, Fortnum & Mason’s biscuits were some of the very successful campaigns.

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Another way of helping is to remember QEST in your will. This will be a true legacy in that it will enable the bespoke industry to continue its successful revitalisation in a world that increasingly desires products to last for generations.

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Any donation, or any percentage of a residuary estate, makes a very real difference to QEST. Every penny in any donation will go directly toward beneficiaries. We remain truly grateful to our loyal supporters and to the Royal Warrant holders who had the vision to establish QEST 24 years ago and have supported over 300 inspirational artisans achieve their full potential.

QEST

Information

Creativity, Design & Craftsmanship - the Backbone of British Industry It is refreshing to see how many companies are realising the value of these attributes through collaborative projects with QEST scholars.

Two examples are highlighted in this edition: Monsoon and Johnstons of Elgin. The high street fashion brand Monsoon, worked with the RCA scholar Flett Bertram, an embroidery textile designer, to use her skills to design a range of fashion garments. Whilst Johnstons of Elgin, realised that showing makers the industrial scale of their mills in Scotland would inspire their individual designs to a new level.

It is also vital that scholars understand the realities of designing and making in a commercial world. This was keenly

accentuated by scholar Billy Lloyd, an accomplished potter. He is well respected for his made to commission tableware.

He needed QEST to fund his learning in Staffordshire, from the masters, so that he can start creating a range of merchandise that will be available on a more commercial scale.

Without a doubt, industry needs QEST scholars and apprentices and with every event that we participate in, this becomes increasingly obvious.

Nick Farrow Chairman of QEST

Do you know someone who could benefit from QEST? Are you ready to put your craft on the world stage?

The Queen Elizabeth Scholarship Trust (QEST) is the Royal Warrant Holders Association’s charity, created to fund the education of talented craftsmen and women through traditional college courses, apprenticeships or one-to-one with master craftsmen. Today, QEST has awarded more than £2.4 million to 335 gifted individuals aged between 17 and 50+ and it is recognised as having made a major contribution to

ensuring the continuation of the pool of talent in the UK and reflects the excellence of British craftsmanship as symbolised by the Royal Warrant of Appointment.

Scholarships from £1,000 up to £18,000 are awarded each year.

To find out more and apply online, visit QEST at: www.qest.org.uk

Who’s who at Qest Chairman & Trustee Nick Farrow Farrows Ltd. Honorary Treasurer & Trustee Nick Crean Prestat Trustees Penny Bendall Bendall Ceramic Conservation Mark Henderson Gieves & Hawkes Ltd. Steve Macleod Metro Imaging Ltd. Fiona Rae Goldsmith and Enameller

Neil Stevenson NEJ Stevenson Alec McQuin Rokill Ltd. Christina Abbott Burberry President RWHA Alec McQuin Rokill Ltd.

QEST Development Officer Julia Robinson QEST Applications Administrator Jodie Daniel Magazine Editor Shelley-Anne Claircourt

Secretary RWHA Richard Peck

General enquiries Tel 020 7798 1535 Email info@qest.org.uk Media enquiries Shelley-Anne Claircourt Tel 020 7854 1827 Email info@pressoffice.co.uk www.qest.org.uk Follow us on twitter @QESTcraft QEST Scholars join us at LinkedIn/QEST

QEST Executive Director Lyanne Mansfield QEST Finance Manager Elena Davies

Queen Elizabeth Scholarship Trust 1 Buckingham Place London SW1E 6HR

Registered Charity No. 1152032

Front Cover Image - Alan Moore Designed & Printed by www.farrows.co.uk

Issue 30 Summer 2014 THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE SCHOLARS AND APPRENTICES

In this issue

Introducing 14 New Scholars and 6 New Apprentices including a Cordwainer, Bookbinder and a Guitar Maker

QEST

New Apprentices

This year QEST launched an Apprenticeship Scheme as a step to address unemployment in the UK and train new talent for the craft sector. Six apprentices have been selected to work with specific employers as part of a pilot scheme.

It is a joint undertaking with both apprentice and employer being interviewed together to ensure that the three-year training will be carried out to the highest standards. QEST plans to build up funds to enable a dozen apprentices in the coming years.

Two of the apprentices have been selected for a one-year programme.

One signifies a seminal moment for QEST: cordwainer Deborah Carré of Carréducker was awarded a scholarship herself in 1997 and was inspired to change her career by the QEST scholar Claire O’Flaherty, whose final year at John Lobb had been funded by QEST in 1991. Alistair Raphael will therefore be the third generation of QEST cordwainers, each passing on their skill, knowledge and passion for bespoke shoe making.

ISATU HYDE Potter QEST HCA Apprentice

Heritage crafts are a distinctive part of Isatu’s DNA. Her grandmother was well versed in spinning, knitting, lichen dying, basketry and building and her aunt, Rebecca Oaks is a forester, coppice worker, charcoal burner, greenwood craftswoman and author.

Isatu’s interest in ceramics was ignited when Andrew Crouch at the Marches Pottery introduced her to throwing and glazing. Captivated by the technicalities she worked with three other potters based in Cornwall, including Jack Doherty at The Leach Pottery, while she gained a BA (Hons) 3D Design for Sustainability from Falmouth University. QEST will help Isatu realise her dream of becoming a master potter, as the scholarship will enable her to be apprenticed to Andrew Couch in Ludlow for a year and learn the finer details that will make her work commercially viable. www.isatuhyde.com

ALISTAIR RAPHAEL Cordwainer QEST Radcliffe Trust Apprentice

In 1990 Alistair gained an MA Fine Art at Chelsea College of Art and Design and went on to enjoy a successful career as an artist and a designer of public arts programmes. However, fuelled by the desire to return to 'making', he completed several courses with the bespoke shoemakers Carréducker in his spare time and quickly realised that he had the aptitude, dexterity and ambition to become a skilled shoemaker.

QEST will therefore enable Alistair to embark upon a one-year apprenticeship with Carréducker to hone his skills and give him the experience necessary to complete thirty pairs of shoes, essential as the basis of an apprentice’s stock requirement and to join the elite group of West End bespoke shoemakers. www.alistairraphael.co.uk

Issue 30 Summer 2014

PARHAM ALIZADEH QEST Apprentice John Lobb Ltd.

Parham Alizadeh’s interest in handmade shoes first blossomed in his home country of Iran, where he began making his own shoes in his bedroom. Parham completed a short course on pattern making at the London School of Fashion and was thereafter offered an opportunity at John Lobb Ltd. Now that he has begun his apprenticeship at Lobb, Parham has immediately benefited from the practical training that he receives from a master craftsman and enjoys making with leather; as this was not available on his college course.

WILLIAM POWELL QEST Hedley Apprentice John Lobb Ltd.

William decided to pursue a career ‘working with his hands’ as having done pattern making, puppet making and sewing whilst growing up, he felt that shoe making was a natural progression. After becoming inspired by the handmade shoes he saw in Shoreditch, he moved to London and started his training at John Lobb Ltd. He would like to return to Yorkshire after his apprenticeship and be an independent ‘closer’ (completing the upper of the shoe), and subsequently pass on the skills he learns to future generations.

CURTIS CHIPPERFIELD QEST Apprentice W.S. Lusher & Sons

Carpentry is a family tradition and Curtis’ brother and uncle have worked for W.S. Lushers & Sons. Curtis will train part-time as a Construction Training Specialist as well as gaining practical experience onsite. Upon completion of his three-year apprenticeship he will be a fully qualified site carpenter and receive a NVQ3. Curtis would like to work on historic building sites where restoration and conservation skills will be used.

QEST

New Apprentices and Scholars

PAUL KIRKOS QEST Andrew Lloyd Webber Foundation Apprentice Hamilton & Inches

Paul is a full-time apprentice in the silver workshop of Hamilton & Inches and will be a qualified silversmith by the end of his 5-year apprenticeship. He will then specialise in a specific technique, such as chasing, to become a master craftsman and, in turn, coach and mentor future apprentices coming through the prospective Hamilton & Inches Academy.

Paul has followed in his father’s footsteps; he has been working at Hamilton & Inches for 25 years. Paul is extremely passionate about his craft and speaks eloquently about his desire to make beautiful objects that will last forever. He is very adept and believes his innate abilities come from his father with whom he has studied techniques at home in the family workshop. “Silver is in my DNA; although my father leaves big shoes to fill,” said Paul.

ALISON HEATH Bookbinder QEST Clothworkers' / Radcliffe Trust Scholar

Working as a student bookbinder has enabled Alison Heath to gain valuable experience in conservation and restoration work, whilst private commissions and personal practice, have ensured she has made books from scratch. QEST will enable Alison to combine the Fine Binding: Forward and Covering (Advanced) course at City Lit, London and a oneto-one master course with the respected bookbinder Kathy Abbott and additional tuition in gold tooling with Tracey Rowledge.

ALAN MOORE Embroidered Textile Designer Weston Scholar

Alan Moore, from Glasgow, uses a variety of Scottish textiles in his contemporary fashion label, ten30. He frequently incorporates innovative embroidered designs and his award winning pieces were recently showcased in New York. He gained a BA (Hons) Design, Textiles from Glasgow School of Art and studied Clothing Technology at Cardonald College. The QEST award will enable him to attend the Technical Hand Embroidery course at The Royal School of Needlework.

Once Alan has mastered the traditional embroidery techniques, he will be able to apply them in a contemporary way within high fashion, his own designs or indeed fulfil an ambition to work on costume designs for the Scottish Ballet and other theatrical companies. www.ten30.co.uk

Issue 30 Summer 2014

ALEXANDRA PYE Guitar Maker QEST Carpenters’ Company Scholar

Alexandra Pye comes from a family of craftspeople and artists, including sculptors, furniture makers and book binders. Having gained a First Class BA and Masters in English Literature at Liverpool University, she returned to her roots by training in traditional cabinet making and was soon designing and making furniture to commission. After moving to Bristol in 2010, Alex became inspired to make her son, a keen classical guitarist, his first full size instrument. This was in response to her growing fascination with Classical and Flamenco guitar as well as the desire for a challenge as a maker. A self-taught luthier, she has discovered a natural aptitude in guitar making and has had her instruments accepted for sale at the Spanish Guitar Centre in Bristol. Her QEST scholarship will enable her to attend a month-long practical course in Andalucia under the instruction of expert British luthier Stephen Hill and expand knowledge that she has learnt from her mentor Rik Middleton.

GILLIAN MURPHY Textile Knitwear Designer QEST John Smedley Scholar

SAMANTHA CAWSON Paper Conservator QEST Almary Green Scholar

To gain valuable experience of conserving paper records, 19th century architectural drawings and photographic slides, Samantha worked with a number of organisations such as The Children’s Society Archives, The Royal Collection Trust and the Horniman Museum and Gardens. QEST will enable Samantha to take up an internship at The Teylers Museum in the Netherlands under the supervision of Robien van Gulik, the Head of Conservation. The placement will provide Samantha with essential experience of working with a variety of objects and on a major exhibition, as well as building crucial links with other institutions abroad within the heritage sector. She will take up the assignment upon completion of her MA Conservation from the Camberwell College of Arts. www.samanthacawson.com

Gillian gained a First Class BA (Hons) Design: Textiles and since graduating from the Glasgow School of Art has been working as a waitress to self-fund an MA Textiles course at the Royal College of Art. Fortunately, QEST has come to her aid so that she can immerse herself in the demanding RCA syllabus. Inspired by colour and strong architectural shapes, Gillian experiments with different techniques to produce reversible fabrics using merino wool and silk as her main yarns. To produce a luxurious finish she plaits with viscose rayon, producing an elegant drape. Gillian will combine her hand crafts with modern computer aided design and electronic knitting machines to develop her creative practice. She intends to produce a label manufactured in the UK and ideally using British wools and yarns. www.cargocollective.com/gillianlouise

QEST

New Scholars

SUSAN CATCHER Senior Paper Conservator QEST Scholar

Susan first joined the Victoria and Albert Museum in 2004 and one of her responsibilities is to conserve its collection of Chinese works of art on paper and silk. When working as the lead conservator for the ‘Masterpieces of Chinese Paintings’ exhibition at the V&A, she was invited to participate in a museum exchange and to visit a conservation studio in China. She is also passionate about Chinese ink rubbings and this will be a perfect opportunity to learn how they are made and enhance her understanding of their conservation. The art of taking a rubbing is in danger of being lost in China partially due to the introduction of photography, and is almost nonexistent in the West.

Her QEST scholarship will enable Susan to spend time in a conservation studio in Nanjing Museum alongside a practitioner instructing her in scroll mounting and the nuances of ink rubbing.

Although competent in Mandarin, before arriving in Nanjing she will spend an intensive fortnight in Shanghai learning the technical language required to exchange conservation information.

As Chinese-specific techniques are not so readily available outside China, Susan will present a paper at the IIC Conference in Hong Kong to disseminate the knowledge that she will bring back to the V&A.

ZOE BARNETT Stonemason and Lettercutter Zoe gained a BA (Hons) in Fine Art from the Birmingham City University before embarking upon a three-year stonemasonry apprenticeship. For the past two years she has been working in banker masonry producing bespoke architectural stonework, such as stone mullion windows and fireplaces. Last year, Zoe returned to education as she felt a structured course, such as the three three-year full time diploma in historical stone carving with the City and Guilds London Art School, would build on her practical knowledge and teach new skills to enhance her stone carving. Her savings have enabled Zoe to fund the first year and QEST will ensure she can complete this well respected course.

© Victoria and Albert Museum, London

QEST NADFAS Scholar

Issue 30 Summer 2014

HANNAH SUTHERLAND Historical Costume Maker QEST J Paul Getty Jr Charitable Trust Scholar

Hannah is a skilled needlewoman, knitter and a textile maker with a passion for costume in film, theatre and culture. She graduated from Wimbledon College of Art with a First Class degree in Costume Interpretation and following an internship at the Victoria and Albert Museum, was invited back to work as an Outside Professional Assistant on various fashion exhibitions, including The Glamour of Italian Fashion. The QEST funding will ensure Hannah can take one of eight places in the MPhil Textile Conservation course at the Textile Conservation Centre, University of Glasgow. It is the only course in the UK specialising in the conservation of textile objects. Hannah hopes to fulfil her ambition to work as a specialist in conservation and the display of garments. www.hannahsuthers.com

THOMAS MERRETT Sculptor and Stone Carver Weston Scholar

Thomas trained as a stone carver at City and Guilds Art School and gained a basic grounding in modelling. Since leaving college four years ago he has specialised in architectural and monument carving working predominantly in stone on projects including the Foreign and Commonwealth Office, the Old War Office and various churches and cathedrals. The sculptor, Alexander Stoddart advised him that he would develop as a sculptor through clay.

Thomas taught himself new techniques, experimenting after he finished his day’s work. He quickly realised that a period of concentrated study under the tuition of skilled and established craftsmen at The Florence Academy of Art would accelerate his learning. Thomas will use his QEST award to fund his attendance at a summer workshop in figurative sculpture. www.thomasmerrett.com

QEST

New Scholars

STEVEN CUGNONI Building Conservator QEST Tallow Chandlers’ Scholar

ELOISE CAISLEY

Steven started as a bricklayer with Royal Warrant holder W.S. Lusher & Son Ltd. in 1999 and is now a valued member of this Norfolk family company as the Foreman Bricklayer. Throughout his career Steven has been drawn to the conservation and restoration of brick and flint buildings. More recently he has been responsible for detailed specifications in projects such as traditional 17th and 18th century brick buildings, involving the removal of crumbled chimney stacks and individually tagging and coding bricks to return in the exact same place. QEST has enabled Steven to attend the Building Conservation Masterclasses Professional Development Diploma at West Dean College. Combined with his practical experience from the building trade, it will make him well placed to work for English Heritage or the National Trust on more advanced projects.

Saddler and Leather Worker QEST Saddlers’ Company Scholar

After Eloise gained a BA (Hons) in Equine Business Management, she began a four-year millennium apprenticeship at Colne Saddlery working with master saddler Maurice Emtage. During this time she also trained at the Saddlery Training Centre in Salisbury.

She is passionate about working with British leather and has adapted her skills to create and make small leather accessories and handbags. She continues to help translate designs to develop working prototypes for companies that include fledgling small leather goods brand, Byrne. She has recognised that by acquiring more knowledge and experience she will be able to expand the range of her own designs and products.

QEST will fund Eloise to attend a range of courses including Advanced Bridle Making, Cartridge Bag Making and Small Leather Goods.

BILLY LLOYD Potter QEST Eranda Scholar

Billy gained a BA (Hons) Ceramics from Camberwell College of Art and Design and completed a year apprenticeship with Lisa Hammond at Maze Hill Pottery before embarking upon a four-year apprenticeship with QEST scholar and renowned potter, Julian Stair. Billy has been successfully designing and making bespoke ceramic tableware and interior accessories for a wide range of clients since he established his own studio in 2011.

The QEST funding will enable Billy to attend a one-to-one master course with Ceramic Designer, Ed Bentley at his workshop, Manifold Craft Barn in Staffordshire, home of The Potteries. This intensive collaboration will ensure that he can move into the next phase of his making career and become proficient in plaster model and mould making. This will develop his skills as a designer and maker of durable tableware, suitable for batch production from his own studio. www.billylloyd.co.uk

Issue 30 Summer 2014

WAYNE MEETEN Goldsmith and Silversmith QEST Pamela de Tristan Scholar

Wayne is a highly regarded silversmith, immersed in the culture and craft skills of Japan and traditional British Silversmithing. He specialises in contemporary one-off vessels and sculptural pieces, these are hand crafted in Britannia Silver and Mokume Gane.

Wayne gained a Masters degree with Distinction from the Sir John Cass Metropolitan University in London and also studied at Tokyo University of Fine Arts and Music in his postgraduate year. The QEST scholarship will provide three periods of intense study in Japan, where he will learn Japanese Inlay Zougan and Line Inlay Kensaki alongside the living National Treasure, Katsura-Morihito Sensei and his assistant, Naoko Tamura, the first British craftsman to be given this tremendous honour.

These new skills will ensure that Wayne will raise the bar of contemporary British Silversmithing. His designs encompass hues of colour and technical challenges, in the West this relies on the use of enamel, gilding and oxides whereas in Japanese design the warmth of colour comes from the use of Shakudo, Shibuichi, Kinkeshi and Mokume Gane. www.wvmstudio.com

JORUNN HUSTOFT Textile Designer & Maker Weston Scholar

UK based Norwegian designer Jorunn studied 3-D Materials Practice at the University of Brighton using wood, metal, ceramics and plastics. Her experience has informed her unique 3-D approach to knitted textile design. In July 2012 she set up her own brand, Nnuroj, designing and hand-making a range of non-conventional knit-wares including beanbags, blankets, cushions and accessories. She currently uses a hand-powered domestic knitting machine, but wishes to become proficient in other more specialist methods of machine knitting to fully embrace the possibilities and limitations when working with this craft.

The QEST award will enable Jorunn to attend four different courses, each focusing on an aspect of machine knitting or, a specific piece of equipment or software that will enable her to expand her Nnuroj range. www.nnuroj.com Scholar Cover Image - Arctic Pleat Collar

by Jorunn Hustoft

makers of the world’s finest sporting guns and rifles and suppliers of shooting accessories and country clothing 33 Bruton street, london, w1J 6hh +44 (0)20 7499 4411 www.hollandandholland.com