Issue 35 Spring 2017
Salmon skin swim hats by Jane Fryers - janefryers.co.uk
THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE
In this issue Where Craft Meets Art at Christie’s
Private View QEST Scholar Timothy Harris
My QEST Trustee Steve Macleod
QEST Apprentices 2016
QEST
Chairman’s Letter
Welcome to the Spring 2017 Edition Her Majesty The Queen’s Patronage during her 90th birthday year was a privilege for us all and a timely reminder of the inspiration behind the charity – Queen Elizabeth The Queen Mother’s 90th birthday. We gathered at a celebratory reception at Garrard in November to thank QEST Trustees past and present, acknowledge the founding vision, and strong legacy that we are custodians of today. Nick Crean, QEST Chairman
QEST Magazine is published with the kind support of our advertisers.
With this in mind, it is wonderful to hear from glassmaker Timothy Harris, one of the first QEST Scholars, that the experience he gained 26 years ago influences his work every day. I’m also delighted to introduce our 14 new QEST Apprentices, who we are sure will go far.
On behalf of QEST, I would like to thank Nick Farrow for his enthusiasm and dedication during his time as Chairman and wish him all the best for his year as RWHA President.
It’s always rewarding to see QEST Scholars making their mark, many internationally
It’s always rewarding to see QEST Scholars making their mark, many internationally. Illustrator Kerry Lemon has just returned from painting a mural in Tokyo, Aurora Pettinari York’s embroidery has been on show in Milan with Vogue Italia, Tomiwa Adeosun is Oregon-bound with the Adidas Design Academy, and Zoe Barnett is packing her tools for a stone carving project in Brunei.
I hope you enjoy reading about their achievements, and are inspired to help us support many more.
Nick Crean QEST Chairman
QEST
Royal Warrant Holders Association
Vice Patrons
President
The Earl of Snowdon
Daryl Greatrex
Marquess of Salisbury KCVO PC DL
Secretary
Chairman
Richard Peck
Design and Print Farrows farrows.co.uk Media Enquiries Eve Lacey Ideas Network +44 (0)20 7351 4719 eve@ideasnetwork.co.uk
Nick Crean, Prestat
Registered Charity No.1152032
We remain extremely fortunate to have Lord Snowdon and Lord Salisbury as Vice Patrons, and I look forward to working with the QEST team to apply the same creativity and commitment to our fundraising that our Scholars and Apprentices show to their crafts.
Trustees
QEST Office
Christina Abbott, Burberry
Executive Director
Mark Henderson, Gieves & Hawkes
Deborah Pocock LVO
Steve Macleod, Metro Imaging
Development Manager
Alec McQuin, Rokill
Alanna Fisher
Queen Elizabeth Scholarship Trust
Fiona Rae, Goldsmith and Enameller
Applications & Events Co-ordinator
1 Buckingham Place
Neil Stevenson, N.E.J. Stevenson
Kerry Whitehead-Dymond
London SW1E 6HR
Communications Officer Ambassadors Julie Deane, OBE
Guineviere Nicholas
Sir Bryan Nicholson, GBE
QEST Magazine
Scott Simpson
Editor Karen Bennett, Keysmith kb@keysmith.co.uk
@QESTcraft
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Event
MEETS ART
WHERE CRAFT
QEST
10th October 2016, Christie’s
One of Lord Snowdon’s ambitions when he became QEST Vice Patron was to elevate the appreciation of craftsmanship to the level of fine art. Where Craft Meets Art at Christie’s in October was a bold and exciting first step.
Japanese hammer fluted by QEST Pamela de Tristan Scholar Wayne Meeten (2014), carried the hallmark stamp of the Institute of Professional Goldsmiths, only awarded to around 90 makers. The life-size, rare breed Irish Moiled Bull in willow, one of largest undertakings by basket maker Bob Johnston (2004), stood alongside the Baroque Lion in mocha crème French limestone by carver and sculptor Thomas Brown (2009).
The week prior to the auction, Christie’s South Kensington opened its doors for Christie’s Lates: The Contemporary Collector. Nine QEST Scholars including glass engraver Effie Burns (2012), jeweller and QEST Garfield Weston Foundation Scholar Julian Stair (2004), one of the UK’s leading potters, Anna Lorenz (2012) and QEST Leathersellers has work in 30 public collections around the Scholar Mark Angelo-Gizzi (2013) world. Eleven Cups on Ground exemplified - were invited to showcase their the purity of form he is noted for. latest work and give live craft I am delighted to help In contrast, the lot from Jack Row demonstrations. QEST by giving craftsmanship the (2013) stood out for its intricacy. opportunity to be seen alongside great His Architect Fountain Pen in 18ct The main event took place works of art as well as highlighting white gold with matching cufflinks at the world-renowned the invaluable cultural and economic was inspired by 30 St. Mary Axe Christie’s auction room in importance of British Craftsmanship. (the ‘Gherkin’) on the St James’s. It was a true celebration of the intelligence, creativity and quality of British craft talent, with bidding on lots by 10 QEST Scholars.
Lord Snowdon, QEST Vice Patron
London skyline.
Alium, a 3.3m-tall forged steel and blown glass sculpture by contemporary artist blacksmith Jenny Pickford (2010) bloomed overhead as Johnnie Walker, Tanqueray and Pimm’s cocktails were served to guests during the viewing.
Others to support QEST with their craft were Royal Warrant holding companies N.E.J. Stevenson, with an ingenious walnut Revolver Table that transforms from dining table to piece of art in a wave movement, and Zone Creations, makers of the crystal clear Perspex cabinet for a special edition Comitti London Greenwich Regulator clock.
The auction, conducted by gavel master Hugh Edmeades, opened with a portrait commission offered by Alastair Barford (2012), who painted HM The Queen on becoming the UK’s longest-reigning monarch in 2015 for Illustrated London News.
Catherine Goodman LVO, artist and Artistic Director of the Royal Drawing School, contributed pastel and charcoal on paper After Rembrandt, Belshazzar’s Feast, and Roger Law a beautiful blue-green celadon porcelain Chinese Feast Charger.
Two other commissions were on offer: a bespoke suit of 15th century English armour made by Graham Ashford at his Greenleaf Workshop in Hampshire and marble bust from one of the country’s finest figurative sculptors, Richard Mossman (2011).
Where Craft Meets Art was a tremendous success. QEST Scholars proved their potential for artistic and commercial success whilst raising awareness of the charity and funds to help support future generations of talented craftsmen and women.
There were one-of-a-kind pieces too. Aidan McEvoy (2006) made an Aestas Jewellery Box in pippy English yew. Shower of Comets, a vase hand-raised and
Issue 35 Spring 2017
Alastair Barford’s charcoal drawing of HM The Queen
Jack Row’s Architect Fountain Pen
Aestas Jewellery Box by Aidan McEvoy
Six of Julian Stair’s Eleven Cups on Ground
N.E.J. Stevenson walnut Revolver Table
Alium by Jenny Pickford
Shower of Comets by QEST Pamela de Tristan Scholar Wayne Meeten
Greenwich Regulator by Zone Creations
Marble bust of HRH The Prince of Wales by Richard Mossman
In Pursuit of Excellence 3 3 B r u to n St re e t , London, W1J 6 H H w w w. holla nda ndho lla nd.com
Issue 35 Spring 2017
GARRARD CELEBRATES QEST The House of Garrard launched Garrard Celebrates QEST in 2016. A window of the flagship store in London is given over to a different QEST Scholar each month. Millinery artist Deirdre Hawken (1999) was one of the first. “I was provided with a showcase, excellent lighting and antiglare, which is important for me as all my pieces are hand dyed. Beyond that I was given total freedom.”
Mayflower wooden sculpture by Joey Richardson
Bags by Cordaelia Craine
A window of the flagship store in London is given over to a different QEST Scholar each month.
Passers-by on Albemarle Street have been treated to displays of luxury British writing instruments and accessories by Jack Row (2013), pieces by designer goldsmith and silversmith QEST Pamela de Tristan Scholar Wayne Meeten (2014) and leatherwork in an enchanting setting by Cordaelia Craine (2003). Wood artist and QEST Carpenter’s Company Scholar Joey Richardson (2012) produced a stunning display of 38 butterflies and eight sculptures and, fittingly for the longest serving jewellery house in the world, Garrard invited award-winning jeweller Zoe Harding (2004) to create the Christmas window.
Butterflies by Joey Richardson
Zouaq traditional Moroccan painting on wood by artist and QEST Radcliffe Scholar Natasha Mann (2012) warmed the windows in January and her hand painted boxes were for sale in the store. Keep your eyes peeled as Garrard continues to provide QEST Scholars with this valuable opportunity to showcase their work in the heart of Mayfair. garrard.com #GarrardCelebratesQEST
Bags by Cordaelia Craine
Jewellery by Zoe Harding
QEST
Private View
PRIVATE VIEW Timothy Harris Glassmaking
QEST Scholar 1991
Timothy Harris is one of the six inaugural QEST Scholars. Today, 26 years on, he is recognised as a leading designer and maker of studio glass. His decorative pieces, handmade on the Isle of Wight, are sought by collectors around the world. How did you start out? My father Michael Harris was a pioneering designer and craftsman. He studied at the Royal College of Art, then became a tutor and set up the hot glass facilities there. In 1973, he founded Isle of Wight Studio Glass with my mother Elizabeth. From an early age, I was drawn to the heat, fire and smoke of the studio. By 13, I was making glass of work birds for pocket money.
The body from QEST Scholars and Apprentices over the decades would make an impressive showcase of what can be done with the human hand.
How did you hear about QEST? My parents created their studio in old farm buildings owned by Sam Twining of tea and coffee merchants Twinings. He told us about the RWHA’s plan to establish the charity. I was six years out of college and committed to the studio, but keen to broaden my horizons. Sam, as an original QEST Trustee, sponsored my application. What did your QEST Scholarship enable? My father worked with American glassmakers to establish studio glassmaking in the UK. I wanted to spend time with eminent glass artists in the US. My first stop was Penland, home of Harvey Littleton (one of the founders of the Studio Glass Movement) in North Carolina. I spent three weeks absorbing
Timothy Harris
how everyone thought and worked. Then on to Pilchuck Glass School in Washington, where they foster and educate a worldwide community that explores the creative use of glass in art and design. Founder Dale Chihuly (creator of the chandelier in the V&A’s rotunda) believes in artists teaching artists. I was enthralled by the scale and complexity of their installations – perhaps 50 glassmakers, often thousands of components. It was mind-blowing. What impact did these residences have on your glassmaking? Everything was done in a big way with a thrilling sense of ‘go for it’. This gave me the confidence to experiment, embolden my use of colour and be more flamboyant in my designs. My QEST Scholarship continues to influence my attitude to glass. I go to the furnace with an idea, but allow myself the freedom to let the piece develop (although I do like to have the last word!). Scale too – I always hanker to make something bigger.
Issue 35 Spring 2017
HM The Queen’s Bowl
Undercliff Daytime Vase
Crizzle Cameo Perfume Bottle and Bowl
What differentiates your work? Glass is a viscous thing and I like to think that way when I’m making. I mix techniques, create multiple layers of glass and incorporate precious metals. I also draw on colours, textures and forms found in nature. Every piece must have soul. Have there been any challenges? In 2012, we had to close the original studio and re-establish and revitalise the family firm. I took a year out from glassmaking to convert a barn at Arreton Barns Craft Village into a new studio. We salvaged our two furnaces, the heart of any glassmaking studio, from which Peter Wren Howard constructed a single, state-of-the-art furnace. This is the seventh generation of Peter’s furnaces we’ve worked with. He is close to retirement, but has agreed to maintain it (perhaps he needs a QEST Apprentice?). How is it going? The first time I gathered molten glass from our new furnace, I wondered whether I could still do it. Five minutes in, I realised I had started whistling. The studio was opened by the BBC’s Mark Hill in 2014. This coincided with our first Collectors Open Day and we invited William Walker, who developed a range with my father in the late 1970s, to demonstrate. This is now an annual event with a visiting glassmaker, and I make special pieces on the day. How important is your connection with the Isle of Wight? We are firmly rooted on the island and at Arreton Barns. Next to the studio is the Isle of Wight Glass Museum, home to over 1,000
First QEST Scholars in 1991 (l to r): Timothy Harris (glassmaking), Steven Gravestock (stonemasonry), Deborah Fiette (tapestry conservation), Claire O’Flaherty (shoemaking), Rupert Christie (farriery), Marliese Symons (homeopathy)
pieces amassed by one collector that chart our history and the emergence of other studios on the island, several of which were started by former employees.
if like me they have a passion for the hot side, opportunities are rare. The knowledge and skills I have are for sharing, and I’m always interested to see how they are used by others.
I was proud to be commissioned by the people of the Isle of Wight to make a glass bowl, inspired by its sea and coastlines, for HM The Queen. This was presented during Her Majesty’s Diamond Jubilee visit.
Any advice you’d give to future QEST Scholars & Apprentices? Be passionate, be hands on and be in it for the long term. The temptation is to be purely creative, but you must be commercial too. Start with earning a living, then you earn the freedom to let your creativity flourish and your craft will reward you emotionally and financially.
Have you worked with any other materials? I enjoy seeing how different crafts can come together with glass, but for me it will always be glass. It can burn when it’s hot and cut when it’s cold, but when you’ve had a good day making and something magical comes out of the fire, there is nothing more wonderful. Have you got any apprentices? We don’t have a formal programme, but lots of degree students come through the studio. Running a glass course is expensive, so whilst they might have had the chance to do cold work - sandblasting, carving, engraving –
And your thoughts on QEST? That the charity is thriving and almost its entire alumni remain active in their craft – well, hats off to QEST, its selection process and support. The body of work from QEST Scholars and Apprentices over the decades would make an impressive showcase of what can be done with the human hand. isleofwightstudioglass.co.uk
QEST
Scholar & Apprentice News
Exhibitions Carey Ellis (2012), textile designer and lecturer on BA Textiles at the Arts University Bournemouth, often incorporates travel and cultural experiences within her work. Her latest, Moroccan Doors (exhibited at Get Fresh 2017 at the Devon Guild of Craftsmen until 5th March), is a series of framed paper collages and fabric embroideries based on the front doors and building facades of Marrakesh and the Atlas Mountains. What began as abstract pieces inspired by colour (rooftops with Majorelle Blue bundles of drying yarn, mounds of spices in the souks, and red and yellow ochre lime-washed houses) and geometric forms, evolved to include digitally embroidered fabrics to convey the country’s rich history in textiles. cargocollective.com/careyellis
Royal School of Needlework-trained embroiderer and QEST Radcliffe Scholar Aurora Pettinari York (2016) was approached by Vogue Italia to collaborate with designer Mohammed Ashi on a garment for Crafting the Future - Stories of Craftsmanship & Innovation. The idea was to combine craft traditions and designers trained in technological development to encourage an innovative dialogue. Mohammed was drawn to Aurora’s work for interiors where Stumpwork is used to create threedimensional human figures inspired by Greek mythology. The challenge was to apply this raised embroidery technique to a couture gown (the embroidery and featherwork took over 100 hours). The opening of the exhibition at MUDEC (Museum of Cultures) marked the start of Milan Fashion Week and Aurora gave live demonstrations every day. aurorapettinariyork.com
Bespoke shoe company Carréducker, run by master shoemakers James Ducker and QEST Scholar Deborah Carré (1997), is featured in The Design Museum’s first permanent exhibition, Designer Maker User. The pair were commissioned to bring to life ‘design to finished shoe’ for the installation, which was unveiled when the museum opened the doors at its new London home in Kensington in November. The materials and tools used in the making of The Brunswick, Carréducker’s handsewn Derby boots, are on display alongside a film of Deborah and James making the boots to show the highly skilled, traditional craftsmanship and 200 plus steps that go into constructing some of the finest footwear in the world. carreducker.com
designmuseum.org
Celebration of Craftsmanship & Design, the largest exhibition of contemporary designer-maker furniture in the UK, now includes selected works from leading artisans in disciplines such as sculpture, jewellery, glass and art. It is from this group that the winner of the new craft&design Award was selected. The judges commented that Louise Parry (2016) epitomises the concept of craft and design, using traditional skills to create stunning contemporary pieces, and they found the Black Headlight Mechanical Clock from her new range very appealing. In September, Louise’s Desktop Clock was purchased at the Goldsmiths’ Fair for the Pearson Silver Collection. louiseparry.co.uk
Issue 35 Spring 2017
Left: Moroccan Doors by Carey Ellis Right: Stumpwork Eros by Aurora Pettinari York for Ashi Studio
Left: Carréducker designs on lasts by Deborah Carré Right: Louise Parry’s
Photograph: John Adrian
Desktop Clock
Left: On The Points by QEST Howdens Scholar Daniel Harrison Right: Lithuania by Anja von Kalinowski
QEST Howdens Scholar Daniel Harrison (2016) was selected to exhibit his work at the 2016 Young Furniture Makers Exhibition at Furniture Makers’ Hall. The 110 hours he spent making On The Points, a curiosity cabinet inspired by abstract artist Vasily Kandinsky’s 1928 pen and watercolour drawing of the same name, were well rewarded - his piece was highly commended. Daniel designed the cabinet – made with ripple maple, American black walnut, burr American black walnut, ebony and ash - to house and display found objects and curiosities that will inspire his future projects. Through this project and his continued training with Philip Koomen Furniture, Daniel has learned new skills and techniques not only in furniture making, but also about design and marketing for a successful craft business. danielharrisonfurniture.com
Following the completion of her studies in traditional needlework techniques at the Royal School of Needlework (RSN) with QEST’s support, Anja von Kalinowski (2010) embarked on an MA in Fine Art at City & Guilds of London Art School. She specialised in oil painting and embroidery, aiming to elevate her embroidery to fine art level. Anja has returned to the RSN as a guest lecturer and exhibits her work internationally, most recently at Platform Open Arts 2016 at Morphets of Harrogate Fine Art Auctioneers & Valuers, ING Discerning Eye Exhibition at London’s Mall Galleries and The Artbox Project Miami 1.0. anjavonkalinowski.com
QEST
Scholar & Apprentice News
COMMISSIONS QEST Trustee Neil Stevenson was commissioned by the Galileo Foundation on behalf of Pope Francis to make a crozier for the Most Revd and Rt Hon Justin Welby, Archbishop of Canterbury. Neil turned to QEST Radcliffe Scholar Amelia Crowley-Roth (2015) to design and carve the head. Drawing inspiration from the crozier presented to Saint Augustine by sixth century pope Saint Gregory the Great, Amelia’s carving includes a serpent’s head and ram, symbolising Jesus the Risen Lamb. It was presented during an official visit to celebrate vespers at the Church of San Gregorio al Celio in Rome last October.
Crozier head carved by QEST Radcliffe Scholar Amelia Crowley-Roth
londonwoodcarving.com
nejstevenson.co.uk
Issue 35 Spring 2017
The latest Dulux Heritage advertising campaign features a piece made by block-printer Cameron Short (2011). Commissioned by Mark Reddy, head of art at agency BBH, Cameron carved a block featuring the famous Dulux Old English Sheepdog in profile. He mixed the ink to the required blue grey colour, then inked and printed the image onto fine linen. Once the repeated images were cured, the block-printed fabric was made into a cushion for the shoot. bonfieldblockprinters.com Durham Cathedral has announced that contemporary glass artist Mel Howse (2008) has been appointed to design and make a new stained glass window, donated by Jonathan and Jools Pilkington in memory of their daughter Sara who was studying at Durham University. Due for installation in 2018, the window will be contemporary, youthful and full of colour and energy. Working on any memorial is a great responsibility, but Mel is thrilled to have the chance to take it on and put a modern work into a UNESCO World Heritage site considered to be one of Britain’s most important buildings; spiritually and architecturally.
Dulux Old English Sheepdog fabric by Cameron Short
melhowse.co.uk At his studio in Southwark’s historic Iliffe Yard, QEST Eranda Foundation Scholar Billy Lloyd (2014) cast individual porcelain feathers for Plume, a bespoke installation by contemporary lighting studio Luum. In the finished form, the golden feathers seem to have fallen from above and settled in mid-air, where they are lit with spotlights that highlight their textured surfaces. billylloyd.co.uk
Plume porcelain feathers by Billy Lloyd
byluum.com
Royal Warrant holder Farlows has a long association of working with the best British craftsmen and women. Following its collection of Fishing Fly couture felt hats by QEST Scholar Lai Symes (2000), Farlows engaged Sophie D’Souza (2010) to produce a range of stained glass panels depicting iconic sporting species: Atlantic salmon, brown trout, hare, pheasant and royal stag. Sophie’s limited editions sold out quickly and Farlows is keen to commission further pieces. sophiedsouzastainedglass.co.uk laihats.co.uk farlows.co.uk The Royal Stag by Sophie D’Souza for Farlows
Stained glass by Mel Howse
QEST
Scholar & Apprentice News
COMMISSIONS
CONTINUED...
Kate Boucher (2015) combines charcoal drawings, handmade felt and forged metal structures to create representations of landscapes. The QEST Radcliffe Scholarship enabled Kate to complete her Master of Fine Art degree at West Dean College as a residential student, giving her the time to immerse herself in her practice and take advantage of extended studio hours. The Edward James Foundation recognised Kate for graduating with distinction and commissioned a charcoal drawing of the West Dean grounds. This is on display in the house and has been accessioned into the permanent collection, which contains works by Salvador Dali, Picasso and Rene Magritte. This support has given Kate the confidence to make a permanent career change. She is now an artist educator at Pallant House Gallery, tutor at West Dean College and professional artist at her live/work studio on the West Dean Estate. kateboucher.com
We are inexorably compelled to move into the future, 2016 by Kate Boucher
misskateboucher
To celebrate the centenary of its iconic Cecil Brewer staircase, Heal’s invited 10 of its favourite designers to decorate the Heal’s Cat, which has graced its steps since 1916. Ceramicist Mia Sarosi (2004) hand painted the cast with her signature Octopus design in shades of blue as a piece of live art at the flagship store. The Heal’s Cats went to good homes for a good cause, auctioned in aid of Great Ormond Street Hospital. Mia has also worked on a project for The Courtauld Gallery shop to produce ceramics featuring dancers and acrobats inspired by its exhibition Rodin and Dance: The Essence of Movement.
Illustrator Kerry Lemon (2007) designed a range of mugs and tea towels inspired by allotments and gardening for Marks & Spencer’s Autumn Collection. Further afield, she spent three weeks hand painting a mural of musical instruments for the new campus of the Musashino Academia Musicae University in Tokyo. kerrylemon.co.uk
miasarosi.com heals.com courtauld.ac.uk
Heal’s cat with Mia Sarosi’s signature Octopus design
A section of Composition by Kerry Lemon
Issue 35 Spring 2017
CONFERENCES The fifth International Millinery Forum in New South Wales, Australia brought together milliners from around the world to learn the latest techniques, skills and trends. Jane Fryers (2005) was invited to teach workshops on the versatility of her favourite material, fish leather. Jane also had the chance to parade her own 1950s-style swim hats made entirely of salmon leather - white salmon skin blocked over a traditional wooden hat block with 500 brightly-coloured salmon petals hand cut and sewn to make the flowers - at a tutors’ fashion show. janefryers.co.uk
flevey
Salmon skin swim hats by Jane Fryers
© The Wallace Collection
QEST J Paul Getty Jnr Charitable Trust Scholar and West Dean College Metalwork Conservation student Francesca Levey (2016) organised and spoke at All Depends Upon the Brave: Recent Research into Museum Collections of Ottoman, Middle Eastern & Asian Arms & Armour. The event was held at The Wallace Collection where Francesca is the research assistant on a major project to catalogue the museum’s Oriental Armoury. The collection is extremely diverse, from a richly jewelled dagger to a modest fighting Shamshir sabre. This type of study involves working with many specialists (such as gemmologists and translators) to understand the materials and techniques employed to create such fabulous pieces. The conference explored these themes with other institutions experiencing similar challenges, whilst celebrating the great works of art.
15th century steel dagger with gold inlay, The Wallace Collection (object OA1414)
INNOVATION Oluwaseyi Sosanya (2013) is a graduate of Innovation Design Engineering, a joint masters course at the Royal College of Art and Imperial College London. Seyi is also co-founder of a team of entrepreneurial alumni looking at the future of digital craft. Their new 3D design software, Gravity Sketch, allows more of a human touch in the digital space. Each stroke instantaneously creates 3D geometry as easily as sketching on a piece of paper, then designs can be 3D-printed to create real objects. Gravity Sketch shows the true potential of virtual reality to unlock the vision of beginners to creative professionals. Supported by InnovationRCA, UnLtd, SeeChange and the James Dyson Foundation, they have given TEDx talks in London and Athens and co-organised 3D creation nights at the V&A and Tate Britain. sosafresh.com
gravitysketch.com
Gravity Sketch 3D design software
QEST
Scholar & Apprentice News
Residencies The Vessel Gallery in London’s Notting Hill is showing a series of blown glass vessels by QEST Eranda Foundation Scholar Scott Benefield (2013), which he began during a six-week residency at the Creative Glass Center of America (CGCA). QEST’s funding allowed Scott to research the chemistry of formulating and melting coloured glass. Now an integral part of his practice, he took this knowledge further at the CGCA (thanks to an Arts Council of Northern Ireland bursary) and incorporated innovative applications of Venetian cane techniques, whereby patterns are generated using fine threads of glass. scottbenefield.com
QEST’s funding allowed Scott to research the chemistry of formulating and melting coloured glass.
Issue 35 Spring 2017
Thomas Merrett sculpting at Makers House
The New Craftsmen invited QEST Garfield Weston Foundation Scholar Thomas Merrett (2014) to be sculptor-in-residence at Makers House. This collaborative event with Burberry during London Fashion Week brought to life the inspiration (Orlando by Virginia Woolf) and creative process behind the Burberry runway collection. Thomas spent the week working on a single clay sculpture. Used to working with models and the poses they can hold over a length of time, this experience of sculpting from imagination gave Thomas the artistic freedom to concentrate more on the rhythms of composition. It also made him think differently about his work as he had to create a dialogue and explain the development of the idea, which evolved over the week from a very architectural figure to a lighter composition with long, continuous curves. Editions cast in bronze are available through The New Craftsmen. thomasmerrett.com thenewcraftsmen.com
Have you seen this cup? by Bethan Lloyd Worthington
Bethan Lloyd Worthington (2008) applied her QEST Scholarship to an MA in Ceramics and Glass at the Royal College of Art. She has recently been accepted onto the V&A’s Museum Residency Programme. This enables creative practitioners to gain unique access to the Museum’s collections, archives and curatorial expertise, providing them with a studio, bursary and production budget to experiment, create a new body of work and engage with the public. Bethan’s residency, during which she is exploring the ways that ceramics have dealt with landscape, nature and place, runs until March 2017. Open Studio dates are listed on her website, or contact Bethan to arrange a visit. bethanlloydworthington.com
Loom at Tasara, Kerala
Following her QEST Broderers’ Company Apprenticeship at Hand & Lock in London, Justine Bonenfant (2015) spent a month on an international textile residency at the Tasara creative weaving institution in Kerala. Run by an Indian family of weavers, the property is alive with colourful tapestries and hand woven materials, and in the workshop a wide range of dyed yarns and 10 impressive looms. Justine chose to focus on contemporary weaving and had the opportunity to experiment mixing painting (sometimes using coconut husks from the garden) with weaving and tapestry techniques, working on gradation and learning shibori and batik. justineembroidery
Cordwainer, RCA graduate and QEST Leathersellers’ Company Charitable Fund Scholar Tomiwa Adeosun (2015) is one of six people (over 1,400 applied) to be accepted onto the latest Adidas Design Academy programme. He began his two years of rotations in the football department and will spend time in other sport-specific areas and the US design HQ in Oregon as well as visiting the factory in Vietnam. Tomiwa naturally infuses craft into his designs and Adidas is welcoming these elements more and more into its original and performance footwear through Futurecraft, its creative hub for innovation. He is gaining real experience and valuable skills, for which Tomiwa directly thanks QEST for its support and network. Tomiwa Adeosun’s redesign of Adidas The Forum shoes
tomiwa.adeosun@network.rca.ac.uk
QEST
My QEST
MY QEST PROFESSOR STEVE MACLEOD QEST Trustee Director, Metro Imaging
Which Royal Warrant holding company are you Grantee for? I am Grantee for Metro Imaging in Clerkenwell, London. We have been one of Europe’s leading photographic imaging and production companies for almost four decades.
I’d also like to mention the imaginative objects woven by Annemarie O’Sullivan (2016). Her baskets for foraging and kindling to brushes and trays are reassuringly traditional with a modern simplicity of design and strong connection to the land. annemarieosullivan.co.uk And one that has captured your imagination? Because of my own career in imaging and printmaking I am fascinated by the craft of Anneliese Appleby (2012). Anneliese’s QEST Scholarship enabled her to train for three years with a master letterpress printer. She has since established her own studio designing and printing wallpaper by hand. Her botanical drawings are often made in the open air and she has both an appreciation of faithful print reproduction and enjoyment of serendipity. Her Oak & Acorns pattern is beautiful. And I can’t wait to see the results of her latest project, a wallpaper featuring galloping circus horses for an old showman’s wagon on a glampsite in the Wye Valley. annelieseappleby.co.uk Which QEST Scholar would you most like to commission? Gordon W. Robertson was nervous and uncertain when he spoke during his Scholarship interview, then wizard-like, he kept pulling out remarkable work after work and the room lit up. When we met at the RWHA Annual Luncheon a few months later he had come alive, empowered by his QEST Scholarship. I am thrilled to hear that Alderman Dr Andrew Parmley commissioned Gordon to create the gifts for his year as Lord Mayor of London. Gordon designed a swan and vine motif that he etched into pewter for A.R. Wentworth & Sons to form into bowls and bottle holders. It has been printed on silk scarves too. I would love a piece of Gordon’s pewter work. gordonwrobertson.com
...to engage and support such a variety of skilled, passionate, dedicated craftspeople through the charity is humbling.
I have worked in the photography industry and education for 25 years and am a strong believer that knowledge should not be exclusive. The depth and reach that QEST has in partnership with the RWHA is very powerful, and to engage and support such a variety of skilled, passionate, dedicated craftspeople through the charity is humbling.
Which recent work by a QEST Scholar or Apprentice has caught your eye? QEST Ernest Cook Trust Scholar Ben Short (2013) spent a year honing his craft of making charcoal out of material harvested from derelict coppice. It must be tough, but he is a great individual and has a job I would love. I wish him well with his own brand of charcoal, sold in bags with an adder motif designed by his brother and fellow QEST Scholar Cameron Short (2011). bonfieldblockprinters.com Artists’ charcoal is an important tool for two of the 2016 alumni – QEST Finnis Scott Foundation Scholar Poppy Field and QEST Sir Siegmund Warburg’s Voluntary Settlement Scholar Benjamin Smith. Their draughtsmanship is fantastic. Following a torso study earlier in her course, Poppy has undertaken a three-week, full figure charcoal drawing at the Florence Academy of Art. Ben’s Alex, a charcoal on white paper figure drawing completed during his tutoring funded by QEST at the London Atelier of Representational Art, was on show at the Royal West of England Academy’s Annual Open Exhibition. benjaminsmithfineart.com
Whose apprentice would you like to be? Oh without doubt to learn the 300-year-old craft of thatching from master thatcher Adam Nash. QEST supported former Infantry Officer Adam’s career change in 2005. He has since worked with combed wheat, water reed and long straw to thatch over 100 full roofs. I have missed my chance for now – Adam’s latest apprentice has just reached the lofty heights of his first. adamnashthatcher.co.uk A trip to Bangor where Bob Johnston is growing over 40 different varieties of willow is on my wish list too. I am drawn to Bob’s practice because of the animation he puts into his subjects. They are not merely woven impressions of animals; it is quite magical how he captures a sense of movement and personality. I love the cheeky corgi I encountered in the garden of Buckingham Palace at the Coronation Festival, but it would be hard to resist attempting to make a companion for Elvis, Bob’s characterful Highland bull, for my apprentice piece. bobjohnstonbaskets.co.uk I’d work very hard and if Adam or Bob have any openings, they know where to find me! metroimaging.co.uk
stevemacleod.co.uk
Issue 35 Spring 2017
Lord Mayor of London’s gifts by Gordon W. Robertson
Elvis Highland Shoulder Mount by Bob Johnston
Photograph: Alun Callender
Carlo torso study by Poppy Field
Kindling Basket by Annemarie O’Sullivan
Photograph: Mark Lord Photography
Charcoal burner Ben Short
Hand printed wallpaper by Anneliese Appleby
Alex by Benjamin Smith
Master Thatcher Adam Nash
QEST
KARLIE KLOSS
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Issue 35 Spring 2017
ABOUT QEST
Supporting Excellence In British Craftsmanship
QEST is the Royal Warrant Holders Association’s charity, established in 1990 to celebrate the 90th birthday of Queen Elizabeth, The Queen Mother and the 150th anniversary of the Association. It is committed to championing excellence in British craftsmanship as symbolised by the Royal Warrant of Appointment and funding the education of talented craftspeople in the UK to help them reach career potential. Since 1990, the Trust has awarded over £3 million to more than 400 QEST Scholars and Apprentices aged between 17 and 58 in over 130 skill sectors, from rural to cutting-edge craft and conservation. Testament to the rigorous selection process and support, 93% are still working in their craft today.
“The financial support is vital, but a QEST Scholarship is worth much more than the money. It’s affirmation that your work is worthy of support, that you’re doing something right. It makes you part of the QEST family and opens doors. It gives you the confidence that you can achieve more than you believed possible. It’s life changing.” Kate Boucher, QEST Radcliffe Scholar 2015
QEST SCHOLARSHIPS (Spring) Scholarships of up to £18,000 are awarded for study, training and practical experience for those who want to improve skills that will contribute to the excellence of traditional and modern British crafts. The Trustees look for well thought out proposals that demonstrate continued commitment to a career in craft and financial need. QEST APPRENTICESHIPS (Autumn) Up to £18,000 over three years is available towards apprenticeships, learning from a master or training in a company. The individual must show passion for their craft and a commitment to making it their career. The prospective employer must apply with the apprentice, outlining a full training programme that is assessed by the Trustees. Visit qest.org.uk to find out more or apply online. QEST CRAFT APPRENTICESHIP HUB The new QEST Craft Apprenticeship Hub bridges the gap between young people seeking employment in the craft sector and companies looking to hire skilled-trade apprentices. Potential candidates can apply through one of QEST’s charity partners and companies can register to post apprenticeships. qest.org.uk/apprenticeshiphub
QEST Radcliffe Scholar Kate Boucher working in her studio
QEST
Supporting QEST
Supporting
QEST
The UK craft industry is worth over £3bn annually, but training is underfunded. This makes the work of QEST invaluable, not only in transforming the lives of full-time makers, but to the British cultural identity and economy. QEST is currently only able to support 10% of applicants. There are many ways that companies, trusts and individuals can make a difference.
As a Royal Warrant holder and luxury brand, Penhaligon’s is committed to the highest level of craftsmanship. We have championed British craft for 146 years and look forward to continuing through QEST in 2017, supporting a QEST Penhaligon’s Scholar and as a sponsor of QEST’s Celebration of Craft fundraising dinner. Lance Patterson, CEO, Penhaligon’s
Anya Hindmarch and QEST Radcliffe Scholar Amelia Crowley-Roth
SPONSOR SCHOLARS & APPRENTICES The minimum donation for a named Scholarship is £15k and for an Apprenticeship £18k (typically lasts three years). Other donations will be allocated to general grant funds and recognised on the QEST website and in the QEST Magazine. SPECIAL EDITIONS Become one of QEST’s ‘money makers’ by pledging a donation from the sales of an existing product or specially created item, perhaps working with a QEST Scholar. This enables use of the QEST logo to illustrate the support for British craftsmanship. A GOOD READ The bi-annual QEST Magazine helps to spread the word about the work of QEST, its Scholars and Apprentices and supporters. Advertising is available as an annual package of £5k for a full page in both issues.
Copper engraving in progress by QEST John Paul Getty Jnr Charitable Trust Scholar Francesca Levey
My Dad by QEST NADFAS Scholar Zoe Barnett
Launer London has designed the Traviata QEST handbag, handmade to order at £1,700, and is donating 20% from retail sales and 10% of wholesale prices to QEST. launer.com
QEST Magazine
LEGACY Remembering QEST when making a will means that vital craft skills can be handed down to successive generations. Contact QEST on 020 7798 1535 or info@qest.org.uk. justgiving.com/QEST
Issue 35 Spring 2017
THE EMBELLISHED HANDBAG:
A CELEBRATION OF 250 YEARS OF FASHION AND EMBROIDERY
Hand & Lock unveiled a 13-piece collection of one-of-a-kind bags, the result of collaborations between its embroiderers and a selection of internationally renowned luxury accessory companies, at the V&A in February. The Embellished Handbag exhibition is setting off on a tour of Sydney, Chicago and London before an auction at Grosvenor House by Sotheby’s in December to raise money for QEST and the Hand & Lock Prize for Embroidery. handembroidery.com
Aspinal Of London English Garden
QEST Donors Thank you to the Royal Warrant holders, livery companies, trusts, foundations, brands and individuals who generously support QEST. Adam Connolly Memorial Fund The ALBORADA Trust Allchurches Trust Andrew Lloyd Webber Foundation The Antiques Dealers Fair Associated Livery Companies Bendicks (Mayfair) Bentley’s Entertainments The Blagrave Trust Brian Mercer Charitable Trust
Asprey The 1781 Woodland
Jill Haber The Guardian
The Cambridge Satchel Company Poppy
Lost Property Of London Mini Elwin
The Bryan Guinness Charitable Trust The Cambridge Satchel Company The Carpenters’ Company Champagne Lanson The Charlotte Bonham-Carter Charitable Trust Christie’s The Clothworkers’ Company The D’Oyly Carte Charitable Trust The Drapers’ Company The Dulverton Trust Hugh Edmeades Edmundson Electrical Ernest Cook Trust The Finnis Scott Foundation Globe-Trotter Catherine Goodman LVO The Gosling Foundation Halcyon Days The Hedley Foundation The Hobson Charity House of Garrard Howdens Joinery
The Iliffe Family Charitable Trust J Paul Getty Jnr Charitable Trust The John Apthorp Charity John Lyon’s Charity John Smedley Johnnie Walker Johnstons of Elgin The Kirby Laing Foundation Launer London The Leathersellers’ Company Charitable Fund Moet et Chandon NADFAS N.E.J. Stevenson Pamela de Tristan Parker Pen Company Penhaligon’s The Pennies Foundation The Pilgrim Trust The Pimm’s Company Prestat The Prince of Wales’s Charitable Foundation
The Radcliffe Trust The Robertson Trust Royal Warrant Holders Association The Rumi Foundation Sabine Roemer Sandringham Association of Royal Warrant Holders The Sladmore Sleepeezee Swarovski Tanqueray Gordon & Co Thomas Fattorini The Worshipful Company of Pewterers The Worshipful Company of Tallow Chandlers The Worshipful Company of Turners The Wren Press Zone Creations
NO TRICKS HANDCRAFTED E N G L I S H H E R I TA G E SINCE 1829
T R I C K E R S .C O M 6 7 J E R M Y N S T R E E T, L O N D O N , S W 1 Y 6 N Y
QEST
Apprentices
QEST Apprentices 2016
The QEST Apprenticeship Scheme is designed to encourage youth employment, contribute to bridging the skills gap nationwide and support new craft talent. In the first two years, QEST granted funding to support 17 craftspeople. They are all thriving. Parham Alizadeh and William Powell are learning intricate skills with bespoke shoemaker John Lobb, QEST Hedley Foundation Apprentice Sam McMahon is apprenticed as a diamond mounter under Crown Jeweller Martin Swift at Mappin & Webb, and QEST Glen Dimplex Apprentice Sophie Michael, working in analogue film conservation with Kino Club, recently held a solo exhibition at Tate Britain. Our 14 new QEST Apprentices, who you’ll read about over the next few pages,
ALICE THOMAS QEST HOWDENS APPRENTICE
show equal promise. They are full of ambition and aptitude to learn from master craftspeople or train in businesses committed to the highest standards of craftsmanship. Farrier to cordwainer, hand loom weaver to textile conservator, QEST has agreed to supplement their wages and training costs, and each employer will support their apprentice until they are industry ready. We wish them well and look forward to following their progress.
Daryl Greatrex President Royal Warrant Holders Association Grantee, Holland & Holland
With a background in holistic body work, Alice Thomas is a believer in the importance of well-fitting footwear for good health and posture. She found a kindred spirit in QEST Leathersellers’ Company Scholar Ruth Emily Davey (2013).
CORDWAINING Ruth, founder of RED Shoes, opened her first shop and workshop last year in Machynlleth, the ancient capital of Wales. She gave Alice an informal trial and was impressed by her promise and devotion. With QEST’s support, Alice will begin two days a week of formal training that will increase as her skills improve over the two-year apprenticeship. “Ruth’s shoemaking is an inspiration - practical, built to last and beautiful. I look forward to learning the practice and the skills to create footwear designed to each individual’s needs.”
ruthemilydavey.co.uk
NICK SMITH QEST APPRENTICE ICE SCULPTING
Nick Smith spent a year at art college and two years as a tattoo artist. He made the chance leap into ice sculpture after creating a social media storm with a Buzz Lightyear snowman he made for his son. Hamilton Ice Sculptors invited him to spend a day in the studio, which turned into three years of freelance work. Nick has strong design skills and talent for etching by hand into ice from his time as a tattooist, and great creative potential as a sculptor.
“I love working with ice, getting a feel for how it changes the sculpture as it sublimates and melts. The QEST Apprenticeship will give me the chance to learn from experienced sculptors how to realise my most ambitious design ideas.”
icesculpture.co.uk
QEST
Apprentices
HANNAH VICKERS QEST ASSOCIATED LIVERIES APPRENTICE TEXTILE CONSERVATION
Hannah Vickers recently completed an MPhil in Textile Conservation at the University of Glasgow, which included placements at the Museum of London and Victoria & Albert Museum. QEST’s funding has enabled the British Museum to create a valuable new training placement for a graduate textile conservator. Hannah joined in January and is working under the guidance of Monique Pullan, Senior Textile Conservator, in the state-of-the-art studios and laboratories at
the Museum’s World Conservation and Exhibitions Centre (WCEC). “This is an incredible opportunity to learn from leading experts in the heritage sector and work on the complex conservation of a rare and magnificent 8th century Chinese Buddhist embroidery, Sakyamuni Preaching at Vulture Peak.”
britishmuseum.org @britishmuseum
RICKY TELFORD QEST APPRENTICE JEWELLERY During his two years at Holts Academy, the UK’s leading independent training provider for the jewellery industry, Ricky Telford found greatest enjoyment and a natural ability in setting. An introduction to Marco Cuomo in Hatton Garden provided him with the chance for a bright future in the craft. With QEST’s support, Marco will be able to equip his workshop with benches and specialist hand tools and dedicate time over
DEAN HOMER QEST GOSLING FOUNDATION APPRENTICE
five years to teach Ricky the skills of diamond, gemstone and micro setting. “Mastering the traditional and modern aspects of setting under Marco’s guidance is amazing, I pick up something new every day. And I’ll be backing this up with study for a GIA Accredited Jewellery Professional Certificate in diamonds, jewellery and gemstones.”
Dean Homer was familiar with welding and panel beating on modern cars, but wanted to embrace the variety of tools and techniques for classic car restoration, particularly traditional coach building.
CLASSIC CAR RESTORATION Through a QEST Scholarship in 2009, Jason Williams understands the importance of maintaining this craft as many of the panels are no longer available and must be hand made. His company, Mobile Welding Services, now has a permanent workshop and time to commit to embedding these skills, which date back to the dawn of motoring, with an apprentice. “Jason will provide me with regular, individual tuition, and I look forward to showing the value of his teaching on my long-term project building an aluminium body onto a vintage style chassis.”
mobileweldingservices.org
Issue 35 Spring 2017
GIOVANNI COLAPIETRO QEST HIGHGROVE ENTERPRISES APPRENTICE HORTICULTURE
A plot in Stoke Newington and an award for his salad produce in 2015 planted the seed for Giovanni Colapietro’s dream to understand soil management and grow organic food. He turned to Rupert Litherland and OrganicLea, a workers’ cooperative growing food in London’s Lea Valley, to learn more about maintaining a diverse organic market garden throughout the growing season, from composting systems to harvesting techniques.
“Thanks to QEST and OrganicLea I have supervision from three experienced growers on vegetable production, weekly training in fruit and vines and achieved a City & Guilds certificate in horticulture and site management, all the while receiving a London Living Wage.”
organiclea.org.uk
MATTHEW JACQUES QEST ALL CHURCHES TRUST APPRENTICE LEATHER Chelsea College of Art & Design graduate Matthew Jacques worked as a designer before deciding he wanted to be more hands on. He began with carpentry, then freelance work at architectural leatherwork specialist Bill Amberg Studio. Bill Amberg Studio recently doubled its workshop space, which created an opening for Matthew to be employed as a full-time apprentice. He will learn new techniques in manipulating leather
NICHOLAS WILLS QEST APPRENTICE GAMEKEEPING & WILDLIFE CONSERVATION
Nicholas Wills studied gamekeeping at Sparshalt College, his ambition to follow in his grandfather’s footsteps. A three-week work placement on the Sandringham Estate led to the offer of an apprenticeship. Nick is now living and working on the Sandringham Estate putting theory into practice: wildlife conservation, tree identification and using equipment vital to maintaining a large expanse of land. The Game Department has 15 years of success in securing jobs for
its apprentices, and head gamekeeper David Clark is confident of the same for Nick. “I always knew I wanted a work-based education in rural craft, and at the age of 19 I am already looking after a beat of 1,000 acres and monitoring population sizes of wild pheasant and partridges.”
sandringhamestate.co.uk
and how to integrate age-old disciplines (casemaking, saddlery, bookbinding) into contemporary interiors, furniture and products. “At Bill Amberg Studio I can combine my passions for design and making through exploring the material and aesthetic possibilities of leather. It will be an exciting three years working on live projects in the workshop and on site.”
billamberg.com
billamberg
QEST
Apprentices
From a young age Polly had shoes that were made to fit and was fascinated by the process. Whilst studying silversmithing she even tried to make metal behave and look like leather. A course with Green Shoes in 2015 confirmed cordwaining would be her perfect career.
POLLY COLLINS QEST APPRENTICE CORDWAINING
Alison Hastie has been making ethical Green Shoes for 35 years. She had become acutely aware of the need to pass on her skills to the next generation, and was delighted to discover Polly. “The opportunity to shadow Alison in her workshop designing and hand manufacturing stitch down leather footwear will enable me to evolve this durable, affordable style and ensure the longevity of shoemaking in Devon for customers around the world.”
greenshoes.co.uk
green_shoes_uk
SARAH HOBBS QEST WORSHIPFUL COMPANY OF PEWTERERS APPRENTICE ENGRAVING Following studying Art & Design at Canterbury College, Sarah Hobbs painted Victorian-style signs and established a business free painting furniture with her sister. Her artistic flair and fine motor skills are innate. Sarah is now apprenticed to her father David Bedford, owner of engravers J.J. Bergin (Grant MacDonald and Ottewill are clients) and tutor at The Goldsmiths’ Centre. Sarah is
ROBERT DEAN QEST APPRENTICE JEWELLERY
experienced in working freehand, but needs to learn different styles of engraving with a range of tools and metals. “J.J. Bergin was founded in 1894, my father joined as a trainee in 1965. Without an apprentice, the company would have to close on his retirement. It is a privilege to work alongside him at the bench to master his advanced hand engraving skills.”
Robert Dean had the perfect start to his professional training with a place on the respected Foundation Programme at The Goldsmiths’ Centre. He graduated with the hand skills to become an apprentice, and the House of Garrard will be his home for this. Garrard is the longest-serving jewellery house in the world and keen to invest in the next generation of talent. They have created a three-year apprenticeship that combines comprehensive training in the workshop with mentorship by highly experienced craftsmen and external courses for Robert to become a well-rounded jeweller. “Garrard is renowned for its bespoke jewellery. I hope to specialise in design and casting to continue the tradition for making exceptional pieces, eventually supervising future apprentices.”
garrard.com
Issue 35 Spring 2017
ADELE WILLIAMSON QEST APPRENTICE LEATHER – BESPOKE SHOEMAKING
Adele studied Footwear Design at De Montfort University, one of a handful to run this type of course. In her first step towards a career in shoemaking, she undertook an internship with Tricker’s in its archive and bespoke footwear department. Tricker’s, a family business founded in 1829 and committed to the trade of shoemaking in its UK factory, was keen to nurture her talent. The three-year apprenticeship will qualify Adele as a bespoke shoemaker, after which she will join the bespoke department permanently. “It will be a privilege to receive one-to-one training from Tricker’s master shoemaker Scott McKee and gain the skills to make a pair of handmade shoes from start to finish.”
trickers.com
trickers_shoes
DAMIEN MCKEOWN QEST THE PILGRIM TRUST APPRENTICE HAND LOOM WEAVING Damien McKeown trained in furniture design and music technology prior to starting with Mourne Textiles. Skills from both vocations - creative eye, strength, hand-eye co-ordination - have proved useful in working the complex looms. The apprenticeship has been designed for Damien to master the craft of hand weaving for interiors, furnishing and clothing and become workshop manager in three years. He will work alongside
SAM WOOLHAM QEST WORSHIPFUL COMPANY OF PEWTERERS APPRENTICE FARRIERY
Sam Woolham started riding before his second birthday. Having grown up around horses and understood them as a rider, he has his sights set on becoming a master farrier. Approved Training Farrier Paul Horner had been searching for an apprentice for two years before he met Sam, the first candidate he felt could excel. Paul will further Sam’s understanding of the anatomy and dynamics of horses and provide him with the skills to make bespoke shoes to aid recovery.
“I can now dedicate my time to training without having to undertake commercial blacksmith projects to raise funds for courses. Since starting my apprenticeship I have made my own farriery tools and Paul has sparked my interest in remedial farriery.”
slwoolham
QEST Scholar Mario Sierra (2016) and his mother, who have breathed new life into the company founded by Mario’s grandmother. “The funding will free me to create work beyond our commercial bespoke fabric that will directly benefit my development, and I will have time to visit spinners and understand more about the yarns we use.”
mournetextiles.com mournetextiles
Issue 35 Spring 2017
QEST CRAFT
APPRENTICESHIP HUB The success of the QEST Apprenticeship Scheme, which began in 2014, has led to the creation of a wider initiative - the QEST Craft Apprenticeship Hub. The aim is to bridge the gap between companies looking for committed, young people and individuals in search of rewarding, craft-based employment. The online Hub provides a platform for these companies, including the network of Royal Warrant holders with craft excellence at their core, to register and post apprentice opportunities. Apprentice candidates must apply through one of QEST’s youth charity partners. Specialists in providing employability skills training, careers advice and mentorship, they are helping to expand the audience of young people and support all apprentices from interview to successful completion of their training. Resurgo-Spear and City Gateway in London, Midlands-based Twenty Twenty, Venture Trust that operates throughout Scotland and the Dallaglio Foundation working in London, Newcastle, Bristol and Cardiff are on board and more will be added.
QEST is also working with Inspiring the Future, a campaign run by charity Education and Employers Taskforce, to reach students in secondary schools who might be considering a craft apprenticeship. For employer/apprentice partnerships seeking funding, the QEST Craft Apprenticeship Hub works hand in hand with the QEST Apprenticeship Scheme. The annual application process for this will open in June 2017.
Do you know a company searching for craft apprentices? Are you involved with a charity talking to young people? Is someone you know interested in a career in a skilled trade? The greater the engagement with the QEST Craft Apprenticeship Hub, the richer it will become for everyone. qest.org.uk/apprenticeshiphub
I urge you all to support this new venture and spread the word; the potential is enormous. Deborah Pocock LVO QEST Executive Director
Bespoke shoemaking by QEST Apprentice Adele Williamson - trickers.com
Issue 35 Spring 2017
QEST supports the education and training of talented craftspeople to ensure the sustainability of traditional craftsmanship in Britain.