September / October 2019 Issue 90 West - Textiles on the wild side "‘Go West, young man’ is a phrase often credited to the American author and newspaper editor Horace Greeley concerning America's expansion westward. No one has yet proven who first used this phrase in print, but it certainly captures the independent, free thinking, adventurous lives of Heidi Bjørnsdotter Thorvik from Norway, and Nicola Kilmartin in the Falkland Islands. They share a desire to create beauty from meagre, locally available natural resources, and their spirit is admirable. Unfortunately, a hunger for wealth and adventure has historically resulted in a disregard for indiginous peoples. However, during the last century we witnessed growing engagement with the value of indiginous cultures. Initial attempts to bring such works to public attention had mixed results, despite the beauty of what had been created. This was the case with the remarkable printed textiles produced in the 1950-60s at the Kinngait Studios, on Baffin Island in the Qikiqtaaluk Region of Nunavut, Canada. More recently, we have seen the adaptation of the Cowichan sweater and their confirmation as national symbol when worn by Canadian Prime Minister Justin Trudeau. There has also been a heartening increase of appreciation of Coast Salish weaving by museums, as well as interest in the contemporary work of former professional snow boarder and Kwakwaka’wakw Meghann O’Brien. Perhaps the most gratifying examples of cultural heritage are those that are alive and well today, such as the handknit gloves from Sanquhar Dumfries and Galloway, or the Irish aran sweater, that have travelled the world and gained favour with Hollywood stars and the political elite. We also turn to societies with an ingrained respect for their material history such as Samurai warriors, and the Ainu people of Northern Japan with their beautiful graphic robes. Finally, in this issue we explore the needle as a narrative tool, telling the story of the Glasgow Girls, Ireland’s Ros tapestry, and the camaraderie of stitching in Tracey Chevalier’s new novel A Single Thread." Polly Leonard, Founder of Selvedge Magazine

July/August 2015 YOU MIGHT think the link between music and textiles is a tenuous one, but I’d point out that if you stretch a textile over a hollow object and strike it you can create a rhythm. Add a string pulled taught across a sound board and you have the beginnings of an orchestra. It’s not classical music we look at this issue, but the popular music of the mid 20th century. A fertile period when the boundaries between art, music and fashion began to blur. We begin with Sonia Delaunay whose paintings, textiles and garment designs were inspired by the jazz popular in the 1930s. Later designers took their lead from artists such as Andy Warhol and Piet Mondrian, and Sarah Jane Downing examines the impact of the art world on the way we dressed in the 1960s. This was a period of great energy – energy that has sustained textile designers such as Gudrun Sjödén and Pat Albeck throughout their long and prolific careers. Both women have brought their unapologetically bold, bright style to a mass audience and continue to inspire today. Another artist who finds inspiration in music is Nick Cave with his incredible Sound Suits. Recent graduate Nadia-Ann Ricketts makes sound tangible by digitally analysing the patterns inherent in sound waves and translating them into stunning woven silks. Finally we look towards those continuing to capture the relaxed style instigated in the golden era of pop – Japanese brand 45rm and American designer Erica Tanov. Either would look great if you are planning to dance the night away at a festival this summer. POLLY LEONARD, FOUNDER TallennaTallennaTallenna

July/August 2005   New talent and fabulous florals "A COUPLE OF YEARS AGO I had an idea for a beautiful magazine dedicated to textiles – not just to textile art but to textiles in every facet and form; fabric that touches our lives. It would raise the profile of textiles at every level, from industry innovations to the achievements of designers, artists and independent makers. The eve of our anniversary is a good time to reflect on the whirlwind of the last year. The highpoint of which has been our nomination for the Periodical Publishing Association's Consumer Specialist Magazine of the Year Award. This is an incredible achievement for an independent magazine, especially one in its infancy. I want to take this opportunity to thank all our advertisers, contributors and the small team of dedicated people who tirelessly put this beautiful magazine together. The latter have reluctantly agreed to appear here and help you put faces to the names. Finally and above all I would like to thank our subscribers: without you we simply would not exist and my great idea would have remained just that. As Selvedge blossoms we are looking forward to a bright future. We had so many ideas for this issue that much pruning and cutting back has been necessary. I hope that what's left is our strongest issue yet. Taking inspiration from the National Garden Scheme Yellow Book we step outdoors and examine our enduring love of floral design and its links to the English passion for gardening. We look at what is happening in print, from Eley Kishimoto and Clements Ribeiro to the quirky individual style of Lotta Jansdotter. We get into a holiday mood when Sarah Jane Downing reveals the history of scandalously skimpy swimwear and Emma O'Kelly sizes up Lycra, the fabric that made skintight styles de rigueur. No bikini is complete without a sarong and no one wears sarongs quite as well as the Indonesians. On a global theme we look at the Indonesian batik industry that although not directly affected by the tsunami is feeling its effects through the disastrous drop in tourist numbers and declining sales. Jamie Marshall, a photographer whose beautiful images have filled the pages of Selvedge since our launch, agreed to write for us about his passion for the textiles and people of Guatemala. Still in Central America Chloë Sayer looks at Frida Kahlo and her affection for traditional Mexican dress. Finally Mary Schooser reminds us what is so special about textile education in the UK and we celebrate this year's budding new talent in our round up of the best student shows. From the Selvedge team enjoy the summer! Visit a garden, see an exhibition or fly a kite, we will see you in September." Polly Leonard, Founder, Selvedge Magazine

November / December 2018 Issue 85 East "The bible tells us that the magi were from the east, probably Iran, and travelled west to Israel upon the birth of Jesus. The flow of people and ideas from east to west has been a dominant force since the silk routes were  established around 130 BC. All too often dismissed by the west we have much to learn from looking east to the seat of civilisation. In this issue Emily Lush explores the Caucuses. An area flanked by the Black and Caspian Seas, hemmed by Russia, Turkey and Iran, the Caucasus is one of the most culturally complex and fascinating regions on earth. Georgia, Armenia and Azerbaijan are ethnically, socially and religiously distinct, but with common threads of a shared heritage. A conduit of the fabled silk routes that for centuries served as the physical and ideological bridge between east and west, the Caucasus has benefited from generations of cross-pollination.  We enjoy the traditional floral crowns of Ukraine and the stylish images of Chinese photographer Kiki Xue. We track the generations of refugees, including Sigmund Freud, who have migrated from the east bringing with them textile traditions that have enriched and enlivened our own history. We also look afresh at China and see what recent in-roads are being made to reinvent the label of Made in China with an ethical stance.  Colour plays a part in this issue too from the subtle hues in Italian collections this season to the many shades of red, from madder to carmine, found in carpets and stained glass as well as medieval scarlett and millennial pink. Gone is the ultra-feminine baggage pink once carried; it now plays a serious role in symbolising the nuances of today’s gender politics. It is therefore no surprise that Valerie Steel has chosen explore the colour in her newest show at the Fashion Institute of Technology in New York, reviewed for us by Jo Anne Greko. Enjoy a rose-tinted holiday." Polly Leonard, Founder, Selvedge Magazine

November/December 2009 LAST CHRISTMAS – Clare, our Advertising Manager, inspired the office by making her gifts by hand. But even she was surprised by how well they were received – the only person excluded from her handmade bounty was her brother, and Clare reports he looked rather downcast when he unwrapped his shop-bought alternative (he’s having a cushion made from a vintage army blanket this year). We hope our festive guide to a handmade holiday, which includes a range of gifts suggested by our favourite designers will inspire you in a similar way. It was amid all this talk of the handmade that I remembered an old school rule – girls could only exchange homemade gifts at Christmas. It was meant to avoid the worst excesses of oneupmanship but we were still horribly competitive. Removing the pressure, especially self-imposed pressure, from present giving is not easy. Kate Cavendish suggests we loosen up, let go of our pride and try to enjoy the process of making, or just choosing, special things for our loved ones. Buying our presents is not an admission of failure, and if you chose or commission well, it supports craftspeople and artisans which is actually something to be proud of. Our gift guide, beautifully illustrated by Rachel Early, has plenty of ideas or if you are looking to invest in artwork this issue’s featured artists, Ann Carrington, Geraldine Larkin and Donya Coward, all work with sequins, giving their pieces a festive feel. A glimpse of glitter was all it took to bring out the magpie in us and we’ve also explored the history of the sequin, and touched on tinsel. Swarovski crystals, and all things sparkly might seem frivolous, but they are the perfect way to lift your spirits during this second ‘credit-crunch’ Christmas. The key to diffusing seasonal stress and its attendant financial worries is planning. J. Morgan Puett, designer turned founder of an artist’s colony in Pennsylvania, shops all year round and then spreads her actual gift giving between Christmas and the New Year. It’s a calmer, more sophisticated approach but with just a few weeks until Christmas it’s probably too late to adopt it this year. So let’s plough on as usual, make a few gifts, bake a few pies, plug the gaps with some shop-bought treats. Muddle through and make sure spending time with the people that matter, not the forgotten brandy butter, is at the top of that ever-growing list. Happy Holidays... Polly Leonard, Founder

September/October 2009 Please note this issue is only available digitally THE ENERGY AND EXCITEMENT of the graduate season may be ebbing away but I would like to wish all graduating students future success. It was another strong year with some lovely work on show. The students I met seemed thrilled to be on the brink of new opportunities and, hopefully, careers. There were hundreds of smiling faces but in some cases the smiles masked the intense pressure students are under – a textile education has never had a higher cost. While most students cope by working extremely hard, others seek an easy way out. It was shocking to discover that a student selected as a Texprint star had plagiarised the work of several designers, most prominently the work of Chicago-based illustrator Lauren Nassef. Texprint is a charity with a wonderful history and an admirable aim – to link the best newly graduated textile designers with industry, launching those selected at prestigious international exhibitions. It is a great shame that they were taken advantage of in this way as the textile industry needs the support of such organisations now, more than ever. Textiles students must deal with the abolition of grants, staff cuts and vastly increased student numbers. I feel privileged to have been able to study in a small group with three full-time tutors and numerous technical staff on hand. It wasn't a wasteful period when students spent more time in the bar than in the studio; it just takes that much time, hard work and money to develop creativity. The right educational environment can help a fledgling talent to flourish, a fact demonstrated by Gunta Stölzl, and the Bauhaus. I graduated from Glasgow School of Art with a class of incredibly talented people. Timorous Beasties, among them and in this issue they share their affection for Scotland and their fellow designers working there. There are many people dedicated to helping the current crop of textile talent; this year’s London Design Festival, for example, is bigger and brighter than ever but even as we celebrate I am alarmed to hear that the MA Textile Course in Norwich has closed with immediate effect. The ability to think creatively and to invent is a rare and precious gift. It should be cherished, nurtured and respected. The continued closure of textile courses, and the pressure on those that remain, makes me wonder if we can honestly say we are doing that... Polly Leonard, Founder

May/June 2012 WITH THE ROYAL WEDDING LAST YEAR and the Diamond Jubilee in progress, monarchy is having a moment in the sun. And whether you’ll be watching the Thames Diamond Jubilee Pageant, hosting a street party or just taking advantage of the bank holiday and heading out of town, there’s no denying most of us welcome a reason to celebrate. The coronation brought together the skills of designers, weavers, embroiderers and many others to create a spectacle that would be seen by more people than any previous royal pageant. As a result of television Elizabeth II was the first British Sovereign to be truly crowned “in the sight of the people”. Clare Lewis looks at the work of individual craftspeople during the preparations for the Coronation. Commissions are the lifeblood of the craft economy: events such as royal weddings and coronations provide opportunities for traditional skills to be showcased in their full glory. And though such occasions are in short supply, the infrastructure of our monarchy – the upkeep and repair of stately homes – is an important factor in creating the demand for traditional crafts. Weaver Felicity Irons, recently completed rush matting for the long gallery of Elizabethan mansion Hardwick Hall. At the start of the five months of Diamond Jubilee celebrations, Queen Elizabeth II renewed her vow to serve, saying that she wanted to “Dedicate myself anew to your service”. For six decades poise and understated elegance have been the cornerstones of her reign. Much of her public persona was initially fashioned by two men, photographer Cecil Beaton, and designer Norman Hartnell. The latter was responsible for both her wedding and her coronation dress. Other elements of her image, such as her ubiquitous handbag, are more likely to have been her own invention. The contents of her bag though the subject of much speculation, remains a secret so Amy de la Haye sheds light of other historical handbags, and looks at them from a psychological point of view. Queen Elizabeth II is the most travelled monarch in history with 256 official overseas visits – no doubt her luggage is impeccably packed. We’re not sure if Neil McAllister lines his suitcase with tissue but this issue he journeys to Pakistan, (the Queen visited in 1961) and discovers wonderful textiles. You’ll have to travel quite far to escape the Jubilee celebrations which are taking place worldwide. If you’ve decided to join in why not make your own souvenir like our pick of this year’s Graduating Students. Polly Leonard, Founder

Buy Issue 112 Wonder of Selvedge magazine. This issue focuses on communities previously oppressed by colonial powers that are shaking off the shackles of the past and entering a new epoch emancipated, self-confident, and taking centre stage. Makers previously excluded from the European canon are embracing ancestral knowledge, regional materials, and traditional crafts, transforming them into sustainable practices born out of a desire for a future based on social justice. In this issue, Annebella Pollen describes Sonya Clark’s unravelling of the Confederate battle flag as a symbolic dismantling of white supremacy. African fashion designers Daniel Olantunji and Imane Ayissi reimagine local materials and ancestral techniques to fashion garments that demonstrate craft skills long dismissed in Europe. What is Selvedge magazine? Polly Leonard launched Selvedge magazine in 2004 to celebrate our cerebral and sensual addiction to cloth while promoting skilfully made and carefully considered textiles. Every issue features talented makers and their lives and stories. Polly believes the most interesting and evocative textile stories deserve to be shown in the best possible light and has thus created a magazine that is an aesthetically beautiful experience. This magazine is available in PAPER format.  If you’re looking for more maker inspiration, check out the latest sewing pattern reviews from the sewing community. We also have a sewing blog to keep you up to date with all the news from the world of sewing.

July/August 2006 Patterns of the world "THE THRILL OF A HOLIDAY never fails to excite. Some people spend most of the year in anticipation of those treasured moments in exotic climes, but I’ve always prefered a more spontaneous approach. Perhaps my finest moment was, at age 16, waiting for a bus in the small village where I grew up: a family friend passed by, and seeing my tiny bag cheerfully enquired if I was on my way to town. "No, Morocco!” I replied, relishing a frisson of rebellion at her reaction. Recent trips may be luggageladen family holidays, but there is always something magical about a moment of departure – although one has to admit it can be hard to feel the joy during the undignified scrum to find a seat on a Ryanair jet. It’s a far cry from the golden age of flight, when stewardesses wore chic mini dresses designed by Mary Quant and nothing was too much trouble. Air travel may be cheap but the cost to the enviroment is high: maybe it’s time to return to the glamour of the ocean-going liner? Of course, getting there is only half the ‘fun’ – your destination is important too. We visit some exotic locations in this issue, including Hawaii where Christina Kim, pg 16 found a resonance with her glowing fabrics and Doris Duke built a retreat called Shangri-La to house her stunning collection of Suzanis. Finally, the aloha shirt is often mocked, but there is more to the textile heritage of Hawaii than Elvis. Not content with telling us what to wear on our summer holiday, fashion designers now want to dictate where we stay and after Emma O'Kelly’s tour of their unbearably glamorous boutique hotels you will probably be willing to do as you’re told. Textile designer Peggy Angus was one of life’s natural rebels. She traveled the world throughout her life and shared her inspiration in the form of public artworks in schools and hospitals. At this time of year it is traditional for us to look at education. We discover how hard students are finding it to survive after graduation and round up some unusual art schools that might give students the edge in a highly competitive world. You don’t always have to go far to find inspiration: the prints of Swedish designer Maria Astrom, are the result of finding in nature a microcosm of the whole world. So wherever you are this summer, have a wonderful time." Polly Leonard, Founder, Selvedge Magazine

March/April 2005 Rites of passage "A FRIEND OF MINE RECENTLY bought a book called What You Wear Can Change Your Life. She commented that it was rather sad that society places so much emphasis on appearance. As someone passionate about clothes, I had to disagree. Even if you are one of those people who think clothes can't change your life, you can probably remember what you were wearing when your life changed. Although fashion provides a record of society's changing concerns and preoccupations, clothes can also document enduring emotion. As Anne, Countess of Rosse wrote and pinned to her bottle-green wool crepe dress: “Had a wonderful time in this dress, am ashamed to say. 1941!” I have enjoyed the charming reminiscences of our contributors and friends about their most memorable outfits and I would love to hear similar stories from you, perhaps with a photograph. In this issue you will discover the way textiles punctuate our lives and are used to celebrate rites of passage: from the poignant Misuko shrines in Japan, that commemorate the loss of unborn children to the joyous confections paraded in the high school proms from the 1950s. The cultural significance of cloth is explored in Brinda Gill's article on Indian weddings. When looking for fabric to celebrate in we often turn our attention to silk. With its noble history and unique lustre it truly is the king of fabrics. Our Top ten Silks highlight some of the most beautiful furnishing fabrics around.  Finally, quilts, one of the greatest repositories of history. Quilting bees were the group therapy of the past and the objects themselves treasured for their social history. Shelly Zegart traces the history of quilt collecting in America. In January and February, when the weather is cold, warmth and comfort can become the only criteria we use when dressing ourselves. I hope this issue will encourage you to pause and consider your clothes in a different way, as emotional reflections and markers of time and place." Polly Leonard, Founder, Selvedge Magazine

January/February 2013 CONGRATULATIONS! SELVEDGE is celebrating its 50th issue. The magazine has grown, developed and matured, but most of all inspired everyone involved in it for 50 issues. When I meet readers they often say what an achievement, you must be really proud: and of course I am, but it is not my achievement I am proud of. I merely had the idea – ideas are actually pretty worthless in themselves, we all have hundreds of ideas every day – they come and go often without us noticing them. It’s only with a phenomenal amount of hard work, a stubborn refusal to compromise and tenacity to overcome obstacles that one in a million ideas become reality and a tiny bit of magic is born. Over the last ten years I have been inspired every day by the enthusiasm and dedication of my team to conceive issue after issue. I am inspired by the writers and illustrators who have researched extensively and striven to meet our high standards, in order to present lively and informative material in an appealing way. I am inspired by the advertisers who support the infrastructure of the community, as do the curators and galleries who tirelessly host exhibitions, fairs and events. But, most of all I am inspired by our readers who buy each and every issue, who renew their subscription religiously, who prioritise the magazine when there are so many other demands on their budgets. The magazine is expensive to print and to ship to all corners of the world. Every subscriber is an important part of the network – so thank you all for making my dream a reality. In every issue I try to present inspirational rather than aspirational material. If you will allow a little self indulgence, we have filled this issue with material that lifts our spirits and hope it will lift yours too. Cloth is central to my life and I share this passion with the people featured in our pages. This issue is full of inspirational cloth, from the pleats of Mariano Fortuny, and Issey Miyake, to the intricate double ikats Ptolemy Mann discovered on her journey through Indonesia. We look to India, a perennial source of inspiration where on January 14th the skies of Gujarat give way to colourful kites. Meena Kadri shares her colourful photographs and insightful proes. We contrast the delicate woven air of Muslin, from Bengal with the minimalist, Gongadi blankets, woven from the wool of the indiginous Deccani sheep from Andhra Pradesh. Closer to home we marvel at Karen Nicol’s exquisite embroidered confections, in an excerpt from her new book Embellished:NewVintage. This Spring Selvedge will be the guests of kindred spirits, Anthropologie, at their store on the Kings Road. I would like to invite you all to join me in a glass of wine in celebration of textiles on the 14th February (what better day than Valentine’s to declare your love for textiles) at The Gallery at Anthropologie, 131-141 King's Road, London SW3 4PW, during our seven week ‘pop up’ store: but if you are not able to make that date then I hope to see you at our Spring Fair! Exhibitor applications open on 9th January, please see www.selvedge.org for details. From all of us at Selvedge we send you our warmest wishes for the New Year. Polly Leonard, Founder

May / June 2018     Issue 82 Lace: the light fantastic    'I am embarrassed to admit that I used to be sceptical about lace — being put off by its associations with cheap lingerie. However, the more I discover about its past, present and future, the more intrigued I become. What textile carries so many contrasting messages? It is at the same time; demure, erotic, delicate, brutal, cheap, sophisticated, fragile and strong. It is made either with needle and thread, as in Alençon, in Normandy, France; with miniature bobbins on a cushion on one’s lap as is used in the case of Honiton lace from Devon; or, as with Leaver lace, making use of a cast iron loom weighing more than ten tons. In the 19th century, lace instigated the famous Luddite riots, a series of attacks on factory looms in the UK, and was a catalyst for the smuggling of looms from Nottingham to St Pierre and Calais. Lace is, simultaneously, the darling of the haute couture fashion industry and  a source of ridicule when used to shield prying eyes in suburban dwellings. In this issue, we unpick this most complex of materials, visualising the working of Leaver looms, tracing its history from Nottingham to Honiton and Calais, and examining its political status in the form of the veil. This emotive material is a favourite amongst contemporary artists who manipulate its scale and substance to comment on gender and a myriad other messages lace conveys. Architects, on the other hand, enjoy its structural qualities of strength and delicacy. Finally enjoy the elegant beauty of lace observed in the photographs of Christine Mathieu on display at Calais’ Cite Dentelle Mode museum, and as we look forward to the spectacle of a Royal Wedding we wonder if Meghan Markle will choose a dress of Cluny lace – or maybe she will choose something by the American designer Vera Wang? ' Polly Leonard, Founder, Selvedge Magazine     *Contents are subject to change

November/December 2016 AS SOMEONE WHO IS DRAWN to a natural sparse aesthetic, bling can be a bit of a challenge. But it is good to step out of your comfort zone once in a while and Christmas is the time do it. In this issue we embrace hedonism and indulgence. We take inspiration from the most decadent of decades; the 1920s, with a new exhibition The Jazz Age at the Fashion and Textile Museum, whose curator Dennis Nothdruft introduces us to the glitz and the glamour. Dani Trew examines how contemporary designers are taking inspiration from the era. Any magpie would tell you that the appeal of the shiny is not new and Sarah Jane Downing traces the history of the sequin from Elizabethan times to the present. Further back we discover Opus Anglicanum, the height of English embroidery and the ultimate mastery of goldwork. Today in the age of digital embroidery it is exciting to see designers such as Alice Archer interpreting the art form in a new and relevant way. We look behind the scenes at the detailed costumes made for TV and film by Cosprop as well as their hard-wearing yet equally impactful designs for staged productions. On another scale entirely we talk to the costume designer Deborah Cook who designs in miniature for animation, an approach not dissimilar to that used for fashion dolls since the thirteenth century. Finally Jane Brocket reflects on the symbolic power of embroidery in literature and we celebrate the work of Dorothy Whipple in a soon-tobe published compilation of her short stories, offered to our first one hundred three-year subscribers from Persephone books. I wish you a sparkling Christmas and hope to see you at our Advent Festival. Polly Leonard, Founder

September/October 2012 MY SON IS ABOUT to go off to secondary school – life is changing at a faster pace than I would ideally wish, while he is relishing the adventure. As I prepare him for his big day, I have dutifully stitched Cash name labels onto every item of uniform. You may be surprised given the field I’m in: but as a working mother this is almost the only time I pick up a needle and thread. At one time all women were responsible for their household linen and even the wealthiest, who employed others to weave and make up their linens, retained the task of monogramming. The value of the linens necessitated its labelling to prevent confusions during laundry. Embroiderer Victoria Bain examines the importance of a name in her article on the survival of monograms. I recently enjoyed the Chanel Four series All in the Best Possible Taste in which artist Grayson Perry examined what remains of the British class structure. While most people would not wish to go back to the rigidity of the past, great comfort and security can be gained from established rituals and codes of conduct. It is surprising how much manners still mean to most of us in a world of ever-decreasing formality. This informality takes many forms. One only has to look around the arrivals hall in an international airport to see casual dress taken to an extreme. Just fifty years ago flying was considered something to dress up for, and Deirdre McSharry reminisces on the value of respectable dress codes, and Beth Smith, mourns their demise. In parts of the world traditional dress is still worn, at least on special occasions, and when it is as beautiful as the Korean Hanbok it’s no surprise. Photographer Kim Kyung Soo captures the grace of this costume in his Full moon Story. France, often considered to be more formal in its forms of address than the rest of the world, has a rich textile heritage as described by Genevieve Woods in Southern Charm. She also takes an in depth look at the innovations and industries that gave rise to that heritage in Lyon. You will note that after six successful fairs at St Augustine's Church Hall, it is time to move on. Although we loved the atmosphere of the old church hall, we have struggled to accommodate visitor numbers. So we would like to formally invite you to our next fair on Saturday November 10th at Chelsea Old Town Hall, King's Road, London: a stylish and spacious venue with good visitor facilities and excellent transport links. Practical considerations aside we won’t be pursuing change for the sake of change – you can expect the same high quality exhibitors, a friendly atmosphere and good company. Our Winter Fair, will be a place to mix with like-minded people, make new friends and get together with old ones. I hope we will see you there and, since we’re on the subject of good manners and etiquette this issue, I’d like to thank you for supporting Selvedge. Polly Leonard, Founder

January / February 2018 80 The Craft Issue    Industry and endeavour   "What a thrill to be invited to the House of Lords. Amid high security, I witness the unveiling of the Radcliffe Red list, sponsored by the Heritage Craft Association and the Radcliffe Trust (of Oxford’s Radcliffe Camera). The list identifies which crafts are viable, endangered, critically endangered and extinct in the UK, listing hand stitched cricket ball manufacturing and wooden lacrosse stick making as extinct. As someone who spends most Saturday afternoons shivering on the side-line of a lacrosse pitch I can vouch for the game being very much alive. The list begs the questions; should we artificially keep alive crafts that are no longer economically viable? And is intangible heritage as valuable as tangible heritage? Unlike cricket balls and lacrosse sticks, basketry is categorised as viable – and I wonder if that is because it has evolved with the changing times. Hilary Burns introduces us to the suprising role basket making played in World War One: not only in the mass production of shell baskets, but also in the development of occupational therapy for the rehabilitation of wounded and shell-shocked soldiers. Today the link between health and craft skills is powering a resurgence of interest in skill acquisition: and judging by the number of courses around – a phenomenon investigated in this issue by Amelia Thorpe – the trend is just going to run and run. There is a flip side to this too: it has in a way devalued the very skills we acknowledge as important. My daughter who plays lacrosse also studies art, and commented on the lack of skills amongst her peers compared to those studying music, where their proficiency is demonstrated by the aquisition of the Associated Board of the Royal Schools of Music grade qualification (part of the UCAS tarif). This requires half an hour of one to one tuition once a week and half an hour a day practice at home. By venturing to Iceland where craft is ingrained into the eduction systems, and as a result a vital part of the culture, we can imagaine what would be possible if we had something like this for craft in the UK." Polly Leonard, Founder, Selvedge Magazine

July/August 2007   OURISLANDLIFE ISSUE revolves around a seasonal triumvirate of lace, linen and linear patterns. Putting together this issue we found we just couldn’t avoid them.Dappled sunlight through a lace curtain, white canvas sails and a striped bathing suit...these things sum up a certain kind of island holiday.Undoubtedly the quality of light is part of the special spirit of islands, it reflects off the sea, making colours clean and true. Peninsulas have the same quality and one finds artists’ colonies clustered on them around the globe. Years ago I read an article by Angelo Taranta in which he described “the double life of islands”. While cultural isolation can intensify an island’s traditions it also makes them attractive to those looking for alternative ways of living, as Taranta puts it “A certain distance from the mainland maybe symbolic of a certain difference from the mainstream, a greater likelihood to inject surprise or marvel: an essential ingredient of all art.” Among those drawn to island living is Flick Ekins who adopted and restored a villa on the Greek Island of Symi.One of the things Flick admires about the island is the lace making tradition ,the work produced is usually kept within the household but there are wonderful examples in the collections of the V&A in London. Ismini Samanido charts the evolution of this delicate fabric. She was drawn to the subject by her Greek heritage.Tracing the roots of something that appears simple and straightforward has its own particular thrill. When we decided to look at stripes it was nothing more than their enduring charm and fresh feel that sparked the idea. Little did we know we would become enmeshed in their fascinating history and meaning. Sailor’s spring to mind at the mention of stripes so it was a natural progression to look at marine and nautical textiles.Linen is our third summer staple, it has helped us keep cool in the sun for centuries but it was in the 1970s that Dr Vittorio Solbiati inspired Giorgio Armani to give the fabric a new lease of life, in fashion. Make it part of your holiday wardrobe... Polly Leonard, Founder TallennaTallenna

March/April 2013 THE BLUE PLAQUE ON the wall of no 2 Princelet Street, Spitalfields, East London, commemorates the life of Anna Maria Garthwaite. The legacy of this outstanding English textile designer who worked closely with Huguenot silk weavers, is an impressive one. Hundreds of her original paintings have been preserved alongside samples of fabric at the Metropolitan Museum of Art in New York and at the Victoria & Albert Museum here in London. This year marks the 250th anniversary of her death, and a programme of events has been planned to celebrate the talents and contribution that the Huguenots made to Spitalfields where they sought refuge from religious persecution. Why some things endure while others fade away is one of the mysteries of time. The things that remain with us often seem to have a particular value simply by virtue of their continued existence but they also have an active role to play. Understanding textiles’ rich heritage not only allows us to contextualise the here and now, but also enables the artists and designers of today to create the products of tomorrow. The popularity of the now global Tweed Run, is a testament to the place traditional fabrics hold in so many hearts. Today we are surrounded by the advanced technology of high tech fabrics: but few of these fabrics conjure up the emotional connection so many of us have with tweed. It is reassuring to know that the Harris Tweed industry is still with us, enduring the twists and turns of fashion. Still relevant, it is a delicate balance that the industry maintains in order to make vibrant the skills of the past. The Herero women of Namibia wear splendid garments: as Jim Naughton, makes clear, these clothes are the product of colonial influence yet are far from a pastiche of a bygone age. I don’t advocate holding onto the past once it is no longer relevant. A rigid determination to preserve skills and techniques can be detrimental. We sometimes see this in the artifacts produced by indigenous people across the world, where creating objects for the tourist trade robs pieces of their meaning for the maker and their artistic integrity. Crafts should not be preserved in aspic and forced to adhere to a set of golden rules. On the other hand, the path of ‘progress’ and its hunger for new, faster and cheaper methods can turn out to be a wrong turning; as thatchers Matthew Williams and David Bragg discovered when they set up a company offering long straw thatching, Forgotten Crafts. Lisa Tilley blends past and present to give vintage luggage a new lease of life but her individual approach is vulnerable to imitators. My editor Beth Smith grapples with the problems of copyright. Infringement is commonplace and the best way to deal with it is debatable. The past offers inspiration to us all- but use it to make something new for today! I would like to thank Anthropologie, for their hospitality at The Gallery in their store on the Kings Road. Visit us at The Gallery at Anthropologie, 131-141 King's Road, London SW3 4PW, and look online for events during the second half of our ‘pop up’ store. Or combine a trip with a visit to our Spring Fair! Advance tickets are available at discounted prices. Please see www.selvedge.org for details. Polly Leonard, Founder

July / August 2018 Issue 83 Cotton: Stay Cool in Cotton  "In the summer of 1948, the Empire Windrush docked in Kingston, Jamaica, in order to pick up servicemen on leave. The ship was far from  full, and so an opportunistic advertisement was placed in a Jamaican newspaper offering inexpensive transport for anybody who wanted to come and work in the UK to help rebuild the country after WW2. This journey had been made many times before by ships carrying cotton. The making of textiles is time consuming, with the preparation of fibre being the most labour-intensive process. The desire to speed it up has preoccupied the industrial world for the last 200 years and it is with cotton fibre that there has been the greatest success. 60% of all clothing is now made of cotton. While it is natural, and biodegradable, cotton’s negative environmental impacts result from the use of pesticides and the consumption of water used to accellerate production. After spending the last two centuries producing more and more cotton, the biggest issue facing the textile industry today is how to dispose of the excess. There is much in the news on the environmental impact of plastic, but textile waste is as big a problem, with the average garment being worn just three times. What can the individual do? We have inspiring answers in this issue, from a story about the oldest patchwork coverlet, on display at The Fesival of Quilts, to the Dutch Nationale Feestrok as well as Jessica Ogden’s Caribbean practice. Patchwork is a great way to extend the life of textiles, as is buying less but buying better: a philosphy adhered to by Adele Stafford and her Voices of Industry project. She sources organic cotton in her field-to-fibre initiative; similarly Jessica Green in her Appalachian homestead utilises home-grown fibre to grant continuity to the American coverlet tradition. These pieces will be treasured for generations rather than finding their way into landfill. We look too at the significance of textiles in the life of Frida Kahlo, whose clothing and personal effects will be exhibited at London’s V&A Museum this summer. We look at her life, her house and take a tour of the country she called home."  Polly Leonard, Founder, Selvedge Magazine

January/February 2006   Rethink, reclaim and re-examine textile "WELCOME TO THE NEW YEAR – a time for resolutions and re-assessing. As an eternal optimist I set great store by resolutions. This issue is full of things to inspire you to turn over a new leaf, or just make those small changes that have a big impact. Eco textiles are a huge subject and compiling the material has been an education. One thing that will stick in my mind is that 80% of the energy used in the life cycle of a garment occurs in the home during laundering. I was amazed to learn that I could make a difference simply by hanging my washing on a line rather than using my tumble dryer. Another shocking statistic is that 33% of the weight of cotton needed to make a T-shirt is made up of pesticides. Even so, the problems and solutions are more complex than adopting organic cotton. Kate Fletcher explores these issues. We also rethink our home and look at the traditional craft of upholstering walls as well as the joys of giving new life to old furniture, particularly with bold prints such as those designed by artists in the 20th century. Asia provides the inspiration; we visit the Jaipur Craft Festival and find sustainable forms of textile production in the work of Women Weave. We highlight multi-cultural fashion label Ghulam Sakina. Sadly the question I began this issue with has still not been answered. I can’t understand why, if designers can produce beautiful clothing in virtually any fabric, when ‘organic’ enters the equation the design is discarded in favour of something altogether less flattering. Environmentally friendly production does not excuse bad design. I don’t want to contribute to a stereotype but suffice to say bland and beige are flourishing on the eco textile scene. There are exceptions to this, distressingly few and far between: the Raag workshop, which makes beautiful clothing which happens to have a low environmental impact. One way forward is for designers who make beautiful clothing to consider the impact of their work, adopt responsible materials and methods, and to make this common practice. An organic tag should not be a selling point but an industry wide standard – anyway, decide for yourself. Keep warm and I’ll see you in the spring." Polly Leonard, Founder, Selvedge Magazine Please note this issue is only available digitally

September/October 2011 OVER THE LAST FEW WEEKS I’ve been addicted to the BBC series Fake or Fortune about mysteries in the art world. The twists and turns in the story are fascinating and like all good detective stories I end up dying to know the final outcome. The appeal of a mystery story is wide and enduring, those with a criminal element pique our interest even more. Textiles are often used to solve cases and forensic science, with its ability to identify minute fibres, plays a vital role: but fabrics and fashion were linked to crime long before the era of microscopes. In Crimes of fashion, Sarah Jane Downing looks at the ways textiles were linked with crime and punishment in the past. Today textiles play a different role in the life of criminals. Beth Smith finds out more about the work of prison charity Fine Cell Work. Incarcerated for mental illness rather than criminal activity Arthur Bispo do Rosário, nevertheless demonstrates the freedom that creativity gives to those confined. In an issue devoted to crime and mystery we couldn’t neglect the court system and the role clothes play in its many traditions and ceremonies: John Havelock Teague takes us on a journey through the history of legal dress. Falling neatly between criminal and court are those that bring them to justice – the detective. Most us meet them in the pages of a novel or on screen so we look at the influence fictional detectives have had on fashion, from the tweeds and twinsets of Miss Marple to the flamboyant cape of Sherlock Holmes. The drama inherent in crime is an interesting phenomenon and the backdrops for murderous tales have their own mystery and glamour – lavish country houses, gothic castles and real life locations such as The Orient Express, are a vital part of the mix. Someone else with a great eye for an interesting location is Rusty Tagliareni. His beautiful and haunting photographs of an abandoned mill in Maryland, are part of an ongoing project to save it. The subject of costume and settings bring us to Halloween and this year we celebrate the season with a spooky, textile related short story, The Dressmakers Doll by Agatha Christie. Illustrated by Jen Corace, its inclusion pays homage to the tradition of short story publishing in magazines. We may have been caught up in murder and intrigue this issue but in contrast London comes alive at this time of year. We’ve devoted our news section to events around town but don’t forget to leave a space in your diary for the next Selvedge fair! Polly Leonard, Founder

March / April 2019 Issue 87 Folk Art Despite travelling to the US often and sharing a language, I am continually wrongfooted by cultural differences. The International Folk Art Market in Santa Fe had been on the periphery of my consciousness for at least a decade but I had dismissed it because my perception of Folk Art was mismatched. Last summer, however, when I found myself in the South West kicking my heels, I took the plunge and arranged a visit. Rarely do we find something that strikes a personal chord. I have spent the last 20 years visiting exhibitions and craft fairs searching for something new to satisfy my curiosity. This event outstripped my expectations and some. Many of the 150 artisans exhibiting were already friends, including Nilda Callanaupa from Cusco, Peru (issue 68) and Rupa Trivedi of the ADIV project in India (issue 70). But what captured my imagination was the way the community had embraced the event and overcome the logistical challenges of bringing artisans from so many countries together in one place. I am delighted to announce that Selvedge has accepted an invitation from the International Folk Art Market to bring a similar event The Selvedge World Fair to a UK audience in July 2020. We are excited and a little apprehensive about the enormity of the challenge ahead and call upon the support and generosity of our readers to assist with the fundraising, to spread the word, encourage artisans to apply and volunteer their time. To find out how to donate and volunteer please see www.selvedge.org. In the issue, we visit New Mexico’s key sights with the Alexander Girard Folk Art collection and the wardrobe of Georgia O'Keeffe. We also celebrate the work of artisans who will be exhibiting at the Selvedge World Fair in London, including Porfirio Gutierrez from Mexico and Bhairvi's Chikan from India. Also in this issue, we explore the ideas around cultural appropriation, as well as the British tradition of Morris Dancing. In the more immediate future, we will be visiting Bath again on 30th March and I hope to see you there. Polly Leonard

March/April 2017 GIVE ME WORK TO LAST ME ALL MY DAYS is a quote from the artist Rob Ryan. It is a plea not a grumble, and counteracts work’s somewhat negative image in the popular psyche. Perhaps it is only when we are not able to work that we fully appreciate its value. Once again, work (especially manual labour) is a political hot potato. In this issue we explore all aspects of work including what we wear to work as well as its benefits. There is a lot of research on the health benefits of craftwork, and we explore this further in our Craft Spa symposium in collaboration with London Craft Week. The spiraling cost of higher education is prompting young people to find alternative ways of acquiring skills. We are seeing a movement towards rejecting the desktop in favour of the workbench which brings us back to our past, and we examine the apprenticeship scheme set up after the First World War to support returning soldiers at Dovecot Studios in Edinburgh. We also speak to Mario Sierra who is successfully reviving a company set up by his grandmother half a century ago. Our few remaining factories are precious resources, with only 33 active mills in the UK. In the USA, Chris Payne has captured today’s mills beautifully. It is interesting to note that less than a decade and a half ago when Selvedge was launched, the word selvedge had been generally abandonded, left to a specialist lexicon. Now it has re-emerged in a super cool form. I am impressed by the variety of textiles observed by Jane Brocket in 20th century paintings of workwear, from denim and moleskin to smocks worn by farmers and fashion’s elite. Niamh McCooey explores the economy of lace in the 19th century to whet our appetite for Lace in Fashion, now on show at the Fashion Museum in Bath.We hope you will join us in Bath on Saturday 25th March for a day of textiles. Polly Leonard, Founder Tallenna

March/April 2015 Please note this issue is only available digitally “WE LIVE IN A UNIVERSE OF PATTERNS:” so begins Ian Stewart’s book Nature's Numbers, a field trip that takes the reader on a sightseeing tour of the universe. The ability to recognise and therefore predict patterns is one of the things that makes us human, and pattern making is intrinsically linked to human intelligence. Patterns are found everywhere, from cell structure and pine cones to the stripes on the back of a tiger. The study of pattern helps us link mathematics and music to visual art and, metaphorically, ignites fireworks in the brain. Pattern is evident in all cultures, as Ron Eglash discovered while studying fractal structures in indigenous African architecture. He then stumbled across four-fold symmetry while searching for fractals in Native American weaving. The desire to order the world around us with pattern is instinctive, it enables to make sense of, and control, our surroundings. The astonishing painted interiors photographed by Deidi von Schaewen in Mauritania demonstrates this. As does the work of Yoyoi Kasama, an artist and cult figure in her native Japan. Kasama’s work makes concrete her insatiable need to repeat and repeat elements to manage her universe. But patterns are not always what they seem. Apparently abstract designs can be steeped in symbolism, as Dr Keireine Canavan uncovered whilst studying Bedouin Al-Sadu weaving in Kuwait. The pattern making instinct can be so strong, and is so popular, it can ignite a career - as it did for both Gabrielle Soyer and Kustaa Saksi who have created life affirming patterns for the famed Finnish design house Marimekko. It also drives many of the designers exhibiting in our Spring Fairs in Bath, London and Stroud. I do hope you can can join us for these events. Polly Leonard, Founder TallennaTallennaTallenna

March/April 2006   Small wares, accessories and a few pretty things "I RECENTLY LAUGHED AT A CARTOON which said something like: if you buy this dress it will make you into a beautiful, whole and complete human being. Don’t be silly, was the reply, a frock alone can’t do that...you’ll need the shoes and bag as well. I must admit to a passion for hats. A nubuck stetson bought in Yellowstone Park in the Mid West kept me cool on dusty journeys as I crossed deserts in search of textile treasures. There was a Philip Tracey straw hat I wore to my wedding, and an almost sculptural brown felt hat that has kept me warm on the coldest days and always looks fantastic no matter how dishevelled I feel. One might say that the population can be categorized as hat, shoe or bag people, so we have asked some readers to tell us about their favourite accessories. Kate Constable is a devoted bag lady but not just to any bag; Waldy bags, as carried by Princess Margaret, are her delight. For Mary Lisa Gervase it’s the embroidered shoes of Shuzu cobbler in Shaghai. We take our own grand tour of Europe’s cultural hotspots both old and new. In Italy we trace centuries of sumptuous silk brocade and velvet production, and uncover modern sophistication in Italian designer Daniela Gregis’s billowing white skirts. We also travel to Germany for grown-up intelligent fashion from Rundholz. A century ago you might well have bought your accessories from a haberdasher’s, a sight rarely seen in today’s high streets. These stores offered a visual feast of graphic design on tempting packages. This was in the heyday of home sewing when every household would have owned a sewing machine and probably bought Butterick paper patterns. These industrial developments, not easily obtained, democratized fashion as never before. Today, with the press pushing one new trend after another, it’s worth remembering that fashion for everyone is a relatively new phenomenon. Across the diversity of textiles presented in this issue the omnipresent element is subtlety. It’s a quality that takes time to reveal itself but is evident in the colour shifts in the pebbles in Sue Lawty’s installation at the V&A. The exquisite craftsmanship of contemporary bamboo basketry and the weave of a Vaxbo linen towel are all worth the time it takes to unravel their beauty. I hope you enjoy the unwinding." Polly Leonard, Founder, Selvedge Magazine

November/December 2014   A FEW YEARS AGO Lidewij Edelkoort curated an exhibition, NorthandSouth, in Stockholm. The exhibition paired objects from Scandinavia and Africa – geographically disparate parts of the world – yet what was surprising about the exhibition was the similarities, not the differences, between objects as diverse as spoons and blankets. The shared aesthetic was based on simplicity and integrity born out of economic necessity. In this issue we look North where the use of textiles is linked to survival in the harsh climate. We explore the work of fashion designers from Greenland, Iceland and the Faroe Islands, through the beautiful photographs exhibited at The Nordic Fashion Biennale, imagined by photographers Sarah Cooper and Nina Gorfer. The exhibition, which is called The Weather Diaries and is now on show at the National Museum of Photography in Copenhagen, explores how the homeland of the designers has informed their practice. I hope you will take the time to visit our blog and view the video which documents their process. We have beautiful images from Bryan Alexander, a travel photographer who specialises in documenting the life of the Arctic’s indigenous peoples and the issues that affect them. He has spent more than 40 years working in isolated native communities around the Arctic and introduces us to the costumes and culture of the Finnish Sami. Their intricately embroidered costumes make me feel Christmas is on the way. The Nordic countries have always been a hub of creativity. But their traditions are not locked in the past as Annhelén Olsson explains in her article about wool embroidery from the south of Sweden. The same is true of Ryijy Rugs, that emerged in the 16th century and grew in popularity until, by the 1960s, they were a part of most Finnish homes. If you want to recreate a Scandinavian interior Diana Woolf highlights talented designers in Insider Trading, and the apartment of textile atelier Violise Lunn, offers festive inspiration. I’m looking forward to putting up my decorations and wish you all a happy holiday! Polly Leonard, Founder   Tallenna

January/February 2017 Please note this issue is only available digitally ON BITTERLY-COLD JANUARY mornings the need for performance fibres is as clear as the blue sky. Cashmere, Vicuna, Alpaca and Goose Down – all words we associate with luxury and indulgence. I would, however, argue that they are not a luxury but a practical necessity. In this issue we explore the fibres native to extreme locations where wild weather is the norm. Here our designers are looking to nature and science for the answer to lightweight warmth. We journey as far afield as the Mongolian steppes with Tengari and Norlha founded on the Tibetan plateau, Denis Colomb cashmere from Nepal, June Cashmere from Kyrgyzstan as well as Thibault Van Der Straete’s Andean alpaca. Each niche fibre has unique qualities; cashmere is eight times warmer than sheep’s wool and does not pill or wrinkle. Alpaca is three times warmer than sheep’s wool – and with no lanolin, less itchy but also water-repellent. We explore fibres that wick moisture away from the body; hollow fibres that insulate; and fibres that come in a myriad of different natural shades alleviating the need for dyes. What is important about these fibres is their variety – best explored through the fingers – each one a perfect match for a specific function.These are fibres to cherish, particularly when 85% of all clothing is made from cotton. Predominantly enjoyed in their natural state, we see an exception in the collection of Moncler, who combine goose down and fur with traditional Tyrolian embroidery. In the darkest days of winter, we long for colour and light. Some of our favourite designers have injected florals into their winter collections. These dramatic dark florals have a jewel-like intensity and a romance not seen in their summer sisters. Originating in Scandinavia with the work of Josef Frank whose exhibition Patterns-Furniture-Painting can be seen at the Fashion and Textile Museum, they are the ideal way to brighten up a dark day. Polly Leonard, Founder TallennaTallenna

May / June 2019 Issue 88 Geometric: the mathematics of cloth  "The 27th April marks Freedom Day in South Africa, a national holiday. To celebrate the 25th anniversary of free elections we devote this issue to the memory of Nelson Mandela, the president who’s sense of style set him apart from other world leaders. Dress was an evocative political tool for Mandela’s public image, the sartorial embodiment of freedom and self constitution; His shirts set the tone for a new nation no longer defined by colonial power structures. The generation of designers who have emerged after more than half a century of Apartheid, have a strong cultural identity and unique design aesthetic. The rest of the world is now enjoying the benifits of its mature style. We see evidence of this in the zig-zag knits of Laduma Ngxokolo who combines Cape Mohair from angora goats reared predominantly in the Karoo region, with the indiginous designs of the Xhosa region. Imagery from colonial times such as the Voortrekker Keppie Bonnets, or the Basotho Blanket that have been absorbed and re invented to appeal to the African eye. At a time when the rights and wrongs of cultural appropriation are a hot potato, the striking painted homes of the Ndeble people stand as a treasured example of how a new vocabulary can emerge from cultural influences as diverse as Cape Dutch gables, European packaging design and American cars from the 1950s. No appropriation here just creativity. Cape Town’s finest examples of modernity is the MOCA, a gallery carved from circular concrete grain silos standing proud in the baking sun and over looking the fairest bay in the world. The elements all of this energetic vibrant design have in common is the reinerpritation of geometry the endless variations of squares circles and triangles, colour and vigour. Uniting geometry and the healing aspect of craft practice are two stories of quilts that have emerged from war, those made by Boer soldiers, and those made by refugees from conflict in Bosnia. Vibrancy and hope can come from the darkest places." Polly Leonard Founder & Editor of Selvedge Magazine

May/June 2015 I AM DRAWN TO Georgian architecture: a flat fronted town house would be my dream. The elegant proportions and calm panelled interior speak to me of timeless beauty. I think the marriage of Georgian architecture and mid-century modern furniture is a harmonious one. These two periods have a distinctive aesthetic, and an enduring appeal. What is it about some designs that transcend their time? Yves Saint Laurent said “Fashions fade, style is eternal” and this issue is dedicated to that excellent idea. We visit the Parco dei Principi Hotel in Sorrento, designed in the 60s by Gio Ponti. The geometric tiles and graceful furnishings were a fitting backdrop for the spring/summer collection of one of our favourite designers, Daniela Gregis. Her sympathetic shapes and sensitivity to cloth flattered our 71 year-old model Benedetta Barzini. We hope it will please Amanda Carr who shares her strong opinions on the limitations of “age appropriate” dressing in this issue and, more regularly, on The Women’s Room blog. Looking to interiors, 2015 marks the 200th anniversary of the death of Christophe-Philippe Oberkampf, founder of the factory that popularised Toile de Jouy. V&A curator Sarah Grant explains its ongoing appeal. It’s also the 200th anniversary of the Battle of Waterloo on the 18th June and Sarah Jane Downing looks at the military influence on fashion. And, since we are talking dates, our Spring tour continues and we hope to see you at Chelsea Old Town Hall, London on the 25th April or at The Subscription Rooms, Stroud on the 16th May! Polly Leonard, Founder TallennaTallennaTallennaTallenna

July / August 2019 Issue 89 Latin: Viva la Mexico In the year that the Bauhaus celebrates its centenary there are commemorativeexhibitions and events taking place around the world. The school founded by thearchitect Walter Gropius in Weimar, Germany, in 1919, was in operation for just14 years before it was closed down by the National Socialist Party. Nonetheless, it is considered to be the most influential art and design school in history. Ironically, the closing of the school led to its influence disseminating widely. Its founding principle that there should be no distinction between form and function is common and widespread today, but was revolutionary at the time. We catch up with the Bauhaus alumni in mid-century Mexico, where the creativity of Clara Porset, Anni Albers and Cynthia Sargent, collided to create a design aesthetic that permeates every aspect of contemporary Mexican society. This aesthetic is rooted in an appreciation of materials, and a specific colour palette that originates in local flora and fauna, and is made up of indigo, cochineal and sea snail purple. Technical virtuosity has been inherited alongside a respect for the wisdom of the elders, as described in Eric Mindling’s charming story. These elements ricochet in the striking contemporary designs of Fernando Laposse and Casilda Mut. I am grateful to Marcella Echavarria who co-edited this issue. Without her enthusiasm, knowledge and hard work, our insight into this incredible culture would not have been possible.I have learned much from Marcella’s passion for the music, food, culture and crafts of Mexico and I am delighted to share with you the intensity and energy of this extraordinary country.

January/February 2011 I, LIKE MORE THAN 80% of the population, have enjoyed the companionship of pets all my life. Two elegant and intelligent Blue Burmese cats for the last five years, who, apart from the unwanted gifts they occasionally bring in from the garden, are a joy to have around. Then, just over a year ago our family was invaded by a exuberant red-headed spaniel. She too is wonderful, despite chewing the rugs and destroying no less than four willow dog baskets! Pets are useful in many ways and provide numerous health benefits – mental, emotional and physical. In return many of us indulge and idolise our animals. ‘Pampering’ can take the form of defenceless cats and dogs being squeezed into nylon rabbit costumes – misguided affection at best. At the other end of the scale are the beautiful pullovers modelled by our elegant canines, and photographed by Lon Van Keulen. If you want to find a treat for your dog, we’ve brought together a selection of the best in A dog’s life. If there’s one thing animals offer in abundance it’s inspiration. Peter Clark’s stunning collages, capture the humour and individuality of animals, particularly dogs and he’s not alone. From Osborne and Muir’s knitted companions to Donna Wilson’s curious characters, it seems artists and designers are preoccupied by creatures – great, small and imaginary. Prioritising our pets may be common in Western societies but other cultures offer animals different forms of respect, even worship. In Rajasthan, India the immense value of creatures such as the camel is signified by intricately braided regalia. Toni Meneguzzo's ‘Go Puja project’, documents another revered animal, the Hindu Sacred Cow. Colourfully adorned and isolated on a white background their grace and alien beauty comes to the forefront. Strange and unusual forms of beauty continue as a theme in our article on taxidermy, in which the haunting work of Polly Morgan shares space with bizarre tableaux of card playing squirrels. Death is an unavoidable feature of taxidermy but also shadows many of the fashion world’s interactions with animals. Skins, pelts and hides come at a cost – even silk worms pay a high price. In this issue we highlight more harmonious practices – the gentle gathering of eider down, and the care of baby cashmere goats, – examples of peaceful coexistence that can be a model for us in the New Year. . Polly Leonard

November/December 2005   Hibernate "LIVING IN LONDON I often feel spoilt for choice. There are so many events that it’s sometimes overwhelming. I felt this recently visiting a fabric fair: after viewing 300 fabrics in 30 colourways all from a single company I was suffering from a form of textile colour blindness. After taking the time to talk to designers, I discovered some real treasures often in quite unexpected places. Del Cerro in Colorado and Anta in Scotland are two companies that stand out from the crowd. Working on a small scale they create products with the distinct signature based on the style and vision of a talented individual and are stronger for it. The same can be said of the shopkeepers featured in our Christmas shopping article. The owners of egg, hand and loop fill their shops with eclectic merchandise that makes browsing an uplifting experience – worlds apart from that encountered on the high street. This issue is bursting with inspiring individuals, including Sheila Paine, an intrepid traveller who takes us on a tour of Uzbekistan and Turkmenistan. She’s an extraordinary individual who has enriched the world of textiles through her passion, personal courage and spirit. Her contribution in the form of an outstanding collection must be preserved and we highlight her search to find a suitable home for her treasures. In a season of long nights and cold mornings we all find it harder and harder to leave the comfort and warmth of our beds. To help you snuggle down we examine the finest bed linen. We look at the beauty of draped fabric in the work of Sophia Kokosalaki as well as in architecture. Capturing the drapes and folds of fine fabric has always been a test of an artist’s skill but architects and stonemasons created their own versions. Have a great Christmas." Polly Leonard, Founder, Selvedge Magazine

January/February 2010 I WOULD LIKE TO THANK everyone who has made the journey up to Highgate to visit our shop. We love meeting our readers and talking to you about the talented artists we have featured in the magazine over the years. As well as a shop, 162 Archway Road is where we put the magazine together and as such I cannot always guarantee to be available whenever you drop by. If you are making a special journey and would like to talk, do call ahead and let us know so we can arrange to make you feel welcome. It is exciting to greet a new decade. Although Selvedge was not even an idea ten years ago it has certainly changed my life over the last decade. It is interesting to reflect how our lives might change over the next ten years. A new generation of artists and designers will create work destined to enrich our lives. To celebrate the turning of the decade we asked ten of our friends, what would be left in their lives if they eliminated all non-essentials. What remained is a collection of the timeless, the simple, special and, above all, personal textiles. One of the things we are hoping for in 2010 is greater economic stability and, with that in mind, would like to thank the readers and advertisers who have continued to support the magazine during recent turmoil. In this issue we look back to a time when resources were scarce and women made the most of what they had, for themselves and others. It’s worth remembering the brave and stalwart Land Girls in their corduroy breeches, tending the fields and those who embroidered maps for British airmen and maintained morale by stitching in the Anderson shelters. There is a real fascination for this period in our history as demonstrated by the re-enactors, who recreate the clothing of the period in minute detail. We also touch on other companies who have stood the test of time such as Smedley, while in Bespoke Living, we offer a glimpse into the life of tailor Timothy Everest who produces garments that are future classics. Everest is the first of many gentlemen in this issue; Men of the Cloth, introduces Ian Batten, Guy Hills and other talented men with a real passion for cloth. We hope to see you in 2010... Polly Leonard, Founder

They say you eat with our eyes. Anuj Kothari, founder of No-Mad, shares a fond memory of his father based on this old saying: "As a child, I remember sometimes getting frustrated by how tediously my dad worked to make a meal look perfect. He could never just put food down in front of you. Instead, he arranged it beauti

September/October 2007   THE SELVEDGE OFFICE IN HIGHGATE, one of London’s villages, is a stone’s throw from the statue of Dick Whittington’s cat on Highgate Hill. Whittington came to London in search of streets paved with gold. Of course he was disappointed but went on to establish himself as a successful Mercer, dealing in velvet, silk and damask. Having grown up in rural Yorkshire the fact that London’s streets were paved at all was good enough for me. I arrived 20 years ago and consider myself firmly rooted; I have formed an attachment to the city that rivals the zeal of any born and bred Londoner. Yet I think London is something we should all be proud of-its reputation as a hub of creativity is built on the talents of those drawn by its bright lights from every part of this country and beyond. For centuries London has welcomed and thrived on the creative people who contribute to its diversity. In the 17th century it was an influx of Huguenot silk weavers that helped established the East End’s textile history. The past can be traced on foot through Fashion street, Tender ground and Fleu de Lys street – now home to an abundance of contemporary makers. Some make their contribution on a temporary basis, joining events such as the London Design Festival pg36 which provide a platform for makers to be seen by the international media before returning to their homes in the country. A short visit to the city is more than enough for those, like Primmy Chorley, who prefer life on a more intimate scale. Primmy’s self-sufficient life in Wales offers a stark contrast to the anonymity that can be both a pleasure and penalty of city life. Yet in both town and country, the role of textiles and fashion in establishing an identity is clear. Evidence of this lies in something as simple as Scottish Estate Tweeds and in the more complex sartorial codes of London’s Fashion Week. What one you choose to wear depends on time, place and personal preference. London’s creativity is all around, from the upholstery on the Underground to the artists’ studios in the East End. Enjoy! Polly Leonard, Founder

Image: Sakua, Paris, 2018. Paolo Roversi via Surface Magazine. The Italian fashion photographer Paolo Roversi is celebrated in two exhibitions this spring: currently (when open) and until May at MAR Ravenna, Italy, and soon at Dallas Contemporary. Dallas Contemporary's exhibition - Birds - will focus on Roversi’s long

Image: Sanju Joshi, with Orange Marigolds. (c) Ken Hermann. Our latest issue, 94, the Earth Issue is now available to buy. In this issue, we celebrate the soil. On the cover is Sanju Joshi, with orange marigolds, a photograph from Ken Hermann’s book, Flower Men, portraits of flower sellers from the Malik Ghat flower ma

November/December 2007   A FEW YEARS AGO, I started taking my children ice skating on Christmas Eve and in what seems like an incredibly short time their skills have superseded mine to the point of embarrassment, but the event has become a family tradition and I love dressing them up in red knitted pom pom hats and sweaters. Everyone has their own festive traditions and there is no shortage in this issue from Daniela Gregis’ advent skirts, Carl and Karin Larsson’s family life, to Stockholm’s pretty Christmas markets. People often ask me who reads Selvedge and my reply is anyone with a passion for beautiful things. They are geographically dispersed; groups of subscribers cluster in the textile heartlands of Kyoto Japan, San Francisco and Santa Fe USA and Salt Sea Island, Vancouver, Canada while committed individuals have their copies shipped as far afield as Akureyri in Iceland, Lavassan in Iran and St Petersburg in Russia. Scandinavia is another well known hub of innovation where we find a rich textile heritage. From Sweden we look at antique quilts, national costume and the rugs and woven textiles designed by Märta Måås-Fjetterström. It was in the years after the Second World War that the work of Scandinavian designers gained international attention. Buyers at the early Milan Furniture Fairs were smitten by their emphasis on user-friendly, accessible design coupled with sleek modern form. Many designers have explored their national identity by adopting a Scandinavian aesthetic sensibility, but it is in textiles that the links to earlier techniques and imagery were strongest. The evolution of Scandinavian textile design, from those grouped under the Marimekko umbrella to modern innovators such as Pia Wallen is tracked in Print Run. The legacy of Modernism lies in a certain integrity of purpose and the desire to let the beauty of natural materials shine though. As a result many Scandinavian designers take ecological considerations in their stride – our Northern stars are good examples – but it’s an attitude that’s slowly filtering though the textile industry. In the first of a two-part look at the choice available to those want to spend their money wisely we weigh up the options in eco-interiors, from Toast’s new organic home range to the virtues of reuse and recycling. This will be followed by our return to eco-fashion in Issue 21. For now, enjoy your family traditions, hang your stockings and let’s hope we get some snow... Polly Leonard, Founder

November/December 2011 AS THE YEAR DRAWS TO A CLOSE it is a good time to reflect on what has been achieved and what is still to do. This year has seen the loss of one of my favourite magazines: its departure brought home to me the special place it held in my heart. When I received my letter saying publication was to cease it was a sad day. Although new ventures will be born, nothing will fill the space exactly . Change can be difficult to deal with and in this issue we look at individuals who worked to document disappearing ways of life. Joaquín Sorolla’ s paintings, The Glory of Spanish Dress, captured regional costumes in his beautiful watercolour paintings and through them conveyed the essence of Spain. In Sweden Artur Hazelius was determined to preserve rural traditions and founded the Nordiska Museet, in Stockholm. The objects, many of them textiles, that he collected for future generations were documented on exquisite, handpainted 19th century catalogue cards. These men grasped the past and held on to it so it wouldn’t be forgotten and for that they have our gratitude. Other things adapt to survive: closer to home we head to Nottingham and explore the history of machine made lace . Today lace, both machine produced and its handmade equivalent, continue to inspire designers. Furne One at Amato Haute Couture celebrates its strength and delicacy in his ‘I am the Queen’ collection, and Carl Bengtsson, shoots divine wedding dresses in a snow-covered Swedish landscape. And there are those who embrace change. In Birmingham Lost in Lace curated by Lesley Miller, pg 36, demonstrates how techniques of the past can provide a springboard to new ways of working. While curator and artist Lucy Orta looks at pattern cutting from a similar perspective in Block Party. As Christmas draws closer and things become more frantic it’ s worth pausing and trying to find a moment’s peace. Readers often tell us that is what Selvedge offers – the chance to take half an hour out of a busy day to read an article or just enjoy some beautiful images. I want to take this opportunity to thank our loyal readers. However you support Selvedge – in the form of a subscription, attending our events, shopping from our dry goods range or simply by following us through social media you help us publish the magazine and do all we can to promote textiles. This year , as a small token of our appreciation, we have commissioned artist Lesley Barnes to produce an animated Christmas greeting which will be live on our website during Advent. I do hope you enjoy the work of this talented artist. Enjoy a peaceful holiday... Polly Leonard, Founder Please note this issue is only available digitally

May/June 2017 TRADE WINDS ARE THE PREVAILING patterns of winds that blow north-east in the northern hemisphere and south-east in the southern. Once sails allowed ships to travel farther, these winds carried textiles around the world establishing trade routes. In this issue we explore this cross-pollination of ideas made possible by trade. Linda Baumgarten, curator of textiles and costumes at Colonial Williamsburg, examines the American vehemence for Indian chintz in the 19th century. Architect Dr. Robin Williams introduces us to the remarkable engineering that dominates the Savannah waterfront, drawing parallels between it and that of the Leeds and Liverpool canal – both built to serve King Cotton. At the dawn of the industrial revolution these two regions, separated by over 4,000 miles, were linked by shared humidity, ingenuity and tenacity. Their relationship as well as the invention of the Cotton Gin in Georgia and the Spinning Jenny in Lancashire, changed the world forever. Today migration is often painted in black and white terms: it is, however, more complicated as positive outcomes can be found in the cross fertilization of ideas. We look to the east and find traces of French tradition in exquisite Vietnamese embroidery. Favourable results of migration are also found in the batik of Pekalongan, Java, where sophisticated designs demonstrate influences from Chinese and Indian merchants as well as Dutch settlers. In our feature North and South, the partnership between Finnish designer Tuulia Mäkinen and Guinean Hamidou Diallo caught our attention for their mix of a cool northern aesthetic and hot southern energy, giving their textiles a contemporary African vibe. Finally, we touch on the meditative benefits of textiles with a look at Kimsooja’s art practice, and look forward to our Craft Spa symposium in association with London Craft Week, 5th of May. I do hope you can join us at the event. Polly Leonard, Founder

July/August 2016   COTTON HAS PLAYED A SIGNIFICANT and controversial role in the history of the British Empire, the United States, and India, and is inextricably linked to the highs and lows of human endeavour. Today cotton is still our firm favourite, accounting for 65% of all fibres used for clothing and home furnishings. What accounts for its preeminence? Cotton is comfortable, absorbs moisture well, is strong and easy to launder; but perhaps it is its ability to retain colour that has accounted more than any other for its success.This issue we appreciate the appeal that pretty printed cotton feedsacks would have had during the great depression: and the appeal also of work clothes re-purposed into attractive, albeit necessary, quilts across the southern United States. Our love affair with cotton can be seen in the enduring appeal of printed cotton, from artisanal producers to Japanese prints, as well as in the resurgence of interest in selvedge denim jeans.The designer Carin Mansfield uses high quality cotton in the small-scale production of her heirloom quality clothing, available in white, black and indigo. Like cotton, the appeal of indigo crosses continents from Asia through Africa and back to the Americas – and everywhere in between. Rosalie De Ory has been a convert since visiting Central America fifteen years ago, and has pursued her passion with verve. The vibrant colours of traditional Mexican cotton textiles provided inspiration for our cover photographer Anne Menke as well as the contemporary upholstery company A Rum Fellow.We follow the trail to its source in Oaxaca, and on further to the San Blas Islands of the Panamanian archipelago. I hope you find inspiration wherever you follow the sun this summer. Polly Leonard, Founder Tallenna

September/October 2004 Chill out in Helsinki "I WOULD LIKE TO THANK YOU all for the support, encouragement and subscriptions we have received since our launch, keep them coming! It is reassuring to learn that so many of you share my passion. I would also like to thank our contributors, photographers, advertisers, and the devoted Selvedge team, for helping make my vision a reality. The success selvedge is enjoying is a result of the textile community getting behind the idea and making it work. It is rare in contemporary society for an entire community to unite at a seminal moment, but when all of the elements are present, in the correct proportion, the results are a kind of alchemy. This happened during the 1940s when Ghandi, through his promotion of Khadi changed the course of India’s history. Although Khadi no longer carries a political message, it is still a cloth of great integrity, honesty and endurance as one can observe in the DOSA current collection. We have been fortunate in being able to support the women of the Qilasaaz workshop in Uttar Pradesh, by developing the Selvedge Magazine bag, made from loosely woven khadi and printed using natural dyes; the bag is available to buy or as a subscriber’s gift. Textiles have been used as a vehicle for communicating political messages since the embroidered banners of Women’s Suffrage and today’s artists are no exception. Women in all walks of life use textiles to reflect their personal experience. Palestinian women embroider the reality of life under the shadow of conflict, Jeni Allenby traces the evolution of their traditional textiles. We also touch on Jessica Ogden’s work for the NoLoGo label, page 60, Lucy Orta’s confrontational designs and Katharine Hamnett comments on and criticises the fashion industry’s methods of production. If all this political debate gets you a little hot under the collar, you can chill out in Helsinki or shop till you drop in New York. Last but not least, the winner of our trip to Lithuania is Jane Rodgers, have a good trip. Even if you are not going far enjoy your summer!" Polly Leonard, Founder, Selvedge Magazine .

November / December 2017   79 The Luna Issue Stellar textiles for darker nights "Until recently ‘manufacturing’ was thought of as a dirty word, and factories considered dirty places that were hidden from the public, far away from the consumers of their products. This has changed over the last few years, in part prompted by the Rana Plaza disaster in 2013. Now factories are opening their doors and are finding that their customers increasingly want to know where and how their purchases are made. I saw this first-hand on a recent visit to La Manufacture Bohin in Northern France. The former manager bought the failing company in 1996, which has since opened up its doors to the public who can now visit the factory and see how their pins and needles are made, enjoying a modern museum that celebrates the company’s past, the genealogy of the local area as well as an exciting programme of temporary exhibitions culminating in a fascinating visitor experiece. Contrary to expectation, their productivity has actually increased, as the workers relish the attention. I am not the only visitor to be inspired by a pin factory. Adam Smith the Scottish philosopher and father of modern economics quotes the factory as an example of the division of labour in his treaties The Wealth of Nations 1776. Bohin pins can be found around the world; from the pinscreen animation of Alexander Alexeieff and Claire Parker, to the intricate embroidery produced by Karen Nicol. In this issue, we visit Karen’s beautiful London home as she prepares for a white Christmas. We also examine the ribbon weaving industry in Warwickshire and discover that as well as a culturally defining past, the industry has a thriving future thanks in part to the efforts of Neil Halford, whose 30 year career has helped sustain the tradition at Benton and Johnson, part of the larger company Toye, Kenning and Spencer; one of the oldest family-run businesses in the country. Their vibrant gold threads and silk ribbons bring the festivities to the front of our minds as we settle into winter. If you do make it to a service of carols this year, take a moment to look up at the stained glass and see if you can spot some textiles shining through the panes above." Polly Leonard, Founder, Selvedge Magazine