(combed tops and yarn in the sample room. Wool heaven.)
Yesterday I had a grand day out. Martin and Janet Curtis kindly invited me to the opening of the new showroom at Haworth Scouring, the world’s largest commission scouring company, and an important hub of the British wool industry. The opening showcased many different elements of the industry — from processing right through to retail and distribution — and I was there to demonstrate hand-knitting and design. My sister, Helen, lives nearby, and it was great to bring her along as a spare pair of knitterly hands. Here she is working on a BMC, with some of the beautiful throws from the Real Shetland Company and my Rams and Yowes blanket behind her.
She couldn’t resist trying out one of the Real Shetland throws.
And here she is having a gander at Knit Real Shetland. (Note the obligatory Manu cardigan!)
The showroom had been fitted with a luxurious Shetland carpet, and there were other superb examples of British wool carpeting on display.
. . . as well as woven textiles . . .
(These samples are from Abraham Moon, another great Yorkshire company)
. . .knitting yarns . . .
(Jamieson & Smith’s amazing Shetland Heritage yarn, of which more another time).
. . . finished garments . . .
. . . and other innovative British wool products, such as these Shetland duvets, and a fabulous Vi-Spring Shetland mattress, of which I completely failed to take a photograph.
But my favourite thing, out of the many wonderful woolly things on display in the new showroom, was a piece by artist Angela Wright.
Angela’s wool installations take coned yarn (supplied by Martin Curtis), which is reworked and rewound into gigantic woolly hanks. These huge hanks, when arranged, suspended, and carefully laid down by Angela, have a profoundly transformative effect on the spaces in which they appear. I only had my macro lens with me yesterday, so was unable to take a picture capturing the full effect of Angela’s piece on the showroom space, but you get a good sense of her work from this earlier piece in Bradford Cathedral.
(“189 Miles” Wool Installation ver. 2, Bradford Cathedral, 2010. Photograph ©David Carr-Smith / Angela Wright)
I think it is quite rare to find textile art that manages to combine the spectacular with the contemplative, but Angela’s work is both. These installations are grand and public in scale, but there’s a quiet intimacy about them too, which arises from the woolly materials Angela is using, and (very clearly, I think) her own distinctive personal ‘feel’ for space and substance. Sited in Bradford, the historic home of the British wool industry, the installation seems celebratory and commemorative, both veil and shroud, a portal connecting past to future. There is a tremendous weight to Angela’s pieces — the wool threads hang, drape, and flow with a heaviness that is deeply emotional. Angela told me how some folk were moved to tears upon encountering the piece in Bradford Cathedral — I can well believe it.
(Wool Modern exhibition, Sydney, Australia, Apr/ May 2012, ©Angela Wright)
I recommend you go and have a look at these photographs which document the process of Angela’s wool installations from Yorkshire sheep to finished piece. Pretty amazing.
Here is Angela, discussing her installation with Sophie, Countess of Wessex, who came to open the showroom yesterday and who, like her brother in law, is firmly committed to the Campaign for Wool.
. . .Martin Curtis presented her with a very special woolly gift. . .
. . . a beautiful hand-knitted lace stole, created as part of the Shetland fine lace project.
It was a day in which, from start to finish, the best of British wool was celebrated. Helen and I felt honoured to have been a part of it and enjoyed ourselves immensely. Thankyou, Janet, and Martin, for a truly grand day!