Category: News

How did you become interested in the craft of weaving?
My mother and father were placed in internment camps in the United States as young children during World War II, due to their Japanese heritage. During this time, crafts were an important way for parents to occupy and entertain their children. My dad gained a lifelong love of woodworking and architecture through this experience. He eventually graduated from the University of California, Berkeley and became a structural engineer, much of his focus being on using Japanese temple-building techniques.

My mother learned a lot of different types of crafts in camp and has since always created things with her hands. Almost forty years ago, my mom took a class from a basket maker from Japan and fell in love with Japanese basket weaving. She continued studying with her and with other basket makers as well. She eventually combined this training with my dad’s love of rocks to craft our rattan-wrapped river rocks. Her wrapped rocks have become very popular, particularly at museum gift shops around America, including The Asian Art Museum in San Francisco, California and The Noguchi Museum in Long Island, New York.

My mother’s and father’s love of crafts has had a big influence on me. I have always loved to do things with my hands – knitting, crocheting, sewing, drawing, painting, etc., and I ended up with a degree in design from the University of California, Los Angeles. My husband and I operated an engineering firm for many decades, where my art background influenced my drafting, allowing me to clearly and beautifully present building drawings. When my mom needed help with her growing business in wrapped rocks, it was a natural fit for me to join her. I love the technique and precision of weaving rattan around our rocks, and I love using my hands to bring an inner joy to myself, and with that, to others.

What is your design process?
My mother and I have always enjoyed the architecture of traditional Japanese knots. When tying our rocks, we consider the shape, color and size of each one and choose knots that will enhance these features. We then use our wrapping material of rattan, and now leather provided by LOEWE, to weave the desired patterns and knots. Our design process is one of bringing our joy of crafting to the finished piece.

What are the positives and negatives of working as a mother-daughter duo?
There are many positives to working together. My mother and I enjoy each other’s company and we truly like working together. We share a common understanding of art. When one sees beauty, the other one does too. We have an absolute trust in each other, so we have a very comfortable working relationship. I cannot think of any negatives. We are best friends and work together wonderfully.

What role does craftmanship and making of crafts have in society?
I think that crafts take us back to simpler times, when craftwork was needed by families to survive. Whether it be clothes making, furniture making, home building, or the like, crafts and craftmanship have allowed people to better their lives.

I believe that the modern world has brought great progress; however, it has taken most people away from craftwork. For my mother and I, doing craftwork allows us a pleasant time to create art without the pressures of modern life. Our observations of others have shown that people who sew, knit, or build anything with their hands are content and happy people.

LOEWE, thoughtfully, has brought the importance of hand crafting to a center stage. We hope that people around the world are getting a new appreciation of the benefits of crafts and handiwork to help the well-being of all of us. They understand that average citizens can benefit their own lives and others by using their hands again. So much joy is created within a person when you begin with nothing, and through your ingenuity and handiwork, end up with a beautiful piece of art. We believe that LOEWE, through their genius, and with great forethought, is encouraging a new renaissance in handmade crafts.

What are you most proud of?

Foremost, I am proud of our two children. They are fine young people. I am proud of a full life, one lived with little regret. In our business, I love the positive feedback that we get from our customers. We have had many people tell us that they get positive energy from our art, and that just seeing and holding our rocks brings a feeling of peace and tranquility. I am proud that we can bring joy to people through our art.

Join LOEWE and Shizu Designs for a series of specialist demonstrations in their newly opened flagship store on New Bond Street on 11 and 12 May. Read more.

“As always, the London Craft week programme deserves close attention and an afternoon armed with a highlighted pen and post it notes.

There is such variety across the programme, and it has spread from its Mayfair heartland into nooks and crannies across the city. This year my attention has been piqued by three strong themes emerging through the programme – a growing emphasis on international craft representation, the emergence of new and exciting craft voices, and opportunities to explore craft behind the velvet rope – spaces that are not normally accessible or widely open to the general public.”

1. LOEWE: Baskets Live Demonstrations by Shizu Designs 

Jonathan Anderson’s championing of craft at LOEWE has been a gamechanger. The basket installation at Milan was one of the highlights & so the opportunity to get up close to the work of Shizu Designs will be a must-see in London.

2. Heal’s x Gifu Japanese Craft Market

For the latest edition of the Heals Modern Craft market, the team have gone to Japan and curated a selection of work and workshops from independent producers from the Gifu region. The result is a 13 strong collection of varied work from modern and traditional makers, with plenty of opportunities to immerse yourself in the process through a series of fun and affordable workshops.

3. Bobby Mills at New Road Residence New 

I’m excited to see Bobby’s furniture – all made by hand using a woodturning lathe. It has a real elegance and lightness of touch that suggests he is an exciting maker to watch develop.

4. The New Craftsmen: Processing Lichen by Charlotte Kingsnorth

These extraordinary new bronze patinated tables and mirrors are inspired by patterns of lichen and are developed by layering chemicals & pigments to a heated bronze surface. Her works will be showcase alongside a selection of works co-curated by Charlotte. 

5. Tour of Building Crafts College

As a local resident, a visit to this college is long overdue so this is the perfect time to visit. Founded by the Worshipful Company of Carpenters in 1893, this space consistently trains up brilliant craftspeople across a range of disciplines. As it becomes more and more challenging to sustain making spaces in cities, it’s worth highlighting the kind of spaces that do still exist.

6. Making the Modern Using the Traditional: The Materiality of Mosque and Church

The tragedy of Notre Dame is a timely reminder of the role that religion – of all faiths – has played in commissioning extraordinary craftsmanship across history. Shahed Saleem, architect of East Hackney Mosque, and Alex Sherratt, architect of Mildmay Shoreditch Tabernacle offer a site visit to two new religious buildings, sharing insights on what it means to make a religious building in London capturing community identity today.

7. Real to Reel: The Craft Film Festival

And finally, the Crafts Council’s own contribution to London Craft Week includes Real to Reel: The Craft Film Festival. Now in its fourth year the festival returns to Picturehouse Central on 7 and 8 May with a different programme of short films each evening. Real to Reel is also supporting a special installation Screen for Another Focus by David Penny at The Future of Craft at Bargehouse, Oxo Tower Wharf from 9-12 May. The triptych installation blurs video and photography to interpret the extraordinary craftsmanship of the weavers at Dovecot Tapestry Studio.

1. Artisan Workshop: Card Case & Key Fob Making

While Dunhill is known better today for its sharp tailoring, it was founded back in 1893 to outfit people getting onto the then-newfangled motoring craze – so it makes sense that key fobs are still a large part of the label’s business. This workshop at Dunhill’s factory in Walthamstow will be great as not only do you get to see how they make their leathergoods, but you also get to take a personalised example home yourself. 

2. Scented Candle-Making Masterclass with Earl of East London

My house is filled with more scented candles than I’d care to count, including one by Earl of East in my bedroom (Atlas Cedar, to be specific). However, what I don’t have is any of the brand’s new bath salts – which I’m keen to learn more about (and make) at this workshop.

3. The Art of Repair: Kintsugi at wagumi 

I have always found the Japanese process of repairing precious pottery with lacquer and metal, not superglue, absolutely stunning. This workshop, which includes a lecture on the art of repair as well as a Japanese small plate and incense holder to work on (and take home), for me, is unmissable. 

4. Daylesford Explores the Craft of the Tabletop 

Speak to anyone who I’ve ever sent a thank you letter to and they’ll tell you I have abysmal spider-like handwriting. For the benefit of those people, I feel that calligraphy is a skill I should probably learn sooner rather than later – plus any excuse to spend far too much on baked goods and cheese at Daylesford is a good one, in my opinion.

5. ERDEM’s Personal Art Collection

Yes, you could go to his shop and drink in the designer’s stunning art collection any time – but I feel those Warhols and Cocteaus will look even better with a glass or two of complementary champagne. 

6. Hiut Denim at the Office of the Secretary of State for Wales

As a dedicated devotee of double denim, getting an insight into Hiut – a seriously cool jeansmaker based in a tiny Welsh town where ten per cent of the community is employed by the brand – is one not to pass up.

 

If you want to sum up what makes London Craft Week such an important expression of the capital’s creativity, you just have to look at the history of dunhill. From his beginnings in his family’s harness company in the second half of the 19th century, founder Alfred Dunhill’s passion for the emerging motor industry taught him how tradition and technology, craftsmanship and creativity could and should be perfect partners. Today dunhill is a global brand that stays true to this founding philosophy.

During this year’s London Craft Week, dunhill is celebrating the brand’s new global HQ in Mayfair. Designed by London-based architect Linda Morey-Burrows in partnership with dunhill, this has been crafted over two floors of a heritage building and embodies the qualities of tradition and forward-thinking design that have been synonymous with dunhill since its beginnings in 1893. To encapsulate this in a modern masculine space that inspires the team, the design plays with details that reflect the brand such as black leather, brass, ironmongery and tailoring fabrics alongside etched glass and wood, exposed concrete columns and steel balustrades. The result neatly sums up the dunhill approach.

According to dunhill CEO Andrew Maag, “Not only is new technology revolutionising the retail experience in the digital sphere, such as our new WeChat boutique, but it is also helping to make the craftsman’s job more interesting and innovation is helping to attract a new generation to engage with a wide variety of more interesting materials and provides the tools that help do things smarter, faster and better. But, of course, you need people who can touch and feel.”

This commitment to craftsmanship still has its roots planted firmly in London’s rich soil. dunhill’s workshop in Walthamstow opened in 1936 and the team based there continue to produce the finest leather accessories in the business, as well as offering a bespoke service for anything from wallets to luggage. “Craftsmanship is all about telling stories,” explains Maag. “When you are buying a leather bag you can start by comparing quality and price but discovering the story behind a piece – how it was made, the thought and the engineering that went into it and what did (or did not) make it to the final offer – is what makes the real difference to a luxury brand. Our knowledge of skins, of pattern making and engineering has to be the foundation of what we do.”

This commitment is reflected in dunhill’s tailoring, too. Today, the bespoke tailoring all takes place at the flagship store Bourdon House where Maag has had the space redesigned, partly with an eye to attracting young craftsmen to join the business, such as the two new strikers (assistants to cutters) that have recently been signed up. “I see a vibrancy in the young people of London who are passionate about what they do,” says Maag.

So, it comes as no surprise that dunhill is one of the Headline Sponsors of the fifth London Craft Week. The brand’s centuries-old roots in the capital is proof of the astonishing range of craftsmanship and creativity that has always been found here.

Text by Robert Johnston

View dunhill’s events here 

London Craft Week is looking for new volunteers to join the team from Wed 8 to Sun 12 May 2019. 

From the smallest off-the-beaten-track atelier to the storied livery halls of ancient makers’ guilds, the shop floors of luxury retailers to St Paul’s Cathedral, London Craft Week takes people on a journey of discovery into the capital’s most creative spaces.

Launched in 2015 London Craft Week aims to showcase creativity and craftsmanship across Art, Fashion, and Design, celebrating the unsung heroes both established and emerging from each. 

Since our inception, the week has doubled in size. This year there will be over 230 events, covering 50+ craft disciplines from musical instrument making to basket weaving and spectacle making. Check out the full list of events at: lcw-xk7yr.projectbeta.co.uk/programme.

Every year volunteers play a big part in creating a very special atmosphere at London Craft Week by helping visitors to get the most out of the week. By joining the LCW team as a volunteer, you help us by being the onsite presences at each event, dealing with visitor queries, occasionally assisting with any event logistics such as ticketing/guest list, and supporting the individual event runners by being the direct contact to liaise with where any LCW team support is needed. 

We will make every effort to ensure you gain valuable experience in working behind the scenes at a not-for-profit events organisation while having lots of fun!

You will be required to attend a half-day training session on Thursday, April 25th This training session will serve as an introduction to LCW and will cover the different aspects of the volunteer role.

We would ideally like someone to commit to volunteering for the whole period of the 8-12th May, however, we are open to working with your schedule and the hours that are possible to you.

We reimburse reasonable travel expenses and lunch against receipts – refreshments will be available at the office additionally.

If you are interested in learning more about the not-for-profit world of art festivals, and/or are interested in the craft sector, please send your CV and a brief statement of interest to Kate@londoncraftweek.com.

Brutal Textures: Sculptural Ceramic Course
From Sat 2nd March  

Make a ceramic sculpture inspired by the Brutalist Architecture of the Barbican in a month-long course with Artist Matt Raw. You’ll learn a number of different techniques, and the final pieces will be displayed collectively at the Barbican Centre for LCW 2019.

Image credit: Matt Raw

Be a TOAST New Maker
Apply before Weds 13th Feb 

TOAST are seeking makers of all disciplines to apply for their New Makers programme. The initiative will support and mentor five emerging makers by offering business and marketing advice, as well as a platform to sell their pieces. The winners’ pieces will be displayed for LCW 2019.

Image credit: TOAST

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Urban Potters: Makers in the City
Available now – published by Ludion.  

Design Journalist Katie Treggiden explores the contemporary revival of ceramics in London, Copenhagen, New York, Sao Paulo and Tokyo. The book focuses on each city’s young and passionate makers and introduces their studios, their work and their inspiration. 

Image credit: Yeshen Venema

Making is Good for You: The Heritage Craft Association Conference
Saturday 9th March – 10am – 4.45pmAs mental health remains high on the political agenda, this full-day event will shine a light on the link between making and improved wellbeing through a series of talks with Jay Blades, Celia Pym and Lawrence Neal. 

Image credit: Heritage Craft Association​ – Kate Hetherington, Collar and harness maker

For LCW programme updates, plus news, offers, partner events & more, sign-up to our newsletter by clicking here.

In this month’s Maker in Focus interview, we spoke to ceramic globe maker Loraine Rutt on being inspired by historic cartographers, creating a moon globe for an Apollo 15 astronaut, the importance of collaboration, and her advice for aspiring craftspeople.

LCW: What does your typical day look like?

LR: Often I wake quite early and the quiet stillness allows the better of my creative thoughts to filter to the top. I’ve learnt not to worry about making notes and sketches in the wee small hours as I think the good ideas will hopefully stick around.

By mid-morning it’s generally studio time. There’s a lot of different stages to making the globes and cases, so I tend to work in small batches, making 4 or 5 globes one week, and a similar amount of cases another.

The larger wall pieces like the Segment series involve quite an intense amount of focus. The first edition took take around a thousand hours to model the 24 relief segments to scale in wafer-thin porcelain layers.

On the rare occasion I stop for lunch it’s a treat to sit with my lovely neighbours in our courtyard at the Arches Studios. Most days are at least 12 hours, but when you thoroughly enjoy your work it tends to fly by.

LCW: What initially led you in to craft as a career?

LR: It was a sideways step really. I’d always loved maps so when I’d just left school aged 16 and saw a job as apprentice cartographer at Birkbeck College I leapt at the chance. Both my primary and secondary schools had brilliant teachers who embraced art and craft and I was lucky to work with clay from about the age of 9. Whilst I loved drawing maps I knew I was happier making things so did some evening classes at Putney School of Art where Esperanza Romero was teaching. She was really complimentary about what I was making and talked about the ceramics degree she had recently completed. I applied to Central (St Martin’s) and to my joy I got in! It was a life changing experience.

LCW: What role does craftsmanship and making have in society?

LR: Room for creativity has been sadly squeezed from the curriculum, but it is so very important. Not just for sowing the seed for budding artists and makers, but for all careers. The problem solving and inventiveness required when working with materials can give children, and adults the confidence to flourish in other areas too. Thankfully the education sector is starting to realise this, and there is a move, starting from the ground up, to factor in more time and budget for art and making.

LCW: What are the positives and negatives about being a craftsperson?

LR: ‘Expect the worst and hope for the best’ is my approach in the studio. Being a craftsperson, working in my own studio is mainly a positive experience, I enjoy the freedom of making what I want to make, and experimenting, although there are moments when the ‘expectations’ unfortunately get the upper hand. I spent a long time (over two years) trying different ways to make the pocket globes and the cases, with many disappointments along the way, but when I started to get the results I was seeking, everything just came together.

It’s a positive joy collaborating with other craftspeople. I work with wood turner Richard Findley, a specialist box maker Tom Aylwin, and gilder Gary Gronnestadt. Mia of Sabel Saddlery taught me how to make the bespoke leather covered cases.

On the negative side, the hours can be tough, I left a 9-5, 5 day a week job 30 years ago and now I do 9-9, 7 days a week. It is immensely satisfying though being able to play a part in the giving of bespoke gifts. I get to travel vicariously through commissioned globes, and share a small part in the gift giving. The first ever order for a bespoke globe placed on my website asked for an inscription ‘Jacqui – Marry Me?’ I was slightly nervous at making the carrier of this important message. I was delighted to receive the news that Jacqui said yes.

LCW: What are you most proud of?

LR: There’s been a few self-pinching moments recently, one of which was showing my tiny Moon Globes to an Apollo 15 astronaut that had been there and mapped 75% of the lunar surface. When I met him again a year later he told me that he loved my work, kept my globes on his desk, and asked if I would be interested in doing a limited edition. So this year sees the launch (pardon the pun) of The Al Worden Lunar Globe commemorating 50^th Anniversary of the Lunar Landings.

Another highpoint last year was being commissioned by The National Maritime Museum to make a Pocket Globe for their permanent collection. And I’m chuffed to bits to have been asked to lend my Peckham Postcard series, which charts the disappearance of the River Peck to The Museum of London for their Secret Rivers exhibition in Docklands this summer.

LCW: Who or what inspires your work?

LR: Not one thing or person, but indeed many. I was lucky to have been taught by inspirational ceramicists at Central. Richard Slee’s work is so immaculately made, original, and with such a wry wit it never fails to make me smile. Eileen Nisbett and Gillian Lowndes were both pioneers of pushing the medium in very different directions and were incredibly generous teachers.

Some of my edition pieces are hat-tipping acknowledgement to inspirational historic cartographers. The finesse and incredible level of detail contained within maps never ceases to inspire me. Emery Molyneux travelled with Drake on his second circumnavigation of the globe in 1577-80 then made the first English Globes, one of which survives at Petworth House, and another in Middle Temple. Social geographer Charles Booth mapped the social status of every inner London house in the 1890’s, and by doing so highlighted the extent of poverty in city. I have some experimental work in progress at the moment for some geology pieces inspired by William Smith, who single handedly and pretty correctly drew the first geological map of the UK; Marie Tharp who drew the first maps of the ocean floor; and Phyllis Pearsal who walked the entire streets of London to map the A-Z.

LCW: What is the one piece of advice you’d give to an aspiring craftsperson?

LR: Go and look at as much craft as possible, and keep an open mind about what you’d like to make and try as many materials as you can. Make the most of London Craft Week and also sign up for newsletters from The Crafts Council, there are many workshops to take part in. Trust in your own ability to make original work. If you are interested in being a maker then it is just a matter of research, practice and time and following your heart.

Website: www.thelittleglobeco.com

Instagram: @the_little_globe_co

For more Maker in Focus interviews, LCW news, events, offers and more, sign-up to our newsletter by clicking here.

We’ve partnered with The Conran Shop to offer one lucky subscriber the chance to win an exclusive two-person masterclass at Make-Ready’s world-renowned North London print studio.

The grand prize will transport the winner and their plus one behind the screens of this iconic print house to learn the craft of screen-printing from Make-Ready’s expert printers and take away with your very own one-of-a-kind masterpieces.

To be in with a chance of winning, please answer the following question and enter your details in the fields below. Competition closes at midnight on 18 March 2019.

 

 

 

 

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