Wednesday, 21 April 2010

The History of Tartan

The History of Tartan

I have read several texts about the history of tartan and they all say largely the same thing and use the same few key references as evidence. The overall impression I have is as follows:
I imagine a race of ancient scots living in the Highlands at least as far back as Roman times, and up to the 18th century. They were celtic and lived within a clan system. A clan is basically a tribe or community made of theoretically one extended family led by the clan chief-the head of the family; it also included a large number of loosely related families who also looked to the clan chief as their leader or protector. This race of people used to have a reputation for being barbaric, but have increasingly been associated with quite a rich culture typified by their clothes. The brightly coloured checked cloth that they wore all over was called braecan in gaelic but of course we now know it as tartan. A traditional item of clothing was the plaid, which was a long piece of cloth draped around the body. In some respects it would have had similarities with a toga or sahri, but the plaid was often hitched at the waist with a belt before being draped around the shoulders. The bottom half therefore looked like a skirt and the modern day kilt is a smarter representation of this form of dress. Socks, tunics, coats and troose (skin tight trousers) made from tartan cloth were also worn.

Each clan would have had a weaver who may well have had his own favourite patterns and used dyes derived from his own geographical area. It may therefore have been possible to recognise certain patterns and colours as being associated with a particular clan, but only in a very informal way. The idea of specific clan tartans seems to be a more modern thing. There is a famous painting depicting Highlanders fighting the English army at the battle of Culloden. Each one wears more than one tartan, none of which are recognisable today as clan tartans. It is the tartan in general that is the most striking feature, and the wearing of tartan seems to have given the Highlanders their identity. The English authorities must certainly have thought so, because following the battle, and in an effort to destroy the Highland clan system they banned all Highland men from wearing tartan. How powerful can a cloth be that a law is made against it being worn?
The ban lasted for over 30 years, during which time the art of making tartan was largely lost in the Highlands. The ban only applied to the Highlanders and not to women or to men who joined the British army. Indeed, to divide and weaken any armed resistance, Highlanders were actively recruited to the British army to form new Highland regiments who wore tartan as their uniform. This was the start of a proud tradition of Highland regiments who have been famous for their bravery in fighting for the British army ever since.
Lowland woollen mills started to flourish, initially in supplying the British army and then as a resurgence in the wearing of tartan took place as it became fashionable under the influence of Sir Walter Scott in the early 19th century. It was around this time that the idea of clan tartans came about, and it seems almost to be as much as a marketing ploy as anything else. A famous woollen mill, Wilson's of Stirling did particularly well in the mass production of named tartans.
When Queen Victoria took a liking to tartan and all things Scottish, the cloth was given a further fillip. Victoria and Albert decked out Balmoral in a tartan of Albert's own design, and I suspect this was what led to many years of seemingly every Scottish hotel and function room being decorated with tartan carpets, curtains and chair upholstery. Many old fashioned places still are.
With the industrial revolution, Scotland made a lot of money from the mass production of tartan cloth. It then became very important as part of the tourist industry. The clan tartans were able to give a symbol of national pride to exiled and scottish descendants all over the world.
Perhaps the most famous example of this was when the Astronaut Alan Bean smuggled a swatch of McBean tartan aboard Apollo 12 and took it to the moon.
The original tartan of the Highlanders was an eclectic mixture of patterns and colours, that typified the colourful, organic, rich heritage of the celtic people who loved to wear it.



Friday, 2 April 2010

What is Tartan?

What is Tartan?

Tartan refers to woven cloth, usually wool or wool and linen.
The distinctive pattern comes from using different coloured threads. Bands of colour varying in width form a "sett" which defines that particular pattern. The sett is a repeating pattern that is the same in the horizontal and vertical threads. The combination of colours from weaving the horizontal and vertical threads gives rise to yet more colours, and hence a very colour pattern is produced that looks like intersecting squares and lines.
The easiest way to discover tartan is to try making your own-use the website below to experiment.

Make you own tartan
http://www.tartandesigner.com/designer.php


Sunday, 31 January 2010

TARTAN

Textile design portfolio project unit 1c: Josie Lennox

TARTAN

On our wedding day my husband wore a kilt made from his families Lennox tartan. It still hangs in the wardrobe. Its rarely seen out, but somehow symbolises a link with Scottish heritage. My knowledge of tartan is no better or worse than most people. I believe it originates from the dress of ancient Scottish highlanders, and different tartans represent different areas or clans although I am aware that its history has been romanticised along the way. Somehow kilts have become a national dress and tartan synonymous with Scotland. Think of tartan and you think of shortbread, bagpipes, and the carpet and curtains of almost every Scottish hotel. But it is also strongly associated with the English royal family. The image of Prince Charles in a skirt of brightly coloured checked material seems a long way from marauding, rugged Scotsman who would have viewed the English monarchy as the most hated enemy.
Tartan is establishment, but also anti-establishment. Think of punk trousers and Jean Paul Gautier's mini kilts. If tartan is a design classic; who designed it? How can it be so recognisable and yet there are so many different variations? It has been around for hundreds of years so can knowledge of how its made inform us in making organic sustainable products today?

Saturday, 30 January 2010

TELLING TALES


1.What is your immediate feeling on entering the gallery and seeing the works?

The exhibition was split into three sections. The first section was called FOREST GLADE and in it were displayed objects inspired by fantasy and nature that evoked the spirit of fairytales.
My first impression was one of refreshment. I had come from the hubbub and commotion of London and then the busy imposing V and A and walked into a space that felt calming.
There was a background of printed gauze screens for each section in this area and the dappled lighting was very dramatic. There were gauze screens with patterns that looked like ink blown with straws but nevertheless were distinctive as branches and were very striking.
There was a light and airy feel to the space like outside inside.
The sound effects of twittering birds, and the crackling twigs of someone walking in the undergrowth were familiar sounds of being in the forest.
Faced with objects out of context to their environment and function, they seem eccentric and impractical. Only the rich and eccentric would have them in their home.
There was also a clean IKEA like feeling; no clutter; uncosy.


The second section was called ENCHANTED CASTLE. "This was a palatial pile where grandfather clocks chime. Rococo scroll wallpaper provide the perfect backdrop to a muddle of extravagant objects; the trappings of high social status, which subvert the lavishness of late victorian design." (Telling Tales, Gareth Williams 2009, page 61.)
This was a visual excess; not relaxed and again not cosy. The big mirrors that warped the items in the room as if they were tarnished were eerie. There was an insincerity about the splendour, as if the items were there for show rather than to be enjoyed. There were familiar objects but made cold and uncomfortable.


The last section was HEAVEN AND HELL. It was dark and gloomy. It felt awkward. It felt like staring into a psychopaths dungeon. There was the feel of a horror movie. All feelings of splendour had gone, even though the objects displayed could still be described as lavish such as the taxidermical lion oozing gold, the mole slippers and the fox leaking gold maggots from its ears.
There was disorientation from moving shadows and menacing music. A burst of red colour that flooded the ceilings at intervals suggested blood.


2.Choose a piece from each section and list the feelings and response that the works generate in you and why.

a. Bathboat by Wieki Somers.

This was a small wooden boat whose function had been turned inside out in that it was designed to keep water in not out. It had taps and was instantly recognisable as a bath as well as a boat. In this respect it looked less surreal and more humorous. It was beautifully crafted and its natural wood finish connected with the trees in the forest, giving it a feel of fantasy and fiction. It was set on the sort of blocks used to stabilise boats and this reminded me of victorian bath legs. It was a beautiful piece.

b. Robber Baron table,2006

The table base is in the form of a black factory building; glowering, industrial, nineteenth century northern England. From each of the four corners arise large chimneys that billow golden clouds that form the table surface. This represents pollution. The golden globular form reminds me of fat globules; more specifically like cholesterol deposits in an artery. To me, this is quite a fitting representation of the damage caused by Western industrialisation.

c. Moulded Mole slippers, 2004. Niels van Eijk and Miriam van der Lubbe

These are slippers made from discarded moleskins. At first they look both elegant and comfortable, a cross between a pair of winklepickers and something you would find worn by a pixie in a forest. Close up however you are more aware of the feet and the snout. They start to look ugly and not something I would like to wear.


3. Notice the display of the objects, their relationship to each other and their lighting. How these evoke feelings of drama, interest and tension.

Forest Glade:
The panels create drama and act as a good divider between the objects in this area. As the panels are made of gauze, they are floaty in appearance and still give the area a feeling of being light and airy; a vast open space. Had these panels been made of solid material they would have become enclosing.
The objects were placed between these panels with plenty of space between them so they could be viewed clearly. There was no clutter to distract the mind. There was a minimal feel; calming and relaxed. It was enjoyable. The lighting was dappled and evoked the feeling of a forest of myths and fairytales.
The objects all appeared minimalist. Even Boontje's Fig Leaf wardrobe with its intricate hand painted copper leaves had enough space around it to appear minimalist. They were beautifully crafted. Although the objects were all different in design, and all had their own individual meaning, this alone connected them, and their surreal ecleptic element unified them.
The enchanted castle:
This was more cluttered. There was more dark furniture. There was black red and gold and a lavish feel. It was not relaxed or cosy, more cold and uncomfortable; there for show, not to be enjoyed. Mirrored walls gave the impression of a glittering world full of insecurity. The rococo wallpaper was a fitting backdrop to extravagant objects.
Heaven and Hell:
This was disorientating. The music was menacing. The lighting created moving shadows, and bursts of red colour flooding the ceilings at intervals suggested blood. This gave a dark dungeon like feel. Objects were displayed within rooms which were viewed through slits in the wall. It was like staring into a psychopath's workshop. It was cold and eerie. It summoned up feelings of death judgement and anxiety.

4.How might the exhibits inspire your table theatre?

Obviously the objects in the exhibition were much bigger than those I will be collecting to bring to college, and the exhibit space also much bigger, so to equate the two collections is difficult.
I liked that the objects all related to each other in some eclectic way without being the same. Each had their own independent story; something I may like to bring foward into my collection.
I shall not use lighting or sound. I found the objects cold and not loved. My objects will be the opposite. I want to draw and develop them, so I want to like what I choose to collect.
There was no happiness in the exhibition for me. There was beautiful crafting in the exhibition but this is not important or relevant to my collection. It felt staged or set up. I want my objects to come about in a more random, natural way, as often, ideas develop from mistakes; things happening away from control.

5.Take notice of the titles of the exhibits and choose two to analyse and discuss in under 300 words.

Sensory Deprivation Skull, 2007, Joep Van Lieshout. This is a large model of a skull. Entry can be gained into the skull via doors at the back. There is enough space inside for two people to sit on a sheepskin rug. I assumed that this was a parody of a floatation tank; a space where you can relax free from stimuli. Both Gareth Williams (Brochure for Telling Tales,2009. page 106) and Helen Brown (Review: V and A's Telling Tales show gives furniture a fairy tale twist. Guardian.co.uk) talk of the skull inviting you to get inside your own head; a pun about psychoanalysis which leads to mention of Freud who is also famous for his interest in eroticism and associating this with a private space for two and a sheepskin rug. I was thinking in more simple terms that a lack of senses is akin to an empty skull.

Storm Chair, 2000. Stephen Richards. By comparison this is a beautifully simple title. The chair puts you in mind of a storm both from the flimsy sticks its made from that could have been washed up on a beach after a storm and the way they are put together as if destroyed in a storm. The title is integral to this exhibit.

6. Wich designers or pieces particularly caught your imagination and/or inspire you?

I think I have already covered this as I have only chosen to write about the works that particularly interested me. My favourite was the Bathboat.

Bibliography:

Brown, Helen.(2009) Review: V and A's Telling Tales show gives furniture a fairytale twist. [Internet] Available from

Dorment, Richard.(2009) Art Review: Telling Tales: Fantasy and Fear in Contemporary Design, review.[Internet] Available from

Wiles, William.(2009) iconeye: icon magazine online: Review: Telling Tales. [Internet] Available from

Williams, Gareth.(2009) Brochure: Telling Tales: Fantasy and fear in contemporary design. London: V and A.

TELLING TALES

Monday, 4 January 2010

People Tree Vs Boden



A comparison of two clothing companies with respect to ecological/ethical policies and fair trade in particular.


Boden and People Tree are two comparatively new, modern companies. Both sell largely via mail order to a similar target population, in the same price bracket. Both have men, women and kids ranges. Both identify themselves strongly with their founders; Johnnie Boden and Safia Minney, respectively.

Boden has a section on its website entitled "eco and ethical". The eco refers to a policy of trying to keep its catalogues recyclable. It admits to sending out a large number of catalogues. It doesnt make it clear whether the paper used is recycled, but states that the wood used to make the paper comes from sustainably managed forests. It also makes the point that their staff can get to the London office by public transport and that Johnnie himself cycles to work.
Boden makes no claim with regard to sourcing natural/organic materials to make their clothes. There is no mention of recycling at all with respect to clothes production.
Boden is a member of the Ethical Trading Initiative, and the website states that they have their own programme of factory visits, and they commission independant auditors to carry out further checks.

The People Tree website makes it clear that ecological and ethical issues are a core factor of the companies existence. It is a detailed website that describes a holistic approach to sustainability.
From the start it states that its designers work within this sustainability remit. Not only do they design for natural and organic fibres and dyes, but they favour designs that require hand crafting and skills local to their producers, in order to create more work for local craftspeople.
It states that they use almost exclusively organic materials, and details exactly when and why this is not the case.
It briefly talks about recycling but does not go into details about pre and post production recycling, apart from when describing the work of specific Fair Trade partners.
It is a member of the World Fair Trade Organisation and states that it is involved in the development of its 10 Standards for Fair Trade. These standards cover the following criteria:

Creating Opportunities for Economically Disadvantaged Producers.
Transparency and Accountability.
Trading Practices.
Payment of a Fair Price.
Child Labour and Forced Labour.
Non Discrimination, Gender Equity and Freedom of Association.
Working Conditions.
Capacity Building.
Promotion of Fair Trade.
Environment.

The website details its approach to sustainability. It identifies its Fair Trade partners. These are local groups that produce the clothes, mainly in Asia. They comprise of local craftspeople and artisans. People Tree state that they get involved with the training for these people, and reinvesting in the form of schools and creches. They also have a policy of 50% advance payments to local producers which promotes quality and sustainability.
They undertake regular " Social Reviews" whereby all their stakeholders can comment on how they are doing. Their comments are posted on the website.


With respect to Ethical/Fair Trade, both Boden and People Tree belong to respected worldwide associations, The Ethical Trade Initiative and The World Fair Trade Organisation respectively. The websites for these organisations state fairly similar ideals and both expect commitment from their members significantly beyond subscription fees. In trying to compare the difference between the two, I found a good summary on the website of an organisation called "Traidcraft":

"Ethical Trade is about achieving a basic minimum standard of ethical behaviour in trading relationships. Fair Trade organisations, whilst supporting many of the principles behind ethical trade, go beyond this and aim to encourage the development of disadvantaged people in the poorer parts of the world.
Ethical trade aims to ensure that internationally recognised labour standards, such as fundamental human rights, are observed at all stages in the production of goods for the UK high street.
Whereas ethical trade tends to focus on minimising the harm caused by trade, fair trade seeks to make a positive contribution to the development of poor communities."

Hence, although Boden's commitment to ethical trading is laudable, it doesnt seem to play a central part in their raison d'etre. It is even possible that it is a consumer led policy bearing in mind the aspirations of their target population. Not that this would be a bad thing and a company responsive to its customers is likely to be more successful.
In comparison however, People Tree are trying to lead the way in terms of sustainable manufacturing. Their website is quite inspirational, and very convincing in outlining the direction in which we must go to achieve global sustainability.
With respect to their products, People Tree's clothes reflect their organic methods in terms of colour and form, and the range is not as wide as Boden's. Boden is also slightly cheaper. Comparing basic items such as a plain white cotton shirt, T-shirts and chinos, the Boden prices were roughly equal to the People Tree sale prices. However once you know the story behind the clothes, the People Tree garments become much more exciting.


bibliography:

Boden website.[Internet] Available from http:www.boden.co.uk

Ethical Trading Initiative.[Internet] Available from http:www.ethicaltrade.org/

Minney, Safia. Safia's blog [Internet] Available from www.peopletree.co.uk/safia

PeopleTree website.[Internet] Available from http:www.peopletree.co.uk

Webb,Andy.(9.3.06) BBC Money Progamme: How fair is Fairtrade?. [Internet] Available from http:www.news.bbc.co.uk/1/hi/business/4788662.stm

World Fairtrade Organisation.[Internet] Available from http:www.wfto.com/





















Tuesday, 8 December 2009

Portobello Road



Portobello road is an iconic London destination. The name comes from the farm that used to occupy this area. The landscape wasn’t urbanized until Victorian times, when shops and markets grew up to service the wealthy Londoners of the West End, in the elegant crescents and terraces nearby. Working class people would have lived here and made a living either serving or working for their upper class neighbours.
It is still the market that defines the area and draws the tourists but Portobello road does not rely on it for its distinctiveness. The architecture, the cosmopolitan air and the uniqueness of the independant traders are what stand out.
The road meanders for a couple miles in a north/south direction. Starting at the southern end, you often arrive as part of a possie of people walking from Notting Hill Tube station. The architecture is distinctly Victorian with beautiful terraced houses. Many are painted in bright colours, which provide a characteristic image of the road. There is an intimacy about the closeness of the buildings which sets the tone for the character of the place. Amongst this you see a range of different communities, diverse in culture and economy, and an energetic buzz from the market, the shops and the pubs, cafes and meeting places.
A particular feature of Portobello road is its lack of chain stores and big brand shops.
The market is famous for antiques, bric a brac/second hand stalls and vintage clothes, particularly on a saturday. There are also food stalls, and fruit and vegetables, located more to the north end, that are there all week.
The road is not straight, but meanders and is punctuated by crossroads and flyovers at its north end, which typifies its eclectic nature.
Travelling north, the character of the road gradually changes. The south end has more of a gentrified, quaint feel. By the time you reach the north end there are some concrete tower blocks, with urban graffiti adourning the walls.





On one of the market stalls I found a collection of buttons stored in a big rusty old tin; lots of them all of different shapes colours and sizes; different also in age, although none of them looked very new. The buttons were shiny in appearance, mainly circular, very colourful, and enticing to touch. They all seemed to be made from plastic. When I think of buttons I conjour up images of clothing,sewing,decoration and jewelry. They also have the practical use of fastening garments.
In the setting of the market the buttons seemed to represent Portobello road perfectly, with its many different cultures, eclectic shops and colourful houses; all different, like the buttons, in age and appearance.
These buttons would not look out of place in the setting of an art gallery. Displayed in a big glass jar, for example, the various colours and textures of the buttons would be the focus of interest.

They could also be used to produce artwork, especially textile art, such as the piece by Kathryn Celliers-Louw shown above.

From WH Smiths I bought a packet of stamps for £1.99. These too were colourful but regular in shape-square or oblong. They were artistic in design, often graphic drawings or paintings. They made me think of letters, travel, collectors items, and strangely enough the Queen. They could therefore represent the cosmopolitan nature of Portobello road with people from many countries and ethnic backgrounds. The images on many of the stamps were works of art in themselves, but stamps are every day items that are often taken for granted. I was amazed at how beautiful the stamps were and I used them to create some pieces of art.

My overall impression of Portobello Road is of a really interesting place. I liked its eclectic nature and cosmopolitan feel.

The gallery I chose was The Serpentine, to see Gustav Metzgers collection from decades 1959-2009. On display was a plastic bag filled with scrap paper, and pieces of cloth collected over a long piece of time.
Of course you could imagine seeing this anywhere. It would certainly not look out of place sat next to a market stall waiting for the street cleaners to dispose of it or for the same reason by the back door of a department store. I think that is what makes it more powerful as an artwork; a seemingly valueless collection of material that we see thrown away everyday that actually may contain samples collected over a long period of time that could be of use and value in all sorts of settings

References:

Wikipedia; online encyclopedia available from world wide web; en.wikipedia.org/wiki/Portobello_Road (ONLINE)

Katherine Celliers-Louw; textile artist, image found at www.overberginfo.com (ONLINE)

Gustav Metzgers;Decades 1959-2009; Serpentine Gallery, Hyde Park, London, October 2009. (Exhibition)