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Archive for the ‘The Visible Mending Programme’ Category

It is with great pleasure and not a little bit of pride that I came in the top ten of the 2017 Textielmuseum contest! This year the theme was “reinventing textiles”:

“We live in a society where many of us throw away things quickly when they are out of fashion or seem just a tiny bit worn. The contemporary design world is about material and its use. Designers seek both high and low tech ways to rediscover the materials and elements they work with and apply innovative ways to create a product. Materials are recycled and upcycled to give new life to texture, form and colour.

 

Design a special product or material application in which the theme ‘Reinventing Textiles’ adds value to the design.

Consider which (textile) objects you tend to throw away and how to give it a second life as an interior product, toy or item of clothing with a high design value. For example, a curtain shaded by the sun, worn clothes, a carpet that’s been walked on over and over again etc. Think about ways to repair, decorate, embroider, unravel, trim, smear, refurbish or customize textiles or apply textile techniques to non-textile materials.

How can you apply the wearing and tearing in a positive way and use it in a design or product? Research, experiment, learn the origination techniques of materials and innovate. Upcycle instead of downcycle – make ragged outfit textile products that are attractive to you.”

A quick note: all pictures in this blog post were taken by Saskia de Feijter, proprietor of Rotterdam’s hippest yarn shop, Ja, Wol!

tomofholland textielmuseum design contest top ten

Me at the award ceremony and opening of the Reinventing Textiles Exhibition

I work mostly with wool, and enjoy creating and repairing knitted objects. I like to do things that take forever, as it allows me to gain a deep understanding of material qualities and the traditional techniques I use for making and mending contemporary objects. By exploring the motivations I favour not the new and perfect but the old and imperfect, as that allows me to highlight the relationship between garment and wearer. My interest in using traditional techniques for creating and repairing (woollen) textiles means that creating and mending textiles are in constant conversation with each other.

Tomofholland Visiblemending vintage blanket Textielmuseum

My mother inspecting my handiwork

The Textielmuseum is located in Tilburg, a city in an area of The Netherland which has a rich textile history. The museum is housed in a former textiles factory, once one the largest employers of the area. One of the permanent exhibits is about woollen blanket manufacturing, showing all the different stages of making a blanket, from spinning wool to weaving to finishing.

tom of holland the new craftsmen tea towel 3

Vintage patched linen tea towels

The museum also still has a working damask mill, and they frequently collaborate with designers, creating beautiful contempary table linens. I may have indulged myself somewhat in the museum shop…

Also on the premises is the TextielLab, a unique knowledge centre, combining a specialised workshop for the manufacture of unique fabrics and an open studio where innovation is central. National and international designers, architects, artists and promising students are guided by product developers and technical experts, and so discover the endless possibilities of yarn, computer-controlled techniques and craftsmanship.

I love the outward looking approach of the Textielmuseum and TextielLab, showing great respect for traditional techniques, yet at the same time exploring new directions in textiles, and it’s a great honour to have be part of the top ten in the Reinventing Textiles contest.

The entries of the contest top ten and winners is on display at the Textielmuseum until 10 December.

tomofholland vintage blanket visiblemending textielmuseum

Showing off my blanket!

With thanks to Sas for letting me use her pictures.

 

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Cobbled together: transitive verb. 1 chiefly British : to mend or patch coarsely. 2 : repair, make cobble shoes. 3 : to make or put together roughly or hastily —often used with together or up : cobble together an agreement, cobble up a temporary solution.

Canvas and leather shoe repair WIP

Shoes in need of some cobbling with a difference

My friend Sam absolutely loves these shoes, and she has worn them a lot. As a result, the canvas in the creases on the top of the toes had started to deteriorate, and I loved the repair challenge this posed to me. It’s not a job that I think a cobbler would ever take on, but in general I think that taking your shoes to the cobbler’s is probably one of the few acts of repair that people still do on a regular basis, and probably one of the few things I don’t do myself. It’s also one of the few mainstream shops still geared exclusively towards repairing, alongside mobile phone and computer repair shops.

Electrical Repair Agency, Newcastle

Electrical Repair Agency in Newcastle-upon-Tyne, UK. I happened upon it on a Sunday, so it’s hard to tell whether they were still in business

There used to be many repair shops, such as the one I photographed in Newcastle when I was visiting in 2012, but it seems there are not that many left now. Indeed, this is one of the reasons that Martine Postma founded the Repair Cafe Foundation, and why I volunteer at one. As explained on their website:

We throw away vast amounts of stuff. Even things with almost nothing wrong, and which could get a new lease on life after a simple repair. The trouble is, lots of people have forgotten that they can repair things themselves or they no longer know how. Knowing how to make repairs is a skill quickly lost. Society doesn’t always show much appreciation for the people who still have this practical knowledge, and against their will they are often left standing on the sidelines. Their experience is never used, or hardly ever.

The Repair Café changes all that! People who might otherwise be sidelined are getting involved again. Valuable practical knowledge is getting passed on. Things are being used for longer and don’t have to be thrown away. This reduces the volume of raw materials and energy needed to make new products. […] The Repair Café teaches people to see their possessions in a new light. And, once again, to appreciate their value. The Repair Café helps change people’s mindset. This is essential to kindle people’s enthusiasm for a sustainable society.

But most of all, the Repair Café just wants to show how much fun repairing things can be, and how easy it often is.

Canvas and leather shoe repair WIP closeup

Repair in progress

I definitely find fixing fun, and apart from giving me an opportunity to be creative, I find that when I’m absorbed in the task at hand, my mind frequently starts wandering and I have the freedom to roam wherever my mind wants to take me. Fixing Sam’s shoes made me thinking about cobblers and the meaning of the verb “to cobble together” — as you can see in the definition from Merriam-Webster posted in the opening paragraph of this post, it is mostly used to describe mending or patching in a rough or hasty manner: the complete opposite of the way I approached this repair.

Canvas leather brogues repaired topview

Shoe repair finished. I thought a quick polish wouldn’t go amiss either

For this repair I used some linen thread supplied by Namolio and I “simply” darned the thread in. In principle this is a very simple technique. The threads of the original canvas running from side to side were mostly still intact, so I viewed those as the warp threads, and the repair thread as the weft. I wove in and out of the warp, and extended this into the still sound fabric. Once that was completed, I reinforced the weakest warp threads by darning alongside them. As the damage was right in the middle of a concave surface it was a challenge to get the needle in right where I wanted it, putting my patience to the test. I’m glad I persevered, as I’m very happy with the end result. As is Sam; I hope she’ll walk many more miles in these.

Canvas leather brogues repaired

What a beautiful pair of shoes; as you can see, I did leave some work for an actual cobbler

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A recent repair commission made me think about how a change in attitude can lead to a different response to repairs. It can be quite a challenge to be accepting of things not looking perfect and new, and I think that part of wanting to keep using things for longer, I had to accept that they will show signs of wear and tear.

Red Cardigan Before

A parcel from Estonia: small holes carefully marked with safety pins

This cardigan was sent to me all the way from Estonia to repair; it already had some visible mends, so it may not come as a surprise that it was a commission I really enjoyed taking on. The owner had carefully put in safety pins to mark all the small holes that weren’t so obvious, which showed me he really cared about this cardigan.

Red Cardigan VMP09 Front View

Response to repairs: the repairs I added reflect the shape of the original repairs

Here he is in his own words when I asked him about this cardigan:

I have liked all sorts of old things since I was a kid. Perhaps it has something to do with the fact that when I was growing up, Estonia was occupied by the Soviet Union – since most „old things“ were from the pre-war independence era, they were automatically cool and desirable as relics of better times. As most aspects of our independence were either strictly forbidden or at least discouraged by the Soviet authorities, it just contributed to the appeal. I started with collecting stamps, moved on to coins, and later to other objects like pins/badges, furniture, clothing etc.

I find American vintage clothing (vs European) interesting as it is somewhat more difficult for me to place in a specific era – European pre-war clothing is distinctly different from that of the 50/60s. America did not suffer such a rupture in their culture as Europe did due to the war, therefore US clothing from the pre-war era more naturally transitioned into the post-war pop culture and beyond. Americans wore college cardigans already back in the 20s, and, in a way, continue to do so nowadays. So in a way, American vintage is more „timeless“.

This particular cardigan reminds me of a really cool trip to California, fits me really well, and already has very nice hand darned repairs on it. The guy that I bought it from was really interesting to talk to, and had in my opinion the right attitude about vintage. For me, visible mending reminds me of the repairs that my grandmothers did on my clothes when I was a kid in the late 70s/early 80s. To be honest, I was not a huge fan of those back then – so it’s also a bit ironic that I find it appealing now. But then again, life seems to be full of ironies of that sort as one goes from youth to middle age

Red Cardigan VMP09 Detail of Back

Original repairs were executed in classic darning techniques, using cottom embroidery thread. I used Appleton’s Brothers crewel wool instead

It gave me a little bit of insight of what it was like to grow up in Estonia for somebody who is of a similar age to me. We can probably all think of things that were considered “cool and desirable” when we were younger, and how our ideas about what that means have changed as we grow older. For me, although I have always repaired my own clothes, I would only buy new items, never secondhand. They were often American brands (Levi’s, Converse, etc,) or European brands that had a similar look. This has changed dramatically, from going through a phase of buying designer clothes, favouring Belgian designers such as Martin Margiela, Dirk Bikkembergs, and Dries van Noten. Nowadays, I rarely buy new clothes. They are usualy secondhand, or more increasingly, I make them myself.

Red Cardigan VMP09 Detail of Neck Line

A particular challenge was the neckline, where the holes were right on the edge where the fabric folds to the back

My client’s response to clothes and repairs has changed a lot as well: he tells us how as a kid he didn’t particularly like the mending by his grandmothers. Now, he is happy to buy clothes that are already visibly mended, and I think this is an important shift. Caring to repair means accepting that you can continue using things for longer, instead of replacing them. It’s something I try to strive for in other areas of life as well, to varying degrees of success, but we have to start somewhere!

Red Cardigan VMP09 Detail of Back of Neck Line

Responding to previous repairs by echoeing the existing ones in shape and colour contrast

If you are feeling inspired to take a creative approach to repair, then I hope you don’t mind me unashamedly plugging my Creative Mending workshop at The New Craftsmen in London, on 22 July. There are still a few places available, so buy your ticket here before it sells out!

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As part of my mending journey I wanted to go back to basics, and follow some old Dutch lesson plans about teaching young girls the ins and outs of marking household linen, and repairing of clothes and linens. The lesson plan I’m using the most, was originally written in 1888, although my edition is from 1916. Larger homes contained considerable quantities of household linen and undergarments, and in order to be able to return everything to its correct place after laundring, they were usually marked with initials and a number. You can read more about it on the always interesting Textilis blog here, including some beautiful examples.

 

Marking sampler from the Whitelands College Collection

Granted, I do not require my linens and undergarments to be marked for wash day, so I could’ve skipped the chapter on marking and go straight for the chapters on repair, but in order to gain a deeper understanding of the methods employed in this book, I decided to spend some time on marking as well. And it turns out that just reading through the chapter, and actually following the instructions are two rather different experiences.

Vrouwelijke Handwerken Sampler

Making a start with the darning sampler, using scrim, crewel wool, and my notebook

The chapter starts with stating that the marking of linen is such a well-known needlecraft, a chapter on its techniques can almost be considered superfluous to requirements. Nevertheless, an outline of how to approach teaching this in a classroom was considered of interest by the authors.

And so it begins: what fabric to use (a loose-weave linen or canvas that is easily counted), what thread (start off with embroidery wool), how to attach the thread, how to finish it. I availed myself of some scrim (nowadays only really used for cleaning windows I think) and some crewel wool. The first steps are easy: a simple border in cross stitch, by making all the crosses in a straight line. This is worked from left to right.

vrouwelijke handwerken sampler, notebook

Sampler in progress, starting with simple cross stitch borders, before progressing to the letters

However, the next few borders are more complex, and here the advise is to work them from right to left. The lesson plan briefly discusses that sometimes it’s best to complete a cross before moving on to the next one, and at other times, you can work them in two journeys, first working one half of the crosses, then the other half on the way back. The emphasis is on keeping things neat and tidy at the back. This makes sense, as you don’t want to have long floats at the back which might get caught during the laundry process.

I tried out various ways with the more complex borders, exploring in which cases it seemed to be better to complete a whole cross, and in which cases it seemed better, or easier, to do them in two journeys. Unsurprisingly, this is different for each border. The lesson plan refers to another book by the same author, which apparently goes into greater detail on cross stitch, but unfortunately, I don’t own that.

Right side of the sampler

After stitching those more complex borders from right to left, it was time to tackle the letters. The book advises you to slowly work your way up from the easiest letters, with mainly vertical elements (I, H, M, N) to the more complex letters (J, L, T, F, E, P, B, R, K, D) followed by those with strong diagonal elements (A, V, W, X, Y, Z) and the most complex ones of all, those with curves (U, C, G, O, Q, S). As the emphasis is on building up the complexity, they writers strongly advise against simply stitching the letters in alphabetical order.

Reading this all made perfect sense to me. However, it’s a different matter in practice: where one was encouraged to keep the floats as short as possible at the back for the border motifs, mostly trying to keep them to short horizontal or vertical dashes, the way it describes how to stitch the letters, is very different. Suddenly we’re back to stitching from left to right, and for most of the letters, it advises you to work them in two journeys. This gives for different floats at the back: some are diagonal, and sometimes they are rather long as well.

wrong side of vrouwelijke handwerken sampler, showing floats

Wrong side of the sampler, showing floats

So far the “take-away” lesson seems to be: do what you think works best, and keep the floats short at the back. Perhaps unsurprisingly, there is no one method that will work perfectly every time. That said, I have seen some samplers where the back looks much neater than mine, so clearly there’s is more to learn! When I have found out more, I will share it here with you.

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Since I started my Visible Mending Programme, I have met many inspirational people, people who make me think about what I stand for, who ask me questions about my motivations and my beliefs. One such person is Sarah Corbett, founder of the Craftivist Collective.

Whitby Sweater, Tom and Sarah Corbett Craftivist Collective

Sarah and me discussing the finer details of darning as activism

Sarah has been involved in activism since the age of three, and as an introvert, she never felt really comfortable with the confrontational methods of “in-your-face protesting and shouting” activism, and when she had an activism burn-out, she went searching for a different way of tackling prejudice, injustice, corruption and inequality. As a result, she founded the Craftivist Collective in 2009. Sarah has since worked with the likes of Unicef, Secret Cinema, the Victoria and Albert Museum, and Bauhaus University. In collaboration with www.1215.today she launched The School of Gentle Protest two weeks ago. During a six-week curriculum you will learn the art of gentle protest. Each week sees a different visiting professor, and I was invited to talk about Inner Activism in week 2.

School of Gentle Protest, Tom of Holland

If you have concerns about social or political issues, but, like me, you’re not a very outgoing or confrontational person, then you’re sometimes left wondering whether there’s anything you can do in a way that feels more true to who you are. On my Visible Mending journey I have frequently spoken to people like Sarah, or John-Paul Flintoff, and those conversations have made me realise that yes, there is something I can do.

The very act of darning can be very meditative and give you the head space to think about issues that concern you. Whenever I teach a darning workshop, my students often get completely absorbed by the task at hand, and it seems to me that the communal silence gives people a feeling of connection, and we end up talking about all sorts of things: memories triggered by a darning mushroom, the realisation that mending can be fun and creative, and creating an understanding of the societal constructions of fashion and the emotions around repaired clothes. I highly recommend you read this thoughtful blog post by Katie Smith, who already enrolled in the School of Gentle Protest, and did some visible mending.

ShetlandWoolWeek Darning at Jamieson & Smith

A darning workshop during Shetland Wool Week 2013

I think the main things I’ve learnt, is that to be actively involved in making a difference to the world you live in, whether your an introvert or an extrovert, is:

  1. to make sure you’re informed about the issues you worry about
  2. to be thoughtful
  3. to do what YOU can do
  4. to find peace with the fact that you can’t do everything
  5. to be inspired, and to be an inspiration

If you want to know what else Sarah and I discussed, then please watch our video:

If you feel inspired, then you can still join The School of Gentle Protest here. Meanwhile, if you want to do some homework, then I would like to ask you to do some visible mending, post it on social media, and hashtag it with #visiblemending. This way you can be an inspiration to other visible menders, and find inspiration for your own visible mending project.

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Between Christmas and New Year, I always reflect on the year gone by, and the year ahead. 2016 has been a really good year for me personally, and I have plenty of exciting things to look forward to in 2017. Looking back at 2016, I noticed some themes running through the last year: conversing, making, and collaborating.

Detail of sampler made by Witteridge, Whitelands College Collection

A darn made to emulate a jersey (machine knitted) fabric, which is made by stem stitching over foundation threads that go across the hole, from the Whitelands College Collection

Conversing: throughout the year I’ve been given opportunities to talk about my practice, sharing my ideas and views on the importance of mending. I was honoured to have been asked to give the keynote speech at Cultures of Repair: Past and Present, a one-day conference to conclude A Remedy for Rents, an exhibition of darning samplers from the Whitelands College Collection.

img_6331

Chatting about stitching, with Luke Deverall, Stewart Easton, and Trevor Pitt, the BOY STITCHERS (picture by Stewart Easton)

A completely different setting was At Home, A 21st Century Salon, which included BOY STITCHERS: “Until quite recently in human history, a lady’s needlework was a sign of being a good and virtuous woman. BOY STITCHERS reverses this stereotypical image and shines light on a new breed of male stitchers, exploring the work of Trevor Pitt, Stewart Easton, Luke Deverall and myself, who together talk about and demonstrate their artistic approaches to working with textiles.”

Makers House Leather Trench Coat Repair

Hiding a penmark on a leather trench coat by sewing on a silk patch, using one of the new Burberry SS17 fabrics

A completely different setting again: in September I was invited by The New Craftsmen and Burberry to take part in Makers House, as part of Burberry’s September Collection presentation. The September collection was in part inspired by craft and making, and Makers House celebrated this by inviting a number of makers to show and share their skills to the public in an enchanting pop-up venue.

Making: apart from talking about my visible mending work, I’ve also been making things. Some of it knitting, some of it mending, and some of it inbetween.

Hexa Hap Shawl

Hexa Hap in Kate Davies’s Buachaille yarn, published her Book of Haps (picture by Tom Barr, Kate Davies Designs)

Although strictly speaking I knitted the Hexa Hap in 2015, the pattern for it was written and published in Kate Davies’s Book of Haps in 2016. I thoroughly enjoyed working on my contribution to this book, as it gave me a good insight in professional pattern writing and publishing.

Boxpleat Jumper in Daughter of a Shepherd Hebridean Yarn

Boxpleat Jumper in Daughter of a Shepherd Hebridean yarn, with accents in madder-dyed Shetland yarn (picture by Jeni Reid/Small Window)

Sequence Sweater Arms Wide Open

Sequence Sweater, using The Uncommon Thread’s Blue-faced Leicester

I remain inspired by Cecelia Campochiaro’s Sequence Kniting, and I made two jumpers using stitch patterns from this book. The first one was the Sequence Sweater for my then husband-to-be. The second one the Boxpleat Jumper for myself. There will be more where that came from, but I will not be able to share this with you until some time next year!

Me and My Husband, handmade tie and pocket squares

Signing the register in style

When I got married in November, I was keen for us to wear something I had made myself. My sewing skills as they are, would not allow me to make a suit, so I made things that were within my skills: matching pocket squares for both of us, and a tie for me. The pocket squares were made from a very light linen fabric, which I finished with hand-rolled edges, and embellished with stripes in feather stitch, using silk. I also knitted myself a tie, using a custom-dyed skein of British Stein Fine Wool by The Little Grey Sheep, and lined it with some vintage Italian silk.

Collaborating: something I haven’t spoken about much as yet, but which, I’m sure, will be a very fruitful collaboration, is that I have recently joined The New Craftsmen makers. They work with a selection of Britain’s finest craft makers to showcase the skills and craft products of the British Isles. The New Craftsmen present objects that are deeply connected to culture and place, while representing a vision of sustainable, real luxury, expressed through dedication to makers, materials, method and design.

Vintage Repaired Blanket for The New Craftsmen

Blanket B02: a vintage Welsh narrow loom blanket, repaired with a variety of techniques

So far I’ve made a small collection of repaired vintage blankets, patched French linen tea towels, and Sanuqhar pencil cases (note: not all my products are in the webshop at the moment.) As mentioned before, when The New Craftsmen were asked by Burberry to celebrate the craftsmanship that inspired their SS17 collection, I was invited along to repair items of clothing brought in by visitors to Makers House, using fabrics from the new collection. We are already chatting about a new project, which I will share in due time.

Merken, Stoppen en Mazen (marking and darning) lesson plan from the 1880s

A Dutch lesson plan on darning fabrics

This brings me neatly to what I’m looking forward to in 2017. Not only will I be working more with and for The New Craftsmen, I also have some other projects under wraps. Frustratingly, I cannot talk about any of those right now. Patience is a virtue! Meanwhile, I what I can talk about is my personal projects, and I’m keen to share progress about these here on my blog. First and foremost, I’ve bought some scrim (a loosely woven coarse linen fabric, nowadays really only used for cleaning windows) to start working my way through some old Dutch lesson plans for needlework, and in particular repairing and darning. Going back to basics will ground my understanding of techniques, and it’s also a good time to start getting to grips with using a tailor’s thimble.thimbles at The Lace Factory Museum

A selection of thimbles from the collection at The Lace Factory Museum, Horst, The Netherlands

I’ve received many comments on my thimbles blog post, both here, on my Facebook page, and on Instagram about how others got on with thimbles, and alternatives to the traditional metal thimble. It would seem that many people dislike the traditional thimble, and have sought alternatives that suited them better; particularly the leather thimble got mentioned frequently. For now, however, I will persevere with the tailor’s thimble. Yes, it will take time to unlearn my old sewing technique, but I’m attracted to the speed that tailors can stitch very neatly, using methods that have stood the test of time, and which will also be a way of learning more about hand-stitching and tailoring. I doubt I will ever become as good as a tailor on Savile Row, but I can learn from them and apply those things that will take my textile practice to the next level.

Make Do and Mend notebook with Patch

Notes from a Make Do and Mend class, from the Mass Observation collection, where I taught a workshop earlier this year

I’m looking forward to sharing my projects and thoughts on my blog, and I hope you will feel inspired to try out new things, start stitching, knitting, or visibly mending your own clothes.

Happy New Year!

 

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On 17 September I’ll be running a very special darning workshop at The Keep, Brighton. The Keep is a centre for archives that opens up access to all the collections of the East Sussex Record Office (ESRO), the Royal Pavilion & Museums Local History Collections and the internationally significant University of Sussex Special Collections, including the Mass Observation Archives.

Yarn Advert Bellmans WW2

No coupons for khaki wool; three special offers of this popular shade; The Brighton Herald, 1941

The Archive holds the papers generated by the original Mass Observation organisation between 1937 and 1949, with a few later additions from the 1950s as well as some documents from the 1960s. The material collected by Mass Observation falls into two main categories:

  • Personal writing: A national panel of volunteer writers were recruited to reply to regular questionnaires and tasks, including writing diaries
  • Topic collections: A team of paid investigators went into a variety of public situations and recorded people’s behaviour and conversation in as much detail as possible. This was first conducted in Bolton (known as Worktown) and then in other locations across the country

Make Do and Mend Notebook

Make Do and Mend notes, held in the Mass Observation Archive (reference: SxMOA 99/83)

Having all these collections in one place makes it easy to find some interesting cross-collection links. For instance, at The Keep you can find copies of women’s magazines such as Woman’s Own (a weekly publication first published in 1932 and still going strong) and Woman’s Journal (published monthly from 1927 to 2001). Woman’s Own was aimed at a different kind of woman than Woman’s Journal. This is not only evident on the front cover: Woman’s Own usually shows a child or a woman, often actively occupied with something or other. Woman’s Journal, on the other hand, has portraits of upper class ladies, wearing a ball-gown or other fancy outfit.

The Second World War saw unprecedented government intervention into everyday life on the British home front. Food rationing began in 1940 and clothes were rationed from 1 June 1941. Fabric was essential for war purposes, such as uniforms. By reducing civilian clothing production, factory space and labour could be freed up for war production.

Rationing forced people to be painfully mathematic in how they spent their limited supply of clothing coupons – and to find shrewd ways to avoid doing so. The government-backed ‘Make Do and Mend’ scheme was introduced to encourage people to revive and repair worn-out clothes. Handmade and hand-repaired clothing became an essential part of wartime life. People got creative across the country out of necessity, finding ways to make and care for clothes – and forge their own wartime style.Make Do and Mend Scheme WW2

Mend and make-do to save buying new, issued by the Board of Trade

This governmental intervention was subtly visible in these magazines, to a greater or lesser degree: although both had sections on making accessories, sewing, knitting, and crocheting, Woman’s Journal also featured a monthly spread on the latest fashions from Paris. In contrast, Woman’s Own would often highlight how many, or rather, how few coupons were needed for the materials required for a particular project.

Adverts from yarn companies (and you’ll find more of these in Woman’s Own than in Woman’s Journal) will, as less and less yarn becomes available for the domestic market, acknowledge that their yarns may be difficult to get hold of, but if you can, they’re worth buying. From a Lavenda advert from November 1943: “pure wool can and should be used over and over again.” Magazines have articles on how to re-use wool, and patterns start accommodating for having fewer resources: many items have shorter sleeves, v-necks (both save on yarn), use fewer buttons, or have yarn-saving stitch patterns: open-work inserts (lace stitches require less wool per area than textured stitches) or Fair Isle patterns, so you can use up odds and ends.

The Board of Trade also placed “infomercials” in Woman’s Own and Woman’s Journal as part of the Make Do and Mend campaign. They usually consisted of a few hints or tips around a certain topic (remaking old clothes into new ones, taking care of fabric, etc) and included a small section on Make Do and Mend classes. Women were encouraged to attend one of these classes, or set one up. The Mass Observation Archive contains two exercise books with textile samples from Mrs Watkins, who attended this class in Portslade. Some of these Board of Trade infomercials were also published in the Picture Post, a magazine more directed at a male readership: instead of a call to join a Make Do and Mend class, men were asked to “count their coupons”! One of them, however, does show sailors and soldiers darning their own socks…

Make Do and Mend with Patch

Invisible mending by using threads harvested from hem or seam, from Mrs Watkins’s notebook

I hope you will join me at my darning workshop at The Keep on 17 September, as it will give you a unique chance to see the some of these magazines and archived objects all gathered together especially for the occasion. Fiona Courage, Special Collections Manager and Mass Observation Curator (Library), will  give an introduction to The Keep, and be at hand to answer any questions you may have about items on display.

Read more here about my workshop at The Keep, or, if you simply can’t wait to book a place, please call 01273 482349.

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