What happens when one of the most traditional museums in the world revolutionises the way it presents the story of the past?  The answer is not only a riot of craft and colour, but a reminder of the crucial role of textiles in framing our histories.

The Pitt Rivers Museum at Oxford, in the UK, has just added 15 brand new, intensely colourful Hawaiian quilts to its collection of extraordinary artifacts. These skilfully stitched quilts were specially made for the Museum, which holds more than half a million precious objects from all over the world and from all periods of human existence.

Quilting is a craft that over two hundred years Hawaiians have made very much their own – although it was first brought to the islands by incomers. They have developed a unique style that embeds the deep beliefs and rituals of Hawaiian life and keeps them alive in the designing, making, and gifting of these beautiful quilts.

For more information about this episode and pictures of the people and places mentioned in this episode please go to https://hapticandhue.com/tales-of-textiles-series-7/.

And if you would like to find out about Friends of Haptic & Hue with an extra podcast every month hosted by Jo Andrews and Bill Taylor – here’s the link: https://hapticandhue.com/join/

Tapestries for Troubled Times

The stitches of the Bayeux Tapestry fix the story of the Norman Conquest of England in our imaginations in an extraordinarily charismatic way. But nearly a thousand years later modern stitchers are picking up their needles to reframe their stories in just as powerful a fashion, showing that textiles can rewrite our histories.

The Bayeux Tapestry was created by women in an age of great violence and uncertainty. It became the defining narrative of the battle between Harold Godwinson and William, Duke of Normandy, for the throne of England that took place in 1066.

The Great Tapestry of Scotland - finished just over ten years ago is an incredible work that retells the story of an entire nation from its very beginnings. It shows that when women tell the story in stitches a very different kind of history emerges.  

Neither work changes the facts – nothing does that - but both are demonstrations of the power of stitch to redefine how we see ourselves and give us different perspectives on events, which ones we find important and what we feel about them. This episode of Haptic & Hue is about the power of Tapestry, ancient and modern, to recreate and reframe our stories.

For more information about this episode and pictures of the people and places mentioned in this episode please go to https://hapticandhue.com/tales-of-textiles-series-7/.

And if you would like to find out about Friends of Haptic & Hue with an extra podcast every month, hosted by Jo Andrews and Bill Taylor – here’s the link: https://hapticandhue.com/join/

A coarse, plain cloth has a greater claim to being the most important textile in history than any sumptuous silk brocade or royal robe. Sailcloth is the fabric that has made it possible for humanity to explore the world, trade across seas, build great empires, and wage wars for millennia, and yet history pays very little attention to it. Textile archaeology has begun to fill in some of the gaps, but there is still a huge amount that we don’t know about how sails were made and how sail-making changed the communities that undertook this work.

Without sailcloth the Greeks could not have fought the Trojans, there would have been no Viking empire, William the Conqueror would not have invaded England, the Polynesians could not have settled the Pacific, Columbus certainly would not have sailed the ocean blue, Magellan would not have circumnavigated the world and there would have been no transatlantic slave trade.

Sails made so much possible. But even though these form the structure of our history and cultural heritage, there has been very little focus on the sails that made them possible, and almost none on the communities that made the sails. This episode of Haptic & Hue looks at the most ancient sails we know about and takes us right up to the modern sails used for the sort of yachts in the recent America’s Cup Race in Barcelona. We talk to a modern craft sailmaker and hear how a small village in Somerset was once at the heart of the global industry of sail-making. We also hear from a Danish textile archaeologist about why Viking sails were unique.

For more information about this episode and pictures of the people and places mentioned in this episode please go to https://hapticandhue.com/tales-of-textiles-series-6/

There is a global flax revival underway. In the great linen belt of North Western Europe, the land under cultivation has more than doubled in a decade and linen production is steadily increasing worldwide. After years of being spurned for ‘easier’ man-made fibres, or cotton, once again linen is being valued. It may only be around half-a-percent of the world’s textile fibres at present, but this time it is being grown not just for fine fabrics, but also because it's gentler on the land. It needs less water, fewer pesticides and fertilizers, and new uses are being found for it too, from creating surfboards to skis, from acoustic insulation to car doors. 

Flax looks back as well as forward. Like no other yarn, it is the ancient fibre of civilisation. Linen has walked the long centuries alongside mankind. In Europe and Western Asia, its cultivation reaches back thousands of years to the beginning of human settlement and farming. It clothed the pharaohs of Egypt in life and death, it powered the ships of ancient Greece and Troy, it is mentioned more than 80 times in the Old Testament. This is the fabric that wrapped the Dead Sea Scrolls to keep them safe down the centuries. 

Join us this month as Haptic and Hue travels to Ireland, once the undisputed centre of the world’s linen processing industry to see what it is making of the great flax revival and how Irish linen is faring.

For more information about this episode and pictures of the people and places mentioned in this episode please go to https://hapticandhue.com/tales-of-textiles-series-6/

Exactly thirty years ago a book came out that changed the way we think about textiles and fibre and the role they’ve played in the human story. Women’s Work: The First 20,000 Years by Elizabeth Wayland Barber became a best seller. What she said was revolutionary. Until then people thought that textiles were a by-product of civilisations and that processes like weaving were around five or six thousand years old. Wayland Barber was the first person to understand that they are central to the development of human society, and she said, spinning and weaving were far older than we realised and went back to the beginnings of human social development. She coined the phrase The String Revolution and suggested the Stone Age would have been better called the Age of String.

Elizabeth Wayland Barber’s book: Women’s Work: The First 20,000 Years with its radical ideas, put textiles at the heart of the human story. It played a major role in creating a new generation of expert textile archaeologists and in getting the subject taken seriously. She helped make it possible for them to search for ancient fibre and textiles and, crucially, to understand that what they were seeing wasn’t detritus or trash but something precious that has a great deal to tell us about human beings and what they are capable of. She was also one of the first people to give us a way to value the work of women in pre-historic societies.

To celebrate the book’s 30th anniversary a new edition has been published with an updated afterword by Wayland Barber. This episode of Haptic & Hue is devoted to a rare interview with Elizabeth Wayland Barber in which she tells us how she came to write the book in the first place and the ideas that lay behind it.

For more information about this episode and details of the discount on the book please go to https://hapticandhue.com/tales-of-textiles-series-6/

The American cotton feed sack is the stuff of legend. From the 1850s onwards it was skilfully repurposed by women across America into all kinds of garments and household goods. By the late 1930s when it became highly patterned, it's estimated that more than 3 million Americans were wearing feed sack clothing. Out of necessity, it was made into dresses and shirts, quilts and curtains, sheets, mattress covers, pyjamas, and even undergarments. 

Today feed sacks are valued by collectors and makers in America, and there is a lively market in them. But these soft cotton sacks have a much wider story to tell us than that. They have played a role in creating one of the world’s legendary cricket teams, they have saved a nation from the brink of starvation and in this episode of Haptic & Hue, we tell the incredible story of how a flour sack re-united a family with the something created by the grandmother they lost in in the Holocaust.

For pictures of the feedsacks talked out in this episode and more information about the contributors please go to https://hapticandhue.com/tales-of-textiles-series-6/

An extraordinary quilt handstitched by convict women on board ship as they were transported from Britain to Australia in 1841 has just gone on display in a new exhibition at Australia’s National Gallery. Many of those who made the quilt were illiterate and led tough and impoverished lives. And yet these social outcasts and exiles - working in desperate circumstances - created one of the most important cultural artifacts in the colonial history of Australia.

The Rajah Quilt – named after the ship the women were transported on - has nearly 3,000 individual pieces. It is one of the only items made by convicts that survives from this part of Australia’s past, which was buried in shame for so long. The quilt gives us a rare chance to re-assess what it meant to be transported and to see how it has become an important part of Australia’s history and a powerful symbol of how many people first came to this country.

For more information, a full transcript and further links: https://hapticandhue.com/tales-of-textiles-series-6/ 

From the grandest palace to the poorest cottage, so-called ‘stained’ cloths brought colour and joy to everyday life in England for hundreds of years. These specially painted and stamped fabrics formed the backdrop to funerals, ceremonies, processions, masques, and tournaments that required banners, flags, pennants or scenery from 1300 onwards.  But this world of dazzling medieval colour and pattern has been mostly lost to history because so much of the cloth has perished, and the craft of the stainers has been so little understood. Now Haptic & Hue re-discovers the secrets of making stained cloth and looks at how it was used.

This episode uncovers the secrets of the 14th century fabric stainers which lie in a pocket-sized book, transcribed more than six hundred years ago, by monks at Gloucester Cathedral. It contains 30 recipes for preparing cloth and special water-based colours to permanently paint and block print wool and linen. Haptic & Hue took a trip to Gloucester Cathedral to explore the lost world of medieval textiles.

For more information, a full transcript and further links, see  https://hapticandhue.com/tales-of-textiles-series-6/

Great tapestries have been used to decorate and embellish homes and palaces for centuries, and yet the hands that created these works remain almost completely forgotten.  Art institutions treasure their ancient tapestries woven painstakingly over many months, and even years and know almost everything about them, except the names of those who created these extraordinary pieces. Modern artists, like Picasso, Henry Moore and Marc Chagall see their work rendered into a different and exciting form by tapestry weavers, but no-one remembers who the weaver was or is.

This episode of Haptic and Hue looks at tapestry weaving and the process of collaboration that goes on between an artist and a weaver to produce a new work. It asks if tapestry weavers are forever destined to be seen as anonymous helping hands, or if their skill, craft and artistry is now, finally, beginning to be recognised as an art in its own right.  We talk to a gifted tapestry weaver about what it is like to work on a piece for several months and how much of herself she pours into each new weaving.

For more information, a full transcript and further links, see  https://hapticandhue.com/tales-of-textiles-series-6/

There’s a piece of clothing that has a good claim to being a universal garment. It is thousands of years old and yet it featured on the catwalks last year. It’s stylish and at the same time the humblest and simplest of garments. It has been worn and enjoyed by rich and poor alike. It has been repurposed and reshaped throughout human history and it has fulfilled many functions.

The cloak has kept us good company throughout the centuries, it has marched with armies across plains and deserts, it has been sanctified and worn by saints, and was just as beloved by sinners such as highwaymen. It became the emblem of witches on broomsticks and superheroes flying through the sky. It was worn by hobbits to make them invisible and it is still revered as the ultimate in stylish outerwear by Venetians.

This episode of Haptic & Hue looks at the cloak, cape, cope, mantle, and all its other many forms through history and tries to answer the question of why it has proved such a joyful, useful and versatile garment.

For more information, a full transcript and further links, see  https://hapticandhue.com/tales-of-textiles-series-6/