In this issue

Issue 32 Summer 2015
THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE
In this issue
Lord Linley on
becoming Vice Patron
Julian Stair in the
Hall of Fame
New
Scholars
Mark Henderson’s
advice on pricing
VIEW T HE FULL V IDEO / INTERV IEW
w w w. lyle a n d s c ot t . c om/ l ond onc l ot h
Issue 32 Summer 2015
Make/Create
a collaborative adventure
Make/Create was an exhibition
in which a selection of QEST
Scholars paired up with
contemporary artists sourced by
the Griffin Gallery. It was staged
during the inaugural London
Craft Week in the Crypt Gallery
at St Pancras Church.
‘It was an adventure into the unknown,’ says
QEST Trustee Steve Macleod, who oversaw
the charity’s involvement in the exhibition.
‘Make/Create was a great opportunity to
showcase great British craft and art together.
It was always going to be challenging as the
need to collaborate made all the exhibitors
explore creativity in new ways and the
outcome was extraordinary. Everyone at the
Griffin Gallery did a fantastic job of pulling
the whole show together and it was a really
interesting addition to London Craft Week.’
QEST Scholar James Kirby in collaboration with
artist Anne Parfitt
Newsbites
Rod Kelly passing on his skills to another QEST Scholar, silversmith Kate Earlam
The award-winning coppersmith and
QEST Scholar, Siân Evans, recently met
Her Majesty The Queen at an event
celebrating the 50th anniversary of the
Winston Churchill Memorial Trust.
Becoming a Winston Churchill Travelling
Fellow in 2011 had enabled Siân to travel to
France, Greece and India to learn about the
origins of her ancient craft.
QEST Scholar Mary Wing To continues
to blaze a trail with her leatherwork. In
addition to her role as Senior Leather Artisan
at Chanel, recent projects include creating
leather costume pieces for Carey Mulligan’s
role in Far From the Madding Crowd, as well
as a collaboration with the World Champion
Dressage Rider and Double Olympic Gold
Medallist Charlotte Dujardin OBE.
QEST Scholar Melissa White in collaboration with
artist Chantal Powell
From mid-July to September 2015 the
public will be able to watch QEST Scholar
Wayne Hart, who is now one of Britain’s
most respected lettercutters, creating a
memorial to the remarkably brave World
War I nurse, Edith Cavell. Wayne will be
inscribing the memorial, commissioned by
Norwich Cathedral to mark the centenary of
the Norfolk nurse’s death, at the King’s Lynn
Arts Centre. Wayne says, ‘It is wonderful to
be involved in honouring such an important
Norfolk heroine and by agreeing to be ‘artist
in residence’ at the arts centre I will hopefully
inspire others to learn about the traditional
craft of lettercutting.’
Rod Kelly, leading silversmith and QEST
Scholar, was commissioned to design a new
trophy for this year’s Oxford and Cambridge
University Boat Race. The trophy was
commissioned by the race’s sponsors Newton
Investment Management.
QEST
News
Lord Linley becomes
Vice Patron of QEST
I have been fascinated by
craftsmanship ever since I was
a child. My inquisitiveness and
passion for making things were
encouraged by my parents.
My mother often took me with
her when she visited factories,
ranging from Roberts Radios
and Rayne Shoes to glass makers
and sugar beet producers. I have
always enjoyed understanding
how things are made and I had
great fun building my own
go-kart and even a very bad
rocket with a glow plug engine.
It made a wonderful noise – until
it exploded!
I became interested in wood-working at
Bedales School and then went on to Parnham
House School for craftsmen in Wood in
Dorset, where I was lucky enough to be
taught by John Makepeace. When I set up a
wood-working business above a chip shop
in Dorking there were some disparaging
remarks in the press. But that sort of thing
didn’t bother me at all. I knew it was what
I wanted to do and I knew that making
furniture was something worthwhile –
especially when I was aiming to make each
piece the best of its type. Having set up Linley,
I had to improve my drawing, get my head
around the accounts and manage a growing
team. Everything happened pretty quickly.
Far too few children have the opportunity
to make things today. Health and safety
regulations haven’t helped and a lot of schools
seem to have turned their workshop into an
extra computer room. I wonder how many
children make model aeroplanes or enjoy
sewing these days? Not many.
These days everyone is pushed into thinking
they can’t make things – that they don’t
know how to and never will. Of course a
Lord Linley with a humidor modelled on ‘El Laguito’, the famous cigar factory in Havana
Issue 32 Summer 2015
themselves. I would love to help QEST
chip away at some of the regulations and
attitudes which prevent adults, as well as
children, from thinking that craft can be a
good occupation.
lot of practise is needed to become good
at something but far too many people
never even try. The automatic default is to
buy things rather than make them and if
something needs fixing it is thrown away and
replaced – the idea of mending something
isn’t considered. It may be buried, but the
urge to be creative and make things still exists
within all of us. All people are craftspeople.
table being made. At Linley we always try
to educate our customers because we know
that the more dialogue there is between us,
the more pleasure a customer will get from
whatever they buy and the more rewarding it
will be for the craftsmen who make it.
It is the things which are made in a country
– whether it is handmade furniture, textiles,
glassware or ceramics – which create its
heritage and build on its traditions. Sadly,
cars and many other products which used
to have real character have now had most of
their individuality engineered out of them,
so, culturally, crafts have become all the
more important.
It may be buried, but the urge to be creative and
make things still exists within all of us. All people
are craftspeople.
Today, it is rare for there to be any dialogue
between the people who make a table and the
people who sit round it for the next 20 years,
but if they go to a local carpenter, that won’t
be the case. In the process of discussing how
large they want their table to be and what
they want it to look like, they will probably
start to learn a bit about the skills needed to
make it and the qualities of different woods.
They may even see some of the stages of their
David Linley at his workshop
People who can afford handcrafted products
choose to buy them because they help to
differentiate their lives from other people’s.
That’s one of the reasons why luxury brands
such as Hermès and Louis Vuitton use the
word ‘crafted’ so often. They also understand
that there is a renewed appreciation of
products which have a personality and which
appeal to the sense of smell and touch, in
ways that mass produced products do not.
By continuing to champion craftsmanship
successfully, QEST does not just support
people who are already talented, it
encourages people to tap into their own
creativity and have a go at making something
As the new Vice Patron of QEST I am also
keen to do my bit in trying to get the cultural
and social value of craftsmanship on the
political agenda. It is important that people
understand that crafts play a vital part in
shaping our traditions as well as making a
significant contribution to the economy.
As Chairman of Christie’s, it is fairly obvious
that crafts are seldom as successful as the
arts in terms of the prices achieved, but they
should really both be seen together. Wouldn’t
it be great if a talented jeweller, stone
engraver, glassblower or cabinet maker was as
respected as a doctor or lawyer?
QEST
Guidance
Price & Prejudice
QEST Trustee Mark
Henderson explores what
lessons can be learnt from the
art market when it comes to
pricing work, and whether
craft is successfully overcoming
perceptions of it being art’s
‘poor relation’.
The art market is very well established and
sophisticated. It is supported by a massive
network of galleries and large auction houses,
which are experts at marketing and attracting
potential buyers. It is hardly surprising that
even some of the most talented craftspeople
can struggle to achieve similar prices for their
work. However, it can be done. A Savile Row
suit is a good example of good craftsmanship
commanding a healthy premium – it typically
takes 52 hours to make one and prices start at
around £5,000.
Any craftspeople wanting inspiration on how
to break down the barriers that normally exist
between ‘art’ and ‘craft’, should look at how
Julian Stair, the potter, has done it. Of course,
it helps that his work is extremely original
and very beautiful.
There are three areas within the crafts market
and a lot depends which sector people are
working in. Studio or atelier crafts, which
include glassblowing, ceramics and jewellery,
for example, often involve making bespoke
pieces and the prices achieved are usually
quite respectable.
The second area of crafts, which tends to be
based on collaboration between craftspeople
and an artist or designer, falls into the rather
horrible term of ‘applied art’ and that is a
much trickier market. There is very little
distinction between good and bad work,
which makes it harder to achieve good prices.
However, there are some exceptional pieces,
such as Thomas Heatherwick’s extraordinary
installation, Bleigiessen, made up of 142,000
glass beads, which can be seen at The
Wellcome Trust on the last Friday of
every month.
The third area is ‘endangered crafts’, which
includes anything from clog making to Swill
Mark Henderson is a QEST Trustee, Chairman of Gieves & Hawkes and founder of The New Craftsmen
basket making, and the Orkney chair makers.
To achieve good prices, products must be
practical or have some other ‘relevance’ to
potential buyers. As one of the founders
of The New Craftsmen, I hope that is one
of the things the business helps with. For
example, we have brought together Gareth
Neal, a furniture maker, and Kevin Gauld,
a traditional Orkney chair maker, to give a
practical and contemporary twist to a craft
As a rule of thumb, a maker should set a price
that is around four times the cost of creating
the piece. The cost of materials together with
a reasonable wage should be doubled to cover
the maker’s overheads such as rent and rates
as well as the tools and equipment they may
need. That amount should then be doubled
again. The reason for that is that many
craftspeople spend half their time trying to
get new clients, putting on exhibitions and
As a rule of thumb, a maker should set a price that
is around four times the cost of creating the piece.
that might otherwise die out. We also act as
an intermediary – making commissioning
easier for customers, providing a good
interactive website and, when we can, helping
makers with their PR and pricing.
There are three things which determine price;
how good a piece is, how original it is (which
often determines its ‘desirability’), and how
much support and advice a maker has in
terms of marketing and mentoring. There are
very few people who are good at everything
and most people need help, yet there are very
few dealers in top-end crafts. The only ones
who spring to mind are Adrian Sassoon,
Sarah Myerscough and us – at The New
Craftsmen. While we will all secure higher
prices, we will also want a significant margin.
Etsy and a few other websites can work well
for some people – but only some.
getting some good PR, instead of actually
making things. If they could afford it, it would
often make more sense to get a professional to
do that job for them.
QEST plays a really important role in
supporting excellence in craftsmanship. By
helping people who are already talented and
who show every sign of becoming great,
rather than just good, it helps to sort out the
wheat from the chaff and demonstrate that
the finest craftspeople are as talented as the
finest artists. That has made it easier for the
market for crafts to become more discerning
and it has also started to give people the
confidence to pay more and start thinking of
craft pieces in the same way they would think
about a painting or a sculpture. There is still
a long way to go but things are heading in the
right direction.
IN PURSUIT OF EXCELLENCE
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+44 (0)20 7499 4411 | www.hollandandholland.com
QEST
News
Hats off to Jane Fryers
Successful craftspeople are creative,
imaginative and original, and QEST
Scholar Jane Fryers epitomises
these qualities. Jane was given a
Scholarship in 2005 to pursue her
passion for a career in millinery.
The grant enabled her to continue
lessons with the legendary Rose Cory,
milliner to Her Majesty The Queen
Mother, who continues to teach
talented milliners across the world.
‘Rose is wonderful. She even put up with me
trying to make a hat from an old pair of jeans
and a jumper I had shrunk. The traditional
millinery skills she taught me are the one thing
I always stick to, however odd the material
I am using may be. My favourite material at
the moment is fish leather, which fortunately
doesn’t smell at all once it has been tanned! It
is supple, beautiful, very tactile and no one else
uses it. In fact I am off to Sweden soon to learn
about the whole tanning process – though that
bit probably will be quite smelly!
QEST Scholar Jane Fryers
‘The most difficult material I have ever worked
with was some trim from a stair carpet, which
I was presented with by an artist. She liked the
colour but apart from that the carpet didn’t
have any of the qualities that I had asked for.
I asked for a piece of material that was large
enough, made from natural fibres, pliable and
relatively thin – the stair carpet was thick,
difficult to bend, manmade and came in lots
of little pieces! She wanted a design based
on a Mongolian Warrior’s hat. It was quite a
challenge but I got there in the end.
‘I was selected to exhibit three of my hats
at the Royal Warrant Holders Association
Annual Luncheon this year, which coincides
with QEST’s 25th anniversary. All of them
were made from fish leather but you would
never know that unless you look at them really
closely. No one expects roses to be made from
fish skin, so it comes as quite a surprise. That’s
fine though, I have always thought that hats
should be a talking point.
‘Thanks to QEST’s support, my skills as a
milliner have developed to the point where I
now teach a course at Central Saint Martin’s,
encouraging more people to make hats. I can’t
pretend that millinery has made me rich (at
least not yet) but I have been given all sorts of
fantastic opportunities and won awards while
doing something I love – and I reckon that is
much more rewarding!’
Kate Montagne – Plaster Class
A Scholarship from QEST allowed
Kate Montagne, a modeller and
sculptor’s assistant, to work for two
years with Geoffrey Preston, one
of Britain’s leading architectural
sculptors and a renowned plaster and
stucco artist. She has now been offered
a full-time position with his team.
‘Geoffrey’s work is very unusual. Not only
does he come up with designs from scratch,
his work is also very sculptural, using deep
relief. Without QEST’s support there is no
way I would have been able to work with
Geoffrey for so long, so it really has been a
life-changing opportunity.
‘I have been working on the ceiling of the
Great Drawing Room at Great Fulford for
much of the time. The original ceiling had
collapsed and there were no records of what
it looked like. Francis Fulford, the owner, saw
some of Geoffrey’s work and was very keen
to commission him to come up with a new
design. The ceiling has already won awards,
Francis and his wife Kishanda love it, and I am
so proud that I have played a part in creating
it. I modelled both the ceiling rosettes and was
also able to hone my skills in modelling clay,
moulding and casting. There are six modellers
as well as Geoffrey and it is a fantastic team to
work with.
‘Anyone thinking about applying to QEST for
a Scholarship should definitely do so. As long
as you are talented, really committed to your
craft and will make the most of the support
they provide, they will do their best to help.’
QEST Andrew Lloyd Webber Foundation
Scholar Kate Montagne
Issue 32 Summer 2015
Joey Richardson
– Woodn’t it
be good?
Adam’s Apples
Joey Richardson, a wood turner who is a liveryman of
the Worshipful Company of Turners, was granted a
QEST Carpenters’ Company Scholarship in 2012. The
Scholarship opened up all sorts of design and exhibition
opportunities, making it possible for her to travel to the
United States and undertake specialist training to cast
her intricate wooden forms in glass. Since receiving the
Scholarship she has taken it a step further and is now
casting in metal. Joey has just won the prestigious QEST
Award for Excellence for 2015 and has ambitious plans to
promote wood as a fine art collectable.
‘Steve Macleod, one of the QEST Trustees, has been absolutely brilliant.
He has been overseeing my aim to stage a major wood exhibition in
2018. The exhibition will promote a new way of looking at trees and
woodworking, promoting the arts, and assessing the valuable role of craft
in everyday life. Humans have a symbolic relationship with the tree which
has been central to our survival. In an increasingly high-tech world,
the exhibition will provide a reason to reconnect, to educate children
and take people back to their roots. The contemporary art works will
hopefully help to make wood a hot new collectable art form.
‘Meanwhile, Nick Farrow, the Chairman of QEST, managed to secure a
Sycamore tree for me on Her Majesty The Queen’s estate in Sandringham,
I called the piece I made from it ‘Methuselah’ as I hoped it would live on
for a long time.
‘QEST has been an enormous help to me – not just in terms of financial
support but in terms of mentoring, too.’
QEST Scholar Tom Adams standing by Sweeney Nonpareil trees in blossom
In 2004 Tom Adams visited his cousin’s farm in south
Shropshire and found several unrecognisable varieties
of apples in an ancient orchard. He took a selection of
them to be identified by botanist Michael Porter from the
Marcher Apple Network. Four of them were identified
as ‘Gipsy King’, ‘Bringewood Pippin’, ‘Round Winter
Nonesuch’ and ‘Rhymer’. All of these varieties had not
been seen for more than 100 years and were therefore
believed to be extinct.
Tom became fascinated by the art of propagation and was keen to
learn more so he could save the apple varieties in his cousin’s orchard
from dying out. He applied to QEST in 2008 for a Scholarship and
as a result, today there are over 100 trees of each of the above apple
varieties scattered across the country. ‘Apart from learning the best ways
to propagate from a horticulturalist, I have learnt how to manage the
soil, how to prune and how to rescue trees that are sick,’ says Tom, who
is now known as The Apple Man. ‘I have a particular interest in fruit
which grows well near the Welsh border. Many varieties don’t like the
combination of wet and windy conditions and the clay soil.’
Tom has possibly rediscovered another rare apple variety but the tree
in question is so old and gnarled that its apples are tiny and misshapen.
This provides difficulties in identification, so he is now waiting patiently
for a new tree, grown from a grafted cutting, to start fruiting. Only then
will he discover whether he has found a fifth variety thought
to be extinct.
Tom hopes that one day he will emulate the famous horticulturalist and
botanist, Thomas Andrew Knight.
Two of the butterflies that adorn Joey Richardson’s ‘Methuselah’, featured on the
front cover
QEST
News
QEST’s Hall of Fame
JULIAN STAIR
Julian Stair is internationally recognised as one of the world’s leading
potters, yet, he still finds time to lecture, teach, write and help other
potters develop their careers. When Julian received a QEST Scholarship
in 2004 he was already highly respected in his field, but he had only
just started to experiment with the large scale work for which he is now
renowned. Creating large pieces was expensive, as well as challenging,
so the Scholarship was extremely timely.
‘I am hugely grateful to QEST for the support
they gave me. It allowed me to consolidate my
early experiments with large pieces and I have
learnt so much since then. That is what QEST
is all about – education is at the heart of
what it does – it encourages lifelong
learning.’ – Julian Stair
Julian has since taken on two QEST Scholars as
apprentices, Billy Lloyd and Matthew Warner,
both of whom trained in his studio. Both Billy
and Matthew have already become recognised
still feels he has more to learn from Julian and
has just begun his third year of working
with him.
‘Matt is in the studio with me every day. I
question, challenge, reinforce and encourage.
It’s often the conversations we have over lunch
which are the most useful. I do my best to
be a mentor and his success is enormously
gratifying, but I would never want to
interfere with Matt’s work. It must always
be his,’ says Julian.
‘It is really important to ask huge questions of
yourself and never compromise. Compromising is the
beginning of the end. You must demand as much of
yourself as possible.’
in their own right, having both launched
successful careers as ceramicists. Despite
receiving a fantastic reception at his first
exhibition at Ceramic Art London recently –
selling out and taking many orders – Matthew
Speaking about how Julian has helped him,
Matthew Warner says, ‘Working with Julian
has enabled me to get a much clearer idea of
where I would like to be in ten years’ time.
Most potters never get to see how museums
Ceramic pots and teapots by Julian Stair (Photo Jan Baldwin)
A figural sarcophagus from Julian Stair’s solo
exhibition Quietus
and galleries operate, for example, so I have
learnt a lot more besides ceramics. But it
was Julian’s integrity that made me want to
work with him. He has never tried to get ‘in’
with a fashionable crowd or do something
just for the money. He won’t make things
without a reason. His approach is born out
of understanding the long history of crafts in
this country and questioning the place and
function that pottery has today.’
Julian is coming to the end of six years of
intense work. Quietus, a large body of work
he completed in 2012, which travelled to such
places as Winchester Cathedral, Cardiff and
York, was the culmination of everything he
started with QEST’s support. Last year
Corvi-Mora Gallery put on a large show of
Julian’s work called Quotidian. Julian has one
more exhibition in the pipeline and he is also
in the process of buying two new kilns.
‘Looking back at the way my own career
developed, I had a rather woolly idea of where
I wanted to get to and what my potential
might be. There is a lot of hoo-ha talked
about creativity. I am always rather suspicious
of people who claim that creative ideas are
bolts of lightning which suddenly occur fully
formed. In my experience they are the result of
hard work. Even when I have an idea which I
really like, by the time I have unpicked it and
thought it through, it often turns out not to be
nearly as good as I first thought. But then I
re-examine it and turn it around in my head
and gradually it starts to evolve.’
Issue 32 Summer 2015
Raising a Glass to Craft
QEST Johnnie Walker Scholar Daniel Durnin
Last year Daniel Durnin was given a QEST Scholarship sponsored by
Johnnie Walker, to enable him to complete his MA in Design Products
at the Royal College of Art. He was recently invited to Scotland to spend
a couple of days finding out how the world famous whisky is made, and
turn his hand to raising a cask.
Daniel raising a cask at Johnnie Walker’s Cambus Cooperage (Photography by Colin Hampden-White)
‘I was expecting some enormous automated
factory and was amazed by how crafted the
whole process of making the whisky actually is.
Everything from the coppersmith hammering
out the swan neck of a still to the cooper
working on the casks required huge levels of
skill. It was also interesting to see processes
like the charring of a cask, which I had always
thought of from a purely aesthetic perspective,
being done for a practical reason. The charring
helps to create flavours in the whiskies for the
Johnnie Walker blenders to work with. It was
good to meet so many apprentices along the
way, and everyone I spoke to is really proud of
what they do.’
After his final degree show, which will include a
boat he has built, Daniel plans to build a
pop-up gallery before working on a
collaborative installation in Switzerland where
he will be creating an indoor playground
for adults. He hopes to soon have his own
studio where he can carry on experimenting
and putting traditional crafts, such as steam
bending, into a contemporary context, thereby
pushing the boundaries of craftsmanship and
giving them new relevance.
Thank You to Our 2015 Donors
Adam Connolly Memorial Fund
Andrew Lloyd Webber Foundation
Associated Livery Companies
Bendicks
Brian Mercer Charitable Trust
Worshipful Company of Carpenters
CHK Charities Ltd
The Cambridge Satchel Company
The Clothworkers’ Company
D’Oyly Carte Charitable Trust
Diageo
Ernest Cook Trust
Fattorini
Glen Dimplex Home Appliances
Griffin Gallery
The Hedley Foundation
Holland & Holland
Howdens Joinery
Iliffe Family Charitable Trust
J Paul Getty Jnr Charitable Trust
John Smedley
Johnstons of Elgin
The Kirby Laing Foundation
The Leathersellers’ Company Charitable Fund
Lyle & Scott
Made in Britain Campaign
Mappin & Webb
Mint CRM
The National Association of Decorative & Fine
Arts Societies (NADFAS)
Pamela de Tristan Scholarship
The Pennies Foundation
The Worshipful Company of Pewterers
The Radcliffe Trust
Roberts Radio
The Rumi Foundation
Samsung
The Tallow Chandlers’ Company
Zone Creations
Howdens Joinery, a new member
of the RWHA that makes a range
of integrated kitchen and joinery
products, has recently made a
significant donation to QEST.
‘Such a generous donation makes
a substantial difference to our
Scholarship programme,’ said QEST
Chairman Nick Farrow. ‘Everyone
here is absolutely delighted. We will
now be able to help several more
talented craftspeople develop their
skills and attain excellence in their
field. Hopefully many of them will
eventually go on to inspire and
teach others’.
QEST
News
Focus on Scotland
QEST Scholar Rod Kelly’s South House Silver Workshop on Shetland
Craft fields are often rooted firmly to a particular
location, usually due to local materials and
traditions. A survey carried out for Creative Scotland
and other UK craft agencies revealed that Scottish
craft contributes more than £70 million to the British
economy, generated by an estimated 3,350 Scottish
craftspeople. QEST has provided funding for a
number of accomplished Scottish craftspeople, many
of whom are working in either silver or textiles.
SILVER AND JEWELLERY
Scotland has been home to many silver mines over the centuries and
there is a strong tradition of working with metal stretching, dating back
to the time of the Picts and even their predecessors. Some early Pictish
designs are still popular among silversmiths today and regularly appear
on such items as quaiches and jewellery pieces.
The beauty of Scotland attracts English silversmiths as well. For example
QEST Scholar and master chaser Rod Kelly teaches at his South House
Silver Workshop in the Shetland Islands. Rod has trained several QEST
Scholars in Shetland, such as Elizabeth Peers, who was taught by Rod
last year. Elizabeth exhibited the work she made in Shetland at the
Goldsmiths’ Fair in London a few months after completing her training.
QEST Andrew Lloyd Webber Foundation Apprentice Paul Kircos is
now in the second year of his silversmithing apprenticeship at Hamilton
& Inches in Edinburgh. Last year he demonstrated his skills at the
bench at the Edinburgh Festival and helped promote craft workshops
run by Hamilton & Inches. At the end of his 5-year apprenticeship he
will be specialised in chasing both silver and copper.
QEST Andrew Lloyd Webber Foundation Apprentice Paul Kircos picking up some
tips from his father, Panos, who is a master chaser at Hamilton & Inches
QEST Hedley Foundation Scholar Jennifer Gray is a Scottish silversmith
and jeweller working in Edinburgh, who used her Scholarship to
complete her postgraduate studies at the Royal College of Art. Upon
completion of her studies she has collaborated with the Sir John Soane
Museum, the Saatchi Gallery and the National Museum of Scotland.
Issue 32 Summer 2015
QEST Bendicks Scholar Tara Osborough with Johnstons of Elgin weaver Charlie Frasers, at the Johnstons mill in Moray
TEXTILES
Textile production in Scotland is renowned, ranging from cashmere
to Harris Tweed and tartan. Scottish QEST Scholars include Gillian
Murphy who produces knitted textiles, and Lauren Day and Alan
Moore, who work in embroidery. These are examples of QEST Scholars
who are continuing and developing different areas of a great Scottish
craft tradition.
Royal Warrant Holder Johnstons of Elgin makes some of the finest
cashmere and wool products in the world. Currently they are
collaborating with five QEST Scholars who are each designing a special
edition cashmere blanket as part of a commemorative campaign
which celebrates Her Majesty The Queen’s patronage and longest
reign. QEST Scholars Tara Osborough, Cheryl Branford-Peers, Kim
Norrie, Juliet Bailey and Franki Brewer are all working in collaboration
with Johnstons’ in-house team. The proceeds of this project are being
generously donated to QEST to enable more Scholarships in the future.
Jenny Houldsworth, Johnstons’ Learning & Development Manager, is
overseeing the project. ‘Engaging and collaborating with QEST Scholars
makes perfect sense for us, especially being located so far north in
Scotland. The five scholars would never have had the chance to visit our
mills, where we transform raw fibre right through into finished product,
if it had not been for the QEST connection. It has been wonderful to see
the Scholars learn all about our production methods which have been
perfected over more than 200 years, as well as see them pushing the
boundaries with their designs. They are a really talented and extremely
creative bunch!’
Johnstons of Elgin still use teasels, placed in a frame, to create a natural comb for
cleaning, aligning and raising the nap of wool
QEST
Awards
AWARDS
As usual, QEST Scholars have
been winning competitions and
awards for work ranging from stone
gargoyles to applied arts. There are
too many to name all of them but
here are several examples.
Scholar and ceramicist, Bethan Lloyd
Worthington, was recently nominated for the
Perrier-Jouët Art Salon Prize 2015 for applied
arts and crafts.
‘Apology & Acceptance’ by QEST Scholar Bethan Lloyd Worthington
QEST NADFAS Scholar Zoe Barnett and
Weston Scholar Sam Flintham, were two
of the three winners in a competition run
by City & Guilds and St George’s Chapel at
Windsor, designed to generate three new
gargoyles for their restoration project. Both
Zoe and Sam’s gargoyles were chosen to
adorn the Chapel. ‘It is great to have a piece
of work on display somewhere so prestigious
and it demonstrates how high standards are
among QEST Scholars that Sam and I were
both winners. Creating a contemporary piece
for an old building really ticked all the boxes
for me as I love creating new sculptural pieces
and I also enjoy restoration work.’
QEST Carpenters’ Company Scholar Joey
Richardson has won the QEST Award for
Excellence sponsored by Fattorini this
year. The medal, created by Fattorini’s own
craftsmen, is given to a QEST Scholar who
has demonstrated outstanding commitment
to their craft. Joey is not only committed
to wood art on a practical level, she is its
leading ambassador. She is determined to
make everyone more aware of what a great
and flexible medium it is and how important
wood is in everyday life.
Zoe Barnett’s gargoyle which will soon be perching on St George’s Chapel, Windsor
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QEST
News
The 2015 Annual Royal
Warrant Holders
Association Luncheon
A celebration of QEST’s 25 years of
supporting British craftsmanship
Thomas Fattorini presenting Joey Richardson with the QEST Award for Excellence
Celebrating QEST’s 25th
anniversary and the RWHA’s
175th anniversary, the RWHA
Annual Luncheon on 2nd June
was particularly upbeat. QEST
Scholars and Apprentices, both
new and from previous years,
met with members of the
Royal Household and Royal
Warrant Holders. Although
a formal occasion at the
Hilton Park Lane Hotel, the
lunch felt like a large family
gathering celebrating a range of
achievements and milestones.
The work of 16 QEST Scholars
from Summer 2014 and one new
QEST Apprentice was exhibited
alongside a selection of pieces
made by QEST alumni.
RWHA President Robin Wodehouse
presented the new QEST Scholars and
Apprentice with their certificates. He also
presented the Plowden Medal to Nancy Bell
for her outstanding contribution to the field
of conservation. Sarah Staniforth, the other
winner of the Plowden Medal, was unable to
attend and will be presented with her award
at a later date. QEST Carpenters’ Company
Scholar Joey Richardson received the QEST
Award for Excellence, sponsored by Thomas
Fattorini, for her outstanding commitment to
her craft of wood turning.
Weston Scholar Lauren Elizabeth Tidd, a jeweller
In his speech, Sir Charlie Mayfield, Chairman
of the John Lewis Partnership, spoke
of the need for continuous professional
Issue 32 Summer 2015
development and praised QEST for providing
Scholarships to craftspeople of any age.
He emphasised that far too few people
benefit from education once they begin
full-time work and urged companies to
consider investing in their more experienced
employees, rather than frequently training up
new staff members.
Several of the QEST alumni at the lunch have
already taught other QEST Apprentices or
Scholars. This illustrates how QEST can create
a ‘virtuous cycle’ whereby a craftsperson
progresses from being a new Scholar to a
master in their field who can subsequently
help other QEST Apprentices, or Scholars,
to develop.
In a recent survey taken by the QEST Scholar
database, which dates back 25 years, 93%
reported that they are still actively practising
their craft. With the help of a total investment
from QEST of £2.6m, those Scholars now
contribute to the £3.4bn that the British crafts
industry generated last year, as well as to the
UK’s cultural heritage.
Photography by ‘Paul Burns Photography’
Weston Scholar Felix Handley, a stonemason, receives his QEST certificate from Robin Wodehouse
From left to right: Nick Farrow and Robin Wodehouse with Sir Charlie Mayfield, Chairman of the John Lewis Partnership
QEST
News
Creations & Celebrations
‘Royal Burgundy’ Roberts Radio and Bendicks Elizabethan Mints. Proceeds from these products will
go to QEST in support of their charitable activity. Photo credit: Will Farrow farrows.co.uk
QEST is embarking on an exciting initiative with
Warrant Holding companies where participants are
creating commemorative and celebratory special
edition products. Companies have been invited to
create special editions of their best selling products
or create unique products to celebrate Her Majesty’s
Patronage, the celebration of The Queen becoming
longest serving Monarch, Her 90th birthday or
simply to celebrate British craft. All of the companies
creating products have agreed to donate a percentage
of the proceeds to QEST.
jewellery incorporating Her Majesty’s royal dignitaries, which made it
easier for her to choose gifts for friends and dignitaries and occasionally
for herself. One of the designs in The Red Book, an English rose motif,
will be engraved on the special edition sterling silver frames. As the
Queen Mother’s 90th birthday was marked by the foundation of QEST,
it is fitting that a design originally created for her is now being used to
celebrate her daughter’s 90th birthday.
Special edition products include a limited edition of 250 Roberts
Radios in ‘Royal Burgundy’ and a selection of Prestat Organic Truffles.
The products also include a commemorative tin of Walkers’ Special
Shortbread, with the 2015 tin celebrating Her Majesty The Queen being
the longest serving Monarch and the 2016 tin celebrating Her 90th
Birthday. Bendicks have created limited edition Elizabethan Mints.
A selection of other Warrant Holding companies will also be making
special edition products, several of which will incorporate designs
created by QEST Scholars. Details are still being finalised but QEST
looks forward to sharing these projects as they come to life, and to
many more Warrant Holding companies participating in this
exciting campaign!
One of the special edition products, a silver photo frame created by
Mappin & Webb, was inspired by ‘The Red Book’ which the company
created when Her Majesty Queen Elizabeth The Queen Mother became
Queen in 1936. The book contains drawings of brooches and other
Meanwhile, five QEST Scholars have been working with Johnstons of
Elgin to create a selection of designs for a capsule collection of cashmere
blankets. Paxton & Whitfield recently began working with Scholars to
commission special edition cheese boards, which will be handcrafted
specifically for this exciting campaign.
Issue 32 Summer 2015
A Royal Reception
His Royal Highness The Prince of Wales Awards 16 new
Scholarships and four new Apprenticeships on behalf of QEST
At a reception in the gardens
of Clarence House on 11th
June 2015, the Prince of Wales
met members of the Royal
Warrant Holders Association
and spoke with the Scholars
and Apprentices, learning about
their work and what they hope
to do in the future. He viewed an
exhibition of their work, which
ranged from saddlery and coach
building, to knitwear design and
book binding.
The Prince of Wales with the Spring 2015 QEST Scholars and Apprentices
QEST Chairman, Nick Farrow, said,
‘The Prince of Wales is a great champion
of British craftsmanship and his support is
invaluable in raising the profile of QEST, and
celebrating the contribution that our crafts
industry makes to this country.’
QEST Ernest Cook Trust Scholar and
clogmaker Jojo Wood said, ‘The Prince of
Wales knew a lot about clogmaking as he had
supported a clogmaker in the past because
he had realised the craft was in real danger
of dying out. There used to be thousands
of clogmakers but now I will be receiving
one-on-one training from the last English
clogmaker, Jeremy Atkinson. It felt like the
Prince of Wales had a personal connection
to the craft and he encouraged me to keep
the tradition going. The whole event was
mind blowing – it was glorious weather and
everyone really enjoyed themselves.’
The four Apprentices, embroiderer Justine
Bonenfant, shoemaker Bethan Horn, weaver
Libby Kates and stonecarver Thomas Sargeant
are all committed to their craft, and can
now look forward to broadening their skills
and going on to achieve excellence. For
example, Bethan Horn’s Apprenticeship will
allow her to work ‘at the bench’ with master
craftsperson, Ruth Davey, of RED Shoes, who
is herself a QEST Scholar.
QEST Ernest Cook Trust Scholar Jojo Wood is presented her certificate by the Prince of Wales
QEST
Information
The production of this magazine is completed with the kind support of our advertisers.
Of a certain age
I learnt a great deal at the Royal Warrant
Holders Association AGM, but QEST Scholar
Graham Ashford imparted some of the most
astounding information of the day! Apparently
‘men of a certain age’ buy either a motorbike
or a suit of armour, and Graham is busy
supplying that need, alongside armour for
re-enactments and films.
Graham epitomises what QEST is all about:
helping talented craftspeople, of any age and
in any field, that need a lift up the greasy pole
(or the lance in his case) to become masters
in their field. We provided Graham with a
QEST Scholarship in 2010 to work with Master
Armourer David Hewitt, which has resulted in
his own established career in armoury.
I must admit I haven’t lusted for either
but Graham gave a fantastic impromptu
presentation, explaining his craft and showing
the audience a fabulous gauntlet that he’d
made. This gauntlet was a skilled piece of
craftsmanship and lovely to wear, and I can
now appreciate the fascination in owning
one’s own suit of armour. Please visit Graham’s
website www.greenleaf-workshop.co.uk should
you be interested in having a beautiful suit
made for you.
Hopefully, one day QEST can help Graham
employ an Apprentice Armourer of his own.
Thus the QEST ‘cycle of making’ is complete.
QEST aims to help create many of these
virtuous cycles, in order to contribute to
Britain’s expanding craft industry and help
return the United Kingdom to making.
Every one of our supporters is helping QEST to
achieve these ambitious goals, and for that we
are incredibly grateful.
Graham Ashford, his daughter Hazel and his wife
Elizabeth standing below The Round Table in
The Great Hall, Winchester
Many thanks to you all!
Nick Farrow
Chairman of QEST
Do you know someone who QEST could help?
The Queen Elizabeth Scholarship Trust, a charitable arm of the
Royal Warrant Holders Association, was established by the RWHA in
1990 to mark the 90th birthday of Queen Elizabeth The Queen Mother
and the 150th anniversary of the founding of the Association.
Her Majesty The Queen will become Patron of QEST in 2016 when
she will celebrate her own 90th birthday.
Scholarships worth up to £18,000 are awarded each spring to
craftspeople with exceptional talent, to help them advance their
education and skills in a wide range of modern and traditional crafts
in the UK.
The Scholarships are open to all ages, including those embarking on a
second career. The Trustees look for well thought out proposals which
highlight applicants’ financial need and commitment to their craft.
Apprenticeships worth up to £18,000 will be awarded each autumn to
help enable those with passion, but little experience, to forge a career
in their chosen craft. Their employer or their chosen master craftsman
must apply together with the apprentice, outlining a full training
programme which will then be assessed.
To find out more or to apply online, visit the QEST website at
www.qest.org.uk
Who’s Who at QEST
Chairman & Trustee
Nick Farrow
Farrows Ltd.
Honorary Treasurer & Trustee
Nick Crean
Prestat
Trustees
Christina Abbott
Burberry
Fiona Rae
Goldsmith and Enameller
QEST Development Manager
Alanna Fisher
General enquiries
Tel 020 7798 1535
Neil Stevenson
NEJ Stevenson
QEST Development Officer
Natalia Douglas
President RWHA
Robin Wodehouse
Magazine Editor
Alasdair McWhirter
Media Enquiries
Momiji Matsuura
Tel 020 7351 4719
Email momiji@ideasnetwork.co.uk
Secretary RWHA
Richard Peck
www.qest.org.uk
Follow us on twitter @QESTcraft
QEST scholars join us at LinkedIn/QEST
Like us on facebook.com/
queenelizabethscholarshiptrust
Mark Henderson
Gieves & Hawkes Ltd.
QEST Executive Director
Lyanne Nicholl
Steve Macleod
Metro Imaging Ltd
QEST Finance Director
Elena Davies
Registered Charity No.1152032
Alec McQuin
Rokill Ltd.
QEST Grants &
Communications Officer
Julia Robinson
Queen Elizabeth Scholarship Trust
1 Buckingham Place
London SW1E 6HR
Front Cover Image - Joey Richardson
Back Cover Image - Clare Pattinson
Designed & Printed by farrows.co.uk
QEST
Scholars
2015 QEST Scholars
Jessica Wetherly
Figurative Sculptor
QEST NADFAS Scholar
Jessica is already an accomplished figurative sculptor but her
Scholarship will allow her to take a series of short courses with
several of the most respected people in her field, which will take
her work to a new level.
‘It means a huge amount to know that QEST believes in my work
and is supporting me. The Scholarship will allow me to learn
directly from people like Laurence Edwards, Martin Jennings,
Marcus Cornish and Mark Richardson. That will really help my
work progress, so it is all hugely exciting.’
Helen Reader
www.jessicawetherly.com
saddlemaker
QEST Leathersellers’ Company Scholar
Helen has wanted to make saddles ever since she was five
years old and her Scholarship will enable her to go on a side
saddle manufacturing course at the Saddlery Training Centre
in Salisbury.
‘I couldn’t be more pleased to have been awarded a Scholarship.
Gaining more skills means getting more business and being able
to continue doing what I love most. The course in Salisbury is
taught by Richard Godden who has been making saddles for 60
years. I can’t wait to get started.’
www.hrsaddlery.com
Jessica Leclere
Knitwear design
QEST John Smedley Scholar
Working towards completion of her Master’s degree at the Royal College of Art this
summer, Jessica was struggling with the cost of materials for her final graduation show.
Her Scholarship has made a significant contribution to the materials needed for her
final collection of knitted designs.
‘I was absolutely delighted to have been given a QEST Scholarship – it will allow me
to focus on finishing my degree course without worrying so much about money. I am
exhibiting six pieces which explore the relationship between positive and negative
space and incorporate inlays. My ambition is to launch my own knitting label but I
know I need a few years working in the industry before I can really think about
that seriously.’
www.jessicaleclere.com
Issue 32 Summer 2015
Anoush Waddington
jewellery and accessory design
QEST Bendicks Scholar
Anoush has a passion for all things medieval and enjoys
dressmaking and shoemaking, as well as designing jewellery
and even armour. Her Scholarship will allow her to develop
her skills further and study millinery at both West Dean
College and also with Rose Cory, who was milliner to the
Queen Mother.
‘My Scholarship will allow me to take my career to a higher level
and it has reinforced my determination to pass on my skills to
young craftspeople. To really understand how things were made
in medieval times and appreciate how innovative people were in
those days, it’s important to research all the skills which existed
then. The funding makes a huge difference – it will allow me to
continue my research into headpieces and headsets, and learn
how to recreate them.’
Clare Pattinson
www.anoushwaddington.com
Automata & Mechanical Art
QEST Scholar
Clare’s Scholarship means that she can now study Engineering
and Technology at East Kent College, and will also undertake a
welding course. This will allow her to start making some larger
and more interactive automata incorporating electronics.
‘I applied for a Scholarship after coming across QEST on my
friend’s Facebook page. I had been feeling like a spider having
to mend a broken web over and over again and now everything
is falling into place. The Scholarship will mean that I can now
expand my projects and make them appear to operate under
their own power and so encourage more people to interact with
them. I am hoping that I might soon be able to spend some time
working with Tim Hunkin, the great cartoonist/engineer.’
Martin Preshaw
Irish Union (Uilleann) Pipes
QEST Carpenters’ Company Scholar
Although Martin is already extremely accomplished at making Uilleann Pipes, also known as ‘Irish bagpipes’, he is
determined to continue refining his skills. His Scholarship will allow him to travel to New York to train with David
Quinn, one of the most celebrated instrument makers in this field.
‘I couldn’t ever have imagined I would be able to travel to New York and work with David Quinn. Just seeing his
workshop will be wonderful and I am so grateful to QEST for the opportunity. As well as the financial support
it is a huge compliment. I think I am only the fifth Scholar from Northern Ireland. I hate feeling as though I am
standing still and this is a wonderful, wonderful opportunity to build on my skills and take them to the next level.’
www.martinpreshaw.com
QEST
Scholars
Tomiwa Adeosun
cordwainer
QEST Leathersellers’ Company Scholar
Tomi combines his job as a firefighter with a passion for
craft and designing men’s footwear. His Scholarship will be
used to help pay off his remaining tuition fees and enable
him to buy the materials he needs to complete his Masters
in Fashion Menswear Footwear at the Royal College of Art.
Fiona Batey
Children’s Book Author & Illustrator
‘Juggling being a firefighter with designing footwear is quite
demanding but rather than separate the two halves of my
life I have brought them together. All the footwear created
during my Masters is named after the firefighters I work
with. They are my muses! I focus on shoes for ordinary guys
and workwear. In five year’s time I would love to launch
my own footwear label but there is a lot I need to learn
first. If my designs were to ever be made in a factory, it is
really important that I understand every detail about all the
processes involved.’
QEST Rumi Foundation Scholar
Fiona’s dream is to create a series of successful children’s books
which deal with serious topics such as climate change and
endangered species. Alongside her work as a self-employed
illustrator, she has been working in whatever spare time she has
to save enough money for an MA in Illustration and Authorial
Practice at Falmouth University. Her Scholarship has now made
that possible.
‘I approached QEST on the strong recommendation of my
teacher, who was a QEST Scholar herself. The Scholarship has
completely changed my life. It means that I can now afford my
MA and work towards creating my own children’s books. I will
also be able to lecture at university and hopefully help other
people become respected illustrators.’
Manuel Mazzotti
Bookbinding
QEST Clothworkers’ Company Scholar
Already a skilled bookbinder, Manuel is keen to develop his skills and so play his part
in developing the craft in Britain as a whole. His Scholarship will enable him to go on a
specialised course at the Centro del bel Libro in Ascona, Switzerland, which will provide him
with new specialised skills to bring back to the UK.
‘I would like to set up a business that will fill the gap between a traditional book binder and
a publisher. With so much self-publishing going on today, there is a lot of scope for creating
limited editions with creative bindings. I specialise in contemporary bindings which mean the
contents of a book can be presented in an unusual and unexpected way. Ultimately, I would
love to feel that I have contributed to the UK’s international reputation for book binding.’
www.mazzottibooks.co.uk
Issue 32 Summer 2015
Caitlin Dowse
Painting Conservation
QEST D’Oyly Carte Charitable Trust Scholar
Caitlin has already demonstrated considerable skills as a painting
conservator but up until now, her experience has been limited
to working with Old Masters. Her Scholarship will enable her to
undertake an unpaid work placement at the National Museum of
Wales where she will have the opportunity to broaden her skills
by working on contemporary pictures.
Alan Floyd
coachbuilding
QEST Iliffe Family Charitable Trust Scholar
Alan has developed his skills as a coachbuilder over many
years but he would still like to improve his skills in some areas
within the craft. The Scholarship will allow him to work directly
with Jeff Moss who is recognised as being one of the finest
coachbuilders in the world.
‘There is no way I could have afforded to take the work
placement opportunity at the National Museum of Wales
without this Scholarship. Learning how to overcome the
challenges that are thrown up by contemporary pictures will be
invaluable in terms of developing my skills and hopefully my
career. To be a good conservator you need to know as much as
possible about the painting you are working on, the artist and the
chemistry behind the way different techniques and materials can
be used. My ultimate aim is to work at a national museum and be
the best conservator I can be.’
‘At 58 I thought my age might prevent me from getting a QEST
Scholarship, so I was really pleased to hear that I had been
successful. My father taught me welding and I have been making
panels for cars for 40 years, but the thought of studying with Jeff
Moss who is a true artisan is very exciting. I love coachbuilding
far too much to retire, so I hope I’ve got another 30 years of work
left in me. My dream would be to build a complete body for a
Jaguar D-Type!’
Jojo Wood
clogmaker
QEST Ernest Cook Trust Scholar
A few years ago Jojo met Jeremy Atkinson, the
last clogmaker in England. Since then she has
fallen in love with his craft and her Scholarship
will allow her time to train with Jeremy so that
he can pass on his lifetime of knowledge.
‘There used to be thousands of clogmakers
in England but now there is one. Many
Lyanne Nicholl, Executive Director of QEST
people think that clogs are all based on the
stereotypical Dutch design but they aren’t.
Jeremy makes everything from high boots
to clogs that look more like a contemporary
woman’s shoe. Every pair is bespoke and can
last a lifetime. Jeremy couldn’t afford to spend
hours and hours teaching me all the skills I
need to learn to become a master clogmaker,
so my Scholarship will save the craft from
extinction. Jeremy is now in his 60s and he is
absolutely over the moon that he can pass his
skills on. One day I hope I will be able to teach
someone else. Who knows? Maybe clogmaking
is set for a comeback!’
www.jojo-wood.co.uk
QEST
Scholars
Melanie Lewiston
Millinery
QEST Leathersellers’ Company Scholar
Melanie applied to the Royal College of Art to study millinery
after winning the Worshipful Company of Feltmakers design
award in 2012. Her Scholarship will help her pay off her
remaining fees.
‘I began studying millinery at an evening class in 2011. It was
only after I won the Worshipful Company of Feltmakers design
award in 2012 that I decided to apply to the Royal College of
Art to take an MA. My Scholarship from QEST will enable
me to finish my final collection. I sculpt my own blocks on
which I create unique headpieces, often using antique fittings
which adds to their individuality. I can now look forward to
developing my skills and eventually working towards having my
own business premises.’
Emily Juniper
Bookbinding
QEST Clothworkers’ Company Scholar
Emily is in her second year of an MA in Illustration and
Authorial Practice at Falmouth. Her Scholarship will help
support her tuition fees as well as course materials that she needs
to get as much out of the course as she possibly can.
‘I take on commissions which include bespoke bindings for
anything from a wedding service to an illustrated story, but my
Scholarship has eased a lot of financial pressures. I love working
in French silk as well as leather and my aim is to make each
binding tell its own story and reflect whatever words or drawings
it contains.’
www.juniperbespokebooks.com
Jade Crompton
3D ceramics and digital design
QEST Rumi Foundation Scholar
Jade uses 3D printed moulds designed on a computer to create plaster moulds for slip casting.
She is working towards her Degree Show in October at The Baltic Creative in Liverpool.
Her Scholarship will enable her to finish paying off her tuition fees, as well as help her to buy
materials and meet the exhibition costs associated with completing her Masters course.
‘I’m chuffed to bits to have been awarded a Scholarship! It will mean that I can now focus on
my work without worrying so much about money. If I weren’t able to finish paying for the
course I wouldn’t have been able to graduate. Once I finish my MA I hope I will be able to
carry on my research in 3D ceramics and pursue my dream of launching a commercial range
of ceramics.’
www.jadecromptonceramics.co.uk
Issue 32 Summer 2015
Amelia Crowley-Roth
Wood Carving
QEST Radcliffe Trust Scholar
Amelia is a talented wood carver who is finishing her course
at City & Guilds of London Art School. Her Scholarship has
enabled her to pay off the remainder of her fees and fund the
materials she needs for her final show.
‘I was totally amazed when I heard I had received the
Scholarship. It enabled me to finish my course and now I have
just managed to secure a small studio in Peckham that I am
sharing with someone else on my course. I hope to continue
to take commissions and restoration projects in the future so I
can continue to develop my skills.’
Claire Barrett
www.londonwoodcarving.com
Heraldic Drafting
QEST Scholar
Claire has worked as a bespoke embroiderer for several years
and now runs her own business, Hawthorne & Heaney.
After becoming increasingly aware of how difficult it was
to find anyone capable of heraldic drafting, she applied for
a Scholarship to learn the skill herself. As well as helping to
grow her business, Claire will be doing her bit to preserve the
dying art.
‘Learning heraldic drafting would further my career
significantly. Only a handful of people still practice the skill
today – either in this country or elsewhere – and it would
really help me achieve my long-term goals of growing my
business and ensuring that all the embroidery we do is created
in this country.’
www.londonhandembroidery.com
Sam Elgar
Stonemasonry
QEST Kirby Laing Foundation Scholar
Though he is already an award-winning stonemason, Sam had been struggling
financially while developing his skills. His Scholarship will help to support the
three-year architectural Stone Carving course at the City & Guilds of London
Art School.
‘When I heard that I had received the Scholarship, I was so elated. I have already
had to sell my beloved motorbike and it is big financial weight off my shoulders! At
the moment I am hoping that I may be one of the team sent out to help restore the
Royal Palace in Berlin. It is four times the size of Buckingham Palace and there will
be plenty of opportunities to learn new skills from the craftsmen there.’
SCHOLARS
Issue 32 Summer 2015
QEST supports the education and training of
talented craftspeople in order to ensure sustainability
of traditional craftsmanship within Britain.