OXFORD GUILD OF WEAVERS SPINNERS AND DYERS:
1990 to 1999
If the 1970s was a period of development for the Guild and the 1980s one of consolidation, the 1990s was a time of reconsideration. During the late 80s and early 90s many of the longer-serving ceased to be members and many aspects of the Guild were in need of a rethink. The nature of amateur textile production was changing. In the 60s and 70s home dressmaking and tailoring were still widely undertaken. By the 1980s clothes had become relatively cheap and ‘fashion’ was available to most.
For instance, weaving yards of ‘tweed’ for a suit, was becoming rarer, being replaced by the production of less utilitarian items. While cushions and rugs and Shetland shawls as Christening presents were still very much in vogue, fancy goods rose in popularity. Tapestry became a popular means of expression. Felting, although still not accepted by the national Association as being within its remit, became a widespread occupation for making natty waistcoats, hats and even fashion ‘jewellery’ and ‘dolls’, and the range of dyeing expanded, exploring new sources and techniques.
So the interests of Guild members changed too, with the emphasis being less on the acquisition of a high level of technical skills to produce well made, useful textiles, to the pursuit of the crafts as an enjoyable, social activity – and, may-be, a therapeutic one. The pursuit of skills still continued but the balance had subtly changed. And so did the nature of the Guild…
Activities
The Guild continued to meet once a month except for August to listen to talks and watch demonstrations. ‘Day Schools’ or ‘Workshops’ were held several times a year, usually as a follow-on from an earlier talk. There was the occasional visit too.
The change of meeting place to Stanton St John Village Hall in 1998 meant that the Guild could meet on Saturday morning as well as in the afternoon. This provided a time for members to gather for a chat and engage in some craft activity. In 1999 it was decided to set up what were known as ‘Focus Groups’. These were mini-workshops held on Saturday morning, usually led by a Guild Member, and designed to explore some special aspect of one of the textile crafts, such as fleece sorting or the use of inkle looms. [A list of these focus groups is given in appendix two along with a list of all the meetings for the decade.]
The monthly meetings followed much the same pattern as in earlier years. As there is a limited number of topics to choose from some degree of re-cycling, both of subjects and presenters, is only to be expected. As an illustration, a few of the more interesting ones are listed below. [A full list is to be found in appendix two.]
January 1990 Anna Bowers, Chair of the Association and founder of ‘Fibrecrafts,’ on the Association
April 1990 Susan Foster, on Weaving
February 1991 David Hill, on Woad and Indigo
March 1991 Frances and Tony Tompson on Synthetic Dyeing
April 1991 Jenny Dean on Natural Dyes
May 1991 Patricia Baines on Spinning Flax
July 1991 Janet Willoughby on Ethnic Textiles
September 1991 William Jeffries on Tapestry
February 1992 Michael Crompton on Tablet Weaving
March 1992 Joan Baxter on Tapestry
February 1993 Colin Squire on Handwoven Rugs
January 1995 Enid Russ on Maori Textiles
April 1995 Maggie Henton on Baskets as Textiles
June 1995 Miera Stockl on Tapestry
July 1995 Edna Gibson on Handknitting Finishing Techniques
May 1996 Geraldine St Aubyn Hubbard on her Work
June 1997 Alison Ellen on Knitting
July 1997 Nancy Lee Child on Twenty Years of Contemporary British Textiles
November 1997 Shirley Berlin on Braids and Bands
February 1998 Janet Phillips on Weave and Fabric Design
September 1998 Priscilla Lowry on Silk
October 1998 Ruth Barnes on Textiles and the Indian Ocean Trade
The Christmas meeting was usually a special one not only for the mince pies but also for the Guild Challenge, and, may-be, a fashion show. From 1996 the December meeting was organised as a mini guild exhibition. [See the section on exhibitions.]
Many of the ‘practical’ talks were followed by a day workshop, usually on the Sunday after the monthly meeting. These included Ropes and Cords with Ann Norman, Tablet Weaving with Michael Crompton, Knitting with Alison Ellen, Flax Spinning with Patricia Baines and Indigo and Rust Dyeing with Jenny Dean.
Particular mention should be made of a major offshoot of the Saturday morning ‘Focus Groups’. This was the Garment Weavers Group led by Marcia Kosmerchock, which aimed to bring together members’ skills in weaving and sewing to produce simple clothes.
Behind the programme lies a lot of hard work on the part of the Programme Secretary. It is not always plain sailing. Speakers are sometimes difficult to contact, don’t return forms and may even have to call it off. Brenda Knight had a particularly difficult time at the beginning of 1990 when having organised a good, varied programme four speakers were unable to come. Thank goodness for members’ talents at such times.
The reports, which were now published fairly regularly in the Newsletter, let us have a better idea of what happened at meetings. Although most of these are somewhat bland and uncritical, a point raised by some members in the Guild Questionnaire undertaken in 1998 [see below], not all are.
In 1991 Jean Deller took on the job of reporting back for the newsletter. She could be quite critical. About a talk by Jenny Dean on Dyeing in Zambia, she wrote: ‘…I was agog to see the next slide in the process [of dyeing], but was disappointed. ….The talk was excellent in showing us an insight into the life of a small section of the community, but would have been better if we had been shown more of the dyeing process.’
Janet Willoughby’s ‘Ethnic Textiles’ fared better. Joyce Entwisle was obviously entranced by it: ‘…when we entered the hall there were few artefacts around, – just empty tables and under them some anonymous-looking holdalls. As Janet started talking and reached for the first holdall the Magic Started and Pandora’s Box Opened!!…..’
Even better was Sonia Keates note on Ewa Exley’s Felting Workshop in February 1995: ‘Ewa was a calm and patient tutor… What a lovely time we had splashing and banging around… Then there were the lovely cakes and biscuits… My end results were colourful abstracts but the main advantage was that of a few happy hours as a grown up ‘Blue Peter’ activist, learning a new craft.’
David Nutt’s review of Ann Norman’s ‘Ropes and Tassels’ weekend was even more enthusiastic: ‘What a weekend, Ann Norman at her best. A talk with demonstrations on Saturday – going well over time, of course – but who noticed? Rope making, how it all started? Sheep, cardboard baskets, Broughton Castle curtains, what is rope anyway? tassels and the rest, interspersed with amusing ‘poems’ and other asides. A deceptively light-hearted, facile but quick-fire method of putting over a vast amount of information.’ and on Sunday ‘Ann, Glenys and Alan Raistrick…produce a length of rope. It was difficult to get people to stop producing… but eventually… we… went home… to gloat over our productions…’
Edna Gibson’s talk on ‘Hand-knitting Finishing Techniques,’ in July 1995, raised a subject dear to Glenys Raistrick’s heart, the importance of good finishing. She had raised this subject before in her note on the 1993 Six Guilds Exhibition [see below]. Edna talked of the importance of finishing and of incorporating such details into the initial design: ‘Edna suggested that the finishing techniques were of equal importance to the handspinning and knitting in the garment and should be treated as such. … The talk was both instructional and inspirational and will probably have a lasting effect on many people’s work.’
And, how to get them to the AGM?; Invite Wingham Wool – again. In January 1996 Monika Brown was bubbling over [as ever]: ‘ … The room, usually so tidy with chairs in neat order, had one half filled with bags of wool… In the other half the wheels were 3 turning. I made my way to the mountains of fibre. …gripped by a sense of panic …[what] to choose…[and later] what to buy! …What about the bags of fleece in the garage? What will my husband say? …A month or so later I can still recall the feeling of sheer indulgence of that day and in the evenings I spin … and plan possible projects. So you see, that one day will give me pleasure for a whole year.’
The Guild continued to organise visits and demonstrations. For instance, in July 1992 members visited the Silk Mill at Whitchurch in Hampshire and showed the flag at BBONT Agriculture and Rural Crafts Day at Wells’ Farm near Thame. And, in 1994 took a trip to Bath to see the Museum of Costume and the American Museum – a very full day. Jean Deller reporting back makes special mention of the Quilt Room.
The 1995 outing was to Essex. It was a long day, first to Lavenham, to an exhibition of local history and crafts, which included a good display of the cloth trade and horsehair, and then to Braintree to visit the ‘Working Silk Museum’, the last remains of the hand operated silk industry.
As well as the ‘formal’ meetings the Guild forms an umbrella under which members get together to engage in a variety of textile related activities not organised by the Guild itself. The Spinning and Tapestry Groups are examples of this, but there are also ad-hoc events. One such was the Jacob Sock Competition held on 28th June 1992 at Rose Ford’s fleece day. The teams of four [the Stonesfield Team was Joan Leighton, Hazel Smith, Helen Towell and Diane Clarke] had just over two hours to convert some Jacob’s fleece into socks. The team won. Diane wrote: ‘Whilst I am no great lover of speed knitting…I did enjoy the challenge and so long as it does not become serious I may well do another,…a bit of summer madness.’
Exhibitions and other public events
The Guild took part in fewer exhibitions in the 1990s. The first half of the decade followed the previous pattern of alternate years staging an Oxford Guild Exhibition and a Five [or Six] Guilds Exhibition. This stopped in 1994. The pattern was already being questioned in 1990 when in her report on the Guild Exhibition, Kathleen Potter, the then Chairman, wrote: ‘In fact, in spite of the success this time, I think the time has come for us as a Guild to decide whether we can, or want, to have an exhibition every two years or whether we are having too many.’
Early in 1994 the Six Guilds’ committee met. The problem of obtaining suitable accommodation for exhibitions was discussed and it was decided to look at other formats while retaining the original aim of allowing the guilds to mix, get to know each other and to exchange ideas. It was suggested that there should be no Exhibition in 1995, ‘but rather a one day meeting with a good speaker and possibly trade stands.’
At a national level the Association was very strict about what could be put into an Exhibition and expected associated guilds to follow its guide lines. The Guild newsletter for May 1992 summarises these: the skills demonstrated in the work must be predominantly weaving, spinning or dyeing: it must be a complete and finished article [which may be a length of cloth]: the weaving must be hand-woven: the spinning must be a hand operation: dyeing must be to a hand created textile item: basketry and papermaking are not accepted and felting only if it is handmade and hand dyed. At OGWSD local exhibitions these have been very flexibly interpreted.
1990
The first OGWD exhibition of the nineteen nineties was held in the Exhibition Room [1] of Oxford Central Library, Westgate from 26th June to 7th July 1990. In order to add a little more interest to the display four Oxfordshire Potters were invited to join in. The catalogue only lists three. They were Rosemary Greatbatch, Jane Mollison and Christine Peers. Maureen Burton in her thank-you note in the July newsletter writes: ‘…the work of 3 Oxford potters added another dimension to our Exhibition, the contrast of texture blending well with textiles…’
Thirty three Guild members, out of a membership of about eighty, provided nearly one hundred items which included several tapestries by Gladys May, a prolific producer, several lengths of tweed, knitted shawls, a cardigan and a sweater, cushions, rugs, bags, blankets, and a selection of ‘rope’ bracelets, necklaces and bell pulls by Ann Norman.
[inset images from page 14]
The National Exhibition, ‘Follow the Thread’ was held in Liverpool Museum this year. Several members had pieces in it and it was a great success being very well displayed. Gladys May gave it a good overall write-up in the December newsletter but was critical of some of the tailoring and spinning.
The only sour point was that 63 selected items out of 268 were unable to be hung for lack of space. This is often a problem with exhibitions – how to achieve a spacious, uncluttered display which gives sufficient room to each object. This usually involves careful selection and the subsequent disappointment of the rejected. The all-inclusive approach can end up looking like a jumble sale. But what is an exhibition for? The Oxford Guild newsletter of March 1993 includes the reports-back of the selectors for the next National Exhibition at Ingatestone Hall – instructive reading.
1991
There was no Oxford Guild exhibition in 1991 but the Guild took part in a Six Guilds Exhibition called ‘Loom Wheel and Dyepot’ at the Corinium Museum, Cirencester from 29th March to 20th April 1991. The posters and booklet do not say which year it was but the Guild newsletters confirm it to be 1991. The six Guilds were Avon, Gloucestershire, Oxford, Stratford, Wiltshire and Worcestershire. Each guild was allowed to submit up to 50 items with no more than 3 from any one member. The space was somewhat cramped and the surroundings not the most lively.
1992
It was decided that 1992 was the twenty-first anniversary of the starting of the Guild, although the first formal meeting was in fact in January1972. The Guild Exhibition held, as in 1990, in Westgate Library, from 8th to 19th September, was advertised as the 21st Anniversary Exhibition. Three Oxford Potters, Betty Blandino, Rosemary Greatbatch and Christine Peers also displayed their works.
The ninety-nine exhibits included the usual array of wall hangings from Gladys May, several rugs from Janet Phillips and Valerie Opher among others, coat and upholstery lengths, scarves, cushions, knitted jumpers, shawls and hats, a doll and some draught excluders. [see p15 – inset images from p.15 !!] In the November 1992 newsletter Ann Howat, the Guild’s chairman, reported: ‘…30 members exhibited a total of 99 items, of which 15 were sold. At least 540 visitors came to see our work… …We made a profit of £243 [without the usual benefit of a County Council Grant].’
She continues: ‘Of the 16 items taken to Ingatestone Hall 7 were chosen for the exhibition, – the work of 7 members.’ This refers to the National Exhibition that year, ‘A Goodly Yarn’ which was held from 10th to 25th October at Ingatestone Hall, Essex. I recall that the Hall was difficult to get to, the rooms dismal, the standard of work variable and the displays very poor, especially when compared with those of the previous National Exhibition in Liverpool. Jill Carey in her report in the newsletter of January 1993 is less critical. She highlights Margaret Lindley’s weaver doll, Ann Nutt’s table mats, Eva Exley’s rug, Kathleen Potter’s ‘Feluccas on the Nile’ hanging, Gladys May’s ‘Twisted Hanging’, and Janet Phillip’s and Valerie Opher’s rugs, but feels that the last three were not well displayed.
1993
Nineteen-ninety-three was Oxford’s turn to host the Six Guilds Textile Exhibition and Sale. The Exhibition Room of the Central Library, Westgate, Oxford was again chosen and it was held between 6th and 17th July. The six guilds were Berkshire, Gloucester, North Oxford, Oxford, Stratford and Worcester. Nineteen Oxford members had exhibits selected which included a deckchair by Ann Nutt. The total number of exhibits was 114.
The September newsletter contains two reviews. Glenys Raistrick was enthusiastic: ‘My main reaction was that it was good and avoided the pitfalls which irritated me at so many exhibitions, such as overcrowding of items, hanging jumpers on poles as shapeless items, poor lighting so that all detail is obscured and demonstrations of thick lumpy spinning. I feel that the selection committee and hanging committee did a wonderful job producing a very professional exhibition…’ She was however somewhat critical that the overall standard of work was not higher but praised the quality of the catalogue.
Margaret Lindley was philosophical, questioning what the aims were and if they had been achieved. She thought the standards were high, there was a wealth of creativity, and knowledge of the craft and skills. Did the number of visitors matter? ‘But we seem to be judging success by the number of visitors – or lack of them. If the hordes in Queen Street and the rest of Oxford had walked through the exhibition, would it have been considered a success?’ Could the stewards have coped? And ‘Is success only linked to profit?’ She concludes the Exhibition was wonderful and hopes it did not make a loss…………….It made a profit of £150 or so.
1994
As early as the November newsletter 1993 the problems of the 1994 Guild exhibition in the Museum of Oxford, due to be held from 16th August to 10th September were beginning to show. Maureen Burton, the Chairman, reported on the tight conditions which were being imposed by the Museum services and the smallness of the space available. ‘My heart sank when I saw it. It is small [approx 17ft x 15ft]!…’ The Museum would handle all publicity, would send out invitations to the private view and require the Guild to provide lectures each Thursday lunchtime. In fact the Museum was treating it as its own exhibition for which the Guild had the pleasure of contributing £70 a week, providing the exhibits, setting it up and stewarding, while the Museum took 20% commission on all sales [plus VAT]. Not a good start. But the Library was not available.
By March 1994 the Exhibition had a name ‘From Field to Fabric’. To try to overcome the large take by the Museum the hanging fee was set at between £1.00 and £3.50 depending on the value of the item and double that for items not for sale.
Due to the restricted space only twenty two members exhibited fifty two items. The range of exhibits was much as in previous exhibitions, but with the addition of some interesting Scandinavian weaves by Monica Barry.
The Exhibition itself created much interest from the public, the comments were encouraging and, it was said, there was a ‘buzz’ in the room. During the period of the exhibition more than 1100 visitors passed through the museum. Since the exit was through the exhibition room many of these must have had at least a glance at the exhibits!
Mary Kinipple reviewed the Exhibition for the Journal. Mary found a virtue in the smaller sized exhibition: ‘Indeed, perhaps with fewer articles in a smaller space, one could take it all in more easily and spend time studying each article thoroughly ….There was a good variety of work from intricately woven tapestries to soft and very wearable handspun [and some dyed] jackets and jumpers, and from large colourful floor rugs to dyed and felted pictures of woodland scenes.’ She picks out for special mention the traditional Shetland knitting, the tapestries, a soft toy dog called ‘Bengy’, several finely woven cushions, table mats and two draught excluders woven on a Saga loom which ‘gave a utilitarian object a touch of panache!’. ‘A joy to view.’ Wow!
Four lunchtime lectures were given. Ann Nutt and Lizzie Cook talked about dyeing fleece with natural and synthetic dyes ‘Dyed in the Wool’, Jan Shailes spoke on ‘The Breeding and Survival of Rare Sheep Breeds’, Joan Leighton on ‘Breeding and Spinning Angora Rabbits’ [!] and Janet Philips on ‘Rug Weaving’. These were very poorly supported by the public.
Two periods of children’s activities were also organised. Lizzie Cook taught an enthusiastic group of youngsters how to make braids and Jan Shailes had another group spinning with the aid of a potato on a stick.
The National Exhibition this year was held at Swansea in the Glynn Vivian Gallery from 6th August to 11th September. Oxford was allowed to submit up to 16 items, no more than two in any one discipline [ie weaving, spinning or dyeing] from any one member.
The Guild held no further public exhibitions until 2002.
1995
As threatened, the next Six Guilds event was a day of lectures with trade stands held at Burford School on 14th May. The speakers, talking about their work, were Shirley Simpson, Shirley Tittle and Tim Searcy. Brenda Knight reporting back was quite enthusiastic about the format since as well as the talks visitors had a chance not only to ‘wander at leisure around the trade stands and stalls, but also to meet up and chat to old friends from other guilds, in a happy social atmosphere…’
1996
The Association Exhibition is a biennial affair, the intervening year being a Conference with speakers. This year, 1996, it was the turn of the Exhibition which was entitled ‘Fibres 96’. It took place at Stanstead Park, Rowlands Castle, Hampshire from 5th to 27th October. The Guild ran a coach trip to it on 6th October.
To make up for the fact that the Guild was not having a public exhibition this year, the Christmas Meeting, on 14th December, was a Mini Exhibition and Sale. There was no selection and the National Exhibition Guild Lines did NOT apply. The Guild had a challenge this year: to make what every you liked from half a pound of fleece [£1.00 a bag]. The masterpieces were on show at the Christmas meeting too. Twenty-three entered, a third of the membership, producing work in all sorts of techniques. ‘We had knitted, croched[sic] and felted exhibits, dyed and natural, mitts and hats, dogs and sheep and two adorable teddies. One group had made beautiful felted cards showing us that art and craft can coexist.’ wrote Monika Brown. And ‘David Nutt’s ‘creation’! The next Guild challenge, for 1997, was ‘BAGS’.
1997
The Six Guilds event returned to the exhibition format in 1997. ‘Fantastic Fibres’ was a no-sale exhibition held in Chipping Camdem Town Hall from 30th August to 7th September. There was no hanging fee and each member could submit five items. More than 100 items were displayed, several produced by Oxford members. Maureen Burton thought it ‘was one of the most delightful Exhibitions of our craft that I have seen.’
The Guild’s second Mini Exhibition and Sale was held on 13th December and included the Bag Challenge entries. The challenge proved to be less creative than the previous year, although there were bags of all descriptions.
1998
‘Odyssey – Adventure in Fibre’ was the name given to the National Exhibition for 1998. It was held at Cliffe Castle Museum, Keighly from 13th June to 9th August. The Guild was limited to 16 items, not more than two per person. In all 476 items were submitted and 174 selected, four from Oxford: Gladys May’s ‘Sprang’ hanging, two of Valerie Opher’s rugs and a dyed scarf from Janet Phillips.
The third One Day Exhibition and Sale was held on 12th December and the Guild Challenge this year was ‘Table Decorations’. Members rose to the challenge producing ‘Mats and runners, boxes and baskets…silver coloured trees with paper flowers… and… a hen’.
1999
The Six Guilds held a forum this year called ‘Talking Textiles’ at Pershore High School. The speakers were Ann Sutton and Hilary Turner.
The 11th December meeting saw another Guild One Day Exhibition and Sale and a display of Guild challenge cushions. ‘All this, and good coffee, plenty of mince pies and Francis Berry’s superb Christmas cake!’ wrote Thelma Robinson.
Locations
For most of the 90s, meetings were held in the Women’s Institute Hall in Middle Way, Summertown, Oxford. This was convenient for those living in Oxford but less so for those coming from a distance by car since parking space was scarce. Workshops were mostly held in Stanton St John Village Hall.
In 1997 the Oxfordshire WI decided to sell the Middle Way site and relocate to outside the city. This took some time to happen and the Guild had plenty of time to look for a new meeting place. As a first step the Guild Committee looked at where members lived and worked out the optimum location based on travel distance. This proved to be outside the city close to the ring road. Taking many things into account such as the cost of hiring, Stanton St John seemed to be the best bet with two halls being possible.
Members were asked to comment upon the suggestion and the pros [such as available parking] and the cons [such as limited bus service] were set out. Most members [three quarters approved or had no preference] agreed to the proposal. Stanton St John Village Hall was chosen because of its size and its facilities, as well as cost and the first meeting was held there on 17th January 1998.
Unfortunately, despite attempts to lay on transport from Headington for bus users several of the older, car-less members, such as Gertie Beesley and Sonia Keates, stopped coming to meetings and eventually dropped out of the Guild altogether.
There were two spin-offs from the change of venue. The first was that informal gatherings were possible in the morning. The second that the library could be kept at the meeting place, and several heavy cardboard boxes of books and periodicals did not have to be carted to and fro for each meeting. Eventually the Stanton St John Village Hall Committee was persuaded to allow the Guild to keep its books in a specially constructed folding bookcase, in return for an extra charge of £5 a month. Well worth it from the librarian’s point of view.
Finances and Membership
The decade saw a steady increase in costs, especially in speakers’ fees. Subscriptions were increased in line with this, starting at £10.00 in 1990, rising to £11.00 in 1991, £12.00 in 1993, £13.00 in 1994 and £15.00 in 1997. There was no great financial crisis and year on year the Guild covered its costs and even made a little surplus which could be set aside for a rainy day.
At the same time the decade saw a steady decline in membership. In 1990 it was about 73, by 1996 it was about 65 and from then hovered around the lower sixties.
The Survey of Members’ interests 1996
By 1996 the changing nature of the Guild prompted the Committee to send an Activities Questionnaire to all members. The preamble read: ‘It is many years since members were asked about their interests and what they wanted of the Guild. The time has come again for a check to be made on how closely the Guild’s activities meet members’ needs; if there is any support for some new activities which have been suggested and if anyone has a burning desire for change.’
The questionnaire had sixteen questions covering members present interests, their views on the Guild’s activities, their use of the library, the convenience of the time and place of meetings [WI Hall, Summertown] and of workshops [Stanton St John Village Hall], their thoughts about visits and views on the newsletter. Of the sixty or so members questioned 43 completed the form and ten produced detailed comments on the Guilds activities, a very good response.
We still have the completed forms which seem to show that the current activities were not far adrift from members’ wishes. The analysis of these has not been found but we do still have the analysis of the questions on the library and the newsletter.
At that time the library was a burden since it had no permanent location. Scrapping it was seriously considered as it was the least used of the Guild’s resources. The results of the questionnaire were not conclusive but on the whole it was considered that the library was a desirable thing for a Guild of our sort to have. Several suggestions were made for its improvement, for instance, the need for an up-to-date catalogue, the listing of new acquisitions in the newsletter and the better display of the books at meetings. Most of the suggestions were followed up and when the Guild moved to Stanton St John for its meetings the problem of storage and display was solved.
Most people thought the newsletter under its editor Jacqueline Crouch was fine as it stood but there were several suggestions. Four of these have been implemented: the announcement and reporting back of all Guild events: advanced notice of other textile related events: articles by members and more pictures. There were four others which would have resulted in a bigger production: a controversial editorial: letters to the editor: library notes including book reviews: and members’ profiles.
Newsletter and Other Snippets
The Guild Newsletter continued to be produced by Gordon Entwisle until September 1993. Jacqueline Crouch then took over and she was editor and producer until she had to retire through illness in November 1999. The majority of the newsletters were in A5 booklet form but the last newsletter of the decade was an A4 sheet produced by Jane Cox.
The quality of production improved steadily over the decade thanks, for the most part, to the improvement of computers and printers. Members continued to write reports and articles and these have been invaluable in producing this history. The extracts from them included here show the quality of some of the writing.
The question of whether members should wear name badges has frequently cropped up in discussion. Way back in 1981 Rod Owen, then Secretary, tried to persuade members to come with their names inscribed on a piece of paper. In 1991, Ann Norman designed a fine circular badge with elegantly written lettering reading ‘Oxford Guild of Weavers, Spinners and Dyers’, within which members could write their names. This did not seem to catch on.
The early Guild Constitution had several ambiguities in it. For instance, there were virtually two AGMs each year, one in November to elect officers and committee and one in January of the following year to hear reports and agree accounts. The wording of the limits of office tenure were also not clear. In November 1995 a Special General Meeting of the Guild agreed revised wording which sorted out these problems.
The same year also saw the publication of Rod Owen’s ‘The Big Book of Sling and Rope Braids’. This had been a long time in gestation and had involved a number of guild members in various tasks. Ann Norman produced the drawings, David Nutt most of the photographs, and Ann Nutt, Lizzie Cook and Christine Wrigley made hundreds of samples to test the instructions.
During the nineteen-nineties the Guild changed, not least because many of the original members had left. Those who had run the Guild on and off for many years were not as active as they used to be and there were not many young people to take over. The challenge now was to recruit fresh faces with new ideas. A new millennium awaited and the need for rejuvenation……
David Nutt
November 2007
Note:
- The Exhibition Room was subsequently converted into a computer centre in about 1994 leaving the City without any municipal exhibition space until the conversion of part of the Old Fire Station in 2002.
Acknowledgements:
Thanks are due to Ann Nutt for helping to extract much of the detail from the various papers which survive. The photographs come from many sources but mostly from the Guild Archive of Exhibition slides and the collections of Brenda Knight, Ann and David Nutt and Jill Carey. In many cases the photographer of an individual picture is not known, so none are directly acknowledged. May I thank everyone who has contributed even if unconsciously.
Appendix one: Officers and Committee Members
Source: Programme Cards
There seem to be no programme cards for 1999, 2000 & 2001
1990
Kathleen Potter – Chairman
Anne Howat – Vice-Chairman
Gladys May – Secretary
Christine Wrigley – Treasurer
Judith Penneck – Membership Sec.
Brenda Knight – Programe Sec.
Ivy Brooks – Archivist
Jacqueline Crouch
Ann Nutt
Susan Tibbles
Sonia Keates Librarian
Ivy Brooks Tea Organiser
1991
Anne Howat – Chairman
Sheila Mattock – Vice-Chairman
Gladys May – Secretary
Christine Wrigley – Treasurer
Judith Penneck – Membership Sec.
Brenda Knight – Programme Sec.
Diane Clarke
Ivy Brooks – Tea Organiser
1992
Anne Howat – Chairman
Sheila Mattock – Vice-Chairman
Maureen Burton – Secretary
Christine Wrigley – Treasurer
Judith Penneck – Membership Sec.
Diane Clarke – Programme Sec.
Jill Carey
Jean Deller
Peggy Haslam
1993
Anne Howat – Chairman
Sheila Mattock – Vice-Chairman
Maureen Burton – Secretary
Christine Wrigley – Treasurer
J E Cox – Membership Sec.
Diane Clarke – Programme Sec.
Jill Carey
Peggy Haslam
Gordon Entwistle – Editor
Jill Edwards – Librarian
1994
Brenda Knight – Chairman
Diane Clarke – Vice-Chairman
Maureen Burton – Secretary
David Nutt – Treasurer
Jill Carey – Programme Sec.
Peggy Haslam
Jean Deller
Jan Shailes
Jill Edwards – Librarian
1995
Brenda Knight – Chairman
? Vice-Chairman
Glenys Raistrick – Secretary
David Nutt – Treasurer
Jill Carey – Programme Sec.
Ann Nutt – Membership Sec.
Ewa Exley
Gladys May
Diana Bird
Jan Shailes
Jacqueline Crouch – Editor
Jill Edwards – Librarian
1996
Brenda Knight – Chairman
Anne Howat – Vice-Chairman
Glenys Raistrick – Secretary
David Nutt – Treasurer
Ewa Exley – Programme Sec.
Ann Nutt – Membership Sec.
Monika Brown
Gladys May
Diana Bird
Jacqueline Crouch – Editor
Jill Edwards – Librarian
1997
Anne Howat – Chairman
Monika Brown – Vice-Chairman
Glenys Raistrick – Secretary
June Kay – Treasurer
Ewa Exley – Programme Sec.
Ann Nutt – Membership Sec.
Diana Bird
David Nutt
Elizabeth Cook – Librarian
Jacqueline Crouch – Editor
1998
Anne Howat – Chairman
Kari Gibson – Vice-Chairman
Monika Brown – Secretary
Lorraine Harvey – Treasurer
Vi Welbourne – Programme Sec.
– with Kari Gibson
Hazel Smith – Membership Sec.
Elizabeth Cook – Library & Sales Table
Jacqueline Crouch – Editor
1999
Anne Howat – Chairman
Kari Gibson? – Vice-Chairman
Monika Brown – Secretary
Lorraine Harvey? – Treasurer
followed by Joyce Berry
Vi Welbourne – Programme Sec.
– with Kari Gibson
Hazel Smith? – Membership Sec.
Elizabeth Cook – Library & Sales Table
Jacqueline Crouch – Editor
Appendix two: Progamme
Sources: Programme Cards updated from Newsletters
Some of these events may not have taken place
1990
20th January: AGM and Anna Bowers – Fibrecrafts
17th February: Ann Norman
17th March: Ann Norman – Workshop
21st April: Susan Foster – Weaving
19th May: Doreen Hooper – The Ringwood Tapestry
16th June: Mary Eve – Spinning Shetland and Rare Breeds
25th June to 7th July: Guild Exhibition
21st July: Members’ Day
15th September: Sarah Wooler: Locker Hooking on Canvas
20th October: Brian Paul – Falklands a History of Spinning
17th November: Gladys May – Tapestry Day
15th December: Fashion Parade and Picture Gallery
1991
19th January: M & T Shuffrey – The Navajo Indians
18th February: David Hill – Woad and Indigo
16th March: F & T Tompson – Explorations in Synthetic Dyeing
20th April: Jenny Dean – In Search of Natural Dyes in Zambia
18th May: Patricia Baines – Spinning Flax
19th May: Patricia Baines – Flax & Worsted Spinning Workshop
15th June: G Shrives – Colour and Design
20th July: Janet Willoughby – Ethnic Textiles
21st September: William Jeffries – A Career in Tapestry
19th October: Valerie Opher – Kvitrayatn Festival
16th November: Christopher Legge – Oriental Carpet
14th December; Members’ Workshop
1992
18th January: AGM and Wingham Wool
15th February: Michael Crompton – Tablet Weaving
16th February: Michael Crompton – Tablet Weaving Workshop
21st February: Joan Baxter: Tapestry
18th April: S Bowie – The Fineness of Shetland Wool
16th May: Fibrecrafts – Loom and Computer
20th June: Margaret Bide – Quality of Cotton
18th July: Visit to Whitchurch Silk Mill
19th September: Guild Exhibition Meeting
17th October: Alain Rouveure – Tibetan Rugs
21st November: 21st Anniversary Meeting
12th December: Christmas Meeting
1993
16th January: AGM and Nancy Lee Child – The Collection
20th February: Colin Squire – Handwoven Rugs
20th March: Jan Shailes – Spinning Fleece from Rare Breeds
17th April: Gladys May – Off Loom Weaving
15th May: Alan Forlam – Cashmere and Pearls
19th June: Shirley Berlin – Braids and Beads
24th July: Members Workshop
18th September: Steve Cook – Spinning a Fine Yarn
16th October: Alan Rouveure – Rugs in Exile, Tibetan Carpets
20th November: Gill Dalby – Thinking Green, Natural Dyeing
18th December: Members’ Meeting
1994
15th January: AGM and H Crosby – Landscape into Tapestry
19th February: Erica Just – Ikat and its Origins
19th March: P Jordan – Chinese Embroidered Robes
16th April: Bath, American Museum & Museum of Costume
21st May: Irene Waller – Church Embroidery and Weaving
18th June: P & M Woolcrafts?
16th July: Malcolm Palmer – Fabric Finishing
6th August to 11th September: National Exhibition
16th August to 10th September: Guild Exhibition
17th September: Jacqueline Webb – Mohair
15th October: A Raistrick – Textile Industry Mechanisation
19th November: Vicky Thomas – Working in Rings & Hoops
17th December: Members’ Meeting
1995
21st January: AGM & Enid Russ – Maori Textiles
18th February: E Clifford – How I Weave, Warping Beaming etc
18th March: Ann Norman – A Sideways Look at Ropemaking
19th March: Ann Norman – Rope and Cord Workshop
22nd April: Maggie Henton – Baskets as Textiles
20th May: Visit to Silk Mill, Braintree etc
17th June: Miera Stockl: My Own Work, Tapestry
15th July: Edna Gibson – Handknitting Finishing Techniques
16th September: Jessca Knot – Weaving in Bagladesh
21st October: Betty Saunders – Silk Spinning
22nd October: Betty Saunders – Silk Spinning Workshop
18th November: Jennie Parry: Japanese Braids
18th December: Members’ Meeting
1996
20th January: AGM & Wingham Wool
17th February: Linda Wigley – Guatemalan & Mexican Textiles
16th March: Jenny Dean – The Magic of Indigo
17th March: Jenny Dean – Indigo and Rust Workshop
20th April: Linda Moffat – Bead Weaving
4th May: Edna Gibson – Knitwear Finishing Workshop
18th May: G St Aubyn Hubbard – My Work
15th June: Maggie White – Inspirations in Textile Design
20th July: Lesley Barnett – Embroidered Felts
21st September: Terry Jones – Resist Dyeing on Silk
6th October: ‘Fibres 96’ Visit
19th October: Elda Abramson – Textural Weaving
20th October: Elda Abramson – Textural Weaving Workshop
16th November: Ann Richards – Yarn Twist in Weave Design
14th December: One Day Exhibition
1997
18th January: AGM & Fibrecrafts & Wool Combing
15th February: Marion Maule – Japanese Textiles
15th March: Classic Techniques etc
16th March: Jo Gilmour – Basketry, Open Hexagonal Weave
19th April: Jan Bright – Spinning Cotton
17th May: Evelyn Ross – Weaving for the Church
21st June: Alison Ellen – Handknitting
22nd June: Alison Ellen – Handknitting Workshop
19th July: Nancy Lee Child – The Collection
18th September: Visit to Kelmscott
20th September: Diana Wilson – Lincoln Longwool
18th October: William Jeffries – Tapestry
15th November: Shirley Berin – Braids and Bands
13th December: One Day Exhibition
1998
17th January: AGM and Linda Moss – Spinning Fancy Yarns
21st February: J Phillips – Exploring Weave and Fabric Design
21st March: Alain Rouveure – Tibetan Rugs in Exile
18th April: F & T Tompson – Synthetic Dyeing
16th May: Stephanie Bunn – Middle East Felts
20th June: Ruth Morgan – Pavenham Rushwork
18th July: Lesley Morgan – Discharge Dyeing Workshop
19th September: Priscilla Lowry – Marco Polo and the Silk Route
17th October: Ruth Barnes – Textiles & the Indian Ocean Trade
21st November: Planning & Designing Handwoven Garments
12th December: One Day Exhibition and Sale
1999
16th January: AGM and P&M Woolcraft
20th February: focus group: D Bird – Fleece Sorting etc: Jenny Thwaits – Artistry in Knitting
20th March: focus group: J Cleare – Inkle Looms: F Eason – Dyeing for the Royal Shakespeare Theatre
17th April: focus group: A Nutt – Cords and Tassels: Valerie Opher – My Work So Far, Rugs
15th May: Patricia Baines – Flax Processes and Linen Cloths
23rd May: Patricia Baines – Flax Spinning use of Distaff
19th June: Ewa Exley – Felt
17th July: focus group: E Cook – Spindle Spinning: D and J Gaffney – Javanese Batik and Resist Dyeing
18th September: focus group: natural dyeing: Martin Way – Cotswold Sheep and Shepherds
16th October: focus group: J Soffe – Spinning Angora: Sue Rangeley – An Eye for Detail
20th November: focus group: putting on a Warp: Melanie Venes – Weaving Talk
21st November: Melanie Venes – Attention to Detail Workshop
11th December: Exhibition and Sale
With thanks to David Nutt for all his work compiling this information.