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ias / contributors b selv edge.org bias contributors

WELCOME TO THE MAGAZINE. Look inside our pages and you’ll sense there is something else on offer besides the subtle design, peerless writing and beautiful photography; there’s a philosophy and a belief system based on a cerebral and sensual addiction to textiles in all forms. If, like me, you believe in the importance of your material surroundings and have a passion for the beautiful and beautifully made, then Selvedge is for you. This magazine evolved from my desire for a magazine reflecting this passion with a degree of elegance. Our aim is simple: to offer a total aesthetic experience, with textiles as the thread linking fine art, fashion, travel and interiors. In combining elements of both specialised and lifestyle titles, Selvedge represents something entirely new.

Selvedge is being launched at a time when fashion and the mainstream’s passion for the handmade and crafted appears to have deepened into a long running affair. Evidence of making is suddenly desirable, and this work-intensive aesthetic is exactly what Selvedge offers. We intend to establish a platform for the promotion of talented designer makers and in this issue we include Kate Blee’s striking designs, page 50. I’m sure you will admire her expertly beaded cushions made by the villagers in KwaZulu-Natal, South Africa. We also visit textile maker Asta Barrington, page 70, Tim Clinch’s stunning photographs capture the subtle elegance of her home.

At a time when branding reigns supreme Selvedge will reinstate the individual. As one Paris-based trend forecaster recently pointed out, ‘Many people are saying that they actually want fewer things and that they have to be special’. Selvedge is dedicated to this idea. Those looking for something unique should head to our shopping panels on pages 32, 39 and 78.

Travel is another great way to discover unusual treasures. Angela Thompson uncovers the baroque capital of Lithuania in this issue. With its imminent acceptance into the European Union, now could be the perfect time to sample the delights of Vilnius as described on page 36. There’s even a chance to win a free visit by entering our competition for a weekend break courtesy of Baltic Holidays.

In the Selvedge office, we are pretty confident that you will enjoy our first issue. Please let us know what you think by completing the enclosed questionnaire and play your part in shaping Selvedge. First one out of the hat is off to Vilnius. •••

We asked our contributors to tell us about their favourite fabrics.

DEIRDRE MCSHARRY Pattern has always appealed to me; as a child I would have lived in a Klimt painting. Ikat weaves are a recent passion and the collection at the Ashmolean is a shrine. For clothes Carole Waller has the gift to paint colour on fabric in subtle patterns that flatter the wearer.

JESSICA HEMMINGS As a student in a workshop with Junichi Arai I was once given a thread of stainless steel filament he had recently developed. The fibre is a by-product of manufacturing steel reinforcements for tyres and challenges a number of basic material associations. Arai’s stainless steel woven fabric epitomises, for me, the sheer breadth that the term textile can encompass.

CLARE LEWIS Childhood memories of exquisitely embroidered Swiss organdie dresses, my grandmother’s embroidered handkerchiefs, my mother’s ‘honeymoon’ organdie blouse in mouse grey/brown embroidered with delicate pink flowers, and latterly my own daughter’s first party dress in ice blue organdie embroidered and smocked have given me an enduring love of gossamer fabrics.

Polly Leonard Editor subscribe advertising articles links www.selvedge.org correspond & enquire

Shizuko Kimura – déjà vu It has been six years since I first encountered Shizuko Kimura’s work and in that time my appreciation of it has grown and deepened. She is a much-loved artist and her work never fails to please and inspire.

I have followed her career with interest and, like many people, I must admit to feeling strongly about my favourite artists. So it is with a vaguely proprietorial air that I must object to a recent exhibition which included pieces blatantly derivative of Shizuko’s work.

I initially mistook the two pieces for her work. I am not so naïve as to imagine that powerful ideas will not influence other artists, but I am dismayed to find institutionalised support for unimaginative copycat work!

Artists, particularly young inexperienced artists, cannot be condemned for being impressionable but do need help and guidance to find their own style. Selectors who include this type of work in prestigious exhibitions are sending out entirely the wrong message.

By encouraging emerging artists to produce imitative works, they stunt the development of textile art as a whole and lead us into a stylistic cul-de-sac of pastiche and mannerism.

And what of the original artist? Many will know from bitter experience how devastating it is to have ideas and techniques appropriated without acknowledgement or due credit. To have the work hung in the same gallery space and given equal recognition, adds insult to injury. In writing it is called plagiarism, but in the art world it is all too often labelled ‘inspiration’. We should not let this slippery little definition disguise abuses. I do not know the intricacies of intellectual copyright and I cannot venture to name names, but I do recognise theft when I see it and I am amazed that others could be so blind.

I would like to know what laws are in place to protect artists and whether anything can be done to enforce them? ••• Mary Chambers

‘I am delighted to hear about the new Magazine … I really enjoyed Embroidery under your editorship!’ Diana Gilbert, New York

‘The new magazine sounds terrific, not a ‘how-to-make’ in sight, a bit lush, a bit theoretical, and no need to be all things to all people. I’m sure that I am going to like it a lot.’ Edella Sutcliffe, West Sussex

‘Get rid of the past! Look forward to the future, and I shall look forward to receiving a copy of the sample issue of selvedge.’ Sylvia Marsh, Glasgow

‘I received your packet today, which was so exciting – it’s wonderful to feel part of a new venture that promises to be so rewarding.’ Brinda Gill, Mumbai, India

Ed We have looked into this case for Shizuko, who is obviously upset by it and contacted Margaret Briffa, Managing Partner of Briffa Intellectual Property Lawyers. She explains …

‘Whether one piece of work is a copy of another in law depends on the second work being a substantial copy of the first. Substantial is a quality and not a quantity test, which means that even copying a small part of a whole may be enough if it is significant. The work or aspects of the work copied have to be examined very closely to identify what has been copied. It is recognised that all designs are to one extent or another inspired by another work, but inspiration alone is not enough to found a copyright action. Discussion of whether the UK should have a law of unfair competition that prevents unfair imitation is underway. In the meantime if a designer believes they have been copied they should state this in writing to the suspected copyist and if it is denied ask for evidence of independent creation such as design drawings and evidence of any other 'inspiration material' used by the suspected copyist. The result of this correspondence will give a clearer picture of the strength of a designer’s case in this kind of situation’. ••• Margaret Briffa illustration idered ire Anderson embro la

We are happy to publish letters, unusual queries and undertake research that will be of interest to our readers. Please send intriguing questions or answers to editor@selvedge.org. C

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