When the complete creases in the grey woolen drapes at the west door of St. Margaret’s, Ditchling are smoothed out, a bold woven inscription reads, “In memory of Hilda Bourne for forty-six years a member of this Church who lived to be almost 100.” Made by her daughter Hilary Bourne from wool from their Sussex sheep.
The artist documented the curtains’ production in a journal without a date, writing, “Warp Brora wool, dyed with crottle [lichen] from Scotland; weft hand spun by Tree Weavers, from local sheep’s fleeces; occasional black slub and silk weft threads.” Black fleece lettering was weaved into the curtains. The reredos and frontal of the side altar use the same horizontal striped, ridged weaving, albeit in paler tones of cream, and are inscribed with the inscription “In memory of Joanna Bourne 1906-1991” at their bases. Details are underlined in the same green as the remainder of the dedication, and the name is stitched in black cross-stitch with J and B in Gothic capitals.
Traveled textiles are displayed throughout the “Double Weave” exhibition. Bourne identifies a grey and gold garment as “Palastine [sic]” Patterned grey and blue silk Kibere; ultra-contemporary. Layered over a long dress. Silk thread braided into a decorative design.”
The tunic was likely created in Syria, a country renowned for its silk production. The label reads, “Sample wild silk fabric from Thailand, natural color,” it’s a narrow piece of textured fabric that looks like it came from Thailand. Used for covering chairs,” it has the same feel as the memorial tapestries at St. Margaret’s. Bourne’s “Bible for Dyes” is on exhibit, as are cards of natural yarns from various sheep breeds, such as the greys and creams traditionally employed in religious settings.
Although Bourne and Allen were designated as “Designers: fabrics” in the current Architectural Review for the Festival Hall, the Martins were ultimately recognized as the architects of the building’s groundbreaking designs. The aim of “Double Weave” is to redress the historical imbalance that has seen the contributions of women to modernism and the influence of non-figurative art from civilizations outside of Europe primarily overlooked.
Co-curator Jane Hattrick believes textiles’ role in revitalizing post-war modernist structures has been undervalued. Room dividers and partitions can be created with a “Double Weave,” two pieces of cloth sewn together. It’s durable, so it works well in large, harsh environments. The widespread use of handwoven textiles to adorn contemporary structures begs the question: why? Because it was purposefully built to reflect modernist ideals. Decoration is inherent to the framework.
