Showing 2408 results

Person/Organisation

Scottish Society of Art Workers

  • C38
  • Corporate body
  • c1898-1901

Formed in 1898, with a membership comprised of "Workers in the Arts", the objectives of the Scottish Society of Art Workers were to hold exhibitions of art works and to arrange for lectures and practical demonstrations to be held. The Society had no formal place of meeting and met at the Glasgow School of Art, Glasgow, Scotland; the Glasgow Institute of Architects, Glasgow; and various of the members offices. It was to be exclusive and was mostly comprised of artists from the West of Scotland. Members included James A Morris, Ruby Pickering, Fra. Newbery, John Keppie, Phoebe Traquair, James Watt, A.N. Paterson, Jessie M. King, Agnes Raeburn and Jessie Newbery.

Glasgow School of Art Club

  • C34
  • Corporate body
  • 1969-

The Glasgow School of Art Club was established by the Glasgow School of Art, Glasgow, Scotland, in 1969. The Club was affiliated to the Students Union and was therefore open to present students and also current staff. The society's constitution claims that it object was "the provision for for the members thereof of recreational, social and educational facilities." The Club provided a snack bar and licensed bar as well as meeting rooms.

London Sketch Club

  • C23
  • Corporate body
  • 1898-

The London Sketch Club was founded on 1 April 1898 as a social club for artists working in the field of commercial graphic art, mainly for newspapers, periodicals and books. The founder members were Dudley Hardy, Phil May, Walter Fowler, Lance Thackeray, Cecil Aldin, W Sanders Fiske, Walter Churcher, Tom Browne and its first president George Charles Haité, Hon. Sec. Frederick Hamilton Jackson. Members of the Club have included John Hassall, H.M. Bateman, Salomon van Abbé, Terence Cuneo, Alfred Leete, and David Langdon.

Glasgow School of Art Graduates Association

  • C35
  • Corporate body
  • fl c1966-1969

Established in 1966 to enable graduates of the Glasgow School of Art, Glasgow, Scotland, to work and exhibit together. The association held annual exhibitions.

Artist Teachers' Exhibition Society

  • C31
  • Corporate body
  • fl c1910-1916

The Artist Teachers' Exhibition Society was established c1910-1911 in Glasgow, Scotland, and was open to all who were artist teachers, with its object being to maintain a high standard of personal work on the part of its members. James A Dron acted as Secretary and Treasurer for the Society.
The first exhibition was held in 1911 and the fourth in 1916, an exhibition which gave its proceeds to the Scottish branch of the Red Cross Society and the Soldiers' & Sailors' Families Association. Members included many staff from The Glasgow School of Art, including Fra Newbery, Ann Macbeth and Maurice Greiffenhagen as well as teachers from other institutions in Scotland.

Glasgow School of Art Students' Representative Council

  • C36
  • Corporate body
  • c1941-

A student common room was established at The Glasgow School of Art in the new Mackintosh building in 1909. On the completion of the Assembly Hall on the other side of Renfrew Street in 1928, the students' common room was moved across the road. This building housed the School refectory, and student bodies such as the Glasgow School of Art Students' Representative Council, which was to organise lectures, debates and entertainments. The building also had stage facilities which were used by the Drama Club. In the late 1930s a constitution was drawn up by the School Council for the establishment of a Students' Representative Council. The SRC was to be a means of communication between the student body and the School authorities, and was to represent the students and to promote social and cultural intercourse among students. The constitution was accepted in 1941 and the SRC has been ongoing since that date. The Assembly Building is still home to the SRC, and was refurbished in 2014 as part of the new Seona Reid Building by Steven Holl Architects. The SRC is now responsible for the running of the Union (The Art School), which comprises the Vic Bar and the upstairs venue, and events such as freshers week and the annual fashion show.

Spode

  • C19
  • Corporate body

Glasgow League of Artists

  • C33
  • Corporate body
  • 1971-1981

The Glasgow League of Artists, Glasgow, Scotland, was founded in 1971 as an artist's co-operative designed to overcome some of the difficulties encountered by the artist working in isolation. By pooling resources, and with the assistance of the Scottish Arts Council, they were able to provide workshop facilities and studios at 45 St Vincent Lane, Glasgow. The group saw themselves as "a framework within which artists have been able to exchange ideas and information; and from which lines of communication have been opened between the artists and the public". The League exhibited frequently in Scotland, and also had exhibitions in England, Ireland, the Netherlands, Germany and Canada, often facilitating exchanges with artists from the host country. Members organised and supported other ventures including the Gable-end Scheme in Glasgow and an exhibition of prints and sculpture by Eduardo Paolozzi at the Glasgow Print Studio in 1979. Founder members included Ronald Forbes, Stan Bell, George Docherty and Gregor Smith. Members included several Glasgow School of Art graduates and staff, but there were also graduates of Edinburgh College of Art, Duncan of Jordanstone and other British art schools. They were usually no more than twenty members at a time.

The Glasgow Art Club

  • C18
  • Corporate body
  • 1867-

The Glasgow Art Club, which has occupied its existing Bath Street premises since 1893, was founded in 1867 by William Dennistoun, a young amateur artist who had been forced by ill health to leave the city. On Saturdays his friends went to see him at his cottage in rural Old Kilpatrick to draw and paint together. Dennistoun proposed that they should form an art club. He and 10 others, all amateur artists, held preliminary discussions in a tearoom above a Candleriggs baker's shop before launching the club in the Waverley Temperance Hotel in Buchanan Street. At their monthly meetings each member would bring a painting, usually a watercolour, and the others would comment. At times there could be fiery disputes. Membership grew in the 1870s, professional artists began to join, and exhibitions were held. Not surprisingly, the limitations of a temperance hotel began to be felt and in 1875 the club moved to a Sauchiehall Street hotel, also called Waverley, where something stronger than tea was to be had and annual dinners could be held in suitable style. A little later rooms were rented for six months at a time in the Royal Hotel, George Square. Life classes were held and occasional sketching classes. It was time for the club to find a place of its own, and in 1878 it moved to 62 Bothwell Circus and despite the depression following the City of Glasgow Bank failure, enough money was raised from the sales of paintings to help pay for the rent and furnishings and to hire a houskeeper. The continuing need for cash, however, helped to propel the club towards a critical move - the admission of lay members, which in any case was in tune with Glasgow's awakening interest in the arts. This proposal was strenously resisted at first but by the mid-1880s the painter James Guthrie was among influential members arguing successfully for change and male lay members began to be admitted, although women had to wait until 1983. To accommodate all the newcomers the club rented a new home at 151 Bath Street but this in turn was soon found to be cramped. It was time for Glasgow Art Club to buy its home. Two adjacent town houses were bought in Bath Street. John Keppie, already a member of the club, was put in charge of their conversion and he also created an adjoining gallery in the small back gardens. There is recent evidence that the young Charles Rennie Mackintosh had a hand in some of the gallery's ornamental details.The scene was thus set for countless dinners, dances, concerts, lectures and not least, exhibitions. The new rooms were opened on June 14, 1893. A short history of the first 100 years of the club, on which much of the above account is based, was written by the late J.M. Reid in 1967. [u]Famous Members[/u] Artist members of times past included James Guthrie and E. A. Walton, along with several other Glasgow Boys, although the pioneers of this group had initially been refused membership. Fra Newbery, the colourful head of Glasgow School of Art, was a member, as were many of his successors. Other notable members have included the photographer and art dealer James Craig Annan; the picturesque R.B. Cunninghame Graham, pioneer Scottish Nationalist and horseman of the South American pampas; Neil Munro; O.H. Mavor (James Bridie); and John MacCormick, leader of the Covenant movement for Scottish home rule. Among more recent artist members were David Donaldson, Alexander Goudie and Emilio Coia.

Glasgow 1999 Festival Co Ltd

  • C32
  • Corporate body
  • c1995-2002

In November 1994, Glasgow, Scotland, was awarded the title of UK City of Art and Design 1999. This formed part of the decade of annual celebrations that were promoted by the Arts Council of Great Britain (later to be the Arts Council of England). Competition for this title was fierce, with the 17 cities that originally competed for the title finally being reduced to a choice between Glasgow and it's east-coast neighbour and capital of Scotland, Edinburgh. At stake was GBP 400,000 from the Arts Council, plus the opportunity to generate much more income for the winning city through future funding bids, sponsorship, grants, tourism, exhibitions, and sales (including the production of catalogues and other merchandise). The Glasgow 1999 Festival aimed to celebrate excellence in architecture and design from around the world; to promote awareness in the people of Glasgow, its communities, organisations and business of the cultural and economic importance of the design process; and to highlight new thinking to help position Glasgow as a major European city of ideas. In order to do this, the Glasgow 1999 Festival Co Ltd created a programme of individual projects and events that encompassed a variety of issues raised by contemporary concerns about architecture and design and that addressed the economic significance of design and architecture for Glasgow's businesses and institution. Further to this, the Festival was to leave a legacy to the city in the form of the Lighthouse Centre for Architecture and Design situated on Mitchell Lane. Events and projects included exhibitions, conferences and displays; the development of the Lighthouse centre; the Glasgow Collection project that helped to fund new product ideas to a prototype stage; education and community programmes; Homes for the Future, a project to build a new residential area incorporating innovative design principles near Glasgow Green; Millennium Spaces to develop high quality public spaces designed by artists in consultation with local communities; and the Partnership Fund to fund various small scale projects with goals compatible with the aims of the Glasgow 1999 Festival. The Lighthouse was the largest and most high profile Glasgow 1999 project. It had a further significance as it was the most important legacy of the festival. The Lighthouse cost nearly GBP 13 million and was funded by the Heritage Lottery Fund, European Structural Funds, the Scottish Arts Council, Arts Council of England, Glasgow Development Agency, Glasgow City Council, Historic Scotland and private sponsors. The Lighthouse is housed in the former Glasgow Herald offices built by Charles Rennie Mackintosh. Its aim is to combine excellence with accessibility, introducing architecture and design to a mass audience, alongside specific programmes tailored to appeal to children, school and colleges, architecture and design professionals and the business community. In 2002, the Glasgow 1999 Co Ltd was still an active company.

Glasgow School of Art Modern Embroidery Group

  • C42
  • Corporate body
  • 1956-1995

The Glasgow School of Art Modern Embroidery Group was formed by Kathleen Whyte (1909-1996) in 1955-6 with the express intention of creating an exhibition vehicle for graduates of the Glasgow School of Art. This would encourage them to continue to pursue innovation in modern embroidery, for which the GSA was well known in the UK. In 1956 former students of the Embroidery & Weaving Department of the School held the first exhibition of their work at Blythswood Square Gallery, Glasgow. The group was formally constituted and a registered charity run by a committee of GSA graduates elected annually at an annual general meeting.
Two years after the group's first exhibition, a touring exhibition sponsored by the Scottish Arts Council visited many towns in Scotland and lasted over a year. By 1970 three such touring exhibitions had been held as well as a bi-annual exhibition held in the Glasgow area or occasionally in London. By the mid-1970s the group had over 70 members.
As well as exhibiting, the group held regular meetings, lectures and events that covered areas such as techniques, textile history, dyeing and design, all of which were intended to encourage new work.
The move by the Arts Council to award grants more readily to national groups in the mid-1990s led to the formation of EDGE, the Scottish National Textile Group, about 1995. This group brought together the Glasgow School of Art Embroidery and Textile Group known by this time as 167, the Duncan of Jordanstone College of Art Embroidery Group known as Embryo, and the New Scottish Embroidery Group, based in Edinburgh. The Dundee group was formed by graduates of Duncan of Jordanstone College of Art taught by Marion Gracie, later Stewart, herself a graduate of GSA Department of Embroidery & Weaving.
One independent group remains called 167 On the Road. This was formed to support graduates willing to offer day and weekend courses in embroidery around Scotland.

Donald Brothers Ltd

  • C29
  • Corporate body
  • 1896-1980

Donald Brothers emerged out of the coarse jute and linen industry of Dundee, manufacturing rugged textured Art canvasses and linens for use as wallcoverings and furnishings by 1896. Their Art fabrics were extensively used within art galleries and the Arts & Crafts interior in Britain and America between 1896-1914. Building on their early success with craft manufacture between the 1930s and 1960s the firm made a significant contribution to the design of furnishing textiles, gaining international recognition for their fabrics marketed under the trade name Old Glamis Fabrics. Best known for their high quality woven linen furnishings, their range included textured weaves, jacquard woven tapestries and prints. In 1983 the company was taken over by William Halley & Son, and has since re-emerged as active makers of quality furnishings.

Keith, Anne

  • S818
  • Person

Anne Keith studied Printed Textiles at GSA and designed garments for the 1978 fashion show. Anne taught in Printed Textiles at GSA in the late 1960s.

As at July 2017, Anne works in painting and bookmaking and exhibits books. She has won a number of awards including the Flora Wood Award and The Art Quilt Award.

Source: Anne Keith website sites.google.com/site/annekeithtextileartist/

Mackintosh Students' Association of the Mackintosh School of Architecture

  • C37
  • Corporate body
  • c1970s-

The Mackintosh Students' Association is a separate student organisation specific to the Mackintosh School of Architecture, taking part in many national architectural events and conferences, and producing their own student magazine entitled 'MAC MAG'.

Watt Brothers

  • C9
  • Corporate body
  • c1900-

Glasgow Department Store.

McDonalds Ltd

  • C10
  • Corporate body
  • 1913-1966

Department store.

Henry Widnell & Stewart Ltd

  • C41
  • Corporate body
  • 1832-1983

Richard Barnett Whytock was born in Dalkeith, Midlothian and was the son of a minister. In 1806 Whytock opened his first business, a haberdashery in Edinburgh, with his brother William. By 1810 Whytock had changed business partners and was now in a furnishings and upholstery business with Robert Grieve. Initially this business was more concerned with sales rather than the manufacture of these goods. However, by 1818 Whytock and Grieve began to make decorative fringes for furniture and employed skilled workmen from London which showed their transformation from sales to upholstery manufacture.
It was during this time that Whytock took on a new partner in Henry Henderson. It was this partnership that can be seen as the foundations for Henry Widnell & Stewart Ltd. The premises of Whytock and Henderson's new business were in Queensberry House in the Canongate which had been the previous residence of the Duke of Queensberry. In 1827 Whytock and Henderson took on another partner by the name of William McCrie. McCrie was a wallpaper stainer and from this partnership it was possible to see Whytock and Henderson's interests in different forms of decorative arts. By 1828 Whytock had become a Burgess of the Canongate.
In 1830 the Board of Trustees asked Whytock to go to Brussels to see how the Manufacturers of the Netherlands produced their carpets. Whytock returned to Edinburgh unimpressed by what he had seen. Around this period Whytock became interested in the process of carpet manufacture which led him to invent and patent the Tapestry carpet loom in 1832. This loom differed from the Brussels and Jacquard looms as its process allowed one thread to be used rather than five or six. The single thread could then be dyed a variety of colours in half inch blocks depending on the pattern. By dying the thread different colours it meant that there was no dead pile left in the carpet from any of the other coloured threads that were not used. This also meant that an unlimited number of colours could be used compared to only five or six that were available in other loom processes. Whytock's loom was also one third the size of the Brussels loom. Contemporaries believed that Whytock's invention would supersede all other looms including that of the Jacquard loom.
By 1833 Whytock had patented his new invention and the company had grown. Whytock and Henderson took new premises at St Anne's brewery at Lasswade in Midlothian along the banks of the River Esk. It was here that the company produced Persian and Turkish style hand knotted carpets. During these years Whytock's carpets gained much notoriety. In 1838 Whytock became Patent Carpet Manufacturer to the Queen.
By 1846 the company entered a new era and with that came a new name and partner. During 1846 Richard Whytock left the carpet manufacturing business to concentrate on the development of fabrics and returned to the selling of carpets. Henry Henderson gained a new partner in Henry Widnell and the company became Henderson and Widnell. Henry Widnell had previously been involved in carpet manufacture in Kidderminster which had been a central town for carpet production in Great Britain. Henderson and Widnell continued to produce high quality carpets and at the Great Exhibition of 1851 the company won a medal for the quality of their carpets and their designs.
The next stage of the company came in 1856 when Widnell took complete control of the company. Henderson and Widnell became known as Henry Widnell & Company. By 1859 the company was in financial difficulty and Henry Widnell (son of the aforementioned Henry Widnell) took complete control of the company's stock which was now bankrupt. Eventually things improved for the company financially and in 1868 a new site was rented out at the Old Bleach Works at Roslin in Midlothian. The company now had two sites of manufacture including that at St Anne's in Lasswade four miles away.
By 1873 Henry Widnell (Snr) had passed away. It was around this time that George Stewart of Stewart Brothers of Eskbank became a partner in Henry Widnell & Company. However, the two manufacturers continued to trade as two separate companies in competition with each other. Harry H. Widnell, Henry Widnell's (Snr) son, became a new partner in the company between 1873 and 1878. However, his involvement in the company was short lived and Harry H. Widnell passed away in 1879 leaving the company in the hands of George Stewart. George Stewart was joined by his sons George Stewart (Jnr) and John George Stewart in 1882.
In 1895 both Stewart Brothers of Eskbank and Henry Widnell & Company were sold to Henry Widnell & Stewart Ltd for £270,000. The company continued to manufacture a variety of carpets until being disrupted by World War II. Between the years 1939-1945 the sites were put to use for the war effort. The Lasswade site was used to make cotton cloth for the army, the Roslin site was used as a food store, and the Eskbank site was used to produce Ever-Ready batteries.
The final stage of Henry Widnell & Stewart Ltd began in 1955 when the company held talks concerning A F Stoddard & Co Ltd taking over the company. However, the take over was not completed until 1959. Although A F Stoddard now owned the company it still traded under the name of Henry Widnell & Stewart Ltd until 1983 when the company finally closed its doors for business for good.

Bates, Sheila

  • S906
  • Person

Glasgow School of Art Student.

Mackie, William Robert, fl c20th century

  • P715
  • Person
  • fl c20th century

William Robert Mackie studied architecture at Glasgow School of Art and remained there for a further qualification in Town Planning. He was elected ARIBA in 1954.

Centre for Advanced Textiles

  • C123
  • Corporate body
  • 2000-

The Centre for Advanced Textiles (CAT) at Glasgow School of Art was established in 2000 with a Research and Development Grant of £661,000 from the Scottish Higher Education Funding Council. The remit of the centre is to: i) provide cutting edge facilities for textile design education; ii) investigate the aesthetic, technical and commercial opportunities presented by digital textile printing, and; and iii) operate a commercial service bureau for industry and individuals.

Crown & Rose

  • C118
  • Corporate body
  • 1700

Crown & Rose Pewter, Englefields Ltd., London, England.Brown & Englefield founded in 1885. Makers stamp on this piece mark used from 1948. Englefields was bought by Royal Selangor (of Malaysia) in 1987.

J Giusti & Co

  • C107
  • Corporate body
  • Late 19th to early 21st century

J. Giusti & Co. was a Glasgow-based business active from the late 19th to the early 21st century specializing in plaster work and mould making. The firm was likely founded by one of the Giusti Brothers who are listed in an 1871 census residing at 130 Hospital Street, Glasgow: Calelo Giusti (born c.1843), Giuseppie (sic.) Giusti (born c.1844) and Gamalielo Giusti (born c.1847). The three brothers are listed in the census as “stucco image makers.”
The family seems to have started two separate businesses, both of which are recorded in the Glasgow Post-Office Annual Directory, 1884-85.  One business, “Giusti Brothers,” is listed as “figure makers” and operated at 7 South Coburg St. The other business, “J. Giusti” is listed as “plaster modeller” and operated at 87 Bothwell St. The two Giusti businesses continued to operate for several years, and by 1886 “J. Giusti” was expanded to “J. Giusti & Co.” By 1889, only the J. Giusti & Co. business was listed in the Post-Office Directory, but under two locations. The first location at 328 South Vincent St. is listed under “Modellers,” and the second location at 87 Bothwell St. is listed under “Modellers (In Wood).”
J. Giusti & Co. engaged in a several enterprises outside of their work with plaster. The company is also described as confectioners in 1899 and later, from 1902 until at least 1910, as wine and Italian merchants. However, the company's longest business interest was in the production of plaster moulds as well as the sale and repair of plaster casts.
Records from the Glasgow School of Art Board of Governors indicate that the school purchased plaster casts from J. Giusti & Co. and hired the company to make plaster reproductions of student work as early as 1890. The company was hired to repair plaster casts at the GSA as early as 1891 and was hired for the same purpose through 1996 when the company performed repair work on the Winged Victory of Samothrace.
In the mid-20th century the company was purchased by the Gaggini family. They continued to operate under the business name J. Giusti & Co., and described themselves as “statuary and cornice repair, moulders and figure makers.” Throughout much of the 20th century the company supplied local schools and churches with plaster casts and operated a retail shop selling plaster objects at least through the mid-1970s. After the business closed, members of the Gaggini family continued to repair statuary, work with plaster, and supply plaster casts until as recently as 2016.

D Brucciani & Co

  • C108
  • Corporate body
  • Early 19th-mid 20th century

Domenicho (Domenico) Brucciani (1815-1880) was born in Lucca, Italy and migrated to England in the first half of the nineteenth century. He established a business which produced casts of sculptural works from international collections. By 1837 he owned a showroom near Covent Garden and was selling works to the British Museum and the South Kensington Museum (now the Victoria and Albert Museum). By 1857 D. Brucciani & Co. were working for the British Museum, making moulds and casts of their classical sculptures, bronzes and other pieces, to be sold commercially. The company was successful during Brucciani's lifetime as it capitalised on the nineteenth century fashion to have plaster casts of sculptural works in the home. Following his death his business was purchased by another Italian, Joseph Caproni (1846 - 1900), who retained the name D. Brucciani & Co., and the business continued to manufacture casts, with customers including the Fitzwilliam Museum and the Museum of Classical Archaeology. However, as demand for plaster casts declined in the twentieth century, the business failed. Consequently, it was purchased by the V&A and operated as the Department for the Sale of Casts until 1951 when it was forced to closed due to financial losses.

Charles Smith & Sons

  • C109
  • Corporate body
  • Late 19th-mid 20th century

Charles Smith was a plaster figure and sculptor's moulder in London active from at least 1886 until his death in 1918. After the death of Charles Smith, his sons, George Smith and Charles Smith Jr continued the business. The firm experienced financial difficulty in the 1920s, although the family continued to be involved in mould making and plaster casting until 1953.

Bedford Lemere & Co

  • C45
  • Corporate body
  • 1861-1967

Bedford Lemere & Co was the pre-eminent English firm of architectural photographers during the late 19th and early 20th centuries. Taking photographs at a time of extraordinary change and unparalleled optimism, its customers were leading architects, designers, industrialists, estate agents, hoteliers and retailers. Over the years Bedford Lemere & Co photographed country houses, factories, hospitals, shops, banks, railway stations, cruise liners and, during the First World War, armaments manufacture. Its work centred on London, but it received commissions throughout the British Isles and occasionally from abroad. The firm's work was technically outstanding and executed with a distinctive sympathy for its subject matter.

J & P Coats (UK) Ltd

  • C28
  • Corporate body
  • 1808-1981

In 1802, James Coats, snr, (1774-1857), a weaver from Paisley, Renfrewshire, Scotland, set up in business, laying the foundation of the business that was later to become J & P Coats Ltd, thread manufacturers, Paisley. James Coats senior was born in 1774, into a family of Paisley weavers. After serving his apprenticeship as a weaver, he spent six years in the army with the Ayrshire Fencibles, a cavalry regiment. He returned to weaving in 1796 on leaving the army and in 1802, shortly after his marriage, he went into business on his own. Seeing a market for Canton Crape, the majority of which was at that time imported from China, he set about trying to reproduce this material in his own factory. Canton Crape was made from silk, the manufacture of which had been introduced to Paisley in 1760 by Humphrey Fulton; hence both the raw material and the skilled labour were readily available. Another manufacturer, James Whyte, had also been trying to produce Canton Crape, with much the same degree of limited success as James Coats. He and Coats decided to combine their knowledge by entering into partnership, and were eventually successful in producing Canton Crape in such quantities as to virtually corner the market.
As his fortunes increased so James Coats began to look to the future. He built a house in Back Row, Ferguslie, Paisley, and became a sleeping partner in the Paisley firm of Ross & Duncan, a firm of thread twisters. At the same time he acquired knowledge of the business which would be useful to him in years to come since the production of Canton crepe requires yarn which has a particular twist. When his contract with Ross & Duncan expired in 1826, James Coats built a small mill at Ferguslie, and began producing his own thread, using a 12 horsepower engine. The mill at Ferguslie was the forerunner to the larger works which J & P Coats developed on this site. On his retirement in 1830, the management of the manufacturing department was passed to his partners and his son William, and the thread business was transferred to his sons James Coats, jnr, (1803-1845) and Peter Coats (1808-1890), the firm becoming known as J & P Coats. Shortly after its inception another son, Thomas Coats (1809-1883), entered the firm as a partner.
Each of the three brothers had knowledge of a different area of expertise: James in manufacturing, Peter in merchandising, and Thomas in engineering. The company expanded rapidly during the 1830s, both at home and overseas, and by 1840 three-quarters of their trade was with the USA. For twenty years the selling department of the American branch of the business was managed by Andrew Coats (1814-1900), a younger brother of James, Peter and Thomas. The high quality of Coats' thread made it extremely popular, to the extent that several companies produced inferior imitations, resulting in a number of legal cases In addition to the Paisley mills, J & P Coats built mills in the USA at Pawtucket, Rhode Island State, between 1870 and 1883. James Coats of Auchendrayne, Ayrshire, the son of Sir Peter Coats managed these mills. Production at Paisley continued apace, with new markets opening up at home and abroad. In some cases high customs duties were overcome by building mills abroad, so that in a short time J & P Coats had branches in Russia, Germany, Austria, Hungary and Spain.
In 1883, the firm became a private joint stock company of family shareholders and in 1890 the business was floated as a public company, with a capital of £5,750,000 and an average annual profit for the preceding seven years of £426,048. James Coats, jnr, remained unmarried, but a number of the sons of Peter and Thomas Coats entered the firm as partners, thus retaining the family interest in the company. One of the leading competitors of the Coats' firm was the firm of Clark & Co, another Paisley thread company, which had grown up through the same period as Coats. With the death of John Clark of Clark & Co in 1896, the way was opened for take-over. J & P Coats amalgamated with Clark & Co, its American associates and also with Brook of Meltham and Chadwick of Eagley Mills, Bolton, England, to form the enlarged firm of J & P Coats Ltd, with a market value of around £22 million, and approximately 25,000 shareholders. The company, with its headquarters in Glasgow, Scotland, had 17 production centres, 60 branch houses, 150 selling depots, and around 21,000 employees throughout the world, the UK workforce totalling around 11,000. One of the leading figures in the company at this time, was Otto Ernst Philippi, Foreign Sales Manager, whose selling policy has been regarded as one of the major keys to the firm's success.
The company continued trading as J & P Coats Ltd throughout the first half of the 20th century, expanding by acquiring controlling interests in several other textile companies. In 1960, following the takeover of Patons & Baldwins Ltd, the company became known as J & P Coats, Paton amp;& Baldwin Ltd. In 1965, they acquired a controlling interest in the Pasolds group, which included 'Ladybird' children's wear, 'Donbros' knitwear, and 'Chilprufe' garments. In 1967, they acquired both Dynacast Precision Engineering and Jaeger fashions. In June 1967, the company became known as Coats Patons Ltd. In 1967, Coats Patons Ltd amalgamated with Vantona Viyella to form Coats Viyella plc, a company registered in Uxbridge, Middlesex, England, which became Coats plc in 2001.
Between 1934-1939 the company sponsored the Needlework development in Scotland scheme, a collaboration between art and design education and industry. The scheme encouraged needlework and therefore also the sale of J & P Coats thread. This developed into the nation-wide Needlework Development Scheme managed by the The Central Agency Ltd of J & P Coats Ltd. Loan collections of historical and modern embroideries were developed with examples being purchased by, or donated to, the Scheme. These collections were then exhibited and loaned to schools in order to help teach and promote embroidery as an art form. In 1961, the company withdrew funding for the Scheme and it ceased to function. The collection of over 3000 textile items was broken up and disseminated between around 14 universities, colleges and museums in the UK.

The Needlework Development Scheme

  • C14
  • Corporate body
  • 1934-1961

The Needlework Development Scheme (NDS) was a collaborative project between art and design education and industry. Originally established in Scotland in 1934, its aim was to encourage embroidery and to raise the standard of design in Britain.
Financed by J and P Coats, the thread manufacturers, the Scheme was organised by the four Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow. Its collection of foreign and British embroidery was available to domestic science and training colleges, women's institutions and schools, as well as art schools. By 1939, the Scheme had acquired some 900 embroideries but the outbreak of WWII closed the Scheme and the collection was retained by the four original art schools.
Glasgow School of Art was instrumental in re-starting the Scheme late in 1944. Its aims were the same as its predecessor, but expanded its remit to include other arts schools in the United Kingdom where embroidery was taught.In the years following the WWII, the Scheme became centralised and staffed with a qualified embroidery expert, a secretary and several practitioners. The Scheme commissioned the British designer Mary Kessell to prepare designs to be interpreted by embroidery artists in Britain, as the best needlework examples in the collection were foreign. The result was a touring exhibition of work by the Bromley College in London.
The scheme was disbanded in 1961 when funding was withdrawn, although it was recognised that the NDS had achieved its aims. The NDS had amassed 3000 textile items by this time, which were divided and distributed around universities, art schools, organisations and museums including the National Museum of Scotland, the Embroideries Guild and the V&A.

Scottish Education Department

  • C115
  • Corporate body
  • 1872-c2007

The Scottish Education Department was formed from The Education (Scotland) Act 1872 when responsibility for schooling in Scotland was taken from the Church of Scotland. It was originally called the Scotch Education Department, was a committee of the Privy Council of the United Kingdom, and had its offices in London. In 1885 the department became a responsibility of the new ministerial post of Secretary for Scotland, under whom the Scottish Office was set up.
In 1918 the department was moved to Edinburgh and the name was changed to the Scottish Education Department. The Secretary for Scotland became the Secretary of State for Scotland in 1926. The department was renamed the Scottish Office Education Department (SOED) in 1991, and the Scottish Office Education and Industry Department (SOEID) in 1995.
With devolution in 1999 the new Scottish Executive set up the Scottish Executive Education Department (SEED) to oversee school education whilst the Scottish Executive Enterprise and Lifelong Learning Department – later Enterprise Transport and Lifelong Learning Department (ETLLD) – took over responsibility from the former SED for further and higher education. In May 2007 the new Scottish National Party government abolished the departments within the Scottish Executive.

Salmon, James Jr

  • S930
  • Person

James Salmon (Junior) was born on 13 April 1873 at 12 Seton Terrace, Glasgow, the son of architect William Forrest Salmon and Jessie Alexander, and grandson of architect James Salmon (Senior). He was initially educated privately and sent to Glasgow High School in September 1883. After his mother's sudden death in 1887 while staying with her sister and brother-in-law Elizabeth and William Scott Morton in Edinburgh, James and his brother Hugh (born 16 November 1874) were brought up partly by their father's formidable elder sister Wilhelmina - 'Aunt Mina' - who had looked after her father since her mother's death in 1881. Hugh was tall like his father and grandfather, James was relatively short in stature resulting in the sobriquets of 'Wee Troot' or 'Sardine', both of which he used himself. He was witty, forceful and irreverent both as a speaker and as a writer. Although he could often be hilarious his brother Hugh recalled that he never laughed: a sardonic 'Huh huh' was as much as he could manage.

After the death of James Salmon (Senior) on 5 June 1888, William Forrest continued the business under the same name. In the same year James Salmon Junior left Glasgow High School to join the family firm, where he remained for two year, studying at Glasgow School of Art. In 1890 he was sent to William Leiper's office to complete his apprenticeship, continuing to attend the classes at Glasgow School of Art until 1891 and again from 1892 to 1895, an unusually extended period. His aim appears to have been not only to benefit from the teaching of William James Anderson but also to maintain links with the 'New Sculpture' group there, the cosmopolitan Francis Derwent Wood, who had studied in Karlsruhe and Paris, the Dutchman Johan Keller and their Scots student Albert Hodge (who were to have a profound effect on the firm's architecture in the later 1890s and early 1900s).

James left Leiper's office in 1894 at the end of his articles. Leiper's influence on him was to remain marked in both commercial and domestic work. As a twenty-first birthday present Forrest sent him on a Grand Tour of the continent which is partly chronicled in watercolours in the Salmon collection at NMRS made between April and July of that year; the tour included France, Germany, Switzerland, Norway, Belgium, Holland, Austria, Hungary, Romania, Turkey, Greece and Spain. He returned to the family firm in March 1895 to find John Gaff Gillespie (born 1870) in charge of most of the design work. Gillespie had been articled to James Milne Monro c. 1884, concurrently attending classes at Glasgow School of Art, and he won the Glasgow Institute of Architects prize in 1889 jointly with Charles Rennie Mackintosh. This had brought him to the notice of Forrest Salmon who engaged him in 1891. Like Mackintosh at Honeyman & Keppie, Gillespie was given design responsibility very early, notably at the free Flemish Renaissance Scottish Temperance League building in 1893 and the West of Scotland Convalescent Seaside Homes at Dunoon in 1895. Sometime in that same year, Forrest made Gillespie a partner, the everyday work of the practice having grown as a result of Forrest having secured some of the business of the British Linen Bank, whose architects were usually J M Dick Peddie & Washington Browne. Unlike the diminutive James Salmon, Gillespie was very tall, slim and cleanshaven with a calm equable temperament.

On his return James Salmon Junior worked under his father and Gillespie for rather more than two years, being given much of the design responsibility for Mercantile Chambers on Bothwell Street, a huge project in which the Salmons had a financial interest and which was to become their office. James became a partner in 1898, but for the next few years and even beyond the individual design responsibilities of Gillespie and James Junior are not always easy to separate. Their names were not acknowledged in the practice title until November 1903 when the firm became Salmon Son & Gillespie.

By that date there had been domestic changes in the Salmon family. Wilhelmina had remained unmarried and eventually a house at Lochgoilhead, renamed Gowandean, was bought for her and extended in 1897-98, before her father's death. On 11 June 1889 Forrest, remembered in the family as something of a ladies' man, married Agnes Cooper Barry, the daughter of a Forfar grocer who lived with her brother the Reverend James Cooper Barry, a civil engineer who had switched career to become a Free Church minister in 1882 and had obtained the charge of the North Free Church at Dumbarton. Neither Wilhelmina nor Forrest's sons took to Agnes, always referring to her as 'Steppy'. Hugh left home in 1894 to work for his grandfather at Arrat Mill, Brechin, and Auchenblae, Kincardineshire, emigrating to Dunedin in 1898 as wool and seed manager to Wright Stephenson & Company. James remained at home and in 1898 the Salmon family moved to the newly built Rowantreehill at Kilmacolm where they rapidly acquired a significant domestic clientele.

In his later years Forrest became prominent in professional matters as a Governor of Glasgow School of Art, President of the Glasgow Institute of Architects 1892-94, and a member of the RIBA Council. It was probably due to his influence that Gillespie and James Junior were admitted directly to Fellowship of the RIBA on 3 December 1906, James's proposers being Leiper, John James Burnet, Watson and his father. By 1906 both Gillespie and James Junior had travelled extensively. James Junior's nomination paper records travel in Norway, Holland (1904), Romania, Austria and Hungary (1904), France (1894 and 1906), Switzerland (1894), Spain, Italy (1894 and 1904), Greece and Turkey (probably 1904). We also know from a letter from James to Hugh Salmon of 14 April 1903 that James had travelled to Brittany in 1896 with Robert (Bob') Whyte. Sketches and photographs preserved in the Salmon collection at NMRS have left his travels well documented.

By the early 1900s Gillespie and Salmon's styles had begun to diverge, Gillespie's work tending to be a simplified free classic and Salmon's still a sculpturesque art nouveau as seen in the alternative elevational treatments in the competition for the new Glasgow and West of Scotland Technical College competition of 1901, both partners adopting a highly simplified arts and crafts style for domestic, cottage hospital and golf clubhouse work. But from 1904 when they received the commission for Lion Chambers both Gillespie and James Junior had become interested in the possibilities of reinforced concrete, working closely with the structural engineer Louis Gustave Mouchel, the British-based representative of Francois Hennebique. Within the firm Forrest seems to have been responsible for the 'scheming out' of commissions, the detailed design work being delegated to Gillespie or to his son James. Forrest was latterly known as the commercial traveller adept at moving in Parish Council School Board and clubland circles to obtain directly commissioned work for the practice which spent much of its time on designs for national and local competitions, none of which it succeeded in actually winning until 1908 when William Leiper selected their design for Stirling Municipal Buildings which was mainly Gillespie's work. Construction was, however, some years away and in the summer of 1911 Forrest began to suffer from cancer. He died at Rowantreehill on 7 October. By his own wish he was buried with his first wife and the Scott Mortons at Merchiston Cemetery, Edinburgh. He left moveable estate of £7,008 11s. 4d..

While the Finance Act of 1909 had probably affected the prosperity of the practice as it had so many others, Forrest Salmon's will proved the catalyst for the dissolution of the partnership in June 1913. The will made no provision for James to inherit his share of the practice; instead, it remained part of his trust estate and entitled 'Steppy' to a share of such profits as the firm had at that time. Gillespie now became senior partner and as James Junior had spent all his income on foreign travel and motoring (as a letter to Hugh of 18 August 1910 records) he could not afford to buy out either Gillespie or his stepmother. Gillespie bought out Agnes's interest, retaining the office in Mercantile Chambers, the archive (which was later sent for pulping when his successor Jack Antonio Coia was interned in 1940) and the Stirling commission. James moved out to a rented flat at 48 Jane Street, Blythswood Square which was both home and office, apparently without even a secretary. He retained the commission received in 1909 for the Admiralty Village at Cove Farm, Greenock of which only a few houses had been built in 1910, and was allowed to revive the name of the firm as it had existed prior to 1903, James Salmon & Son, later abbreviated simply to James Salmon FRIBA.

The few clients James Salmon Junior had for actual building in 1913-14 were all medical, probably introduced through his friend Dr James Devon. He developed Repertory Theatre connections from 1914 but although he made many sketch designs, one including an hotel, none of these was pursued further. When war came his Admiralty connections stood him in surprisingly good stead, with the garden village development at Cove Farm going ahead; he also received commissions for workers' housing at Greenock and Cambuslang, which were not built. The income from these enabled him to marry, in a civil ceremony on 2 (or 14;

Sources vary) February 1917, Dr Agnes Picken, a colleague of Dr Devon's at Duke Street Prison, remembered by Hugh's daughter Anne as 'a very direct, no nonsense, amusing resolute woman who had had to make her own way in the world'. They lived in Salmon's house and office in Jane Street and at the end of the war became deeply involved in welfare work in the Balkans, particularly in respect of Dr Katherine McPhail's Sanatorium for sick children at Brababic, Ragusa working in association with the American Relief Administration European Children's Fund. Lectures given in 1920 and 1921, together with other papers relating to these activities, survive.

Salmon's post-war clients remained exclusively medical, his only sizeable commission being the reconstruction of Redlands on Great Western Road as Glasgow Women's Private Hospital, begun in 1921. Like his father he took a particular interest in professional matters and was editor of the RIAS Quarterly in 1921-22.

James Salmon's last months greatly distressed his wife and friends. By the autumn of 1923 he was unable to continue his practice because of bowel cancer. Moreover he was responsible for his aunt Wilhelmina who had become senile with arterio sclerosis and had to be taken into Craighouse, Edinburgh, the cost of which must have been a considerable financial strain. She died on 9 January 1924 and it fell to him to wind up what was left of his grandfather's Trust for her. Salmon himself died only three-and-a-half months later on 27 April, at his home, 48 Jane Street. The letters Dr Devon wrote to keep him amused and interested in his last weeks are in the NMRS collection. His estate amounted to only £535 9s. 6d., part of which was his inheritance from his Aunt Wilhelmina's Trust; his funeral was private.

Sources: Dictionary of Scottish Architects: http://www.scottisharchitects.org.uk/architect_full.php?id=203315

Adair, Ninian

  • S762
  • Person

Ninian Adair studied at GSA in the late 1970s, and is credited with the set and lighting for the 1978 fashion show. He was awarded a scholarship for postgraduate study in session 1976-77 and the Scottish Education Department Travelling Scholarship in session 1978-79.

He is a Member of the Chartered Society of Designers and at 2013 was working as an interior designer at BDP Inc in London.

Sources:

Anderson, Sheila

  • S764
  • Person

Sheila Anderson studied at GSA in the late 1970s and modelled in the 1978 fashion show. As at July 2017, she is a professional artist based in the south of England.

Source: Sheila Anderson Hardy, Artist http://www.sheilafineart.com/

Armour, Fiona

  • S765
  • Person

Fiona Armour was a Textiles student at GSA from 1975, and designed garments for the 1978 fashion show. As at July 2017, she is an Art and Design Teacher and Costume Designer in Edinburgh.

Source: LinkedIn http://www.linkedin.com.

Melly, George

  • S533
  • Person

Melly, (Alan) George Heywood (1926–2007), writer and singer, was born on 17 August 1926 at The Grange, St Michael's Hamlet, Toxteth, Liverpool, the elder son and eldest of three children of Francis Heywood Melly (1900–1961), wool broker, and his wife, Edith Maud (Maudie), née Isaac (1891–1983). At the time of his birth registration his parents lived at 26 Linnet Lane, Liverpool. His father was a businessman who would rather have been a hunter and an angler. He later advised his son: 'Always do what you want to. I never did' (The Times, 17 Dec 2003). Melly's Jewish mother, to whom he owed his early love of theatre and music hall, was aspirational on her son's behalf. 'She wanted me to be Noël Coward, which may be why I imitate him so much' (The Independent, 8 Nov 1997). Sent as a boarder to Stowe School, Melly came home 'spouting Eliot and Auden and raving about Picasso and Matisse'. He also discovered surrealism in a magazine reproduction of René Magritte's Le viol (a female face with breasts for eyes and pudenda for a mouth). 'For me', he later said, 'Surrealism was a revelation, the key to a magic kingdom where misery and regression were banished for ever and poetry reigned supreme' (Daily Telegraph, 8 Nov 1997). It was an aesthetic that would rule his life. But he also found the release of jazz, in the person of Bessie Smith singing 'Gimme a Pigfoot (and a Bottle of Beer)': 'This woman roaring around, singing that line made me think, "Well, this is what I want!"' (Daily Telegraph, 5 June 2004). In 1944 Melly enlisted in the Royal Navy, in and out of whose uniform he pursued a series of homosexual encounters. But it was art that truly caught his subversive instincts. At a surrealist 'séance' in the Barcelona restaurant in Soho he met E. L. T. Mesens, Magritte's friend and editor of the London Bulletin. Melly was engaged at Mesens's London Gallery in Beak Street, and became involved in a love triangle with Mesens and his wife, Sybil. Melly found he preferred women to men: 'It was just a matter of taste … not a moral decision. Suddenly, I just liked girls' legs better than boys' arses' (The Independent, 8 Nov 1997). Back in civilian life Melly turned to performance as a new means of expression. Joining Mick Mulligan's Magnolia Jazz Band, he sang 'revivalist' 1920s jazz classics, using Benzedrine to stay up all night and occasionally sleeping in brothels. Soho was his adoptive, nocturnal home, 'a scruffy, warm, belching, argumentative, groping, spewing-up, cadging, toothbrush-in-pocket, warm-beer-gulping world' (Owning Up, 284–5). Melly met his first wife, Elizabeth Victoria (Vicky) Vaughan, a fashion model, in a Soho club. She was the daughter of Henry Owen Vaughan, radio dealer. They married in Edinburgh on 26 April 1955 and had one daughter, Pandora, but within a year she had left him for a man with whom Melly himself had already had an affair, and the marriage ended in divorce in 1962. In that year he met Diana Margaret Campion Dawson (b. 1937) at the Colony Room, his favoured Soho dive. She was the daughter of Geoffrey Campion Dawson, railway clerk, and the former wife of Michael H. St George Ashe. She had changed her surname to Melly by deed poll by the time they married on 7 May 1963, two days before their son, Tom, was born. By now Melly's jazz career—he had recorded for Decca—was overshadowed by a new pop culture that he would address in his influential survey Revolt into Style (1970). For the first time a writer took pop culture seriously, applying historical perspective and examining its post-war eruption from Colin MacInnes to the Rolling Stones. 'Pop in this country evolved from its primitive beginnings (1956–7), through its classic period (1963–6) towards its noisy and brilliant decadence (1969–?)', Melly wrote. 'It lit up the contemporary landscape as if by a series of magnesium flares … the evolution of a new kind of culture, neither "popular" nor mandarin' (Revolt into Style, 123). Revolt into Style both reflected and was mirrored in Melly's music criticism of the period. Typically his journalism was unconstrained, and ran from lucrative speech balloons for the Daily Mail's 'Flook' cartoon to film and television criticism for The Observer. He lectured most passionately on his beloved surrealists; and turned to scriptwriting with 'swinging London' screenplays like Smashing Time (1967) and Take a Girl Like You (1970), the latter based on Kingsley Amis's novel, directed by Jonathan Miller, and starring Hayley Mills and Oliver Reed. The sixties suited Melly. He was arrested at a 'Ban the bomb' march, and in 1971 testified at the infamous Oz trial, when the magazine was prosecuted for obscenity. The trial judge, Michael Argyle, asked Melly: 'For those of us who don't have the benefit of a classical education, what do you mean by the word "cunnilinctus"?' (New Statesman, 14 Aug 2008). Melly also returned to jazz, singing with John Chiltern's Feetwarmers, and in 1972 recorded an album, Nuts, of Fats Waller and Count Basie classics. The follow-up, Son of Nuts (1973), included his signature tune, 'Good Time George', written by Chiltern. In 1974 Melly resigned from The Observer and joined Chiltern's band full time, adopting his trademark razor-sharp 1930s suits and outrageous fedoras. It was a pop cultural silhouette, ironic and self-referential. Nor did age abate his sense of anarchy. He fell out with Roland Penrose, surrealist and founder of the Institute of Contemporary Arts, when Penrose invited the duke of Edinburgh to open a Picasso exhibition. He subsequently turned down a CBE: 'I didn't see the point of accepting an honour from a Hanoverian sovereign of a former empire' (The Guardian, 18 Feb 2004). Melly had published his first volume of memoirs, Owning Up, in 1965. A rumbustious, picaresque account of his town and provincial jazz tours, the book was both filthy and hilarious. It was followed by a prequel in the shape of Rum, Bum and Concertina (1977), which dealt with his disreputable naval service and offered such memorable scenes as Melly, the put-upon rating, being defended below decks by a tough seaman: '"Anyone who says a word against fucking Picasso", he murmured gently, "gets fucking done over"' (Owning Up, 320). A third volume, Scouse Mouse (1984), retold his Liverpudlian upbringing and underlined, in a wonderfully unsentimental yet nostalgic manner, how far he had travelled. In all three books he was at pains to strike a deliberately outrageous tone, one that enhanced rather than concealed his essentially humane and affectionate personality. Melly also wrote a witty account, with Barry Fantoni, of his milieu in The Media Mob (1980). His sensitive biography of the outsider artist Scottie Wilson, It's All Writ Out for You, appeared in 1986—a theme pursued in Tribe of One: Great Naïve and Primitive Painters of the British Isles, with Michael Wood, in 1991. He edited Edward James's Swans Reflecting Elephants: My Early Years (1982), an evocation of the great surrealist patron; and in 1997 published Don't Tell Sybil: an Intimate Memoir of ELT Mesens. Hooked! (2000) was enlivened with a passage about masturbating over a trout. 'I put that bit in early because not many people are interested in reviewing a fishing book unless something startles them' (Scotland on Sunday, 1 July 2001). In later years Melly remained a man about town despite being arthritic and quite deaf, sporting a hearing aid that gave him the air of a portly Johnny Ray. In 2005 the publication of his wife Diana Melly's frank memoir, Take a Girl Like Me, reminded the public of the bohemian nature of their lives together, and apart. Melly's own Slowing Down (2005) examined his own decrepitude with unerring honesty and lack of reticence. Despite ill health he performed into his old age, and remained steadfastly in the public eye. In a late interview for the Daily Telegraph he declared 'I'm still a surrealist in the way that I'm still an anarchist. I don't mock the naivety of my youth. I only envy it' (Daily Telegraph, 8 Nov 1997). He died on 5 July 2007 at his home, 81 Frithville Gardens, Shepherd's Bush, London. He had refused treatment for lung cancer, and his wife Diana arranged for four of his mistresses to visit him on his deathbed. He was carried to the West London crematorium in a white cardboard coffin, decorated with paintings, drawings, and poems from his family and friends.

Source: Philip Hoare, 'Melly, (Alan) George Heywood (1926–2007)', Oxford Dictionary of National Biography, Oxford University Press, Jan 2011; online edn, May 2011 [http://www.oxforddnb.com/view/article/98953, accessed 6 Aug 2015] Note Author: Philip Hoare

Bevan, Catherine

  • S768
  • Person

Catherine Bevan designed children's garments for the 1978 fashion show.

Cameron, Clare

  • S773
  • Person

Clare Cameron studied P/Dip Textiles at GSA in 1977. She organised and was involved with the music for the 1978 fashion show, and also designed and modelled garments in it. She was awarded a scholarship for postgraduate study in session 1976-77.

As at 2002, she was a freelance textile designer.

Sources: GSA Annual Report 1976-77 GOV/1/10; GSA Flow Magazine Issue 1 http://www.gsa.ac.uk/media/455286/flow1.pdf

Cowan, Fiona

  • S784
  • Person

Fiona Cowan studied Textiles at GSA from 1974 and designed garments for the 1978 fashion show.

Eakin, May

  • S794
  • Person

May Eakin studied at GSA in the late 1970s and modelled in the 1978 fashion show.

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