Candle making
The making of candles from a variety of different waxes, including hand dipped and artisan candles.
This craft uses products derived from animals – please read our ethical sourcing statement.
| Status |
Currently viable |
| Historic area of significance |
|
| Area currently practised |
UK |
| Origin in the UK |
Became a guild craft in the 13th century |
History
The first widely used candles were made from animal-based tallow. By the 13th century candle making had become a guild craft in England and France. Beeswax candles were cleaner and less smoky than tallow but were expensive and so were mostly used in churches and for the higher end of the market.
Throughout the 18th and 19th centuries alternative waxes such as spermaceti, a waxy substance produced by the sperm whale, colza oil and rapeseed oil allowed for superior, cleaner burning candles. The introduction of stearin (initially manufactured from animal fats but now produced almost exclusively from palm waxes) and then paraffin wax in the 19th century meant that inexpensive, high quality candles could be manufactured that burned cleanly with no unpleasant odours.
The trade became an industrialised mass market by the 19th Century with the invention of machinery that allowed continuous production of moulded candles. Price’s Candles, who are still trading today, became the largest candle manufacturer in the world by the end of the 19th century.
The candle industry declined rapidly upon the introduction of superior methods of lighting, including kerosene and lamps and the 1879 invention of the incandescent light bulb. For today’s market, candles as marketed as decorative and luxury items.
Most candles are now mass produced from paraffin wax using a highly mechanised process. However, there are also a large number of craftspeople and companies making artisan candles and hand dipped candles. These can be made with paraffin wax or beeswax but many makers are now using alternative waxes such as soy, rapeseed and sunflower oils to appeal to the market for vegan and eco-alternatives to petrochemicals.
Techniques
Modern production methods use extrusion moulding. More traditional production methods entail melting the solid fuel by the controlled application of heat. The liquid is then poured into a mould, or a wick is repeatedly immersed in the liquid to create a dipped tapered candle. Often fragrance oils, essential oils and dyes are added.
Beeswax candles can be made from rolled sheets of beeswax or using moulding and dipping techniques.
Sub-crafts
Issues affecting the viability of the craft
- The majority of candles are made using paraffin wax which is a non renewable resource and a pollutant, hence the environmental critique of using candles
- Other candle material is not as readily available as paraffin wax
- Mass manufacturing of candles is cheaper and quicker and so a big competition to the rest of the candle markets
Support organisations
-
-
The
Tallow Chandlers Company have a historical interest in the craft but are no longer directly associated with the trade.
-
Craftspeople currently known
A list of candle makers can be found on the British Candle Manufacturers website.
References
Beadworking
The craft of attaching beads to one another with thread or wire, or sewing them to cloth.
| Status |
Currently viable |
| Historic area of significance |
|
| Area currently practised |
UK |
| Origin in the UK |
|
History
Beads have been used by cultures, religions and subcultures for personal adornment, communication and trade for thousands of years. Today, we see beads used in artworks, jewellery making, embroidery, costume design and more.
In the UK, beadwork has been an important art form since the Middle Ages, when elaborate beadwork was used for both decorative and pictorial purposes. From the Renaissance to the 17th century, beadwork was a popular form of decoration for the wealthy and included decorations for clothing, apparel, objects and pictures.
In the 18th century beadwork fell out of favour, but became popular again during the 19th century. A great many women’s dresses were richly ornamented with beads of all kinds and beading could be found on many small articles such as gloves, belts, purses, bags and parasols. Beadwork as dress decoration recurred periodically in the 20th century. Today, beadwork is a popular hobby that takes inspiration from beading traditions all over the world.
Techniques
Beads come in a variety of materials, shapes and sizes. Beads are used to create jewellery or other articles of personal adornment; they are also used in wall hangings and sculpture and many other artworks
Beadwork techniques are broadly divided into loom and off-loom weaving, stringing, bead embroidery, bead crochet, bead knitting, and bead tatting.
Beadworking has extensive social, economic and religious meanings and functionalities. Because of that the beading products and processes have multiple distinct forms and patterns around the globe. The local forms are varied from small decorative single beads that at a time served as a currency (called chevrons) through to lighabi, beaded girl’s aprons used in South Africa and Zimbabwe.
Sub-crafts
Allied crafts:
-
Lampworked glass beads
-
Polymer beads
Issues affecting the viability of the craft
- Beadworking is labour and cost intensive comparing to alternative mass manufacturing methods
- There are significant issues for makers resourcing and accessing quality beads
- Also present are issues with costs and resources of bead kits and patterns
- There is a lack of comprehensive and widely accessible beadworking training
Support organisations
Craftspeople currently known
References
-
-
-
Vail, Juju, The Beader’s Handbook (Octopus Publishing)
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Woods, Dorothy, The Beader’s Bible (David & Charles)
Smocking
The use of embroidery stitches to control the fullness of a pleated fabric and give elasticity to non-elastic fabric (see also embroidery).
| Status |
Currently viable |
| Craft category |
Textiles |
| Historic area of significance |
Suffolk, Somerset and Dorset. |
| Area currently practised |
UK |
| Origin in the UK |
13th/14th century |
| Current no. of professionals (main income) |
|
Current no. of professionals (sideline to main income)
|
11-20 |
| Current no. of trainees |
1-6 |
Current total no. serious amateur makers
|
51-100 |
Current total no. of leisure makers
|
500+ |
| Minimum no. of craftspeople required |
|
History
Originally, smocking developed to give elasticity to fabric that was non-elastic and became widespread for both decorative and practical purposes. The best known examples are of agricultural workers overgarments, made from linen or jute cloth, often oiled or waxed to repel rain. The stitching on these garments became decorative as well as practical. Smocks were made for specific functions as well as labouring work.
Hiring day smocks, stating the wearers’ skill or trade (for men and women), wedding smocks and church smocks were not uncommon, and were often beautifully smocked with a range of decorative stitches and embellished with embroidery. The embroidery was usually done in feather stitch, chain stitch, blanket stitch and stem stitch, often in the same colour as the base fabric. Traditional smocks were all cut to the same design, using geometric shapes, to facilitate the full use of the fabric, altering proportions to suit the wearer. Decorative work was used for shirts, dresses, bodices, cuffs and necklines, where fullness had to be reduced and shaped.
These days, smocking is in reality a means of decorating garments with attractive embroidery. Some designs still use the ability of smocking to give elasticity, but for purely decorative purposes, work smocks having long age disappeared from industrial use.
Techniques
Smocking involves gathering the fabric by hand, following applied ‘dots’ placed on the back of the fabric. These dots are in lines, both vertical and horizontal so the pleats created are regular in size and depth. These can be iron on dots, available in blue, yellow and silver. Several different sizes of dots are available to suit different fabrics and designs, or use powdered tailors chalk and a thin metal template and ‘pounce’ the dots onto the fabric. These days it is also possible to gather principally by machine, adjusting the spacing of the rows to suit the fabric or design.
Following the gathering and drawing up of the fabric to the desired width, the decorative stitches can be worked on the surface or the reverse of the fabric to achieve the desired effect before the garment or work object is completed.
Sub-crafts
- Beading
- Embroidery
- Dressmaking
- Heirloom sewing
- Silk ribbon work
Issues affecting the viability of the craft
- Smocking is currently practiced by older people and few young people learning the craft.
- Smocking is a labour intensive craft. There is a huge demand for smocking but not enough young people willing to work for so little money. Most makers turn to smocking once they become a grandparent.
- The need for smocked dresses by Travelling families helps to keep this tradition alive.
- There is a throwaway culture regarding clothes.
- Needlework/embroidery skills are no longer taught in schools.
- Smocking is not taught by the Royal School of Needlework.
- Therapeutic value of creative needlework much undervalued, despite the evidence of many years.
Support organisations
- The Smockers (set up by members of the former Smocking group of the Embroiderers’ Guild in 2018) – run a successful summer school each year attended by 15 to 20 members.
- The Embroiderers’ Guild
- The Women’s’ Institute
- The National Needlework Archive
Craftspeople currently known
- Ros Atkins
- Kathy Eagle
- Sally Figgins
- Heather Flint
- Daisy Chain
- Isobel Luke
- Sue O’Neil
- Emily Rabbit
- Patricia Ruffell
- Heather Washington
- Molly Goddard
- Jean Hodges
- Masha Popova
- Rosemary Brown
- Christine Clark
- Christine Franklin
- Gill Duncan
- Hilary Wilson
- Heather King
- Sheena Reid
- Jacqui Holmes
- Maureen Briggs
- Susan O’Neil
Smocking is very versatile and can be used on anything and everything where there is gathered fabric.
References
- A-Z of Smocking
- Armes, Alice, (1980) English Smocks (Dryad Press)
- The Smocking Arts Guild of America
- The House of Smocking
- Australian Smocking and Embroidery Magazine
Rug tufting
Creation of tufted rugs using a powered hand tool, and also carving relief patterns on the rug surface.
| Status |
Currently viable |
| Historic area of significance |
Yorkshire / West Coast of Scotland |
| Area currently practised |
UK |
| Origin in the UK |
1970s |
History
Rug tufting was first introduced with the development of the tufting gun in the 1960s-70s. The technology has not changed since then.
Rug tufting is a creative and flexible medium that allows for the creation of a wide variety of images. Rug tufting is gaining in popularity and has seen a surge of interest fuelled by social media and TikTok. There are more artists using the medium and many hobbyists taking up the craft.
Techniques
Drawing the designs, using the gun to ensure the correct pile height/ density of stitching is achieved, cutting down and finishing and carving the rug.
See www.turnberryrugworks.com for a video of the operation
Sub-crafts
Issues affecting the viability of the craft
- Sourcing raw materials: Difficulty in sourcing yarn
- Market issues: Overseas price competition
- Business issues: Making a sufficient margin to be able to extend marketing activities
Support organisations
Craftspeople currently known
- Area Rugs and Carpets
- Unique Rugs and Carpets
- Trendytuft
- Turnberry Carpets
- Dovecot Studios
- Hoxa Tapestry
- Helen Yardley
- Caroline Acaintre
- Christine Crofts
- The Woolly Rug Co. Ltd.
The availability of cheaper tufting guns from China has meant that more learners are picking up the craft. There a number of educational establishment who are teaching the skills or have the equipment available for students.
- Goldsmiths University
- London Metropolitan University
- Salford University
- Birmingham City University
- Central Lancashire University
- Wolverhampton University
- Staffordshire University
- University of Plymouth
- University of Huddersfield
References
Wig making
The hand making of bespoke wigs, postiche (facial hair) and hairpieces.
| Status |
Currently viable |
| Historic area of significance |
London |
| Area currently practised |
UK |
| Origin in the UK |
17th century |
History
The craft of wig making is thousands of years old. Some similar techniques are still used today which are in evidence in surviving wigs from ancient Egypt. The craft reached the height of popularity between 1760 and 1800, as wigs were fashionable for men and women. After this period, smaller, more natural looking hairpieces continued to be made into the 1900s, falling out of fashion in the early part of the 20th century, with a brief resurgence in the 1960s. Most professionally made wigs are now made to service the theatre, film and television industries, however there is also a branch of the industry which services alopecia suffers, Orthodox Jewish women and people undergoing chemotherapy.
More wig makers are specialising in Afro-Caribbean wigs and there has also been a upsurge of amateur makers who are interested in making Afro-Caribbean wigs.
Techniques
Constructing a base from fine net and hand tying hair (human, animal and synthetic) into the lace net using a very small hook (this process is called knotting in the UK and ventilating in the US). Each wig is made to measure and constructed to design requirements (usually to replicate natural hair growth).
Weaving involves knotting the hair between strands of thread under tension, then constructing wigs and pieces with these lengths of weft.
Sub-crafts
- Knotting
- Foundation making
- Weaving
- Switch making
- Diamond cluster making
- Hair mixing
-
Postiche (facial)
-
Pre-curling hair
Issues affecting the viability of the craft
- Raw material (hair) has increased in price in recent years. Cheap, lower quality wigs are now readily available from China and India.
- Changes in vocational training have lost some aspects of teaching the craft.
- Many practitioners are freelance and work from home, which makes traineeships/apprenticeships difficult.
Support organisations
Craftspeople currently known
- Campbell Young
- Ray Marsten
- Peter Owen
- Alex Rowse
- Raoul – makes a wide range of wigs including Afro-Caribbean wigs.
- Bloomsbury of London
- Banbury Postiche
- The Wig and Makeup Studio – Corinne Young and Philip Carson-Sheard, run wig making courses
- Ede & Ravenscroft (legal wigs)
Wig Making Studios:
- Campbell Young Associates
- Ray Marsten Wig Studio
- Peter Owen (Bristol)
- Alex Rouse Wig Company
- Hum Studio
- Samuel James Wigs
- Shepperton Wigs
- The Big Wig Company
- Raoul Wigmakers
- Wigs Up North
- Sarah Weatherburn Company (Facial Pieces)
Theatres with Wig Making Departments
- Royal Opera House
- English National Opera
- Glyndebourne
- National Theatre
- Royal Shakespeare Company
Wig Making Courses:
- The Wigs and Makeup Studio (London)
- WQ Hair (Birmingham)
- Isobel Donald (Scotland)
- Katie’s Wigs (Leeds)
- The Wig Academy (Eastbourne)
- Campbell Wigs (London)
The entertainment industry currently provides enough employment for the craft to continue. The National Theatre has an apprentice programme.
References
Taxidermy
The preservation of the skin of an animal which is modelled onto a body form to create a lifelike representation of the living animal. This includes the replication of fish, reptiles and amphibians by casting the actual animal.
This craft uses products derived from animals – please read our ethical sourcing statement.
| Status |
Currently viable |
| Historic area of significance |
UK |
| Area currently practised |
UK |
| Origin in the UK |
Late 18th century. Unsuccessful methods were attempted from the 16th century. |
History
Taxidermy grew through the first half of the 19th century and fine examples were shown at the Great Exhibition after which it became very popular. By the First World War many homes from the highest to the very modest had pieces of taxidermy as interior decor/interest. After the First World War interest declined except for field sports fraternity. By 1950s only two large firms in London and a very small number of solo operators remained and by late 60s only one London firm. At this time there was renewed interest and numbers grew (mainly professionals) through the 70s and 80s.
Techniques
Birds and small mammals are mainly mounted by fitting an anatomically correct body made from balsa or styrofoam into the cleaned and washed skin using galvanised wires for the structure. Larger mammals are mounted putting the tanned skin onto a sculpted mannikin or form. This is anatomically accurate to the specific animal and is commonly made from PU foam. Commercial forms can be bought for many species. Whist fish and reptiles can be prepared using similar methods the preferred technique is to mould the actual specimen using silicone rubber and then make a replica with epoxy resin or similar.
Taxidermists have different strengths and specialisms.
Sub-crafts
- Tanning, but not chrome as is used for sheepskin rugs. Some UK taxidermists send their larger mammal skins to Germany as there are no longer any suitable tanners in the UK. The method needed is the same as used for fur dressing.
Issues affecting the viability of the craft
- The vast majority of the experienced, qualified professionals are of the age 50+. Many of these entered the craft in the 1970s and 80s. Of those who have become interested recently only 2 or 3 are showing signs of being able to progress. It is the loss of quality, experienced people through age (retirement) that is the biggest threat at the moment. In 10 years time the number of really good experienced taxidermists could be 10 or even lower.
- Whilst taxidermy as a hobby is currently very trendy the actual fashion for quality taxidermy in the home which sustained much of the increase in the trade through the 80s and 90s has gone. This leaves the business that comes from field sports which itself may prove difficult as public opinion goes against blood sports.
- In the 1980s there were over 30 taxidermists employed in UK museums; there are now none. This pool of experience and skill is no longer available to provide training, advice and experimentation.
Support organisations
Craftspeople currently known
The Guild of Taxidermists has a list of qualified current members on the FAQs page of its website. Virtually all practitioners are now sole traders.
References
