Isabel’s Last Day

As I started this internship opportunity, which was a first of its kind for both Carole and I, I felt the understandable and familiar concoction of excitement and nervousness. I didn’t know, really, what I was getting into (something pertaining to fashion and retail, I supposed); but what I truly didn’t know  was that it would be one of the most enjoyable, informative, and useful internship experiences I have had.

Each week I would meet with Carole in one of two places: her shop, Waller & Wood, idyllically situated in Abbey Green; or, her studio, a bus ride and (also idyllic) walk away. I often felt that same jittery concoction when I set out, for, though I could be doing anything, I always knew I could look forward to it.

In my internship with Carole, I’ve sat in on many of her classes, listening to them exchange stories and gossip, whilst I completed various tasks, from photographing pottery and reorganizing her mother’s old inspirational scrapbooks to washing and ironing fabric — even screen-printing some of Waller&Wood’s first canvas bags. When I wasn’t in the studio, I was in the shop, taking test photographs of her new collection, working on the online store, or helping make new earrings. Much of my internship was spent working on launching her new Venice collection: I helped on-set during the photo-shoot for the forthcoming leaflet; I helped them re-decorate the store in preparation for the collection launch party; and I helped at the party itself, interacting with guests and customers. We went into London, where I helped set-up for a week-long trade show in Canary Wharf, and discussed the pros and cons of Carole participating in a fashion show in Cannes. But what I got out of the internship is arguably greater than anything I contributed.

In interning at Waller&Wood, I learned the challenges in and factors of running a small business, information crucial to an aspiring business-owner like myself. Through my conversations with Carole and my time in the shop, I learned how crucial setting and environment is in all retail situations, from product launches to trade shows; as I worked on developing a list of contacts for Carole’s glass works, I learned how important it is to always actively seek inspiration for future projects, and to always be thinking who would buy them; in working on the leaflet, I learned how crucial it is to create an image that is balanced in its timelessness and its appeal to current audiences.

I learned that one must be aware of the style of the brand, the ideal customer and the actual customer, and how to develop the two. In spending time at the store as well as in the studio, I gained an understanding of Bath’s openness to independent shops and met local characters. I met a woman whose jewellery is sold in Waller&Wood as she came to pick up some pieces for alteration, and as she and Carole talked I learned how important it is to revisit and revise one’s work, and to remain open to alteration. As I watched Carole’s students work, I saw their appreciation of the beauty in the accidental and the struggle of trying to recreate that which was once perceived as imperfect but later seen as the opposite. Helping out during the Venice collection photo-shoot, I saw the value in having different team members (from stylists to make-up artists and the photographer himself), for they could provide perspectives that would strengthen the resulting images. After a long day in the studio, Waller’s students would drive me back to Bath, and it proved a good opportunity to learn more about Bath culture and life, and a chance to talk to its characters.

After this internship, I feel better prepared to face the challenges associated with operating in the retail world, either as a buyer, seller, or store-owner. I feel as though I understand the complexities associated with each and the struggle of affording to do what you want; however, I do not feel dissuaded by this knowledge — if anything, I feel more excited than ever.

Isabel Hoag Lord

Georgetown College
Georgetown University Class of 2019

Fashion as Art

I am surrounded by dyes, paint brushes and fabrics; strips of rainbow-hued silks dangle down from the ceiling. I feel (as the dryer whirs behind me, and someone power-washes a screen printing board nearby) that I have been transported to another land, one of the whimsical forests of Disney, perhaps, morphed into an artist’s workshop. I am in the studio of Waller and Wood.

As Carole Waller leads one of her classes, the room buzzes with creativity and the women take their paint brushes to fabric. The finality of each movement terrifies me; down goes the brush and wham – a permanent imprint is made. But, I remind myself, such is the nature of art. Only this art would be worn.

And so, it was only a few minutes into my internship at Waller and Wood that I began to consider the distinction (if there is any) between “fashion,” i.e. clothing, and “art.” Is all clothing — from the runways of Dior to the rails of Zara — a form of art, or are there limitations? Certainly, clothes can be a product of an artist, or of artistic expression, but does that render it art within itself?

art n. the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

The question might seem simple enough. Per its dictionary definition, art is the product of human creative skill and imagination, appreciated primarily for its beauty or emotional power. Articles of clothing, then, must be art: someone (or their creativity) made them. I mean, those articles of clothing that weren’t created by an algorithm and fed en masse to us hungry consumers; clothes that were created.

But what about the less rigid, less definitive conception of art? The notion that (and please disagree with me on this) art is meant for public appreciation (or reserved for the wealthy), for the creation and expression of emotion, and is rarely produced in large quantities. Is clothing —from the sweatpants I wear at home to the plain white tee-shirt I wear everywhere — still art? Is the way we dress ourselves “art”? Is fashion, defined as a popular trend in styles of dress and ornament, “art”?

I turned to museums for answers. A centuries old home for the arts, the museum as an institution must decide what it determines to be art, and what, of that art, is worthy of public consumption. While rare it is to find a museum dedicated solely to the celebration of fashion (making it even more exciting to have one, The Fashion Museum, here in Bath!), it seems to be increasingly common to find fashion exhibits in art museums.

In 2011, the New York Times determined that there are at least a dozen fashion-focused exhibits happening at any given moment worldwide (not including galleries or displays); a number that I’m sure has only increased since. These shows are often reserved for the haute-couture, the powerhouse brands or designers whose clothes and creations are expensive and, well…artistic. These brands, available for purchase only by a select few, can afford to be creative and are expected to be such. Their runway shows have devolved into the theatrics, their window displays have transformed into fairy-tales, and their advertisements speak like short, still films. But they are only a small portion of the community of fashion labels, and these exhibits are strictly business.

The groundbreaking exhibit on Alexander McQueen at the Victoria and Albert Museum in 2015, Alexander McQueen: Savage Beauty, was the V&A’s most popular exhibit, ever. It sold almost 2,000 meters of fabric for scarves, 150,000 postcards, and 80,000 books. The idea of a popular fashion exhibit thus became a guaranteed way to get people into (and buying from) museums. It is all business, after all.

Alexander McQueen's "Savage Beauty"
Alexander McQueen’s “Savage Beauty”

And so we return to square one. If museums have fallen victim to the call of commercialization, what hasn’t? How can I know if clothing is art? As I sit and watch Carole tease images onto fabric, I cannot ignore the obvious: she is an artist at work. But still I grapple with the question: can this label of “art” be applied to all clothing?

At its heart, the production of clothing is very creative. Someone, somewhere, had an idea for something that could be worn. But I fear that the average article of clothing has distanced itself from the artistry from which it sprung; at a certain point, the production is reduced to a science. What will sell? What will trend? What can be marketed? As clothing is produced at a quicker rate, the creativity involved seems to slump. If “x” sold, so must “y,” I imagine the designer thinking, as they tweak a graphic tee-shirt. The notion of producing something so that its beauty is appreciated seems to be less important when producing clothing for the masses or “fast fashion” brands.

Now this is not to say that I believe that clothing is losing its beauty. Some, mostly designer and independent labels, seem to produce for beauty, or to make a statement, or to carry a message. These brands can be few, and rely on those who appreciate the communicative and expressive powers of clothing (and who can afford to buy them) to stay afloat. But seeing Carole Waller’s and her student’s work has left me inspired. The clothing that we put on our body should be art; the way we dress ourselves should too become an expression of creativity and emotion. Why do we not present ourselves to the world as bodies of art?

I dress myself subconsciously, and yet it remains an expression of who I am. An influence, internal or external, prompted me to buy the clothing; perhaps it was to dress a part — that of the student, the intern, the 20 year old — or perhaps it was in response to inspirations I have collected. When I dress myself, it is a projection of a part of myself, of my creative side (or lack thereof), of my imagination. When I shop, the decisions I make are also a product of my creative side and my imagination, as I look at a piece and gauge its potential in my wardrobe.

This has become most evident to me throughout this internship. Never before had I occasion to see the clothes I lust after being created. When Carole makes a piece, she is an artist at work; watching her dab her paint brush over the fabric, one almost imagines oneself absorbing her creative energies. Her clothes are definitely art within themselves, and they make me wonder: can it all be art, too?

In short, I am inspired: inspired to wear clothing that I appreciate as artwork; inspired to dress myself in the creativity of others, but in a way that allows me to express my own creativity, as influenced by theirs.

Venice Collection ss18


The sensory feast of the city of Venice has inspired Carole Waller’s latest collection of hand painted clothing which, like the Venice itself, is full of colour, bold reflections and fluidity of movement.

“Visiting Venice once again last spring I was completely captivated and transported back to magical childhood visits, “ Carole explained. “I have taken images of archways stretching over the canals, reflections of boats and the beautiful grilles at the windows of the Peggy Guggenheim Collection. These repeating patterns create screens through which colour seeps through – the shadowy greys, silvers and sludgy greens of the canals and the bright reds and blues reflected on the water and pale whites and greys and soft pastels of the lagoon as the sun sets”. This colour palate forms the basis of the collection with surprising splashes of bright red in a nod to “Don’t Look Now”. “The colourful red awnings along the canals serve as a counterpoint to the subdued and sludgy colours of the canals and bright reflections of the buildings which change minute by minute as the light shifts” says Carole.

Carole pays homage to her mother who, as a young artist alone in Italy, was equally enchanted by Venice which she painted in a series of watercolours “beautifully capturing the buildings with her sensibility to colour and atmosphere”. Another element that appears throughout the collection is taken from an iconic print from a drawing of the Ca D’Oro Palace on the Grand Canal. Carole went to seek out the block printers of which only a handful remain. “ I have dedicated my collection to them and their beautiful, simple renditions of the decorative and spiritual uplifting buildings of Venice.

Making an investment in a piece by Carole Waller ensures that you will always be the centre of attention. They are indeed unique, whether you are drawn to a tie wasted shirt or a neat dress or a flowing scarf that in itself will be a talking point. And for special occasions, Carole is always happy to create a one-off, bespoke outfit; please contact Carole Waller for a one-to-one appointment: 07803033629.

Nicky Hancock March 2018


photos Jesse Wild , thanks to Milsom Place Bath, Styling Abigail Constanza and Sarah Baker, make up Sarah Smerdon , Model Nadia Achha


From One Two Five Gallery to Waller&Wood


The creative partnership between Carole Waller and Gary Wood began over twenty years ago at their home in Bathford. Having just bought a house with two outbuildings in the back garden perfectly suited for conversion into studios, they then converted the main house, including provision for a gallery in which they could display Carole’s sumptuous clothing and art pieces alongside Gary’s ceramics. They already had a growing mailing list of clients and at this point began promoting a series of regular exhibitions at the house, which was called One Two Five. The name of the house came about because the main train line to London Paddington runs parallel to Box Road and having struggled to come up with a house name, they were inspired one day when a high speed 125 train whizzed past, immediately solving the problem of finding a name.

Three exhibitions a year in spring, summer and over Christmas soon became popular events, attended by an enthusiastic audience and the reputation of One Two Five as a great venue in which to see and purchase unique works of art, developed a strong following. In addition to showing and selling their own work, they also included work by other artists in their exhibitions and in the summer would show outdoor sculpture in the garden as well as other works in the main gallery indoors. Work by various contemporary jewellers became a popular, regular feature and was very sympathetic with Carole’s painted clothing.


One Two Five Gallery on Box Road continued for the next 16 years. Many happy days.

photo by Annabush Crews


After a brief experimental endeavour to take on a public retail outlet selling their work at The Shed on Box Road proved successful, they decided to seek a similar outlet in central Bath and in 2015 found the perfect premises at 4 Abbey Green. One Two Five Gallery now had an ideal opportunity to reach a wider public and the client base began to grow even stronger. Gary and Carole love meeting people and sharing the essence of what they do. Now in its second year, One Two Five continues to grow.

Because the title of the gallery historically linked to the name of their house in Bathford, Carole and Gary made a radical decision this year to re-brand and re-title their business WALLER&WOOD. Everyone out there in and around Bath who are already familiar with One Two Five Gallery  will soon notice the new signage of WALLER&WOOD. Looking forward with renewed vigour to an exciting time ahead!

Tales of an intern

For the last two weeks I have had the pleasure of interning with Carole Waller.

It has been very hectic at times, and I have experienced things that no multi-million company could have offered me.

I am Faye Patterson – and I am currently studying my final year for a foundation degree in Fashion and Textiles at Bath Spa University, and I will be applying to a Textiles BA for my 3rd year of design. As my course is a mixed degree we’re constantly moving on to a new area of study, so I have not had as much opportunity to work with textiles. I would still like to pursue a career in it as I find it more exciting than the fashion elements of my course, which is why an internship with a textile designer has been incredibly helpful. Like Carole, I am an artist at heart and so her work on fabrics fascinated me.


devore printing


Baking the devore to burn out

During the first week I was taught new, invaluable skills. These included work with steam-set dyes, and learning how an abundance of materials can have dye transferred onto them (including Carole’s own beautifully coloured buttons). Being such a newcomer to textiles still, I didn’t realise how much work was needed to produce just a few metres of fabric. As an example, I was taught how to use a technique called Devoré, where mixed fibre fabric is treated so that a design is eaten away to reveal semi-transparent areas. There are several stages to completing this, making it both expensive and labour intensive. I also tried a few new finishing processes such as fringing, a simple skill but one that is useful to learn.

Carole had just received a new set of coats (part of her Winter Collection that was due to be finished that week) as she was working with a women’s association in Gujarat who use the traditional technique of Kantha stitch to quilt fabrics. She wanted to try their work out with a completely different coat shape  – so I was tasked with copying a master pattern in order to send them the new design for manufacture. I also altered one of her shirt patterns to make it more suitable for winter. Internships rarely involve pattern cutting as it can be a difficult task so this was an amazing opportunity.

kantha stitch clothing constructed with offcuts of painted silk

A photoshoot for her Winter collection at  the new hotel, No.15  Great Pulteney, involved working with professionals from various backgrounds, and liaising with hotel staff to ensure we got as much photographed as possible in the little time we had. This also gave us the chance to discuss which photographs would be selected for her press release.

photoshoot with Chris Daw

The most mundane of tasks are vital to the success of Carole’s collection:  I leafletted, washed tables, ironed metres of silk, I ran errands, I worked on pricing new products, designing wrapping paper, and I mopped the floor. Working with someone who runs their own business allowed me to see the completion of the big picture.

Working at her shop, One Two Five Gallery, gave me the chance to discuss garments individually with customers and understand why certain shapes or colours worked well on certain people. It is hard to envision how a garment will look without first considering who the customer is, something that I struggled with as a designer. Carole’s clothes come to life on people because she has developed an affinity to do this, so watching her work on commissioned and stock pieces has been incredibly useful.

in the gallery

Working as any sort of designer incredibly hectic, especially since Carole had so many deadlines whilst I was interning. Just two weeks of working with her has given me skills that will be useful for a lifetime, and I now have a newfound appreciation for textiles


Faye Patterson August 26th 2017


Gary Wood. Blog. 16/8/17


I am currently making a new body of work for our forthcoming

exhibition, Torso, which can be seen at One Two Five Gallery in

Abbey Green in Bath between 7th September and 1st October.


This latest work aims to capture associations made with the human form as a contemplative presence and also to reveal subtle qualities of surface and shape, which suggest movement in stillness and a sense of quiet vitality. A strong source of inspiration for these works is a keen interest in contemporary dance and in particular the work of the esteemed German choreographer, the late Pina Bausch.


I am dedicating this exhibition to the memory of our dear friend Ian Wilson, who died recently. Ian was a writer who championed the work of many artists and craftspeople for many years, in specialist art and craft publications. I first met Ian at The Bath Art Fair over twenty years ago, where I was exhibiting and selling my work. He bought one of my bowls and since that time a very close friendship developed between us and over the years he acquired several more pieces of my work. He had a particular interest in textiles and ceramics.

When Ian was writing a piece about you, what he loved to do rather than a studio visit and a formal interview, was to invite you to a delicious lunch which he would prepare and serve, combined with conversation including his penetrating curiosity about details of your work. He would make hand-written notes and the conversation was always relaxed and would often meander in different directions about all sorts of subjects. These working lunches were great fun because Ian had a wonderful sense of humour, so it was never really like work, but purposeful and when the finished article finally appeared in print, his perspective on what you were aiming to do had the capacity to make you reflect on your practice. His keen eye for detail and objectivity was invaluable in helping to remove any trace of ego or self-consciousness which might otherwise ambush your own appraisal of the work in hand and often helped to germinate a fresh approach to new ideas for the future. When I first made some very tentative torso maquettes a couple of years ago, Ian was the first person to enthuse about their potential. His very generous spirit has been with me during the making of the work for this show. I miss him very much and will always treasure the memory of our times together.




Waller and Wood – ceramics, candles and canvas

Gary Wood. Blog. 27/7/17. Waller and Wood


An exciting recent development in my work resulted from a meeting with a company in Bradford-On-Avon called Heaven Scent, who make a wide range of ethically sourced products including soaps, candles, reed diffusers and body products. Heaven Scent are the first company to create a natural alternative to a paraffin wax candle, over 24 years ago. They developed a unique blend of plant wax that burns cleanly and effectively, infused with fine fragrances and essential oils.
I discovered through talking with them that in addition to making a range of their own candles in glass containers, that they could fill containers made by other companies. I took them a range of different sizes and shapes of my pots, chose some scents and had these samples poured. The results were very good, the aromas beautiful; they smell amazing even when they are not lit! So now I am working with Heaven Scent building up a range of candle pots to sell in our gallery. When the candle has burned away you can clean out the residual wax and use the vessel in your home – cups, bowls and more besides. I am planning to do individual candles and also boxed sets for gifts, especially around Christmas.

Carole is also collaborating with them on a range of organic soaps wrapped around with her painted canvas and glass candles in a sleeve of painted silk all with Christmas in mind even though it is still July – but the samples are filtering onto the gallery now alongside a lovely collection of bags and pencil cases painted on canvas and combined with real leather. Carole is working with  Charlotty also nearby, in Trowbridge to design and make these with her fine sense of colour and craftsmanship. Find the first of the bags on her website here.

We have titled this new range of ours: Waller and Wood.

Candle pots group 2 webbag 1 back blue bag b

Work Experience with one two five gallery

On my first visit to Bath I happened to stumble upon One Two Five gallery and loved the unique style as soon as I walked in. As I am currently studying Decorative Arts at Nottingham Trent University, I have a real passion for Craft and surface pattern design which is why I was so drawn to Carole’s painted garments. After contacting her, she invited me to do some work experience and this is what I’ve been up to…

Day one-
Carole invited me along to one of her workshops where I got to see her studio and some of her amazing work. I got to have a go on the heat press with transfer dyes and Carole showed us a range of samples she had collated which explore the possibilities with the heat press (and there are a lot!). There was a great energy in the studio and I thoroughly enjoyed meeting the lovely ladies who were also at the workshop.

Day Two-
I had the opportunity of visiting a hotel where Carole is currently working on a commission piece, it was truly fascinating seeing the versatility of Carole’s paintings, one day she would be painting a commissioned coat and the next painting panels for an installation piece. Being able to visit the hotel of the commission meant I could visualize the context of the paintings.
However, as I was Carole’s assistant for the week I had the daunting task of helping cut up her beautiful painted fabric into perfectly measured panels… after measuring, measuring and re-measuring with our hearts in our mouths we finally got through the dreaded task.

Day Three-
We began looking at product development and wrapping organic scented soap and candles in a creative and unique way, we did so by using a strip of Carole’s painted fabric to cover the soap boxes which serve as a dual purpose, once the soap is un-wrapped the fabric can be used as a bookmark; making it a perfect item for gifting. Being part of this process has been enlightening as we’ve explored packaging in an innovative way, as well as showing how Carole’s work can be used in a number of decorative ways.

Day Four –
During my time with Carole I was working alongside Simone, a student from Italy on an English language course whilst doing work experience with Carole. Together we worked on screen-printing Cotton bags and the bookmarks with Carole’s prints for the soap. We also printed buttons on the heat-press ready to sell in the shop.

Day Five-
I helped with uploading garments onto the Carole Waller website, this involved navigating around a new website set-up and providing product information such as measurements. At this time Carole was holding a sale in the gallery so we had to synchronise the gallery sale items with the garments online.
Carole arranged a photoshoot outside of the gallery on the abbey green on a beautiful sunny day, she was promoting her new printed t-shirts for her social media. Simone and I tagged along with some of his Italian friends to model the t-shirts on the green.

The experience with Carole has been really exciting and I’ve gained an insight into what it takes to run a creative business; besides a lot of hard-work and the ability to juggle numerous jobs at once there is also a lot of satisfaction and pleasure that comes with discovering new ideas and work.

Izzy & Simone

Gary Wood : Save Bathampton Meadows

Save Bathampton Meadows

I was delighted to be one among many artists who were asked to donate a piece of their work for an auction to raise money in aid of the Save Bathampton Meadows Appeal.

Viewing of submitted works was on 15th & 16th June and the auction took place at 7.30 that day at Green Park Brasserie. I submitted a painted stoneware wall piece titled ‘Sky Door 2’, which sold for £220. In total the sale raised £9,500.

This money will be put aside for legal expenses to oppose a

massively insensitive and mindless council decision to turn a historically treasured local area of natural beauty into a car park for 1300 cars.

The recent election of Wera Hobhouse, Liberal Democrat MP for Bath, should bring some much needed sanity to the table in any future debate about the well being and future safety of the meadows.

Gary Wood

West Dean College – teaching and learning

Whilst Bath is most definitely my home and provides much of the inspiration for my silk painted work I also regularly travel east to teach at West Dean College near Chichester.

I have been teaching there for several years and even after all this time and a lengthy commute I still find it a sanctuary for my own spirit every time I arrive off the M27 and drive through its gates. There is very little Wifi or phone reception and no noise. A world away from bustling Bath.


West Dean College specialises in short courses in a wide range of specialist arts subjects. It was originally owned by Edward James, friend to Salvador Dali, and patron of the Surrealists. James’ spirit of the eccentric still exudes from the walls and corridors – and again from its passionate and expert tutors.


My courses are all about making image, mark and message in cloth – using dyes and pigments as media.

Students come from all walks of life and enjoy each other’s company as much as their studies and so we begin any course with a discussion about the student’s backgrounds and their personal aims for the week of their study with me. it’s not all one way; I share images of my practice as a painter and textile artist.

I tell the students of my own background, in painting, that led me to want to transfer my ideas to unprimed cloth – to make paintings which move – and which only come to life when someone owns, and wears them. Therefore I needed to make paintings which could be washed – but when I looked into this I found complex recipes and off-putting technical data in the only text books available to me then. At this time I could not even afford to buy weighing scales for dyes and I had to find simple ways of achieving my aims.

It took a while….

A ‘few’ years later and I now have some sort of reputation for colour – and for working in a very ‘free’ way on cloth .

However, I do not teach how to ‘paint the Carole Waller way’ although this has been an expectation of some students over the years.

Instead I teach how to work in a very uncomplicated way with dyes and pigments. I share my knowledge of how I approach the very specific mark making vocabulary of screen-printing and painting onto silk and cotton, wool and linen.

I get very excited about the differences between a silk crepe and a silk georgette – I look for the thinnest possible membrane on which to paint and I spend hours washing tables, paintbrushes and ironing lengths of damp silk. I try to share this passion with my students too.


My practice evolved out of painting and the making of collaborative work with other artists. I was always interested in the way in which art and ‘life’ collide – and as a young student at Canterbury – questioned the notion of the ‘frame’ as a physical and actual construct in the relationship between artwork and viewer. I wanted to make things which were affected by their environment – and which were not self sufficient – things which had a life span and which would disappear in time.

I eventually worked out what this could be in 1986 – and made a painting onto the back of a medical labcoat. Its now 2017 and I have still not even touched the surface of what could be possible.


So it seems, whilst I feel I have a great deal to offer my wonderful students who sign up in numbers for my courses. I still have an appetite to keep exploring my much loved subject and both my Bath and Chichester residences allow me to keep finding a balance to facilitate this.

So these images show some of the beautiful marks and initiatives made by 9 fantastic women who joined me in May 2017 at West Dean to see what might be possible.

print 5 web print 7 webprint 8 web print 9 webprint6 web print 10 web print 11 web print 12 wbe print 13 web print 14 web print 15 web print 16 web print 17 web print 2 web

Edward James liked to ‘put things out of place’ – he gave away West Dean in 1964 and created the Edward James Foundation for the preservation of ancient crafts. He had married a dancer , Tilly Losch – and her footprints are found in the carpet here. Ancient crafts are still preserved but so much more is invented and refound at West Dean with its current study options. These run from ‘creative short courses and professional development through to Foundation, Diploma and Masters degrees. Students achieve ground-breaking work in visual arts or deploy their skills in the conservation of our national and international cultural heritage.’


ed james cecil beatonweb

Edward James by Cecil Beaton


‘ The College is set in West Dean House in Sussex, former home of Edward James, poet, artist, designer and patron of the Surrealist Movement. It offers an inspirational setting for focused study, creativity and innovation. The Edward James Foundation is the registered charity behind the College, also our Gardens and West Dean Tapestry Studio.’

My next course there will be 21 -25 February 2018 – not yet on their website but telephone the college or watch this space