Introducing Loake: 135 years of craftsmanship

We go behind the scenes at the Loake factory in Northamptonshire, where they have been making Goodyear welted shoes for well over a century 

The Goodyear welt is the oldest and most labour intensive method of shoemaking in the world

The Loake family have been making shoes in Northamptonshire – the historic centre of British shoemaking – for five generations.

It all began in 1880, with three brothers working in a shoe factory in Kettering. They each worked in different departments and they soon realised that, between them, they had all the necessary skills to make shoes themselves. It was a brave step, leaving the security of their jobs to set up a business of their own. 

A meticulous craft

The Loake brothers became one of the finest producers of Goodyear welted footwear – the most labour intensive and durable method of shoe construction. Fast forward 135 years and Loake are still making shoes the same way – it’s believed they’ve produced more than 50 million pairs since they first began manufacturing. Some 130 skilled shoemakers, up to 75 shoes parts and 200 different operations are involved in making a pair today.

A Goodyear welt is essentially a strip of leather stitched along the perimeter of the shoe’s outsole, connecting it to the upper. The most well-known Goodyear welted style that Loake make is the brogue – a timeless classic no English gentleman’s wardrobe would be complete without.

Lifetime companions

One of the benefits of the Goodyear welt is that the shoes can easily be resoled, something Loake take huge pride in. Their repair service covers re-soling on the original last with new soles and heels, fitting new seat socks and re-finishing the upper part of the shoes. A pair of Loake shoes can really last a lifetime – looking as good as new after a repair service, but still as comfortable as ‘old friends’. 

Traditional meets contemporary

Despite their heritage and traditional craftsmanship, Loake believe they are very much a forward-thinking company, with their range of footwear including alternative constructions and classic and contemporary styles. Their aim is to maintain a balance between traditional and contemporary design, thereby introducing new generations of wearers to the benefits of fine, handmade shoes.

This blog post was created in collaboration with Loake. Read more about the historic brand in the Ernest directory.

Swedish torch log

Ever tried to start a fire on wet ground? There aren’t enough curses in the dictionary. A Swedish torch log is the answer, providing all the fuel for the burn and a surface for resting your kettle on, while keeping the fire raised off the ground

A Swedish torch log burns for two to four hours

Based on a centuries old idea, the Swedish torch log is becoming increasingly popular among bushcraft and outdoor enthusiasts as a low-impact alternative to gas stoves and an antidote to the frustrations of trying to start a campfire on wet ground.  

There is some conjecture over their origin but Swedish torches may have been used by soldiers of northern European states, fighting in the Thirty Years' War (1618-1648). The name is likely to have derived from the German words Schwedenfeuer or Schwedenfackel, which translate as Swedish Fire or Torch.

The great advantages of the Swedish torch log over a conventional campfire, are that the log provides all the fuel for combustion and for the duration of the burn – typically around 2-4 hours, depending on its size. The fire burns from the top, downwards (hence their other name 'log candle') and is always raised off the ground, which is very handy in cold, wet weather. The torch can also be used as a cooking stove, since its flat top provides a stable surface on which to rest a pan or kettle, exactly above where the flames and heat are most concentrated.

To make one, you'll need a well-seasoned log around 8 inches or more in length. Pine, larch or birch are ideal. Using a chainsaw, cut two or three slots across the diameter, down to 3/4 of the log's length. If you don't have a chainsaw you can use an axe to quarter the log then reassemble it using wooden spacers to keep the slots open. I like to attach a string handle to the log so I can carry it around easily (before it's lit, obviously!). Insert kindling into the slots and on top of the log, then light it. The gaps will allow air into the heart of the fledgling fire, which eventually becomes self sustaining as the log begins to burn from the core outwards.

Words and photo provided by Lewis Goldwater, a Herefordshire-based green woodworker. turnham-green-wood.co.uk

Originally featured in issue 4 of Ernest Journal, on sale now.

Issue 4

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Introducing Risdon & Risdon

In Shrewsbury, tucked away down a historic side street and up a narrow Georgian staircase is the workshop of Risdon & Risdon, where a new breed of aprons are being created for a growing generation of independent makers and crafters. We speak to its founders – mother-son team Carla, James and Alex Risdon...

Original apron in red

Tell me more about Risdon & Risdon. 

Carla: We are two generations bringing together our creative strengths and ideas. My youngest son Alex is the leather worker with a natural talent for working raw materials into beautiful pieces. James, my eldest, is behind our branding, web design and is a part-time photographer. I have a background in textiles, sewing and making – mixed with a passion for traditional craftsmanship but a love of modern design. 

We're based in Shropshire - a county filled with artisans, makers and independent food producers. We realised there wasn't an alternative to the mass-produced aprons out there, and that these days people are seeking out the well-made, the handcrafted and the unique. So we set about making a range of aprons that complemented the very high standards these people are working to. 

What's so special about your aprons?

Carla: Each piece we design is constructed and refined to be functional, durable and easy to wear. Our aprons – made with sturdy cotton canvas and classic denim – are fastened with adjustable leather straps that can be removed for washing. The quality of the fabric, beauty of the leather and finish of the buckles, studs and clips are all of the highest of standard. The making process starts with an intense wash to give the fabric a worn in feel and finishes with our hand stamped tags - everything is thought through.

James: The business is really in its infancy – we have plans to design a broad range of workwear. Different trades and crafts have different requirements when it comes to what they need from an apron. It's also about giving people choice - we can provide an amazing canvas or denim apron with beautiful leather straps but you can also have it in a choice of colours. Our Original aprons come in three different lengths and if you want to make more of a statement you can choose to have red leather straps. 

Alex: Owning a Risdon & Risdon apron is having an heirloom piece that becomes part of your tool kit. People have told us how much they love wearing their apron - they put them on and the robust feel of the fabric, the smell of the leather straps and the comfortable fit immediately sets them up for the task ahead.

So, who buys your aprons?

Carla: We don't have a typical customer, just people with a discerning eye for quality and style. We've sold to people of all ages for a variety of uses - design students, event organisers, cooks, gardeners, baristas and barbers. It's great to know that something we have designed and made is making a difference to how other people go about their own trade or passion. 

How've you found the journey so far?

Alex: It has been a long process to get us to where we are now. Finding the right suppliers for everything we were looking for took longer than we had anticipated – there are a lot of cheap imports and a lack of choice with so much manufacturing being done overseas now. We want to represent good British tradition and workmanship. We always want to make sure the apron is up to the job. Our Original apron has evolved from what we created originally – it now has reinforced corners for extra strength where the leather straps are attached, the lap pockets are slanted at the top making it easier to quickly reach for what you need, the leather we now use is softer and more comfortable.

Carla, what's it like to working with both of your sons?

Carla: It's great – I love the energy they bring to everything and how they always manage to keep things current. I've learned to trust their judgement on whether something works or not, and likewise they know from me when things need to be to a certain standard. Alex works intuitively and comes up with great concepts. James did Graphic Design at Brighton and he's good at quickly translating ideas into images – he did all our branding and I like his eye for composition in his photography. I know that I can rely on their strengths, but also that each of our ideas will complement each other's. They're also hilarious to work with!

What's the future for Risdon & Risdon?

We're all really excited about the future. The more we make things for people, the more they come back to us with fresh ideas of other things they would like - a chef's apron with a special pocket for their tasting spoon, a knife roll to match their apron, a cool leather tool belt for barber's combs and scissors, bags for cyclists – these are all new lines on their way. 

This is a sponsored blog post, created in collaboration with Risdon & Risdon. Read more about Risdon & Risdon in the Ernest Journal directory.

the Punch & Judy Man

In issue 4 of Ernest Journal, Duncan Haskell unravels the history of the ultimate anti-hero Mr Punch – con-artist, wife-batterer and murderer. To illustrate the feature, we enlisted the help of Punch and Judy performer David Wilde, who brought along his collection of props and puppets, including the long-lost originals from Tony Hancock's The Punch and Judy Man.

Photo: Hanson Leatherby

So you’re a Punch and Judy professor – how did you first get into working with puppets?

I first came across Punch and Judy when I was six years old. I was on holiday, walking along the promenade when I saw a huge crowd of children and adults looking at this small, lovely looking tent on the sand. I asked my mum what it was and she told me she thought it was a Punch and Judy show – she’d never seen one before. Well I made sure I was in the audience for the next show and I think every day for the rest of my holiday I was sitting on that beach shouting along with every one else. My grandfather bought me a small set of Pelham Puppets for Christmas from Hamleys and I’ve never looked back.

What makes a good Punch and Judy show?

When you watch a good Punch and Judy show, you should get a feeling of wonder and a sense of excitement as to what will happen next. A well performed show can grab an audience and fill them with laughter. This is what I encourage people to do if they think they have what it takes to perform the show properly – for it not to be run of the mill. Last year a few of my colleagues and I set up the Punch and Judy Club. Our aim is to try to keep standards up and encourage others to aim for excellence in their shows.

Why do you think the characters still have such an appeal today? 

Puppets will always have an appeal. They move, they’re bright and colourful and, if well manipulated, they're completely absorbing. Just look at the success of the Muppets and other puppet characters that have entertained us all throughout childhood and into adulthood.

How has Punch's story evolved over the years?

The story of Punch has always evolved. Characters have changed to reflect the times. Any tradition has to evolve over time to keep people interested, but the core story is still the thing that everyone wants to see. A few years ago, during the Jubilee year, I started to sense a resurgence of interest in traditional entertainment. People wanted the proper old show, and no gimmicks.

Photo: Hanson Leatherby

As part of the shoot for issue 4, we had the pleasure of photographing the puppets in Tony Hancock’s The Punch and Judy Man. How did you come to own these?

The Hancock puppets have always been a favourite of mine. My grandfather spent 10 years searching for them so they hold a special place for me on two counts – as well as being a huge Hancock fan, I'm also hugely intrigued by my grandfather's search for them.

As a small boy, I remember my grandfather searching for information on the puppets used in Hancock’s film. Once I became a Punch professor, I took up the case and, after many dead ends, came across the family who owned the clown and the crocodile and they gave us the puppets. Years later, Punch, Judy and the policeman appeared on the Antiques Roadshow. You can imagine my reaction. After frantic phone calls, I managed to get hold of the guy who owned them in the Netherlands. He had already been contacted by another buyer but he agreed to sell them to us after he saw the immense body of information my grandfather had accumulated while searching for them!

Recently I met a gentleman who went down to Bognor when he was 13 to see Tony Hancock on the set of The Punch and Judy Man. He took his own Mr Punch with him and had a picture taken for the local paper. Luckily, he let me buy his Mr Punch so it adds to the Hancock story.

Photo: Hanson Leatherby

Do you have any other favourite items in your collection?

The Booth puppets, which were also photographed for shoot, are my other pride and joy. There aren’t many survivors from the Victorian period but I have managed to piece them back together over the course of time. From my experience of collecting, I’ve found that if you wish for something hard enough, one day it passes right in front of your eyes and can be yours to enjoy and look after – until, of course, it’s passed on to the next person.

Find out more about David Wilde and his performances and puppet collection at londonpunch.co.uk. Read more about the social history of Punch and Judy, illustrated with images of David Wilde's collection, in issue 4 of Ernest Journal – on sale in our online store or one of your local stockists.

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Tissue Series

Tissue Series is a new collection by American artist Lisa Nilsson. Using a technique involving rolled mulberry paper, known as ‘quilling’ or ‘paper filigree’, she has created staggering cross-sections of the human body. They will appeal to lovers of intricate patterns as much as fans of Gunther Von Hagen’s Body Worlds exhibition. We talk to her about her extraordinary work…

Midsagittal Female, head detail

Lisa, what is it that fascinates you about human anatomy?

In general I'm drawn to the shapes, textures and colours I see in anatomical imagery. More specifically, in the case of cross-sections, I'm attracted to the shapes the different anatomical features make when they are all squished together to fill up the available space. 

Why use the medium of quilling?

While I experimenting with quilling for another project, I saw a connection with the shapes and textures I saw in an image of an anatomical cross-section that a friend had sent me. 

How long did it take you, on average, to complete each piece?

The smaller pieces in the series took three or four weeks, the larger up to three or four months. The larger pieces were definitely the most challenging. 

What projects are you working on in 2016?

I am continuing to explore the possibilities of the medium of quilling. I have moved away from anatomical subject matter, now using and expanding on what I learned from making the Tissue Series to make pieces that are inspired by, among other things:  Persian rugs, early book bindings and medieval jewel-encrusted gospel covers. This new, more geometric work has opened up my colour palette and the possibility of make new shapes and textures from coiled paper strips.