Hysterical Woman

The charming little coffee shop where I work tonight hosted the first of its supper clubs for the Appetite Festival (a month-long festival of food in Waltham Forest for the month of June). To coincide with this, Walthamstow Dad has created a coffee-flavoured art installation, and, thanks to a kindly customer who dropped me in it/suggested Arts and Crusts exhibited my work, I have a little window installation of my embroideries.

Carol (one half of Arts and Crusts) set the embroideries off beautifully by hand-drawing a lace design based on one of my handkerchiefs.

Work old and new is featured; pieces from The Cure for Love, my Melancholy Flowers, a pop feminist piece (which will, fingers crossed, feature in another exhibition soon), two handkerchiefs from my current project Treasures For Your Troubles, and a satirical piece on the perils of hero worshipping Sylvia Plath (as Woody Allen said, Plath was an "interesting poetess whose tragic suicide was misinterpreted as romantic by the college girl mentality.")

When Carol was putting the finishing touches to the display, she asked me if I had a name for the little exhibition. As I drew a blank, she took a lead from the pop feminist embroidery featured, and dubbed the exhibition Hysterical Woman; so the display now reads Hysterical Woman Kate Elisabeth Rolison (!)





























I'm chuffed with the beautiful way in which Carol has presented my work. It seems fitting to have a little exhibition at Arts and Crusts; after all, it is an arts and crafts café, and I'm always found stitching away in between serving customers!

I'm afraid to say (according to the Arts and Crusts Twitter feed) all the spaces for the supper clubs are now sold out; I'm certainly very pleased to have made it to one. The tabbouleh, baklava, and Arabic mint tea went down particularly well (though wasn't eaten/drunk all at once!) It was a little like a dinner party but with new faces; a wonderful way to meet your neighbours and socialise, all while admiring the art on the walls (and ceiling!) and sampling Middle Eastern deliciousness. Bring on next year!

A Champagne (yet right-on) Socialist, and some blokes who sew

According to a 1908 biography of William Morris I picked up on my trip to Brighton, Morris (much like me) was "a born romantic". However, his romanticism was applied to "the hard facts of life"; he channelled his "sense of wonder" and "passion for beauty into the making of beautiful things which were eventually to become the starting-points for the wonderland of a new civilisation: in a phrase - the discovery of the romance of work." In short, Morris yearned for a socialist utopia in which great pleasure and pride was found in every type of work, and (in particular) in the decorative arts. 

This love of work is evident in, I think I can safely say, all the minor masterpieces of arts and crafts design that Morris and Co. produced.

William Morris
Morris wasn't merely a romantic artist and designer, however; as an article in the Socialist Review put it, he was "a socialist by design". He wrote pamphlets, gave speeches, edited two socialist newspapers, and was one of the first to join the Social Democratic Federation, in 1883.

In keeping with his socialist principals, "William Morris even envisaged a time when the sexual division within the domestic arts would vanish for ever. He anticipated the day when 'the domestic arts; the arrangement of the house in all its details, marketing, cleaning, cooking, baking and so on' would be in the hands of everyone"

In many respects, his dream has become a reality; no longer do domestic duties appear to be divided (quite so) strictly along gender lines. However, my dad may do the bulk of the ironing, but the cooking is still Mum's "job"; Dad lacks the confidence to try cooking anything more adventurous than his famous "baked bean shepherd's pie" (it's a culinary... experience).

As far as craft is concerned, more men do seem to be turning to the needle, although gender lines are more rigid here; Mum may do the majority of the DIY, but, at least in my household, it's the women who darn the proverbial socks.

"Manbroiderers" of the Jamie "Mr X Stitch" Chalmers ilk are trying to change this. I suspect the upsurge in male embroiderers is due to a few factors; the "invention" of the "new man"; the current vogue for all that is analogue and twee; and a similar vogue for the ironic and post-modern.

Throngs of men embroidering at craft nights, however, is something that, unfortunately, I've yet to see. It would be encouraging to have some brothers-in-arms!


Elusive male crafters at an East London Craft Guerrilla night

After all, there's certainly nothing effeminate about Chalmer's work; one of his most recent undertakings was a series of cross stitchings of the spam filtered out of his inbox, including the ubiquitous invitations to "sharpen your love sword"!



Richard Saja and "Johnny Murder", founder of the Manbroidery blog here on Blogger, are fellow male embroiderers. 

Richard Saja,  "... and a half-extinguished fire is soon relit", 2011
"Johnny Murder" doing his thing... bare chested... with a cigarette (very much putting the "man" in "manbroidery")

A section of male society who have taken to embroidery in force, perhaps surprisingly, is prisoners. Fine Cell Work is a charity which aims to "foster hope, discipline and self-esteem" through teaching British inmates to hand embroider. Their embroidery is then turned into cushions, bags, and patchwork kilts. The prisoners are paid for their work, and trained to a high skill level by volunteers from the Embroiderers and Quilters Guild, as the photographs below show:
Love Cushion, a Daisy de Villeneuve design embroidered by British prisoners
Beetroot design, embroidered by British prisoners

The enterprise is clearly vastly rewarding for the prisoners; Steve, an inmate at Wandsworth prison, is quoted as saying that he is "learning a new skill" which he "did not think possible. I also know that people do care about me and what I do because otherwise why would people take an interest in my fine cell work! I now believe what others think about me makes a real difference to how I conduct myself.”

However, it would be wonderful to see some more embroidery by un-incarcerated men! Come on guys! Get stitching.

Craft and Feminism

My mum flagged up last Saturday's omnibus edition of Woman's Hour for me, as there was some interesting discussion about the role of craft and creativity in women's protest movements.

Beginning with brief interviews of female members of the current protest camp gathered outside St Paul's Cathedral, Jenni Murray spoke with Dr Deborah Thom, (Fellow and director of Studies for the faculties of History and Social and Political sciences at Robinson College) and Ann Pettit (a founder of the Greenham Common camp)about the history of women's protest.

Greenham Common Women's Peace Camp came into being on the 5th September 1981, when the Welsh group Women for Life on Earth marched to Greenham Common in Berkshire, with a view to challenge the RAF's decision to site nintey six Cruise missiles there. When the women were denied a debate, they set up camp around the military base, with only a nine mile fence seperating them from the base itself. They were joined by more women, and the protest (and camp) lasted for nineteen years.

On Woman's Hour, Ann Pettit described how, at Greenham, women came together to transform the nine mile fence into a work of art and a site for protest, embroidering and weaving into it.

The nine mile fence at Greenham Common in the 1980s, woven with a message of love
Dr Deborah Thom went on to explain that this creative spirit was also present in the Suffrage Movement, from embroidered banners to smaller-scale embroideries and knitting.

Women sewing stars on to a Suffrage banner
 I have written before about how embroidery was employed by the Suffrage Movement for a subversive cause, and later reclaimed by the Feminist Movement in the 1970s. Domestic handicrafts had long been considered just that; merely domestic "women's work", and not "high art". Many feminist artists of the 1970s set out to challenge this notion, transforming this "women's work" into "high art", embracing the femininity of craft, "shedding their shackles, proudly untying the apron strings—and, in some cases, keeping the apron on, flaunting it, turning it into art" (Lucy Lippard, Household Images in Art).

Miriam Schapiro was one such artist who embraced femininity through her art. In the 1970s she began creating sewn collages from scraps of fabric which she christened "femmages"; these femmages recalled the woman's craft of quilting. In fact, Schapiro wrote of her femmages that she "wanted to validate the traditional activities of women, to connect myself to the unknown women artists who had made quilts, who had done the invisible 'women's work' of civilization. I wanted to acknowledge them, to honor them."

Miriam Schapiro, Explode, 1972

Schapiro was also involved in the Womanhouse exhibition of 1972; an installation and performance space situated in a deserted Hollywood mansion. Each participant in the exhibition was given her own space in which to operate inside the building. The exhibition was conceived by Schapiro and her colleague Judy Chicago (together the pair founded the Feminist Art Program at the California Institute of the Arts). The exhibition explored the concerns and mundane stereotypes of female existence; from the household chores of washing, ironing, cooking and sewing, to menstruation (as in Chicago's Menstruation Bathroom). It makes me a little sad to think that I'm too young/live in the wrong part of the world to have experienced this exhibition!

A selection of work from Womanhouse, 1972 (including crochet, an example of craft)
The reclamation of craft for political purposes by women continues into the present day through the Craftivism Movement. Reading up on Craftivism on the internet, the ubiquitous Wikipedia reminded me that craft has long had links with subversion, even etymologically; firstly, in the Old English, the word craft actually means "power, physical strength, might"; a far cry from the "passive, gentle" feminine craft as envisaged in the 19th Century! Also, as Wikipedia points out, "to call someone crafty is to identify them as clever and cunning. In Greek, one would say to “spin” a plot. Similarly, the French word for trick is tricoter, which means to tie or knot together".

Craftivism is closely linked with Third Wave Feminism and the Riot Grrrl Movement, and continues the practise began in the 1970s of reclaiming craft for subversive aims. In Craftivism, crafters take the traditionally domestic pasttimes of, for example, crochet and knitting, and bring them into the public sphere. For example, on May 23rd 2006, the Anarchist Knitting Mob held a Massive Knit in Washington Square Park, New York, in remembrance of Jane Jacobs, an activist who helped prevent the construction of an express-way through the park. The participants covered every possible surface with brightly coloured yarn.
Participants in the Massive Knit in Washington Square Park
I don't think it would be possible for me to conclude a blog post on craft and feminism without writing about Tracey Emin. During my A Levels I wrote a dissertation on text in feminist art, which featured Emin rather heavily! I have written about her before on this blog, as she explores the theme of this project (love) through writing and sewing. Emin may have the Marmite effect and be known almost more for that famous appearance on Channel 4 than her art, but she undeniably considers herself a feminist and I would argue that she is one.


Despite the often raw and unsettling aesthetic and subject matter of her work, the materials and colours Emin chooses to produce it in are often described by the media as “feminine”(though arguably this is a somewhat hackneyed term the art world tends to use when describing the work of any female artist). Like Miriam Schapiro, Emin recalls the lineage of woman's craft through her hand-appliqued blankets; they are not dissimilar to quilts. Also like Schapiro, Emin's aesthetic is (like her subject matter) raw and unpolished; in this way she subverts the femininity inherent in craft.

Tracey Emin, The New Black, 2002

In subject matter, too, Emin is a feminist artist; she records the experiences of her emotional life as a mirror by which to reflect the human (and, in particular, the female) condition. In my opinion, having visited her most recent exhibition, Love Is What You Want, Emin’s work has a universal value, rather than merely being an indulgence of the artist’s narcissism, as many critics have derided it as; many if not all women would be able to relate to the emotions expressed in one of her blankets. She certainly carries out the old feminist rallying cry of "the personal is political".

Emin follows in another female lineage, this time a feminist one; like the feminist artists of the 1970s, she has said that she does not use embroidery "like a craft, but like high art".

William Morris: Story, Memory, Myth

I popped along to the William Morris: Story, Memory, Myth exhibition at the newly opened Two Temple Place gallery today, to have a gander at more Morris textiles, tapestries and embroideries (having previously visited Morris' Red House in Kent)!

The exhibition catalogue describes the "close relationship" between the arts of storytelling and craft; Dr Esmé Whittaker explains how, traditionally, "the craftsman's workshop was the place where stories from the past and from faraway places were exchanged between the resident master craftsman and travelling journeymen", and that "Morris also believed that storytelling belonged within the craftsman's workshop". This makes perfect sense when we consider that Morris was not only a designer but also a poet, and (as I will go on to explain), combined both facets of his creativity. This is particularly interesting for me, being both a writer and crafter.

Unfortunately cameras were not allowed in the exhibition, but I will include photographs from the exhibition catalogue.

The exhibition was centred around four tapestry panels from the Morris and Burne-Jones designed frieze The Romance of the Rose. Le Roman de la Rose was one of the most influential texts of the Middle Ages. The first part of the poem was written by Guillaume de Lorris in 1230, and the second part around 1275, after Lorris' death, by Jean de Meun, but the version Morris and Burne-Jones would have read was a translation by Chaucer, The Romaunt of the Rose.

The poem recounts a dream in which the pilgrim-narrator encounters a beautiful garden, in which he has a vision of a rosebud, symbolising ideal love. A personified Love strikes him with an arrow, and thus the pilgrim is determined to reach the rosebud. He is aided (and hindered) in his quest by a number of allegorical figures.

The tapestry panels, like the Bayeux Tapestry, are in fact not tapestry at all, but an incredibly detailed, large-scale embroidery. The five panels of The Romance of the Rose took  Lowthian Bell's wife Margaret and daughter Florence eight years to complete (from 1874-82), and no wonder; the detail and texture is astounding. The embroidered wall hanging I saw in the Red House pales by comparison! The Romance of the Rose is comprised of silks, wools, and gold thread on linen; unfortunately the photographs in the exhibition catalogue don't do it justice, but here they are:

The Pilgrim Studying Images of the Vices on the exterior of the Garden of Idleness

The Pilgrim Greeted by Idleness at the Gate of the Garden

The Pilgrim in the Garden of Idleness


Love Leading the Pilgrim Through the Briars

The Pilgrim at the Heart of the Rose
A genuine tapestry in the exhibition which was of particular interest to me was The Woodpecker tapestry. This tapestry is "an example of Morris working simultaneously as a poet and a decorative designer." It is one of a series of tapestries for which Morris composed lines of verse (which were later published in his book Poems by the Way in 1891). The tapestry is around 12 feet high (so is no small feat!) and depicts a woodpecker sitting in a tree heavy with fruit. The text, "I once a King and chief/Now am the tree-bark's thief,/Ever 'twixt trunk and leaf/Chasing the prey" refers to the Ovid story of Picus, King of Ausonia, who was transformed into a woodpecker by the goddess Circe because he did not reciprocate her love.

It's good to see that I follow in a rich tradition of combining poetry with illustrative textile art.

The Woodpecker tapestry
The most breathtaking piece of the exhibition was an embroidered wall hanging depicting Pomona, the Roman goddess of fruit trees. Also around 12 feet high, the wall hanging is rendered in silk thread which reflects the light, giving a fluid motion to the folds of Pomona's robes. The design the embroidery is based on was actually originally a design for tapestry, from the same series of illustrated poetry as The Woodpecker tapestry. The verse of the embroidery reads "I am the ancient apple queen/As once I was so am I now/For evermore a hope unseen/Betwixt the blossom and the bough/Ah where's the river's hidden gold/And where the windy grave of Troy/Yet come I as I came of old/From out the heart of summer's joy". The embroidery was completed around 1885 by the Royal School of Art Needlework in floss silks on linen.

Pomona
 The final piece of embroidery on display was a frieze by Morris' daughter, May, following in the tradition of her father by illustrating one of his poems. The frieze included quotations from Morris' poem June, from the book The Earthly Paradise. The frieze put me in mind of a giant sampler, with its verse surrounded by a floral border. I will have to do some more research into samplers, particularly since Joetta Maue describes my work as "samplers" in this post.

The Red House

Today Mum and I made a mother-daughter pilgrimage to The Red House in Bexleyheath, Kent. The house was commissioned, designed and lived in by William Morris, and completed in 1860. It is one of the foremost examples of architecture of the Arts and Crafts Movement, but the main reason for our visit was that The William Morris Gallery here in Walthamstow is closed, and thus this was my only real chance to have a look at some original Morris textiles.

As soon as we entered the house we were met by an early example of Arts and Crafts work; stained glass windows with birds by Phillip Webb, figures by Morris' friend Edward Burne-Jones, and floral designs by Morris himself. Two of the figures depicted by Burne-Jones represented Love and a blindfolded Fate, holding the wheel of fortune.
Stained glass window in entrance hallway of The Red House; photograph shows detail with floral designs by Morris and bird designs by Phillip Webb

Just inside the hallway are Morris' first two wallpaper designs, Daisy and Trellis, which he produced with Morris, Marshall, Faulkner & Co. Trellis (Morris' furnishing company) was inspired by the garden at Red House.




In the first room of the house we came across the first set of textiles. A wooden printing block (which would have been used to print wallpapers and fabric) is displayed alongside samples of Morris, Marshall, Faulkner & Co.'s wallpapers and textiles.
Wooden printing block displayed with printed fabric

The dining room contained the exhibit of greatest interest to me; an unfinished wall-hanging depicting Aphrodite worked in embroidery. The craftsmanship of the needlework and scale of the piece, though unfinished, staggered me. It is a beautifully realised piece, painterly, with exquisitely subtle shading and life-like texture. I hope to one day have the time to work on such a large scale (and with such skill)! The wall hanging is thought to have been embroidered by Bessie, the sister of Morris' wife, Jane.

The house was filled with Morris, Marshall, Faulkner & Co. designs; in the dining room stood a table by Phillip Webb, and three chairs designed and made by the company.



There is more needlework on display in Morris and Jane's bedroom; two tapestries, one a daisy design by Morris, originally completed by Bessie (but this reproduction sewn by The William Morris US Society) in couching (a technique in which wool is laid across the fabric and fastened to it with small stitches), and the other an elaborate embroidery in close stitch bearing Morris' favourite Chaucher proverb: He who loves best remember longest. This embroidery has been analysed and found to have been completed by one highly skilled needleperson and two apprentices.

Detail from the embroidered tapestry
We learnt from a tour guide that Morris was taught to embroider by "Red Lion Mary", the housekeeper of Morris and Burne-Jones' bachelor pad/student digs in Red Lion Square, London (of course, when Morris had mastered the craft he then delegated it to the women of the family! Embroidery has long been considered a "woman's craft"!)

A portrait of the man himself (looking rather sheepish)

Post Post Post Post Post Post Modernism

I've just come in from the theatre to find that my Post Post Post Post Post Post Modernism cross stitch was featured on the British University Artists website. Also, Angeliki Goude of the blog domesticatedbee mentioned my interview with Joetta Maue in this blog post. Finally, the East London Craft Guerrilla gave me a little shout out for my blog post featuring an interview with their founder Debbie.

My embroidery/love potion making workshop is tomorrow. I'm excited but nervous!

Well, with that, and a scan of Post Post Post Post Post Post Modernism, I bid you good night.

Interview with Debbie of the East London Craft Guerrilla

I promised more on Walthamstow's arts and crafts scene, so here's an interview with Debbie, founder of Walthamstow's East London Craft Guerrilla. Thanks Debbie!

Founders of the East London Craft Guerrilla

Do you feel there's something of a craft revival in Walthamstow, and the wider world, at present?
Definitely, it's been going on for quite a few years now.

Do you feel any connection with Walthamstow's craft history? (I'm thinking of William Morris in particular)
Very much so. I tend to think that if William Morris were around that he'd very much like and agree with our principals as we have based our manifesto on his campaign of making craft accessible to the masses. I think he'd fit in very well and be happy to associate with us....I'm sure he would have been one of the Craft Guerrilla founding members!

Walthamstow isn't exactly as hip as Hoxton or Shoreditch! Do you feel this is a hindrance or a help to your cause?

In a way it's a help as we get a captive audience.... there's not much to do out in the suburbs!

Crafters at a Craft Guerrilla night
 Although he is a very different craftsman to you, Grayson Perry's studio is in Walthamstow. Do you admire his work/is he an influence on you?
Actually we do have lots in common as I also am a ceramicist. I absolutely love his work....though I can't say it has influenced me.

Are you involved in the E17 Art Trail?
Usually yes. I have participated in pretty much all trails since the beginning as both an individual artist and/or under the Craft Guerrilla collective banner. The Art Trail is one of the events we look forward to participating in as we can organize larger scale events and really get the community involved.

Walthamstow is "sandwiched" between the two natural spaces of Epping Forest and the Lee Valley; does this influence show at all in your own work and/or that of the Craft Guerilla?

Though I love nature I'm pretty much a "city girl". My main influences come from the city, life in the capital and its people. I love nature but I find the hub bub and energy of the city more inspiring and relevant to my work with Craft Guerrilla as we work mainly with urban dwellers and the intention is to get them making so we need to offer projects/work which they can understand and relate to.
A finished cross stitch button brooch, one of the kits which was offered at a Craft Guerrilla night

What is your particular practise as part of the Craft Guerrilla?
I'm a dab hand at all sorts of craft disciplines, though my weaknesses are knitting and crocheting, but I'm willing and wanting to learn everything I can. I would say that my favourite craft disciplines are anything stitched based so cross stitching, embroidery, sewing and anything with fabrics. I am also the founding member and the main organizer so a lot of my time is spent doing the bulk of the work which can be anything from planning an event, doing the PR, making the craft kits to chosing the play list for our market event. But the main intention is to have Craft Guerrilla as not only a platform for designer makers to sell their wares but also to serve as an educator and to create a wider creative community.

A participant knitting at a Craft Guerrilla night

0Why did you set up the Craft Guerrilla?
To begin with it started as a back lash to not having adequate craft events in the area. I had participated in other fairs in Walthamstow, and all over London, and it always left me feeling that the organizers weren't really into this because they loved craft but were involved solely because they wanted either to make money off designer makers by renting over priced stalls or to massage their own ego. Also they were very poorly subscribed to as the majority of makers were of very low quality. There's nothing wrong with having plastic beads on a string but it's not craft! Having quality, well made, well designed products is really important as if you are offering people an alternative it needs to be as good or better then what is available on the High Street.

Even though there is a huge artistic and craft community in Walthamstow it's very insular and elitist so having participative craft events like our DIY craft nights which are open to the public is our way of bringing awareness to the importance and value of hand made goods. It's also a good excuse to socialise!


My friend Kat and myself at a Craft Guerrilla night
The word "Guerrilla" might imply that you are fighting against something; is there a political side to the Craft Guerrilla?
It's basically a tongue and cheek name and the "fighting" aspect is simply the call to arms against the inadequacies, unfairness and high price in terms of environment and human costs of mass production. We just wanted to show people that there is an alternative. Craft doesn't have to equal macaroni, glitter and glue! We're very aware of consumerism and so not to just offer more products to the market we also offer craft workshops were we share our skills and teach people to be more self sufficient. It's no good just selling products it's also important to educate people too.

Also we try to serve as a resource to our design makers and try to help them in finding their way to making their business a viable one.
A very elaborate piece of craft being sewn by a member of the Craft Guerrilla

I've been to several of your craft nights at the Rose and Crown, and must admit I've only seen women crafting; do you think more men should be encouraged to craft?
We offer so many different events that we hope men will want to come along! Not just dragged along by wives and girlfriends but also to come and make. I think it's something which should be embraced by all regardless of age, sex, colour, nationality, etc. Having the chance to sit down, create something with your hands should be part of people's lives as I strongly believe craft and making is both healing and an important vehicle in getting us in touch with our humanity.


A few of that elusive crafting breed, "men", at a Craft Guerrilla night!


Working with tools and your hands is something which sets humans apart from other animals and I think it's pretty important to be in touch with that basic creative side as most of us never get the chance to do so. With today's modern technologies and busy working life styles it's easy to lose that side of our nature! We do get the occassional man at our craft nights but it is a mostly female pursuit.
The next Craft Guerrilla night will be on Thursday 10th November at Ye Olde Rose and Crown. See you there!

Crafternoon



Last night Kat and I went along to an East London Craft Guerilla night at the Ye Olde Rose and Crown pub in Walthamstow. There's a burgeoning arts and crafts scene in Walthamstow, as evidenced by several exhibits in this year's E17 Art Trail, including tapestry weaving and fibre craft, Knit A Year, and Dr Knit and the Knitting Laboratory!

Of course, Walthamstow has a long tradition of arts and crafts, being the birthplace of William Morris, leader of the Arts and Crafts Movement. Unfortunately the William Morris Gallery in Lloyd Park is currently closed for renovation, but I have had the pleasure of visiting it in the past. On my last visit there was a large selection of original Arts and Crafts pieces including textiles and tapestries, as well as fibre-based art created in local community art projects and by local artists.

A typical William Morris textile design


The William Morris Gallery

In fact it could be said that Morris is Walthamstow's most famous son. His textiles are still popular today; my parents' kitchen blinds are made of one of his prints. Morris' "Have nothing in your house that you do not know to be useful or believe to be beautiful" is one of my favourite adages. In addition to being a designer and artist, Morris was also a Romantic writer and founded the Socialist League. Morris (like me!) taught himself embroidery, learning to sew with wool on a wooden frame. Interestingly, once he had mastered the craft, the responsibility for carrying out trade orders was delegated to the women of the family, his wife Jane and her sister Bessie.

Evidently embroidery has a long tradition of being thought of as "woman's work", which to some extent, despite the advent of "manbroiderers" such as Mr X Stitch, is an attitude which still prevails. At the craft night, for example, I didn't spot any men trying their hand at making a cross-stitched badge or bunting necklace.


Being impoverished art students, Kat and I forgoed the craft kits and instead brought our own arts and crafts projects along, Kat her paintings on old photographs, and myself one of my in-progress embroideries on a handkerchief.



It was lovely to have a few glasses of wine, some Korean spicy chicken wings and a proper catch-up. We've been to the craft nights at the Rose and Crown before, and I'm sure we'll return again. Now, to look for a Walthamstow-based sewing circle...