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In a video for the V&A Museum, stone carver Miriam Johnson hand-carves a pair of hieroglyphs “using both sunken relief and raised relief techniques”.
The video has minimal narration; mostly it’s just a master craftsperson quietly tapping away at the stone — and getting bits of rock all over the sleeve of her jumper. The effect is pretty relaxing, especially with the more rhythmic tapping for the second carving. (via the kid should see this)
From the V&A Museum, here’s a 90-minute video of someone knitting a pair of gloves using a knitting pattern from the 1940s from the museum’s archive.
Featuring soft-spoken moments, natural yarn sounds, needles gently tapping, and the soothing rhythm of slow, careful making, this video is designed for deep relaxation, calm focus, and background ambience, perfect for studying, crafting, or winding down at the end of the day.
And from the knitting patterns page, some history:
Hand-knitting was at a peak in Britain in the 1940s. During the Second World War, women on the home front were encouraged to contribute to the war effort by knitting for the troops, which was promoted as public duty. Advertising at the time stated: ‘England expects – knit your bit’.
Many knitting patterns were given away free, while wool was also sent to schools so that children could knit gloves, scarves and balaclava helmets for the forces. Wool was also supplied to organisations such as the Women’s Institutes of England and Wales, who made over 22 million knitted garments for the Red Cross (an average of 67 garments per member). Parcels of their knitwear were sent to prisoners of war, as well as to troops.
I know we’ve got some knitters in the group…have you ever tried any of these patterns? If not, report back if you give them a try.
From the archives of London’s V&A Museum, a selection of items that were used by Victorian-era mourners to remember and pay tribute to loved ones who had died, including jewelry with human hair, black dresses, jet black jewelry, mourning cards, and postmortem photography. Victorian fashion was heavily influenced by Queen Victoria, who mourned the death of her husband for decades and set off a trend in Britain (more here):
Victoria’s grief wasn’t only personal but influenced the entire nation. Her strict adherence to mourning attire and jewelry set the tone for the era. Until around 1880, she mandated that only mourning jewelry could be worn in the court. The Queen’s dedication to mourning created what has been described as “the Cult of Mourning,” where societal conventions, fashion, and daily life were infused with the solemnity of loss.
During the Victorian era, mourning jewelry transformed into sentimental tokens for the departed, featuring symbols like willows, angels, clouds, and initials. Women adhered strictly to mourning dress codes, wearing black for the initial “deep mourning” phase lasting two to three years, later transitioning to darker colors. Incorporating the deceased’s hair was common, using materials like jet, vulcanite, and gutta percha. White enamel symbolized the death of an unmarried female or a child, while pearls represented children, signifying tears. Turquoise conveyed the sentiment of “thinking of you,” and affluent families adorned mourning jewelry with precious stones for their loved ones.
A+ to the curators in the video, who understood the fashion assignment in presenting these objects.
Also, I love every opportunity to share one of my favorite Victorian phrases: “got the morbs”, which is defined as being in a state of temporary melancholia. (via colossal)
A few days ago, I linked to a NY Times piece about the V&A’s 90,000-piece archive of David Bowie stuff — costumes, photos, drawings, lyrics, etc.
The David Bowie Centre is a working archive with new reading and study rooms. The archive contains over 80,000 items, including 414 costumes and accessories, nearly 150 musical instruments and other sound equipment, designs, props and scenery for concerts, film and theatre. Bowie’s own desk is part of the archive, alongside notebooks, diaries, lyrics, correspondence, fan mail and over 70,000 photographic prints, negatives and transparencies.
The Centre is brought to life with a series of small, curated displays. Highlights include 1970s Ziggy Stardust and Aladdin Sane ensembles designed by Freddie Burretti and Kansai Yamamoto, a film showcasing performances from Bowie’s career, and an installation tracing his impact on popular culture.
Last week, Open Culture linked to this video tour of the Bowie collection by Jessica the Museum Guide:
I imagine it’s not quite like being there in person, but still. (via open culture)
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