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In 2025 we were invited to consult with Sparsholt College on their 2026 RHS Chelsea Flower Show natural dye garden. From selecting reliable, lightfast dye plants such as madder and weld to running a natural dyeing workshop for horticultural students, this collaboration brings together sustainable horticulture and heritage textile knowledge in a meaningful way.

With the Bayeux Tapestry set to return to the UK for the first time in 900 years, this blog explores how its remarkable colours have endured for nearly a millennium. From Anglo-Saxon embroidery techniques to the natural plant dyes of madder, weld and woad, the tapestry offers a vivid insight into medieval craftsmanship, material knowledge and the lasting power of wool and natural colour.

A look back at a year of weaving — and a guide to what you can learn in our workshops If you’re curious about weaving but unsure where to begin, you’re not alone. Weaving covers a wide range of techniques, tools and outcomes — from structured, patterned cloth to free-form, sculptural pieces — and knowing which style suits you can make all the difference. As we look back on the past year of workshops, I’ve been reflecting on the extraordinary range of work created by students — each piece shaped by different hands, fibres and intentions. This blog is both...

This season, we’re choosing gifts rooted in care, craft and intention. Our Sustainable Gift Buying Guide celebrates the artists, makers and small businesses whose work honours creativity, community and the natural world — from visible mending and botanical pigments to handmade jewellery, storytelling kits and heirloom textiles. Slow, meaningful gifts from people who truly make with heart.

For my first spotlight on inspiring artists, I couldn’t think of a better place to begin than with Anni Albers. Ellie and I often talk about how much we admire her work, her bold designs, innovative techniques, and her distinctive visual language continue to inspire us both, and they’ve deeply influenced Ellie’s own practice over the years Born in 1899 in Berlin, Albers initially aspired to be a painter but she found her initial training as a painter stifling. Her teacher Oskar Kokoschka discouraged her from continuing, and the Impressionist Martin Brandenburg forbade her to use the colour black.  She...