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headerModule_contentInnerLeftCopy__nYB1b"><h1>Stories</h1></div></div><div class="headerModule_contentInnerRight__mnkwf"><div aria-hidden="true" class="headerModule_contentInnerRightCopy__SiHa4"></div></div></div></div></section></div><section><div style="transform:translateY(4%);will-change:transform" class="renderIntroModule_wrapper__QCSVz renderIntroModule_IsStackBottom__3qU26 renderIntroModule_IsLayoutCompact__ydTC2"><div class="renderIntroModule_wrapperInner__lbOhi"><div class="renderIntroModule_content__qLJ_P"><div style="opacity:0;will-change:opacity" class="renderIntroModule_contentInner__VeDZk"><div class="renderIntroModule_markdown__wLzn2"><h2 id="telling-the-stories-of-design">Telling the stories of design</h2><p>Our words, pictures and videos explore design from unexpected perspectives, inspired by what we do and where we are.</p><p>Our free articles, interviews, podcasts, comics, and more aim to provide a deeper understanding of design for all.</p></div></div></div><div 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style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;color:transparent;opacity:0" src="https://a.storyblok.com/f/181458/x/7185c6c556/dundee_city_council.svg"/></div></a></li><li style="width:88px" class="footer_footerPartnersItm__ckko2"><a href="https://www.scottish-enterprise.com/" style="color:inherit" target="_blank" rel="noreferrer" aria-label="scottish-enterprise"><div style="width:100%;height:100%;position:relative;display:flex;align-items:center;justify-content:center;opacity:0;will-change:opacity" data-nextjs-image="true"><img alt="" loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;color:transparent;opacity:0" src="https://a.storyblok.com/f/181458/x/3af9279952/scottish_enterprise.svg"/></div></a></li><li style="width:119px" class="footer_footerPartnersItm__ckko2"><a href="https://www.dundee.ac.uk/" style="color:inherit" target="_blank" rel="noreferrer" aria-label="dundee uni"><div style="width:100%;height:100%;position:relative;display:flex;align-items:center;justify-content:center;opacity:0;will-change:opacity" data-nextjs-image="true"><img alt="" loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;color:transparent;opacity:0" src="https://a.storyblok.com/f/181458/x/242c714560/uod-logo.svg"/></div></a></li><li style="width:157px" class="footer_footerPartnersItm__ckko2"><a href="https://www.abertay.ac.uk/" style="color:inherit" target="_blank" rel="noreferrer" aria-label="abertay"><div style="width:100%;height:100%;position:relative;display:flex;align-items:center;justify-content:center;opacity:0;will-change:opacity" data-nextjs-image="true"><img alt="" loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;color:transparent;opacity:0" 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Produced by Troy Nelson and Svetlana Panova in collaboration with A Fragile Correspondence as part of our public programme.\n\n\u003ciframe width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/2037759220\u0026color=%23ff5500\u0026auto_play=false\u0026hide_related=false\u0026show_comments=true\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=true\u0026visual=true\"\u003e\u003c/iframe\u003e\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"\u003e\u003ca href=\"https://soundcloud.com/vadundee\" title=\"V\u0026amp;A Dundee\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eV\u0026amp;A Dundee\u003c/a\u003e · \u003ca href=\"https://soundcloud.com/vadundee/a-fragile-correspondence-episode-2-fragile-ecosystems\" title=\"Episode 2 - Fragile Ecosystems\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eEpisode 2 - Fragile Ecosystems\u003c/a\u003e\u003c/div\u003e"])</script><script>self.__next_f.push([1,"2c:T721,"])</script><script>self.__next_f.push([1,"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1108827448\u0026color=%23ff5500\u0026auto_play=false\u0026hide_related=false\u0026show_comments=true\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=true\"\u003e\u003c/iframe\u003e\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"\u003e\u003ca href=\"https://soundcloud.com/vadundee\" title=\"V\u0026amp;A Dundee\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eV\u0026amp;A Dundee\u003c/a\u003e · \u003ca href=\"https://soundcloud.com/vadundee/ian-schrager-interviewed-by-benji-b\" title=\"Ian Schrager, interviewed by Benji B\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eIan Schrager, interviewed by Benji B\u003c/a\u003e\u003c/div\u003e \u003cbr\u003eIan Schrager is the legendary co-creator of the world’s most famous nightclub: Studio 54, and since then has revolutionised the entertainment, residential and hospitality industries. 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On a Friday, Betty and Ishbel would get the job of sweeping up the wooden floors. They’d fill up two lemonade bottles and spray each passageway “so the stour wouldn’t come up on to your nose and heid” then swept it up, putting it into big containers. They would use the lift to go down to the furnace and empty the bins from all the different departments, all of which would take around 30 - 45 minutes.\u003c/p\u003e\",\"_uid\":\"dc35d3b9-539c-4d35-be3f-090ac7552be3\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003cp\u003eWhen everyone moved to the Kingsway factory shortly after this time, Ishbel was given the job of spraying and hand-colouring postcards. While doing that particular job, staff were given a (free!) pint of milk every day which they were instructed to drink to clear their throat of the fumes. A few months later, she began working on the calendars, where she would count calendars, clock them, turn them over onto the back and cover with sheets of stiff, brown paper and then spray them. She later went on to work on the seasonal cards where she would sit with others adding ribbons and other embellishments on to the cards.\u003c/p\u003e\",\"_uid\":\"e53ad97d-e5f3-4c97-bef9-9ea5188fa541\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003cp\u003eDuring this time, Valentines also had a warehouse in Lochee where Ishbel would sometimes go along and buy some postcards for herself or her mum. She really enjoyed working at Valentines and at the time she remembers being aware that Valentines was a big company, with the postcards she would help create being shipped all across the world.\u003c/p\u003e\",\"_uid\":\"ca90d8b3-639a-46f6-8f4a-48b712da2655\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003cp\u003eHear Ishbel share her memories of working at Valentines:\u003c/p\u003e\",\"_uid\":\"fc94aa45-4e2c-49bb-8f80-0bb528442b0e\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003ciframe width=\\\"100%\\\" height=\\\"300\\\" scrolling=\\\"no\\\" frameborder=\\\"no\\\" allow=\\\"autoplay\\\" src=\\\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1301782930\u0026color=%23ff5500\u0026auto_play=false\u0026hide_related=false\u0026show_comments=true\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=true\u0026visual=true\\\"\u003e\u003c/iframe\u003e\u003cdiv style=\\\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\\\"\u003e\u003ca href=\\\"https://soundcloud.com/vadundee\\\" title=\\\"V\u0026amp;A Dundee\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eV\u0026amp;A Dundee\u003c/a\u003e · \u003ca href=\\\"https://soundcloud.com/vadundee/valentines-women-in-the-workforce-ishbel-durie\\\" title=\\\"Valentines: Women in the Workforce - Ishbel Durie\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eValentines: Women in the Workforce - Ishbel Durie\u003c/a\u003e\u003c/div\u003e\",\"_uid\":\"i-d1485778-c233-4520-9227-5bb1a2b98e35\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003cp\u003eDid you or your family work at Valentines? We are gathering memories about life at the factory, and its significance to Dundee and we would love to hear from you! Contact us at \u003ca href=\\\"mailto:valentines@vandadundee.org\\\"\u003e\u003cb\u003evalentines@vandadundee.org\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\",\"_uid\":\"a8cc25a5-5682-4722-ace2-85491f8e48bb\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"465df469-549f-422e-85f4-20291b583b81\",\"body\":[{\"HTML\":\"\u003cp\u003eA huge thanks to Ishbel and her grandaughter Hannah Kettles.\u003c/p\u003e\",\"_uid\":\"32050aa9-9efe-45ac-b367-562234dfc18e\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":[],\"StoryType\":\"article\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2022-07-15 00:00\"}},{\"fullSlug\":\"articles/mary-quant-audio-described-tour\",\"content\":{\"Lead\":\"We want everyone to be able to enjoy our exhibitions. As part of our digital access programme, we produced an audio described tour of 'Mary Quant' to bring the show to life in a different way. \",\"Meta\":[{\"Url\":\"\",\"_uid\":\"390b791e-fba0-4fb1-a610-d2e586882990\",\"Title\":\"Back to the 60s: an audio tour of Mary Quant\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"We want everyone to be able to enjoy our exhibitions. As part of our digital access programme, we produced an audio described tour of 'Mary Quant' to bring the show to life in a different way. \",\"TwitterAccount\":\"\",\"GATagDepartment\":\"\",\"GATagExhibition\":\"\"}],\"_uid\":\"a55c4c4f-2567-469b-aef3-3db259cc481b\",\"Title\":\"Back to the 60s: an audio tour of Mary Quant\",\"Author\":\"\",\"Header\":[{\"_uid\":\"81ea6dd3-41cf-473c-9875-bc941ed7457b\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"Back to the 60s: an audio tour of Mary Quant\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"64644303-7d98-4e58-9515-ad7889f92b7b\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7075830,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/5cce6cf20b/event_mary-quant-audio-described-tour_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075830,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/5cce6cf20b/event_mary-quant-audio-described-tour_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]}}],\"Content\":{\"type\":\"doc\",\"content\":[{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003cp\u003eWe recorded artist and describer Juliana Capes describing the exhibition to her friend Anne Dignan. Listen as they tour the exhibition together and describe the sights, sounds and memories it evokes. The transcript is below.\u003c/p\u003e\",\"_uid\":\"38539221-78f2-4afa-a9fc-4be537f54c7f\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003ciframe width=\\\"100%\\\" height=\\\"300\\\" scrolling=\\\"no\\\" frameborder=\\\"no\\\" allow=\\\"autoplay\\\" src=\\\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/963600397\u0026color=%23352c24\u0026auto_play=false\u0026hide_related=false\u0026show_comments=true\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=true\u0026visual=true\\\"\u003e\u003c/iframe\u003e\u003cdiv style=\\\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\\\"\u003e\u003ca href=\\\"https://soundcloud.com/vadundee\\\" title=\\\"V\u0026amp;A Dundee\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eV\u0026amp;A Dundee\u003c/a\u003e · \u003ca href=\\\"https://soundcloud.com/vadundee/back-to-the-60s-an-audio-tour-of-mary-quant\\\" title=\\\"Back to the 60s: an audio tour of Mary Quant\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eBack to the 60s: an audio tour of Mary Quant\u003c/a\u003e\u003c/div\u003e\",\"_uid\":\"i-016ba56e-1e37-4a9f-8a93-fa2aa516f426\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=27634\\\" target=\\\"_blank\\\"\u003eTranscript of Audio Tour of Mary Quant (194 KB)\u003c/a\u003e\",\"_uid\":\"cfda11f6-4dcf-47a8-b3f3-b8d8608060cf\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003cp\u003eJuliana Capes is a visual artist and educator who has worked in the field of visual description for 15 years. She is the lead artist on the National Gallery of Scotland Visual Impairment Programme and believes passionately in arts access for all. \u003c/p\u003e\",\"_uid\":\"29bc7123-da65-42e6-8c9b-061acf570189\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003cp\u003eOur \u003ci\u003eMary Quant\u003c/i\u003e exhibition is now closed. You can still enjoy \u003ca href=\\\"https://www.vam.ac.uk/dundee/info/farewell-mary-quant\\\"\u003evideos and stories relating to the exhibition here\u003c/a\u003e.\u003c/p\u003e\",\"_uid\":\"0c0ffe06-6b38-4a14-ac4e-103b6a004f67\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"c0816e69-22f3-435f-9134-92049576055f\",\"body\":[{\"HTML\":\"\u003cp\u003eFor more information about accessibility, \u003ca href=\\\"https://www.vam.ac.uk/dundee/visit\\\"\u003echeck out the Visit section of our website\u003c/a\u003e or email \u003ca href=\\\"mailto:access@vandadundee.org\\\"\u003eaccess@vandadundee.org\u003c/a\u003e\u003cb\u003e\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"3c49e76d-9b2b-43d4-9745-52f88daa3351\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":[],\"StoryType\":\"podcast\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2021-01-18 00:00\"}},{\"fullSlug\":\"articles/what-is-sewing-box-for-the-future\",\"content\":{\"Lead\":\"\",\"Meta\":[{\"Url\":\"\",\"_uid\":\"a9cbb70a-07b1-42d2-abf4-efe11e51b430\",\"Title\":\"What is Sewing Box for the Future?\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"\",\"TwitterAccount\":\"\",\"GATagDepartment\":\"\",\"GATagExhibition\":\"\"}],\"_uid\":\"e645b9e5-f47a-4a20-ae00-ba7aff6af2a3\",\"Title\":\"What is Sewing Box for the Future?\",\"Author\":\"3c04faa0-b35c-4355-bce6-a050b5904312\",\"Header\":[{\"_uid\":\"cae0ef70-70c4-4379-9daf-99dc74e80e20\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"What is Sewing Box for the Future?\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"36659da1-f6b0-4bf5-9a89-9d3e138e1dde\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7075894,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/01fd660737/event_what-is-sewing-box-for-the-future_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075894,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/01fd660737/event_what-is-sewing-box-for-the-future_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]}}],\"Content\":{\"type\":\"doc\",\"content\":[{\"type\":\"blok\",\"attrs\":{\"id\":\"8d28afa9-2b0b-431d-9e39-8934461e56ea\",\"body\":[{\"HTML\":\"\u003ciframe width=\\\"100%\\\" height=\\\"300\\\" scrolling=\\\"no\\\" frameborder=\\\"no\\\" allow=\\\"autoplay\\\" src=\\\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/869312269\u0026color=%23ff5500\u0026auto_play=false\u0026hide_related=false\u0026show_comments=true\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=true\u0026visual=true\\\"\u003e\u003c/iframe\u003e\u003cdiv style=\\\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\\\"\u003e\u003ca href=\\\"https://soundcloud.com/vadundee\\\" title=\\\"V\u0026amp;A Dundee\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eV\u0026amp;A Dundee\u003c/a\u003e · \u003ca href=\\\"https://soundcloud.com/vadundee/what-is-sewing-box-for-the-future\\\" title=\\\"What is Sewing Box for the Future?\\\" target=\\\"_blank\\\" style=\\\"color: #cccccc; text-decoration: none;\\\"\u003eWhat is Sewing Box for the Future?\u003c/a\u003e\u003c/div\u003e\",\"_uid\":\"i-ffa5a38a-3336-4c06-bbe9-62fca4571516\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"8d28afa9-2b0b-431d-9e39-8934461e56ea\",\"body\":[{\"HTML\":\"\u003cp\u003eIn this talk, project leader Dr Jen Ballie discusses \u003ca href=\\\"https://www.vam.ac.uk/dundee/exhibitions/futuresewingbox\\\"\u003eSewing Box for the Future\u003c/a\u003e, a pop-up exhibition which opened in February 2020 that focuses on the urgent problem of fashion waste and what individuals can do about it. \u003cbr\u003e \u003cbr\u003eAs well as the activities in the museum, there is \u003ca href=\\\"https://www.vam.ac.uk/dundee/info/sewing-box-for-the-future-resources\\\"\u003ea set of Sewing Box for the Future recipe cards that you can download\u003c/a\u003e so you can care, repair and customise at home from your own kitchen table. Follow the project on #FutureSewingBox. \u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003c/p\u003e\",\"_uid\":\"b30f6979-24a7-46d0-bc30-db6d10020dbf\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"8d28afa9-2b0b-431d-9e39-8934461e56ea\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=26386\\\" target=\\\"_blank\\\"\u003eSlide Deck - What Is Sewing Box For The Future\u003c/a\u003e\",\"_uid\":\"55fe08a9-0a51-46f6-9e0d-17eab282dc2a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"8d28afa9-2b0b-431d-9e39-8934461e56ea\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=26385\\\" target=\\\"_blank\\\"\u003eTranscript - What is Sewing Box for the Future\u003c/a\u003e\",\"_uid\":\"eb756b07-5024-4a97-99da-cca47b60ff0b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"8d28afa9-2b0b-431d-9e39-8934461e56ea\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=26384\\\" target=\\\"_blank\\\"\u003eEpisode Notes - What is Sewing Box for the Future\u003c/a\u003e\",\"_uid\":\"76aa2f4e-8e91-434b-919f-8a79e98235ed\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":[],\"StoryType\":\"podcast\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2020-08-03 00:00\"}},{\"fullSlug\":\"articles/audio-riba-vitra-talk-yasmeen-lari\",\"content\":{\"Lead\":\"This talk was recorded on 18 February 2020\",\"Meta\":[{\"Url\":\"\",\"_uid\":\"69d09fb0-1391-42f4-8255-67a06bb1af34\",\"Title\":\"RIBA + VitrA Talk: Yasmeen Lari\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"This talk was recorded on 18 February 2020\",\"TwitterAccount\":\"\",\"GATagDepartment\":\"\",\"GATagExhibition\":\"\"}],\"_uid\":\"9baf676d-822b-44ba-a036-74b5991e0118\",\"Title\":\"RIBA + VitrA Talk: Yasmeen Lari\",\"Author\":\"\",\"Header\":[{\"_uid\":\"f49005ef-a541-4e75-bdb7-079942263e37\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"RIBA + VitrA Talk: Yasmeen Lari\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"052f2346-2886-4411-ae1a-0da8ad524047\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7074819,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/1920x1080/cefa593a55/event_audio-riba-vitra-talk-yasmeen-lari_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7074819,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/1920x1080/cefa593a55/event_audio-riba-vitra-talk-yasmeen-lari_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]}}],\"Content\":{\"type\":\"doc\",\"content\":[{\"type\":\"blok\",\"attrs\":{\"id\":\"5b520356-e11d-4f70-9617-6920a359703d\",\"body\":[{\"HTML\":\"\u003ciframe width=\\\"100%\\\" height=\\\"166\\\" scrolling=\\\"no\\\" frameborder=\\\"no\\\" allow=\\\"autoplay\\\" src=\\\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/827619748\u0026color=%23ff5500\u0026auto_play=false\u0026hide_related=true\u0026show_comments=false\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=false\\\"\u003e\u003c/iframe\u003e\u003cdiv style=\\\"font-size: 10px; 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Together they discuss what it was like working with Quant. \u003c/p\u003e\",\"_uid\":\"b905119f-d933-4a05-aaac-78f5ad685b04\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"58f8abd9-c310-46da-a3e8-b61f4fa95f99\",\"body\":[{\"HTML\":\"\u003cp\u003eOur \u003ci\u003eMary Quant\u003c/i\u003e exhibition is on now until Sunday 17 January 2021.\u003c/p\u003e\",\"_uid\":\"1153f7ae-b005-482f-ab1f-598200d74caa\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"58f8abd9-c310-46da-a3e8-b61f4fa95f99\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=27177\\\" target=\\\"_blank\\\"\u003eEpisode Notes: Meredith More meets Heather Tilbury Phillips (190 KB)\u003c/a\u003e\",\"_uid\":\"0bda5012-2eb1-4028-b6fb-1450223fc8f4\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"id\":\"58f8abd9-c310-46da-a3e8-b61f4fa95f99\",\"body\":[{\"HTML\":\"\u003ca class=\\\"linkFile\\\" href=\\\"https://media.vandadundee.org/assetbank-vandadundee/action/directLinkImage?assetId=27178\\\" target=\\\"_blank\\\"\u003eEpisode Transcript: Meredith More meets Heather Tilbury Phillips (170 KB)\u003c/a\u003e\",\"_uid\":\"5cf8cb81-6ab5-4de3-b7ce-817dc1cce12c\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":[],\"StoryType\":\"podcast\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2020-10-30 00:00\"}}]}},\"AnchorID\":\"undefined\",\"Background\":\"clear\"}]\n"])</script><script>self.__next_f.push([1,"27:[\"$\",\"$L28\",null,{\"editable\":\"\",\"Title\":\"Decolonisation\",\"Paragraph\":\"Through a collaborative research and writing process, we have made small but important changes to the narrative of the galleries, especially regarding Scotland’s role in building and maintaining the British Empire and the devastating impact of this on colonised people around the world.\",\"Serie\":{\"full_slug\":\"series/decolonisation\",\"content\":{\"Header\":[{\"_uid\":\"f93c98c1-393b-4c6a-8ce5-3b46435212f3\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"Decolonisation\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"1f6e9fb7-06af-4536-927c-ef1ce7c3b5be\",\"AltText\":\"A photo of the Scottish Design Galleries showing a large number of objects in the space\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7074570,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/1920x1080/26345bd1a2/event_dundee-connections-in-the-scottish-design-galleries_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075657,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/2469da58be/event_dundee-connections-in-the-scottish-design-galleries_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]},\"SpaceBottom\":false,\"TitleStyleOverride\":\"\"}],\"Paragraph\":\"Through a collaborative research and writing process, we have made small but important changes to the narrative of the galleries, especially regarding Scotland’s role in building and maintaining the British Empire and the devastating impact of this on colonised people around the world.\\n\\nWe invite you to join us on the journey of decolonising our museum.\",\"Articles\":[{\"fullSlug\":\"articles/a-long-way-from-home-the-paisley-pattern-and-india\",\"content\":{\"Lead\":\"As part of our decolonisation series, we take a closer look at the paisley pattern. 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Suchitra reflects on her own experience in India and the Scottish involvement in the evolution of this iconic motif.\",\"TwitterAccount\":\"\",\"GATagDepartment\":\"\",\"GATagExhibition\":\"\"}],\"_uid\":\"8162293a-fecc-4542-b5d1-100e277fca59\",\"Title\":\"A long way from home: the Paisley pattern and India\",\"Author\":\"96350a71-9791-4fb4-ba5e-2a7f3796f722\",\"Header\":[{\"_uid\":\"3c473ce8-7720-46d0-9e87-1dbfc422dc8f\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"A long way from home: the Paisley pattern and India\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"34802bfa-e26c-494c-9ff1-88a067e6c261\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7075841,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/0207b68d1a/event_a-long-way-from-home-the-paisley-pattern-and-india_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075841,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/0207b68d1a/event_a-long-way-from-home-the-paisley-pattern-and-india_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]}}],\"Content\":{\"type\":\"doc\",\"content\":[{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eAll through my happy and carefree childhood in Delhi, the paisley pattern (or the\u003ci\u003e kolka\u003c/i\u003e or \u003ci\u003ebuta\u003c/i\u003e as we called them) appeared without pretension or provocation pretty much everywhere. \u003c/p\u003e\",\"_uid\":\"3f52e216-1574-49a0-87a3-40862ae2a2ef\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27597\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27597\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThey flecked my mother’s soft sarees just as easily as they sat plump on the bright cotton bedsheets brought over from Gujarat, or the woollen shawls that came to our doorstep from Punjab and Kashmir. The \u003ci\u003ekolka\u003c/i\u003e could be spotted on a startling variety of surfaces: gold ornaments, porcelain and china, floor designs, and even \u003ci\u003esandesh\u003c/i\u003e, the feted Bengali sweet prepared with thickened milk and date sugar. In fact, the icon was so immersively Indian that I was secretly a little surprised when my father talked about buying some silk ties with the same pattern for his friends at Oxford.\u003c/p\u003e\",\"_uid\":\"ffc79383-7658-4f5a-845c-29ef23489499\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eLike my late father in the seventies, I found myself excited at the prospect of researching at a British university (albeit more than thirty years later). For my part, I burned to know why Indian objects popped up with such regularity in British fiction. Why, for instance, Charles Dickens could talk calmly about a “\u003ca href=\\\"http://www.literaturepage.com/read/dickens-our-mutual-friend-94.html\\\"\u003eHindoo baby in a bottle\u003c/a\u003e” in \u003ci\u003eOur Mutual Friend\u003c/i\u003e, or why Lewis Carroll’s insolent caterpillar in \u003ci\u003eAlice in Wonderland\u003c/i\u003e sat smoking his hookah so unflappably.\u003c/p\u003e\",\"_uid\":\"90653170-0a2d-4a2c-8284-49299715c60a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27596\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27596\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eI was beginning to learn about Britain's long, historical ties with India. But it was frankly flabbergasting when my academic supervisor at the University of Glasgow, noted scholar Prof Nigel Leask, remarked that my old and homely “paisley” pattern, in fact, had its origins in a neighbouring town. Thus my journey began to discover and uncover the history of paisley shawls: their material beauty and textures, their definitive relation with Cashmeres, and, not least, their hidden but powerful association with the British Empire.\u003c/p\u003e\",\"_uid\":\"69d6e7a0-e281-4eb9-a4b1-88e75eca4d5b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eIt is fair to say that the nineteenth-century fashion for Oriental shawls was nothing less than a phenomenon or style-revolution. It all began as men serving in the East India Company started to bring over the shawls that they had bought or been gifted in the subcontinent. Shawls were largely masculine dress accessories in late eighteenth-century India. They were used widely as shoulder mantles but also as showy turbans and girdles. \u003c/p\u003e\",\"_uid\":\"f8251a77-4018-4bea-8522-9902633bb613\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe English painter Joshua Reynolds’s \u003ci\u003ePortrait of Captain John Foote\u003c/i\u003e (1761) offers a good example of the fashion. As we can see, Reynolds displays the shawl being worn as a mantle in the image, as well as an ornate cummerbund (the Anglicised version of the Hindustani word \u003ci\u003ekamarbandh\u003c/i\u003e). Interestingly, the model John Foote had served in India and had even amassed enough wealth to earn the derisive British nickname, “\u003ci\u003enabob\u003c/i\u003e.” \u003c/p\u003e\",\"_uid\":\"318d3257-ebf7-4d2a-9d44-4417b1a6153f\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27599\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27599\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eOf course, wealthy women who could afford the Indian shawl’s enormous expense promptly became enamoured with the accessory. To their delight, its fine texture easily moulded the body, enabling a stylish and attractive presentation. But something quite interesting came out of this elite consumption: manufacturers in Edinburgh, Norwich and Paisley soon began to produce their own brand of shawls “made in imitation of the Indian.”\u003c/p\u003e\",\"_uid\":\"7d3f547d-b400-42b2-8c9f-3cacc9f73569\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eEdinburgh pioneered the industry, but it was Paisley that rapidly came to dominate the market, albeit with the somewhat uneasy outcome that all British-made Cashmere-styled shawls have since come to be euphorically labelled as “paisley shawls”. The eponymous town certainly gave out an image of ingenuity and enterprise. French Jacquard looms had dramatically increased their production, but while the French machinery cost £300 each, it is reported that home-grown Scottish versions came to be available for £40!\u003c/p\u003e\",\"_uid\":\"af8d644d-9ee3-400e-b319-e459cfb6d533\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe shawl’s primary point of appeal was clearly the famous pinecone pattern. Matthew Blair, in his 1904 study \u003ci\u003eThe Paisley Shawl and the Men Who Produced It\u003c/i\u003e, remarks frankly that “no imitation [shawl] that did not include the design of Cashmere shawls was considered true to art.” Yet the extent to which designs were negotiated and appropriated suggests a surprisingly dynamic field.\u003c/p\u003e\",\"_uid\":\"8937cc38-e86b-4f51-877a-2ba8572b8f57\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7173\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7173\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003ePatterns were sometimes copied directly from Indian shawls, as well as from French imitations of Indian shawls. We know, for instance, that shawl manufacturers Macdonald and Gibb of Edinburgh travelled to Paris every year after 1815 to look for shawl designs. Concurrently, true to the nature of trade, the sub-continental industry itself was shaped by a variety of local, regional and foreign demands. For instance, in her journal about India,\u003ci\u003e Wanderings of a Pilgrim\u003c/i\u003e (1850), the travel writer Fanny Parks laments after her visit to a shawl manufactory in Cashmere: “I did not admire [the shawls]; they are manufactured to suit the taste of the English.”\u003c/p\u003e\",\"_uid\":\"3b4cf3bb-695d-4e35-b76a-c37c78fdca2f\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eRising Calcutta fashion designer Koushik Samanta remarks that traditionally the paisley pattern has been a symbol to ward off evil in Hindu culture, even as it clearly came from an Islamic background. Yet on close examination of its long history, I find that the design was not only a character of migration or improvement, in nineteenth-century Britain it also came to be a sterling and potent emblem of the British Empire.\u003c/p\u003e\",\"_uid\":\"4857ff46-cde1-4e8e-a39c-506b1ef29c48\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe art historian John Ruskin’s passionate denunciation of Indian shawls provides an important example of this. Ruskin delivered a lecture on the “Deteriorative Power of Conventional Art over Nations” at the South Kensington Museum (now V\u0026amp;A South Kensington) in January 1858. At the same time, the Indian Mutiny rebellion, a major uprising in India against the rule of the British East India Company, was being put down ruthlessly.\u003c/p\u003e\",\"_uid\":\"9d8ff714-5a60-4593-aca9-efb926b3eb24\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eRuskin began by discussing art and society. He described India as a country “rejoicing in art, and eminently and universally endowed with the gift of it,” in comparison to Scotland, which was “careless of art, and apparently incapable of it.” Having set up this opposition, he wonders “whether those rude chequers of the tartan, or the exquisitely fancied involutions of the cashmere, fold habitually over the noblest hearts?” \u003c/p\u003e\",\"_uid\":\"7c9726fa-ef4b-460c-94d2-a1434fc9e5b4\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27598\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27598\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe casual insult to Tartan aside, Ruskin finds the answer to be self-evident: “We have had our answer. Since the race of men began its course of sin on this earth, nothing has ever been done by it so significative of all bestial, and lower than bestial degradation, as the acts the Indian race in the year that has just passed by…”\u003c/p\u003e\",\"_uid\":\"a4d0cd90-168b-45ba-a9ee-b435bf1abd05\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eRuskin’s emotional rancour against the feted “Cashmere shawl design” was, of course, rooted in the fact that many Britons had lost their lives in the uprising. But from a modern-day perspective, such a moment makes abundantly clear that the paisley pattern was not just a wandering or popular icon. Its career was also, in many ways, shaped by imperial attitudes.\u003c/p\u003e\",\"_uid\":\"0846ae72-1a6d-41bc-acab-4131ccb2d064\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003eAs we invite you to join us on the journey of decolonising our museum, we want to explain how we’re doing it and why it’s vital. \u003ca href=\\\"https://www.vam.ac.uk/dundee/articles/decolonising-our-galleries-an-introduction\\\"\u003eRead about the start of this project here\u003c/a\u003e or \u003ca href=\\\"https://twitter.com/hashtag/DecoloniseSDG?src=hashtag_click\\\"\u003efollow #DecoloniseSDG on Twitter\u003c/a\u003e.\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"82e87346-2d98-440b-961e-846c1d51ec9c\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":null,\"StoryType\":\"article\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2020-12-17 00:00\"}},{\"fullSlug\":\"articles/paisley-shawls-in-literature\",\"content\":{\"Lead\":\"As part of our decolonisation series, we take a closer look at the paisley pattern. Suchitra explores the representation of Indian shawls in literature, from Burns to Scott.\",\"Meta\":[{\"Url\":\"\",\"_uid\":\"2676ceee-7d1c-4b00-8ecd-135263ac75cd\",\"Title\":\"Paisley shawls in literature\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"As part of our decolonisation series, we take a closer look at the paisley pattern. 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Paisley shawls, \u003ca href=\\\"https://www.vam.ac.uk/dundee/articles/a-long-way-from-home-the-paisley-pattern-and-india\\\"\u003eas they came to be known\u003c/a\u003e, were highly popular. Inevitably, they also started trickling into the imaginative literature of the period. \u003c/p\u003e\",\"_uid\":\"9048a000-d0e3-47dd-804d-e87412c9f79a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWritten in 1790, Robert Burns’ famous poem \u003ci\u003eTam O’Shanter\u003c/i\u003e describes the young witch Nannie Dee dressed seductively in short skirt: a “cutty-sark, o' Paisley harn”.\u003c/p\u003e\",\"_uid\":\"522a31f2-1056-4681-a978-86065c6f7780\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003ci\u003eHer cutty sark o' Paisley harn,\u003cbr\u003e That while a lassie she had worn,\u003cbr\u003e In longitude tho' sorely scanty,\u003cbr\u003e It was her best, and she was vauntie.\u003cbr\u003e Ah! little ken'd thy reverend grannie,\u003cbr\u003e That sark she coft for her wee Nannie,\u003cbr\u003e Wi' twa pund Scots ('twas a' her riches),\u003cbr\u003e Wad ever grac'd a dance of witches!\u003c/i\u003e\u003c/p\u003e\",\"_uid\":\"d900d93e-6656-4be4-883f-a07ee85aed02\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003eTam O’Shanter, Robert Burns\u003c/b\u003e (\u003ca href=\\\"http://www.robertburns.org.uk/Assets/Poems_Songs/tamoshanter.htm\\\"\u003eread it here\u003c/a\u003e)\u003c/p\u003e\",\"_uid\":\"a4454c15-4fb1-4865-83be-5e20eb7945b2\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe lines are memorable. Burns here charmingly celebrates Paisley’s long history of manufacture while keeping his eyes fully open to the indelicate brevity of the underskirt, bought as it was by Nannie’s devoted grandmother so many years ago. But the description also paves the way to cite an interesting real-life anecdote.\u003c/p\u003e\",\"_uid\":\"349c03af-bd6a-4030-9b8b-8b1d4af948c0\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eBurns was actually gifted a Paisley shawl by his music publisher and arranger George Thomson. \u003ci\u003e“\u003c/i\u003eI… sent him a Scoto-Indian shawl for Mrs. Burns,” Thomson wrote in an 1845 letter to \u003ci\u003eTait's Magazine.\u003c/i\u003e He clearly hastened to add, “… I freely confess [that these gifts] were more suited to my means than to the poet's deserts.” \u003c/p\u003e\",\"_uid\":\"824850c2-dfe1-47e4-beb3-0b504aa2f101\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27909\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27909\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThis tone of defence, in fact, has a context. It is well-known that the publisher recompensed Burns ungenerously. In these circumstances it is acutely possible that, in hindsight, Thomson felt some remorse that perhaps an Indian shawl, rather than a cheaper imitation, might have served the occasion better. On a different plane, however, his use of the phrase “Scoto-Indian shawl” is significant. It shows clearly that although we are used to viewing Paisleys as being uniquely Scottish, their subcontinental origin was in fact a matter of common knowledge at the time.\u003c/p\u003e\",\"_uid\":\"9760e1a3-a548-4356-99fb-383fba893bea\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003ePerhaps one of the most intriguing aspects of researching shawls is the way in which there seems to have been a sustained contradiction at the heart of the Paisley. For many, these bright wraps were cherished and valued possessions. But it is also a fact that, as cheaper products, they were frequently pooh-poohed and dismissed in certain quarters. \u003c/p\u003e\",\"_uid\":\"cfe4111a-8e53-468c-861b-4f380072b44a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eSir Walter Scott’s works offer a wonderfully comprehensive example of this widespread contradiction. Scott describes the vogue for shawls\u003cb\u003e \u003c/b\u003ein two very different works: \u003ci\u003eSt. Ronan's Well\u003c/i\u003e, a novel he published in 1823, and \u003ci\u003eThe Surgeon's Daughter\u003c/i\u003e, a shorter work written late in his career in 1827. In \u003ci\u003eSt. Ronan's Well\u003c/i\u003e, the laird of the village, John Mowbray gifts an Indian shawl (worth an eye-watering “fifty guineas”) to his sister Clara. Interestingly, Scott also tells us how John is delighted that the shawl “has been exceedingly admired, and every woman in the house longs to see it closer – they can hardly believe it’s genuine.” \u003c/p\u003e\",\"_uid\":\"a1b2aa64-8e85-4cd2-9072-b50cfd80f692\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27911\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27911\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eAs the novel progresses, however, we see that Scott is clearly critical of the Indian shawl’s exorbitant price. But he does not hesitate to denounce the Paisley shawl as a mediocre and inferior manufacture either. This is explicit as a member of the eponymous spa, Mrs Blower, praises her collection of imitation shawls. She opines: “There are braw shawls made at Paisley, that ye will scarce ken frae foreign,” [“There are great shawls made at Paisley that you would hardly distinguish from foreign”, translated by Nigel Leask]. \u003c/p\u003e\",\"_uid\":\"2e1b462f-38d2-4e08-a2a6-666f66e9e8c4\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe view does not go unnoticed. Peregrine Touchwood, a British “nabob” grown rich in India, responds by offering a lengthy description of authentic shawl-manufacture. He finally brings the exchange to a frosty close: “Not know Paisley shawls from India [shawls], madam, why, a blind man could tell by the slightest touch of his little finger…”\u003c/p\u003e\",\"_uid\":\"18490d32-565e-4706-9c11-795876433b93\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27910\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27910\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eGiven the strength of this criticism, it is surprising that Scott appears to change his view quite radically in the approaching years. Indeed, a wholehearted approval of the Paisley shawl seems to be firmly in place in \u003ci\u003eThe Surgeon's Daughter\u003c/i\u003e written a few years later. In this tropical-themed fiction, Scott depicts a lady wearing a “real” Cashmere. At one point we are told that she “threw all other topics out of the field, and from the genuine Indian she made a digression to the imitation shawls now made at Paisley out of real Thibet wool, not to be known from the actual Country shawl, except by some inimitable cross-stich in the border.” \u003c/p\u003e\",\"_uid\":\"712ad734-e82b-4068-9642-4f393c293bd1\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe lady is certainly a champion of Paisley: “It is well,” she continues, “that there is some way of knowing a thing that cost fifty guineas from an article that is sold for five; but I venture to say that there is not one out of ten thousand that would understand the difference.” The high accolade is quickly taken up by the narrator, Chrystal Croftangry, who uses the same theme of shawls to explain his task of compiling an Eastern fiction. “Like the imitative operatives of Paisley,” he tells his listeners, “I have composed my tale by incorporating into the woof a little Thibet wool.”\u003c/p\u003e\",\"_uid\":\"9632ac1b-52b2-4f85-bda4-c02f67a67119\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eScott's description is fascinating, and it certainly made his readers laugh. But from a critical distance almost two centuries later, does it tell us anything specific about the industrial achievements of Scotland? And, crucially, does it in any way reveal Scott's attitude to the colonial empire in India? \u003c/p\u003e\",\"_uid\":\"2ed6d62d-bf04-4027-b3cb-d9a3cab7aef1\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7186\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7186\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eA comparison between fiction-writing and factory production is obviously light-hearted and comic. Yet, if we observe carefully, there is an economic vision that holds the description together. Scott displays a modern, entrepreneurial image of Scotland in this account. In doing so, however, he\u003cb\u003e \u003c/b\u003ealso approves and celebrates the excessive way in which raw materials from India were brought over to serve and prosper the industrial “revolution.” The subcontinental history of the shawl captured in Scott's writing is thus attractive and striking, but it also inadvertently exposes the exploitative practices of the British Empire. \u003c/p\u003e\",\"_uid\":\"c9ec3d97-1444-4403-9dea-aa755802e161\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eLike myriad other commodities in the nineteenth century, designs travelled fast and thick from one corner of the globe to another. In my next piece, I will talk about how the advent of the paisley pattern in the British art scene was not always admired or appreciated. Watch this space!\u003c/p\u003e\",\"_uid\":\"5f37065c-6022-4915-9432-9623289a3d81\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003eAs we invite you to join us on the journey of decolonising our museum, we want to explain how we’re doing it and why it’s vital. \u003ca href=\\\"https://www.vam.ac.uk/dundee/articles/decolonising-our-galleries-an-introduction\\\"\u003eRead about the start of this project here\u003c/a\u003e or \u003ca href=\\\"https://twitter.com/hashtag/DecoloniseSDG?src=hashtag_click\\\"\u003efollow #DecoloniseSDG on Twitter\u003c/a\u003e.\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"d9035091-2172-4462-a42e-dbbc44e45454\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":null,\"StoryType\":\"article\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2021-01-20 00:00\"}},{\"fullSlug\":\"articles/a-tasteless-history-of-the-paisley-pattern\",\"content\":{\"Lead\":\"As part of our decolonisation series, we take a closer look at the paisley pattern. Suchitra explores the historic critique of the revered Indian shawl and its British imitations.\",\"Meta\":[{\"Url\":\"\",\"_uid\":\"c044e1a0-510a-4bd5-a554-d0e934da1f22\",\"Title\":\"A \\\"tasteless\\\" history of the Paisley pattern\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"As part of our decolonisation series, we take a closer look at the paisley pattern. 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Shawls were commonly used for protection against the weather, but the advent of the Cashmere variety from India transformed this humble garment into a fashionable accessory. From the late eighteenth century, manufacturers in Britain also started producing Cashmere-style imitations, which came to be widely known as Paisley shawls. \u003c/p\u003e\",\"_uid\":\"8e2aae42-3604-44e5-bf82-1f020b94830b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eShawls from India were much admired for their delicate and skilful designs. For instance, the influential design theorist Owen Jones, examining the role of colour in architecture, observed in \u003ci\u003eGrammar of Ornament\u003c/i\u003e (1856) that for an attractive display, it was important that:\u003c/p\u003e\",\"_uid\":\"27818d20-ef05-4edb-a4ff-6181f6701b05\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“[E]ach ornament should be softly and not harshly defined, that coloured objects viewed at a distance should present a neutralized bloom, that nearer approach should exhibit the beautiful details, and that a close inspection should divulge the means whereby these effects are produced. In this, the Indian carries out the same principle of surface decoration that we find in the architecture of the Arabs and Moors. The ornament in the spandrel of a Moorish arch and in an Indian shawl are constructed on precisely the same principles.”\u003c/p\u003e\",\"_uid\":\"24cd446d-89aa-402c-a136-668b7c6af7b6\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27944\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27944\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}},{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27943\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27943\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eSimilarly, Matthew Digby Wyatt, well-known author of \u003ci\u003eThe Industrial Arts of the Nineteenth Century\u003c/i\u003e (1851), also highlighted the “gorgeous colour and elaborate execution” of the Indian shawl, hailing it as “one of the highest orders of art-manufacture.” In one of his lectures, he also claimed that textile art had “reached its utmost complication of manufacture in the Cashmere shawl … it seems almost inconceivable that human patience could ever have produced a thing so complicated so minute, and yet so entirely harmonious and graceful.” \u003c/p\u003e\",\"_uid\":\"d2c2995a-e179-4568-ae33-0f6e5f7404ed\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe imported shawl’s signature pinecone pattern (which was called the “Cashmere shawl design” before Paisley took over the name) was considered to be evocative and powerful. Yet, quite remarkably, the imitation of these designs on Paisley shawls came to be almost reviled in artistic discussions. For example, a report published in the well-respected \u003ci\u003eJournal of Design and Manufactures\u003c/i\u003e in 1851 observed that the “tendency to substitute inferior imitations for the superior realities” formed one of the “evils which so darken our manufacturing position and prospects.” The author further suggested that the “struggle … to produce a sham Cachmere or Norwich shawl for a few shillings, and thus placard the backs of the female population with a sort of material falsehood” was nothing short of an aesthetic nuisance.\u003c/p\u003e\",\"_uid\":\"7e4ec0c3-b922-4288-8ca4-a7a21e9af567\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThere was actually an important background to this sort of bias and prejudice. From the 1840s onwards, it was increasingly noted that British industrial manufactures were sturdy, but they were also largely devoid of any artistic excellence. It was the sheer strength of such views that the enabled the government to set up a series of “Schools of Design” to instil a sense of art into the manufacturing communities all across the country. Interestingly, there is evidence that manufacturers in Norwich and Paisley (places well-known for the production of Indian-styled shawls) found it difficult to combine the imperatives of “high art” with the interests of trade.\u003c/p\u003e\",\"_uid\":\"da4242fb-83f5-4f5e-97b5-24976412a99a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27945\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27945\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}},{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27946\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27946\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe design schools also led to another consequence. The Department of Practical Art considered that while art education for manufacturers was important, it was equally necessary to improve and revise the consumer’s taste. Accordingly, and after much deliberation, the Museum of Ornamental Art was instituted in London to elevate the damaged palate of the British public.\u003c/p\u003e\",\"_uid\":\"62947991-7394-44ca-ba4d-e45ad6912a58\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eUnfortunately, the move did not go down particularly well. A scathing satire appeared in the popular magazine \u003ci\u003eHousehold Words \u003c/i\u003e(1852) that frankly laughed at the governmental project. Authored by Henry Morley, it described the experience of an ordinary man, Mr Crumpet, who visits the “Museum of Horrors” on a pleasant day, only to be shocked to find the very things he uses everyday put up as examples of bad design.\u003c/p\u003e\",\"_uid\":\"f9ffc786-6542-4f8d-9531-51258dbb8dbb\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27942\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/27942\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe discussion of shawls forms an important part of the satire. At one point, Mr Crumpet offers to educate his friend Martin Frippy about the quality and value of Indian shawls: \u003c/p\u003e\",\"_uid\":\"a25acd68-9ccd-4526-b642-9c6365a52f23\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“Why does a lady look so well under an Indian shawl? Because the worker of the Indian pattern, however badly he may have drawn his design, has harmonised its parts, chosen his tints well, and selected the right quantity of each; his design has been to produce such a harmony of colour as his pure instinct has felt … Such a shawl is only seen to fresh advantage when it hangs in drapery, and gains new grace by following the movements of the body.”\u003c/p\u003e\",\"_uid\":\"6b77fa1e-d08f-4523-a9f8-070da15ce66d\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eCrumpet here sarcastically mimics the common arguments for the Indian shawl: its superb drape and the subtle harmony of colours, as emphasised by Owen Jones, Mathew Digby Wyatt and others. Writing in this tone, Morley actually sought to emphasise that what was being projected as good design by the government was, in fact, situated at a far distance from the common people’s \u003ci\u003etrue\u003c/i\u003e likes and dislikes.\u003c/p\u003e\",\"_uid\":\"82d9478e-f5b0-4409-8336-fa3dc88e958a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eIn an ironic gesture in the fiction, Crumpet then pointed to a person in an imitation shawl:\u003c/p\u003e\",\"_uid\":\"d536b80d-6cf8-4331-8407-450e3f8f7f25\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“But just look at that shawl upon that lady’s back as she walks now before us. What a vile discord of colours, and observe how the pattern is broken up into a jumble by the folds that interrupt it. If we are to see the pattern of that shawl, she should carry it on her back spread out quite flat and nailed on a square board, making a sort of tortoise of herself; but indeed I am sure the pattern is not worth displaying.”\u003c/p\u003e\",\"_uid\":\"2f251df1-f131-4fe7-86e4-8763023e158d\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7186\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7186\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eMorley’s account of the imitation shawl was a satire against design reforms. But as we can see, it also drew substantially from a rhetoric of class: the terms “vile” and “discordant,” for instance, clearly repeated widely prevalent stereotypes of working-class life. \u003c/p\u003e\",\"_uid\":\"08be18a4-85a1-47be-9be9-ca9129b84dde\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eDiscussing the idea of social distinction, the famous cultural critic Pierre Bourdieu has remarked, “taste is first and foremost distaste, disgust and visceral intolerance of the taste of others.” Does this outlook and logic also influence our responses to Cashmere/Paisley shawls today?\u003c/p\u003e\",\"_uid\":\"4930a761-1ec3-4f40-8dc5-11b9103f1310\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003eAs we invite you to join us on the journey of decolonising our museum, we want to explain how we’re doing it and why it’s vital. \u003c/b\u003e\u003ca href=\\\"https://www.vam.ac.uk/dundee/articles/decolonising-our-galleries-an-introduction\\\"\u003e\u003cb\u003eRead about the start of this project here\u003c/b\u003e\u003c/a\u003e\u003cb\u003e or \u003c/b\u003e\u003ca href=\\\"https://twitter.com/hashtag/DecoloniseSDG?src=hashtag_click\\\"\u003e\u003cb\u003efollow #DecoloniseSDG on Twitter\u003c/b\u003e\u003c/a\u003e\u003cb\u003e.\u003c/b\u003e\u003cbr\u003e\u003c/p\u003e\",\"_uid\":\"65f42272-1799-4221-a23a-56babbd76fd7\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":null,\"StoryType\":\"article\",\"component\":\"Story\",\"StoryTheme\":\"\",\"PublishingDate\":\"2021-03-19 00:00\"}},{\"fullSlug\":\"articles/decolonising-our-galleries\",\"content\":{\"Lead\":\"Crucial aspects of Scotland’s history, and therefore design history, are underpinned by the exploitation of enslaved and colonised people around the world. \",\"Meta\":[{\"Url\":\"\",\"_uid\":\"ca59c69d-e2c5-4721-a239-9e3215b01b46\",\"Title\":\"Decolonising Scotland's design history\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"Crucial aspects of Scotland’s history, and therefore design history, are underpinned by the exploitation of enslaved and colonised people around the world. \",\"TwitterAccount\":\"\",\"GATagDepartment\":\"\",\"GATagExhibition\":\"\"}],\"_uid\":\"6d36edd0-40a8-4ca2-b03b-9e7cb7d88355\",\"Title\":\"Decolonising Scotland's design history\",\"Author\":null,\"Header\":[{\"_uid\":\"43211da3-0b67-465e-8cf5-799a16cb56ba\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"Decolonising Scotland's design history\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"018ec540-8d80-4aec-b971-1cc9de20830c\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7075897,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/23aeaa1ff1/event_decolonising-our-galleries_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075897,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/23aeaa1ff1/event_decolonising-our-galleries_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]}}],\"Content\":{\"type\":\"doc\",\"content\":[{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eAt V\u0026amp;A Dundee we know we must do more in our galleries and programme to acknowledge this, and to continually and critically re-examine the stories we tell about the objects in our care. \u003c/p\u003e\",\"_uid\":\"a57294bf-49de-4072-bd04-6fc73516bfaf\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eIn summer 2019 we hosted a workshop with the \u003ca href=\\\"https://transnationalscotland.wordpress.com/\\\"\u003eTransnational Scotland Network\u003c/a\u003e that brought together academics, designers and artists to critique the Scottish Design Galleries at V\u0026amp;A Dundee, and particularly the way they address (or do not address) Scotland’s role in imperialism and slavery. We wanted to interrogate the narratives of the gallery, to expose what was missing from the story, and to work together to forge a path towards change.\u003c/p\u003e\",\"_uid\":\"d651d4f8-5883-4d9f-b703-9bfe644347f9\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eFrom these conversations we learned that the galleries leave many stories untold, insufficiently represent and misrepresent several objects, and in some cases even perpetuate a sense of historical amnesia about the brutal realities of the British empire and Scotland’s role in the slave trade. \u003c/p\u003e\",\"_uid\":\"567ba8d1-0e11-4b3a-94d8-4013bfe7461b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eHere are some examples:\u003c/p\u003e\",\"_uid\":\"a25104dd-b9da-4ede-9bca-4a60408a0dbc\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7134\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7134\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eScotland’s role in the Caribbean colonies and the transatlantic slave trade is largely absent from our galleries. We show this fine linen napkin made in 1762 for the domestic market, but we don’t show the much more prevalent coarse linen produced on the East Coast of Scotland around this time, which was sold in huge quantities to American and Caribbean plantations for clothing enslaved people.\u003c/p\u003e\",\"_uid\":\"860bcc22-daef-4c50-8a6b-075fca786bb6\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7177\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7177\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eScottish regiments were deployed all across India in the 19th century to forcefully maintain British rule. On display we have this cap which takes the form of a Scottish glengarry decorated with Indian embroidery. It might have been made by an Indian craftsperson to sell to Scottish soldiers. 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In our gallery we say he created a blend of European and Middle Eastern architecture. What we don’t say is that the cathedral was built only two years after Khartoum’s violent conquest by British-led armed forces in 1898. The cathedral symbolised a new era of British Christian rule in an Arab Muslim city, so Schultz’s hybrid design had political purpose.\u003c/p\u003e\",\"_uid\":\"4fc04eef-7bd4-4d6d-a56f-2d999831021e\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7172\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7172\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eScottish design firms used powerful wider trade networks to push Scottish exports in the British colonies, undercutting local economies and craftspeople. Turkey Red fabrics were produced in Scotland but many appropriated Indian motifs such as peacocks and ‘butas’ (which became known in the West as ‘Paisley’ patterns). This was so they could be sold cheaply in India for saris.\u003c/p\u003e\",\"_uid\":\"84c0dc57-3d83-4fa3-a401-a05b6443eec3\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe Scottish Design Galleries are not a definitive statement about Scotland’s design history, and nor should they be. They can only ever be a snapshot of a much broader picture. It is our job as a museum to bring in new objects, themes, perspectives and voices that continually challenge interpretations of the past and present, widening and providing a platform for debate and helping us interrogate preconceptions and world views.\u003c/p\u003e\",\"_uid\":\"eaec65a0-0525-4587-9d5c-318e0f4e4378\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWe know that we must do more to decolonise the way we present Scotland’s design history in our galleries and programme, and that this needs to go further than rewriting our labels. We also know that BAME academics, writers and designers must be at the forefront in this process, so please watch for more updates, and tell us your views.\u003c/p\u003e\",\"_uid\":\"431af40e-93cd-41f3-87de-9ff0d6c417f3\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":null,\"StoryType\":null,\"component\":\"Story\",\"StoryTheme\":null,\"PublishingDate\":\"2020-06-05 00:00\"}},{\"fullSlug\":\"articles/decolonising-our-galleries-an-introduction\",\"content\":{\"Lead\":\"Crucial aspects of Scotland’s history are underpinned by the exploitation of enslaved and colonised people around the world. As we invite you to join us on the journey of decolonising our museum, we want to explain how we’re doing it and why it’s vital.\",\"Meta\":[{\"Url\":\"\",\"_uid\":\"814b64a7-bb8a-46f6-b70e-cbf50798a318\",\"Title\":\"Decolonising our galleries: An introduction\",\"ShareCard\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"component\":\"MetaBlock\",\"GATagTopic\":\"\",\"Description\":\"Crucial aspects of Scotland’s history are underpinned by the exploitation of enslaved and colonised people around the world. 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Their themed displays focus on things that make design in Scotland unique, from the country’s specific natural resources, to its patterns of immigration and emigration. A wide range of fascinating objects show the huge breadth of design creativity across Scotland, from weavers and furniture makers to shipbuilders, architects and digital innovators.\u003c/p\u003e\",\"_uid\":\"a97d698e-865f-448d-9c8e-c5c8355fb301\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eBut these galleries are not a definitive statement about Scotland’s design history. They only provide a snapshot of a much more complex picture. We want to change the perception that these galleries are ‘permanent’ and that they tell ‘the’ story of Scottish design, because there are countless alternative perspectives that can and should be brought in to complicate, challenge and provoke further discussion about what characterises Scottish design in the past, present and future.\u003c/p\u003e\",\"_uid\":\"edeaea47-562a-4e26-9316-51cedf18b7b9\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"collection\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15928\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15928\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}},{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15940\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15940\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}},{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15950\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15950\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}},{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15948\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/15948\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eFrom now on, we plan to focus on a new theme each year to help bring in missing perspectives, allowing us to decentre prevailing narratives. Our focus in 2020/2021 is to begin decolonising the galleries, acknowledging that much of Scotland’s design history is built upon the exploitation of enslaved and colonised people around the world.\u003c/p\u003e\",\"_uid\":\"de394f84-6a1c-471d-abc1-02124b9aaf4e\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003eAs a new design museum, we have no excuse for omitting and misrepresenting this history in our galleries.\u003c/b\u003e Through collaboration, we will begin to address this by adapting our labels, bringing in new objects and developing a new commission. This is only a small start and it is more important than ever that we open the conversation beyond our walls. We want to speak with our audiences and neighbours and use our platform to effect change. We have a lot of work to do ourselves and we’d love to hear from you. You can share your views using \u003cb\u003e#decoloniseSDG\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"e4734f3b-956d-454d-8828-b64ca6c8a71b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe first step we’ve taken in this process is to re-write a number of object labels in our galleries so that they reflect a decolonial and transnational approach to Scotland’s design history. Some of these original labels omitted important details about the colonial context for the objects’ creation, while others unwittingly misrepresented the facts. To re-write them we worked with a group of experts from the \u003ca href=\\\"https://transnationalscotland.wordpress.com/\\\"\u003eTransnational Scotland Network\u003c/a\u003e, who took part in a workshop we held at the museum in August 2019. \u003c/p\u003e\",\"_uid\":\"589f4059-5950-449d-b780-85a3c94c79a9\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7134\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7134\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThrough a collaborative research and writing process, we have made small but important changes to the narrative of the galleries, especially regarding Scotland’s role in building and maintaining the British Empire and the devastating impact of this on colonised people around the world.\u003c/p\u003e\",\"_uid\":\"c2cb7801-e9f1-4338-9497-bacc21946170\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThis is the first in a series of articles that will focus on the content of the labels that we have changed. The experts we worked with will explain what was wrong with what we had written in the first place and delve deeper into the background of the objects and their complex histories. \u003c/p\u003e\",\"_uid\":\"dbe4ca61-f5c6-4241-81da-267ecb202eb5\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eBefore we start, what characterises decolonial and transnational approaches to history? Since the recent Black Lives Matter demonstrations there have been numerous petitions calling for more education on Black British history and Britain’s colonial history in schools and universities. In the meantime, many people are trying to educate themselves.\u003c/p\u003e\",\"_uid\":\"6a926c60-0bf5-48f1-8b00-c4f92460aa71\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWe’ve asked Emma Bond, who instigated and leads the Transnational Scotland Network, to help us define these terms. And to explain why it is so important that we use these approaches when telling stories about the past, whether that’s in a history book, a news broadcast, a school curriculum, or indeed, in a design museum.\u003c/p\u003e\",\"_uid\":\"bf4346c6-d7e6-4736-aa7e-5dcb010c3a25\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003cb\u003e\u0026lt;h2 class=\\\"sir-trevor-section-divider__title\\\"\u0026gt;Part II by Emma Bond, University of St Andrews\u0026lt;/h2\u0026gt;\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"61b6d98e-90b9-4ca8-8749-8583086f6cb3\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eSomeone on Twitter recently posted a list of the population of the one hundred principal European cities in 1854. I couldn’t stop looking at it. It mapped a totally different Europe: one where Sophia was in Turkey, Warsaw in Russia and Trieste in Austria. But something else caught my eye.\u003c/p\u003e\",\"_uid\":\"255e9104-6ccf-4cb8-b90d-e2eb1c01885c\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eIn 54th place (ahead of Bologna, Toulouse, Frankfurt and The Hague at the time) was my own local city of Dundee. Dundee’s population had grown rapidly between the mid-eighteenth and mid-nineteenth centuries because of the city’s involvement in multiple industries. This was primarily textile based (beginning with wool, then linen, and, from the 1830s onward, jute), but also whaling and shipbuilding. Industrial centres like Dundee relied heavily on international networks of commerce and exchange.\u003c/p\u003e\",\"_uid\":\"ba6b8aa2-4a31-4b06-b4b5-77c1ec32f99a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7172\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7172\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWhaling would connect Scotland with the Nordic countries, Greenland and Inuit communities of Canada. The production of jute notably intertwined the economic, social and cultural lives of Dundee and Kolkata. It’s clear that the city’s newest museum, V\u0026amp;A Dundee, is placed within a local history that must also be read through a transnational lens.\u003c/p\u003e\",\"_uid\":\"2e3f4277-16f1-47cb-9a7f-d021be497cd7\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eI want to explain a bit more what I mean by ‘transnational’. And why I believe it’s important that the story being told about that history in the Scottish Design Galleries also engages with movements calling for the decolonisation of cultural institutions such as museums.\u003c/p\u003e\",\"_uid\":\"8b6c8ef1-8ac2-4013-813b-4e83ad9cdba2\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“\u003ci style=\\\"font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; font-size: 20.4px; font-family: \u0026quot;The Sans\u0026quot;, Arial, Helvetica, sans-serif;\\\"\u003eThere is always more than one way of looking\u003c/i\u003e.”\u003c/p\u003e\",\"_uid\":\"037e5b5c-9975-4dff-aca4-c79785ef3d89\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eI’m an academic based at the University of St Andrews. For a long time, my work has been focused on elevating and highlighting the transnational elements that underpin the stories that we tell about the past. \u003c/p\u003e\",\"_uid\":\"51e09df9-c158-4a4f-87e0-9bac7cdad327\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eLooking at stories and histories ‘transnationally’ means reorienting our lines of enquiry beyond national frameworks. These tend to support binaries of ‘us’ and ‘others’ and, as a result, can reinforce hierarchies of inequality. It means highlighting the networks and connections that have facilitated cultural and economic exchange across national borders. And recognising that those networks have underpinned violent systems of exploitation, extraction and inequality that still mark societies in multiple damaging ways today.\u003c/p\u003e\",\"_uid\":\"0c1482e5-89df-4b21-b96f-23d3a769a5fa\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eIn 2018 I applied to the Royal Society of Edinburgh for funding to set up a network of museums under the umbrella of ‘Transnational Scotland’, together with my co-investigator Dr Michael Morris from the University of Dundee. Our museum partners all hold collections that tell the story of Scotland’s transnational past through its various commodity trades: the Fisheries museum (herring), New Lanark Trust (cotton), Verdant Works (jute), and the Watt Institution (sugar).\u003c/p\u003e\",\"_uid\":\"699e005d-7304-4535-aa24-d010625b8614\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eOur starting premise was that Scotland’s global trades and cultural growth benefitted from interconnected networks of colonialism and empire. The sugar refineries of Greenock, fisheries of the long East Coast, cotton mills of New Lanark and Paisley and jute mills of Dundee attracted raw materials from the West Indies and North America to India. Scotland then exported finished products across the world, creating an elaborate network of interconnected routes, objects and peoples.\u003c/p\u003e\",\"_uid\":\"3e60b4e2-e8ef-4814-aec4-8c15a4e65537\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7220\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7220\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe economic, technological and cultural successes of the history of Scotland’s global trades have been well documented. But only recently has due attention been paid to the histories of exploitation that underpinned them, including Scotland’s role in the transatlantic slave trade. Dundonian jute sacks transported sugar from Jamaican plantations, coarse Scottish linen was used to clothe enslaved peoples across the Caribbean, and the lowest quality Scottish herring was exported to the West Indies to feed enslaved people. A latter’s fishing trade route tellingly vanished entirely after abolition passed in 1833 (shrinking from 82,000 tons in 1824 to just 2,000 in 1845).\u003c/p\u003e\",\"_uid\":\"ea93042b-4372-4da8-82c0-ee04cadf8a5f\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWe were lucky to be funded to carry out a series of workshops at our partner museums between 2019 – 2020. In March 2019 we were contacted by V\u0026amp;A Dundee, who were interested in rethinking the interpretation in the Scottish Design Galleries to reflect the histories of empire and colonialism that underpinned the production and use of some of the objects on display there.\u003c/p\u003e\",\"_uid\":\"5b400d79-807f-4f01-ac0a-014b0cf1d5f6\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eWe organised a workshop at the museum in August 2019 which brought together academics, museum staff, artists and activists over the course of an intense and challenging day. We deconstructed a lot of the existing museum labels as a group and had candid conversations about ways to move forward in decolonising museum practices. These include displaying and narrativising collections and commissioning new works.\u003c/p\u003e\",\"_uid\":\"ad6bbf9e-cf76-4972-aa14-0c86085897e4\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“\u003ci style=\\\"font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; font-size: 20.4px; font-family: \u0026quot;The Sans\u0026quot;, Arial, Helvetica, sans-serif;\\\"\u003eDecolonial practice is human-centric, democratic, self-reflective, critical and active\u003c/i\u003e.”\u003c/p\u003e\",\"_uid\":\"414d858e-d98a-4b92-9818-f89f5ac03311\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eTo return to my anecdote at the start of this article, 1854 was a year at the height of the age of empires. The cities I mention above, Sophia, Warsaw, Trieste and Dundee, were part of imperial structures (Ottoman, Russian, Austro-Hungarian and British respectively) that spread far beyond what was then classed as Europe.\u003c/p\u003e\",\"_uid\":\"56171fa5-c7e2-4dc1-b2a6-005a56ae702b\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThe societal structures that we live with in Europe today are imperial in their foundation and colonial in their methods. Our current ways of learning, of building knowledge, and therefore the foundations of our political, economic and cultural systems are all built on colonial principles. The great national museums of Europe were founded as imperial projects. Museum methods (such as acquisition, conservation, interpretation and community engagement) are often still inflected with colonial ways of thinking that carry imprints of extraction or appropriation.\u003c/p\u003e\",\"_uid\":\"a11d22a9-f36e-448e-9df4-ea9be6c139cc\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThere is so much exciting decolonising work being done by people within museums in the UK. People such as Subhadra Das, Sumaya Kassim, Rachael Minott, Alice Procter and many, many others. I believe that academics and museum professionals can work productively together alongside communities and the public to think through the processes of decolonisation.\u003c/p\u003e\",\"_uid\":\"4f3c8b25-e439-4d47-8953-acb898ee82cf\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"_uid\":\"4e03866f-7e65-4c09-bbb4-041d5e86add8\",\"Style\":\"editorial\",\"Title\":\"\",\"Medias\":[{\"Type\":\"image\",\"_uid\":\"630c518c-5411-4d35-a061-5885da0a05d7\",\"AltText\":\"\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7177\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"name\":\"\",\"focus\":\"\",\"title\":null,\"filename\":\"https://d363suj4pdptk4.cloudfront.net/externalApps/b4764c1e-e783-4381-aa97-e1f506037d14/conversion/flexi-height-square--960/assets/7177\",\"copyright\":null,\"fieldtype\":\"asset\",\"is_external_url\":true},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"Paragraph\":\"Scottish Design Galleries\",\"component\":\"MediaModule\",\"AnchorTitle\":\"\",\"AnchorActive\":false,\"IsStackedTop\":true,\"IsStackedBottom\":true}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eAcademics can help with changes to object interpretation by bringing new specialist, often historical, knowledge to light. But critical theory is a crucial part of this process too. It’s able to articulate big ideas like decolonisation and offers an understanding of the processes that will allow us to enact real change on a wider scale.\u003c/p\u003e\",\"_uid\":\"c1c2ecd2-4735-4feb-8a3e-151d1560c9d9\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003ca href=\\\"http://www.bellhooksinstitute.com/#/about\\\"\u003eCultural critic and author bell hooks\u003c/a\u003e experienced theory as a place where you can “imagine different futures, a place where life could be lived differently” (\u003ci\u003eTheory as Liberatory Practice\u003c/i\u003e, 1991). In a similar vein, scholars such as Ariella Aïsha Azoulay, Frantz Fanon, Saidiya Hartman and Ann Laura Stoler have guided me on my own research journey. They’ve shown me not only that imperialism lies at the root of world injustice, but also that we can think of creative alternatives. Unlearning imperialism allows us to create both alternative pasts and alternative futures. Through the creative processes of decolonisation, we can work towards undoing harmful structures and practices, and we can make space for critical dialogue and increased democratisation.\u003c/p\u003e\",\"_uid\":\"971df46a-1191-4aa2-bba7-b83d31714be7\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e“\u003ci style=\\\"font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; font-size: 20.4px; font-family: \u0026quot;The Sans\u0026quot;, Arial, Helvetica, sans-serif;\\\"\u003eThe struggle is for changing the terms in addition to the content of the conversation.\u003c/i\u003e”\u003c/p\u003e\",\"_uid\":\"014b8602-32fe-4d6e-add8-e45984aeddba\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eI live just across the river from Dundee and I watched the final stages of V\u0026amp;A Dundee’s construction with growing excitement. I am even more excited now about the future of the museum. Affiliated to its sister museum in South Kensington, it is itself without the burden of imperial archives or object stores. It is young, and it can be nimble and responsive to contemporary societal movements and challenges as a result. \u003c/p\u003e\",\"_uid\":\"72951d25-a9aa-40fb-9731-510d455e81e2\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eV\u0026amp;A Dundee is now making a start to its own journey of decolonisation through re-writing object labels in the Scottish Design Galleries. That journey has to involve multiple voices and perspectives and must engage fully with the local community. The museum needs to set targets in relation to representation, training, institutional processes, exhibition, curating and commissioning practices. And it needs to be accountable to those targets.\u003c/p\u003e\",\"_uid\":\"205134f0-3222-4493-884d-ee54bfeb37ac\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eAs Yvette Mutumba has recently said, “decolonisation has to hurt” (\u003ci\u003eFrieze\u003c/i\u003e, 2020). There is pain because these are emotional encounters. They are emotional because colonialism affects the past, the present and the future of communities. Decolonising our community museums is work we must all participate in, and work that is of infinite benefit to us all.\u003c/p\u003e\",\"_uid\":\"2f504c32-bcbb-49d7-a39d-579911f6454a\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003e\u003ci\u003eMeredith More is a Curator at V\u0026amp;A Dundee. Dr Emma Bond is Reader in Modern Languages at the University of St Andrews.\u003c/i\u003e\u003c/p\u003e\",\"_uid\":\"63bb4e9d-49b6-4346-8710-283df5c52c68\",\"component\":\"LegacyHTML\"}]}},{\"type\":\"blok\",\"attrs\":{\"body\":[{\"HTML\":\"\u003cp\u003eThis is only the beginning of our decolonisation journey and we have a lot of work to do. We’d love to hear from you. Share your views on social media using \u003cb\u003e#decoloniseSDG\u003c/b\u003e\u003c/p\u003e\",\"_uid\":\"793227c8-50c4-4e80-937e-8e0afa05880f\",\"component\":\"LegacyHTML\"}]}}]},\"Modules\":null,\"StoryType\":null,\"component\":\"Story\",\"StoryTheme\":null,\"PublishingDate\":\"2020-08-11 00:00\"}}]}},\"AnchorID\":\"undefined\",\"Background\":\"dark\"}]\n"])</script><script>self.__next_f.push([1,"2e:T54a,"])</script><script>self.__next_f.push([1,"\u003cp\u003eThe webcomics published across our digital channels have been created by University of Dundee’s Masters in Comics and Graphic Novels\u003ci the=\"\" sans\",=\"\" arial,=\"\" helvetica,=\"\" sans-serif;=\"\" margin:=\"\" 0px;=\"\" outline:=\"\" padding:=\"\" vertical-align:=\"\" baseline;=\"\" color:=\"\" rgb(49,=\"\" 55,=\"\" 80);=\"\" letter-spacing:=\"\" normal;=\"\" orphans:=\"\" 2;=\"\" text-align:=\"\" start;=\"\" text-indent:=\"\" text-transform:=\"\" none;=\"\" white-space:=\"\" widows:=\"\" word-spacing:=\"\" -webkit-text-stroke-width:=\"\" background-color:=\"\" rgb(255,=\"\" 255,=\"\" 255);=\"\" text-decoration-style:=\"\" initial;=\"\" text-decoration-color:=\"\" initial;\"=\"\" 80);\"=\"\" style=\"box-sizing: inherit; border: 0px; font-style: italic; font-variant-ligatures: normal; font-variant-caps: normal; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-weight: 500; font-stretch: inherit; font-size: 20px; line-height: inherit; font-family: \u0026quot;The Sans\u0026quot;, Arial, Helvetica, sans-serif; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; color: rgb(49, 55, 80); letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-style: initial; text-decoration-color: initial;\"\u003e \u003c/i\u003estudents.\u003c/p\u003e"])</script><script>self.__next_f.push([1,"2f:T541,"])</script><script>self.__next_f.push([1,"\u003cp\u003eThe webcomics published across our digital channels have been created by University of Dundee’s Masters in Comics and Graphic Novels\u003ci the=\"\" sans\",=\"\" arial,=\"\" helvetica,=\"\" sans-serif;=\"\" margin:=\"\" 0px;=\"\" outline:=\"\" padding:=\"\" vertical-align:=\"\" baseline;=\"\" color:=\"\" rgb(49,=\"\" 55,=\"\" 80);=\"\" letter-spacing:=\"\" normal;=\"\" orphans:=\"\" 2;=\"\" text-align:=\"\" start;=\"\" text-indent:=\"\" text-transform:=\"\" none;=\"\" white-space:=\"\" widows:=\"\" word-spacing:=\"\" -webkit-text-stroke-width:=\"\" background-color:=\"\" rgb(255,=\"\" 255,=\"\" 255);=\"\" text-decoration-style:=\"\" initial;=\"\" text-decoration-color:=\"\" initial;\"=\"\" style=\"box-sizing: inherit; border: 0px; font-style: italic; font-variant-ligatures: normal; font-variant-caps: normal; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-weight: 500; font-stretch: inherit; font-size: 20px; line-height: inherit; font-family: \u0026quot;The Sans\u0026quot;, Arial, Helvetica, sans-serif; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; color: rgb(49, 55, 80); letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-style: initial; text-decoration-color: initial;\"\u003e \u003c/i\u003estudents.\u003c/p\u003e"])</script><script>self.__next_f.push([1,"20:[\"$\",\"$24\",null,{\"fallback\":null,\"children\":[\"$\",\"$L25\",null,{\"children\":[\"$\",\"$L28\",null,{\"editable\":\"\",\"Title\":\"Webcomics\",\"Paragraph\":\"These webcomics were created by University of Dundee’s Masters in Comics and Graphic Novels students. The whole class was commissioned to produce work and the project acted as a live brief for their Comics Production module.\\n\",\"Serie\":{\"full_slug\":\"series/webcomics\",\"content\":{\"Header\":[{\"_uid\":\"f93c98c1-393b-4c6a-8ce5-3b46435212f3\",\"LeftCTA\":[],\"RightCTA\":[],\"component\":\"Header Block\",\"LeftCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"heading\",\"attrs\":{\"level\":1},\"content\":[{\"text\":\"Webcomics\",\"type\":\"text\"}]}]},\"HeaderMedia\":[{\"Type\":\"image\",\"_uid\":\"1f6e9fb7-06af-4536-927c-ef1ce7c3b5be\",\"AltText\":\"An illustrated picture of a girl standing infront of the desperate dan statue\",\"component\":\"MediaBlock\",\"ImageMobile\":{\"id\":7075950,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/d88daf74f2/event_webcomics-amy-galloway_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoMobile\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"},\"ImageDesktop\":{\"id\":7075950,\"alt\":\"\",\"name\":\"\",\"focus\":\"\",\"title\":\"\",\"filename\":\"https://a.storyblok.com/f/181458/960x560/d88daf74f2/event_webcomics-amy-galloway_header-image.jpg\",\"copyright\":\"\",\"fieldtype\":\"asset\",\"is_external_url\":false},\"VideoDesktop\":{\"id\":null,\"alt\":null,\"name\":\"\",\"focus\":null,\"title\":null,\"filename\":\"\",\"copyright\":null,\"fieldtype\":\"asset\"}}],\"RightCopyRT\":{\"type\":\"doc\",\"content\":[{\"type\":\"paragraph\"}]},\"SpaceBottom\":false,\"TitleStyleOverride\":\"\"}],\"Paragraph\":\"The webcomics published across our digital channels have been created by University of Dundee’s Masters in Comics and Graphic Novels students. We worked closely with Phillip Vaughan and Christopher Murray to brief the students and work with them over a few months, acting as a client and feeding back on their progress.\\n\\nThe whole class was commissioned to produce work and the project acted as a live brief for their Comics Production module. We are excited to have been able to work in this way with our local students and provide them with the experience of working on a project, as well as payment for their webcomics.\\n\\nEach student’s work is released in four instalments over four weeks, one after the other. 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