The first in our programme of events is a Storytelling & Branding Workshop in the Council Chamber on 9 June.⁠ ⁠ 

Creatives are invited to join an inspiring session with MHC, creative business expert Patricia van den Akker of The Design Trust and leading product photographer, Yeshen Venema. A brilliant opportunity to connect with fellow local creatives as well as taking a tour of the HTH. 

Tickets cost £29.

Book tickets here​

With thanks to Hornsey Town Hall and General People for hosting us.⁠ ⁠

If you are interested in running a crafts workshop or selling at our October and December events, please email: info@muswellhillcreatives.com⁠ ⁠

We look forward to bringing creativity to this much-loved and iconic space in the heart of Crouch End.⁠

London Recycles Repair Week is a celebration of repair across London, where you can pick up new skills, fall back in love with your stuff, and save money while helping the planet.

From hands-on workshops to repair hacks, Repair Week is all about giving you the confidence to fix, mend, and make things last.

Helping to fix and make things last here at Muswell Hill Creatives are North London based Rob Jones and Steph Rubbo.

Here we tell you more about the ways in which they can help you breathe new life in to much-loved textile and leather using experienced craftsmanship.

Meet Rob Jones

Rob of Romor Designs is a teacher of Japanese textile techniques. He regularly visits Japan to travel, refresh his skills and source authentic vintage Japanese textiles to show in his classes. Samples of his Boro work were featured on the semi-final of the Great British Sewing Bee in 2022.

​Japanese Boro (more accurately ‘Boro boro’), meaning ‘rags or tatters’, is the art of repairing fabric using scraps and stitching. Boro follows the British wartime tradition of ‘make do and mend’ but was used out of necessity in Japan to prolong the life of clothes and bedding due to extreme poverty and the scarcity of textiles.

Learn Boro Mending with Rob

Rob is running special classes for London Repair Week at Fabrications in Hackney and his studio in Muswell Hill.

He also runs them regularly throughout the year. 

Subscribe to Rob's mailing list for new class dates and more via his contact page here

At the Pecha Kucha Mending Party at Fabrications  on Thursday 5 March, Rob will demonstrate a "Nami Nui" running stitch on a raw edge reverse applique fabric patch. Nami Nui is the simplest, most functional and decorative stitching technique used in Japanese mending.  Book a place here 

​Rob's studio classes include: 

• The history and origins of Boro. Examples of vintage Boro and other Japanese textiles collected by the tutor in Japan will be shown

• How to repair a garment using scraps, both modern and vintage
• How to use sashiko stitching to enhance your work
• Practice using visible repair to enhance and strengthen textiles
• Applique and reverse applique and a number of decorative stitching techniques will be shown
• A variety of types of Japanese stitches and their application will be presented, with examples on vintage Boro and the tutor’s own work.
  
  The class is for Beginners/those looking for an introduction to Japanese mending in the Boro style

Book Sunday 8 and Saturday 14 March classes here

Meet Steph Rubbo
​Saddlery & Leather Work

Steph's most satisfying work is giving leather a second chance; preserving its character while restoring its function. When looked after, well-made leather goods are extremely durable, but they will eventually need repair or restoration. Steph can reverse the effects of wear and tear, mistreatment or environmental damage in many leather goods, bringing them back into use or preserving precious memories.

Because Steph stitches by hand, she can work on fragile or inaccessible items impossible to mend on a machine, from bags to chairs and even building accessories! Each repair is carefully planned, sourcing the right materials and identifying appropriate techniques.​

www.stephrubbosaddlery.co.uk/repairs

Kaare Klint Safari Chair

"With all repairs I do, I like to have an understanding of the item I am working on - firstly, pure interest and secondly to ensure that what I’m doing is going to be sympathetic to the original, and won’t detract from what may be a design classic.

My client walked into my studio with a shopping bag full of pieces of wood and canvas and some leather straps. It was a Kaare Klint safari chair and the straps had dried out, cracked and some were broken. The chair had been his father’s, and he wanted to bring the chair back into use.
​
When looking at any repairs it’s necessary to consider the balance between preservation, restoration or repair. In this case the main request was to ensure that the chair could be used, and then for the work to be sympathetic to how the client remembered it.

So, while a straight out repair would have seen me make the arm straps quite taut, the client requested that the straps were made a little longer to replicate the amount of stretch that had occurred in the originals.  We went through the leather I had in stock, and between us decided that the best one to use would be a bubble finish veg tan leather in mid brown.

I would also have to source some of the hardware, as one of the original buckles had been mislaid over time. For the buckles, I couldn’t find an exact match, but I could find a slightly more modern version which looked identical when they were in place (thanks Abbey England). The rest of the fittings were able to be reused.
​
There was a small amount of fraying in the canvas on one corner, but as it wasn’t affecting the use of the chair, it was decided to not to meddle with it at this stage. It will be monitored, and patched if it starts to get worse.

End result, the client gets back a chair that is fully functional, and still looks like the chair he remembered."

​Rudolf Szedlecsky Chair

"When I received this chair, the leather had dried out, was stained, and had torn in places. I was asked to replace all the leather with new leather, keeping it as close as possible to the original. I supplied the customer with samples of some suitable leather, which they assessed for colour at home.

Leather selected and ordered, I took a pattern from the original seat and then had to work out how the lacing was constructed. I unpicked the old lacing strand by strand, taking note of the order of strands as I went. Then after a practice run I was able to recreate it using lace I had made myself.

The rest of the panels were made up and fitted to the frame. The complicated part being getting the tension correct so that the frame sat evenly once it was reassembled.  The end result was stunning."

Camera Case

Customer testimonial:

“Steph did the most incredible job restoring my old camera case which was literally falling apart at the seams.

She also replaced the leather on the original strap with an even better one with a shoulder grip with hand stitched burgundy suede lining to match the velvet inside the case.
​
Her craftsmanship is world class. A true artisan with a fast turnaround and reasonably priced too!"

Dog Lead

“Good quality leather goods are expensive, and while leather goods that are properly cared for will last a long time, they aren’t invincible. They will eventually show signs of wear. Dog leads in particular.

Quality leather is best put to use, and only requires minimal care. A wipe down with a damp cloth if it gets wet and muddy, before allowing it to dry at room temperature. An occasional check of the stitching now and again and a treatment of leather conditioner if the leather becomes stiff is all that is necessary for a lead in continual use.

The most common failures on dog leads are the clip breaking, or stitching becoming worn. Both of these are easy fixes that will extend the life of the lead significantly. 
​
There is a great amount of satisfaction in being asked to replace the clip on a quality lead that has been well used and cared for.

I have one customer who has purchased several top quality leads from another maker. All were well made with solid fittings. The leads had clearly had a lot of use, and the leather was still in great shape. But, as sometimes happens, the clips failed. The way clips are constructed to allow them to swivel, does sometimes mean that with a lot of use the clip metal can wear and the clip comes apart.

The good condition of the leather meant that it was better to replace the clip than buy a new lead.

A replacement clip is easily sourced, and it is a simple task to unpick the stitching and then stitch the new fitting into place.”

Cycling Shoe

“This job was a little different to some of my others.

BOA cycle shoe fittings are made of plastic which sometimes comes under great pressure and can break. The tightening mechanism on this cycling shoe had broken, so the customer sourced a replacement and asked me to remove the broken one and stitch the replacement into place.

Cue a YouTube lesson in how to set up the fitting!”
​
Feedback from the customer: “A guy in my spin class tossed a pair of shoes for the same reason you fixed mine. He looked gutted when I said I had mine repaired!”

Take a look at some more Before and After repairs here

Follow Rob @theromordesigns and @stephrubbosaddlery  on Instagram for updates. Rob is heading off to Japan very soon so he'll have great images and stories to share. 

Follow @londonrecyclesuk for all the latest news and events as part of London Repair Week.

Summer Exhibition at the Royal Academy
until 17 August 2025

The Summer Exhibition is an an annual treat, particularly so when we know artists who've been selected to exhibit! This year's no exception with our friend, Stoke Newington based photographer, Jannine Newman having her In The Greater Scheme of Things photograph included and it has since sold several times over. It's a beautiful piece, well worthy of inclusion.

And closer to home, regular at our Makers Fairs, Muswell Hill based Sonja Bucherer of Sobu Handmade was selected to exhibit her Too Many Feelings hand-stitched piece. This was sold even before the exhibition's official opening!  Congratulations to them both. Do look out for both pieces if you visit.

Hiroshige: Artist of the Open Road at the British Museum
until 7 September 2025
Recommended by Vanessa Hernandez, VH Prints

Hiroshige is one of the great Japanese woodblock artists (and hiker) and this exhibition is an insight into his woodblock prints, the elaborate process of making this art during the Edo period in Japan. He made art for the people and his love of travelling around this fascinating country is documented through his prints. I especially loved his Japanese fans in Prussian blue.  

Read more here

Edward Burra at the Tate Britain
until 19 October 2025 
Recommended by Ros Freeborn, Papershades
 
"As a child I loved an art book which showed one of Edward Burra’s Harlem, New York paintings. The elongated, stylised figures fascinated me and it was an image of a place I had no concept of. What a joy it was to see this painting for real at the fabulous Edward Burra show at Tate Britain. It was a treat to see so many of his exquisitely drawn narrative watercolour paintings. He had an astonishing eye for detail, visual jokes and relationships between his subjects. Stricken with rheumatoid arthritis as a child, he was in constant pain and preferred to make his art on paper, flat on a table and use watercolour in a very original way. He loved clubs, pubs, seedy gin joints, theatre, ballet, sailors, glamorous costumes and flamenco dancers. He loved London in the 1920s, flappers, Paris bars, New York’s Harlem, the rough areas in Toulon and Marseille and Spain before the civil war.  He hated war and violence. Towards the end of his life his work became more concerned with nature and landscape. What an artist! What a show! What a treat!"

The Genesis Exhibition: Do Ho Suh: Walk the House at the Tate Modern
until 19 October 2025
Recommended by Vanessa Hernandez, VH Prints

I visited Walk the House by Korean born, London based artist Do Ho Suh.  This is a great one to do with kids as it’s immersive with lots of textural details that make the art come to life. The exhibition questions what home means to each of us. I really enjoyed it.

Cecil Beaton's Garden at the Garden Museum
until 21 September 2025
Recommended by Kate Sealey Rahman

"A small but beautifully curated celebration of creativity; incorporating painting, garden design, and set and costume design as well as photography."

Read more here

The Power of Trees at Kew Gardens
until 14 September 2025
Recommended by Vanessa Hernandez, VH Prints

From Kew's website: The Power of Trees invites visitors to explore the enduring beauty of trees across art and culture.  The exhibition showcases a diverse range of works, from intricate botanical illustrations to a groundbreaking video installation, which look at how trees have shaped human creativity.

Vanessa says "There are some really beautiful things to see and do spread across Kew. A tip to avoid the full entrance fee, from 4pm it's only £10 and as the gardens close at 7pm in the summer this gives 3 hours to see something. It’s a decent saving considering it’s over £20 for an adult to enter. "

Kiefer/Van Gogh at the Royal Academy until 26 October 2025
Recommended by our contemporary jeweller, Michele Wyckoff Smith

From the RA: Vincent van Gogh has had an enduring influence on Anselm Kiefer and this exhibition shows their work side by side. In 1890 Vincent van Gogh painted his final works. Seventy-two years later an eighteen-year-old Anselm Kiefer received a travel grant to follow in the footsteps of Van Gogh, starting in the Netherlands, through to Belgium, Paris and Arles in the south of France.  Kiefer has been inspired by Van Gogh’s work throughout his nearly 60-year career. The pioneer of Post-Impressionism has informed the subjects and techniques of Kiefer’s monumental paintings and sculptures which draw on history, mythology, literature, philosophy and science.

Also recommended, by Michele:

• Heiress: Sargent's American Portraits at Kenwood House until 5 October 2025
• Grayson Perry: Delusions of Grandeur at the Wallace Collection until 26 October 2025

Jen of Crouch End Candles took a trip down to Chelsea in Bloom this week to enjoy all the floral displays in this free to visit flower festival which coincides with the RHS Chelsea Flower Show. This year the festival's theme is fashion.
​
We hope you enjoy our little floral gift guide* which shows how much we’re inspired by flowers here at Muswell Hill Creatives.

​What do you make? 

As a handweaver, I produce bespoke textiles to enhance everyday objects, from wearable accessories to home decor. My creations range from scarves to gift items like eye pillows, sleep masks, and pouches. I partner with a micro mill in Bristol to produce limited editions of merino wool scarves and snoods. Currently, I'm weaving a collection of cosy merino wool lap blankets and exploring opportunities in interior design.

How long have you been running your independent creative business?

I returned to handweaving after purchasing my first table loom in 2014, and By Cecil officially came to life in January 2018. I joined the Muswell Hill Creatives in April and undertook my first markets by the autumn of that year, marking the beginning of a happy partnership with the group.

What inspired you to start your creative business?

As a child, I was always creative and loved working with textiles. When I was 13, a trip to the National Gallery with my dad solidified my passion for art. Seeing Turner's paintings had a profound impact, and I knew I wanted to pursue something creative. Initially drawn to photography during my A-levels and early college years at Camberwell, my trajectory took a significant turn during my foundation course when I worked on a textile project on an old Harris loom. I fell head over heels in love with weaving, leading me to Central Saint Martins to study Textile Design. After a decade as a product manager, working extensively with factories in China, the urge to return to a more hands-on creative process was irresistible. I felt the draw of weaving tugging at my heartstrings again, so I attended a part-time diploma in 2013 at the Handweavers Studio and haven't looked back.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

I manage By Cecil part-time, which allows me to balance my business with raising my two boys, who were just 2 and 5 when I started. Although they are older now, they still manage to keep me busy. I've also recently joined the team at Ray Stitch, a haberdashery on Essex Road. It's a fantastic environment, surrounded by creative colleagues, and I've already picked up a new hobby in quilting. I've recently joined an online group called the No Rules Textile Society to encourage a more playful approach to creating new work. Every six weeks, there's a new prompt, with a weekly Zoom call as a source of accountability and inspiration. I'm treating it like an unofficial MA, something I have wanted to do for a long time.

How did you learn your craft - are you self-taught or did you attend courses - if so what and where? 

During my textile design degree, I learnt how to weave at Central Saint Martins, specialising in constructive textiles. After stepping away from the loom for a decade, I refreshed my skills with a diploma from the Handweavers Studio. I continually challenge myself technically, diving into weaving books and experimenting with new techniques. Weaving involves a significant amount of mathematical planning and precision, and I dedicate a lot of time to sampling and refining details to achieve the perfect outcome.

What is it you love most about the creative process?

I'm fascinated by the transformation inherent in weaving. There's a phrase I often hear weavers use: ""turning chaos into order' and I find a deep satisfaction with creating a functional and beautiful piece of cloth from a tangle of yarn. It starts with designing a warp, organising yarn, calculating patterns, using maths to create a repeat, and slowly untangling the thread as it winds onto the loom. Weaving is a kind of alchemy, as so much can happen between the loom and the final piece. Washing and finishing can change a fabric so much. 

Weaving is a series of decisions that reduce your choices, taking an idea down to just one or two options. Then, when you start to weave, they open up again in unexpected ways. I love the constraints of weaving—trying to create new work with small changes and working within the restrictions you set yourself. It's enormous fun to see where you can take it."

Is there another craft you are drawn to other than your own?

I've always had an appreciation for furniture, especially woodworking. The precision required and the influence of the material's inherent traits on the final piece resonates with me. Wood seems like a material that very much has its own personality and say in the end result. It demands respect for its natural properties and a mathematical, structured approach. However, at heart, I remain a devoted textile designer. Recently, I visited an exhibition at the Turner Gallery in Margate, where I was naturally drawn to works by former textile designers, reaffirming my passion for textile art.

Where do you look for creative inspiration? 

I often find inspiration in phrases that strike a chord with me, whether they emerge from everyday conversations, books, podcasts, or moments of reflection. For example, "stitch yourself together" resonated with me during the pandemic, and lately, I keep returning to "the stories we tell ourselves." I keep track of these ideas in a notebook and often notice recurring themes. I have a collection of weaving books that I enjoy flipping through, and I like to experiment with new techniques from my growing list of projects. I also want to design practical items, such as café-style net curtains for my home, turning everyday needs into creative challenges. I'm always seeking new courses to learn different methods and materials, as embracing unfamiliar approaches can shift my perspective on familiar themes.

How do you find you benefit from being part of a creative collective?

Being a craftsperson often means working in isolation, which has its perks for focus but can feel quite solitary. Joining a makers' group has brought a valuable balance to my practice. There's a real comfort in the camaraderie and accountability that comes with being part of such a community. It offers a supportive network to share ideas, techniques, and feedback, enhancing our creativity through collaboration. Moreover, the friendships I've formed within the group are vital; they enrich my personal life and inspire and invigorate my professional work. This collective dynamic helps us grow and evolve as artists, demonstrating that creativity works best in a collaborative environment.

What advice would you give to aspiring artists, designers and makers?

It's been an interesting year for me in terms of work, and I've been struggling to find inspiration and motivation. This has required patience and acceptance, but also listening to the advice that kept popping up from many sources: You can't wait for inspiration to strike; you just have to keep doing the work. Often, motivation emerges from the process itself.

It's crucial to trust your voice amid the noise. You'll receive plenty of advice, much of it conflicting. Learn to sift through it and find your path by picking what works for you and tuning into your instincts. Stay focused on your goals, and don't spread yourself too thin. Remember, creativity ebbs and flows; trust that it will return even during dry spells. You need input to create work, so read, explore, look, and listen to everything. Nobody creates in a vacuum.

What is the biggest challenge of running a creative business?

One of the most significant struggles is simply the scarcity of time. As a small business owner, you must wear multiple hats - designer, marketer, salesperson, accountant and more - all at once, often in areas that are not your expertise.

Social media is a powerful tool for visibility and sales, but it also demands constant engagement and content creation, which can be incredibly taxing. It has been a tough year for many businesses in all fields. The phrase "running to stand still" has often felt relevant due to the immense effort required to maintain visibility and viability in such a competitive space.

Despite these challenges, I understand how lucky I am to be able to follow my passion. Weaving is my therapy, and I would not want to part with it in any way.

When you're not working on your business, how do you like to spend your time?  hobbies, pastimes etc

I frequently think about work even when I'm not actively working, but I recognise the importance of taking breaks occasionally. I'm passionate about sewing, particularly making clothes, and I recently started quilting, which has allowed me to explore new dimensions of fabric and design. For relaxation, I enjoy swimming at the pond - a wonderful space and community that rejuvenates my mind and body.  I'm also an avid reader, often reading multiple books at once, mainly non-fiction covering a range of subjects. I also enjoy history-themed podcasts and unwind by watching sci-fi and fantasy TV shows as a form of imaginative escapism.

Head to the By Cecil website to shop for beautiful woven scarves, blankets and accessories and subscribe to the mailing list for fascinating insights into the creative world of weaving.

What do you make? 

I am a street photographer who looks for the abstract in the everyday scenes I see around me. I work mainly in London but I also venture to Europe and the Essex coast on occasions to add a different perspective to my work and offer to my range. I work both in colour and black and white to produce a selection of framed prints alongside photo books and greeting cards. 

How long have you been running your creative business?

Two years.

What inspired you to start your creative business?

The last company I worked for went into administration just before lockdown in 2020 and I was made redundant as a result. As we emerged from lockdown in 2021, I needed to make a career decision and as photography was a lifelong hobby of mine, I decided to see if I could try making a living from it.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

I do not work full-time on my creative business as I currently work part-time helping people with alcohol and drug dependency issues seek recovery. This is often very challenging but can also be very rewarding.

How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

My interest in photography stated way before the digital age was upon us. I started out with a cheap Russian 35mm camera and bought black and white film in bulk which I loaded into film cartridges, before venturing out to capture whatever fired my imagination around me. Back in those days I had my own dark room so processed my own film and prints. I worked with a few local bands and music venues as a photographer on an ad hoc basis. Fast forward to today, I taught myself the digital skills I need to find my way around a camera and use programmes such as Lightroom and Photoshop for post-production. I have attended many workshops in order to further my street photography skills with Streetsnappers, in Central London. 

What is it you love most about the creative process?

The thing I love the most about photography is when I am in that frame of mind and space as I call it.  I am totally absorbed in my creative process to the extent that all other thoughts are shut out. I use reflections a lot in my work and on occasion I can take 30 minutes or more getting the shot right, but when I do, that moment is very satisfying. When that moment results in a sale that then becomes a very special moment.

Is there another craft you are drawn to other than your own?

I enjoyed pottery at school and wasn't as bad at that as I was painting, for example. So ceramics would be the other craft I might be drawn to other than my own.

Where do you look for creative inspiration? 

Street photography ambassadors such as Saul Leiter, Alex Webb, Vivian Maier and Harry Gruyaert are a great inspiration, as is the artist Edward Hopper. They all have a unique skill in capturing street life and its landscape. I have a large collection of photography books which I take inspiration from. I think my style is a reflected in these books, sometimes deliberately and sometimes subliminally. I also get to as many exhibitions as I can, although finding free time is difficult. Instagram can be a useful tool for inspiration, but in the main, is a reminder of what not to do. So many traps and rabbit holes to get sucked into where cliché and repetition live.

How do you find you benefit from being part of a creative collective?

Being part of a creative collective is great. Sometimes being a creative can be isolating and to be able to talk with, and be surrounded by, similar minded people can lift that isolation. It is also a friendly and supportive environment to be in.

What advice would you give to aspiring artists, designers and makers?

Have the courage to believe in yourself and power on through those moments when giving up sounds like a good option.

What is the biggest challenge of running a creative business?

Transporting me and my art around. Otherwise, closing the sale as that's the time when as an artist I need to remember, ultimately, I am here to make money.

When you're not working on your business, how do you like to spend your time?  

Birdwatching, country walks, supporting my local Park Theatre, and seeing live music.

Follow Barry on Instagram and Facebook
www.bgbphotography.store

​In October 2014, I was chatting to a few friends in the playground of Muswell Hill Primary School and had an idea. Before an extended career break to raise my two children, my career had been in PR and communications for a leading PR consultancy and then as PR manager for disabled children’s charity Whizz Kidz. With an appetite to use my skills again and finding the playground full of creative parents, I suggested we join forces in some way.

​An initial meeting over coffee at the home of MHFGA committee member and photographer Zoe Norfolk, along with long-term Muswell Hill resident artist Jess Albert, local jewellery designer maker Michele Wyckoff Smith, and then florist Tania McLaren, the idea of a collective was conceived. The aim was to bring local makers together to sell their work, but with me dedicated to event organisation and promotion, it would enable them to focus their energies on what they love doing most – creating. 

Just six weeks after the first meeting, Muswell Hill Creatives held its first Open House on Hillfield Park with a wider group of local artists, designers and makers and was a huge success. A further Open House was held in 2015, before we bravely took ourselves out to St James Square for our first market in 2015.
​
In 2015 I established a membership arrangement for a “dynamic collective of local artists, designers and makers who take pride in quality craftsmanship and promote creativity.”  

It is common for independent artists, designers and makers to work alone in a studio or at home and it can be a lonely existence. Muswell Hill Creatives provides a supportive and sociable community of like-minded individuals with whom to share the ups and downs of running a small business and to help develop and grow their creative enterprise. They benefit from my marketing expertise, but also the shared experiences and expertise of their fellow collective members. 

Over the last 10 years, Muswell Hill Creatives has held 32 markets outside in St James Square, a large-scale exhibition at the Hornsey Town Hall and nine pop up shops including two in East Sussex!  We have supported over 40 artists, designers and makers in their creative endeavours as members of the collective and many more as guests at markets and events.

​In 2022, the Muswell Hill Creatives Make and Mend Festival was introduced as a twice-yearly event, to give local people an opportunity to enjoy learning a range of making and mending skills under the expert guidance of local creatives.  This has proven to be a popular, friendly and fun afternoon of creativity which we plan to continue in 2025.

The collective has had to navigate its way through a pandemic, an increasingly tough economic climate, wild weather and many more challenges along the way, but we’re still standing (just about!). We’re proud to have shone a spotlight on all the amazing creativity in the area over the last 10 years and to have built such a thriving creative community and hope to do so for years to come. 

"I joined Muswell Hill Creatives in 2018 and it has hands down been the best decision I ever made. The sense of support and community has kept me going and I feel that I am much further along in my creative endeavour than I would be if I were on my own. Working in a self-employed creative business can be lonely, but the feedback and encouragement I get from the group is invaluable." Cecilia, By Cecil.

www.instagram.com/n10creatives
www.facebook.com/muswellhillcreatives
Email: info@muswellhillcreatives.com

What do you make?

Fused glass and jewellery

How long have you been running your creative business?

1 year - glass fusing for 8.

What inspired you to start your creative business?
​
It was all I could think about when in my office job, so I finally decided to take the plunge and do what I love for a living.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

Full time

How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

One in person fused glass jewellery making course at Rainbow Glass Studios in Stoke Newington.  I also took a couple of specialist online fused glass courses, but otherwise self-taught with a lot of experimentation.

What is it you love most about the creative process?

Opening the kiln after a firing. It feels like a surprise every time, as you can't see the transformation of the hard sheet glass melting to form a new piece until the process is over.

​How do you find you benefit from being part of a creative collective?

Having a pooled resource of real life advice and experience has been great.

What advice would you give to aspiring artists, designers and makers?

Keep going! It can take time to find your artistic voice, hone your craft, and life events can overtake sometimes, but try to do some of what you love regularly.