Watts & Co. hosted the stunning exhibition Divine Designs in All Saints’ Church, Jesus Lane, Cambridge as part of a series of celebrations for the company’s 150 year anniversary in 2024. This first ever collaboration between the company and the historic church proved a resounding success, as hundreds of visitors were treated to an immersive display of historic and contemporary vestments, all inspired by Gothic Revival art and craftsmanship.
A cope in Watts' Red & Gold 'Memlinc' featuring a hood embroidered to a design by Bodley. The cope was commissioned in 1992 by the then Dean of Chapel, the Rev'd Professor Brian Hebblethwaite for the centenary anniversary of the building of the new Chapel at Queens’.
The church of All Saints’, also known simply as ‘The Painted Church’, provided the perfect backdrop. Famous for its murals and hand-painted decorative schemes, the church mirrored the same artistry as displayed in the Watts & Co. exhibit.
Left: A cope from the church of Holy Angels, Hoar Cross, Staffordshire, featuring orphreys designed by G. F. Bodley and beautifully rendered in goldwork embroidery. Right: An elaborately embroidered chasuble from St Paul’s, Knightsbridge, designed by G. F. Bodley. Still in use today, this stunning chasuble was restored by Watts & Co.
A young architect, G. F. Bodley, was commissioned to design All Saints’ in 1860. As a pupil of Sir George Gilbert Scott he had been imbued with the spirit of Gothic Revival and in designing All Saints’ he took his inspiration from the Decorated Gothic, adapting this early 14th-century style and thus marking a significant turning point in his career. He was one of the most prominent Gothic Revival architects, alongside his colleagues, Gilbert Scott Jr and Thomas Garner (with whom he founded Watts & Co. in 1874).
Within this rich setting mannequins draped in archival vestments from Watts & Co. stood alongside more recent designs, illustrating the evolution of liturgical dress and ecclesiastical tastes. Information boards provided insights into the craftsmanship and historical context, drawing parallels between the firm's past and its ongoing emphasis on creating beautiful vestments. Intricate goldwork embroideries glistened in the candlelit surroundings, harmoniously reflecting Bodley’s architectural and aesthetic vision.
Left: A ‘Coronation’ curtain from the Church of the Holy Angels, Hoar Cross. The main fabric is velvet embroidered with Tudor roses and crowns, a Watts design originating from altar hangings and a matching cope which Watts made for the coronation of Edward VII in 1902. Right: A cope based on the vestments made by Watts & Co. for the Coronation of Edward VII in 1902. The Watts 'Coronation' fabric pattern was based on the embroidered velvet used for copes. Watts crafted this cope in honour of His Majesty King Charles III on the occasion of his Coronation. The orphreys and hood are of sapphire velvet, featuring a raised hand-embroidered IHS.
A highlight of the exhibition was the first ever display of the toile of the cope made for the coronation of Queen Elizabeth II. The finished design by Watts’s previous creative director, Keith Murray, is currently on display in the Triforium at Westminster Abbey. A new cope, hand embroidered and designed in the spirit of Bodley, stood out with its bold combination of Bodley fabric and heavily embroidered hood and orphreys. Sacristies from around the country also generously lent their precious vestments for a wider audience to enjoy.
A cope and dalmatic featuring beautifully hand-embroidered orphreys, from All Saints', Margaret Street in London. The base fabric is Watts & Co.'s 'Holbein' silk damask. The set was restored by Watts & Co.
The evening of the private view was further enlivened by wine and canapés, offered as friends, scholars, Watts and Bodley enthusiasts and the merely curious mingled in conversation. Volunteers of the Painted Church offered additional insights, creating a welcoming yet scholarly atmosphere that deepened appreciation for the craft and history on display.
The exhibition not only celebrated the rich heritage of Watts & Co., but also highlighted the continued relevance of Bodley’s artistic ideals, as seen in the vestments and the sacred spaces that they were designed to enhance.
