December 19, 2024 Reading time: 6 mins approx.

Unravelling the history of the guernsey jumper

As a proud supporter of The Fabric of Guernsey exhibition, which is taking place at the Art for Guernsey Gallery until 25 January 2025, we caught up with artist Sally Ede-Golightly about her work and the exhibition.

 

What inspired you to create an exhibition centred around the “guernsey' jumper?

I’m a massive fan of the guernsey Jumper. In fact, for my 30th birthday, I had a dinner party where people had to wear a guernsey. 

I grew up in a farmhouse, so it was very much about wearing woolly jumpers and warm socks. My grandparents also had a collection of guernseys, which have been handed down to me. 

When Jock from Art for Guernsey suggested the theme, I jumped at the chance to be involved. To have the opportunity to collaborate with Le Tricoteur, for their 60th anniversary was an amazing experience. 

 

What’s your personal connection to Guernsey?

I was born on the island and left when I was 18. I returned just before Covid and now my husband and I split our time between Oxford and Guernsey. It’s a beautiful place.

 

How did you delve into the rich history and stories of the guernsey for this project?

I already had a good knowledge of the guernsey Jumper, having grown up around them. I sat down with Jock, and the team from Le Tricoteur, and we came up with 12 titles for each piece of work. It’s a fitting number for this exhibition, as there are many elements of the guernsey that require 12 stitches in its construction. 

The titles are simple – like The Fisherman, The Farmer, and The Surfer – but there’s lots of history woven into each one – literally!

 

Can you walk us through your creative process and the techniques you used?

Once we came up with the titles, I was given creative freedom to come up with the design. That was quite a lot of pressure, and one of the main challenges of this project. 

I used a coarse weave jute as the canvas, which is a very agricultural material, and guernseys have always been worn as workwear. And the paint came through to give a knitted effect. 

 

How did you collaborate with Le Tricoteur to integrate your artwork with the limited-edition garments?

Each painting was paired with a core colourway that have been used since Le Tricoteur was founded. Because it was their 60th anniversary they decided this was also a great moment to re-release a few archive designs, some that haven’t been seen for 40 years, like the Pattern which sees an array of colours in one garment. Once we had decided on all the titles we considered how an individual icon could be used either within the painting or one that would capture the theme in an instant. I then created 12 ink drawings – like the tomatoes for The Farmer and a chancre crab for The Fisherman (from the guernsey 1p piece) and Le Tricoteur then commissioned a Military embroidery atelier to turn them into bespoke embroidered badges based on the naval badges seen on uniforms. Some have gold and silver thread running through them and the Lord Nelson badge is recognisably opulent. 

 

Can you share a bit about your artistic background and what led you to focus on textile art?

I trained at London Fine Art Studios while working in finance, and then decided I wanted to become an artist. I did a two-year diploma in portraiture at Heatherley School of Fine Art in Chelsea and was awarded the Heatherley Portrait Prize in 2019.

I mainly focus on figurative art and portraiture now. 

The materials I use are important to me, and how they connect with the theme. I prefer to work with coarse-weave linens and quality oil paintings, so this project was right up my street. 

 

What were some of the biggest challenges you faced in creating this body of work?

Le Tricoteur’s quality is extremely high. They use British accredited worsted wool, which doesn’t pill and the weft & weight of their garments knitted on vintage machines is impressive. The hand knitting elements add to the overall attention to detail and is amazing to see. 

It was a big responsibility, especially with so much creative freedom – like creating the cover image of a book, it needs to tell the story. 

Trying to come up with a single image that says so much and captures the spirit of the guernsey jumper was an exciting challenge. 

 

How has the guernsey evolved over time, both in terms of its design and its cultural significance?

The design hasn’t changed. It’s a classic and it has stood the test of time. It was designed for a specific task and The Fisherman’s navy-blue guernsey is exactly the same as it was when it first launched. There’s nothing else like it and it’s still a staple, functional and hardwearing garment used by the army and navy and those that toil the land and work at sea. 

I think I do see more people wearing guernseys than I used to. They’re being recognised as an ethical fashion choice as wool is such a fantastically versatile material. As something cultural significant, they work very well in promoting hereditary skills & traditional crafts. Something that is highly thought of in a country like Japan where they are very popular as a fashion item & iconic wardrobe staple. 

Fashions often change but when you have a core design that works for so many, they are timeless. 

 

What was the most interesting thing you learnt about when researching the guernsey?

There’s so much history to unravel. I hadn’t appreciated the Naval history associated with the guernsey Jumper. It’s fascinating. I discovered that Nelson had a connection to the island, and both Nelson and Saumarez were instrumental in using the guernsey in naval uniforms. Back then they referred to it as the guernsey Frock. 

I also learned that Mary Queen of Scots was wearing guernsey stockings when she had her head chopped off. 

 

What do you hope visitors will take away from this exhibition and the unique guernsey designs?

I think this exhibition is a gateway to understanding the rich naval history of the island and of the guernsey jumper as a local staple that celebrates & venerates the history of knitting on the island to this day. There’s a universal love for the guernsey, and I hope this comes through in the body of work I’ve created.

 

To find out more about the Fabric of Guernsey exhibition, click here 

Nick Graham MIRP, CertRP
Chairman

Nick is the owner of OSA Recruitment in Guernsey, a successful recruitment business, with close to 30 years' experience of guiding people through their career choices. OSA's excellent team are experts in finding the perfect candidate for jobs at all levels, from graduates and temporary placements to senior executive positions and non-executive directors.

Nick says: 'I § that an integral part of our success is attributed to our unrivalled reputation for professionalism, honesty and integrity, and for building trusting relationships with clients and candidates.' Nick's background includes a public relations degree and several jobs in stockbroking and financial services.

Over the course of his career and through his involvement with the administration of local sport, he has built a wide range of contacts in Guernsey's business community. He has a solid understanding of how the island works and how beneficial close networks are, regardless of the career you are immersed in.

He is interested in continuing to build his network of senior business leaders for mutual benefits.