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Herbert James Draper, 1863 - 1920, The Lament for Icarus, 1898
This classic work is from British painter Herbert James Draper, an artist renowned for his work on Greek mythology. This particular painting depicts the dead Icarus, surrounded by lamenting sea-nymphs. In the classic story, Icarus' father Daedalus made wings made of wax, so that he and his son could escape their island prison on Crete. But, overcome by pride, and ignoring all warnings, Icarus flies too close to the sun, melting his wings and plunging to his death.
Drapers use of the male body for the projection of subjective emotion is a feature of late-Victorian painting and sculpture, while the rays of the setting sun on distant cliffs emphasise the transience of time. The warm colours here work brilliantly against a dark jacket, or can complement a lighter summer ensemble. Draper applied liquid light effects in his painting style, and this allows for subtle highlights when folded. The intricate border design also enables striking point folds
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Born in London, Draper studied art at the Royal Academy. In the early stage of his career, he focused mainly on mythological themes from ancient Greece. The painting featured on this pocket square, The Lament for Icarus, won the gold medal at the Exposition Universelle in Paris in 1900 and was later bought for the Tate Gallery by the Chantrey Trustees.
He was also responsible for the decoration of the ceiling of the Drapers' Hall in the City of London. Though Draper was neither a member nor an associate of the Royal Academy, he took part in the annual expositions from 1890. In later years as public tastes changed, and mythological scenes became less popular he concentrated more on portraits, and in his later life became well known for his portrait work.
Macclesfield was once the centre of the English silk weaving industry and the world's biggest producer of finished silk. The area has been printing silk for over 300 years and at one point had over seventy mills operating in the town. The town is close to a water supply that passes through limestone, and when used in washing and dyeing it gives silk a uniquely attractive lustre.
Our pocket squares are printed at a mill that has been producing printed fabric on the same site for the past fifty years and the process uses water sourced from its own reservoir.
The art of hand rolling pocket squares is a unique craft and truly makes each piece individual and unique. We feel that the precision and care taken by our skilled artisans gives each scarf its own unique character, finish and feel. To create the finest rolled hems, the edge of the silk or cotton pocket square must be softy turned over with a handheld needle and then small stitches are inserted approximately one half to one centimetre apart around the edge, creating a supple yet prominent border.
It’s absolutely the best way to finish a pocket square for a variety of reasons but the key ones are for both visual effect and structure. Rolling by hand is the only way to get a really nice clean plump finish on the edge and this gives a really nice depth to the edges. It’s a more expensive process than machine rolling but by using a machine you’re often left with a flat edge and you don’t get the same luxurious feel. On top of this, the rolled edges add a lot more structure to your pocket square.
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