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  • Writer: Granny Bonnet
    Granny Bonnet

We take gloves today so much for granted. I expect that you, like me,

have a drawer-full of assorted types and materials and that's without counting gardening, cycling and rubber gloves!

We tend to forget that in times past, gloves symbolised nobility and power as well as purity and protection.

Used originally in warfare, the widespread use of gloves as fashion accessories did not begin until the early seventeenth century. Typically made from deer, sheep and kid-skins, gloves became decorative

garments in their own right adorned with elaborate gold and silver embroidery and often bejewelled with precious stones.


This was also the time of the birth of fabric and knitted gloves. However, those did not communicate the social status and prestige that highly decorated leather gloves and gauntlets did, particularly if they were made of

finest Spanish leather from Cordoba tanned with a special vegetable process that left it both waterproof and soft. Throughout the sixteenth and seventeenth centuries, large quantities of tanned hides and calf skins were sent yearly around the coast from East Anglian ports, particularly Ipswich and Woodbridge, to London, where it was said, the leather was much valued by shoemakers in particular because it was stronger than any other leather. Far more leather came to London by this route than in any other recorded way.

Although Norwich was predominantly a cloth town, it nevertheless contained a large number of leather workers. Between 1548 and 1719, 1,079 leather craftsmen were made freemen of the city, that is just over 10 per cent of the new enrolments. Worsted weavers and leather workers between them formed about 40 per cent of the industrial and commercial population of the city.

After Royalty, Judges, Clergy and Freemasons were of the orders who wore gloves, and until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. The formalities of glove-wearing gradually lost sway until the 1940's and 50's when something of a more glamorous renaissance occurred. Ladies' glove styles emerged in new synthetic materials and perhaps the most alluring examples of glove-wearing were by those fabulously-dressed Hollywood stars who wore close-fitting net or satin virtually up to their armpits! The trend was short-lived, though I can remember old ladies in their crocheted lace gloves, and myself as a teenager occasionally donning white cotton gloves for Sunday walks!

It's all a far cry from my snugly synthetic 'every-day' gloves though I do treasure several pairs in leather of different shades hoarded over the years to complement my smarter boots and shoes.


Man with Glove by Titian


'OK, yes. I can already hear the groans! Magnolia? Any colour but Magnolia!' But why are so many people against it? Certainly it has become very fashionable to disparage this soft, neutral colour.

'Boring!' You may cry.

'Gentle on the eye' I will respond.


It is a gentle colour that is muted, warm and diffuse. One that does not follow designer dictates for grey, grey, grey, almond or dare I say it before I puke, mauve.

Granted, there is a place for colours and I love them. It was very hard for hubby and me to break the tradition of our kitchen being painted a beautiful glowing coral. We swapped it recently after about twenty years for a shade of dusky Georgian green. Gorgeous it is but in a different way. Magnolia here was not an option despite the fact that it would have added light to the room. Facing north as it does and hemmed in by foliage, the room is always dark and requires lights on, even in summer. Colour here adds a bold cheerful statement about an otherwise gloomy space.

White then you may suggest, but I am of the opinion that white is a total cop-out. Often a quick-fix decorating solution for those nervous of making a mistake. OK for student residences and such where a quick unchanging lick-over is required on a regular basis. Besides, whilst white is uplifting by day it tends towards dull grey areas of shadow in half-light.

One of the problems I know is what actually constitutes 'Magnolia' (since none of the shades I have seen remotely resembles any actual flowers). Different brands offer subtly different hues. It is after all, only a named version of warm-toned white. The same thing happened when we shopped for a light colour suitable for our small study. We fancied cream. Selection however was not straight-forward. We ran the gamut of String, Linen, Wheat, Old Cream, Safari Map, Cord, etc., etc. Sadly our choice was short-lived once on the walls. In changing light it displayed a nasty greenish caste, was renamed Snot and quickly over-painted!

Perhaps it's off-putting that 'new build' houses seem often to be unified throughout by Magnolia in an effort to make them seem larger. Also it's an easy colour to change should you wish your dining room walls to be purple or black. It is not generally the builders' remit to personalise each individual property after all. A safe option is always Magnolia.

Granted, there's also an upside to sticking with uncomplicated neutrals. I am reminded of an old friend's horrible ginger-coloured bathroom suite with its surrounding orange tiles. Very up-to-the-minute in about 1978. Too expensive for her to replace since. And how many avocado bathrooms are still in existence I wonder? We too in a previous house suffered 'colour-kill' when we inherited a royal-blue bathroom suite. It had to go!

So, don't be led into following modish colour-schemes if you really enjoy the calm of neutrals. Paint manufacturers will always encourage us to be adventurous with colour. They have to. Instead, dare to be different by being honest. Sing out in praise of magnificent Magnolia!

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