‘I watched Bake Off and couldn’t believe how upset people got,’ Chinelo says. ‘Now I totally understand. At one point I couldn’t even thread a needle, my hands were shaking so much.’
The statement above was made by Chinello, one of ten contestants taking part in a BBC television programme called The Great British Sewing Bee, currently on air here in the UK. This second series succeeds the first in both size and grandeur. While the first was set over four episodes and located in a Georgian building in the heart of Dalston, East London, this one contains eight episodes and places more contestants in a lofty but grander converted warehouse by the Thames, offering everyone panoramic views of the capital city at the front while at the back, there is an extensive, well stocked haberdashery at their disposal.
The Great British Sewing Bee invites the participants to take part in weekly sewing challenges, which finds them spending two days completing three tasks: make a basic pattern, customize a piece of ready made clothing and finally making their own pattern, which must fit to a live model. Their efforts are judged not by an audience vote but by two authoritative figures, who in this case are a Woman’s Institute sewing teacher with more than forty years of experience teaching and a director of a successful tailoring company located in Savile Row, London. A television host, whose fundamental role is to mediate between the novice participants and the expert judges on behalf of the viewer, also joins them.
Each week, the two judges decide which contestant must leave the competition, based upon their performance across the three set challenges. The most concise and in-depth review of the programme can be found in The Daily Telegraph, where Kate Bussman highlights how the nature of television production creates much tension for the contestants as they are constantly required to stop their sewing for ongoing sound bites, camera shots and set pieces.
For me, the most interesting contestant in The Great British Sewing Bee is Chinello, a twenty-six year old dressmaker who does not use paper patterns, having learnt to cut forms directly onto the cloth. Chinello’s approach to clothesmaking is riveting because she engages with fabric directly, choosing not to mediate the process with the use of representational tools such as paper patterns. Her process involves thinking and working with design in a very three-dimensional way; Chinello is like a living, breathing 3D printer.
Another fascinating part of the programme is the way in which the historical context and social commentary about dress is approached. Every week there is a theme explored, which might be a particular era or the type of material being used in the sewing challenges, such as stretchy fabric or patterned textiles. The television host then engages with a range of scholars and academics to discuss interesting aspects of that weekly theme. This part is fascinating because they draw upon a range of scholarly disciplines, from anthropology to consumption studies to performance and fashion, in an effort to contextualise the weekly challenges set for the contestants.
The Great British Sewing Bee provides us with a contemporary snapshot of academic interest in fashion, dress and textile studies. Craik’s (2009:264) identification of five types of fashion writing – language of fashion, fashion reportage, promotional writing, critical writing and intellectual analysis – makes no mention of the representation of these studies within the media of television yet it seems that in this one programme, there is visual evidence of all types of fashion writing taking place.
While the Great British Sewing Bee has a lineage that certainly relates it to reality television programmes (its sister production is The Great British Bake Off), it does go some way to filling the gap left by the likes of The Clothes Show with its efforts to discuss and inform the viewer about the wider scholarly interest in fashion and dress. In future, it could be part of a small archive of British television programmes that focus on fashion and dress history, perhaps beginning with Doris Langley-Moore’s What We Wore in 1957. I would be very grateful to hear of reading suggestions on the subject of historical dress and its representation through the medium of television. With the increasing complexity of internet coverage, it seems there is still a place for television to capture our attention with contextual discussion of dress and fashion for longer than just a brief click. Research into how this is done, with particular reference to the second half of the 20th century, is definitely worth further consideration.
 Jennifer Craik (2009) Fashion: The Key Concepts Oxford, Berg