Joyce modeling her shawl design for Footprints, c. 1927.
“Footprints” by Joyce for Footprints, 1930s
Joyce Clissold (1903-1982) studied wood engraving, lino cutting, and printing at the Central School of Arts and Crafts. While still a student, she began working for Footprints, a small textile hand printing workshop just outside London. In 1929 she took over creative direction while her partner Germaine Tallents handled the business side.
During its heyday in the mid-1930s, up to 50 employees—mostly women—came to work at Joyce’s home/studio in Brentford. Apprentices learned to mix dyes and assist with printing while Joyce designed and carved most of the lino blocks— narrative and jolly, their living quality enhanced by the slightly wonky block registration. Footprints was so called because a full body commitment was necessary to get a decent impression off the jumbo blocks. I love imagining the sound and scene of a house full of stomping career gals. Whomp!
Footprints staff at the studio, Brentford, 1934-35
Footprints was fancy. Lengths of hand block printed fabrics, small ready-made items, and custom garments were sold at shops in New Bond Street and in Knightsbridge. A journalist in 1930 reported that they “should appeal to the wealthy Bohemian, if any remain.”
Material and labor shortages during WWII shuttered Footprints but Joyce re-opened afterwards on a small scale and continued to design and print the rest of her life.
The Footprints dye book
Footprints swatch books, early 1940’s
Joyce Clissold for Footprints, 1920s
Two dresses made with Footprints fabrics by Joyce Clissold, early 1940s
Joyce Clissold for Footprints c. 1930
“Sheep” by Doris Scull for Footprints, 1920s
Joyce Clissold’s Festival of Women commemorative bandana,, 1957
