When we began selecting products for LABOUR AND WAIT over twenty years ago, we soon realised that our proclivity for brown tones could result in a completely brown shop. We regularly have to keep ourselves in check and ensure a variety of hues and colours find their way to the shop floor.
In December of 2014, our calendar image caption read the following:
"The colour of the earth. A rich, dark, peat brown, evoking leather, wood and even chocolate. We always find ourselves drawn to this colour; its depth has a graphic quality like black, but with a warmer, more natural feel. We even fantasise about opening a shop where all the products are brown!"
This September we are surrendering to our weakness: London Design Festival provides us with an opportunity for a tongue-in-cheek homage to the venerable and stoic tone to which we are indebted. Offering a mixture of vintage pieces, new finds and limited edition versions of familiar stalwarts, LABOUR AND WAIT BROWN will ‘pop-up’ for nine days in September on Calvert Avenue in Shoreditch; a short walk from our Redchurch Street shop.
LABOUR AND WAIT BROWN
16c Calvert Avenue,
London, E2 7JJ
12th - 20th September
Monday to Saturday 11.00am - 7.00pm
Sunday 11.00am - 5.00pm
In the Tour de France of the 1940s and 1950s, competitors wouldn't be seen without a metal 'bidon', the container that riders used to carry water.
The most recognisable bidon was Coloral, a fluted alloy bottle with a cork stopper and tooled cap signed off with a scripted logo. Riders didn’t just reserve them for bottling water, but also to preserve a simple blend of milk and sugar that kept energy levels high during competitions, and even wine when celebrating victories.
An original Coloral bottle
Despite its cult status, Coloral’s production dwindled and ceased completely in the mid-1950s due to manufacturing pressures.
For London Design Festival 2019 we are celebrating the reintroduction of this handsome, timeless icon. The reengineered Coloral bottle is upgraded using brushed, food-grade stainless steel. Its robust design is lightweight and compact, and its dimensions slightly tweaked to fit modern bottle cages.
It's a perfectly satisfying vessel for those not on two wheels, too- it has been vacuum insulated to keep cold drinks cool and your hot drinks piping hot, and there’s no plastic used in the flask or its packaging.
To celebrate this classic reborn, we have worked with Coloral to produce a limited edition of 100 bottles with a red seal, and will provide a free musette style bag with every bottle purchase. These will be available for the duration of London Design Festival, alongside a small exhibition of Coloral collateral in our Redchurch Street shop.
Saturday 14th - Sunday 22nd September
Cauldon Ceramics of Staffordshire maintain the tradition of red ware manufacturing and are the oldest remaining maker of the Brown Betty teapot. Together with designer Ian McIntyre they present this re-engineered edition. It includes the reintroduction of innovative precedents in the history of the pot: Alcock, Lindley and Bloore's 1920's patented 'locking lid' and 'non-drip spout' have been applied. A subtle tweak to the foot and neck of the pot now allows the lid to be inverted into the body, enabling it to be stored efficiently in the factory and stacked in cafes and restaurants. The new addition of a loose-leaf tea basket has also been added.Great care has been taken to respect the traditions of the Brown Betty, whilst implementing new production processes and design details. To re-style the pot, the designer felt, would have been a disservice to the years of refinement that have gone before. This latest edition is intended to promote the legacy and value of this everyday object that has transcended fashions and trends to become a reliable and dependable tool for millions around the world.The Re-Engineered Brown Betty Teapot is available to purchase on Saturday 15th September from our Redchurch Street shop and online later this Autumn.
The combination of the Rockingham glaze and the red clay was and still is fundamental to the success of the Brown Betty, prolonging the life of the object for its owner and, subsequently, through history.The Staffordshire clay used to make a Brown Betty was first refined in 1693 by Dutch brothers John Philip Elers and David Elers. The brothers emulated the fashionable and expensive Yixing teapots which had originally been imported from China by the Dutch East India Company. The refinement of the local red clay gave rise to a new era of technological experiment in Staffordshire, becoming a catalyst for the industrialisation of the six towns that now make up Stoke-on-Trent.
The process of design of the Brown Betty spans centuries. There is no single identifiable author and no single definitive version of the pot: it is an anonymous and evolved object. Over the years, Brown Betty has been through the hands of numerous makers, each producing their own interpretation, subtly refining and amalgamating new and original design details. The resulting teapot is a rational object stripped of anything superfluous to its function or production.
Although there is no definitive version, the manufacturers Alcock, Lindley and Bloore were responsible for cementing the archetypal features of the pot as we know them today. Some of the most recognisable features of the Brown Betty were combined during their production: the globe shape of their pot that is so efficient at infusing loose leaf tea, the roughly cut spout that breaks the flow of water, preventing tea from dribbling back down the outside of the pot, and the Rockingham glaze that concealed any dribbles that did, despite efforts, escape.
Brown Betty describes a type of teapot with common characteristics of red Etruria Marl clay, a transparent or dark brown Rockingham glaze and a familiar portly body. The ritual of tea drinking has remained largely unchanged for centuries. All over the world people choose a teapot as their preferred apparatus and the humble Brown Betty is often heralded as the archetypal example.
The popularity of the pot is proven in the quantity in which it has been made. By 1926 the Staffordshire pottery industry was making approximately half a million Brown Betty teapots a week. Despite this, surprisingly little is known about the object itself or its early history and design development. This affordable, utilitarian and unpretentious object has largely gone unnoticed, disappearing into the fabric of everyday life.
For London Design Festival 2018, Labour and Wait is excited to present the Re-engineered Brown Betty Teapot. The new teapot is the result of a three year research and development project by ceramic designer Ian McIntyre.
Ian has worked closely with Cauldon Ceramics of Staffordshire, the oldest remaining maker of the traditional Brown Betty teapot, to bring his vision to life. New production processes have been implemented and past innovations such as the ‘locking lid’, and ‘non-drip spout’ have been reintroduced.
The teapot incorporates a removable metal strainer for loose-leaf tea, whilst subtle adjustments to the foot and neck, enable the teapots to be stacked efficiently in the factory and subsequently in cafes and restaurants.
This re-engineered teapot retains the best features from the classic Brown Betty, and by virtue of its refinements, brings this everyday archetype up to a new standard of discreet functionalism.
The new teapot will be available for purchase in the shop from Saturday 15th September, and online later this Autumn.
London Design Festival runs from Saturday the 15th, until Sunday the 23rd of September. Ian will be on hand throughout Thursday 20th September, should you wish to meet the maker and discuss his creation.
Teapot image by Milo Reid
In celebration of the 100th anniversary of the first true ‘Perfect Mason’ jar, Ball have issued a limited edition Pint jar in the iconic aqua blue glass.
These Jars will be available in store and on our website from Design Week onwards.
For more information -