Shepherd's Bush Market: From Molly Goddard to The Who…
An Exploration into West London's Rich Textile History
Words & Interview by: Rebecca Jones
Images Courtesy of: Purple PR
Time, as a phenomenon, is profoundly intriguing, it invites us into a deeper reflection - taking shape as an abstraction, and then morphing into a framework used to comprehend the intricacies of the human experience. Memories, and it’s labyrinthine relationship with time, can alter our perceptions. For some, a moment from twenty years ago can seem as if it transpired only a few seconds ago, while an event from yesterday may feel as distant as though it occurred two decades ago. London appears to be one of those cities where a perplexing sense of nostalgia is etched into its very fabric. Despite its constant evolution, certain areas seem to resist the relentless tide of change, preserving their essence over time—Shepherd's Bush Market being a notable example.
From Ellis’ Pet Store to Laura’s Fruit and Nut Case, the hundred and ten-year-old market is home to an eclectic collection of traders and offerings. Particularly remarkable is its rich array of fabrics and textiles, which continues to captivate visitors with its diversity and historical significance. Textiles have long played a central role in the history of Shepherd’s Bush, with Classic Textiles being one of the earliest and most renowned, their fabrics famously featured in productions such as the Harry Potter franchise and Strictly Come Dancing.
Adding a fresh dimension to this legacy is Pigment Press, a creative studio run by artists who have designed prints for iconic British brands like Burberry. The studio celebrates the art of printmaking and silk screen painting, while the surrounding fabric and fixture stores maintain the tradition of providing affordable materials for all, sustaining the market’s long-standing connection to textile craftsmanship.
To gain deeper insight into the intricate history of Shepherd’s Bush Market and its enduring relationship with the fabric and textiles industry, I had the privilege of speaking with Steph Dye, the Head of Marketing and Communication.
Rebecca Jones: What makes Shepherd's Bush Market a special place for fabric and textile shopping compared to other markets in London?
Steph Dye: I think it’s mainly the diversity of the market. Fabrics and textiles - whether you choose them or wear them - play a significant role in how you want to be perceived by others. They are one of the best ways to showcase your culture and identity. I believe there is a parallel between this and how the market operates. The market is a place where you can feel a part of a culture and share in that identity. So, when discussing what makes the market special from this perspective, it’s that sense of belonging or the freedom to be completely different and do your own thing. It's like the market life itself, where you might not want a traditional 9-to-5 job; instead, you choose to run a small business, and that’s what markets are all about.
RJ: Can you talk about the impact of the University of the Arts London on the market, and how students have historically engaged with the market for their creative projects?
SD: What I find interesting about this is that Lime Grove in Hammersmith was home to the Arts and Crafts school, which opened in 1909. At that time, they focused solely on architecture and sculpture. Then, in 1914 - the same year the market was launched - they opened a trade school for women. There's an interesting parallel between these events, especially when you consider the market and local areas as sources for fabrics. From there, people have continued to engage with the market, largely because it's a cost-effective place to buy fabrics. Markets are fascinating places for inspiration. For example, Molly Goddard came to the market for inspiration, drawn by the vibrant colours and textures.
RJ: All the materials of the market are breathtaking, you can see all the different cultures embedded within the market, in particular the Arab community. So, what role does the community aspect of Shepherd's Bush Market play in the creative process for designers and artists?
SD: Returning to my original point about culture and identity, the market is truly a melting pot of people from various demographics. Coming to the market gives you a strong sense of self and place; it’s easy to find inspiration in what can be considered a second home. It’s a place where you can encounter familiar sights from your upbringing or even from another country you’ve come from, all in one space. It’s wonderful to feel connected to the community, as markets have traditionally been more than just places to shop - they've always been meeting places as well.
RJ: With the rise of sustainable fashion, how do you see the market adapting to new demands for environmentally friendly materials?
SD: At the moment, we are going through a part of the planning process to refresh the market. It has been running for a hundred and ten years, so there are many things that need updating and upgrading. As part of this development, we're introducing a new structure called the Old Laundry Yard, which will be located just to the side of the market. This space will host a life sciences collaboration with University of the Arts London. We hope they will bring some of their innovations in fabric development to the market, eventually using it as a place to showcase these new creations. Additionally, the market has a history of specialising in leather goods, and with the rise of vegan leather, it would be great to build upon that history while giving it a fresh, modern look.
RJ: How does the legacy of places like Classic Textiles and Pigment Press contribute to the market's reputation as a hub for fashion and textiles?
SD: They represent two interesting, and almost contrasting, aspects. Classic Textiles bring history and legacy, preserving the passion and heritage that Shepherd’s Bush Market is known for. On the other hand, you have Pigment Press, which introduces a fresh perspective and something new to the market and local area. They bring in new practices, trade, and craft, creating a dynamic blend of the traditional and the innovative. This juxtaposition is what I find fascinating about markets - they bring together diverse elements into one big melting pot.
RJ: Can you discuss the importance of affordable materials and resources available at Shepherd's Bush Market for emerging designers and students?
SD: This brings us back to the industrial aspects of markets and the concept of making do and mending. For students, having access to affordable fabrics is essential, and for a few years, this accessibility was somewhat diminished by the rise of online businesses. However, I don't think you can truly replicate the experience of working with something as tactile as fabrics through a screen. Creating clothing requires testing, feeling, and being immersed in the material. It’s an art form, a visual experience, and not seeing it in person makes it much more challenging.
RJ: How do you envision the future of Shepherd's Bush Market, especially in terms of balancing its rich heritage with modern innovations in fashion and textiles?
SD: The market today is much the same as it was hundred and ten years ago. We have always retained many of the same traders, and some of the original businesses are still operating today. Our goal is to preserve that image of the market. It’s remarkable that you can still walk through a place that looks the same as it did over a century ago - something that’s rare in London today. Our aim is to future-proof the market so that, hundred and ten years from now, it still retains its character and core group of traders. While there will be a few additions here and there with new developments to support the market, the intention is to keep the market fundamentally the same. Fabrics, in particular, will always have a massive legacy here.
