Is this a cushion I see before me?

It was an unwritten rule that at any vintage fair or decorative interiors event,  the number of cushions should at least be equal to the number of visitors in attendance.  In fact, so consistent was the anecdotal evidence on this matter, that a team of crack mathematicians at the University of East Russetshire were researching the phenomena with a view to publishing a learned paper with full stastical proof.  Visitors to any fair in Southern England pooh-poohed the need for such laborious investigation - they knew that cushion overload was a very real problem and that the evidence was clear to see to anyone with eyes.

Many stallholders saw running-up a few cushions as an easy way to utilise their limited sewing skills and to enjoy the creative process involved in machine sewing up four seams and inserting a zip, buttons or other more elaborate fastenings.  And cushions filled up stall space, were nice and easy to pack and transported squashed around less yielding goods such as rusted garden furniture or large woodwormholed cupboards.  Cushions could also be crafted from a limitless selection of otherwise unselleable textiles including old grain sacks; linen sheets too far gone to be repaired; distressed and fraying kelims and rugs; scrappy patchwork quilts; old woollen blankets made obsolescent by duvets and other sundry offerings.  In fact all manner of textiles, old and new, were being re-purposed into cushions to suit every taste and pocket.

The cushion genus took many forms.  In its lowest manifestation, the product would be fashioned from some rather poorly designed, garish and inevitably synthetic "vintage" print.  The envelope fastening indicated the lack of sewing skills of the novice maker - zips and buttonholes were simply a step too far.  Remnants of said fabric would then be turned into bunting - the edges pinked to save sewing and the flags tacked to bias binding.  The cushion pad would be polyester, with not a feather in sight.  However, the lure of the gaudy colours and bargain prices would be irresistible to cushion-hunting virgins, as yet unschooled in the whys and wherefores of prestige cushionery.  And how lovely to be able to buy matching bunting, too!

Further up the ladder of cushion acquisitions, the more savvy buyer would seek out classy numbers featuring a combination of aged linen, patched with a favoured designer fabric.  The mid-range status cushion would be one that boasted old soft linen, adorned with a scrap of Cauliflowers & Posies "Faded Floribunda" range.  The canny cushion crafter would ensure that every leftover scrap of this "Faded Florrie" would be utilised for heart-shaped lavender bags; tiny, unusable pencil cases and miniscule make up bags.  The correct response of the afficianado, on seeing such a cushion, would be a series of small shrieks and moans, "Oh, oh, oh....look at that darling cushion - that gorgeous material....it's sooooo pretty!".  And as the process of making a cushion was not dissimilar to making a shoulder bag, the stall would also proffer a range of bags, similarly decorated with scraps of the desired fabric.  No cushion on this stall would be supplied with anything less than a feather pad.  The cost of such padded perfection was eye-wateringly high, but each buyer would be convinced of its uniqueness and beauty.  Quibbling husbands who were suffering from cushionitis would oft be heard objecting - "Not Another Cushion". Naturally, their wives would ignore such petulant grumbles.

The pinnacle of cushion excellence was rarely to be found amongst the sea of cushion mediocrity or downright ugliness.  However, the hawk-eyed cushion doyenne would be able to spot a glimpse of vintage Sanderson or finest crewel work at a thousand paces.  Like a bloodhound on a human trail, said doyenne would hone in on the stall where such precious bounty was to be found.  Cushions of this calibre involved a series of challenges that would put the labours of Hercules in the shade.  Firstly, the vintage Sanderson, faded Victorian patchwork and ragged samplers would be tracked down at obscure country auctions or specialist and inaccessible textile fairs.  The exquisite antique linen backing material would be sourced from France, via a specialist dealer who was a "dear, dear friend" of the cushion artiste; maker would be too lowly a title for such dedication and creativity.

Each cushion was a work of art, repurposing the fragile and the frayed into an object of loveliness. As the artiste's skill level was on a different plain to the average cushion crafter, further customisation ensued involving monogrammed initials cut from old French smocks and chemises, tiny mother of pearl buttons, hand sewn ruffles and frills and exquisitely embroidered flourishes.  The completed artefact would be worthy of a showcase at the World Heritage Cushion Museum, if such a place existed.  This cushion was the creme de la creme, the piece de resistance, the Cushion Olympics Gold Medallist.

Such loveliness would come at a massive price - but the salivating cushion addict would loudly justify her purchase to anyone within earshot.  ""Well, it is my birthday in four months' time and Jasper can give it to me for my house present". Reverently, the artiste would place her masterwork, enveloped in acid-free tisssue paper,  into a large white carrier bag, rope-handled, of course.  With equal reverence, the cushion was borne away by its disciple and driven with great care to its final resting-place.  Once there, the cushion was unveiled and threats issued to anyone who sat, leant, slept or ate anywhere in its vicinity.   After all, you would not go to sleep or eat your supper by the Mona Lisa.  Jasper was none too pleased about the Queen's Ransom that he was expected to stump up for this early birthday present - he knew that this would soon be forgotten and that further gifts would be required for the Big Day. 

The lone wolf - the male stallholder

All the vintage ladies loved Inigo, who was often the sole representative of his gender trading at The Vintage Loveliness market.  Whilst Inigo was quite clearly gay, and as camp as a row of tents, his predilection for outrageous statements, caustic asides and  flirtatious charm was irresistible to all but the most diehard prude.  As thin as a whip, Inigo dressed as a countryman in cords, Viyella checked shirts and a dashing cloth cap.  His summer garb consisted of a crumpled linen jacket and trousers - he would never, ever, be seen wearing a  T-shirt.  His only concession to modernity was his ancient mobile phone - a computer was beyond him. 

On arrival to set up, Inigo would be showered with kisses - "both cheeks please" and given a hero's welcome as his adoring public trilled at his every bon mot.  Inigo's aesthetic sensibilities were finely honed and he would often suppress a shudder at the sight of poorly laid out stock.    He was a self-confessed design snob and with his background in Fine Art, his taste was exquisite if somewhat left field.  Not for him the cluttered table, loaded with motley bric-a-brac or splashily painted bits of "upcycled" furniture.  Often, his stall would feature just a few beautifully styled objets d'art - quirky, unique and electic were his watchwords.  Or, he would delve into his trove of old textiles and pile up museum quality antique French toile de Jouy, English damasks and brocades, butter and coffee-coloured linens, Japanese kimonos and Indian hemp sacks.  The buyers would fall upon his stock like hungry dogs and he would often sell out within the first hour, much to the envy of his fellow traders.   He was deliberately vague about his sources and no-one had ever seen him at any local auction or boot sale, despite vigorous interrogation by his peers.

Despite his easy charm, Inigo was a man of mystery.  No-one quite knew how he survived between each vintage fair - he had no other obvious source of income nor admitted to having any kind of job.  It was only known that he lived in a converted coach house, attached to the side of the largest Victorian house in the village with his aged mother, Venetia.  Rumour had it that Venetia had been an Actress and a Beauty in her time and Inigo was her only child, the product of a short liaison with a famous director.  Unable to escape her talon-like clutches for a more conventional suburban existence, "dear, precious Inigo" was firmly attached to his mother's apron strings.   Venetia claimed that he was the only one who understood her artistic sensibilities and ensured that he was never able to leave to create an independent life.  This quite suited Inigo, who having tried a career in a leading auction house, had never quite recovered from the experience.  And as
his mother had spent her life acquiring beautiful antiques and had a wardrobe packed with designer fashion from the 50s onwards, there was no shortage of stock for his little business. 

Having sold out early on, Inigo would spend the rest of the day flitting between the over-loaded stalls, gossiping with his special ladies and then would disappear for a couple of hours to the local pub.  He stayed well clear of the posse of husbands staking out the tea room - he was unwilling to be drawn into discussions of cricket scores or politics.  Instead, the landlord of the Hedgehog and Shovel would pour him a large G&T and he could catch up on village gossip.  And as the pub was a "Venetia Free Zone", he was safe for a few hours from his demanding parent.