Where do Kiltmaker's Learn Their Craft?

[GlassMan]

Owning a USA Kilt premier and a Scottish Handsewn 8 yarder from Hector Russel, I can say that there is very little difference in the quality of the finished product between the two. There are minor points here and there, but I'm just as satisfied with each and the price I paid for them.

In a way, much the same question can be applied to my vocation, stained glass. (I consider stained glass a calling and not simply a job.)

There are all sorts of ways that people who make stained glass for profit have come to the profession.

Some are self-taught, although since it is much harder to reverse engineer stained glass without completely destroying the handwork before you can even see what was done they tend to not be as good.

Others have taken a class or two at their community center and then practised a lot on their own prior to getting started professionally.

Most have apprenticed under another artist. But this has different meanings. In the US and much of Europe this means being hired by one of the large studios and slowly over time learning each step of the process, since most studios make panels on something like an assembly line (there are glass cutters, leaders, solderers, mudders, etc) and only near the end of their career are they fully skilled in all facets of stained glass making. I apprenticed under an independent artist who taught me the steps in a more holistic manner since there wasn't a huge staff and the ability to specialize a worker on a single aspect of a project for years. Some of these apprenticeships are now part of a Apprenticeship program sponsored by the Stained Glass Guild of America, but not all of them. Being part of that program simply means that the apprenticeship is certified as following their guidelines. Some of the best large studios don't bother to pay the SGAA the large annual payment for the certification of their apprenticeship programs.

Finally, there is one rather famous stained glass artist (who shall remain nameless) who has created her own certification process. She gives classes to would-be instructors and then declares them certified (she's the one issuing the certification and not any governing body or standards body of any kind) and those "certified" instructors with a couple of weekend seminars under their belts are out there teaching students and issuing them "certifications" as glass artists after a few weeks of classes.

The SGAA apprenticeship certification already seemed questionable to me, but that last "certification" process is truly sketchy.

Thankfully, for stained glass there has been an attempt to cut through the confusion. The SGAA has a tiered membership that is not just based on cost. For the higher membership levels your work must actually be reviewed by a panel of your peers and art experts before you can be invited to membership at that level.

[way2fractious]

I've asked the same questions as Riverkilt of two kiltmaking members of this forum, and had conversation with a local professional kiltmaker. And in August I'll have another opportunity to explore these subjects with Barb's co-author, Elsie. Here is my synthesis from all these sources:

Kiltmaking evolved from "do-it-yourself in your cottage" into a craft guild which required a period of apprenticeship to learn the various steps and techniques. As with everything, quality counted in order to retain membership in the guild and, more importantly, a satisfied customer base. The large mills of today require their "stable" of kiltmakers to meet certain quality standards, and are essentially "auditioned" before being employed by submitting samples of their work. If a kiltmaker's work becomes sub-standard, the mills will not send them work.

Without a formal, regulated apprenticing system, how does one learn the trade? (1) Barb told you her path. (2) Another told me he informally "apprenticed" for about a year under retired kiltmakers from a large Scottish firm, but who were re-employed in the USA in other related work. (3) Another told me about flights to Scotland for extended periods of training that consisted of deconstructing other's kilts, sewing one's own kilts and submitting them for examination and critique. He commented that the results of a submission were merely a "pass", or a "fail" without any clue of deficiencies noted. (4) Kathy Lare proudly cites (and rightly so) her credentials regarding training.

Two camps of kiltmakers emerge: those who are self-employed, and those who are employed or contracted by other businesses. The second group must abide by certain standards, or lose their livelihood. These standards include not divulging certain trademarked sources, techniques, specialties, or other "company secrets."

If a kiltmaker retires, and after their non-disclosure clauses lapse, they and the other self-employed may teach as many others as they wish how to make kilts. Those who still need to make a living with kiltmaking may be less inclined to share such knowledge widely, but the part-timer, the hobbyist, the "enthused" (as Riverkilt puts it) can and do share their expertise (thanks again go to Barb amd Elsie.)

My conclusion is that the limiting factor to learning kiltmaking is NOT on the supply side (training opportunities), but on the demand side (how strongly does one want to learn it.) How much time, money, and focus does one wish to invest? That's the question of life: it applies to martial arts, stained glass, musical instruments, building hotrods, seriously collecting anything, learning history, flying airplanes, tying flies, or (_enter your passion here_)... the list is endless.

[A Hay]

A length of cloth, some thread, simple tools along with knowledge and passion and the pieces come together into a useful and beautiful garment.

I've enjoyed this thread very much. I have always admired those with manual talents and skill and the perseverance to stick to a task until it is competently completed.

My hat is off to those of you who take up the challenge of kiltmaking. Your passion shines through.

Best wishes,

Tom