Monday, August 24, 2009

Orwell's tips for perfect tea.

A Nice Cup of Tea
By George Orwell
Evening Standard, 12 January 1946.


If you look up 'tea' in the first cookery book that comes to hand you will probably find that it is unmentioned; or at most you will find a few lines of sketchy instructions which give no ruling on several of the most important points.

This is curious, not only because tea is one of the main stays of civilization in this country, as well as in Eire, Australia and New Zealand, but because the best manner of making it is the subject of violent disputes.

When I look through my own recipe for the perfect cup of tea, I find no fewer than eleven outstanding points. On perhaps two of them there would be pretty general agreement, but at least four others are acutely controversial. Here are my own eleven rules, every one of which I regard as golden:

* First of all, one should use Indian or Ceylonese tea. China tea has virtues which are not to be despised nowadays — it is economical, and one can drink it without milk — but there is not much stimulation in it. One does not feel wiser, braver or more optimistic after drinking it. Anyone who has used that comforting phrase 'a nice cup of tea' invariably means Indian tea.

* Secondly, tea should be made in small quantities — that is, in a teapot. Tea out of an urn is always tasteless, while army tea, made in a cauldron, tastes of grease and whitewash. The teapot should be made of china or earthenware. Silver or Britanniaware teapots produce inferior tea and enamel pots are worse; though curiously enough a pewter teapot (a rarity nowadays) is not so bad.

* Thirdly, the pot should be warmed beforehand. This is better done by placing it on the hob than by the usual method of swilling it out with hot water.

* Fourthly, the tea should be strong. For a pot holding a quart, if you are going to fill it nearly to the brim, six heaped teaspoons would be about right. In a time of rationing, this is not an idea that can be realized on every day of the week, but I maintain that one strong cup of tea is better than twenty weak ones. All true tea lovers not only like their tea strong, but like it a little stronger with each year that passes — a fact which is recognized in the extra ration issued to old-age pensioners.

* Fifthly, the tea should be put straight into the pot. No strainers, muslin bags or other devices to imprison the tea. In some countries teapots are fitted with little dangling baskets under the spout to catch the stray leaves, which are supposed to be harmful. Actually one can swallow tea-leaves in considerable quantities without ill effect, and if the tea is not loose in the pot it never infuses properly.

* Sixthly, one should take the teapot to the kettle and not the other way about. The water should be actually boiling at the moment of impact, which means that one should keep it on the flame while one pours. Some people add that one should only use water that has been freshly brought to the boil, but I have never noticed that it makes any difference.

* Seventhly, after making the tea, one should stir it, or better, give the pot a good shake, afterwards allowing the leaves to settle.

* Eighthly, one should drink out of a good breakfast cup — that is, the cylindrical type of cup, not the flat, shallow type. The breakfast cup holds more, and with the other kind one's tea is always half cold before one has well started on it.

* Ninthly, one should pour the cream off the milk before using it for tea. Milk that is too creamy always gives tea a sickly taste.

* Tenthly, one should pour tea into the cup first. This is one of the most controversial points of all; indeed in every family in Britain there are probably two schools of thought on the subject. The milk-first school can bring forward some fairly strong arguments, but I maintain that my own argument is unanswerable. This is that, by putting the tea in first and stirring as one pours, one can exactly regulate the amount of milk whereas one is liable to put in too much milk if one does it the other way round.

* Lastly, tea — unless one is drinking it in the Russian style — should be drunk without sugar. I know very well that I am in a minority here. But still, how can you call yourself a true tealover if you destroy the flavour of your tea by putting sugar in it? It would be equally reasonable to put in pepper or salt. Tea is meant to be bitter, just as beer is meant to be bitter. If you sweeten it, you are no longer tasting the tea, you are merely tasting the sugar; you could make a very similar drink by dissolving sugar in plain hot water.

Some people would answer that they don't like tea in itself, that they only drink it in order to be warmed and stimulated, and they need sugar to take the taste away. To those misguided people I would say: Try drinking tea without sugar for, say, a fortnight and it is very unlikely that you will ever want to ruin your tea by sweetening it again.

These are not the only controversial points to arise in connexion with tea drinking, but they are sufficient to show how subtilized the whole business has become. There is also the mysterious social etiquette surrounding the teapot (why is it considered vulgar to drink out of your saucer, for instance?) and much might be written about the subsidiary uses of tealeaves, such as telling fortunes, predicting the arrival of visitors, feeding rabbits, healing burns and sweeping the carpet. It is worth paying attention to such details as warming the pot and using water that is really boiling, so as to make quite sure of wringing out of one's ration the twenty good, strong cups of that two ounces, properly handled, ought to represent.

(taken from The Collected Essays, Journalism and Letters of George Orwell, Volume 3, 1943-45)

Sunday, August 23, 2009

Wuthering Heights

Emily Bronte’s Wuthering Heights is my favourite novel. Charlotte Bronte’s Jane Eyre is perhaps a close second. That probably says a lot more about me than it should.

Last Thursday I went on my second visit to the Bronte family home in Haworth, Yorkshire. There were several reasons for this return visit. Firstly the museum is currently home to a collection of photographs by artist Sam Taylor-Wood entitled Ghosts, inspired by Wuthering Heights and shot on the moors above the house. Secondly, the house currently showcases a selection of stunning costumes used in the forthcoming ITV adaptation of Wuthering Heights, to be broadcast at the end of this month. And finally, I had been desperate to go back to Haworth and explore the winding windy moors the Bronte sisters found so inspiring, and on which Cathy Earnshaw spent so much of her life. The house itself is now home to the Bronte society and has been lovingly restored back to how it was when the family lived there, complete with original furniture and possessions. One of the most moving pieces in the house is the sofa on which Emily died in 1848, refusing to admit she was ill until her last breath and aged just 30.



I was really excited by the costume exhibition which features outfits worn by Cathy, Heathcliff, Isabella, Catherine and Hareton. The dresses worn by Isabella and Catherine Linton were white with pastel decoration and reminded me more of nightwear than day dresses. In complete contrast Cathy’s wardrobe was bold with stark natural tones and seemed to blur with the seasonal metamorphosis of her outdoor environment. Her dark blue dress and orange jacket with back ruffles was my favourite ensemble but as photography isn’t allowed inside the house, you’ll have to watch the film to see its beauty.

Tuesday, August 04, 2009

Lace collar



There’s one thing that is always present in photographs from my Grandmother’s youth. Lace collars adorned her neck and those of her friends on an almost daily basis, accompanying everyday smocks and Sunday bests. Constant comparisons to my Grandmother and her sister, coupled with my love of all things lace and crochet, led me to Ebay and this perfect vintage Nottingham lace collar.

Sunday, August 02, 2009

Lark & Wolff

UO’s designer collaborations aren’t always something to get excited about, but sometimes, just sometimes, something comes along that’s a little bit special. Earlier this year I was in love with the simplicity of Kim Gordon’s line Mirror/Dash and now I’m head over heels again, this time for Lark & Wolff by Steven Alan. I’m not terribly familiar with Alan’s clothes but after reading his own collections described as artfully dishevelled classics, I was immediately inspired to discover the UO collaboration pieces. Lark & Wolff is everything I look for in clothes; simple, short lengths, dark colours, plaids, stripes and ruffles. Modern collides with vintage and scatters all over the past century. Or as UO put it, contemporary style through a vintage lens.





I bought the blue apron dress when it went on sale and just adore it. My next purchase was going to be the navy dress but unfortunately it’s already sold out in xs. I can't wait to see what comes next.