Ivy Makers Guild, Leathercraft, Northwest Cumbria

Our Makers

Our shop has an array of work on display from British Makers, showcasing their unique skills and passion for their craft.

Click the image to find out more about each one.

IMG Leather

ALBAT ROSS

Alby is a leather craftsman living and working in the Cumbrian town of Aspatria, where he creates handcrafted pieces through his shop, Ivy Makers Guild. Rooted in a deep respect for traditional craft practices, his work combines careful hand-finishing, durable construction, and thoughtful contemporary design. Every piece is made with responsibly sourced materials, reflecting a commitment to sustainability as well as longevity. Alby is often commissioned to make bespoke pieces, but is also regularly entrusted to the repair of cherished leather items belonging to the local, rural community, finding himself fixing anything from vintage Chevrolet car interiors, to belts, handbags and even sometimes shoes!

Before returning to his first love of leathercraft, Alby studied glass and ceramics at degree level, an experience that continues to influence his approach to texture, form, and materiality. This background brings a sculptural understanding to his leatherwork, balancing both traditional and modern techniques. At Ivy Makers Guild, Alby produces both classic and contemporary designs, from timeless everyday goods to more experimental pieces that explore the relationship between craft heritage and modern living. His practice reflects a belief that handmade work carries both character and integrity, connecting people more closely to the objects they use every day.

Helen Clues

Helen Clues is a mosaic artist living and working in Cumbria, England. She trained in Art & Design in Carlisle in the 1990’s where her passion for materials and processes began. Always searching for, experimenting with and combining different media. Her mosaic work is decorative and functional, using found, collected and traditional materials. Mosaics by their very nature can be heavy, Helen’s pieces are refined and delicate so reflecting the original objects that inspired them. Helen is represented by galleries throughout the UK and runs workshops encouraging others to explore their own creative potential.

Danny O'Connor

I work from my lifelong home in Cumbria, on the edge of the Lake District. All of my work is made in small batches, slowly, on a momentum kick wheel. This suits our quiet pace of life. Each making cycle has its own meditative rhythm. The work is glazed in the leather-hard state, sometimes the day after being thrown, ready to be put into the kiln. As the pots accumulate, a sense of anticipation begins to build, the firing drawing closer. It’s as if the volume begins to increase, slowly at first, but reaching a crescendo when the firing is at its peak. I choose to wood-fire my work, so each firing comes with its own challenges. Losses can be enormous. There are many, many ways to go wrong. The trick is to try not to repeat the same mistakes twice. An ample supply of seasoned wood is essential. Many of my days are spent processing fuel: cutting to size, splitting, carrying, stacking. Four tonnes at a time. The wood I use is offcuts from a local sawmill, a mixture of hardwoods from trees felled in the area. Every day is busy, and jobs are numerous, until the wood stacks are in good order and there are enough pots to pack the kiln. Packing normally takes two days; an achy affair, spent cramped in a kiln carefully positioning the pots from the back to the front, stacking the ware and heavy kiln shelves one on top of another. After that, the door is bricked up. Then dinner, then a good night’s sleep, then an early morning. Then stillness.

After all the work, a blissful feeling creeps in when you realise that all there is to do is tend the fire. It’s like I’ve stopped, properly, for the first time in months. This feeling normally lasts a few hours. A slow morning with plenty of tea and coffee, if the weather is kind. The peaceful feeling waves goodbye as the kiln grows hungrier, demanding more fuel and more attention by the hour. As the heat increases, anxiety builds. It’s generally easy to get a kiln to 1100-1200°C, but getting the final 80 degrees can be incredibly challenging. It can take hours. A slight alteration to the air intakes, the damper in the chimney, or the amount of fuel you stoke at a time can be the difference between getting to temperature or stalling out. My partner and I are the only ones firing these kilns, so after staying up all night, it can be very hard to keep a clear judgement of the situation. There have been times when we haven’t gotten to temperature at all. An entire month’s work and tonnes of wood can go down the drain, just like that. All because of a flaw in the kiln design, a lack of fully dry wood, or even inadequate weather conditions.

Despite these challenges, I will continue to wood-fire my work, as the process is too close to my heart, and the results speak for themselves.

The Kendal Soap Co

Hello, I’m Jacqueline.

The Kendal Soap Co. began in my home in the Auld Grey Town of Kendal, where I handcraft traditional cold process soaps in small batches using time-honoured methods.

Growing up locally, surrounded by fields and fells, I developed a deep respect for simple living and the natural world. Life on a farm taught me the value of hard work, quality ingredients, and doing things properly — principles that guide every bar I make.

Each soap is carefully formulated using thoughtfully chosen plant oils and butters, pure essential oils, and mineral-rich clays. I work in small batches to ensure exceptional quality, safety, and consistency.

My recipes are inspired by fell walks, fresh country air, and my own experience with sensitive skin. The result is soap that is gentle, nourishing, and made to be used and enjoyed every day.

All products are independently assessed and approved by a chartered chemist, ensuring they meet UK cosmetic safety standards.

Today, The Kendal Soap Co. is proud to be stocked in beautiful independent shops across Cumbria and trusted by customers who value traditional British craftsmanship and natural ingredients.

Thank you for supporting small, independent making.

Nikki Clark

From my studio in Gilcrux, West Cumbria, I make beautiful stained glass using traditional skills that haven’t changed much since Medieval times.

All my work is hand-crafted, thoughtfully designed and well made.

I use different techniques to embellish and bring interest to my work including paintwork and enameling and making my own kiln formed pieces.

It’s a magical process and I never get tired of seeing my designs come to life in such colourful and expressive ways.

As well as commissioned pieces, I carry out repairs , and restoration work.

Teaching stained glass is a wonderful way to help keep this heritage craft alive.

I hold workshops in my Studio, regularly teach stained glass at The Makers Mill in Keswick and Higham Hall College near Cockermouth, and offer one-to-one mentoring.

Lynda Vusthoff

I'm a Ceramic & Mixed Media artist, living in the North East of England who loves to work with clay & have been doing for over 30 years. I love the tactile qualities & creating in 3D.

I have a BA (Hons) in Designer Maker Glass & Ceramics from University of Sunderland.

My work explores new techniques & styles developing into beautiful statement pieces that are fabulous for your interior design. If you prefer something more quirky, look at my mugs & tableware.

You can find me in my studio shop at Milkhope Centre, Blagdon, Northumberland where I also have for sale the work of other artists & crafters.

Kelly Morris Photography

My photographic journey really began when rolls of film and the magic of a darkroom were the heartbeat of photography. Before the digital revolution!

I started this journey studying Fine Art at the University of Central Lancashire, immersing myself in the world of creativity with time-based media. It was there that I fell in love with the beauty of black & white photography, mostly, captivated by its ability to convey emotions and tell stories through light and shadow.

Heading into the world of digital, surprisingly to me, didn’t lead to digital photography but instead to 3D digital art and I joined the games industry as a 3D artist. Working mainly with Sony and the PlayStation game console.

Throughout it all, though, my love for photography remained forever a part of my life. Landscape photography took hold of me becoming my love and the best expression of my creativity. I wanted to create this website to showcase some of my best images from over the years, ones I am most proud to share with you all.

It’s my hope that as you explore my work and projects, you will feel a connection to one or two of the stories and emotions I've tried to capture through my photographic art. If any of my images interest you, please don't hesitate to get in touch. I would be thrilled to hear from you.