It was a dark wet night, and every
surface reflected the illuminated theatres, picture houses and
department stores. Despite the Depression the West end of London was
electric. Peering through the glittering raindrops on the cab
window, she could feel the excitement of the city she had grown to
love in the few years since she first studied in it. She relished
her long days at the trade shows and the evenings enjoying all
London had to offer. The city was almost a second home to her. At
first she had found it overwhelming compared with the Potteries, but
now enjoyed her weeks in the capital almost as much as her quiet
weekends walking in the Staffordshire countryside. She was beginning
to appreciate her good fortune. The unexpected success of
Bizarre had opened up her career as a busy designer and she
was not going to let her natural reserve interfere with her
ambition.
Clarice glanced across the cab at the mature but handsome face of
Colley Shorter. In the Potteries he was renowned for his tough
approach to business but he had never been able to maintain that
façade with Clarice. His works manager had first drawn her to his
attention and Clarice had soon become, in his eyes, more than just a
designer. Her approach to her work was unlike that of anyone else in
Stoke-on-Trent and she had caused him to revolutionise his ideas.
Such was the chemistry between Clarice and Colley that whereas the
other potbanks struggled to survive the Depression years, their
factory thrived. Inevitably, Colley Shorter had felt drawn to the
woman who was seventeen years younger than him. Their shared success
enabled them to go away regularly to London. The promotion of her
Bizarre ware gave them numerous opportunities to enjoy all
the capital had to offer. This evening he was treating her to
dinner, and dancing to the Harry Roy Band!
When they arrived at the Café de Paris Clarice was helped
from the cab by a top-hatted doorman. She glanced back from Colley
to the brightly lit portico of the building. Colley took her arm and
steered her through the foyer where the warm aroma of tobacco and
scent greeted them. Her fur wrap was taken and she went to the
powder room where she adjusted her hair and make–up. Looking at
herself in the mirror, she could still not really believe that this
was her: Clarice Cliff in London with the boss of the factory she
had joined as a lithographer in 1916. She took a small elaborate
glass bottle from her purse, dabbed an oriental fragrance onto her
wrists, and then headed back to the foyer. Colley beamed at her as
she approached. Being much taller he always seemed so completely
confident, and she was glad of his arm on hers as they entered the
ballroom.
A mass of tables surrounded the dance floor, mostly with just a
couple at each, and the hubbub of conversation and cigarette smoke
filled the air. Many of the women were wearing the longer slinky
dresses that had recently become fashionable; all the men were in
evening dress. A stage with iridescent curtains was at the opposite
end of the room. An attentive maitre d’ seated them at a ‘reserved’
table. Clarice’s only trip overseas had been to Paris and her
knowledge of the language did not extend to food so Colley perused
the French menu and ordered for them both. Soon they were enjoying a
cocktail and Colley listened as Clarice talked about her latest
ideas. Colley was extremely interested in art and design, and
although more conservative in his tastes than his protégé, was
continually impressed by her ideas. Bizarre ware had become a
shared passion: for Clarice it provided endless scope for her
imagination; for Colley marketing it challenged his promotional
skills. By cleverly basing the promotion around Clarice’s
distinctive name which people now associated strongly with her
innovative pottery Colley’s intuitive belief in her work had been
totally justified. Their reward was these enjoyable evenings
together in a world very different to a canal-side factory in
Burslem.
They became aware of a couple approaching their table. Clarice
looked up and did not recognise them, but the woman looked at Colley
knowingly, and inspected her in a polite way. Always extremely
well-mannered, Colley was instantly on his feet, greeting them.
Turning he said. ‘I do not think you have met Miss Clarice Cliff,
but I am sure you have heard of her?’ Clarice, was momentarily
disarmed. The woman reached out to shake her hand, ‘Pleased to meet
you Miss Cliff, I’m Elsie Havenhand, and this is my husband Sydney.’
And suddenly it dawned on Clarice that Elsie was a friend of
Colley’s wife, Annie!
Elsie Havenhand had been taken aback to see Colley when she
walked into the room and had for a moment thought it might be
diplomatic to leave. However, recognising Clarice Cliff from
photographs she had seen, she could not resist insisting to her
husband that there was no reason why they should not join the other
couple! More meals and drinks were ordered and then their
conversation turned first to the economy. Both Sydney Havenhand and
Colley Shorter were in fortunate positions during the Depression.
Colley had Clarice’s very successful Bizarre ware and Sydney was
making a fortune from his wireless receiver business. He was in
London for a trade show, much like the ones Clarice and Colley
organised to promote their pottery, so the two men had a lot in
common and were soon talking about finance.
Elsie Havenhand engaged Clarice in conversation. Clarice spoke
about her six brothers and sisters who were all still in Tunstall,
but she did not mention that she now lived alone in a flat in
Hanley. Even in the ‘new world’ of the thirties such things were
still not spoken of in the Potteries. What really broke the ice,
though, was when they discovered that they had both chosen the
Café de Paris that evening because they wanted to hear the
Harry Roy Band! Elsie decided that despite all the rumours about
Colley and his designer she quite liked her.
As they ate, the conversation began to flow a little more easily.
Clarice was a great fan of the ‘wireless’ and already had one in her
flat. She listened attentively as Sydney Havenhand described the
newest models. Then, looking at an elaborate decoration in the
centre of their table, Sydney said, ‘Miss Cliff, you should design a
centrepiece that reflects the Jazz Age theme of this club!’
He knew she made many pottery novelties and it struck him as a good
commercial idea. Clarice smiled, thought for a moment, and said,
‘What a jolly good idea! Actually, Mr. Havenhand, your company might
also benefit from such a novelty, perhaps as a display item beside
wireless sets to catch the eye of shoppers!’ They were all amused by
the idea of Jazz Age ornaments, and before they realised it,
they were all talking animatedly together.
As they finished their meal the compere appeared on stage to
introduce the band. The curtains parted to reveal a pianist, a small
brass section, guitarists and a drummer, all splendidly bedecked in
evening dress. Soon both couples were on the polished wooden dance
floor and Clarice had resolved the idea for a set of figures dancing
to a Jazz Age quartet….
(Image courtesy of the CCCC Archive. Text
of 'Art of Bizarre' courtesy Chrysalis/Pavilion Books and
Leonard Griffin. Thanks to Bryan Havenhand for the details of his
parents meeting with Clarice and Colley, as related to him by his
mother. Copyright 1999/2007)
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