Cubitts — Cawley

Hannah Cawley’s work is rooted in natural materials, thoughtful making, and a deep appreciation for pieces that feel timeless rather than trend-led. Since founding Cawley in 2017, she has built a brand around fabric, feeling, and craft. Cawley has a small ready to wear collection and a larger collection which is made to order in the UK.

C: So, when did you start Cawley?

H: In 2017.

C: And how has it changed since then, and what's stayed the same?

H: I feel like, I mean, to me, it kind of feels the same. Obviously, it's on a larger scale than it was. But I think the inspiration still comes from the same things. We still work with the same manufacturers. Kind of like the ethos of the brand, using natural materials, making in the UK, all of that has stayed the same. I would say it's just, yeah, down to, like, the team growing really, and having more wholesale accounts and growing in that way, I'd say.

C: The brand has a very strong philosophy. Was it quite easy to maintain that as you've grown from just you in your bedroom to having a team of people?

H: So I think it started off feeling like there are kind of two sides to it. One was very, very utilitarian, making rain macs and things, with a more everyday feel. And then when it got to lockdown and I kind of... because I had a full-time job when I started for the first four years, which is how I had the money to do it. And then when COVID hit, because I was working in hospitality, I had to kind of... well, I couldn't get a job. So I had loads of time to experiment with things, and then the brand kind of took a different turn and went down more of a silk, kind of more evening wear, bridal kind of route. I feel like we've started doing bridal collections and things like that now. So I feel like the brand has changed in that respect a little bit. We still have both sides. So we have that really playful, creative, bridal side, and then we have the more everyday side.

C: Was there ever a piece of clothing at the start that really told you that this could become something really big, or really told you that you should put all your time into the brand?

H: No.

C: Okay. [laughs]

H: I just feel, I don't honestly know how it's 10 years next year. The first collection we did, I was like, "I want one stockist, and I'll be happy to get one stockist," and we did. And I kind of went into it, I guess, a bit naively, even, thinking we'd get one. But to actually get that was kind of insane. And then going past them, I was like, "I just wanna keep one stockist or get another one... I just wanna keep on that trajectory, really."

C: What does timelessness mean in this industry? You're very anti fast fashion. How do you think about designing clothes that are gonna last and be worn for a very, very long time?

H: I think probably less trend-driven. Because we look mainly at samples, and I mean, I've got quite an archive of old Victorian, Edwardian pieces. And I guess to me, that kind of feels more timeless because they're so old, and they're still appealing. And they kind of fit in that kind of more workwear side of things. Or you get some things with ruffles, and that fits more into the bridal element, you know? I think, for me, timeless is having fabrics that are natural and are gonna last, having things that are gonna age really nicely, like suede, sheepskin, and leather. It's more about the fabrications, really, rather than following trends.

C: You've spoken about influences from history. Was there a piece of clothing when you were growing up that got you interested in fashion?

H: I did ballet from the age of three until I was 17.

C: Oh, wow.

H: And my mum would make all of the costumes for that. So I guess there's that. There's always been a sewing machine going on, or, you know, mum making patterns or her making clothes or, you know. I think there are probably many items, really. [laughs]

C: Sustainability is a massive part of the brand. Try to source everything from natural materials, such as wooden buttons. How do you go about sourcing your materials?

H: So because we're not creating huge amounts of volume, because we don't really keep that much stock. So we're just buying the right amount of fabric to make the pieces for our wholesale accounts, and then we buy a little bit extra. You're really restricted by what mills you can buy fabric from because people have 300 metre minimums, and we never would reach that. So we've kind of found mills, and we still work with them, that we started working with when the brand started, basically. Most of them are based in the UK, but we buy a lot of fabrics from Japan. So we're working with mills that have low minimums, and they also specialise in 100% natural fabrics. So it's kind of just worked out that way, and it's quite amazing, really. I feel really lucky to have that long relationship with all of the people we work with.

C: And obviously, you're very proud to be made in the UK. I know from our experience, when you actually start looking around, there's still a lot being made in the UK.

H: Yes.

C: How important is it to keep making stuff in the UK?

H: I think it's really important. I mean, I'm from Stoke-on-Trent, which was once the pottery hub; things aren't really made there anymore. I think it's really sad that it's lost what it was known for. I think... obviously, I'm not saying that London's known for making clothes, but I think it's important for me to be as close to the manufacturers as possible. When I first started, it was about making things in the UK, but it was also about not having the money to travel to Portugal or, you know, wherever to go and check production and things like that, and I couldn't meet the minimums. So it is about making things in the UK and being close to the manufacturers to... you know, that's all I could really afford anyway.

C: You've gone into quite a lot of different forms. Pottery, playlists, clothes. What's the next medium, do you think?

H: [laughs] Oh, I don't know. I'm not sure. We've kind of started doing a little bit of jewellery, but just brooches. I would love to do more of that, but I have no background in how to do any of that. So I'd quite like to go and do a course, but it's finding the time. But that's probably an avenue that I would like to explore.

C: So tell us about the glasses. What's the inspiration behind their shape?

H: When I first started speaking to Tom, and had a meeting about making the shape, I just had a look for some vintage pairs of sunglasses. I was looking for inspiration, and the first pair that I saw, I just couldn't get out of my head. So I just sent him a picture of those, and only those, as a reference. And then he was like, "Yep, let's do something like that."

H: I guess the sunglasses are a bit, like, cat eye, really, aren't they?

C: And they're also quite like the Inuit snow glasses.

H: I feel like I've always been really drawn to that kind of shape of sunglasses. I don't really feel like I actually suit them. But I really like that shape. I really like how they're pointed, but then the inner bit is very round.

C: If someone comes across one of your clothes that does not know the brand, and they pick it up, and they put it on, what do you want them to feel?

H: Mm. Comfortable and like they don't want to take it off. A lot of people, because we take appointments in the studio, a lot of the people haven't actually seen the clothes in person before. I don't think you actually get a sense for how special the fabrics are until you see them in person. That's probably... obviously, we think a lot about the shape and the way things are finished, but fabric is really the core part of everything. That's always nice to hear when people say, you know, like, to really realise how special the fabric was, you know?