
Artwork featuring JK Rowling's name taken off display to stop ‘tampering'
Visitors who went to Hardwick Hall in Derbyshire between April and November 2024 were invited to nominate a 'contemporary Virtuous Woman', whose name was then sewn into the fabric.
Since the project ended, the participatory artwork, A Virtuous Woman, has continued to be on display, featuring Rowling's name which was at an unspecified time 'stitched over by other participants'.
Injustice to JK Rowling corrected.
Don't erase the names of women from art or life. #TerfsDidThis @LightninLex – perfect wingwoman as always. pic.twitter.com/hSf4t09GoZ
— Jean Hatchet (@JeanHatchet) May 31, 2025
Last week on X, feminist campaigner Jean Hatchet said she had 'corrected' the work by taking off the stitching over Harry Potter author Rowling's name.
It follows criticism of Scotland-based Rowling's views on gender issues that have seen her called transphobic by activists, which she has denied.
A spokeswoman for the National Trust said: 'The artwork was open to contributions for eight months and closed in November when the piece was finished and put on public display.
'During the participation phase, JK Rowling's name was stitched onto the piece seven times and in two instances it was stitched over by other participants.
'At the time the artwork was completed and subsequently hung, JK Rowling's name appeared five times without any overstitching.
'We ask people not to damage or tamper with artworks once they are finished and on public display.
'The piece has been taken off display for investigation and to protect it from further tampering or damage. We take all claims and incidents of damage to items in our care seriously and investigate each one.'
Ms Hatchet criticised the response from the National Trust, saying she removed the 'stitching with the correct tool', took 'great time and care', and did not damage it.
The stitched names of British queens, artist Yoko Ono, former prime minister Baroness Margaret Thatcher, climate campaigner Greta Thunberg, and Taylor Swift among others appear not to have stitching over them on the recycled textile.
The work comes from artist Layla Khoo in association with the University of Leeds and National Trust, and is inspired by wealthy Elizabethan woman Elizabeth Talbot, known as Bess of Hardwick, commissioning a series of large embroideries featuring noble women from the ancient world, such as Cleopatra.
Any contributions to the piece have been made by those who chose to take part. None of the views expressed or actions taken by participants represent the views of the National Trust, the artist or the University of Leeds. (3/3)
— National Trust (@nationaltrust) May 25, 2025
The trust had previously responded to criticism from the organisation, Women's Rights Network Derbyshire and Staffordshire, who advocated for 'a simple addition to their description', with a statement explaining why the crossing-out stitching on Rowling's name remains.
Responding on X, the trust said that it is a 'collaborative piece of art formed of participants' views from a variety of age groups, life experiences and beliefs', and 'any contributions to the piece have been made by those who chose to take part'.
'None of the views expressed or actions taken by participants represent the views of the National Trust, the artist or the University of Leeds,' the organisation said
Ellie Evans, from WRN Derbyshire and Staffordshire, criticised the artwork being covered up, saying the move would 'erase all the women'.
Rowling declined to comment.
Khoo and the University of Leeds have also been contacted.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Metro
an hour ago
- Metro
The new Mango collection screams summer dressing - all we need is warm weather
Metro journalists select and curate the products that feature on our site. If you make a purchase via links on this page we will earn commission – learn more Mango has collaborated with some big names in recent years, including Victoria Beckham, and now British-Indian designer Supriya Lele. The new collaboration is giving us all the summer vibes as it features bold silhouettes, feminine cuts, sheer fabrics, as well as a blend of neutral tones and pops of vibrant colours. The website reads: 'In this collaboration with the renowned British-Indian designer, the dreamlike essence of warm summer nights in the city sets the stage for a contemporary tapestry where diverse influences merge. The collection reflects Supriya Lele's vision of femininity – bold and unapologetic – through sheer fabrics, statement dresses, sensual detailing, and a vibrant palette.' Sheer skirts have been hugely popular in recent months, so we are pleased to see the collection include the on-trend design in a puddle maxi skirt, as well as maxi dress. With the summer holidays just around the corner, the selection of standout swimwear is a must for an upcoming vacation. More Trending Plus, the collection features modern twists on classic staples, such as cut out leggings, ruched mini dresses with layered detail, or feathered hemlines. Whether you are shopping for new wardrobe staples, such as leggings, tank tops or evening-appropriate body suits to pair with jeans or trousers, or you are shopping chic eveningwear for any lavish events, this collection has it all. From clothing to footwear and accessories, Mango has covered all bases with its latest collection. We have curated our favourite picks below to help with your shopping spree. The capsule is limited edition, and only available to shop exclusively from Mango. This glamorous dress is red-carpet worthy. Crafted from polyester, with a polyester and elastane lining, this maxi dress drapes over the body elegantly. The bodice provides a secure fit, which contrasts the fluidity of the maxi skirt. It boasts cut out details, as well as a partially open back with cowl-style lower back detailing. BUY NOW FOR £199.99 This sheer skirt boasts a maxi length, and low-rise waist. What we love about this maxi skirt is the vertical seam running down the skirt, as well as the ruffle detail in the centre, which adds another dimension and texture to the classic slip skirt. Pair with a slip underneath for more coverage, layer over swimwear or your underwear if you're feeling brave. Pair with a tank top, satin shirt, oversize T-shirt, ruffle blouse or blazer, depending on the occasion. BUY NOW FOR £79.99 Heading to a beach club this summer? This is the perfect swimsuit for bandeau style avoids any pesky tan lines, while the cross detail adds a bit of character. The swimsuit boasts a low front, but high rise brief at the back for fuller cover. We also love the metallic bright blue fabric, which matches the blue sky and dazzling ocean we will wear this one piece to swim in. BUY NOW FOR £59.99 We live in leggings all day long. While we would say we don't need another pair, we don't have a cut out waist design, so, yes, we do need these. This design gives the illusion you are wearing a low rise pair of leggings with your underwear hanging out the top, which was all the craze circa the noughties. BUY NOW FOR £59.99 This satin crop top is a must looks ultra luxurious and is versatile enough to wear on its own with jeans, high waisted trousers or a slip skirt, though it can also be layered under a sheer blouse, dress, or blazer. BUY NOW FOR £35.99 A satin slip skirt is a failsafe wardrobe essential and has been since 2018, or thereabout. The viscose fabric allows the fabric to flow seamlessly down the body, while the elasticated waist ensures the skirt stays in offers a mid-rise waist and midi length, though it falls just under the knees, which is shorter than other midi skirts we own. We love the pearlescent hue, which will pair beautifully with the matching Crop Top, with an oversize T-shirt, shirt, or blazer. BUY NOW FOR £49.99 From the halterneck, the open back, to the cowl neck, this bodysuit is uber flattering for all body shapes. It boasts a press-stud fastening at the back of the nape to avoid any excess fabric from tickling your back and to achieve a seamless silhouette from the back. Pair with jeans, white high waisted trousers, the sheer skirt in the collection, and anything in between. BUY NOW FOR £49.99 We predict this may be the sell-out item of the entire collection because it is chic, effortless, versatile and oh-so boasts a wrap halterneck, draped neckline and maxi length, which falls into a small puddle on the floor that is ultra elegant – and perfect for the tall girlies. The sheer gauze fabric complements the straight cut of this dress as it flows down the body without being too figure hugging and sheer dress can be layered over underwear, swimwear, or a slip, depending on the occasion, as well as your style preferences. Available in a neutral or black colour. BUY NOW FOR £179.99 Follow Metro across our social channels, on Facebook, Twitter and Instagram Share your views in the comments below MORE: These are the must-have straw and raffia bags to see you through summer MORE: These co-ords should be staples in your summer wardrobe MORE: Antler launches new Summer Capsule collection just in time for summer


Spectator
2 hours ago
- Spectator
The truth about the 1984 miners' strike
On 6 March 1984, I found myself smack-bang in the middle of the largest industrial dispute in post-war history. As the son of a fifth-generation miner whose bedroom window looked out onto Pye Hill Pit in Selston – the remote Nottinghamshire mining village I called home – I couldn't help but be caught up in the miners' strike. And over its 363 days, I watched with bemused anger as a series of nods, winks, slights of hand and outright lies were fashioned into a hard and fast history. On one side we had the National Union of Mineworkers' (NUM) principled president Arthur Scargill and the striking miners, fighting to save British mining. On the other side, Nottinghamshire's moneygrubbing scabs, intent on murdering Old King Coal – aided by Margaret Thatcher and the rozzers. Admittedly, the media didn't spell it out quite so plainly, but there were enough headlines and emotion-heavy images to make sure we all got the message.


New Statesman
2 hours ago
- New Statesman
Bruce Springsteen faces the end of America
Photo montage by Gaetan Mariage / Alamy When I met Patti Smith soon after Donald Trump's first victory, she said she'd ended up next to him at various New York dinners over the years, back in the Seventies, when he was pitching Trump Towers. 'We were born in the same year, and I have to look at this person and think: all our hopes and dreams from childhood, going through the Sixties, everything we went through – and that's what came out of our generation. Him.' Smith's sing-song voice was in my head at Anfield Stadium in Liverpool on one of the final nights of Bruce Springsteen's Land of Hope and Dreams tour. Springsteen was born three years after Trump and will also have sat at many New York dinners with him. Those with half an eye on the news would be forgiven for thinking that Bruce has been lobbing disses at the president from the stage between his hits, but his latest show is heavier than that: a conscious recasting of two decades of his more politicised music, with a four-minute incitement to revolution in the middle. Here is a bit of what he says: 'The America I love and have sung to you about for so long, a beacon of hope for 250 years, is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight we ask all of you who believe in democracy and the best of our American experiment to rise with us, raise your voices, stand with us against authoritarianism and let freedom ring. In America right now we have to organise at home, at work, peacefully in the street. We thank the British people for their support…' Clearly few in the US are speaking out like this on stage, and Trump has responded by calling Springsteen a 'dried-out prune of a rocker (his skin is all atrophied!)' and threatening some kind of mysterious action upon his return. Springsteen, the heartland rocker, was never exactly part of the counter-culture, though he did avoid Vietnam by doing the 'basic Sixties rag', as he put it, and acting crazy in his army induction. Yet he has become a true protest singer in his final act. He wears tweed and a tie these days, partly because he's 75 and partly, you suspect, to convey a moral seriousness. When I last saw him, two years ago, I thought I saw some of Joe Biden's easy energy. Well, Bruce still has his faculties. The feeling is: listen to the old man, he has something to say. Springsteen's late years have been something to behold. At some point in the last decade he stopped dyeing his hair and started to talk in a stylised, reedy, story-book voice. The image of the America he seemed to represent shifted back from Seventies Pittsburgh to Thirties California: the bare-armed steelworker became the Marlboro Man, and in 2019 there was a Cowboy album, Western Skies, with an accompanying film in which he was seen on horseback. His autobiography Born to Run revealed recent battles with depression. And it is depression you see tonight in Liverpool – in the wince, the twisted mouth, the accusing index finger; in his entreaty to Liverpool's fans to 'indulge' his sermon against the American administration, delivered night after night, to scatterings of applause. It is a depression I recognise in older American friends who fear they're going to the grave with everything they knew and loved about their country disappearing. But depression is also the stuff of life, of energy. Springsteen has been particularly angry since the early Noughties, since the second Bush administration, but this is his moment somehow, and his song of greedy bankers – 'Death to My Hometown' – is spat out with new meaning in 2025, an ominous abstraction. The father-to-son speech in 'Long Walk Home' feels different in this politically charged world: 'Your flag flying over the courthouse means certain things are set in stone/Who we are, what we'll do and what we won't'). A furious version of 'Rainmaker' ('Sometimes folks need to believe in something so bad, so bad, they'll hire a rainmaker') is dedicated to 'our dear leader'. As much as I admire Springsteen and seem to have followed him around and written about him for years, the Land of Hope and Dreams tour made me realise I hadn't fully known what he was for. When I saw him in Hyde Park in 2023, the first 200 yards of the crowd were given over to media wankers like me, with the paying fans at the back: every single person I had ever met in London was there, mildly pissed up and whirling about with looks of mutual congratulation. Springsteen had become, to the middle classes and above, a global symbol of right-thinking, summed up by his long stint on Broadway at $800 a ticket. His dull podcast with Barack Obama was the American version of The Rest Is Politics with Rory Stewart and Alastair Campbell: men saying stuff you want them to say, to confirm what you already think about stuff (Obama was in awe of Bruce). Subscribe to The New Statesman today from only £8.99 per month Subscribe Politics was easy for Springsteen when politics consisted of external events happening to innocent people, rather than something taking place on the level of psychology, in a movement of masses towards a demagogue. The job he adopted, back in the Seventies, was to set a particular kind of American life in its political and historical context: to tell people who they were, and why they mattered. His appeal as a rock star always lay less in his words than in how sincerely he embodied them: his extraordinary outward energy, his mirroring of his audience, his apparent concern with others over himself. After 9/11, someone apparently rolled down a window and told him, 'We need you now,' so he wrote his song 'The Rising' from the viewpoint of a doomed New York fireman ascending the tower. A recent BBC documentary revealed he'd donated £20,000 to the Northumberland and Durham Miners Support Group during the strikes of 1984 – rather as he donated ten grand to unemployed steelworkers in Pittsburgh the previous year. His self-made success and songs about freedom were the Republican dream, but when Reagan tapped him up for endorsements it was a right of passage for Springsteen as a Democrat rocker to rebuff them (I'm pretty sure they tried to play 'Born in the USA' at Trump rallies too). He is quoted as saying that the working-class American was facing a spiritual crisis, years ago: 'It's like he has nothing left to tie him into society any more. He's isolated from the government. Isolated from his job. Isolated from his family… to the point where nothing makes sense.' Now, Trump has taken Springsteen's people (the Republicans were doing so long before Trump), and the interior life of the working man that Springsteen made it his job to portray has been exploited by someone else. 'For 50 years, I've been an ambassador for this country and let me tell you that the America I was singing about is real,' he says, possessively, on stage. Springsteen, like Jon Bon Jovi, sees his fans as workers. The distances travelled, the money spent, the babysitters paid for: that's what the three-hour gigs are all about. It is part of the psyche of a certain generation of working-class American musician to consider themselves in a contract with the people who buy their records. It is not a particularly British thing – though time and again I am impressed by the commitment required to see these big shows, especially when so many punters are of an age where they would not longer, say, sleep in a tent: £250 a night for a hotel, no taxis to the stadium, a huge Ticketmaster crash that leaves hundreds of fans outside the venue fiddling with their QR codes while Bruce can be heard inside singing the opening lines of 'My Love Will Not Let You Down'. Yet the relationship between a rock star and his fan is not a co-dependency: the fan is having a night out, but the rock star needs the fan to survive. It is hard to underestimate the psychological shift Springsteen might be undergoing, in seeing the working men and women of America moving to a politics that is repellent to him. He has not played on American soil since Trump's re-election and it is likely that this kind of political commentary there will turn the 'Bruuuuuce' into the boo. A Springsteen tribute act in his native New Jersey was recently cancelled (the band offered to play other songs, and the venue said no). Last week, a young American band told me they won't speak out about the administration on stage because they're not all white and they're afraid of getting deported. It is the job of the powerful to do the protesting, and, like Pope Leo, Springsteen's previous good works will mean nothing if he doesn't call out the big nude emperor now. The Maga crowd will still come to see him, of course, and yell the 'woah' in 'Born to Run' just as loud as everyone else does – perhaps because music is bigger than politics, or perhaps because politics is now bigger than Bruce. Though his political speeches in Liverpool (it's UK 'heartland' only this tour: no London gigs) feel slightly out of step with a city that has its own problems, it seems fair enough for Springsteen to be telling the truth about America to a crowd who's enjoyed their romantic visions of the country via his music for 50 years. But their own personal communion is suspended tonight, and the song 'My City of Ruins' has nothing to do with 9/11 any more: 'Come on… rise up…' In the crowd, a very old man is sitting on someone's shoulders. Bruce Springsteen and the E Street Band play Anfield stadium, Liverpool, on 7 June 2025 [See also: Wes Anderson's sense of an ending] Related