I was invited by a friend who works at Burberry to come and see the Makers House a collaborative pop up space between Burberry and the New Craftsman. An empty office building in Soho had been taken over and transformed for six days into a wonderful creative panoply of craft, fashion, food and entertainment all tied together with elaborate wallscapes of moodboards plucked from the historically-inspired vision of head creative at Burberry, Christopher Bailey.

It was an enchanting space, entered through a dramatic tunnel lined with illuminated sculptuary and a delightful courtyard strung with lights. Inside, a sequence of areas were inhabited by working craftsmen, plying their trade lacquering or calligraphing within a mise en scène embellished with the tools of the trade. Inspired by Virginia Woolf’s Orlando and the interiors of Nancy Lancaster, the designer who ran Colefax and Fowler in the 1930s, the experience felt like a stepping back into an 18th pleasure garden interpreted through the eyes of a 19th century aesthete for the delectation of a 21st century audience.

My nagging disgruntlement at the missing apostrophe in the event’s title, was assuaged only by the story that my friend told about how Burberry had to repaint the sculpture of a rather muscular, but disembodied pair of male legs and buttocks, as it had been covered in lipstick kisses from a multitude of drunken photo ops on the opening night!