He had been asked submit designs for vestments to be worn by the Pope in Sydney during World Youth Day. 

The message arrived within a week of his nervously taking the step of leaving full-time work at the University of Newcastle to concentrate on his work for the Liturgical Arts. 

On receiving the e-mail, “A mixture of disbelief, joy and panic swept over me” said Michael.  Three distinct designs were submitted to authorities in Sydney and then to the Pope’s Master of Ceremonies, Monsignor Guido Marini.   

Almost a month later, on Easter Sunday, Michael received word that one of his designs had been approved. 

The approved design was inspired by a 16^th century painting of Saint Martin of Tours, with the shape and dimensions of the chasuble based upon the measurements set down by Saint Charles Borromeo.  The embroideries of the design for the Papal mitre were based upon the historic mitre of Saint Thomas Becket (12^th century) kept at the Sens Cathedral.  

Four months of intense activity followed as Michael and some special assistants worked to complete all the vestments in time. 

Then the big day arrived: Saturday, 19 July in Saint Mary’s Cathedral. 

“It was an overwhelming moment for me as I watched the Successor of Saint Peter emerge from the door of the Cardinal's sacristy wearing the vestments I had made”, said Michael.

After the Mass he met with Monsignor Marini and the assistant Papal Masters of Ceremonies (Monsignori William Millea and Enrico Vigano) who congratulated him on his work and gave him the incredible news that the Pope had expressed the wish to take all the vestments back to Rome.  

How did designing for the Liturgical Arts start for Michael?

He attributes his interest to his early days as an altar boy at St Patrick’s church, Singleton NSW.

“In the early 1970s as an altar server there was an opportunity to look closely at church architecture and vestments. My earliest recollections are of beautifully made vestments using quality materials. The vestments, of a very high order, were made and kept meticulously by the Sisters of Mercy,”  Michael commented that the history and architecture of churches always fascinated him. 

Because of his interest in vestments and ongoing study of design, architecture and Sacred Liturgy, Michael was asked to design vestments for special occasions. 

Since 1990 he has produced numerous designs, but only since 2003 did he actually start making the vestments that he designed. 

“My results were not brilliant at first but I had spent time watching the makers of my designs to learn the craft,” he said.

Michael decided to give his design work for the Sacred Liturgy the name “The Saint Bede Studio” after the English monk and historian Saint Bede the Venerable.  

Michael described the work of the Studio as being largely the re-interpretation of ancient and mediaeval designs for modern use.  Much consideration goes into all the designs, he said, based on years of research into the history of sacred vestments and architecture. 

“One of my principles of design is that vestments and furnishings are to serve the Sacred Liturgy.  They must be beautiful to behold and adorn the priest and altar worthily but most importantly, they must enhance the dignity of the Sacred Liturgy.” 

Considering his work an Apostolate rather than a commercial enterprise, Michael described it as “an extraordinary privilege” to be able to design and make vestments and church furnishings. 

“When working, I focus on what is going to happen with what I am making – for the worship of God, the Sacred Liturgy.”  Michael said that it is helpful to pray whilst working: “good for the soul and good for the product”.  

The Saint Bede Studio attracts enquires from all over Australia and around the world and Michael has made vestments and mitres for a number of Australian bishops, including Cardinal Pell, Archbishops Wilson, Coleridge and Hart as well as Bishop Peter Elliott. 

Michael can be contacted through his websites: 

http://www.saintbedestudio.bizland.com | http://saintbedestudio.blogspot.com