(1 day, 21 hours ago)
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Yasmin Qureshi (Bolton South and Walkden) (Lab)
With your indulgence, Madam Deputy Speaker, I will make a few comments and observations on the debate we have just had. It was a profound debate, in which colleagues spoke about their personal experiences and their family members. It is fitting that we had it as a way of recognising the sacrifices that millions and millions of people in our armed forces made. I think of the expression:
“They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.”
The celebrations and the debate today are a way of remembering them.
I will talk about a couple of things, one of which the Minister in the previous debate spoke about—standing up for what is right. My hon. Friend the Member for Morecambe and Lunesdale (Lizzi Collinge) talked about the fact that things do not happen in isolation. She talked about how in the second world war there was a demonisation and othering of communities, which led to the catastrophe that occurred. She also said that those things are still happening. I will mention that I am a very proud British and Pakistani Muslim—I was born in Pakistan. At this moment, Pakistanis and Muslims are being demonised by many people—not just the mainstream media, but senior politicians who should know better than to cause division.
I remind the House of the contribution of the Commonwealth to the fighting in the second world war, which was alluded to earlier. My uncle had a King’s commission in the British Army at the time, and other members of my family fought for the British Army. In addition, 5.5 million Muslims across the world took part in the war, and many of them died. There were 2.5 million people in the Indian army, and 1 million of them were Muslims; many of them would have been in what is now called Pakistan. It is important that those things are remembered when we look at history and the contributions made by many people.
I will be honest: at this moment in time, with the discourse that is happening in our country and the demonisation of people on boats, migrants and others, I am actually scared. I see the rise of fascism happening, which is exactly what happened in the second world war. I know that the majority of people in this country are brilliant, wise and sensible and will not let those things happen, but it is timely that we have a discussion such as today’s debate so that we can remind everybody of the pitfalls that exist.
Like you, Madam Deputy Speaker, I have been on the armed forces parliamentary scheme; I have been with the Royal Navy and the Royal Air Force. I have met some of our current Army and Air Force personnel, and I pay a big tribute to them for the wonderful work that they do to protect our country. I respect, cherish and admire them, and we should do as much as we can to help our armed services and veterans. That is the least we can do for the sacrifices that they have made for our country.
I return to the Adjournment debate. I know that its topic might have caused people some confusion—what on earth does the protection of neon signage as a creative industry mean? Today is an opportunity for me to speak on an issue that may seem niche at first glance, but that speaks to a broader truth about the way that we value heritage, craftsmanship and the lifeblood of our creative economy.
I rise to speak in support of the campaign to protect the heritage craft of neon sign making—a uniquely British tradition that is now at risk. Neon was discovered here in the United Kingdom in 1898. After its discovery, Sir William Ramsay and Morris Travers demonstrated that by passing electricity through the gas, they could make it glow, paving the way for iconic neon signs the world over, from Piccadilly Circus to Times Square.
My constituency of Bolton South and Walkden is proud to be home to Neon Creations, a small but dedicated business led by Catherine and Tony Spink. Since 2005, they have been handcrafting authentic neon signs using techniques that date back over a century. They do not mass produce or cut corners—they are artisans in the truest sense of the word.
Chris McDonald (Stockton North) (Lab)
I support everything that my hon. Friend says. I commissioned a piece of neon artwork from a local artist, Stuart Langley, in Teesside a number of years ago. Does she agree that neon is as valid a medium of expression as any other artistic endeavour?
Yasmin Qureshi
Absolutely, and I will go on to talk about the amount of work and experience that artists need to work with neon.
I recently visited Tony and Catherine at their studio and I was transported to a magical world of amazing colours. I saw the stunning artwork that they have produced and was given a demonstration of how they bend the glass to create their signs, which I managed to do as well. To watch them was truly fascinating, but this proud craft is under threat, not because we no longer appreciate its beauty, but because it is being quietly and insidiously eroded by misleading marketing and unfair competition from mass-produced light-emitting diode imitation products, often deliberately and incorrectly labelled as neon signs. Let me be clear: if it is not made of glass and filled with gas, it is not a neon sign.
Jim Shannon (Strangford) (DUP)
The hon. Lady is putting forward an argument for the creative industries, but what the neon sign market has created cannot be ignored. I always do my studies before I come to the Chamber to take part in the Adjournment debate. MarketWatch predicts that the neon sign market will grow by 7.5% annually between 2024 and 2031, making some $3.3 billion by 2031. Is there not a way for the neon sign market and the creative sector to work together to the advantage of all?
Yasmin Qureshi
I thank the hon. Gentleman. I will touch on a few more things.
Authentic neon signs are handcrafted from glass tubes that are heated, bent and shaped by hand, then filled with inert gases, like neon or argon. It is a meticulous and time-consuming process requiring years of training, dexterity and experience. There are only 27 full-time neon glass benders left in the United Kingdom, down from hundreds in previous decades. It is a red-listed, endangered craft and, without action, it will be lost.
The problem we face is not just commercial, but cultural: it is about the loss of a craft that is as British as Harris tweed or Sheffield cutlery. In fact, like Harris tweed, we believe that neon signs deserve formal legal protection through a certification mark, a defined British standard or, ideally, the introduction of a neon signs protection Act. This is not an anti-technology argument. LED signage has its place—it is cheaper, mass-produced and useful in many applications—but to allow businesses to market LED signs as “neon” is misleading consumers, harming artisans and erasing our heritage.
Let me illustrate how this is affecting real businesses. Neon Creations has seen a sharp drop in demand because customers are being told by large retailers that £30 LED signs are neon signs. The products may look superficially similar, but they are entirely different in construction, quality and artistry. When customers receive them and discover that they are not authentic, they contact businesses like Neon Creations not to buy but to ask for repairs on something that is not actually neon. Catherine and Tony have faced online harassment and threats of legal action, and have had their comments blocked on social media for merely correcting the record. That is what comes to people when they tell truth to power.
Let us consider the facts. Neon is safe. Despite common misconceptions, neon signs are powered by low amperage and do not get dangerously hot. The gases used—neon and argon—are inert and naturally occurring in our atmosphere. Neon is efficient. A typical neon sign for business use costs around 21p per day to run, barely more than an LED and far less than people assume. Neon is sustainable—unlike plastic-heavy LED products, neon signs are made of glass and are fully recyclable. Perhaps most importantly, neon signs last much longer. They have a lifespan of at least 10 years, outpacing LED alternatives, so why are we allowing this confusion to persist? Why are we allowing misleading labels?
The British Sign and Graphics Association, the Heritage Crafts Association, the Federation of Small Businesses and the Greater Manchester chamber of commerce all support stronger protections for neon craftsmanship. This is not just about one constituency or one business; it is about defending the principle that authenticity matters, and that heritage crafts should be recognised, not undermined by the march of mass production. We must also address the issue of consumer transparency. It should not be acceptable for retailers, large or small, to market a product as neon when it contains no glass, no gas and no craftsmanship. We have rightly challenged fake olive oils and falsely labelled meat; we must apply the same standard in this case.
Harris tweed is protected by law, ensuring that only fabric hand-woven in the Outer Hebrides can bear that name. We propose a similar model for neon signs, which could take the form of a certification mark that can only be applied to genuine glass neon products; a formal British standard for neon signs, developed with input from the British Standards Institution and the BSGA; and maybe a private Member’s Bill, a neon signs protection Act, that would enshrine a legal definition of the term “neon”. These measures would not be burdensome, and they would not create red tape. They would simply be a way of telling the truth in advertising and providing a very important protection to a very small but significant industry.
Let us not forget the cultural value of neon. It is signage, but it is also art; it evokes memories of cinemas, diners, music venues and city skylines. It is a symbol of expression and identity, and to lose it would be to dim the vibrant glow of Britain’s creative past. Neon Creations and other similar businesses are trying to pass on their skills to the next generation, but they cannot, because there is not enough work to justify training new glass benders. As of now, there are no full-time neon trainees in the whole of the United Kingdom. If we do not act, the pipeline of skills will close forever. That is why I am in the Chamber today to advocate for that pipeline and the small businesses that refuse to give up on this craft.
I have written to the Secretary of State, urging the Government to support clear definitions and protections for neon signs. I know that the all-party parliamentary group for craft is supportive of that campaign and is looking into the next steps, but more needs to be done. Will we stand by and watch the lights go out on one of Britain’s most unique and visually iconic crafts, or will we act to ensure that when someone buys a neon sign in this country, they are buying the real thing? This campaign is not just about glowing tubes of gas; it is about truth, heritage and the people behind the glass—people such as Tony and Catherine Spink in Bolton. They are people whose livelihoods depend on honesty in our markets and fairness in our laws. Let us give them that protection. Let us light the way for the future of British neon, and let us ensure that the word “neon” once again stands for authenticity, artistry and excellence.
Madam Deputy Speaker (Ms Nusrat Ghani)
That was an absolutely fascinating speech. I look forward to the response from the Minister.
The Minister for Creative Industries, Arts and Tourism (Chris Bryant)
I am sure that you look forward to every response from a Government Minister, Madam Deputy Speaker. I note that my hon. Friend the Member for Bolton South and Walkden (Yasmin Qureshi) ended her speech by saying,
“Let us light the way for the future of British neon”.
I am grateful to her for securing this important debate and, consistent with her approach, I am also grateful for her thoughtful and rather illuminating speech—if you will forgive the pun, Madam Deputy Speaker. I did not actually write that pun; somebody in my Department, to whom I am enormously grateful, wrote it.
Chris Bryant
No, I am not sacking them. You cannot call for civil servants to be sacked from the Chair, Madam Deputy Speaker, otherwise people will call for you to be sacked.
As the Jamaican reggae artists Tenor Saw and Bob Marley have lyricised,
“Life is one big road with lots of signs”.
This debate has shone a light on not just neon signage itself, but the wider question of how we protect, support and promote the often overlooked corners of our creative economy. Let us be absolutely clear: as my hon. Friend said, neon is not simply about advertising, and it is not just a relic of a bygone era. It is artistry and craftsmanship; it is a part of our living heritage and of the living texture of our urban and rural landscapes. I remember for a while there was a neon sign on entering the Rhondda that used to say, “Two can dine for £1.99. Fine dining.” [Laughter.] I think it is slightly out of date.
From Glasgow to Blackpool and from the corner pub to the west end theatre marquee, there is neon. Behind each flicker of neon gas is a maker, a designer, a glass-bender and an engineer of light. These are not just tradespeople, but creative professionals sustaining a skillset passed down through generations. Many artists in the UK and across the world have taken advantage of what is, as my hon. Friend said, Great British invention. It was only in about 1912 that it passed to the United States of America and became part of its advertising hoardings. We think about neon adverts, but it is an essential art form, too. We have only to think of many of Tracey Emin’s neon works, such as “Fantastic to Feel Beautiful Again”, which is a beautiful piece, or—apologies for this, Madam Deputy Speaker; do not get overexcited —“Kiss Me, Kiss Me, Cover My Body In Love”, which is another great work.
The Liverpool artist Chila Kumari Singh Burman’s work often uses neon. I went to an extraordinarily wonderful exhibition of hers at the Imperial War Museum North, which had large amounts of neon, drawing on her family’s tradition of running a shop. Members may recall that a few years ago she covered Tate Britain during the winter period with lots of different neon signs. For that matter, people can go online—this is my advertising for the Tate—and buy one of her tiger or ice cream neon works for £950. For that matter, at Tate Modern there is Martin Creed’s work, “DON’T WORRY”. It is difficult not to sing, “Don’t worry”, is it not? A few years ago at Tate Britain, the Welsh artist Cerith Wyn Evans did an extraordinary piece, which I really remember, because it was such a contrast with the galleries it was in. It was 2 km of neon light. That was back in 2017.
The creative industries as a whole, as my hon. Friend will know, contribute £124 billion a year to the UK economy, and neon, as a niche but important part of that ecosystem, has a dual role in commerce and in our culture. Advertising is one of our key exports in the UK and an important part of our creative industries, too. We need just think of the Piccadilly Circus signs, God’s Own Junkyard, or the glow of a fish and chip shop on a rainy Tuesday night. These are not just signs, but signifiers of place, of character and of British eccentricity. They are things that imprint themselves in our memory as part of what we think of as our own home town.
I hear the call today for consumer transparency and greater support—the point was well made—whether through planning protections, trademarking or cultural preservation funding. Under existing legislation and guidance, there are provisions in place to protect unique aspects of our historic environment, including street furniture and signage. Indeed, the entrance range of the Walthamstow Stadium, with its fabulous neon sign, is grade II listed. Anyone can recommend a building, site, monument, designated landscape, battlefield or, indeed, sign for inclusion on the national heritage list for England, so long as they meet the eligibility requirements. I encourage people to do that.
I hope the House will allow me—apologies again for this—to cast a light on my Department’s work on living heritage. I encourage neon crafters to make a submission to the inventories of living heritage in the UK when we open the call for submissions later this year, following our incorporation of the convention last year. That is a fantastic opportunity for the neon craft community to advocate for their craft, raise awareness and be part of a wider conversation on living heritage.
Let me also address another point that my hon. Friend made, which was about sustainability. She is right that some people have incorrectly expressed concern about energy use by neon, when modern neon is far more efficient than its reputation suggests. When maintained, it outlasts LEDs, is recyclable and in some cases is even repairable.
On consumer transparency and the use of the term neon, I fully understand the concern that clearer definitions and protections could help prevent confusion for consumers and help preserve the value of handcrafted neon signage. We have only to go online for two or three minutes to find lots of different supposedly neon signs being advertised relatively cheaply, which are no more neon than they fly in the air. They are sometimes described as “LED neon signs”, which is a contradiction in terms. I fully take on board the point that my hon. Friend has made, and I thank her for bringing this matter to our attention as we engage with Departments across Whitehall on their trademark policy development. This is not solely a matter for the Department for Culture, Media and Sport.
As I said earlier, protecting neon is not about nostalgia. It is about supporting livelihoods, unlocking tourism, and giving our public spaces character at a time when homogenisation threatens to reduce the character and unique identity of everything from our skylines to our high streets. The Government hear the case being made for neon signage, not as a gimmick or an indulgence but as an essential, flickering thread in the tapestry of British creativity. We hear the concern from artists, from heritage bodies and from communities who want to see colour, identity and local pride preserved. We are committed to working with industry, local government and the wider public to explore how best to secure the future of this unique form of creative expression. On this, we will not let the lights go out. As the Greek-born American neon artist Chryssa once said,
“I saw Times Square with its light and letters and I realized it was as beautiful and difficult to do as Japanese calligraphy.”
We should never let go of such artistry in our British traditions.
Madam Deputy Speaker (Ms Nusrat Ghani)
Illuminating!
Question put and agreed to.