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 I think it is slightly out of date.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.