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Sunday 5 June 2022, World Environment Day, is the biggest international awareness day for the environment. It is led by the United Nations Environment Programme (UNEP) and held annually since 1974. The event has grown to be the largest global platform for environmental outreach, with millions of people from across the world engaging to protect the planet.
Protecting the environment and understanding our short roles as trustees of the natural world is important to us here at Lorfords. We are on our own journey to become as eco-friendly and sustainable as possible. Antiques, by their very nature, are reusable and eco-friendly. They are pre-loved items, regularly passed from generation to generation and often made from natural materials.
We work closely with like-minded brands, with a mission to create products that are for both people and planet. And none more so than our friends at Edward Bulmer Natural Paint who create beautiful paints backed up by ecological principles.
Edward Bulmer, founder of Edward Bulmer Natural Paint, has put 30 years’ experience into creating his paint brand. He is a self-confessed ‘eco-worrier’ (yes, worrier) with a drive to create paints that drastically reduce plastic pollution, carbon emissions and poor air quality. His mission is to change the paint industry with a solution for regenerative manufacturing based on ecology. The protection of nature’s biodiversity is at the core of all their product development.
As it is World Environment Day this week, we asked Edward and his team to take over our blog and tell us all about the natural paint world. We wanted to know what we should be looking out for and how we can help make our homes as sustainable as possible. So, over to them!
Edward Bulmer Natural Paint
Eco-friendly paint?
When choosing paint, it’s becoming evident that the contents might not always be exactly what it says on the tin! Many claim to be ‘eco-friendly’ or contain low levels of VOC’s (Volatile Organic Compounds) but when you look further, there is more to it than meets the eye.
Greenwashing is a big issue in the design and paint industry and at this present time it’s so important to get the facts right. We have noticed a rise in the practice of greenwashing which is extremely misleading for consumers. Like whitewashing, it is a device used to deflect ‘heat’, in this case to give the impression that something embodies an intent to be ecologically or environmentally responsible – the term many use is ‘eco-friendly’.
Basically, paint is called eco-friendly when it is water-based, despite almost all paints containing resin binders that are forms of acrylic, vinyl or alkyd – all polymers that are derived from petro-chemicals. Also, all paint is water based, that is how paint is made! So, while the world’s governments now accept that using fossil fuels, fossil sources and petro-chemicals must be reduced to be eco-friendly and address the climate emergency, the paint and coatings industry is not keeping up.
We have always strived to give our customers as much information as possible for them to make an informed decision. We are the only paint brand on the market that uses plant-based binders. The alternative is a polymer derived binder, which is full of micro-plastics and other nasties. We use our plant-based binder to bring all our natural ingredients together and then inject this base white paint with a combination of our mineral and earth pigments.
Antiques
Using antiques in your home is the ultimate upcycling and celebrates vintage pieces that are unique and beautiful. Antiques are often made from natural materials which then change and evolve over time. Edward often thinks about antiques and paint in the same view. For example if you think about a wonderful piece of antique furniture, most people will enquire about how it should be looked after. If you have bought a lovely old house, isn’t it the same thing? Therefore, using natural and carefully created paints should be an easy decision!
To find out more, please read our interview with Edward Bulmer here.
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Meet us at our NEW Showroom: 194 Ebury Street, London, SW1W 8UP
Arras iron furniture has captivated generations of outdoor lovers with its quality construction and decorative appeal. Over 100 years since the Usine Saint-Sauveur factory closed, we celebrate the enormous legacy of the Arras iron foundries.
You may have heard of the French town of Arras for plenty of reasons. Arras is the former capital of Artois in northern France, around an hour northeast of Paris. It was ravaged by violence, with several devastating battles taking place on Arras fields during both world wars. Indeed, in World War One the Arras foundries were forced to swap furniture for munitions. Going back further, the town has also been the site of peace. In 1482, King Louis XI of France and Archduke Maximilian I of Habsburg signed a peace treaty at Arras to end a complicated succession crisis.
Arras iron production
War and peace aside, this northern French town is also famous for producing beautiful wrought-iron garden furniture. Arras furniture as we know it today emerged in 1840. The Grassin-Baledans factory led the way in producing more artistic ironwork and garden furniture in particular. The other foundries soon followed suit, with St. Sauveur becoming the most iconic name associated with Arras iron.
During the 19th Century, the upper classes began to discover the benefits of outdoor living. In response, French towns and cities started establishing green spaces for leisure. Fountains, menageries, aviaries, and parks soon peppered the urban landscape. In particular, the expansion of the park system in Paris demanded new furniture for promenading ladies and gentlemen. This outdoor furniture needed to be light and moveable, but also stylish. The Arras foundries answered the call.
Arras iron production relied on hand-forging and hand-riveting, as welding didn’t yet exist. Their great innovation was a ‘demi tube’ method of iron extrusion, which used one curved half of a hollow iron tube. This method allowed them to get more iron per square metre than using flat iron. It also benefitted their designs, with the tubing creating a rounded finish. This encouraged surface water to run off, preventing rust. Iron furniture with rounded edges is also much more comfortable than flat iron. These important breakthroughs distinguished Arras iron from the crowd.
This iron garden furniture was far more durable than was standard for the time. But it wasn’t all utilitarian; Arras pieces are among the most beautiful iron furniture ever made. Soon, their furniture was cropping up in public and private spaces throughout France. It filled the patios and lawns of the wealthy classes, as well as the communal parks.
Identifying the Arras style
Outdoor living was still a bit of a novelty back in the 19th Century, so Arras iron had a ready market for their furniture. Over a century later we are now saturated with garden furniture options, yet genuine and reproduction Arras pieces are still highly sought-after. So, how has this style weathered the test of time?
Arras iron’s combination of durability and decorative impact was a winning formula from the start. These principles are more important than ever when it comes to choosing furniture today. Their iconic look will never fall from fashion, it seems. We recognise Arras pieces for their pronounced scroll forms, often featuring on armrests and table bases. Their designs have a very organic quality and the iron seems to flow almost seamlessly. The foundries used slatted seats and backs with gentle curving frames and outscrolled top rails.
When it comes to identifying an Arras piece, the feet are the best place to start. In fact, they are one of the only ways you can date their furniture. The foundry used ever-stylish lion’s paw feet up until 1900 when they swapped them out for the iconic horse’s hooves. These hooves were only introduced to lower production costs, but they quickly became a defining part of Arras style.
However, between them, the foundries produced a wide range of designs during their production years and you may have a genuine Arras piece without the features mentioned above. The only way to know for sure is some sort of branding. You may come across a small brass plaque bearing the maker's mark, such as ‘Usine St. Sauveur.’ On other examples, you might spot a factory name cast into the design itself, although it might be buried under layers of paint!
A formidable legacy
Arras iron furniture expertly blends outdoors and indoors. Their fine quality means that Arras pieces should last for generations, whatever the weather. Yet, they also exhibit the decorative quality usually reserved for our interiors. Their whimsical form and flowing lines give them an elegance rarely seen in garden furniture. And it's not just furniture they are known for, but other outdoor iron pieces too. Indeed, their tiered plant stand has become a favourite style in the gardening world.
Antique Arras pieces have occupied many many homes and gardens in their life. Years of painting and re-painting give their tables and chairs a beautifully layered texture and patina. Suitable for indoor or outdoor spaces, Arras furniture is well worth the investment.
You can browse the Arras furniture we have in stock on our website. For more French antiques, read our latest articles on bistro furniture and collecting confit pots.
Our extensive garden antiques collection includes planters, tables, seating and other ornaments.
There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Toby Lorford, Director
Toby's top picks include a striking 19th Century Italian enfilade of a bold architectural design and a beautiful pair of 19th Century Tuscan wall sconces, decorated in traditional cream and gilt.
19th Century Italian Painted Enfilade
Pair of 19th Century Tuscan Wall Sconces
Alice Hagues, General Manager
Alice's top picks include a classic 1930's design Lloyd Loom sofa in original French grey paintwork and a stylish Modernist textile screen in the manner of Edward Bawden.
Carly Watkins, Marketing Manager
Carly's top picks include a large black-and-white image of a Roman emperor in the style of Timney Fowler and a pair of Art Deco armchairs which have recently been reupholstered in an attractive monochrome colour palette.
Large Contemporary Image of a Roman Emperor
Pair of French Art Deco Armchairs
Heidi Hadfield, Sales Manager and Accounts
Heidi's top picks include an iconic wicker Harley Davidson motorcycle designed by Tom Dixon and a charming pair of carved oak cherubs dating to circa 1880.
20th Century Tom Dixon Wicker Motorcycle
Pair of 19th Century Carved Cherubs
Robert Evans, Logistics Manager
Rob's top picks include a luxurious blue velvet armchair paired with the perfect Christmas afternoon set-up; a fabulous brass drinks trolley and a Parisian-style silverplate cocktail shaker.
Late 19th Century Blue Velvet Armchair
20th Century French Brass Drinks Trolley
Large Parisian Style Silverplate Cocktail Shaker
Jane Body, Sales
Jane's top picks include a comfortable English Country House chaise longue with hidden storage and a charming 20th Century feather-filled carpet cushion.
20th Century English Country House Chaise Longue
20th Century Feather Field Carpet Cushion
Tom Valentine, Sales
Tom's top picks include a wonderful untouched George III secretaire estate cupboard and a superb English club fender of large proportions.
George III Oak Secretaire Estate Cabinet
Large 19th Century Club Fender
Hattie Icke, Logistics Coordinator
Hattie's top picks include an original 19th Century French carpet sofa from the Napoleon III period and a charming pair of silverplate Mr and Mrs napkin rings in their original box.
19th Century French Carpet Sofa
Pair of 20th Century Madame and Monsieur Napkin Rings
Kate Williams, Sales and Stylist
Kate's top picks include a wonderfully shaped two-seat sofa featuring a scalloped back, enclosed sides and sloping armrests and a fabulous pair of 20th Century clam shells.
Pair of 20th Century Clam Shells
Eleanor Buonaparte, Dealer Liaison and Stock Coordinator
Eleanor's top picks include a 20th Century lacquer and gilt Chinese screen, depicting cranes and gold-painted bamboo to the reverse, and a stunning 19th Century drop-end red Chesterfield sofa.
20th Century Chinese Lacquer Screen
Stephanie Ashby, Photographer
Steph's top picks include a fine early 19th Century complete circular tree seat from the Regency period, and a late 20th Century print of Liz Hurley by John Stoddart which rests on a stylish lucite and brass display tripod with adjustable blocks.
Regency Circular Wrought Iron Tree Seat
20th Century French Lucite Easel
Late 20th Century Liz Hurley Print by John Stoddart
Sophie Jones, Marketing Assistant
Sophie's top picks include a 19th Century French chaise longue in pink velvet and a beautiful framed black and white French scenic wallpaper depicting an attractive lakeside scene.
19th Century Upholstered Pink Banquette
Piers Ingall, Stock Vetter
Piers' top picks include a fabulous pair of Italian marquetry and ormolu bedside tables and a truly outstanding 19th Century folk art diorama model of Tower Bridge, London.
Pair of Italian Marquetry Bedside Tables
19th Century Model of Tower Bridge
Dave Jeens, Restorer
Dave's top picks include a 20th Century coffee table with a drawer and its original key, a lovely example of an early 20th Century Edwardian elbow chair and a stylish 20th Century opaline glass table lamp.
Small 20th Century Coffee Table
Giant Mid-Century Style Opaline Glass Table Lamp
Jordan Anderson, Logistics
Jordan's top picks include an elegant French Meridienne sofa and in the spirit of the World Cup, a pair of 19th Century medici lions.
19th Century French Meridienne Sofa
19th Century Carved Pair Medici Lions
Chris Butterworth, Logistics
Chris' top picks include a lovely buttoned and tufted sofa of small proportions and a wonderful large-scale French zinc clock face in its original iron frame.
Small 19th Century Swedish Buttoned Sofa
French 20th Century Zinc Turret Clock Face
Cody Roberts, Logistics
Cody's top picks include a lovely English golden oak occasional table with a single drawer and a superb pair of French 18th Century Louis XV bergéres.
19th Century English Golden Oak Occasional Table
Pair of French 18th Century Louis XV Bergeres
When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Preparing your canvas
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
Tactile textures
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
Relics of land and sea
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
The Mediterranean garden
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Soft touch
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
From the sun-soaked parasols of the Amalfi coast to crumpled sweetshop bags on the English Riviera, stripes are everywhere. They always have been, in various forms, but their presence feels particularly loud right now.
Perhaps it's because we crave their unabashed joy in the midst of gloomy national and international developments, or because we’ve been busy whole-heartedly embracing summer after years of restriction. Whatever the reason, manifestations of this versatile pattern range from classic to retro.
A chequered (striped) past
Stripes have not always stood for beauty and joy, though. During medieval Europe, they actually signified an outcast and those condemned to wear stripes included hangmen and court jesters. This was mostly down to a bible passage which dictated: “You will not wear upon yourself a garment that is made of two.” Christians interpreted this to mean clothing of two contrasting colours. Because of their simple and obvious nature, stripes drew attention and demonstrated 'otherness.' To this day, prisoners around the world wear stripy uniforms to hinder their chances of escaping unnoticed.
Classic or frivolous?
The turning point for the pattern came at the end of the 18th Century. Tastemakers were exhausted by the heavily ornate rococo and chinoiserie styles that had dominated up until then. With the enlightenment came a countermovement - neoclassicism - and with neoclassicism came a newfound love for stripes. Stripes now stood for simple elegance and a sense of order that stemmed from classical architecture.
This was the era of the Regency stripe - a wide stripe in one colour flanked by two or more narrower ones in a contrasting shade. Still popular today, this classic stripe works anywhere from clothing to upholstery. Across the channel, French seamen wore woven shirts featuring 21 navy stripes - one for each of Napoleon’s victories. This classic nautical stripe would later inspire the iconic Breton shirt, and so begun fashion’s love affair with the pattern.
Fast forward to the 1920s and stripes were now appearing on all sorts of clothing; suits and ties, cricket and rowing blazers, and even candy-striped swimwear. Once the 20th Century had weathered two world wars, no advert for the seaside was complete without a swimsuit bearing the pattern.
It wasn't just fashion that started to harness the power of stripes, but hospitality too. Wide ‘awning stripes’ get their name from the shops and restaurants that sported them, becoming synonymous with a warm welcome. Throughout history, stripes have offered a joyous antidote.
Ticking stripes - from mattress to design icon
The stripe has been through many guises, and not all of them were purely driven by aesthetic. Ticking refers to the dense woven cloth that once covered mattresses, designed to protect you from harsh fillings like straw and horsehair. The cloth featured a uniform pattern of wide and narrow stripes, usually in a muted palette of black, blue or red.
Despite its humble origins, mattress ticking has had a monumental ripple effect in the design world. Fabric houses from Chelsea Textiles to Colefax & Fowler have released their own versions, while other traders specialise in original antique cloths.
Indeed, ticking stripes have become a distinctive marker of English country house style, where they decorate anything from sofas to valances. Ticking is a shining example of how stripes can feel refined, with a timeless appeal that weathers passing trends.
How to use stripes
Striped cloth dates back to the ancient Egyptians, making it one of the oldest patterns on record. The wildly different ways we've embraced them over the centuries goes to show just how versatile they are. This simple pattern is the building block of plaids and checks, as well as geometric designs.
From seaside to fireside
When we think of stripes in interiors, fresh nautical schemes often spring to mind. Certainly, lots of striped fabric instantly brings a relaxed beach house feel to a garden room or shepherd’s hut. Outside, too, nothing evokes nostalgia quite like a stripy deckchair or parasol.
But stripes do have their place in more traditional environments as well. After all, they first came to the fore in opulent French drawing rooms and classic English country houses. Upholstery fabric is perhaps the most obvious use, and one that allows a lot of room for personal interpretation. A classic Howard & Sons sofa or armchair, for example, remains understated and elegant with a Regency stripe fabric, or gets a heady lift with a bright awning stripe.
Stripes don’t have to be the only pattern in a room, either. In fact, they layer beautifully with fluid, ornate patterns like toile de jouy. A simply striped sofa in front of a chinoiserie wallpaper, or a striped Swedish flatweave in amongst chintzy upholstery, is the sort of bold decorating that really pays off. Statement walls painted with lemon yellow stripes, or a more traditional striped wallpaper, can transform the feel of a room.
Small doses
If you’re not quite ready to paint candy stripes across an entire wall, the pattern works just as well in small doses. Striped valances and headboards bring a light-hearted joyfulness to the bedroom setting without feeling overwhelming, for instance. Scatter cushions have the same effect, offering a good opportunity to blend different types of stripe in one setting.
Even if an interior appears to have no stripes at all, a closer look often reveals their powerful presence. For instance, a simple border around an otherwise plain rug draws the rest of the room in - conversing with other geometry in the room to create a considered feel. Lampshades in bright, contrasting stripes, or with subtler top and tail trims, can add a little or a lot of this chic pattern to a space.
When it comes to this ubiquitous pattern, no home or personal style is off-limits. With autumn well on its way, look to the humble stripe to keep the joy of balmy summer days alive.
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Shop the look, visit our lookbook 'For the love of stripes'.
A Conversation with Stefano Giordano about his latest work and ‘the work behind the work’ for his upcoming solo show ‘Untitled (green)’ which will be on view at Lorfords.
15 September- 13 October
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Kate Williams: When I visited your studio, you talked about the initial drawings originating from children's colouring books which I thought was wonderful! Suddenly it made perfect sense as to why I feel so drawn to their nostalgic simplicity.
Stefano Giordano: Nostalgic simplicity… I like that. The idea for this series of paintings started from a friend buying a colouring book for my 35th birthday. A silly joke, kind of ‘oh you are an artist, so you can colour this’, which made me think of my childhood. When I was little all I had in my bedroom were pictures of [the cartoon] Snoopy hugging a big heart or chilling on the beach, while in the living room were my grandfather’s still life and landscape oil paintings. So I thought that taking inspiration from those images might be a way forward in my work.
I have been attracted to the black line for a while now; I’m attracted to its simplicity, elegance and to the fact that it connects to [so many] other things. It breaks and creates space at the same time. They are a human invention, things of the mind.
The motifs in the paintings are positioned very centrally, particularly the landscape pictures. Perhaps it's this, as well as the light that appears to emanate through the layers of paint, that makes me think of stained glass windows.
This repeated compositional decision also reminds me of works by Piero Della Francesca. Together, these hint at a deeper sense of seriousness once you have spent some time with them.
I like the paintings to have a structure behind them, something they can hold onto. Plus they became somehow monumental when they are composited in that way, without a narrative.
I have always enjoyed going to the National Gallery looking at Piero della Francesca, Pollaioulo or Da Messina’s paintings and the way they split the space in a painting with a cross. One of my favourite painting is Da Messina’s Christ Crucified, it’s such a little painting but the space in it is infinite.
The things you refer to remind me of the experience of being in a church which I guess makes sense with me being Italian, having spent so much time in churches. I do think that painting has to do with some kind of spirituality, if we can call it that.
These references might seem to contrast with the notion of a colouring book which is light hearted and often funny. However, if we assume that colouring books act as visual information for children to learn from in a similar way that stained glass windows did historically, then perhaps we can consider that both offer up boundaries to follow or rebel against?...
When I was at college a tutor called Frances Richardson suggested that my work is “deep in light way” and I still think a lot about that sentence.
In the process of painting the black lines are made and destroyed, leaving traces of the process coming through the colours which are applied after a satisfying result has been achieved. Black lines could be seen as a metaphor for our social conventions and rules, and somehow we live our lives filling the space between these rules established by something bigger.
I always liked to think of painting as a way to think about life; the paintings have some sort of violence, pain and destruction together with love, naivety, fun and beauty.
As a viewer of your paintings, you respond immediately to these simplified, bold outlined images. A spaceman drinking a carton of orange juice or being inside a space shuttle soaring into space are childhood dreams to many of us.
This recognisable imagery is something that you have worked with since I first met you, please would you elaborate and give us an insight into the work that we can see in the show?
I love direct, simple imagery which invites you in, that wants desperately to be liked but at the same time it tells you to fuck off and keep a distance!
When I started thinking about this project, I was looking for images of colouring books that I loved. I have always liked the landscape made into minimal shapes, just enough to understand that what you look at is a simplified landscape and then I thought, it was necessary to enlarge it.
In regard to the idea of space [travel], that is [an] adult dream now too! The space paintings followed the landscapes, and after reading 12 Bytes by Jeannette Winterson, I got interested in Elon Musk’s space program and how these “boys” want to colonise space instead of cleaning up the mess here on planet earth.
How do you approach making a body of work?
S G : I struggle for sometime to make clear in mind what is it that I want to do. Researching painters and paintings that interest me is an important part of the process. I make preparatory drawings to work through composition and marks, using images that speak to me at the time. I play around with them digitally, then I make small works having researched materials, paints and supports. These are then photographed , and coloured in on an iPad to have an idea of how I want them to look. All the while during the process of making, ideas for another series will come up. I already have an idea for my next project and I’m very excited.
K W: The use of an iPad to plan the colour is really interesting in that you are now working with digital colouring in ‘books’ and an iPad screen does give backlit colour, so the sense of light coming through is very much a planned element to your work?
SG: I always put my paintings or drawings through the “digital” in the making process; I like to think that they live a life similar to ours before coming to completion. When I started colouring the paintings digitally I loved the floating blocks of colours; two thin layers of colours activate each other, plus the blue light of the screen made the whole experience very seductive. I then tried to recreate the effect of having the ‘light coming from within’ on canvas; the process always influence the product and vice versa.
Can you talk about Time and its importance to your work?
Paintings are made of actions and choices through time; this process is left visible through the materials on the support. In painting one cannot avoid time. One artist who understood that fully was On Kawara, making time the subject of his paintings.
Which three people strongly influence your work?
3 painters. 2 dead. 1 alive.
Raoul de Keyser for his informal and intimate way of painting. He also played around with the idea of a work of art being unfinished but completed at the same time.
Sigmar Polke for his continuous inventions, bravado and intelligence with dealing with popular contemporary culture and the history of paintings; in his work he touched almost on every subject you can think of and experimented with a variety of materials. A real artist.
Carroll Dunham for his reinterpretation of classical themes into a comic painting style combined with abstract expressionism and minimalism.
But I’m trying to misunderstand them as best as I can.
The work in this show is dominated by a heavily saturated green palette? Which is naturalistic in the landscapes pictures but imagined and disassociated in Untitled (Astronaut) - please can you comment on this choice?
Partly green was in other paintings I made in the last couple of years, but on the sides or in the details, and so I decided to amplify it to the max! Another reason for going green and black is because I loved the combination of these two colours in the painting Payasage by Miró.
That’s right when we think about the landscape we think green, however I love when children colour things with dissociated colours. A green sky is something you can find in science fiction, while a green space somehow takes us back to the landscape which I find quiet poetic.
I think about these paintings as MULTIMONOCHROME, they are all greens but different.
What did you want to be when you were little?
When I was little I wanted to be a professional snowboarder, but I never got on a snowboard in my life.
What is your favourite place on the planet?
I have too many for different kind of reasons; this is an impossible question…
As an artist, what actions do you take to try to minimise your impact on the environment?
I have a recycling bin in my studio and I try not to waste paint/ pour paint into the sink. But to be fully environmentally friendly I should probably stop using the paint that I use now and find a “green” one.
Stefano, thank you so much for letting us delve into your practice, it's been brilliant! We can't wait until the show opens later this week!
Untitled (Paysage 3)
Untitled (Paysage 4)
Untitled (Paysage 5)
Untitled (Paysage 6)
Untitled (Paysage 7)
Untitled (Paysage 1)
Untitled (Stars and Moon 1)
Untitled (Paysage 2)
Untitled (Clock)
Untitled (Space Shuttle)
Untitled (Astronaut)
For any enquiries, please email gallery@lorfords.com
Having been immersed in the intriguing world of luxury rugs and carpets from a young age, it is no surprise to find Peter Page open his first eponymous studio. Peter's experience and forward-thinking have positioned him as the designers' choice for both advice and beautiful bespoke solutions. We caught up with him amongst his personally curated selection of rugs and samples as he was recovering from a very successful opening...
You recently opened your studio in April at London’s Chelsea Wharf, how did that go?
It’s been great. We had a soft opening and it’s had a lovely response. It’s been a wonderful encouragement and the clients we have spoken to have been really excited that we are back. Jo, my colleague I worked with at Tim Page Carpets, has come with me and we make a great team. We have different strengths and particular skillsets, especially within the sourcing and making process. It’s been a very exciting time.
Your inaugural collection has been designed by Turner Pocock. That’s a great collaboration, how did it come about?
By mistake really! I’ve worked with Bunny on numerous projects, she came in and we were talking about her various projects. We started talking about her home and then veered off onto other topics. So we ended up going through some initial ideas, going through samples, and identifying what they like and what we could create. They like a Moroccan-style rug, with an antique look and feel to it.
Was the aim of this collection to fill an antiques style whilst also working with contemporary living?
The key consideration for us all was having the flexibility of size. The difficulty with buying antique rugs is that you don’t know what size you can get. Often, Turner Pocock like to have a rug big enough to put the furniture on top, and often rugs come in sizes that are too small for that. So we absolutely loved the antique designs, whilst ensuring that we could create options that would fit within the designer's schemes.
Interior clients often have varied aesthetic preferences, do you offer bespoke options with different designs and/or colours?
The idea is that this collection keeps it simple. Of course, with everything we do, we are happy to chop and change. One interior designer client we have would like to change the material from jute into wool as they know their client wants something slightly softer and easier to clean. From a retail perspective, keeping it simple to the collection we have created means that clients can purchase their own Turner Pocock and Peter Page piece. It has been hand-woven and hand-crafted so the pieces are still all individually unique.
Your love for the tradition of weaving has been a life-long passion. (Peter’s father, Tim Page, launched Tim Page Carpets in 2003). Tell me a little about the art of rug making and why it has become such a passion of yours?
It happened by osmosis. As a child, I used to iron labels onto samples for my father’s shop in Sloane Square at that time. You pick up an awful lot by people talking around you. He used to have people who hand-painted the rugs in the office so it was an extraordinary place to be. I went to work in New York and ended up working in carpets, and that’s when I realised that I had picked up this knowledge and interest since childhood. I still, to this day, cannot believe how skilled and clever these people are who craft the rugs, they are following design graphs in front of them. It is a skilled craft and I am in awe of it all.
Where do your team of weavers and rug makers herald from?
We weave in India and a couple of other different areas depending on what we’re making. It depends on the project and lead times. I have found that different places can produce different end products. For example, people wash the yarn differently and clip it to create different textures. I find it all really fascinating. So much goes into each rug, trying to replicate certain colours. When yarn is washed and left in the sun to dry, it changes and brings out its lustre. If there is no sun, it is a different quality of project. This is why India is the perfect location! But if it’s a rainy period, then you have different problems! It’s fascinating how such small things can affect a project. You don’t get the same lustre to the yarn if they are dried in indoor drying rooms.
There is such a connection to the natural world, even in rug weaving. Is this what makes your rugs stand apart?
Yes, it is wonderful to see how little changes to anything – from washing to spinning, to drying, can affect a rug. It is interesting to see how all these small changes make each rug unique. Everything is a one-off piece and there is a charm to this.
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Click here to read more L-Shaped interviews or click here to visit Peter's website.
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To meet the challenges posed by the pandemic, businesses around the world have had to react in agile and decisive ways. As we move into the next phase, now is the time to seek out and seize the opportunities emerging in the recovery.
Companies have had to rethink and sometimes reinvent their business models to maintain relevance and be a part of the solution. After this period of isolation, we are witnessing people recognising the basic need of emotional and physical connection; this in turn is demanding their employers develop environments in which they feel comfortable and nurtured. As a business, priorities have changed in ways we never imagined before the pandemic, and as a result, we are also seeing our industry shift to a much more relationship-led business model, surrounding ourselves with all the things which now feel very important to them.
Within our industry, internal teams, clients, and suppliers, are all looking to connect on a personal level - building relationships and championing each other. In its most basic form, people are picking up the phone, rather than sending an email, sparking conversation and the exploration of thoughts and ideas. This has led to cross-pollination; interrelated industries working together to reach the same client base. The approach has led to building cohesive living environments, full of depth and substance. An excellent example is Gucci’s new Lifestyle collection, which ranges from desk objects to games. Traditionally a designer of clothing and accessories, Gucci are known for their creativity and originality, and it’s very exciting to see such a reputable designer expand their range through collaborations and partnerships. Read more here.
In our recent endeavours around industry-led events, we have noticed a very welcome explosion of creativity. This feels like the result of the shackles coming off our mental and physical restriction of the last two years, the excitement of expression and freedom driving a wave of creativity that is most certainly blowing away the cobwebs! We see more creative risks being taken with an abundance of colour, texture, pattern and materiality coming together. This is evident in what we feel is one of the best interior design exhibitions the industry has seen in years.
The WOW! House at Chelsea Harbour Design Centre has been a fabulous melting pot of ingenious interiors. The first of its kind in the UK, this designer show home has brought together some of the largest names in the Interior Design world, and what a noise they make when unrestrained by existing spaces and preconceived ideas. We were delighted to be asked to provide seating for the GP & J Morning room, designed by Rita Konig. The resulting space was a multi-layered collaboration, with GP & J Baker’s fabrics and wallpapers tastefully adorning the space, and many carefully chosen objects complementing our TP Classic sofa, and TP Classic chairs. Coincidentally also a collaboration with our friends over at Turner Pocock, who also designed the most delicious Library at the WOW! House.
A multi-layered collaboration between Turner Pocock, GP & J Baker and Rita Konig.
We have always built our business around people, our staff, our clients, and our industry partners, so we applaud this recent shift in strategy. It has, most definitely, fuelled us to push forward with new, inspiring collaborations, which we are thrilled to be seeing approach fruition. We will be sharing more details in the very near future.
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Having grown up on the beautiful island of Cyprus, founder and creative director of Design Stories, Murude Katipoglu, is inspired by raw beauty and colour from surrounding landscapes. Steeped in legend, myth and beauty, it is not hard to see why. Cyprus is abundant with traditional architecture. It has a natural environment flowing with Mediterranean flora and fauna and a peaceful, welcoming vibe for locals and visitors alike.
After moving to London for university, Murude graduated from Kingston with a degree in interior design. She then spent seven years working on high-profile projects and, in 2017, upon deciding that it was time to set up on her own, Design Stories was born.
Murude draws on her heritage when evoking the feeling of home and this deep appreciation for natural materials is a common thread between every project. As she says, “Nature, people, spaces and materials are all elements that excite and inspire me. Sometimes we get to work on a historic building with plenty of history; sometimes we’re inspired by an antique we’ve sourced, or it can be our clients and their stories who we draw our inspiration from.”
Here at Lorfords, we love her style and ethos, so we wanted to share with you the woman behind her story, behind her Design Stories, in fact!
The best books I’ve read in the past year are The 5 am club and The Everyday Hero Manifesto , both by Robin Sharma. They are brilliant guides to balancing life and staying focused on what is important to me as a person.
My favourite Lorfords Antiques piece I have sourced for a client was a stunning 19th Century French Copper and Tin Bateau Freestanding Bath. It was for a cottage we designed a couple of years ago. It had so much patina and character.
I recently placed the Lorfords Contemporary Elmstead Sofa – I love it. We placed two of them into our large residential project in Hampshire more recently for our client's living room. She absolutely loved them.
The last thing I bought and loved was handmade pink velvet shoes from Florence! They make me happy every time I wear them.
The place that means a lot to me is Cyprus. I grew up there, my family are all still there and I love the sunshine!
The podcast I’m listening to is The Diary of A CEO by Steven Bartlett, On Purpose by Jay Shetty & How to Fail by Elizabeth Day.
In my fridge, you’ll always find Greek Yogurt!
Some of my best ideas have come while I’m in bed trying to sleep and also when I travel alone.
One thing I couldn’t do without is coffee.
The decision I made that changed everything for me was deciding to stay on in London after finishing my degree rather than move back to Cyprus.
An indulgence I would never forgo is luxury hotel stays! I love a good hotel, and I am passionate about hotel design and hospitality. A good hotel stay can change your life for good!
The last piece of clothing I added to my wardrobe was a shirt from With Nothing Underneath. I like the simplicity and effortless look of their shirts.
My favourite room in my house is my bedroom. It’s calm and cosy and looks onto the river Thames. 
The best advice I’ve ever received is don’t listen to criticism from someone you wouldn’t seek advice from.
I do not compromise on comfort. Comfort must be prioritised in the places we spend most of our lives, where we work and in our homes. Our studio space is a good example of that, we had to do a long refurb but it’s been worth it.
I often compromise on my personal time….
My signature object to include in a project is a Diptyque Black Baies candle. It has become the recognised studio scent.
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Imagery by Helen Cathcart
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To find out more about Design Stories and Murude Katipoglu, please visit the Design Stories website.
To read more L-Shaped interviews, including those with other interior designers, please click here.
We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.
Glass Act
When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is.
Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture.
For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self. There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.
The history of colourful glass
The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time. Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.
Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.
Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.
Examples of Murano glass
Murano Glass
From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass. Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini.
The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin. Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion. The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement.
By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.
'Folded-handkerchief' by Venini
Glass around the world
With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95).
Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain.
In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.
Glass art by Whitefriars
Glass in the modern-day
Following on from its 1950s heyday, studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.
Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme.
The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact.
Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.
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Browse our collection of Mid-Century glass:
> Shop our Murano glass collection
> Shop glass and ceramics
Well, we do love a tasty mealtime, and now for some tasty tableware! The busy bees at Bertioli have just launched their new series of prints, the Veg Patch. They are making the whole dining experience a delicious affair. Inspired by Thyme’s kitchen garden, the delightful linen tablecloths and napkins have been meticulously and lovingly drawn by Thyme’s founder Caryn Hibbert.
"I’ve always loved drawing and painting, but as I pursued a career in medicine, they became something of a childhood memory. It was only a few years ago that I started drawing again, picking up a pencil and rediscovering a passion that I had forgotten... I’ve since painted many of the wonderful plants in our gardens at Thyme, but the Veg Patch range is a particular favourite. I love how our vegetables are uniform and jumbled in equal measure – making for fabulous subject matter – but also because cooking has always been so central to Hibbert family life."
CARYN HIBBERT, FOUNDER, THYME
Field to fork
The collection displays veg patch favourites, such as radishes, carrots and onions, bean flower and runner beans. Picked daily from their own veg patch for the Ox Barn’s menu, Thyme enjoys a field to fork ethos. How perfect then, to create their own tableware from such an integral part of Thyme and Bertioli's raisin d'être.
The collection includes linen tablecloths in the following lengths: 260cm, 320cm, 380cm and 450cm. The collection also includes napkins, with the tableware packaged in matching “book bags”. There are plans for tea towels and aprons in the future. Rumours also abound of a range of crockery and one of wallpapers and upholstery fabric… more to follow when Bertioli has done some more digging on that front.
Bertioli is a family affair
Thyme and Bertioli's ethos is to create products and a wonderful environment, that can tell stories of the natural world evolving through the seasons. The name Bertioli is a reference to Caryn Hibbert’s maiden name. Her father, Michael Bertioli was pivotal in the restoration of the historic barns and buildings that make up Thyme; her mother, Patricia played a formative part in Thyme’s chef director, Charlie Hibbert’s culinary journey.
Sustainability
Made from sustainably grown French linen (with an entirely European supply route from flax to loom), Caryn’s original prints have been delightfully transposed onto this exquisite collection of tablecloths, napkins and placemats. The designing takes place in Caryn’s studio at home, before the production brings the pieces to life in Lithuania. There is full transparency on the production process of the Thyme table linens and the production is certified by OEKO-TEX® to ensure there are no harmful substances used. All the fabrics are digitally printed, leaving minimal run off of dyes.
Order your tableware
The full Veg Patch collection is available in The Piggery and Balcony Room boutiques at Thyme and for order and delivery on bertioli.co.uk. The tableware and ceramics in the Thyme boutiques have been chose for their links to the nature, food and entertaining.
To find out more about what's happening at Thyme, click here.
“Nature is our muse. It is a source of constant inspiration.”
(Image by Helen Cathcart)
It was a delight to be able to sit down with Milly and Bell, two very talented and eco-conscious women. Milly Hibbert is head of brand and retail development at Thyme* and Bertioli, while Bell Hutley is a London-based artist and designer. Known for her darkly romantic aesthetic and use of colour inspired by nature and folklore, Bell was the perfect partner for mother and daughter team, Milly and Caryn Hibbert, when designing their new tableware range. This talented team are driven by their love for the environment around them. And with that, their hope to preserve nature's fragile eco-systems for generations to come.
Bertioli is a brand inspired by nature. Caryn and Milly design simple yet beautiful products for everyday living that inspire connection with the land and nourish both people and planet. The Bertioli & Bell Hutley collaboration was born from a shared desire to tell the story of nature’s pollinators and to celebrate their magic. This collection of limited edition tableware, illustrated by Bell and Caryn, and designed by Milly, celebrates these vital partnerships between flora and fauna.
A trip down memory lane
The species that their designs have focused on are indigenous to Great Britain, as familiar to us as a farmyard scene or rolling green hills. The Tiger Moth with stingy nettles, Dragonflies and Water Lilies and Sea Buckthorn for the Brimstone Butterfly surround us here in the British countryside. We know them well; spending many youthful hours skipping after moths and butterflies whilst (mostly) avoiding the nettle patches.
Their beautiful and natural designs will create an element of nostalgia for many of you, whilst reminding us too of the here and now. Our responsibility is to protect these delicate species and the nature that surrounds us, whilst being lucky enough to enjoy the beauty in these locally designed homewares.
So Milly and Bell, tell us a little about how the Bertioli & Bell Hutley collaboration came about.
Milly – “We had admired each other’s brands for a while. I knew of her designs and Bell, likewise, knew of Thyme and Bertioli. We messaged each other and we were looking at stocking a few of Bell’s products in the shop as we felt her illustrations would go really well with our lines. But it became clear that we could do more. The creative sparks flew and we aligned quite quickly.
Bell then came down to see us here at Thyme* (in Southrop, Gloucestershire) and our processes aligned really well – from a brand and personal perspective, there is a real passion for nature so the collaboration felt really natural. The design process became one team and we flowed really well.”
The tableware designs are beautiful, can you talk me through the inspiration for the designs?
Milly – “We used what we had in the gardens and farm here to be inspired. Seeing the butterflies flutter past the window here at Thyme felt like we were on to something. We came up with a number of ideas and then settled on our final three pairs.”
Bell – “It was really nice to be able to design tableware around botanicals and species that have had a bit of a bad press. Nettles and moths - they don’t really have the best reputations! So hopefully we are giving them a new lease of life through our designs.”
Image by Helen Cathcart
The botanical habitat designs beautifully complement the species you focus on- Tiger Moth, Brimstone Butterfly and the Dragonfly. How did you come up with the idea to design these as eco systems?
Milly – “With all our products, they are about inspiring a collection with, and a love of nature. There is also a bit of creative license. They are not scientific drawings but a meeting in the middle of creativity and nature. We hope to engage people in the stories of the botanicals and species. We came up with the three pairs and started with what we could see here at Thyme. Bell did some sketches first, and then we added our sketches and it grew from there.”
Image by Helen Cathcart
Milly, Bertioli have a commitment to “1% for the planet”, please tell us a little about that?
Milly – “We wanted to give back to what has inspired us. ‘1% for the planet’ is a big global movement, there are a number of brands who have signed up to it. It is a community of likeminded businesses who give 1% of revenue to environmental causes. This figure allows us to donate significantly, whilst also allowing our business to grow, and ultimately therefore, to donate more. We can choose which organisations and charities to work with and we have worked with a number of them.
This year, our focus is on working with a project close to us - the West Oxfordshire Bird Project. We also work with Plantlife, who work across the country to educate and enable people to preserve meadows as the UK’s most bio-diverse habitat.”
Your mission - to consolidate the idea that in nurturing nature, we nurture ourselves – is one that we all feel a connection to. It’s a mission that works for both Bertioli and Bell too, which is why this collaboration works so well. So, what’s next for Bertioli, and Bell Hutley?
Milly – “We have got many things in the pipeline. I’d love to build on what Bell and I have created here together. In the meantime, we have a few launches in the pipeline – stepping into the interiors world is next. Our ambition for Bertioli is to create a whole collection of connections to nature in the home. We want to take that into all parts of the home – wallpapers and upholstery fabrics, in addition to homeware and beauty. It’s important for us to build on the relationships we’ve created with like-minded brands.”
Bell – “My aim is to continue telling stories through art. Anything beyond the canvas, whether it’s a tablecloth or lampshade, I’m always trying to create new ideas. I love interiors but I’m also writing a children’s book and creating collections around that. I want to push myself and my creativity through the storytelling. I’d love to continue working with like-minded and inspiring brands, I learn so much from it and feel incredibly lucky to be working in what I love!”
To browse or find out more about the Bertioli & Bell Hutley tableware collection, please click here.
*Bertioli is the sister brand of Thyme. Nestled in a Cotswold village, Thyme is a quintessential English country destination. A collection of restored 17th Century farm buildings, houses and cottages, Thyme is a boutique hotel, with on-site restaurant and spa.
More about the Bertioli & Bell Hutley collaboration
In recent years, the fragility of nature has been put at the forefront of conversation, with species decline and habitat loss at the heart. One of the key concerns has been around the health of pollinators and the crucial role that they play in every ecosystem.
With this collaborative collection, we bring together the distinctive illustrations by Bell and Caryn to celebrate pollinators and highlight their relationships with both common and unique plantlife. This will hopefully inspire conversation around the table and a deeper connection to nature.
“Bertioli’s mission is to consolidate the idea that in nurturing nature, we nurture ourselves.” Caryn Hibbert.