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What comes to mind when you think of leather? It might be a grand library filled with mysterious leather-bound books, or a welcoming pair of armchairs in a suave gentlemen’s club. It could be the supple seats of an Italian sports car, or even the luggage rack on the Orient Express. All of these settings have one thing in common – luxury.
From upholstery to footwear, leather is everywhere you look. It’s not hard to see why; this natural material combines strength with suppleness, and a rich warmth with laid-back chic. Antique and vintage pieces are the most ethical way to bring leather into our homes, and they have the alluring character that only comes with the passage of time.
From hunter-gatherers to Milanese fashion houses
Leather's stoic popularity over millennia is remarkable. It was one of man’s earliest and most useful discoveries, with our ancestors using it to craft clothing and tents for shelter. Although its origins were primitive, by the time of the Roman Empire you only found leather in the wealthiest homes. Men lounged on leather-covered seating while women sat on bare stools; it was a status symbol, and so began its long-standing association with luxury.
Leather rose to new prominence in the Middle Ages, becoming the go-to material for dining chairs because of its low maintenance qualities. Another major change came with industrial revolution, when leather-making processes became much more streamlined.
Vegetable tanning had been the most prolific method for preserving leather since the ancient Greeks. It did the job just fine, but it didn’t create the same soft, supple feel we recognise today. In the middle of the 19th century, chrome tanning using chromium salt replaced vegetable tanning. This was a cheaper, more efficient approach, but it also created fine quality leather suitable for everything from shoes to sofas.
Why choose vintage leather?
Like so many natural materials, leather gets better with age. Although it’s durable and straightforward to care for, it takes on different qualities over time and develops a unique time-worn character.
Firstly, it will become softer and more malleable, which is why vintage leather upholstery can’t be beaten on comfort. Much like timber, it will also take on a gorgeous patina, telling a story that simply can’t be matched by a brand new piece. You’ll see a subtle lustre in heavily used spots, and a spectrum of shades that range from light, almost yellow-brown to rich mahogany. The finer the quality of the original hide and the sharper the expertise of the producer, the better leather ages.
Leather upholstery
Leather upholstery offers a winning combination of sophistication and luxurious comfort. There really is something for everyone, too, whether you consider yourself a 'leather person' or not.
For instance, the structured nature of a deep-buttoned Chesterfield means you can dress it up or down, whether the setting is a smart drawing room or a luxurious dressing room. The squat, squashy club chairs that originated in hazy private members clubs offer the perfect spot to relax and read a book in today’s home. Others covet the more streamlined proportions of 20th century leather chairs which - while the epitome of chic - don’t compromise on comfort.
It's not all about stately sofas or enveloping armchairs, either. Lightweight, portable campaign chairs often had seat and back panels made from leather. These versatile chairs are effective for creating an informal seating area and they lend themselves to smaller spaces.
Omersa for Liberty's
Back in the 1930s, a leather furniture-maker for Liberty’s - 'Old Bill' - made a footstool in the shape of a pig from leftover hides. This charming prototype proved so popular that the department store continued to make the pigs up until Old Bill retired.
Luckily that didn't mark the end for them, and the leather company Omersa agreed to continue production for Liberty's. They soon expanded to other animals like elephants and rhinos, reflecting how in demand these unique stools were. We have several Omersa stools in our collection, each with the individual character that comes from a life of love in different homes.
If smaller-scale leather appeals to you, footstools are an effective way to bring its resonant warmth into your interiors.
Decorating with leather
Leather has been synonymous with various interior design styles over the decades, from New York loft apartments to midwestern ranches. As a result, we sometimes hesitate to use it in other, less obvious settings. But every interior needs a little of this versatile material, and there are endless ways to use it.
In a maximalist country home, for instance, interspersing florals and stripes with leather pieces brings contrast and depth to the space. At the other end of the spectrum, minimalist contemporary homes need its rich tones for warmth and texture. Don't feel restricted to upholstery, either. Interior designers are looking to use leather in more and more innovative ways. Covering an entire wall in leather may feel intimidating, but using it for door panels, rugs or room dividers adds a new dimension to the space.
This material is particularly effective where you want an air of sophistication, like a study or library. In these rooms, look to leather-accented cabinetry, desk chairs, and lined bureaus to create an old-world setting for modern work life. To relax like the Romans, we would choose a luxurious leather daybed, occasional tables, and board games.
From large-scale upholstery to a simple wastepaper bin, leather remains a time-honoured design hero. Browse our lookbook for inspiration on decorating with vintage and antique leather pieces.
Charlie Hibbert at Thyme has been telling us his secrets for success when it comes to barbecues. Check out these barbecue tips, they will make your summers sizzle.
- If you have a choice between lumpwood and briquettes, go lumpwood every time – it gives a much more natural aroma
- Woody herbs like rosemary and thyme make brilliant basting brushes and I love olive oil for basting. Don’t pour olive oil or extra marinade onto meat, fish or veg when cooking, as it will cause the flames to flare up and burn what you’re cooking
- Treat your meat, fish or veg with the same respect for the barbecue as you would in your kitchen. Bring meat & fish up to room temperature well in advance. Go easy on the salt in marinades, as it draws out the juices from the meat or fish. And, if it’s convenient, keep an oven on a low temp to keep everything hot until you’re ready to serve… there’s nothing worse than people finishing their food when you’re still sweating over a hot grill!
- Wait for the coals to go white and then always close the lid. It will stop your coal burning away in 10 minutes and will also smoke your food as it cooks
- Blanch your sausages by putting them into a pan of cold water, bringing it to the boil and boiling for 3 minutes. Drain and then put onto the barbecue to cook. This will start the cooking process and will also seal the meat, so that the sausages don’t burst during cooking
- If you want something to have a hint of barbecue, but it’s too delicate to put onto the grill directly, you can wrap it in tinfoil and put tiny pin pricks all over the foil for the barbecue taste to infuse
- When cooking chicken joints on the barbecue, make a sticky marinade for the chicken or simply season with salt & pepper. An hour before putting the chicken on the barbecue, put it into a low oven (around 100°C) in its marinade so that its three quarters cooked before going onto the barbecue. This will result in juicy, tasty, tender chicken. Smaller spatchcockedpoussins do really well on the barbecue
- Any root veg wrapped in tinfoil and dropped into the fire pit after the most intense part of the barbecuing has been done make a lovely late treat
- Cook your steaks, bangers or burgers steadily until rich, aromatic and browned, and then turn gently just once. Use long handled tongs rather than a fork that may pierce the meat and allow valuable juices to escape
- It’s all too easy to overcook on a barbecue, leading to charred, leathery or dry meat. Excessive flames turn the oil to carbon, leaving an acrid taste on the meat… so avoid. To ensure even cooking, use the 60/40 method. Cook the meat for 60% of the time on the first side, then turn and cook for the remaining 40%. As soon as the meat browns, move it further away from the heat source so that the inside can cook before the surface burns (exceptions are thin cuts). Raise the rack so that it is about 30cm above the charcoal – at this height the temperature should be perfect
- Knowing the meat is how you like it is the most difficult part of barbecuing. A good thermometer will ensure that everything is cooked to perfection. Guides below:
-
- Beef – medium rare: 54°C
- Lamb – pink: 58°C
- Pork – juicy: 65°C
- Poultry – safe to eat: 75°C
- Bangers: 75°C
- Once the meat is cooked to your liking, rest it. During resting, the temperatures will continue to rise as the juices in the middle move to the outside and it becomes warm, moist and tender all the way through. To rest your meat, put it on a rack so that it doesn’t lie in its own juices. Cover with tinfoil and leave in a warm place for up to 20 minutes. It’s always better to over-rest meat than under-rest it!
- Salads and grilled veg are an essential part of the process… make sure you’re full prepped on that front before you start cooking because there won’t be time for that afterwards.
- Serve a crowd-pleasing pudding at a barbecue, because you won’t have time or the will to start making a fussy pudding during the evening.I always do a fruit pavlova or an Eton mess
- Take time over laying the table and making it look good (but leaving plenty of room for all the different dishes).Then get everyone to sit down and eat together… barbecues can be very piecemeal if you don’t inject a little organised chaos and the sharing part is what I love about a barbecue
You can try Charlie Hibbert’s food at the Ox Barn at Thyme and in the not-too-distant future, at the re-furbished Swan at Southrop (we’ll be bringing you more about that in a future edition) www.thyme.co.uk/eat or take one of Thyme’s cookery courses: www.thyme.co.uk/happenings/cookery-classes
To check out some of Charlie Hibbert's mouth-watering recipes for L-Shaped, please click here.
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
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Heidi Hadfield, Accounts
Heidi's Top Picks
Robert Evans, Logistics Manager
Rob's Top Picks
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Carly Watkins, Marketing Manager
Carly's Top Picks
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Jane Body, Sales
Jane's Top Picks
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Hattie Icke, Logistics
Hattie's Top Picks
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Alice Hagues, Manager and Stylist
Alice's Top Picks
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Piers Ingall, Sales
Piers' Top Picks
Pair of 19th Century 'Bejewelled' Candlebras
Tom Valentine, Sales
Tom's Top Picks
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
Eleanor Buonaparte, Dealer Liaison and Stock Co-ordinator
Eleanor's Top Picks
French 19th Century Chandelier
Stephanie Ashby, Photographer
Steph's Top Picks
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
Sophie Jones, Marketing Assistant
Sophie's Top Picks
18th Century West Country Windsor Armchair
David Jeens, Restorer
Dave's Top Picks
Pair of Bristol Chemist Bottles
Cody Roberts, Logistics
Cody's Top Picks
Swedish 20th Century Pine Desk
Jordan Anderson, Logistics
Jordan's Top Picks
Large Mid 20th Century Terracotta Canova Lion
Chris Butterworth, Logistics
Chris' Top Picks
"You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up." Tim Butcher and Lizzie Deshayes of Fromental have been creating bespoke wallcoverings for 16 years. We chatted to the inspiring duo ahead of the launch of their new sister company, Studio by Fromental.
Q: You can find Fromental wallcoverings in some very cool locations. What project are you proudest of?
Custom Bucolic wall-covering by Fromental in The Goring Hotel
I think it's got to be the lobby of The Goring Hotel. It was such a personal piece. The Goring has a wonderful balance of classicism and eccentricity and we hope we managed to capture that in the design. The wallcovering shows an Arcadian landscape peopled with walruses, banqueting pigs and other hidden creatures.
Q: It looks like you have been busy over lockdown. Tell us about the launch of your new brand Studio by Fromental and how it came about.
A: We believe that walls are surfaces for decoration and self-expression — art needn’t be framed. That being said, we understand that commissioning a truly bespoke wallcovering can be daunting, so wanted to use our skills and knowledge of the craft to create wallpapers that have a similar bold beauty but are easier to purchase and use.
Our intention for the new diffusion line is to empower more people to be brave with their walls and express themselves creatively.
Every element of a Fromental project is bespoke, whereas Studio designs are supplied as ‘ready to hang’ sets of four panels. Each design is based on an original, hand-painted artwork which is then hand-finished to order. This method honours Fromental’s craft and finesse and works beautifully with the papers and textured grounds we print on.
Q: Studio contains nine new designs, with 38 possible colourways, Where do you get the inspiration from?
A: As designers, we take our inspiration from all around us. We visit galleries and exhibitions and we have a deep love of the history of the decorative arts. This continual research into pattern and process informs all of our creations.
The debut collection for the brand is called 1st Edition. Each design within the collection has its own individual style - its own story to tell. We drew inspiration from a breadth of art forms, so two threads run through the collection. One is our ongoing exploration of stylised floral motifs, with a strong influence from Asian arts and culture. Another is experimenting with abstract architectural forms and texture.
Some examples to illustrate this:
‘Flock’ is a bold scale scene of cranes dancing across the room. Designed by Emma, this pattern is a modern take on the Rinpa School style.
Inspired by the leather inlaid bookbinding of Georges Cretté in the 1930s, Andrew composed the powerful architectural piece that is 'Deco Arches'. This arresting pattern recalls the era's modernist style, fine craftsmanship and use of rich materials.
'Edo Springs' is a painterly mix of delightful shades, which ensure that this abstract floral pattern is both balanced and bold. The design itself is a contemporary rendition of a classic Japanese screen with trailing flowers climbing the walls.
Q: Do you have a personal favourite in the new collection?
A: It is always difficult to choose a favourite, and this often changes over time depending on the spaces used and the architectural surroundings, but if we must -
Tim - 'Bamboo Lights.' There is an inherent challenge in designing something abstract and minimal because there is a deceptive simplicity to it which can easily slip into something very pedestrian. Andrew, who designed Bamboo Lights, has managed to create a design that is simple yet versatile, abstract but still has character, graphic but with a real sense of movement and flow. Our US team seem to particularly love it!
Bamboo Lights, Studio by Fromental
Lizzie - 'Coquilles.' I love the simplicity and elegance of this design. The shape and texture bring to mind wonderful Deco era tiles. Scale and proportions really attract me in wallpapers, and Coquilles is skilfully designed to balance both perfectly.
Coquilles in the Lettered Olive colourway, Studio by Fromental
Q: How was Fromental born?
A: We launched Fromental in 2005 with the simple aim to make the world’s most beautiful wallcoverings. Our more audacious aim was to create the defining decorative arts of our time. Lizzie was and is an accomplished craftsman and she had developed a series of designs that offered a 21st Century slant to traditional scenic papers. I had been working with classical chinoiserie papers for several years and was working closely with artists in China. We established our own studio and Fromental began.
Our artists are trained in the traditional skills and styles of Chinese painting, paper-craft and embroidery. We were the first to introduce traditional embroidery into wallcoverings, fusing two ancient crafts for a new medium. Over the years we have worked to move beyond the forms of traditional figurative styles to create more conceptual designs.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and the prismatic play of light are unique in the history of wall surfaces.
Untitled 1 in the colourway Sachs, Fromental
Q: How do you see your brand evolving, both now and in the future?
A: We have never considered ourselves followers of trends or followed traditional launch cycles. Our philosophy has always been to launch a design when we feel it is relevant. We are restless and simply want to continue our exploration of materials, techniques and patterns to always produce something new and surprising.
We work very closely with the designers who use our wallcoverings and this establishes a creative relationship. This has naturally lead to collaborations. We love the creative energy generated by these projects, where both parties learn from each other. So, we definitely envisage more of those.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and prismatic play of light are unique in the history of wall surfaces. To be able to work closely with such a decorative design icon was incredibly inspiring. It was fascinating to learn more about René Lalique the man, and to work side by side with the generations of craftsmen behind their production. It was clear that René Lalique combined art and industry through relentless creativity – that was a real inspiration for what we want to achieve through Fromental.
Q: Your designs are bold and vivacious. Why are colour and texture important in an interior?
A: At best an interior is an expression of our own unique personality. To me, colour, texture and pattern are the languages of that expression. Combing these elements can create further resonance and energy between the elements. This can amplify and add nuance to the language. When you create an interior that expresses this personality and mood, it becomes a great gift that reflects back this mood when you need it. You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up.
New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that.
Hand-embroidering Clef des Champs, Fromental
Q: Each bespoke Fromental design is handmade at great lengths. Why are these long and laborious processes worthwhile?
A: Our clients are looking to create unique interiors. Not only do we want to produce something you won't see anywhere else, but also something with a very personal story. Working with these hand-made processes means that we are free from the usual constraints of production and this enables such a bespoke design service.
We have become known for our elaborate and hand-embroidered designs. Our artists spend up to 600 hours elegantly painting and stitching individual panels. I really do believe that when you have an item that has so much personal focus and attention, so much application of skill, the material is imbued with the quality of the craftsmanship in a way that is palpable. There are no shortcuts to achieving this.
Q: Wallcoverings were a staple of the 18th Century and were once considered 'out of fashion.' What do you think is driving their renewed popularity?
A: In our more recent history wallpapers did become unfashionable for a short time in the 90s, but these trends are cyclical. New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that. Maybe starting with one wall but as people have become more confident, wallpaper has gone from strength to strength.
It is always important to remember that no ‘trend’ is ever all-encompassing. Designers with bold visions were using maximalist patterns during any period where the ‘norm’ was minimal.
The fact is that wallpapers are the perfect medium to put your own personal stamp into your interiors. There are few ways of creating such a strong statement in any interior than with the use of a strong wallpaper.
Marta Sala's apartment featuring Raineri in the colourway Pavone, Fromental
Q: Some of your most beautiful wallpapers are in the chinoiserie style, which we often see in our furniture and decorative antiques. How can chinoiserie work in today's homes?
A: Chinoiserie – that wonderful hybrid of European and Far East design – transcends fashion. It brings exoticism, colour, pattern and movement to a room of any size or style of architecture, which is why it has never been out of style. The themes found within chinoiserie designs, such as panoramic garden landscapes, ornate florals and delicately drawn birds, harness the restorative power of nature. These themes resonate strongly today with our sense of wellbeing.
Chinoiserie wallpapers are often used on all four walls, which creates that wonderful immersive feeling. It is also a versatile canvas – you can add contrasting elements for an ultra-modern interior or complementary furniture and accessories for a more classic look.
Q: What is your favourite room in the home? Why?
A: Tim - my favourite room is one I do not have. But I think imaginary rooms are important. In Bleak House Mr Jarndyce introduces his ‘Growlery’; “When I am out of humour, I come and Growl here… When I am deceived or disappointed, and the wind is easterly, I take refuge here”. I shall have my own Growlery one day and I know exactly how I shall decorate it.
Lizzie - The studio. In the words of Virginia Wolf, it is a room of one's own.
When selecting colour and pattern you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result.
Clef du Champs, Fromental
Q: We're all feeling very familiar with our own homes after the last year. How can people escape a design rut?
A: In our experience, the familiarity of their four walls has inspired people to change their décor. In the last year, we have had time to focus on that in a way that is seldom possible.
Events and venues we would normally frequent for our cultural fixes and inspiration have been closed. However, in this void, the design community has stepped up with talks programmes and virtual presentations. So, in fact, the interested consumer has had more inspiration at their fingertips.
Of course, book your tickets once the galleries, museums and exhibitions re-open. We know we will be!
Q: Your designs are wonderfully decorative - would you say you both have a maximalist approach to interiors?
A: We do love the more is more approach to decorating! We feel that, when selecting colour and pattern, you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result. However, we would not describe our own homes as maximalist. Yes, every surface is filled with textures and pattern but we have created a space which is not overly layered. There is a richness to the result but I would say it is somehow more naturalistic. Even the patterns have a quality akin to organic materials rather than bold graphics.
Q: We have loved working with Fromental in the past. If you could pair one piece from our website with one of your new designs, what would they be?
A: A few choices!
I love smokework and think this cabinet would be beautiful with Coquilles in Lettered olive.
https://www.lorfordsantiques.com/american-18th-century-painted-chest-on-stand-cb0910096
This fabulous Scandinavian cupboard with Edo Springs in Celadon rose. This definitely appeals to the maximalist in me …!
https://www.lorfordsantiques.com/scandinavian-cupboard-bk2510801
We also love this Amalfi headboard by Lorfords Contemporary with our Rocaille design in col Belvedere.
https://www.lorfordsantiques.com/the-amalfi-studded#
Read all of our Q&As on L-Shaped.
With its tall back and enclosing wings, the wingback armchair is a distinctive classic. It has established itself in the upholstered furniture lexicon with its offer of elegance and comfort. Whilst wingback armchairs now represent a timelessly stylish piece of furniture, their origins are very practical.
The ultimate fireside companion
Today, with our central heating and carpets, it is difficult to fathom quite how cold the old English home once was. 'Wings' were added to seating to protect the sitter from blustery draughts, as well as from stray embers and ashes that might spit out of the roaring fire.
The wingback still offers this protection, but there is clearly less need in today’s home. So why are these chairs still so prevalent in our interiors? Their stately yet enveloping form has made them a true stalwart of classic English furniture.
How did wingback armchairs emerge?
Simple beginnings
The first record of any sort of wingback chair was made in the 17th Century. At this time, its purpose was likely wholly utilitarian and these chairs were used for the aforementioned reasons. It was probably entirely wooden, perhaps with an added seat cushion for comfort. Indeed, the wingback armchair shares its wings, or ‘saddle cheeks,’ with the settle. Both variations were orientated around warmth and, of course, having a place to rest.
The Queen Anne heyday
During the Queen Anne years, the wingback evolved to become the classic English armchair we know today. Whilst Queen Anne only reigned from 1702 to 1714, the ‘Queen Anne’ style persevered for much of the first half of the 18th Century. This was the age of walnut and developing upholstery skills, which both elevated the wingback into something quite beautiful. Cabinet-makers combined these wings with the elegant new cabriole leg, with its curved knee and pad foot.
Interiors underwent a great deal of change during this period. As large-scale fireplaces and bigger windows emerged, there was a natural demand for furniture with similar proportions. Cabinet furniture became large and imposing and chairs had more generous proportions. Social change was underway too, and gatherings required plenty of sociable furniture. So, the wingback became the ultimate ‘easy chair’ during the Queen Anne years, and its use extended far beyond protection.
The wingback armchair established
From Queen Anne thereafter, the wingback had firmly earned its place in the English home. Georgian interpretations used walnut and mahogany frames with tall, shaped backs and wings. Wingback armchairs also found their way across the pond to France and elsewhere in Europe. Wings were a natural adornment for French bergères, particularly the curvaceous feminine examples seen under Louis XV.
The early 19th Century brought about an upholstery revolution, which swept the wingback armchair along in its tide. Prolific makers of the period, such as Howard & Sons, produced their own examples of the style popularised by Queen Anne. Comfort became a keen priority in Victorian Britain, and the wingback developed a perfect combination of comfort and aesthetic. By the time the English country house style was truly codified a century or so later, the wingback was already a classic in its own right.
Mid Century modern armchairs
The remarkable thing about these chairs is their never-ending appeal. From their primitive beginnings for warding off draughts, wings still appealed to designers of the mid to late 20th Century. Indeed, many modern furniture companies still produce the style. Over the years, wingbacks have sported everything from velvet to leather coverings – depending on current fashions.
At the heart of this enduring appreciation is the organic shapely feel wings give to a chair. Post-war designers across Europe adapted the feature to suit their sleek and functional designs. For instance, in 1957, Ottorino Aloisio designed a wonderful wingback which was manufactured in Pier Luigi Colli’s workshop. This chair appears to have almost nothing in common with a classic Queen Anne wingback; it has a simplistic silhouette with a metal frame and ergonomic feel. And yet, wings are such a distinct feature that wingback armchairs from all walks of life feel related.
Antique wingbacks for the modern home
These chairs are high and mighty, yet also comforting and welcoming. As a result, wingbacks have a place in all interiors. Wings give a chair an automatic sense of structure and presence. Their shape means they look brilliant from any angle, with a particularly striking side profile. Angle one or two beside the fire or incorporate them into a suite for a full English drawing room feel. Wingbacks and Chesterfield sofas share a respected legacy and complement each other wonderfully. Camelback sofas are another great match for these armchairs, due to their common s-curve form.
All armchairs feel at home in the living room, but a wingback will accentuate any corner of your home. Their cosiness is perfect for a bedroom chair, or to welcome guests in a foyer or hallway. The high back, deep seat and wings of a classic wingback make it a supportive reading chair for the library or home office.
The wingback style has truly stood the test of time. With their charming utilitarian history, these armchairs somehow feel both timeless and contemporary. They will sit proudly within a range of interior schemes and offer an opportunity to combine their classic silhouette with vibrant fabrics of your choice. Pair extravagant colours with a neutral setting, or vice versa place a simple wingback in front of floral wallpaper or brightly painted wall.
Browse our collection of wingback furniture here, and all of our armchairs here.
The relationship between humankind and our fellow species has long influenced design. Lion’s paw feet adorn furniture from a range of historical periods. These charming feet are not only decorative but also full of symbolism.
The king of beasts
The lion’s symbolic power has resonated with countless generations of royalty and aristocracy. Since the ancient world, humans have revered the lion as a symbol of strength, majesty, courage, and fortitude.
The earliest examples of paw feet on furniture survive from ancient Egyptian tombs. The Egyptians believed that strength could be conveyed from the animal represented on a chair to the person sitting in it. As a result, they raised a lion’s paw on a plinth base. This ‘drum base’ separated the paw from the dirty floor so that a seamless transfer of power could occur.
Lion iconography permeated throughout the ancient world, with the Assyrians, Greeks, and Romans all following suit. The Romans commonly terminated a single-based table with a lion’s leg and paw feet, hence they acquired the name monopodium foot. Of course, there's an irony in the fact that Roman emperors commonly kept these majestic beasts in captivity or used them for entertainment.
It was these classical beginnings that saw lion’s paw feet appear again and again from the Renaissance onwards, as designers embraced antiquity.
Lion's paw feet in antique furniture
Different periods have favoured various animal feet according to their design aims. We see the prolific ball and claw feet, pad feet, and hoof feet at different points. But the distinctive lion’s paw has been revived particularly extensively, and this popularity is worth exploring.
During the 18th Century, a groundswell against the heavy and imposing furniture of William and Mary prompted a change. In the Queen Anne period, furniture became far more graceful and refined. An interest in classical themes naturally emerged and, because of the prominence of animalistic imagery in antiquity, it wasn’t long before animal feet appeared on English furniture.
Excellence in cabinet-making during the Georgian period did great justice to the lion’s paw foot. Chippendale himself was a great fan of terminating chairs and other pieces with the monopodium foot. The transition between the Georgian and Regency period, when furniture became larger and more extravagant, demonstrates the versatility of the lion’s paw.
Regency heyday
The Regency was an eclectic melting pot of influences and ideals. The Prince Regent oversaw a period of design that combined antiquity with new exotic timbers and oriental influences. And yet, despite this influx of new styles, the lion’s paw survived. In fact, the Regency represents its heyday in English furniture.
Paw feet were a natural accent for the extravagant furniture that decked out Regency homes. Regency designers sought to revive Greco-Roman models in a more exact manner than ever before. They even produced tripod stands and tables in the ancient Roman style, with the classic monopodium foot.
In particular, one of the most well-known Regency designers, Thomas Hope, wholeheartedly embraced the lion's paw. Inspired by his Grand Tour travels, he terminated everything from vases to cabinets with lion's paw feet.
The symbol of Empire
The lion’s intrinsic qualities of strength and majesty, and more controversially pride and wrath, saw it adopted again and again by leaders. Most notably, French Empire furniture portrays lion’s paw feet on a majority of pieces. During the Empire, Napoleon imposed a near-total centralisation of the arts. His designers made furniture that was large and simple- reflecting the supposed dignity of his reign- but adorned with symbolic motifs.
Ormolu mounts referenced antiquity and the lion's paw adorned the bottom of all sorts of pieces, often gilded for impact. For Napoleon, the lion was an obvious choice. His grip on power was tenuous and based entirely on military victories, so he channelled the power of the king of beasts just as his Egyptian ancestors had.
Adaptations of the lion's paw
As we have seen, the lion’s paw survived numerous periods and its presence spread far and wide. But this does not mean we see the same paw again and again. In fact, the monopodium foot changed dramatically over the centuries. We see primitive versions in early examples, where knowledge of the actual anatomy of the lion was often limited. In simpler countryside furniture, the foot is also carved in low relief and you may not notice the paws until closer inspection.
At the other end of the scale, as cabinet-making techniques advanced, lion's paws developed life-like clarity. As a result, paws emphasised individual toes and sometimes even had claws. Often, cabriole legs blend seamlessly into the paw and create the impression of an entire leg. In other examples, you simply see a lion’s paws projecting from the bottom of a piece of case furniture. The claws were sometimes shown gripping a ball, as the prolific ball and claw foot merged with the lion's paw.
The lion’s paw generally became bigger and more imposing over time, reflecting growing empires and increasing skill.
The lion's legacy
Paw feet are full of history and symbolic might. Not only did they have a huge presence in French and English furniture, but also throughout Europe and in Asia. These feet were so appealing that they even appear on sleek Mid Century furniture designed by the likes of Maison Jansen.
Paw feet give a piece of furniture a finished feel and demonstrate skilled cabinet-making. They are one of the many fantastic features that elevate antique furniture above any modern examples. Browse all the lion's paw feet in our collection here.
Aristocratic in conception as well as appearance, the Chesterfield sofa has become one of the most instantly recognisable furniture designs in history. There's a great story surrounding its origins, although as with all legends the evidence is anecdotal at best.
Lord Philip Stanhope, the fourth Earl of Chesterfield (1694-1773), supposedly commissioned the first Chesterfield sofa. Lord Stanhope was in many ways the ultimate gentleman; a renowned writer, politician, public speaker, and all-around wealthy aristocrat.
Unsurprisingly, then, he was something of a trendsetter. The Earl desired a sofa that a gentleman could sit on without creasing his suit. He employed a local craftsman to come up with something to fit this brief, and the result was a very early version of the Chesterfield sofa we know and love today.
Whilst no historical documents directly testify to this, the Earl was famous for writing two works: Letters to his Son and Letters to his Godson. These letters essentially detailed how to operate in society; how to flatter, please, impress, and such-like. Ironically, Stanhope's son is reported to have embodied quite the opposite of these traits, but nonetheless, these works demonstrate the Earl's keen interest in being the perfect gentleman.
The Chesterfield evolution
We recognise Chesterfields for their tall back, finished at the same height as scrolling armrests, and deep buttoned upholstery. Early Chesterfields had no suspension system and tufting kept the horsehair stuffing in place instead. Tufting involved tightly pulling the upholstery back and securing it in place, creating the well-known 'buttoned down' look. On early Chesterfields, this buttoning was far from comfortable and felt very stiff and tough. According to the story, Lord Stanhope actually requested this discomfort himself. He wished to deter unwanted guests from waiting for an audience with him for too long.
In Victorian Britain, the Chesterfield evolved to look more like the design we know and love today. Comfort was increasingly seen as a priority, especially after Howard & Sons invented coil-sprung upholstery in the early 1800s. The integral design feature of a Chesterfield, the buttoning, has endured remarkably. This iconic look feels both traditional and fashionable, preventing a 'slouchy' sofa feel. The depth and texture of the buttoning keep the eye entertained whilst giving the sofa a sturdiness. Wealthy families rushed to incorporate a Chesterfield into their homes, often coordinating its leather or velvet upholstery with luxurious surroundings. These iconic sofas then migrated into gentleman’s clubs and hotel lobbies, and the Chesterfield firmly established itself as a classic.
Chesterfields have long stood for sophistication and luxury, and they still represent these ideals today. They are instantly recognisable when you walk into a room, and yet they can suit a wide range of interior styles. They look equally at home in an industrial loft-style apartment as they do in a polished drawing room. Their seminal design and effortlessly cool appearance make them a staple of the interior design world.
Click here to browse the Chesterfields in our collection.
The Arts & Crafts movement touched every corner of the design world. From furniture to textiles to jewellery, designers adopted a holistic approach to manufacture. At the very heart of every surviving piece is the craftsman himself.
Another cog in the machine
Vintage engraving from 1860 of a jacquard weaving machine.
By the end of the 19th Century, the industrial revolution had utterly transformed Western society. Industries boomed as new technologies emerged, and handicrafts dwindled. Vast factories emerged to accommodate these changes, and productivity and efficiency were the new watchwords.
The industrial revolution brought many elements of our lives today into fruition. In lots of ways, this was a momentous step forwards. Society underwent a dramatic change and standards of living improved for many. However, it was not so for those on the frontline of machine-led production.
The underbelly of factory work was tedious, gruesome, and dangerous. Unskilled labour was in high demand because the process required scores of workers to perform repetitive tasks. Certainly, the skilled craftsman conceiving, designing, and producing a piece became mere nostalgia.
The counter-revolution
Fine art is that in which the hand, the head, and the heart of man go together.
For some thinkers, critics, and designers, these developments were unsettling. John Ruskin was a vocal art critic in the second half of the 19th Century. He claimed a link between poor design standards and poor social health in England. Ruskin suggested a return to handicraft: 'fine art is that in which the hand, the head, and the heart of man go together.' This idea that art serves a moral purpose would later become a fundamental principle of the Arts & Crafts movement.
Let's go back to 1851, the year of the highly anticipated Crystal Palace exhibition in London. This exhibition celebrated the finest corners of Victorian design and pieces from as far away as India. It was a majestic display of talent and wondrous furniture, but it also exposed the excesses of industrialisation. A nauseating range of revival styles was on display, and much of it was heavy-duty furniture that was rich with ornament. It was no coincidence, then, that the following years of the 1850s sowed the seeds for a different sort of revolution.
The pre-Raphaelite brotherhood
Excitement about machine-led production side-lined the decorative arts, and discontent mounted. The antidote to this artificial excess was a return to medievalism. The gothic was a popular Victorian revival style, and reformers hailed 16th Century methods. In his 1851 text, The Stones of Venice, John Ruskin praises gothic architecture and saw its roughness as evidence of the craftsman’s personality and freedom.
Pugin was another gothic advocate, and he believed in the importance of a piece's construction. He was in favour of exposing joints and other methods in the manner of a Medieval carpenter. This school of thought found its voice in the Pre-Raphaelite Brotherhood, formed in 1848.
Among the group's members were Dante Gabriel Rossetti, William Morris, and Ford Madox Brown. The Pre-Raphaelites opposed the High Renaissance, which they saw as frivolous and insincere. Instead, they sought moral seriousness and integrity, and this group was in many ways a precursor to the Arts & Crafts movement.
Madox Brown was one of the first to transfer the group’s shared ideals about design into furniture. He shared Pugin’s vision of flat surfaces and linear profiles that had more in common with Medieval carpentry than refined 18th Century cabinet-making.
Arts & Crafts established
Arts & Crafts societies sprung up to centralise this growing group of individuals. The biggest of these, the Arts & Crafts Exhibition Society, was formed in 1888. This society held regular shows up to and beyond its 50th anniversary in 1938. They gave the decorative arts a stage and spread the beauty of Arts & Crafts. In 1960, the society merged with the Cambridgeshire Guild of Craftsmen to form the Society of Designer Craftsmen which is still active today.
There was a strong sense of community amongst these different organisations. 'The best tastes are to be found in those manufacturers and fabrics wherein handicraft is entirely or partially the means of producing the ornament.' These words of Richard Redgrave, a prominent reformer at the London School of Design, describe their shared sentiment. Significantly, many of the early members of this movement were architects. This meant that they held a shared interest in the gesamtkunstwerk- the 'total work of art.' For example, Charles Voysey was foremost an architect and then a major contributor to Arts & Crafts furniture and textiles.
Exhibitions put Arts & Crafts on display for all to see and escalated the movement. Journals such as The Studio helped to spread the word internationally. America's own movement was well underway, but with a slightly different approach. Unlike UK reformers, US practitioners were indifferent to the machine. They saw it merely as another tool at the craftsman’s disposal and necessary for commercial success. Under Gustav Stickley the American 'mission style' emerged. The mission style used sturdy oak and promoted democratic values, but Stickley was more than happy to use machinery to produce the furniture.
William Morris
Have nothing in your houses that you do not know to be useful or believe to be beautiful.
Although he was already a prolific designer, William Morris only became fully involved with Arts & Crafts later on. Nonetheless, his influence was monumental and he played a central role at the beginning of the Arts & Crafts heyday in the 1880s. His focus was on a return to small-scale workshops, whereby the craftsmen involved could oversee the design process from beginning to end. The Medieval Guilds inspired Morris and offered a model for the personalised craftsmanship that he craved.
As an upper-class man himself, the impact of the factory system on the working classes shocked Morris. He drew on Ruskin’s teachings and shared his nostalgia for a pre-industrial world. Morris loved nature, and flora and fauna are front and centre of the 50+ wallpaper designs he produced over his career. The designer realised that to live in his perfect home, he would have to design every aspect of it himself. His famous Red House embodies his trademark quote: ‘Have nothing in your houses that you do not know to be useful or believe to be beautiful.’
Arts & Crafts design principles
Designers wanted to create furniture that was useful to ordinary people and free from fussy decoration. Nonetheless, this movement was about reviving the decorative arts and aesthetics were still important. But crucially, designers did away with the ‘artificial’ ornamentation that had been front and centre of the Great Exhibition.
The Arts & Crafts umbrella was wide-ranging, but the majority of designs are united by a few simple features. Tables, chairs, and cupboards would have rectilinear shape and rely on simple vertical forms. The construction was a return to basics and most joints exhibit mortise-and-tenon or dovetail joinery. Arts & Crafts practitioners were unconcerned with hiding hinges or other aspects of a piece's mechanism. The movement proved that practical and aesthetic elements could happily coexist in design.
19th Century engraving showing the interior of the Crystal Palace in London, UK, which housed the Great Exhibition of 1851.
Substance over style
Craftsmen preferred darker woods, such as stained oak. They would use the wood itself as an aesthetic factor, with the grain, flecks, and rays often on display. It was not always solid wood, and some craftsmen took a more decorative approach than others. Some pieces might exhibit veneers and intricate carvings, but these elements never sacrifice the piece's utilitarian value.
The ‘through tenon’ provided another decorative touch, whereby the tenon extends through the mortised piece and projects out of the other side. Craftsmanship itself is visible in the end product of an Arts & Crafts piece, in a way that had formerly been lost to the machine. ‘Truth to materials’ was the mantra, and the results had a sense of integrity.
Upholstery would involve leather or simple cloth, in order to keep the overall look as plain as possible. Hand-sanding and pigment-staining gave pieces of furniture the best possible finish. Hand-rubbing exposed the different layers in the wood and began a piece's journey to having a wonderful patina.
The Arts & Crafts legacy
In the cities, Arts & Crafts gathered momentum through exhibitions and print promotions. Soon, the philosophy turned into commercial success. Designers forged good working relationships with manufacturers who could sell their wares. William Morris set up Morris & Co in 1875. The major Oxford Street store stocked other designers too, and they also sold through Liberty and Heals. Suddenly, the Arts & Crafts movement was reaching a much wider audience and it moved into the mainstream. It was the dominant design force in Britain up until the 1910s, and its influence spread across Europe, America, and Japan.
At the turn of the 20th Century, Arts & Crafts migrated out of the city and into the countryside. Lots of the designers celebrated simple rural ideals and the rolling hills naturally held great allure. Workshops sprung up across Britain, and many designers settled in the Cotswolds. These workshops became their own schools of sorts and each had its own take on design.
Sturdy structure, compelling patina, and timeless aesthetic appeal. These are just some of the qualities offered by Arts & Crafts designers. From cupboards to metalwork, every piece has the social history of this movement behind it. We are privileged to have the Arts & Crafts legacy around us in the Cotswolds. Our dealers are always sourcing Arts & Crafts gems so that we have wonderful pieces in stock. Our collection includes big names and makers, from iconic Heal's pieces to Gordon Russell's fantastic works. Visit our lookbook, 'Truth to Materials,' to explore a sample.
Industrial chic is here to stay. Unique antique pieces, original architecture, and modern twists create a style that is both liberating and high impact.
A stalwart of design
Industrial antiques have enduring appeal and bring character to an interior. They capture livelihoods and craftsmanship through the ages, often with true one-of-a-kind status.
Increasingly, people want to decorate their homes without being limited to any one style. The industrial lends itself to this fluidity, by celebrating and exposing raw materials with striking simplicity. Old industrial pieces provide the perfect opportunity to marry vintage with modern, to give your home that 'lived in' feel.
Embracing the natural structure of a building sets the tone for the rest of an interior. Exposed brick, beams, and pipework are decorative features in themselves. Industrial style is a natural complement to this trend and suggests an interior that is evolving, as opposed to stagnant.
Wood, enamel, chrome, iron… all of these materials reflect their industrial history and need little adornment to stand out.
Repurposing industrial antiques
Antique and vintage industrial pieces are a refreshing antidote to the fast furniture age.
Industrial interiors value the bare bones of an object; the quality and the craftsmanship. It harks back to an era when, if something was broken, you would arrange a repair rather than replace it.
The beauty of this style is that it allows the journey of a piece to continue, by repurposing it for modern living. There is something quite special about a piece of furniture that was once a crucial part of someone’s livelihood, whether that was carpentry or sewing.
Perhaps your home and working life don’t require a set of seed merchant’s drawers, but they are a stunning decorative feature that offers lots of storage.
Create the industrial look
Whether you are looking to wholly embrace this raw aesthetic or just introduce a few pieces into your home, Lorfords is a great place to start.
Our aircraft hangars at Babdown Airfield are the perfect showrooms for industrial antiques. Our collection includes antique wooden furniture, trade signs, ladders, easels, and a host of other industrial pieces.
Antique and vintage trade signs are relics of mercantile history. Signs that once hung in a carpenter’s shop, horologers, or other stores are striking decorative items. With their cursive declarations of services, a trade sign is a stylish way to inject character into your home.
Industrial pieces bring a variety of textures and materials into the home, which creates a layered feel. This raw aesthetic can be warmed up by fusing it with other styles. Consider surrounding industrial features with eclectic Mid-Century designs or the fresh hues of Swedish chic.
Iconic designs, such as the Tolix chair, look stylish in an industrial interior. With their galvanised metal finish and bright colours, these chairs were firm fixtures in cafes, offices, and factories during the 20th Century. Soften the edges of the industrial with rich textiles such as velvet upholstery, a leather Chesterfield or an antique rug.
Industrial antiques are where tradition meets vogue, and there are no rules on how you style it within your home.
Lighting with purpose
Industrial lighting never goes out of style and is a simple way to bring a unique edge to your interiors. This trend is so appealing because these are antiques with clear provenance, and this is especially true when it comes to light fittings.
From Victorian street lanterns to Mid-Century enamel lights, there is a range of striking antique and vintage options available. Pendant lights exude atmosphere in modern interiors and help to achieve that 'warehouse loft' look.
Our collection includes several Holophane lights. Holophane Glass studied the distribution of light in the 1890s and came up with a solution: prismatic lighting. These lights provided ‘scientific illumination,’ on factory floors and other workplaces. In the 20th Century, they went on to light up famous spots such as The House of Lords and Westminster Abbey.
In a house full of beautiful antiques, your lighting can tell a story too. Repurpose old restaurant lights, school lights, and streetlights into amazing features in your home. Here at Lorfords, we have a pair of early 20th Century industrial lamps which originally hung in Camden underground station.
Get inspired
If your interiors need a refresh, adding a few unique industrial pieces can work wonders. Experiment with one or two statement antiques, or create a workshop inspired space for a bold look.
Visit our lookbook 'Into the Workshop' to view a selection of antiques with an industrial history behind them.
Did life exist before Mad Men?* It’s a question I’ve been pondering a lot since the peerless series faded to black for the final time (*answer: yes, but it didn’t look as good).
Critics may have focused on the internal machinations at the Sterling Cooper ad agency but, as we all know, the real star of the show was the sumptuous mid-century styled sets: Gorgeous eyefuls of caramel coloured interiors with sleek, sensuously curved furniture and desk lamps that deserved their own mini-series. Has there ever been a tv series so determined to make the viewer drool with couch envy? Of course our love of all things mid-century was already well established by the time Don Draper sparked up his first Lucky Strike. Hard to believe that it’s twenty years since furniture of the 1950s, ‘60s and ‘70s came in from the cold and started making serious headway in the style supplements and salerooms. Fashions come and go; nowhere is this more true than in the conjoined worlds of antiques and interiors, but, two decades on, mid-century is still here, stronger than ever. It remains the chic-style option it always was and, no longer hobbled by its former retroassociations, Mid-Century has taken its place alongside Art Nouveau and Art Deco as an established epoch in 20thcentury design history. Before you embark on a full Mad Men inspired home makeover, here’s my guide to the essentials of mid-century furniture, a style that remains as fresh and innovative in 2016 as it did half a century ago.
What do we mean by mid-century?
As the name suggests, the style dates from the middle decades of the 20thcentury, roughly from the mid-1940s to the late 1960s. Rather like Art Deco, the name was coined long after the period in question. When it first emerged, our parents and grandparents knew it as Contemporary, and as a decorative style it influenced everything from the shape of a sofa, a vase or a coffee pot to the pattern on a tablecloth. It was youthful, stylish and bang up to date, and that was exactly what people wanted. Every style comes with its cultural baggage and mid-century speaks of an era of confidence, one which looked ahead optimistically to a bright future of ever increasing economic prosperity with more money and leisure time to relax and enjoy life. Mid-century interiors were all about chic style and ease of living, and this was also reflected in the furniture. Small wonder it appeals to us so much today.
Deciphering the mid-century style can at first seem something of a challenge. Certainly not all modern furniture from this period will be in the mid-century style. Plastic inflatable furniture from the 1960s, for example, is definitely not mid-century (it would be an example of Pop design, in case you were wondering). As an
illustration, let’s try this: At first sight a Danish rosewood and leather dining chair by Neils Moller seems to have very little in common with an American high-gloss white fibreglass Tulip chair by Eero Saarinen, yet they’re both hailed as mid-century design classics. So what’s going on? Well, I’d say what unites these seemingly unrelated chairs boils down to three things: simple, modern elegance, functional comfort and fine craftsmanship. In my view, it’s the mix of those three essential elements which is the hallmark of mid-century design. Mid-century designers had a dictum: Form follows function, in practice this meant no excess decoration or unnecessary flourishes. In less capable hands it’s a mantra that might have resulted in some very boring furniture. Fortunately for us, the generation of designers who followed it was one of the best the design world has ever seen. With the possible exception of the Regency period in the early 19thcentury, perhaps no other point in history has produced quite the same number of top calibre artists and designers as the 1950s and ‘60s: Charles and Ray Eames, Robin Day, Eero Saarinen, Harry Bertoia and scores more. Unlike the Regency period, however, when only the wealthiest could afford the best furniture, mid-century designers were driven by a mission to bring good design to the many rather than the few and embraced mass-production with the result that their designs are still relatively plentiful today and Amen to that. But the mid-century movement is more than a mere roll-call of designer names (nice though that is). The philosophy of good design available to all, which those great designers championed, was taken up by manufacturers at the more affordable end of the market, with many smaller factories producing good quality, well designed furniture within easy reach of the middle class. The names of most of these designers have mostly been lost to history but today, these pieces can be picked up at reasonable prices while still ticking all the boxes for style and quality.
Where did the mid-century style originate?
After World War Two furniture designers began to move away from the hard lines and polished chrome of pre-war German inspired modernism towards a softer, warmer aesthetic. The great architect-designer Marcel Breuer led the way and others soon followed. The mood was for something more human, more organic and for this everyone looked north. Since the 1930s Scandinavian, especially Finnish, designers had developed a soft modernism, relying on wood rather than metal and drawing on their own native skills in cabinetmaking, producing designs that were simple, understated and elegant. This fitted the mood exactly and Finland, Sweden and Denmark moved centre stage, becoming the benchmark for the best of mid-century style. What we tend to think of as classic mid-century furniture, in rosewood or teak with soft, fluid curves and simplicity of form has its roots in 1940s and ‘50s Scandinavia. It wasn’t just the north that had a part to play in the mid-century look. The 1950s was a time of convergence in design, when Italian, French and British, as well as Nordic influences began to merge together, creating a style that was truly international in its outlook. But at its heart the mid-century style was solidly American. America in the 1950s was the powerhouse economy of the world with previously undreamt of levels of wealth and international influence. A new generation of young designers set out to reshape the look of modern America, pushing the boundaries of furniture design by experimenting with new materials and manufacturing techniques.
Harry Bertoia (1915-78) was born in Italy and moved to the USA in 1930. He studied at the Cranbrook Academy of Fine Arts near Detroit, Michigan and eventually became head of the metal working department at the academy. Bertoia brought a sculptor’s eye to his furniture designs, particularly in the series of wire mesh chairs he designed in the early 1950s. The Bird lounge chair, designed in 1951-2 for Knoll, has been described as looking like a piece of sculpture suspended in space. The chair, which was mass-produced but by hand rather than machine, was made by welding a sheet of metal mesh into shape and then welding it on to the wire legs.
Mid-century designers eagerly embraced the possibilities created by new materials like plywood and plastic. Eero Saarinen (1910-61) was particularly influenced by developments in the field of plastics. His Tulip chair was one of the first chairs designed with a single pedestal base and was revolutionary when it was introduced in 1956. A true Modernist, Saarinen’s chair was a solution to what he saw as the clutter of chair legs under a dining table. A design classic, the Tulip chair anticipates the Pop design movement of the 1960s by a good ten years and is every bit as striking today as it was when it was new.
Although America and Scandinavia drove the mid-century look, other countries produced significant designers whose work is highly desirable today. In Britain, William Plunkett (1928-2013) was a designer with a background in engineering who worked in a highly individual style. Like Harry Bertoia, he combined his engineering skills with a sculptural flair and created a series of elegant metal-framed seating that won many design awards.
An essential ingredient in the mid-century interior was lighting. Lighting has, of course, always had a practical use in the home but was now more closely integrated in the overall decorative scheme. The floor lamp, designed in 1950 by George Rispal is a highpoint in mid-century lighting design. The coolie shade and cylindrical shade provide task and ambient lighting respectively, while the strikingly organic form, inspired by the work of German-French artist and sculptor Hans Arp (1886-1966), means it works as a piece of sculpture every bit as much as a lamp.
Well designed, refined, slick without being cold, at times a little decadent but never camp and very grown up; the appeal of mid-century furniture is highly seductive and it’s easy to understand why, twenty years after its rediscovery, it’s in ruder health than ever.