One of the “faces” of London’s street art scene, we caught up with artist Anna Laurini to talk graffiti, Fornasetti and her latest exhibition at Heal’s Edizioni Italiane.
Born in Milan, Anna is well travelled having studied at studied at Central Saint Martins alongside regular jaunts to New York. The one constant throughout this journey has been her expressive paintings, the spontaneous brush strokes, bold lines and vibrant use of colour all recognisable trademarks of her work.
More recently Anna’s work has gained international recognition thanks in no small part to her “faces” series of street art dotted in and around central. A trip to Anna’s Finsbury Park home-come-studio only confirms her love for her practise.
Whether it’s a canvas, sketch or even the kitchen cupboards, paintings adorn every surface from floor to ceiling, the instantly recognisable motifs staring back at you from all angles. Having taking it all in, we sat down with a cup of espresso hot off the stove (naturally) ready to chat to Anna about her work as she fizzed around the room.
Your “face paintings” have become recognisable across London’s streets. How did you get into street art?
It was more by chance. A few years ago when I was hanging out in Shoreditch I would say to my friends that I kept seeing the same street art and graffiti around. They told me that if I was bored of seeing the same thing I should try it myself.
So, one evening I tried it out and it became an addiction! At the time I was also spending a lot of time going to and from New York due to my studies. In a sense the city itself became my art school, as there is so much creativity and artwork in the streets. I make sure to go at least once a year to absorb the vibes, the energy and recharge my creative batteries.
A number of your paintings are accompanied by quotes and sayings. Are you trying to get across a deeper meaning for each piece?
I’m not the best at expressing myself verbally, so I’m always on the look out for quotes from activists, writers and philosophers. When I read something that strikes me personally or I think like “that’s exactly how I feel” I note it down.
Then when I’m painting on the street the quote will pop into my head and I’ll make it a part of the piece. My dream is to write out a poem, but I think the police would probably come and catch me in the time it would take!
Have you ever got into trouble because of your street art?
It depends on the police. You do have to be careful about where you do it, say if it’s private property such as a house, which I obviously don’t do. I mainly paint on construction sites, but even then I understand the risks. I’ve been stopped a few times and given fines but that’s just the price of being an artist in London.
“My dream is to write out a poem, but I think the police would probably catch me”
Do you get many commissions from stores and galleries to create pieces in a similar style to street art?
Actually, yes! Some even provide me with those MDF wood panels you find around construction sites to replicate for their houses! They really like the texture and look, so it’s become a part of my work.
Tell us about how your paintings will feature as a part of Heal’s Edizioni Italiane?
I’m trying to make this body of work according to the same colour scheme and style of the designers featured in this season’s campaign. This combines not only my faces and figures but also my abstract paintings, pairing the artworks with different pieces of furniture from the collection.
You’re originally from Milan, what made you move to London?
I came here years ago to learn English and fell in love with London at first sight. So I stayed and did a two-week intensive course before I went back to Milan to save as much money as possible to come back and live here permanently.
Do you find your Italian roots play a part in your practice?
Well, Italy is aesthetically a very beautiful place both in terms of its natural scenery and architecture. My dad was also a bit of an artist, so growing up I was always surrounded by examples of beauty. Fornasetti was a big inspiration. He was a painter, sculptor and interior decorator and similar to me used the motif of the face of a woman.
“The beauty of Italy is that you can’t really go wrong.”
The Italian influence crops up in subtle ways. There’s this beautiful blue serum metallic that is made by an Italian brand and I’ve tried to find something similar here but it’s just not the same. I miss going into any shop in Italy to buy this particular blue, so when I go back every couple of months I fill up my luggage with it.
Finally, are there any places or hidden gems in Italy that you always tell your friends to visit?
The beauty of Italy is that you can’t really go wrong. Everywhere you go, you will always find something beautiful!
[ INSPIRATION ]
Behind the design
If you have an eye for unique and eccentric, it’s time likely you’ve already heard of Timothy Oulton. This eccentric designer creates for sartorially savvy interiors with an emphasis on heritage and quality.
Timothy Oulton’s design heritage dates back to his childhood days in Manchester. It was here he grew up surrounded by antiques from his father’s business, Halo Antiques. He joined the family firm aged 18 and thus began his career in furniture.
Having originally envisaged himself going on to work in the City, the family business captivated Oulton. The exquisite antiques, and the meticulous, time-honoured hand-craftsmanship that accompanied them, intrigued him.
This inspired his design approach and gradually began to characterise his collections. He explains that “exposure to the antiques industry at an early age introduced me to beautiful design.
Being surrounded by great handcrafted products most of my life has definitely impacted how I produce my furniture.” “I’ve always loved vintage luggage, imagining the journeys they’ve travelled, on long sea voyages or across countries on steam trains.” Timothy Oulton
By scanning flea markets Oulton uncovered his instinct for finding the most beautiful pieces. This developed his love for antiques and helped him to recognise their limitations. After years in the antiques trade, Oulton repositioned the company to focus on furniture design. Today his brand handcrafts beautiful and practical furniture, inspired by the past but reimagined for the modern day.
“One of my favourite pieces is the original trunk that inspired the Globetrekker Collection. I’ve always loved vintage luggage, imagining the journeys they’ve travelled, on long sea voyages or across countries on steam trains. I found this particular worn-out trunk buried in a flea market.
‘Tom Richards’ was engraved on its brass plaque, and so I’ve often wondered about the adventures Tom would have had with his trunk.” “What makes something beautiful is the attention it is given. Time and care and effort mean you always get something extraordinary.” Timothy Oulton
This free-spirited approach is reflected in Oulton’s collections, which look to timelessness with an enduring quality rather than seasonal trends. Inspiration comes from anywhere with many pieces, borrowing ideas from the past and infusing them with Oulton’s contemporary point of view. Inspiration includes 19th-century leather chairs, Art Deco lighting and the clean lines of mid-century modern design.
Despite now being an international brand with stores across the globe, Timothy Oulton’s guiding philosophy remains the same. “What makes something beautiful is the attention it is given. Time and care and effort mean you always get something extraordinary.”
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Join us as we stroll through the Dorset countryside to visit maker Alice Blogg at her studio space in the Grown in Britain licensed forest and wood merchant Hooke Park.
Alice Blogg designs and makes honest, functional and beautiful British hardwood products. From smaller home accessories to lighting and furniture, Alice’s designs are inspired by the trees and nature that surround her Dorset workshop. It is here that she crafts her range of exclusive Chopping Boards for Heal’s using Grown in Britain assured Ash, Sycamore and Oak.
It is important to Alice that there is no waste and she is careful to use every part of the tree. Each piece is made to last for generations, using tools and knowledge passed down through her family.
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One of the most influential names in contemporary British furniture, Matthew Hilton has spent decades creating pieces that balance modern design with an enduring sense of familiarity. From sculptural armchairs and beautifully proportioned sofas to dining tables and outdoor furniture, his work is defined by thoughtful details, exceptional craftsmanship and forms designed to stand the test of time.
Discover the story behind Matthew Hilton and some of his most recognisable furniture designs.
Who is Matthew Hilton?
Matthew Hilton is a British furniture and industrial designer whose career spans more than four decades. His work came to prominence during an exciting period for British design in the 1980s, when a new generation of designers began rethinking the relationship between traditional furniture making and contemporary living.
Hilton established an early relationship with British furniture brand SCP, which first produced his work in 1986. The partnership has continued for decades and resulted in some of his most recognisable pieces.
Rather than following passing trends, Hilton’s approach centres on proportion, materials, comfort and function. The result is furniture with a distinctive character that nevertheless feels at home across a wide range of interiors.
A defining collaboration with SCP
Matthew Hilton’s relationship with SCP has played an important role in both his career and the development of contemporary British furniture.
One of the partnership’s defining moments arrived in 1991 with the launch of the Balzac Armchair. As SCP’s first upholstered furniture design, the chair took more than two years to develop with a traditional upholstery maker in Norfolk.
The collaboration has continued well beyond Balzac, with Hilton designing furniture spanning upholstery, tables and occasional pieces. His designs demonstrate a consistent ability to combine traditional craftsmanship with a distinctly contemporary point of view.
The Balzac Armchair: a modern British classic
Few pieces demonstrate Hilton’s approach quite like the Balzac Armchair. Introduced in 1991, its generously curved silhouette offers a contemporary interpretation of the traditional club chair.
With a deep seat, sweeping arms and distinctive proportions, Balzac brings together sculptural form and inviting comfort. More than three decades after its introduction, the chair remains in production - testament to Hilton’s ability to create furniture that transcends passing trends.
At Heal’s, the Balzac is handmade in Norfolk, with its distinctive silhouette built around a solid beech frame and finished with American oak feet.
Discover the Balzac Armchair
Meet the Oscar collection
Designed by Matthew Hilton for SCP in 2009, the Oscar collection brings together modern simplicity and traditional upholstery in Hilton’s characteristically understated style. Long, clean lines are softened by gentle curves and beautifully considered proportions, creating furniture that feels refined without appearing overly formal.
Each piece is made by skilled craftspeople in Norfolk using natural and responsibly sourced materials, reflecting Hilton’s emphasis on quality, longevity and considered construction.
At Heal’s, the Oscar collection includes sofas, armchairs and the bed, bringing the same restrained design language across living and bedroom spaces. From its elegantly turned legs to its carefully tailored upholstery, each piece demonstrates Hilton’s ability to create furniture that feels contemporary yet enduring.
Discover the Oscar collection
The Cross Extending Dining Table
Hilton’s considered approach to furniture design can also be seen in the Cross Extending Dining Table, designed for Case. Combining practical functionality with a strong architectural form, the table demonstrates how Hilton can make even highly functional furniture feel beautifully resolved.
Its solid timber construction and distinctive crossed-leg base give the design a confident presence, while the extending tabletop allows it to adapt easily from everyday dining to larger gatherings.
Available at Heal’s in a choice of finishes, the Cross Extending Dining Table demonstrates Hilton’s belief that practical furniture needn’t compromise on considered design.
Discover the Cross Extending Dining Table
Step outside with the Eos collection
Hilton’s design philosophy moves seamlessly outdoors with the Eos collection for Case. Created as a family of simple, functional and hard-wearing outdoor furniture, the collection uses powder-coated aluminium to achieve lightweight, clean-lined silhouettes.
At Heal’s, the Eos collection spans outdoor dining tables, chairs and benches alongside coffee and side tables, making it possible to carry the same understated aesthetic throughout an outdoor space.
Designed with both practicality and longevity in mind, Eos is another example of Hilton’s ability to strip furniture back to its essential elements without sacrificing character.
Discover the Eos collection
Matthew Hilton and Heal’s
Hilton’s connection with Heal’s extends beyond the furniture available in our collections.
In 2018, he created his debut lighting collection exclusively for Heal’s, translating the minimalist character of his furniture into the Dome and Orb pendants.
His influence can also be found within our Tottenham Court Road flagship itself. Visitors to the store can encounter a staircase designed by Matthew Hilton, bringing his approach to form and materials into the architecture of one of London’s most historic design destinations.
It’s a relationship that reflects a shared appreciation for considered contemporary design, craftsmanship and furniture created with longevity in mind.
Designed to last
While Matthew Hilton’s portfolio encompasses everything from upholstered armchairs to dining and outdoor furniture, a consistent philosophy runs through his work.
Materials, construction, proportion and function are treated as fundamental parts of the design. Rather than relying on decoration or passing trends, Hilton allows the quality of the materials and the strength of each form to take centre stage.
It’s an approach that has helped designs such as Balzac remain relevant decades after they were first introduced, while newer collections continue the same emphasis on considered, long-lasting furniture.
Discover Matthew Hilton at Heal’s
From the unmistakable curves of the Balzac Armchair and refined upholstery of the Oscar collection to the architectural Cross Extending Dining Table and pared-back Eos outdoor collection, Matthew Hilton’s work demonstrates the breadth of his approach to contemporary furniture.
Explore Matthew Hilton furniture at Heal’s and discover enduring designs where contemporary thinking, craftsmanship and everyday functionality come together.
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To celebrate the launch of her new limited edition tea towels, we read into the small print with designer and screen printing specialist Laura Spring at her Glasgow studio.
New for AW16, Laura's collection of exclusive tea towels bring her trademark blend of geometric pattern, eclectic palette and screen printed aesthetic to Heal's. Each of these contemporary tea towels is hand screen printed by the designer and is limited to a edition of just 25 for each style.
To learn more about the inspiration and process behind Laura's design, we headed up to (not so) sunny Glasgow to watch her put the finishing touches to our new collection.
Where does your passion for design stem from?
Every since I was young I’ve loved making. I’m a very practical person who really enjoys working with a process, creating physical things and seeing them come to life. I suppose it’s something that’s always been there from a very young age. I remember my favourite thing when I was about six or seven was creating small worlds out of shoeboxes and my Mum’s clothing catalogues.
As I’ve got older my curiosity about design has just grown and grown. I’m always interested in finding out about new techniques, different designers, materials - I love to ask questions and explore.
Where did you study?
I studied Visual Communication at The Glasgow School Art, specialising in Graphic Design. I was much happier when making things with my hands rather than sitting behind a computer and got very excited when I discovered the print room and silkscreen printing.
Tell us about the first piece you ever designed?
The first piece I designed as my company ‘Laura Spring’ was a Wet Weather Suitcase. I was lucky to be awarded the Scottish Craft residency at Cove Park in the summer of 2011 and was given a studio in the beautiful Scottish countryside for six weeks to explore the idea of prints that relate to the function of a product.
I created three designs – Wet, Windy and Warm - and applied them all to a range of travel accessories with the suitcase the first and most challenging product to make.
What is the inspiration behind your work?
Inspiration varies from collection to collection but as I mentioned previously I have been inspired by motifs relating to the function of the object it adorns. More recently I have been inspired by the use of camouflage in nature, specifically how butterflies and zebras use mimicking or colouration techniques to hide from predators.
I think nature and all it’s wonder has been having a bigger influence on my work since I did a residency in rural Finland last summer where nature is considered hugely important and people seem much more connected to it.
“I enjoy working with a process, creating physical things and seeing them come to life.”
Do you have a design hero that influences your work?
I have a huge amount of love and respect for the company Marimekko. I have always admired their bold use of colour and pattern but I also love that they have built up such an incredible business with the bulk of their print production still being done in a purpose built factory in Helsinki.
Where is your studio?
My studio is in Glasgow. It is housed within an old sawmill on the north side of the city not far from The Glasgow School of Art. It’s home to about 14 artists and has a really nice communal feel to it. Having people from various disciplines around me is very handy as it means we can share skills and solve problems.
Tell us about your design process, how do you get started?
I always start with research. I’m a bit of a hoarder, so often gather photos, odd objects, bits of paper and then go back to them at a later date. Something will catch my eye and spark an idea once I’m back in the studio. I really enjoy exploring an idea as thoroughly as possible as this can often take you in unusual directions.
For example, the work I’ve been doing lately for my new collection has all come from a residency I did in Finland last summer. I took lots of photos, spent time absorbing the culture and bought weird things from flea markets, one of which turned out to be an amazing pair of old weaving catalogues that will form the basis of a new project taking my work in a very different direction.
“I find computer colours so strange having spent time mixing colours by hand using pigments.”
Once I’ve got some ideas, I’ll start working them out on paper and then play around on the print table to create my colour palette. Then I’ll take the idea to the computer, my least favourite bit. I find computer colours so strange after having spent time mixing colours by hand using pigments.
Do you have a preferred material or process?
Screen printing will always be my number one process but recently I was incredibly lucky to be involved in a project called India Street that took a group of Scottish designers over to India to learn how to block print. It was an amazing experience and fascinating to learn a different technique and the effect it can have on your designs.
How did you get involved with Heal’s?
I got involved with Heal’s through my friend Gabriella Marcella Di Tano who runs Risotto, a riso print studio here in Glasgow. She was taking part in Pick Me Up (annual graphic arts festival in London) and got chatting to one of the team from Heal’s whom she very kindly suggested my name as someone to potentially work with.
How would you describe the collection?
The collection is a playful design of colour and shape inspired by a trip to Estonia last summer. The capital city Tallinn has the most incredible doors everywhere that have all these beautiful geometric patterns on and I couldn’t help but take many, many photos!
I sat with them on my wall in the studio for a while and then when Louise got in touch I thought they would be a great source material to work with to create a summery, playful tea towel design.
Make sure to grab your limited edition Laura Spring tea towel before they are all snapped up by shopping our collection of kitchen linens online.
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For this week's #TextileTuesday we're off to Nottingham to meet textile designer Tori Murphy weave her magic in her studio. Bringing a sartorial touch to home accessories, Tori Murphy began her career working for a number of fashion houses in Milan before founding her own textile business in 2012.
Since then she has continued to produce a range of contemporary cushions each of which is woven in the UK before being finished within her studio.
Tell us about your studio?
My studio is in Sherwood, Nottingham. I'm very fond of it and even say goodbye and thank you to the building when I leave at the end of the day.
Tell us about the first piece you ever designed?
The Elca pattern was one of the first designs that I started the business with. It stems from one of my earliest memories of simple brush strokes repeated and is named after my mother who ignited my love of drawing and painting.
Tell us about your design process, how do you get started?
I usually start with a location, for example last year was the south west coast of Ireland and this year it’s the North Norfolk coast. I pick out particular memories and moments and draw out the patterns that I see within them.
These are drawn by hand and yarns sourced to match what I have in mind and a moodboard of ideas slowly builds. Things get added and taken away until I am left with three or four designs that represent the initial idea and feeling I had. The fabrics are then woven in Lancashire, finished in Yorkshire and all made into product in Nottingham by our machinists.
What is the inspiration behind your work?
I have always had a love of materials and their inherent qualities. Finding natural materials and allowing them to shine is important in every piece I design. In terms of patterns, I take inspiration from my surroundings, buildings, landscapes and the people and memories within them. Equally importantly, I am enthused by traditional English manufacturing and producing pieces with character and integrity that we can be proud of.
Do you have a design hero?
There are many. I am constantly inspired by people who have been able to not just create wonderful products and successful businesses but who have also created a lifestyle that provides them freedom. Freedom to create, travel and spend time with family.
How did you get involved with Heal’s?
I used to go into the Kingston store as a student and marvel at all the beautiful things. I was 19 and it was the first place that had furniture and fabrics that struck a chord with me. I still get the same excited feeling when I go in almost 20 years later so I was delighted to meet a few of the team from Heal’s at a London trade show in 2013 and we have been working together ever since.
All photography courtesy of Jack Neville: www.by-jn.com If you'd like to stay up to date with our #TextileTuesday each week then follow us on Facebook, Instagram or Twitter and make sure to check out Tori's full range of soft furnishings over at Heal's.
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HEAL'S DISCOVERS
Ed Heritage
As part of this season’s Heal’s Discovers initiative, we’re delighted to introduce Ed Heritage, an award-winning UK-based designer whose signature style of clean geometry and playful details is reflected in the beautiful lamp he created.
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