As part of British Designers at Heal’s we welcome Stephen Smith, our artist-in-residence, whose work is available to view and purchase at our Tottenham Court Road store.
Working under the studio name of Neasden Control Centre, Stephen's work is known for its multi-disciplined hand drawn approach often combining lettering, drawing and collage within graphic compositions.
We sat down with Stephen to find out a bit more about him, his work, and what inspires him as an artist.
What motivated you to work as an artist? Is it what you wanted to get into growing up?
I have worked as a both an artist & illustrator since I graduated from the University of Brighton in 1998. Although there are obviously differences between my commercial studio work as Neasden Control Centre and my art practice essentially I’m motivated by environment, society & culture - both historic and contemporary. This influences my work in both capacities.
I was lucky enough to be taken by my family to museums and art exhibitions as a young child which had a big impact in my learning and development and overall interest in the arts. I have always enjoyed all aspects of what I do. It’s become my whole life and something I live for.
How would you describe a typical working day?
I don’t tend to have typical days. I try and keep things flexible between my studios. I have a studio for commercial work which is more desk orientated and a separate studio for painting which is larger and enables me to explore different processes in a playful way - some of these works are large in scale and so require a different space to work in.
Due to the diverse nature of the projects I tend to take on sometimes a day can consist of; planning and research for future work, site visits, sewing large sections of canvas, painting, drawing for illustration or commercial projects, digital editing or working on design led projects with collaborators I work with.
I also try and keep things flexible as this suits my process and practice to expect the unexpected.
Give us some background on your collection. What was the inspiration behind it?
The starting point for this series spawned from a journey I took to Baikonur Cosmodrome (Russian Space Station). During this trip I witnessed the flat plains of Kazakhstan on a 24 hour train journey, vast architectural interventions and colour from the region at first hand. These have subsequently became embedded in a visual language as a metaphor for this time / place within the surface.
I am exploring this through a process of formal abstraction. This process embodies the deconstruction and subsequent reconstruction of both material and motifs. I see these as integral to the form of the painting and paradoxical in approach. Within this I am exploring the interaction between both the physical material and painted motifs, where the motifs act as a method of communication like say a maritime signal flag.
This visual language is documented by my support work in collage and drawings in mixed media on paper. As a painter, I am particularly interested in the process of breaking down and re-contextualising. Integral to this has been exploring the boundaries between paintings on stretchers and un-stretched canvas. I am interested in engaging with how the folds, sewn edges and layers within the canvas can act as a form of mark making.
How long does it take to create your artwork?
The paintings exhibited at Heal’s currently are part of series of works I have been making over the past year or so exploring both the physical process of painting and construction / deconstruction within it.
Stephen Smith's artwork on display in our Tottenham Court Road store
The paintings are often reworked and therefore can take up to a year to complete. In this series I have deconstructed the form of both the paint and painting structure by cutting and machine stitching the canvas so that it encompasses a collaged process. This process has enabled me to explore drawing, painting, scale and colour within my work.
How would you describe the feel of the materials used in your design and the choice of colours?
One of the things that my process has enabled within deconstructing and reconstructing the canvas through collage and stitching has been the ability to cut directly through the middle of paintings and, by doing so, creating areas of both raw and painted canvas within this action.
Stephen Smith's artwork on display in our Tottenham Court Road store
This has enabled different colours and elements to interact with each other in combination with textural qualities and marks across the surface. The tension of the paint and collaged colour is held in a form of chaos directly within this physical process. I’m trying to achieve a balance between the line, form, surface, colour and overall compositions at all times.
Therefore the paintings very much have evolved from Modernism. I am particularly drawn to mid-century form within Modernism and the often brutal nature of the architecture celebrated again in recent times from this period of stark concrete and painted murals.
[ INSPIRATION ]
Behind the design
A key part of Heal’s heritage has been partnering with independent designers to bring customers well-made and good quality design – be they well-established or newly discovered names.
Heal’s Discovers does just that. Now in its 13th year, the initiative aims to provide a platform for emerging design talent to showcase their skills and creativity. For Heal’s Discovers 2017, we decided to focus on innovation in making and technology.
Drawing upon Ambrose Heal's quote, "if in doubt, innovate" we have selected some of the strongest emerging designers who are using brand new processes in production and materiality to produce beautiful pieces for the home.
Launching as part of London Design Festival in September, these pieces will be available to buy in store and online. Meet the designers behind the Heal's Discovers 2017 collection below.
Alice Howard Graham
First up is Alice Howard Graham who has created a selection of innovative printed leather designs that can be used as rugs or wall hangings. We first met Alice at her Masters show in 2016 where her passion for creativity was instantly apparent.
Growing up on the South Downs in East Sussex, she was encouraged by her mother, the late painter and photographer Anne Howard, to express herself creatively through many different mediums.
She found herself drawn to textiles and, having studied for a degree at UCA Farnham and then a Masters at RCA in the subject, she began to perfect her method of screen-printing onto leather.
She cites the initial stages of gathering inspiration as vital to her design process and often looks to photography for ideas.
“Photography has always been very important to me, as it's often the starting point for my designs. These photographsthen inspire me to experiment with surface, placement and colour in quite an abstract style.”
Alice used a series of aerial photographs she took over Petworth, East Sussex from a hot air balloon for her Painted Shapes panel.
A selection of Alice's aerial photography
“Viewing the varying textures and colours of the autumnal Sussex countryside from a flat, aerial perspective was fascinating. I loved the abstract depiction of the elemental, textural environments these photographs were portraying. Shadows created from trees and hedgerows leaked into the edges of ploughed fields whilst deep indigo reservoirs and lakes cut into the landscape.”
What has resulted is a beautifully soft yet durable leather panel with a striking printed design that we instantly fell in love with.
Solidwool
Justin and Hannah Floyd are the creative minds behind Solidwool, a composite material made from wool that gained the two entrepreneurial designers a place on our shortlist. Driven by the decline of woollen manufacturing in their home town of Buckfastleigh, the couple set out to find a new way of working with the material.
“Buckfastleigh was once a thriving part of the woollen industry but had grown quiet since the key manufacturing had left. We had an idea - if we could find a new way of working with wool then perhaps we could bring some of this industry back. We wanted to find a way of reinventing this wool to give it value once again. To take the unwanted and make it beautiful.”
Using the coarse wool from hill-farmed, upland sheep they found an entirely new way to work with a material that had lost nearly all of its value. Once a major part of a shepherd's income, the wool now sells for about 30-40p per kg, costing more to shear the sheep than a shepherd gets back in wool sales.
“We started to play, to turn the way we have always worked with wool on its head. The end result is what has become Solidwool. A strong, beautiful and unique composite material. Think of it like fibreglass, but with wool.”
Justin and Hannah wanted to showcase the beauty of the material and a shell chair seemed to be the obvious choice. Using a classic, simple shape allowed the material to be the star.
“We like the fact there is reference back to the Eames’ first production fibreglass chairs – as an alternative to fibreglass, it seems apt.”
Matt Davis
Next we introduce Matt Davis who we first met at the New Designers Graduate show and whose ceramic vessels won him a place on our Heal’s Discovers 2017 shortlist. Having originally trained in graphic design at Camberwell School of Art, he returned to studying his initial passion for ceramics at the University of Brighton.
It was a decision that awarded him a 1st Class Honours degree, a Richard Seager Bursary Award and the Emmanuel Cooper Prize in 2017. He also has pieces on display in the permanent collection at the Potteries Museum in Stoke-on-Trent.
Describing his design style as Digital futurism, Matt’s work references classical vessel forms which are essentially digitised for the modern era.
“I had the idea of making ‘binary objects’ and wanted to create iconic artefacts that had an almost dualistic existence both aesthetically and conceptually. These designs appear like digital objects in the physical world and their geometry almost looks impossible to cast but it can be done.”
It took almost a month for Matt to work out how to translate his designs from computer code to physical designs. His ceramic vessels are initially 3D printed before being moulded and slip cast in liquid clay, creating a truly 21st century ceramic collection that challenges the preconceptions of technology and traditional craft.
“I chose bone china because it’s the whitest of the ceramic materials and can make porcelain look almost grey in comparison. The black complements this perfectly and alludes to ideas of duality and the theme of making objects that exist virtually as code into permanent physical artefacts.”
Smile Plastics
With a passion for making beautiful materials that inspire, Adam Fairweather and Rosalie McMillan are two pioneers of design within a circular economy. The duo established Smile Plastics in 2015 with the aim of creating sustainable plastic panels with a striking aesthetic and strong narrative.
For Heal’s Discovers the panels have been used to create a collection of side tables, encouraging us to challenge the perceptions of value and the potential of waste products in furniture design.
“For us the starting point is discovering the waste material itself, working to uncover its potential in terms of aesthetics and function. Often you see evidence of the history of the materials within our panels. You may spot the odd barcode or foil from the lid of a yoghurt pot immersed in the panel.”
Handmade in the UK, the materials are 100% recycled and recyclable. Though the concept may seem simple, the production process is complex and time-consuming.
“We start by exploring waste materials on a small pilot scale – looking at different waste streams, colours and patterns before trialling our production on a larger scale. It can take several months to develop a material and can take much longer than this – the recycled coffee material is a product that Adam has been developing for many years.”
In celebration of British Designers at Heal's, we teamed up with Kate Watson-Smyth, interiors journalist and creator of Mad About the House, and Tiffany Grant-Riley, interior stylist and creator of online blog Curate & Display, who took over the windows of our store in Westbourne Grove.
The brief was simple: create a ‘home from home’ within the windows of the Queen’s building featuring pieces from the Heal’s roster of past, present and future UK design icons. What resulted was two very different room-sets that were true to their interior styles.
Take a closer look at their displays below. A firm believer in the idea that a home should tell a story, Kate describes her style as Urban Glamour with natural wood and touches of metal never far from her styling. Using the Russell Pinch Wallis sofa and the Balzac armchair by Matthew Hilton Kate has styled a visually striking living room using pieces with organic shapes and rich colours.
When asked how she went about creating her room set Kate said, “I just love the Wallis sofa by Russell Pinch and have done ever since I saw it at the Press Show so I knew I wanted to build something around that sofa. It embodies what we discussed about British design – clean lines, elegant, timeless, but with an element of luxury with the blue velvet. It’s very me.
“I like to use a lot of different textures and layering, but keep the colour scheme simple. That’s why I chose to layer a number of rugs and feature that beautiful drinks cabinet from Heal’s Tendeter.”
In contrast to Kate’s maximalist style, Tiffany Grant-Riley is drawn towards the minimal, often taking inspiration from Scandinavian style. Embracing slow living and a simple aesthetic, Tiffany has a penchant for pieces that use materials in their simplest form, allowing the beauty of the designs to speak for themselves.
Tiffany used the Orson desk designed by Matthew Hilton to feature in her laid back home office space with plenty of greenery, metallic touches and warm colour palette.
She says, “I liked the clever mix of classic mid-century with the walnut wood and the metal legs giving it a contemporary feel. So I thought I would do a workspace because I’m drawn to spaces where you can be creative.
“I wanted elements of greenery which are very much my style and a bit of the dark, earthy terracotta which tied in well with the copper touches in the rug. I included a few brass pieces from Tom Dixon as well because I felt I needed him in there as he is one of the most important designers of our time.”
A selection of designs used in Tiff's room-set
If you would like to see the room-sets in person, head to our store in Westbourne Grove. The installations will be there until August 31st 2017.
British design has remained an important part of the Heal’s offering for over two centuries, largely thanks to the passion and vision of the people behind their creations.
We’ve launched a campaign to highlight the impact that British creators have had on the design world. As much a celebration of the people as the designs themselves, British Designers at Heal’s delves into the dynamic world of British design, showcasing the very best pieces from some of the most creative minds in the country.
Over the next few weeks, we’ll be exploring what inspires these visionaries, how they have perfected their craft and some of the key designs that have shaped their career. But first let’s start with an important question...
What is British design?
Whilst there is no set rules or list of attributes that define it, it is perhaps best summed up by one of the nation’s most recognisable objects: the red phone box. Voted the nation’s favourite British design in a poll undertaken by Kingston University in 2015, it beat the likes of the double decker bus, the 2012 Olympic Torch and the London Eye.
The design dates from a competition in 1924 won by the architect Giles Gilbert Scott, designer of Liverpool’s Anglican cathedral and London’s Battersea and Bankside power stations. Scott’s original timber prototype can still be seen beneath the arch of the Royal Academy on Piccadilly.
Skip ahead a few decades and their function is practically obsolete, yet they are still considered an indispensable part of the UK streetscape, most likely garnering 40% of the vote because of their status as a cultural symbol.
This, in some ways, sums up what British design is about. There’s an element of iconoclasm and inventiveness, mixed in with an enduring nostalgia for our heritage and traditions.
Where did it originate?
In 1946, the Britain Can Make It exhibition was held at the V&A, displaying British products that evolved from new materials and processes developed in the war. It was a statement of faith that Britain could rebuild itself and it set the tone for the Festival of Britain that was held five years later.
A theme of measured and modest design emerged from both exhibitions – not surprising given that Britain was recovering from post-war austerity. Brands like Ercol shot to prominence with simply-shaped furniture made from strong materials.
Their timeless quality highlighting the fact that their designs were made rather than moulded. The demand for contemporary British furnishings began.
British design in the modern day
Skip ahead a few years to the 21st century and national characteristics are still prevalent in design. Whilst Italian furniture is known for its visual flair, and German for its efficiency, British design is very much rooted in its modesty. It’s restrained and balanced, using specialist manufacturing techniques that put an emphasis on craftsmanship.
Russell Pinch is a great example. The elegant and sleek Wallis sofa echoes the clean lines of an Aston Martin and the tailoring of a Saville Row suit. Its design is understated – not shouty or brash, but highly considered and expertly crafted.
The Wallis sofa by Russell Pinch
Similarly Tom Raffield, an artisan in bent wood from Devon, uses a pioneering technique to steam bend timber to create beautiful furniture and lighting designs. After much trial and error, his breakthrough came when he held a thin board of ash over a kettle for 20 minutes.
Binding the switch with gaffer tape kept the kettle boiling but also blew the fuse. By that time though Tom was able to twist the wood around a pipe and set it as a curve. And with that a whole new way of working with timber was born. How very innovative. How very British.
Let’s not forget that British design is also inventive and unusual. Think about brands like Paul Smith, Burberry, and Mini – they are quintessential British brands that aren’t afraid to make a statement.
Often pushing the boundaries, pieces are often quirky, rebelling against a classic style and adding their own identity. Jode Pankhurst, who features in our list, uses traditional techniques to make her ceramic pieces but her hand painted decoration is unusual and her shapes are unique. No two pieces are the same but are each is instantly recognisable as her own.
To experience British Designers at Heal’s in full, visit our Tottenham Court Road store throughout August.
For this season’s press show we headed to 19 Greek Street, a Victorian town house set over five floors in the heart of Soho.
The beautifully whitewashed floors, walls and ceilings provided the perfect backdrop for our talented team of stylists to work their magic. Recreating the looks from our AW17 shoot, the blank canvas was transformed into the ultimate Heal’s Home furnished with pieces from our upcoming collection.
Take a look at some of our latest designs below.
Made For You
Underpinning the Heal’s AW17 collection is a simple belief that every home deserves good design, no matter what your taste or style. Our new ‘Made for You’ service is our response to the growing trend of personalisation within the home and gives you control of the design process right from the outset.
The Bespoke sofa Whether you hanker after traditional style or are more contemporary in your taste, ‘Made for You’ gives you the creative freedom to design a custom sofa or dining table that is the perfect fit for your home.
Above is just one of the examples of the hundreds of configurations of sofa that you can choose from. Above is just one of the examples of the hundreds of configurations of sofa that you can choose from.
Every piece created has the assurance of expert craftsmanship and quality materials no matter your style preference, allowing customers to create a truly bespoke piece that will stand the test of time.
Relaxed Nordic
Also new to Heal’s is Morten, a Nordic-inspired range designed exclusively for us by John Jenkins. Intended to offer comfort and style to busy city dwellers, the light wood used for Morten designs sits beautifully alongside other new Scandi-inspired homewares (think chunky knit fabrics, natural furs and vintage-inspired rugs) that can be layered to create a textural look.
The Morten sofa
The Morten range also extends to bedroom furniture including a chest of drawers, a sideboard and a bedroom cupboard allowing you to create a cohesive Scandinavian look throughout your whole house. Style alongside a new collection of handmade ceramics to complete the look.
The Morten king-size bed
Also new for the autumn/winter season is our striking Matera sofa, a sleek and modern design made with traditional craftsmanship. It takes its name from the southern Italian town in which it is built and its design has all the characteristics of contemporary Italian furniture; clean lines, metal legs and astute attention to detail.
Upholstered in a buttery, soft leather, the Matera sofa is a masterclass in contemporary design and provides a generous seating space within a compact footprint.
The Matera sofa
Opulence
In contrast to this laidback feel, opulent, rich and luxurious designs and textures join the Heal’s offering with a moody palette of deep burgundies, blues and greens providing a sophisticated backdrop to brushed brass finishes and monochrome patterns.
The Richmond sofa
The Richmond sofa and Balmoral bed were both well received largely down to their beautiful design and the irresistibly soft Varese velvet used to upholster both pieces.
The Balmoral bed
Lighting
With a focus on brushed and opal glass, the Heal's Icon collection for AW17 is a premium edit of the finest in lighting for the home. With a mixture of exciting new pieces and premium upgrades to current Heal's range, the Icon collection offers a new way to consider home lighting: timeless, not trend-led.
The Icon Lighting Range
New glass pendant designs join existing styles to create a classic and refined collection that will add character to any home.
New pendant lighting for AW17
Many thanks to everyone that stopped by. Keep your eyes peeled for plenty more joining our collection this AW17 season.
Bringing an element of the outdoors in has been a key trend in interiors so far this year, but as the British summer starts to rear its inconsistent head, it’s time to turn our attention to extending our living space outdoors.
Whether you have a petite city balcony, a generous garden patio, or an extensive country garden, it’s important that your outdoor space is an extension of your home and a place where you can enjoy the fleeting sunshine.
With the right furniture and accessories, your outdoor area can become a stylish space in its own right. Our advice? Choose pieces that are of a good quality and don’t follow the fashion. It’s hard not to be driven by trends, but it’s better to invest in something that can evolve rather than be thrown out after a season.
Enter the Eos range designed by Matthew Hilton
The Eos Rectangular Table, £530, and the Eos Side Chair, £160
A collection of three chairs, three tables, and a chaise longue these designs are almost deceptive in their simplicity. This contemporary outdoor collection is smartly proportioned, exceedingly comfortable, and (perhaps most importantly for English gardens), entirely weatherproof.
Hilton says, "I don't follow trends, but of course I absorb them and I can't claim that I'm not influenced by them. I design with practicality, functionality, price and aesthetics in mind. We wanted to produce a simple, clean and functional product that was hard-wearing and well-priced. We ended up with aluminium, which is a great material for outdoors, and is stackable, recyclable and affordable."
The Eos armchair, side chair, and lounge chair all have a slim and sleek shape and can be stacked for compact storage.
The Eos Armchair, £180
The Eos Chaise Longue, £620
In a similar vein the beautifully simple side table, square table and rectangular table can all be stored outside easily and will look at home in both big and small gardens alike. For those of us lucky enough to have a bit of poolside space, the Eos Chaise Longue is a truly versatile addition.
Made from powder-coated aluminium that stands up to sun and rain, the comfortable sling seat will also withstand mould and mildew. Two discreet wheels make it easy to follow the sun or the shade.
"One of the reasons I'm so pleased with this collection is that it works really well in smaller, urban gardens, or for people who have terraces or balconies. The fact that you can stack it and stow it outside is very appealing. People want to spend their money on something of value that will last the distance. I think this range does exactly that.”
We couldn’t agree more. To take a closer look at the Eos range, head to your nearest store or our website.
HEAL'S DISCOVERS
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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