Weaving her magic in her Dalston studio, Rachael South has gained a reputation for her contemporary approach to restoring neglected pieces of furniture.
She was, therefore, a natural fit for the Heal’s Modern Craft Market: Made in London, where she will be demonstrating the art of woven chair making as well as holding a series of workshops teaching the art of chair caning.
Having had an extensive career designing textiles and creating bespoke Passementerie (that’s designing and making tassels and braids to you and I), Rachael returned to her primary passion for restoring and upcyling vintage pieces of furniture by taking on her father Terry South’s established upholstery business.
To learn more about her passion for craft, the capital and all things chairs, we visited her studio to see some of the techniques that will be on display in store at Made in London.
Where did you learn your craft?
It was my father that taught me chair caning when I was a teenager. I was in my dad's upholstery workshop from a young age and there were a lot of opportunities for making things using leftover fabrics that were lying around. I loved the sewing machine and even used to make my own clothes.
Later I studied Textile Design at Guildhall University and when I left school my first job was with Warner Fabrics as a showroom assistant, so I have had several other teachers since. Recently the roles were reversed and I taught a class of very experienced seat weavers. Needless to say, I learnt a few new things myself!
What is it about the craft of weaving that fascinates you?
Traditional seat weaving offers the use of natural plant based materials which are not only very beautiful but also extremely functional. I really like the inconsistencies which occur in the natural material, which also provides the unique aesthetic quality to each piece. #
I love the work of Patricia Urquiola and also some of the Scandinavian mid-century designers who used seat weaving in their practise such as Jorgen Hovelskov.
What’s the first piece you designed that you were truly proud of?
I really like my leather woven bentwood rocking chair, the chair frame is a classic, well-known shape and I think the addition of the woven seat and back in the non-traditional woven leather and star pattern really complements the frame.
This type of weaving hasn't really been used on this particular style of furniture before. Since they were first exhibited in 2013, these chairs have continued to prove extremely popular with constant commissions to weave more.
“I really like the inconsistencies that occur in the natural material, which also provides the unique aesthetic quality to each piece.”
Talk us through the process for creating one of your pieces?
My chairs are usually a collision of ideas, materials and frames that I've collected and stored. I might try a new weave pattern and then think "ah this could work with that materiel and that chair frame."
I am always on the look out for new materials that might inspire this process. I also really like any collaborative work as it's a challenge and can often push my skills somewhere I would never have thought of by myself.
Describe to us an average day in your studio.
My studio is in Dalston and usually full the brim with furniture! The radio is always on, I have a cutting table, and a couple of trestles and tables set up depending on who's coming in for the day. My materials are usually out and tools hung on the wall or in open tool boxes. It's a real hive of activity once we get going.
The reason I love my job is because of the variety of work I get to do, some days I'm working only on commissions and restoration work and other days I may be doing design development work for collaborations or preparing materials for teaching. I usually have tea or coffee discuss the days work with Yvonne, Electra or Gabby who work with me, and then we just get on.
What is it about living and working in the capital that inspires you?
I have travelled a lot and lived abroad and in the countryside. Living and working in London, however, offers such a vast array of work opportunities and also the chance to meet so many other people involved in making.
I love the close proximity of museums and think the Geffrye Museum round the corner is a fascinating place. You can literally step back in time as you go from one room interior to the next. I have done a work shop there and have another coming up soon as part of the Second Sitters Exhibition.
Tell us a bit about the workshop you will be running as part of the Heal’s Modern Craft Market: Made in London.
I am going to be running a days introduction to chair caning. If you have an interest in the craft it'll be a fun day weaving a small frame using the traditional cane in the six way pattern. It is a great place to start if you've ever thought you'd like to learn the craft or have a chair at home you'd like to cane a seat for.
“Living and working in London offers such a vast array of opportunities and also the chance to meet so many other people involved in making.”
What does the future hold for you and your practise?
I'm going to be start teaching a four day professional course in chair caning at London Metropolitan University this July, which I'm really excited about as, despite the fact there are a few places already offering leisure classes, I hope to be able to set a standard with this course.
I've spoken to the tutors who used to teach the city and guilds qualification and have designed the course around this. I'm also planning a trip to Japan later this year and would really like to immerse myself in the craft scene over there particularly the Bamboo weaving which has similarities to caning.
[ INSPIRATION ]
Behind the design
After graduating with an MA from the Royal College of Art in 2013, Beatrice Larkin established her label with the desire to create design-led textiles for the home. Working from her London studio, she uses a web of highly skilled mills and finishers in the UK to weave fabrics made from the softest merino and lambswool.
Passionate about honest craftsmanship, her collections are woven in small runs with a focus on quality, texture and the individual characteristics of each piece of cloth. Not only has Beatrice launched a new monochromatic range at Heal's, but she also exhibiting at Heal's Modern Craft Market: Made in London.
There's a whole host of events on, but if it's an insight into textile production you're after - don't miss her loom weaving workshop at our flagship store. Today we've put Beatrice in the hot-seat to see what makes her creative process tick.
Were you always set on designing textiles or is it something you got into through your studies?
I think I was probably always headed in this direction having been surrounded with fabric from an early age. My mum is a textile designer and my dad runs an interior design business so you could say it’s in the blood. Studying textiles and specifically woven textiles at The Royal College allowed me to find my own direction and aesthetic, which eventually led me to start my own business.
During your studies you took a placement at Wallace Sewell – how did this experience feed into your own practice?
Working at Wallace Sewell was my first experience of a woven design business. I began thinking about the business of textiles, costing, pricing, margins and the reality of designing fabrics for wholesale and retail.
It was a bit of an eye opener as a young textile student as hand weaving is a long and laborious process so understanding the limitations and possibilities of production was really valuable. I guess it was here that I first wanted to get to grips with the business side of design and making.
What inspires the linear style of your textiles?
Inspiration comes from a number of sources. Perhaps most evident is my love of the bold block geometric style of the Bauhaus weavers Gunta Stolzl and Anni Albers. I like geometrics with a human touch so I work that into my designs, often trying to build in a ‘flaw’.
I use my hand drawings to create spontaneity, which I then apply to fabric designs. These sketches are taken from a number of sources such as hand painted buildings from Tiébélé, West Africa. The paintings are refreshingly honest and beautiful and I attempt to convey the same spirit in my fabrics.
Traditional weaves are also a great inspiration, manipulating structures to form the design and composition of the cloth. I play with scales, placing block patterns alongside smaller designs in the fabric structure. It is important that structure and design have equal importance resulting in a uniquely balanced fabric.
“It is important that structure and design have equal importance resulting in a uniquely balanced fabric”
Tell us about your studio?
I’m based at my home studio in Hackney. It’s a great location and I enjoy working from home. At the moment I’m surrounded by cushions and fabrics so I’m thinking about moving my studio somewhere else in the coming months. It would also be nice to be working alongside other designer makers.
Every day is different for me but it usually starts with checking and replying to emails whilst having breakfast. The rest of the day might include going for meetings, following up production, dealing with stockists and marketing my products. If I get a chance there might be some designing in there too but at the moment the business side of things seems to be taking the lead.
Talk us through the process for translating a design from paper to finished product?
Most of my designs start from sketches or developments from previous designs. I work on these on the computer and then figure out the scale and repeat of the design. The jacquard loom I use has certain restrictions so I have to plan my design to fit these.
I work out the structures I want to use for the fabric and these are usually a very weft facing weave so the softer merino wool is more prominent over the cotton warp. I then work with the mill and adjust designs to fit the right pick rate for the fabric, making sure the finished fabric is the right weight and the design is looking right.
I order my weft yarn which is delivered to the mill, the fabric is woven and then sent to be washed and finished somewhere else. After this, the fabric is sent to a seamstress to make into cushions and throws
“Honesty and integrity in my work are crucial. It allows me to deliver a quality well-made piece knowing exactly how it was made.”
As a former exhibitor at Ethical Fashion Forum, why is incorporating ethical practices important to you?
It is important to me that the product I am selling comes from a reputable source. I can control all elements in the production line as I can go and visit the mills and talk to the weavers first hand.
My products are luxury pieces and I want my customers to know how and where they're investing their money. If I wasn’t as in control of the production line I wouldn’t believe in my product and so I wouldn’t be able to pass that on to the customer. Honesty and integrity in my work are crucial. It allows me to deliver a quality well-made piece knowing exactly how it was made.
It was difficult when I moved from hand weaving to a small production line as I was worried I might lose something in the design and fabric if it were scaled up. Being in control of all stages and knowing the highly skilled British weavers I’m working with has been key to keeping the quality high.
Does working with a third party producer impact the design process?
I often have to change parts of production and sometimes this can be frustrating when you have a finished look you’re wanting to achieve. I try to work around these and often those changing aspects might lead to an unexpected and more exciting outcome.
If you had to pick a favourite piece from your new collection at Heal’s which would it be?
It would have to be the Lines throw. This design, taken from a hand drawing, is one of my most organic geometrics. I’ve worked into it to make areas look worn and brought in an undulating twill structure. All of these elements give the fabric a depth that I love. I think this piece really represents my aesthetic.
Part of our new Spring Collections, discover Beatrice Larkin's contemporary cushions and throws at one of Heal's stores or shop anytime online.
Based on an antique piece, the Victoria Armchair is a refined take on traditional design.
The armchair adds modern proportions to the original, with deep button cushioning, scrolled arms and traditionally turned beech legs in keeping with the character of the piece. Shown here in Emin Red Coral upholstery, the Victoria is limited to just 50 pieces each of which is made in Britain exclusively for Heal’s.
Elegant and ergonomic, the Victoria Chair’s traditional silhouette and decorative button cushioning combine to create the perfect high-back chair for classic interiors.
As easy on the eye as it is on the posture, the generous backrest offers plentiful support with scrolled armrests and feather and foam seat cushions providing sumptuous comfort.
Made in Britain exclusively for Heal’s, the solid beech turned legs are in keeping with the traditional style of the Victoria while the Emin Red Coral fabric gives a fresh feel to the piece.
Founded in 2011 by father and daughter duo Christopher and Emily Johnson, 1882 Ltd. are saviours of the British ceramics industry.
Their entire collection is made using centuries-old traditions in Stoke on Trent, better known as one of the “Five Towns” that make up the Staffordshire Potteries - the traditional heartland of Britain’s fine China industry.
All this talk of heritage and traditional craftsmanship may evoke an “olde worlde” view of home accessories, however, 1882 Ltd. is anything but, collaborating with a handpicked crop of artists and designers whose work seeks to push the boundaries of what ceramics can do.
We caught up with Emily, a fifth generation ceramicist, at her London studio to learn more about the unique processes and techniques that go into the 1882 Ltd. collection.
London-based Max Lamb is renowned for placing materials and traditional processes at the core of his designs. The visual simplicity of his work stimulates a dialogue between maker, product and user, reaffirming the role of craftsmanship in contemporary design. His Crockery range is an expressive collection of fine bone china tableware.
Blurring the line between designer and craftsman, Lamb uses the tools of a stonemason to carve each piece from solid blocks of plaster. To capture the raw textures and sculptural structures of Lamb’s designs, each piece is slip-cast by 1882 Ltd. from the designer’s hand carved plaster models. The interior is then glazed for functionality while the exterior is left unfinished for a textural contrast.
“Max was propelled by the process and removing the work of the modeller. This was great but required a different knowledge base from us in terms of ensuring that the models could be moulded for batch production. Then we had to look at finessing the pieces further ensuring that they were fettled back to where Max wanted them to be...
This meant talking things through with the potters directly to make sure everyone was on the same page. With the limited edition collection we discussed ways in which we could maximise the master mould to create two pieces instead of one. This was a conversation that could only have taken place after years of working together where trust and understanding had been established.”
Through her furniture and ceramics, British designer Faye Toogood demonstrates a passion for materiality and experimentation. Her highly sculptural work, while showing an astute respect for the past, is derived from pure self-expression and instinct.
The Indigo Rain range is Faye’s fresh spin on traditional English creamware and Delftware. Reinterpreting the homely familiarity of blue and white striped crockery, broad bands of indigo glaze wash over each piece like painterly watercolour brushstrokes.
Made from fine earthenware, swathes of deep blue glaze are applied to rough canvas and then transferred to the ceramic imbuing each piece with the characteristic grain of the fabric. This process renders each plate, bowl and cup a unique one-off design.
“Faye and I had talked about doing a very different collection for nearly 12 months but then we had an epiphany about what we wanted to do and the rest came naturally. The collection has evolved easily from that point as the concept for it was so strong. Sometimes to start is the hardest thing and it can take three years to even get to that point.”
Fort Standard is a young contemporary Brooklyn-based design studio founded in 2011 by Industrial Designers Gregory Buntain and Ian Collings. The multi-faceted design of the Standard Ware range epitomises their combination of traditional materials and innovative processes.
Crafted from fired earthenware, each piece is minimally glazed on both the interior and exterior to maintain focus on the striking angular profiles. “One the great joys about ranges is that there is no one typical process!
The only thing that is typical is that each designer comes to Stoke on Trent so that they can meet the team, see the process and get inspired. This was the case with Fort Standard whose process meant that they would pass the design back and forth from Ian to Greg and then back from Greg to Ian with sketches and models until they were happy with the outcome. This resulted in a design that is literally created out of its own making.
We started with cups and then discussed the breadth of the collection we wanted and what items we needed - the finish alone was debated and discussed for months!”
A true testament to the craftsmanship of 1882 Ltd. the Slick range of tableware has been designed and developed by the studio's in-house potters. Individually worked and hand glazed with a unique marble-like design, each mug and bowl are one-off designs.
“Slick is the best one of all as it was an accident! We did an exhibition a few years ago for LDF with Benchmark called Factory. We were launching four new collections and were also serving tea and food so needed bowls and teacups.
We didn't want to offend any of the designers so someone suggested we do our own collection, which we did and that is how Slick came about! It's now one of our best selling collections.”
“Slick is decorated by one man while Indigo Storm is made by a team of 70. Crockery, on the other hand, is made by a team of 12. We always use the best people for the collection at hand. It can make life a little complicated but we believe it is important to get it down right.”
As regards Emily’s plan for the future, it’s a case of more of the same, please. Well, that is to say for 1882 Ltd. to continue preserving the traditional skills of the Potteries and by working with innovative design talent.
“We must do everything in our power to keep the techniques and practises going. That means - great design, great industrial craft, great retailers and most important of all - customers who love and value our products. If we can achieve that I will be a happy woman!”
Discover our curated selection of pieces from the 1882 Ltd. collection online or in store.
We at Heal's have always said that upholstery is an art in itself and it seems the folks over at PINCH design would agree.
Launching as part of our Spring / Summer 17 collections, for the first time their Pendel two seater sofa is available in exclusive 'Nympheus' fabric from GP & J Baker, first designed by legendary British artist William Turner over a century ago. An enduring GP & J Baker classic, the ‘Nympheus’ fabric was created exclusively for the textile house by the William Turner in 1915.
Born 1775, Joseph Mallord William Turner is one of Britain’s most renowned painters and is known for his distinctive Romanticist landscape style, which in its day was controversial giving him the name the “painter of light.”
To support his career as an artist, Turner took on a number of private and commercial commissions produced designs not only for GP & J Baker but also wallpaper and fabrics for rival firm Sanderson (whose upholstery is also available as part of Heal’s Sofas collections).
Founded by George Percival Baker in the 19th century, GP & J Baker is celebrated for its work with a number of contemporary Arts & Crafts designers in early 1900s. Baker himself was a keen horticulturist and a much-loved figure in the Royal Horticultural Society, so it’s no surprise that a number of the prints for which the textile maker would become famous were botanical in nature, commonly depicting English garden flowers.
A Ming dynasty (15th-16th century) painting on a silk panel in the British Museum was the inspiration for Turner's ‘Nympheus’ design of drooping lotus leaves and birds contrasting the patient stillness of the egret with the quick decisive movements of the kingfisher.
Large scale bird and flower paintings were used to decorate interiors since at least the Song dynasty (AD 960-1279). The most refined style is associated with the Court of the Huizong emperor of the late Northern Song dynasty and the refined brushwork and subtle colouring set a model for later dynasties.
The compact yet comfortable Pendel is the perfect sofa for a formal setting or simply curling up in. The elegant line of the high backrest and curved arms is characteristic of Pinch design. Handcrafted from solid beech, a luxurious timber that is not commonly found in modern-day sofas, the frame is filled with a pocket sprung base as well as foam and wadding cushioning.
Made in Britain, the Pendel two seater sofa is also available as an armchair (see below), with each piece skilfully upholstered in a selection of Heal’s or designer fabrics and in a choice of solid oak or walnut feet.
Discover the Pendel range and more pieces from the PINCH collection online or in store.
Join us at our Queens store on London's Westbourne Grove next Monday evening for a special Meet the Maker event with renowned British designer and craftsman Matthew Elton.
Co-founder and director of Heal's Tendeter, our new in-house bespoke furniture and interiors workshop, Matthew has gained a reputation for his contemporary approach to craft and has fitted out interior displays for many of London's most esteemed retailers including Fortnum & Masons, Liberty and Heal's, of course.
On the night Matthew will be discussing his designs alongside a serving of complimentary drinks (because we all know that bespoke and bubbles go hand in hand). We cannot think of a more appropriate setting for this intimate event than our Westbourne Grove store, the interior of which was designed, made and fitted by Elton himself alongside the Heal's Tendeter team.
Heal's Tendeter
Heal's Tendeter is the creation of Matthew Elton and Heal's Chairman Will Hobhouse. Founded in 2015, the partnership embodies Heal's unique combination of traditional craftsmanship and innovative design through the means of a handmade furniture and interior fittings workshop.
While wood is the main focus, the Heal's Tendeter team are experts at intermixing materials with over 17 years experience creating truly bespoke design solutions for private clients, developers, architects and interior designers.
To discuss your next project with Matthew and the team, call 020 7998 8195, email info@healstendeter.com or visit the Heal's Tendeter website and simply fill out the contact form.
healstendeter.com
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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