With our new collections set to launch in just a few weeks, we give you an exclusive sneak peak of our AW16 press show.
Contemporary takes on traditional styles are present throughout our new sofas and furniture collections. Classic silhouettes are given modern functionality, with bright accents of colour and clean lines providing both freshness and familiarity. For this season’s new lighting ranges, we build on the trend for mixed materials and show-stopping statement pieces. Meanwhile in home accessories we celebrate the emerging craft scenes of South Africa and Swaziland with our Design Africa collection.
A modern spin on the traditional Chesterfield design, the Balmoral Sofa blends neat proportions with decorative upholstery to create the ideal piece for sophisticated living spaces. Featuring generous deep button detail, sleek arms and solid oak legs in a choice of matt black or natural finish, this comfortably appointed piece comes complete with a wide lumbar cushion for added support. Upholstered in luxuriously soft Folia Zest velvet, each Balmoral Sofa is made to order here in the UK and is available in a range of Heal’s fabrics.
No matter how big or small the space, the Nimbus Modular Sofa’s countless configurations ensure the perfect fit for your home. Choosing from a range of modular components, you can design your own unique piece, which is then made to order in the UK by Heal’s specialist manufacturers. The contemporary silhouette of the Nimbus offers generous proportions with feather-wrap foam seat and feather filled back cushions providing luxurious comfort and support.
Available in a wide selection of Heal’s fabrics, the tailored upholstery showcases the sofa’s clean lines. The Nimbus Modular Sofa is shown here with the beautifully structured Strut Coffee and Side Table, the latter topped with the Bend Table Lamp. Other pieces include the NORR11 Floor Lamp, a new design for AW16 whose counter levered silhouette is cast from aluminium and hand-treated for an industrial finish, plus the hand-tufted, 100% wool Marrakesh Silver Rug by Linie Design.
In our AW16 fabrics collection we have a range of colourful new throws from John Stanley sit alongside Camille Walala's striking rug designs for Floor Story. Each recreates the graphic artists geometric, postmodern approach through traditional handwoven kilim and hand tufted woollen fibres. Elegant and ergonomic, the Victoria Chair’s traditional silhouette and decorative button cushioning combine to create the perfect high-back chair for classic interiors. 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.
Inspired by rustic country kitchens, the Cooks Table provides a versatile space for AW16 that is just as suited to preparing meals as it is communal dining. Adding angular lines to a traditional silhouette, solid oak legs are beautifully lathe-turned in a clean, contemporary style.
This aesthetic beauty is complemented by everyday functionality with six drawers along the base plus hanging rails at either end of the table. Choose from three different tops: solid oak offers a traditional, clean look; concrete brings an industrial edge to the sleek-yet-classical legs; Carrara marble adds long-lasting luxury. Complete the look with the new Risi and Capra Chairs, designed by Tomek Rygalik. Janie Knitted Textiles is a UK based textiles company, established in 2005 by Jane Withers and Michael Hanmer.
The brand ethos is centred around the use of natural fibres such as merino wool, linen and cotton sourced from UK suppliers, hand-woven and dip-dyed to create a unique ceiling pendant range. Janie’s Knitted Ceiling Pendants, available in three shapes (Geometric, Fan and Nipped) and in two colourways (Indigo and Cerulean), are exclusive to Heal's this Autumn.
Taking its name from London’s iconic Blythe House, home to the Heal’s archive at the V&A, this beautifully crafted range of Bedroom Furniture captures the functional elegance of Arts & Crafts design. Designed in-house, the entire Blythe range is made from solid oak and oak veneer that has been finished in a clear matt lacquer to protect the wood while also providing a smooth finish.
Inspired by Heal’s heritage, subtle design details such as curved wooden drawer runners, arched silhouette and gently splayed legs demonstrate the craftsmanship at the heart of the range. The light textures and contrasting tones of the exclusive Herringbone Jaquard Bedding is the perfect complement to the Blythe Bedroom range, seen here in our new navy colourway.
Shining a spotlight on two of the continent’s most exciting craft scenes, Design Africa brings together a stunning selection of home accessories from designers across South Africa and Swaziland.
Alongside familiar names such as Mervyn Gers, whose Majolica serveware in exclusive new finishes extends his range at Heal’s, this collection provides a showcase to emerging talent such as Lisa Firer’s beautiful blue and white porcelain vessels, Art in the Forest’s enchanting Raku Rhino canisters and Ngwenya Glass’s beautiful white marbled glassware. All handmade with their own story to tell, Design Africa illustrates the beautiful breadth of creativity emerging throughout the continent.
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[ INSPIRATION ]
Behind the design
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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In the build up to his series of workshops at Heal's, we caught up with Jay & Co to get the inside story of his fresh approach to furniture restoration.
Breathing new life into vintage furniture, Jay has garnered plenty of praise from the press and design fans alike not only for his quirky style but also the work he does to reach out to disadvantaged and disengaged groups in the community. We're so delighted that he's returning to our stores for a nationwide round of hands-on workshops, we decided to pop by Jay's Wolverhampton studio to have a snoop around.
Tell us a bit about yourself - how did you first become interested in making/repairing furniture?
Well, I’m six foot tall, born and bred in East London and I take a size 11 shoe. But on a more creative note, I first became interested in making/repairing furniture when there was a lack of money in my household. I had to make do with what I could find, and find a way of making stuff out of nothing.
What was the impetus for setting up Jay & Co? Where did the idea to combine furniture and social enterprise stem from?
It really all grew from my work in the charity sector. I wanted to educate young people in something other than sport or music which were basically the only activities on offer. Not everyone has a talent in these areas so for me it seemed easier and more productive to get young people to focus on business. With business you can sell a product and become a product, rather than waiting for your talent to be spotted.
What’s a typical day like at Jay & Co? Do you head to the studio or are you here, there and everywhere?
When I'm not filming, I will drive to the workshop where you can find me listening to classic FM and producing some work… On a day when I’m filming, I’ll be speaking to stylists and homeowners, making sure the finished product suits its environment and the colour scheme is correct.
At the moment my day is a bit of a mixed bag, running around like a headless chicken! However one thing that remains true to both days is that I send a “Thought of the day” out each morning. It reaches around 500 young people on social media which hopefully encourages and inspires them before they start their day.
Up-cycling has become a major trend in interior design, but has that concept of making something from nothing always been intrinsic to the project?
Yes, definitely. For me, upcycling has always been the main focus within the social enterprise, so much so that we didn’t actually call it upcycling to begin with, we called it sustainability.
The aim being to stop furniture from going to a landfill site and to create a future for young people who might not be very successful in formal education. So to me, up cycling in it’s purist form, is about adding more value to a product.
As well as using pre-existing materials your designs always have a playful side. How would you describe your design style and what approach do you take to each piece? My design style is what I call “happy furniture.”
It brings a smile to your face, your living room, kitchen, bathroom or bedroom. To design a really beautiful piece I have to go back into a zone of being a child and tap into my playful side. I do this by playing music loudly and dancing in my workshop.
You’ve got some workshops coming up at Heal’s in the next few weeks that are part of a wider tour around the UK. What’s the reaction from people been like so far?
The reaction has been really positive and very humbling. Many have said they have enjoyed the amount of information and knowledge they have gained through my workshops.
This has given me a great sense of joy because this is what the tour is all about: sharing skills and knowledge with like minded people. The support recieved from the venues (big boys and small included) and their eagerness to give their customers a brilliant experience has been phenomenal.
And finally, although I’m sure it would be hard to choose, what would you say is the best part of your job?
The best part of my job is when a young person's light bulb switches on. When they really understand how easy it is to achieve something and that anything is possible, even if they have been told all their lives that they are unable to achieve anything. Don't miss Jay's exclusive workshops at Heal's stores across the country and make sure to keep track with his nationwide tour by searching for #JaysJourney.
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Having recently launched her new collection of handmade ceramics in-store and online, we caught up with Mia Sarosi at her Oxfordshire studio to discuss the inspiration behind her eclectic collectables.
Mia is no stranger to Heal’s with her Snowy Robin range a feature of the Collectables section of our flagship store for over a year now. We loved her playful, hand painted ceramics so much that for this year’s Heal’s Modern Craft Market we launched a host of new Sarosi ranges alongside live demos from the designer.
Tell us about the first piece you ever designed?
This would probably be the first potters I worked for. After a certain time of developing my painting skills, I was tasked with creating new designs for customer commissions. I had learned and practiced rules of composition on flatware and hollowware and started to apply these to new works.
Where did you study?
I did math and philosophy at Birmingham University, so I never formally studied art. I am largely self-taught or gained my skills through experience and mentoring from local potters.
“I very respectfully acknowledge the kiln gods whenever I fire them!”
What is the inspiration behind your work?
I have many sources of inspiration, the natural world is a huge resource but I also like to create work from philosophical ideas or literature, for example. I also am inspired a lot by the ordinary things in day to day life, and noticing the little things around me.
Do you have a design hero that influences your work?
If I could choose only one reference it would (classical Japanese artist) Katsushika Hokusai because of their beauty, sense of life and skilful brushwork. However, there are many designers and artists I admire for different reasons.
Clarice Cliff inspires me on the business side of things, and how prolific she was as a designer. I also admire Lucie Rie for the beautiful stillness and simplicity in her work.
Tell us about your design process, how do you get started?
It starts with an idea or image that I find interesting and inspiring and that I think would make a good form or design. I then do a lot of sketching and research before I make some samples. From there I develop the design further and test the new piece when I am at a show to get feedback.
And finally, do you have any studio superstitions?
I am most superstitious around the kilns in my workshop and very respectfully acknowledge the kiln “gods” whenever I fire them!
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Artworks in their own right, Katie Charleson’s vibrant prints evoke the wild style of post-modern design.
Having recently launched her exclusive range of hand printed tea towels at Heal’s, we caught up with the designer at her South London studio to discuss her colourful collage aesthetic and see the finishing touches being made to the new collection.
If you'd like to try you hand at Katie's unique collage style of screen printing, pop in store today to print your own tote bag with the designer herself.
Tell us about the first piece you ever designed?
When I was little I used to trace photos of models out of magazines and draw my own fashion designs onto them - a lot of couture gowns! But the first textile piece I made at college was a strange sort of applique representation of a graffiti wall in Edinburgh in mixed media with very muddy colours. Needless to say I have moved on!
Where is your studio based?
I studied Textiles at Glasgow School of Art, specialising in Print, but my studio is now in Elephant & Castle, South London. I share the print space with some fantastic printmakers, artists and designers, so it is a very inspirational place to work.
Do you have any studio superstitions?
I hate waste and keep all scraps of fabric and off-cuts for sampling or future ideas. I even have a box of paper scraps (some of which I know go back to college days) that I use to create new works.
"The most important element is always the colours and how they sit together to create beautiful juxtapositions."
What is the inspiration behind your designs?
Inspiration comes from collecting different lines, brush marks and shapes, then collaging and layering them all together. The most important element is always the colours and how they sit together to create beautiful juxtapositions.
Do you have a design hero that influences your work?
I’m influenced by a wide variety of artists and designers with differing styles, from the graphic prints of Eley Kishimoto to more painterly print designers like Luli Sanchez, or even fantastical artists like Julie Verhoeven.
The fine print: screen-printing involves layering each colour one by one to create the finished design.
Tell us about your design process, how do you get started?
I collect interesting marks, textures and even scraps of colour and paper over time that I usually start by collaging and experimenting with. Sometimes I might combine these with more figurative drawings of plants and flowers, for example.
"Growing up I was told “red and green should never be seen”, which you can see from this collaboration is a statement that I actively reject!"
This limited edition collaboration with Heal’s, however, is completely abstract and was more about finding shapes and colours that combined to create the most sunny energy and vibrancy.
Do you have a preferred material or process?
My first love is screen printing. I really enjoy the process and physical activity of it plus the tactile quality of screen-printed fabrics. Recently I have started painting directly onto fabrics with dyes, which gives a diffused effect when combined with the more graphic lines of screen-printing.
Everyone has a personal reaction to colour, are there any you instinctively avoid?
Growing up I was told “red and green should never be seen”, which you can see from this collaboration is a statement that I actively reject! I love combining colour in unexpected ways, using tone to make potentially jarring colours work together.
How would you describe your new range for Heal’s?
While the prints are obviously functional as Tea Towels, I also see them as fun and vibrant artworks in their own right. The different marks and shapes give the pieces energy and the colours make them fresh and summery. www.kmjcdesigns.com
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On your marks, get set, bodge! The Great Heal's Bodging Race is under way and to finish our series we're talking shop with designer's Carl Clerkin and Sarah Kay.
Carl Clerkin Renowned for his off-the-wall interpretations of everyday objects, Carl Clerkin is a furniture and homewares designer based in London. Honing this craft from his "mess of a shed" studio, he believes his work is "unique in as much as they have their own special mistakes."
What made you want to become a designer and maker? Did you study at university, does craft run in the family etc.
I like problem solving and making prototypes. I studied at Middlesex University and the RCA after that.
Why is it important to maintain the craft of bodging?
The essence of Bodging is being careful and intelligent with local materials to serve community needs. Something we all need to do more of if we're to start looking after the place a bit better.
What role does the craft of a piece play in your design process?
Not much really, I'm interested in the process of making or manufacturing, but not for crafts sake.
What impact do you think the time limitations will have on your design and make?
They'll force you to just get on with it. I like being put in that position.
Do you have any ideas of what you plan to make for the Great Bodging Race?
Not yet, I've just started collecting components. We'll see I guess!
Sarah Kay While Sarah Kay's background is craft-based, she has designer for a range of furniture suppliers, starting as one half of the award-winning design partnership Kay+Stemmer before going solo in 2012. Recent designs include her new Stipo range exclusive to Heal's
What made you want to become a designer and maker?
My grandfather was a carpenter while a great grandfather from the other side of the family was a cabinet maker and clock maker.I grew up in the country and we had animals, so I was always helping to mend things and make things out of whatever was to hand from chicken coops to fences.
I had an epiphany when I was 30 and had the opportunity to go back to college, I suddenly knew what I wanted to do. That’s when I decided to study fine craftsmanship and furniture design at Parnham College, in Dorset.
Why is it important to maintain the craft of bodging?
The beauty of bodging is its foundation in logic and the understanding of wood. It is a way of constructing a chair that is unlikely to be lost.
What role does the craft of a piece play in your design process?
As a maker I can change my mind from what’s on the piece of paper at any stage. Tweaking is essential to me, probably because I’m not so good at drawing.
What impact do you think the time limitations will have on your design and make?
This is about prototyping really and the luxury of a few days to explore some ideas and see what comes out of a pile of off-cuts.
Do you have any ideas of what you plan to make for the Great Heal’s Bodging Race?
I’m interested in using the opportunity to incorporate some woven material and learn something from Rachael South and Annemarie O’Sullivan who will be joining us.
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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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