Nestled in the heart of the Potteries in Stoke-on-Trent, Lyngard Ceramics are continuing the areas rich cultural heritage through the production of beautiful hand-made pendant lights. Headed by Carmen Pattinson, this family run ceramicists has a long lineage of pottery that dates back over six generations.
Notable ancestors include Carmen’s great grandfather who, in 1945, was awarded an MBE from King George 6th for his services to the industry, as well as her great uncle Henry Stacy-Marks RA, a renowned artist who rose to prominence as one of the top designers at the Minton Art pottery Studio.
Having joined the family business as a successful fashion buyer, Carmen made the decision to diversify Lyngard’s repertoire by producing ceramic pendants and lamps, some of which form an exclusive collection only at available at Heal’s.
These include the elegantly shaped Bell Pendant as well as the trademark metallic lustre of the Raglan, whose unique finish comes from a technique practised by only a handful of experts worldwide.
Along with the angular and minimally styled Munro, the Raglan is produced using traditional earthenware, one of the oldest methods of firing clay.
Available as part of Heal’s modern lighting collection for 2015, Lyngard Ceramics captivating designs are sure to light up our showrooms for many seasons to come.
[ INSPIRATION ]
Behind the design
To mark the start of the prestigious Salone Del Mobile design fair, Heal’s is launching Tom Dixon’s latest Capsule collection at the same time it goes on show in Milan.
A collaboration between leading British designer Tom Dixon and Swedish design group FRONT, the Melt Pendants have a fluid form and dazzling copper finish.
The molten form and finish of the Melt captures the beautiful optic glow and organic shapes produced during traditional glass blowing.
This unique silhouette and its intricate swirling patterns are thanks to an advanced processed of vacuum moulding. Creating mesmerising displays of light, the metallised finish of this pendant has a smooth, shiny surface that elegantly reflects exterior lighting - a mirror finish when not in use that turns translucent once light is emitted from its interior or in full daylight.
If you’d like to be one of the first in line to bring home this stunning range of furniture and lighting, why not make a trip that’s closer to home by popping into our Tottenham Court Road store today.
Since their introduction in 1952, the iconic George Nelson Bubble Lamps have been made by hand in rural Michigan. The original jigs are still used to bend the wires that make up the intricate frame for the lamps.
From the forming of the wire frame to the spraying of the vinyl form, one by one, each Bubble Lamp is hand crafted with care to bring light into your homes.
Discover Heal's complete range of modern lighting today on our online store. Images and tour courtesy of Modernica.
Inspired by mid-century textiles and British vernacular art, Rosie Moss has created a series of Limited Edition cushions exclusively for Heal’s. We chat to her about her inspirations and design process.
What is the inspiration behind the cushion designs?
For the exclusives, I was asked to design a collection with a nautical theme and I was excited by the idea of creating a sense of narrative that ran through each of the patterns – so that they could be special one-off pieces, but also work well as a complete set. Even though I live the furthest away from the sea as you can get in the UK, my family has a long history with the Merchant Navy. I used my Grandad’s old ship-in-a-bottle as a starting point.
I often look to British vernacular arts and crafts and like to celebrate the simplistic forms found in folk objects representative of home. I delight in the humanistic qualities of these objects, which I believe are often over-looked. I am particularly interested in utilitarian objects that have been transformed by adorning motifs or patterns; the patterns for me are the most interesting, as they are often applied to demonstrate the love and pride of the maker or to tell a story.
Tell us about your design process, how do you get started?
As well as print in textiles, all aspects of printmaking heavily influence me and I use techniques such as lino printing as part of the drawing process. Even at the initial drawing stage I like to think about how a design can be translated onto silk-screen and I often paint onto trace with Indian ink to experiment with textures and layering.
I do very little editing on the computer as I try to retain some of the imperfections of the drawings. Sometimes the tracing paper designs are used directly as positives for the screen stencils; keeping the steps between drawing and the final print to a minimum helps me to feel more of a connection to the fabric.
Everyone has a personal reaction to colour, are there any you instinctively avoid?
I think everyone has colours that they instinctively turn to time and time again. For me, it’s blues, deep navy and greys. I tend to wear a lot of these colours too. I like to introduce little pops of colour every now and then, perhaps as a colourful zip or straps for the bags that I make. This is when the tiny part of me that enjoys experimenting with colour, escapes. I don’t think there is any colour I dislike.
How did you get involved with the Limited Edition series at Heal’s?
Caroline Dulko, the soft furnishings buyer, contacted me while I was exhibiting at New Designers- ‘One Year On’. She had already been following me on Instagram and we arranged a meeting on the top floor of the Tottenham Court Road store.
I remember being very nervous as collaborating with Heal’s is something that I have wanted to do for a long time – so many of my favourite designers have come through Heal’s and it’s an honour to be following in their footsteps.
Tell us about the first textile you designed.
I visited the Birmingham Museum and Art Gallery with my school art class – they have a substantial collection of William De Morgan pottery there and for my coursework I created a large painted textile piece based on his tile designs. Interestingly, an old sketchbook that accompanied it recently resurfaced.
Taped to one of the pages was a replica tile that I must have bought from the museum gift shop of some painterly De Morgan hares. I couldn’t believe the similarity between the tile and my own Hare pattern. It now sits on my studio shelf as a reminder that we are all drawn to particular images, and sometimes they can stick in your mind and influence you years later!
Do you have a design hero that influences your work?
I particularly admire the work of Enid Marx. She was an early advocate for the revival and appreciation of British Folk Art and wonderful designer in her own right. She refused to pigeonhole herself too and worked across textiles, wallpaper, ceramics and book illustration.
I also love a lot of mid-century Scandinavian designers such as Marimekko and Stig Lindberg. I like the playfulness of these designers and the way that they often created prints and surface patterns that were never solely for adults, or just for children – but could be equally enjoyed by both.
Do you have any studio superstitions / design quirks?
I can’t say I’m particularly superstitious, but my studio is in a very old factory building and is also home to a mouse! I think he may live in the walls and he only comes out at night. When I see him, I take it as a sign that I am working a little too hard and I should probably go home. He has been quite well behaved…so far.
What 3 words would you use to describe your Limited Edition collection for Heal’s?
Illustrative, decorative, narrative.
Rosie Moss cushions are available as a limited edition run of 24 online and in store at Heal’s.
Working with arrangements of colour, pattern and shape, Gemma Kay Waggett creates hand-sewn, machine embroidered and screen-printed textiles. Gemma has designed a collection of luxury cushions for our Limited Edition series available in store and online.
What is the inspiration behind the cushion designs?
The patterns on these cushions are derived from a 1986 (the year Gemma was born) educational stamp set of Geometric shapes that I got given for Christmas last year and has proved to be a fantastic tool for exploring pattern.
For my Royal College of Art graduate collection ‘Beyond Woven’ the stamps were the starting point for every design… I tessellated and merged the individual block shapes to create mock woven visuals that were later translated into digital embroidery and print.
Tell us about your design process?
Whatever the weather I spend my days collecting visual inspiration – colours, surfaces and objects. When I am starting a new project I usually go out and about for a day or two to gather ideas and then hibernate in the studio to process via drawing, painting and collage.
I spend a lot of time looking at and collecting different materials to use as bases for my screen-printed or embroidered outcomes, cotton is my favourite fabric and so I always try to find as many different varieties of this as possible.
The base fabric for the Over and Expand cushion I have used one of my favourite fabrics which is a double sided denim – I have bought an extra 5 metres of it for ‘the cupboard’.
Everyone has a personal reaction to colour, are there any you instinctively avoid?
There aren’t any colours I avoid but there is definitely a colour that I am most drawn to and that is navy. In December 2011 I started a pop up shop lifestyle brand called Nothing but Navy – where everything is navy blue – it is my favourite colour and I think it is timeless, ageless and genderless.
When shopping I am always the person who asks ‘does this come in navy’ and have a long list of staple items that I regularly choose in navy over any other colour…Although this collection is composed of varying shades of blue and navy is my favourite colour to wear I very much enjoy using colour in my work.
How did you get involved with the Limited Edition series at Heal’s?
Caroline Dulko (Buyer at Heal’s) and I actually did our BA HONS together in Textile Design at Central Saint Martins from 2006-2009 – I came into Heal’s HQ to show her my work after I graduated from the RCA and she told me about the series and it all went from there.
Tell us about the first textile you designed?
I have been sewing since I was a child but at my secondary school in Design and Technology – Textiles I first learnt how to use a sewing machine and about different types of fabric and textile techniques…. for my very first project at the school I made a bright purple flower shaped cushion with appliqued felt cut out people on it – I think it took me a whole term to make!
Do you have a design hero that influences your work?
Arguably an artist rather than a designer I absolutely love the work of Gary Hume. I am captivated by the way that he uses textures, colours and shape and hope that one day I will look at a piece of his work on the wall of my house.
Do you have any studio superstitions / design quirks?
Not especially but I never turn the light box off (for exposing screens) until I’ve checked the screen I’ve just exposed is okay – just incase!
What 3 words would you use to describe your Limited edition collection for Heal’s?
I think that this collection is NAVY / GRAPHIC / FUN Gemma Kay Waggett's cushions are available as a limited edition of 25, online and in store.
French-born Claire de Quénetain, an MA in Printed Textiles, is known for her expression of marks and form through paintings and drawings. Claire’s new design for Heal’s 1810, Le Jardin D’ete, depicts a hand-drawn floral pattern reflecting the artist’s personal passion for the outdoors. We caught up with Claire to discuss who collection and design process.
What is the inspiration behind your work?
The main inspiration behind my work is to catch the atmosphere of gardens, the generosity, the forms, the colours and movement in nature. My textiles aim to create a natural, lively and colourful environment for the interiors.
This was the concept behind the collection for Heal’s. The designs are colourful, fresh, energetic, and full of movement. But also to make a collection with a certain summer vibe to it.
Tell us about your design process, how do you get started?
I regularly enjoy to visit gardens, where I photograph a lot. It’s quite important for me to work from photographs. They speak to me and helps me to remember places I have visited. Sometimes I go outside to draw it allows me to understand the shapes and colours of the natural life in a better way. This process creates a starting point and a mood which enables me to start painting.
Do you have a preferred material or process?
I enjoy a lot painting straight onto fabric or paper without composing the design in advance. I like to paint compositions in large scale with spontaneity to catch a certain energy and new marks.
How did you get involved with Heal’s?
I was lucky to get contacted by Heal’s after my MA graduation show at the Royal College of Art. It was the aim of my Master’s to bring a sense nature into people’s homes. By collaborating with Heal’s this now becomes reality.
Do you have a design hero that influences your work?
I mostly admire the work of classic modern artists such as Picasso and Raoul Dufy. Examples of good design for me is Collier Campbell and Marimekko. What 3 words describe your range at Heal’s? Happy, fresh and colourful.
Claire de Quenetain’s exclusive collection is available online and in store at Heal’s.
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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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