If you’re looking for a sofa that will stand the test of time, then a modular sofa could be one of the best choices. Modular sofas are super flexible. You can tailor them to suit your space and rearrange or extend them if you fancy a change.
So, if you invest in a sofa now and move to a larger space in a few years, you can expand your sofa easily. Simply add another modular sofa section to your current configuration.
Or, if you’d like to adjust the sofa’s style, you could add another section to transform it into a modular corner sofa. The long and short of it is… a modular sofa offers endless possibilities for your current needs and in the future. We’ve handpicked three of the best modular sofas in our own collection. Discover them here.
Togo Modular Sofa by Ligne Roset
This classic Ligne Roset modular sofa was designed over forty years ago by Michel Ducaroy. But that isn’t to say the Togo Sofa is outdated. Quite the opposite in fact. This classic sofa is a fan favourite among design enthusiasts and isn’t likely to go out of style.
The timeless sofa was created with afternoon naps and relaxing evenings in mind. Its striking silhouette is instantly recognisable and designed to offer a truly comfortable sit. That means it’s definitely earnt its place in our best modular sofas hall of fame.
Beautifully inviting and a stunning statement piece for your living room, the Togo Sofa is easily configurable. Simply add another section to your Togo Sofa to extend it, transform it into a corner sofa or create a footrest.
If you need to save space, simply remove a section from your existing sofa. That way you’ll have a small modular sofa and a separate section you can use as an armchair.
Lilli Modular Sofa exclusively at Heal’s
Says Who created the Lilli Sofa exclusively for Heal’s. The modern modular sofa offers an elegant, versatile and innovative sofa solution for the modern home. It features a rounded silhouette with gentle curves and pull-in stitch detailing across the back.
Elegant natural wood feet help to create the appearance of a floating sofa, perfect for modern homes. This strikingly modern modular sofa will make a bold statement in any contemporary living space. However, that doesn’t mean it won’t work in more traditional spaces.
In fact, the sofa’s curved silhouette and comfortable sit makes it a perfect addition to classic rooms. Especially if you enjoy juxtaposing old and new styles.
What makes Lilli one of our best modular sofas is its versatility. Designs like Lilli allow you to build your own modular sofa easily. Configure it to suit your space perfectly, with corner, armrest and footstool sections on offer. That means you can create everything from a sweeping corner sofa to a small two-seater modular sofa.
Shabby Modular Sofa by Timothy Oulton
The perfect fusion of classic heritage design and a modern aesthetic, the Shabby Sofa by Timothy Oulton is one of the best modular sofas in our collection. Also known as a true ‘sloucher’, Shabby's beautifully cushioned seating and buttery soft leather make it perfect for unwinding on after a long day.
From entertaining friends to weekends spent in front of the TV, the hand-finished Shabby Modular Sofa is bound to make a big impression.
Why invest in a modular sofa?
As we’ve mentioned, one of the main benefits of a modular sofa is that they’re completely configurable to your space. In fact, the best modular sofas are often even more customisable. You can choose the upholstery, leg style and shape – perfect for an affordable yet bespoke sofa.
For small spaces, modular sofas can be a really smart choice. That’s because you can really configure them to make the most of your room. For flats on the top floor, they’re also a great choice because they come apart so you can move each section individually.
Like what you see? Shop our best modular sofas.
[ INSPIRATION ]
Behind the design
Our Design Masters are the brains behind some of the world’s most celebrated furniture icons. Their designs are timeless classics and found in homes across the globe.
Charles & Ray Eames
Visionaries of design, Charles and Ray Eames produced countless classic pieces of furniture and home accessories, all of which feel as fresh and modern today as they did over four decades ago. “What works good is better than what looks good because what works good lasts.” “When you think about design as the bringing together of a number of materials and parts, letting them interact—and not as the expression of your own personality—the demand must be made that it answers the purpose, no matter how complex.”
901,” the Eames Office’s physical workspace, further enabled the iterative, hands-on design process of Charles, Ray, and their staff. The presence of film darkrooms, an extensive library, an organized slide archive, tooling, and ample workspace allowed for projects to develop with ease. When the Eames Office faced a new challenge they were not equipped for at 901, the staff would approach the task with great energy and curiosity until they could manage it internally. Charles often advised, ‘innovate as a last resort,’ ironic because Charles and Ray became known for their freshness, invention, and yes—innovation—of their work. But to them, such qualities were only a means to an end, not an end in itself. The danger of any innovation was the chance of losing the wisdom that had gone into the development of the idea to that point.”
When approached about the Lounge Chair and Ottoman design process, Charles was asked, “Did you think of the Eames chair in a flash?” His reply? “Yes, sort of a 30-year flash.” For decades within the Eames Office, knowledge and experience continuously built upon previous projects, materials were seen for their inherent worth, and iteration honed all ideas into a practical form.
“Charles and Ray had a deep respect for the effort that had gone before,” wrote a grandson of Charles and Ray in An Eames Primer. “It was not a matter of avoiding work, but rather avoiding the pitfalls of pursuing overtly for its own sake. Charles often advised, ‘innovate as a last resort,’ ironic because Charles and Ray became known for their freshness, invention, and yes—innovation—of their work. But to them, such qualities were only a means to an end, not an end in itself. The danger of any innovation was the chance of losing the wisdom that had gone into the development of the idea to that point.”
Eero Saarinen
After Eero Saarinen joined the Knoll design team in the 1940's, he spent the next 15 years designing many of the most recognisable Knoll pieces, including the Tulip chairs and tables, the Womb chair, and the 70 series seating collection. Eero took a sculptural approach to furniture design, building hundreds of models and full-scale mock-ups to achieve the perfect curve, find the right line, and derive the most pleasing proportions. “Always design a thing by considering it in its next larger context; a chair in a room, a room in a house, a house in an environment, an environment in a city plan.”
“To me the drawn language is a very revealing language: one can see in a few lines whether a man is really an architect.” “The purpose of architecture is to shelter and enhance man's life on earth and to fulfill his belief in the nobility of his existence.”
George Nelson
George Nelson was a key figure of American design who created countless products and objects, some of which are now regarded as icons of mid-century modernism. In 1947, the American designer George Nelson was commissioned to create a collection of clocks. Nelson analysed how people used clocks and concluded that they read the time by discerning the relative position of the hands, which made the use of numbers unnecessary.
Furthermore, since most people wore wristwatches, he assumed that clocks had become more of a decorative element for interiors. These ideas provided the basis for the first collection of 14 timepieces, consisting of a completely new style of wall clocks and compact table clocks, which were launched on the market in 1949. Although the models all shared one common feature – the absence of numbers – the diversity of their shapes, colours, materials and designs could hardly have been greater.
Wall clockIn the 35 years that followed, the designers at Nelson Associates conceived more than a hundred different clock models: wall clocks, portable table clocks and built-in clocks. After Nelson's death in 1986, his archival estate, encompassing roughly 7400 manuscripts, plans, drawings, photographs and slides dating from 1924 to 1984, was acquired by the Vitra Design Museum. Vitra began reissuing the Nelson Clocks in 1999 and continues to expand the collection with new pieces from time to time. The Wall Clocks come in diverse shapes and materials. Equipped with high-quality quartz movements, they offer a refreshing alternative to conventional clocks – including a wide selection of different designs to suit almost every taste and fancy.
Greta Magnusson-Grossman
Greta Magnusson Grossman (1906-1999) maintained a prolific forty-year career across Europe and North America and operated as mover and shaker in the male dominated world of mid-century modern design. Her achievements were many and encompassed industrial design, interior design and architecture. In 1933, having successfully completed her fellowship at the renowned Stockholm arts institution, Konstfack, she opened Studio, a combined store and workshop in Stockholm.
Gräshoppa Floor LampThe Gräshoppa Floor Lamp is one of the most well-known designs by Greta Magnusson Grossman. With a tubular steel tripod base on a backward diagonal slant, its unmistakable silhouette gives the impression of a grasshopper clinging to a blade of grass. Part of a collection designed in 1947, the floor lamp has an organic dynamism that was a breath of fresh air within the gravitas of mid-century modernism. The collection also includes the Gräshoppa Table Lamp; the rotating shade and brass ball joint of which echoes the floor lamp’s ability to direct light where needed. Completing the collection, the Gräshoppa Pendant inverts the same elongated conical shade design, bringing a modernist style and classic elegance to any kitchen counter or dining table.
Isamu Noguchi
In 1951 Isamu Noguchi began to design the Akari Light Sculptures, works characterised by weightless luminosity. He chose the name 'akari' for these objects, a word that means 'light' in Japanese, connoting both illumination and physical lightness. During a journey to Japan, Noguchi paid a visit to Gifu, a town known for its manufacture of paper parasols and lanterns. While there he sketched his first two Akari Light Sculptures, and over the following years he created a total of more than 100 models, consisting of table, floor and ceiling lamps ranging in size from 24 to 290 cm. Each luminaire is meticulously crafted by hand in the Ozeki workshop, a traditional family-run company based in Gifu.
In a first step, bamboo rods are stretched across the original wooden forms designed by Noguchi to make the framework that determines the object's shape. Washi paper, derived from the bark of the mulberry tree, is cut in strips to fit the size and shape of the lamp and then glued to the bamboo ribbing. After the glue has dried, the wooden form is removed and the shade can be folded. The Akari Light Sculptures are packed for shipping or storage in flat boxes developed especially for the luminaires.
Akari lightThe Akari Light Sculptures are marked with a stylised sun-and-moon logo, which also resembles the corresponding Japanese characters. This symbol guarantees the authenticity of each product. 'The harshness of electricity is thus transformed through the magic of paper back to the light of our origin – the sun – so that its warmth may continue to fill our rooms at night.' Isamu Noguchi
Hans J Wenger
Among Danish furniture designers, Hans J. Wegner is considered one of the most creative, innovative and prolific. Often referred to as the master of the chair, Wegner created almost 500 in his lifetime – many of them considered masterpieces. His iconic Wishbone Chair is probably the most well-known and has been in continuous production since 1950. Hans J. Wegner designed the very first model of the Wishbone Chair exclusively for Carl Hansen & Søn in 1949, since then this iconic chair has been in continuous production since its introduction in 1950.
CH24 Wishbone chair
More than 100 steps are required to manufacture each Wishbone Chair, most of which are carried out by hand. The hand-woven seat alone takes a skilled craftsman about an hour to create, using approximately 120 meters of paper cord, the impressive durability and stability of which makes the chair both strong and long-lasting. The characteristic 'Y' provides comfortable back support and stability, also inspiring the chair's names; 'The Wishbone Chair' or 'The Y-Chair'.
We’ve been collaborating with our Heal’s Favourites on exclusive designs only available at Heal’s. We couldn’t be prouder of the relationships we have built and we have seen their exclusive and brand-new designs become best sellers. Let us introduce them to you.
Beatrice Larkin
Cockpit Arts - Alun Callender Photography
After graduating 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 Beatrice uses 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. “I was lucky to grow up surrounded by beautiful fabrics with both my parents working in textiles. My father has had an interiors consultancy in Canterbury for 35 years and my mother makes embroidered textiles products.
Alongside this, there was an amazing textile department at my secondary school and this led me to Chelsea College of Art for my undergraduate degree. At Chelsea I chose to focus on woven textiles as a specialism. I loved the slow, considered practice of weaving and the understanding it gave me about the composition of material.
Design, texture and colour excites me and I am always drawn to textiles over any other art form. Fabric is a constant in all of our lives and functionally brings comfort and warmth. Yet the design surrounding it's manufacture often goes unnoticed. I'm always fascinated by that contrast. After my BA I went on to study for an MA in woven textiles at The Royal College of Art. In 2013 I graduated with a collection of hand and Jacquard woven fabrics and I began my business from there.“
“As in the title of the work , a lot of my designs come from simple mark making. I begin a project with mood boards that give me an overall feel for where I want to take the work. This might be looking at photography, historic textiles, fashion, art etc.
For the Mark design I had an initial idea that I wanted to create my own take on a Berber rug so much of my research was around this. It was also the first time I've designed a rug and the difference in manufacturing gave me new and exciting possibilities.
For my woven fabrics I have to design with a repeat in mind, whereas with rug weaving I could design a pattern that would take up the whole space. This gave me a lot more freedom than usual which I really ran with. After sketching and mark making I scanned these designs into the computer and manipulated their placement to create a composition I was happy with.
As rug manufacturing was a new venture for me I took advice from Heal's as to the finished rug texture I'd like and the capabilities possible in making. I knew I wanted that Berber feel and a pile to create a blurred edge, in contrast to the jagged lines of the design.”
Russell Pinch
Growing up amongst the sawdust and shavings of his father’s workshop, Russell Pinch’s passion for craft ensures each piece of furniture is designed to be enjoyed.
Born in 1973, Russell Pinch studied at Ravensbourne College of Design, London. Working as a design assistant for Sir Terence Conran, he rose to become a Senior Product Designer for the Conran Group, working on a diverse range of projects from the redesign of Concord to furniture.
In 2000 he set up the multi-disciplinary brand design agency The Nest, before a return to furniture when he set up PINCH design studio with his wife Oona Bannon.
Wallis 3 Seater Sofa
Aaron Probyn
With studios in both New York City and London, British industrial designer Aaron Probyn creates minimal but tactile products that are both functional, emotionally engaging and have the objective of bringing joy to everyday life.
Passionate about sustainability and adverse to disposable culture, Aaron sidesteps trends to create quality-led, timeless design pieces with the hope that they can be enjoyed for a lifetime and beyond.
Aaron Probybn Lighting Collection
Aaron established a presence within the design industry 20 years ago, creating award-winning products while working for respected brands including Habitat, Conran and Tom Dixon.
In 2012, he established his eponymous design studio and consults on projects for global companies including, The Conran Shop, ABC Carpets & Home, Another Country, Heals, Waterfords, Crate & Barrell, Ikea and Normann Copenhagen.
Lucy Kurrein
Since setting up her studio in 2013, Lucy Kurrein has produced award-winning furniture and continues to impress the design world with her collaborations. Lucy set up her studio in London’s docklands in 2013, quickly establishing herself in the industry through collaborations with international furniture producers. She has won numerous awards including the Design Guild Mark in 2019 for her Panel Chair and most recently ELLE Decoration’s Young Design Talent Award in 2020. Lucy’s exclusive collaboration with Heal’s is pioneering in its design led thinking, whilst still adhering to the principles of a comfortable sofa range.
Isola 3 Seater Sofa
Tim Rundle
Tim Rundle is the designer behind our exclusive Marlow Four-Poster Bed. For over two centuries, the four-poster bed has been a symbol of Heal’s. Now, the London-based designer has cleverly reimagined it for modern homes.
“It always starts with a search for simplicity. I wanted to create something formally reduced so that it was instantly recognisable as a representation of its typology. A simple, almost architectural frame; with a nod to Heal’s reputation for craft showing through the details and finishing.”
“The word ‘icon’ gets thrown around lots in design these days, often before a product is even on the market. However, a product can’t be an icon until it has gained meaning for people who identify with it. Given that the four-poster bed was the Heal’s logo, and that the Tottenham Court Road sign bearing it was a meeting place for Londoners of a certain era (not to mention the commemorative Royal Mail stamp) it really was like designing something that already had an element of the iconic. This was more than a little daunting, especially given that it would be Heal’s first four-poster for many years. It had to be just right.”
Marlow 4-Poster King-Size Bed
Says Who
Founded in 2010 by Kasper Meldgaard and Nikolaj Duve, Says Who’s aesthetic is rooted in the traditions of Scandinavian design. The design duo is constantly inspired by the atmosphere and sea view that surrounds its Danish studio.
“We have always been designing. Before we founded Says Who we were both doing all sorts of homemade designs and custom solutions for our homes. I guess it’s just a part of who we are. We have a constant flow of ideas and an urge to make things happen. So it was only natural for us to get into design and work with it full time.”
“With Lars we wanted to create a range that offered a fresh and modern approach to bedroom furniture. We spend loads of time studying what had been, what where and what could be in terms of look and feel and functionality. We ultimately ended up wanting to combine timeless colours with the tactility of solid wood framed with a crafted contemporary style. Matte, durable grey painted finish and walnut detailing was the core from which we designed the range. The walnut detailing extends to the contemporary solid wood legs, the inside of the drawers, the headboard and the bed frame itself. Perfect for modern bedrooms.”
Lars Wardrobe
“With Tortona we wanted to create a sofa that embodies a modern lifestyle paired with refined elegance. The idea was to define a comfort that was both visual as well as functional. A lounge comfort combined with a relaxed cushion look and feel achieved just that. Framing a modern style resulted in choosing to work with light elements as a contrast to the cushions. The thin arms and elevated thin black steel legs play well together in this regard. Adding French seams created a refined elegance to the overall concept."
The generous proportions of the Orso sofa offer a reassuring presence while offering a simplistic character that works well in any interior. To achieve this the design targeted a European style and comfort with deep cushions and sumptuously relaxing dimensions.
The sofa nods to Scandinavian design as well with its soft contours that delicately capture the simplistic outline of the frame. A seductive contrast to the elegance of its materials and the craftsmanship that is embedded in the design. From its floating effect to the refined pocket sewings this sofa is as comfortable as it is visually inviting.”
Tortona 4 Seater Sofa
“The Unity hallway furniture designs boasts loads of details and materiality that will elevate any hallway. Created with a love for Scandinavian design every piece embodies a natural feel and play with lines and shapes. We wanted to keep the design seductively simple and purposely functional.
A simplistic geometric shape combined with a graphic look enables this. We were inspired by the circular shape, visible at various levels of every design from the round corners to the round bases and round stems. Even rounded details. Needless to say, a crafted collection that showcases not only a unique blend between the rich walnut and the lighter solid oak. but also a sophisticated feel of contrasts in a beautifully compact design.”
“We wanted to work with a tambour mechanism as it really functions well and has its very own distinct look. Glide desk and sideboard utilizes this to create a modern and perfect space-saving storage solution. The innovative tambour mechanism means the front doors concertina into the back, ideal for homes that are short on space.
Behind the doors you’ll find all needs for storage met. But it’s the details that make the Glide Sideboard so special, from the elegantly curved corners to the modern legs and the Danish-crafted turned handles. The Glide desk also doubles as a console or dressing table.”
“Working with the theme of long-lasting craftsmanship we designed the Kendal collection. Our translation is inspired by Danish architecture where slated elements are dominant. Combining this with crafted woodworking formed the concept of Kendal."
Characterised by textured fronts that feature stylish groove detailing creating a very tactile and stylish finish. Crafted from a light solid and veneered oak the design ensures a timeless addition to your home as it is built like architecture to last a lifetime. The brushed brass handles add a luxurious feel that elevates its understated minimalist design.
Glide Desk
“The Neo Chair is the result of wanting to portray comfort. Working towards how to visually show that the chair is the perfect place to take a seat, we chose to make a backrest that would envelope the user. Adding generous padding to the backrest adds a soft feel which combines well with its overall idea of being inviting and clean.
The contemporary design of the chair enhances the concept as the backrest is elevated above the seat pad providing not only a comfortable and ergonomic support but also helping it to tell its story. The outer placed, modern straight black steel legs add a touch of luxury to the chair making it work well in dining rooms and home offices alike.”
“We wanted to create a chair that was instantly understandable and that customers would easily relate to. A chair that conveys a sense of trust and timelessness. We ended up choosing to revitalise a classic tub style chair. Creating a contemporary tub chair was all about making it just as elegant as it is cosy and making it embody traditional values in a new contemporary way.
The gently curved backrest which becomes the armrests adapts perfectly to the body and any seating position. A well proportioned foam cushioning ensures maximum comfort while being light on the eye. The cream corduroy upholstered back adds a sophisticated detail that works well with the wood base. The base adds a distinctive element that reflects the craftsmanship and durability of Edit. It also contrasts well with the soft contours of the enveloping and reassuringly shaped top.”
“With Cartmel we strived to create a stunning wooden bed that manifested craftsmanship. We look at Danish heritage to find inspiration and applied Scandinavian design to create a modern farmhouse style bed with a fascinating structure and poetic character. The main feature being the spindles conveys a nostalgic feel while enabling a light appearance. Framed in a soft yet well-built and sturdy frame that includes its gracefully tapered legs, Cartmel embodies a natural sense with its own personality and utmost care for details.”
Our Rising Stars are some of the UK’s most pioneering up-and-coming designers. Their craftsmanship, innovation and design talent guarantee they’ll be big names in years to come. So, without further ado, let us introduce you!
Lea Randebrock
Committed to designing products that consider ecological and social implications, Lea Randebrock explores the idea of how people can consume in more sustainable ways. Taking offcuts of glass which are often thrown away, Lea has worked with the London Glass Company to develop unique and beautiful vases exclusively for Heal's.
The bubbles seen within the vases are a natural process when reheating the glass offcuts, often seen as an error for glassmakers, Lea has turned it into a beautiful feature of Fusion collection.
Fushion vases
“I grew up in a very eco-conscious surrounding, so considering how my actions might impact the planet is very natural to me. At university, we read "Design for the Real World" by Victor Papaneck, and his quote: “There are professions more harmful than industrial design but only a few of them” stuck with me. It was then I realised that designers have a responsibility when designing for mass-production.
Ever since, I have designed products that consider the ecologic and social implications, to the best of my knowledge and ability. I try to approach design from different perspectives, experimenting with the idea of how we might be able to consume in more sustainable ways.”
“I wanted to look at the circular economy, and glass can be infinitely recycled and remelted again – this is a really rare quality and something I found interesting from a systemic perspective. The project took a lot of unexpected turns, but I’ve learned so much and I am grateful for Heal’s trust and support in bringing my experimental designs to life.”
Studio Gud
Founded by designers Alexandre Kumagai and Paulo Neves in 2010, Studio Gud explores the relationship between objects, spaces and stories. Since 2016, the studio is run by Paulo Neves.
“It has always fascinated me the way spaces and objects interact with people, no matter the scale; also, the memories and the stories they bring or trigger. I like to work having in mind that creation is a full circle - the empathy we grow towards something will allow awareness to its true value.”
“Product design, and furniture design to be more precise, was a path that carved itself, as the studio was born simply to create - create ideas that could be brought to life within close radius and create empathy, explore the process, the materials, the craftsmanship.
And so with that it started: from makers nearby, with known materials, to bring new approaches, new stories and visions for the future. Inspiration comes from anything that surrounds you. Being attentive, empathic and curious is part of the studio’s design culture.”
Keep cabinet
“The ‘Keep' cabinet took shape through the idea of displaying and protecting a personal vision, personal landscape. And so the narrative developed into the frame-like design - an open window to imagination. It was thought to give content the space and the accent that it needed. The challenge was always to design it keeping in mind that it was going to contain other objects, but it had to appeal to the imagination by itself.”
“The ‘Notch’ coffee table develop from experiences playing around how materials could be in balance: flesh and bone, warm and cold, wood and marble. The making of space for details celebrates this dialog and creates continuity by exploring these structural connections.”
“About ‘CanCan’ coat hanger for WEWOOD, it has a very cool story. The idea came from researching height and structure for the type of object: the coat hanger's arms and legs suggest movements that allude to the movements of the ‘cancan’ dance. The four identical pieces are tied up together with a single leather cord, which creates a visual pattern reminiscent of the corsets used by the dancers. Traditionally, ‘cancan’ dancers have 1,70m in height, which is the same height of the coat hanger.”
“When the ‘Orca’ chair was designed we were trying to develop work around the concepts of heaviness and lightness. What could seem light and inspire elegance, although being heavy and rigid in its core - thus the orca metaphor. A light and fluid movement only achievable by seeking to highlight the best manufacturing skills. ‘Orca' chair, for Wewood, is a sculptural chair made of solid oak or walnut wood only possible by working closely with craftsmanship and materials.”
Divine Savages
Determined to do interiors their way, Jamie Watkins and Tom Kennedy founded Divine Savages in 2017; taking inspiration from history, culture, fashion and the natural world to create a melting pot of influences.
“We find inspiration in many different places. Living in a city like London inspires us all the time; it’s such a vibrant place with so much going on. We love soaking up culture at museums, events or exhibitions and Tom often carries a little notebook to scribble down anything that catches his eye!”
“The natural world is also a huge source of inspiration for our designs – we’ve been lucky enough to visit some amazing places and landscapes over the years so this all permeates through into our design work. Collaborating with London’s Natural History museum on a collection was a dream come true for us!”
“We’re also massive vintage fans – so you’ll often find us wandering around junk shops, antiques fairs and markets finding new treasures that inspire us. We love vintage illustrations, old magazines and books and often we’ll rework some of these traditional elements into our designs, adding our Divine Savages twist.”
Botanize Heritage cushions
“We’ll often play around with different patterns and layouts until we’re happy with the overall balance of the design and then the fun begins with different colour schemes, which can take quite a long time for us to agree on!”
“Seeing our Botanize Heritage collection on display in the store is so surreal, we still can’t quite believe it! We love the history of Heal’s and how you support younger designers and brands, giving them a platform – so we are very grateful to be a part of that special story.”
Annabel Cucuz
A recent graduate of the Edinburgh College of Art, Annabel Cucuz takes inspiration from her home in Staffordshire, which lies at the heart of Britain’s pottery industry. Working with local clay suppliers to create beautiful stoneware, each of Annabel’s hand-sculpted vases are entirely unique.
The pieces delve into the complexity of design aesthetics, playing on the idea of being disguised within any interior, whilst evoking a nostalgic feeling. “I love flicking through interior design books published in the latter half of the 20th century, particularly the 70s and 80s, which I source from charity shops and eBay.
They evoke a weirdly ambiguous and unreachable nostalgia for me – it’s strange to feel a nostalgia for a time when I wasn’t alive. I attempt to capture this feeling in my sculptures by echoing certain themes or shapes that appear in different interior settings.“
Annabel Cucuz collection
“When designing, I fill sketchbooks with drawings that I’ll create whilst researching, and my sculptural forms evolve from this visual research. My pieces play on the idea of being able to disguise themselves into any interior, whilst being able to evoke that nostalgic feeling. They exist in the visual in-between.”
“My collection with Heal’s consists of repeated forms that run in parallel with my artistic practice of one-off pieces. My ethos runs heavily on being so interested in the history of interiors and architecture, allowing that to inspire my sculptural forms on a smaller scale so that they can be enjoyed by anybody in their homes. Being so interested in architecture and design has pulled my art away from working exclusively with a white cube gallery scenario in mind – instead, I like to create works that can help to elevate domestic settings. Work that people live amongst – work that will naturally be embraced for longer than the few seconds a person might spend in front of it in a gallery.”
Amechi Portrait
Officially launched in December 2020, Amechi Mandi’s eponymous homeware brand is a purpose-driven enterprise. Having become dissatisfied with the range of West African-inspired home décor on the market, Amechi looks to celebrate pre-colonial African heritage through exciting and inspiring products, which explore aspects of indigenous African traditions and cultures.
The collection launched as part of Heal’s Discovers 2021 and features five vibrant designs across velvet and linen cushions. “I take inspiration from indigenous African traditions and cultures. This can range from textiles, art and other cultural aspects which served as communication expressions. For example, scarification is common amongst many indigenous cultures in Africa, while body paintings or mud house wall colourings are all expressions that communicate a particular message within societal structures, distinct to the community where the expression originated.”
“I reimagine these inspirations into practical items for everyday use in a contemporary home setting. Each design is hand drawn until I’m satisfied with the outcome, then will go through prototyping here in London, with sample printing and sewing, to see what else might need to be altered before sending to the manufacturer.”
Amechi cushions
“The goal of the brand is to support the communities that inspire me. My Amechi collection is inspired by modesty aprons that were worn by the Kirdi people of Northern Cameroon. I initially started talking with some youth leaders in that part of the country to set up a little cooperative, where I would support young women by teaching vocational skills, such as sewing, so that they could go on to start their own businesses. This proved complicated for many reasons – mainly due to the unrests in the region, especially the Boko Haram insurgencies.”
Patricia Perez
Born in Spain in 1983, Patricia Perez studied Industrial Design Engineering and Product Design in Barcelona. Upon receiving a grant to study jewellery, she moved to Brighton and later to London where she worked as an intern for Michael Sodeau, before developing her career in product and interior design.
Driven by a curiosity for how things are made, Perez loves to visit factories to watch the machinery and engineering process taking place. “Design is something that has always been very present at my home since I was very little although I never knew that was the path I was going to follow as an adult. It wasn’t until considering University that design became a tangible career path to focus my creativity.”
“When I finished University, I decided to move to London and started working at different design studios which I think helped me to define what I like and my style in general. I also worked as an interior designer which gave me a wider view - not focusing just on product, and feel this is why functionality is so important in my designs.”
Mouro lamp
“I began thinking about the portable lamps while on the hunt for one for myself. Having your own need is often a spark for new design as you identify and intimately understand the requirements. For me, the main one being that it should be directional as well as portable to maximise its range of use: from a focussed side table light for reading to a softer ambient light you could place wirelessly on a shelf, none that I could find satisfied both.
I also wanted something that had weight and permanence so knew the material choice and construction would lend to the development of the form and scale. All of the lighting components are housed within the framed disk allowing it to fully rotate and change the light while the solid steel block at the base gives it weight, stability and is satisfying to hold. “
“I'm from Santander, and the Mouro lighthouse is an enduring reference point for me so I wanted to pay homage by naming the finished product after it.”
Hi guys, thanks for joining us. So, can you explain your design process - for example: where/who do you find inspiration from? How do you source your materials? How do you reach your final design?
We find inspiration in many different places. Living in a city like London inspires us all the time; it’s such a vibrant place with so much going on. We love soaking up culture at museums, events or exhibitions and Tom often carries a little notebook to scribble down anything that catches his eye!
The natural world is also a huge source of inspiration for our designs – we’ve been lucky enough to visit some amazing places and landscapes over the years so this all permeates through into our design work. Collaborating with London’s Natural History museum on a collection was a dream come true for us! We’re also massive vintage fans – so you’ll often find us wandering around junk shops, antiques fairs and markets finding new treasures that inspire us.
We love vintage illustrations, old magazines and books and often we’ll rework some of these traditional elements into our designs, adding our Divine Savages twist. We’ll often play around with different patterns and layouts until we’re happy with the overall balance of the design and then the fun begins with different colour schemes, which can take quite a long time for us to agree on!
Can you offer some background about yourselves - for example: How did you get into design?
We’d always loved interiors but weren’t able to fully indulge our own style until we finallybought our first home. Tom has a background in design, illustration and fashion and hisexpertise on pattern naturally translates to interiors, so he designed a few elements for our home once we got started on the decorating – cushions, a shower curtain, some art prints – and the seed of an idea was planted.
Later down the line Tom started suffering from migraines and vertigo and so had to take some time off work and ultimately decided to go freelance so he could better manage his health and recovery, and it was during this period he had the time to really focus on the idea we’d had before - of creating our own interiors brand. Later that year Divine Savages was born, and we haven’t stopped since!
What does Divine Savages represent? What is the ethos behind your work? How are your designs different from what is already in the market?
With Tom’s background in illustration and fashion our collections are, naturally, very design led. Divine Savages embraces quintessential Maximalism; we want to encourage people to douse their home in colour, print and pattern, to embrace the ‘more is more’ ethos and to unashamedly allow their personal style to shine throughout their homes.
There are no rules in interiors as far as we’re concerned – why can’t we fuse modern design with the classic, combine different periods and styles and clash pattern? Our style is very recognisable, and our prints always have a playful edge, we don’t take things too seriously – your home should be a place you can have fun with design. We always go back to the origins of before we launched - our key rule when designing anything is that we’d love to have it in our own home too.
What is the one piece of advice you would give someone who wants to be braver with their interiors?
Don’t follow trends because they are fashionable - these will always come and go - instead draw inspiration for colours and pattern from yourself and your lifestyle. What makes you happy, what brings you joy? Starting here will ensure your interiors have a unique and playful individualism, weaving your personal story throughout.
What does this collaboration with Heal’s mean to you?
Heals is one of our favourite stores. When we first moved to London we’d often spend afternoons wandering around the flagship store imagining pieces in our future home. Heals was also one of Tom’s aunt’s places to go when she visited us, so to then collaborate with you on this collection for AW21 is a real highlight in our short career.
Seeing our designs on display as you walk into the store was so surreal, we couldn’t quite believe it! We love the history of Heals and how you support younger designers and brands, giving them a platform – so we are very grateful to be a part of that special story.
You recently won the Heal’s Innovation award for your Botanize collection. What are your top tips for pushing the boundaries with design and how important is it to you to continue to innovate with every collection you create?
We are so proud to win the Innovation award for Botanize, thank you again! There’s a lot of design talent out there so make sure you carve out your niche. Follow your passions, take inspiration from them, and think outside the box – how can you put your own stamp on something? Look at industry trends but always be forward thinking – what will be coming next?
We are always looking to push the boundaries when we design new collections at Divine Savages, for example in our Beloved Beasts collection we reworked the traditional technique of flocking for our cheeky Poochi wallpaper which was something people weren’t expecting. We like to keep you all guessing, and we can’t wait to show you what comes next.
Finally, we had to ask - who is Divine and who is Savage?!
Haha! We definitely both straddle the line depending on who you ask (and how many drinks we might have had!).
Supporting innovation has been at the heart of Heal’s for more than two centuries, and since 2004 the prestigious Heal’s Discovers program has provided a platform for some of the most pioneering designers to showcase their skills and creativity. This season will see the introduction of five designers who have been identified by the experts at Heal’s as rising stars within the industry, thanks to their talent, craftsmanship and innovation.
Meet the designers
Annabel Cucuz
Annabel’s primary medium for her sculptures is clay, which was a natural evolution after growing up in Staffordshire, an area with a rich history in ceramics as the heart of Britain’s pottery industry. Each piece is slowly made by hand, naturally forbidding any two pieces to be exactly the same, and any imperfection celebrates the artist’s hand.
Kieran Letts
The London-based maker describes himself as a collector and draws upon found objects and coastal forms as a basis for his work. Each frame in this collection is made using techniques rooted in historical craft from sustainably grown British timber. Marrying traditional craft with contemporary design, the mirrors are timeless statement pieces.
Amechi
After feeling unsatisfied with the range of West African-inspired home décor currently on offer due to its heavily influenced colonial undertones, Amechi decided to look into the pre-colonial history and make that the focus of their brand identity.
Print Sisters
Print Sisters' passion for all things vintage transcends into their growing business. Print Sisters curate rare collections of artwork celebrating unique craftsmanship throughout the decades. Each artwork has been reworked and revived and is limited to 50 editions per design, per colourway to honour the originality of each piece. Sustainability is also a key part of their design process, using 100% recycled papers, Print Sisters strive to be as eco-friendly as possible.
Lea Randebrock
Taking offcuts of glass which are often thrown away, Lea has worked with the London Glass Company to develop unique and beautiful vases exclusively for Heal's. The bubbles seen within the vases are a natural process when reheating the glass offcuts, often seen as an error for glassmakers, Lea has turned it into a beautiful feature of this collection.
Heal's Discovers Open Call
From 18th September to 22nd October, Heal’s are running an open call for emerging design talent, as part of the Heal’s Discovers initiative. The call-out is open to anyone from any discipline, with the in-house buying team working with the designers to bring their products to market and shine a light on their up-and-coming brand.
Click here to apply
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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