Instantly recognisable, incredibly functional and steeped in heritage, the Anglepoise Lamp has been in British homes for over 85 years. This truly iconic and legendary light is one of the most celebrated lighting designs in the Heal’s collection.
But how did the humble Anglepoise become such a stalwart addition to British homes? Read on as we delve into the history of the Anglepoise Lamp.
Behind the design
The Anglepoise Lamp we know and love was borne out of designer George Carwardine’s engineering career. By chance, he happened upon a type of spring with the potential to work with more than just machines. The spring was simple and unique because it could move in every direction whilst remaining taut.
Soon after his discovery, Carwardine struck up a fruitful partnership with world-renowned spring makers Herbert Terry & Sons. Together, Terry’s constant tension spring-work and Carwardine’s eye for engineering was a winning combination.
Within a few years, they developed an articulated task lamp with perfect balance that could move light in all directions. Despite being such an icon today, funnily enough Anglepoise wasn’t their first choice of name.
The original name, the ‘Equipoise’, was rejected by the Patent Office for being an existing word. So, after a swift name change, the Anglepoise Desk Lamp launched in 1933. The 4-spring lamp was an immediate hit. However, with four springs and a bulky design, it was simply too large and industrial to win over homes.
So, the team spent two years honing the design to create the Original 1227. It was this 3-spring design that became the much-loved icon we know today.
The key to the Anglepoise Lamp’s success was its flexibility. The lamp is defined by three springs at its base, which keep it in place whichever way it’s moved. Previously, similar lamps had to be clamped into place every time they changed position.
But the unique properties of the Anglepoise’s springs meant it was perfect for tasks where the light source needed to change constantly. Soon after launch, surgeons were using Anglepoise Lamps in operating theatres and navigators were using them in military planes.
However, the Anglepoise wasn’t just popular in workplaces. The smaller, more functional three-spring design meant it was perfect for the modern home. The Original 1227 Anglepoise Desk Lamp quickly became a ubiquitous household item. Practical and inventive, it provided more flexibility for home lighting.
The Anglepoise was soon found on bedside tables, desks and in living rooms across the country. The Original 1227 is still a best-selling design in Anglepoise’s collection. However, the Anglepoise Lamp has been redesigned and replicated countless times over the years. In fact, some of its best-selling designs were created by significant designers in collaboration with Anglepoise.
For example, Sir Kenneth Grange’s 2004 update resulted in the hugely popular Type 75 Desk Lamp. This iteration saw a modernisation of the shade and conical base, whilst keeping the original constant-tension springs.
More recently, Anglepoise released a collaboration with celebrated British designer, Paul Smith. The reimagining of the Type 75 Desk Lamp used Smith’s masterful eye for colour to create a striking design. It is, without a doubt, another invaluable addition to Anglepoise’s rich design lineage.
The most recent Anglepoise light came in the form of the Type 80 Lamp. Clean lined, slick and fitted with the latest in lighting technology, the Type 80 is perfect for modern homes. Its concealed cables and the shade’s halo light-escape pave the way for new, revolutionary Anglepoise designs.
With increasing interest in mid-century design, the Anglepoise has found a new generation of admirers. It seems to only increase in popularity, and we’re excited to see where the future takes it.
Did you know?
During the Second World War, a bomber plane was downed over Loch Ness in Scotland. Years later in 1986, the wreckage was excavated, and an Anglepoise Lamp was found on board. This lamp had suffered through a crash landing and been submerged under water for over forty years. And funnily enough, it still worked.
About George Carwardine
George Carwardine had already made a name for himself when he invented the Anglepoise Lamp. As an engineer, he specialised in optimising vehicle suspension for Horstmann Car Company.
Having honed his skills there, Carwardine rose to the position of Chief Designer. Years later when the company went bust, he seized the opportunity to branch out on his own. Carwardine set about creating a workshop in the garden of his Bath home.
From this base, he was free to explore the springs and lever-based mechanisms that had always fascinated him. It was this freedom to experiment and focus that led to the legendary Anglepoise Lamp.
Within three years, Carwardine had unveiled a revolutionary 4-spring lamp. It had one more spring than today’s icon but demand quickly outstripped supply. In 1934, Carwardine licensed the design to Herbert Terry & Sons to help cope with demand. Soon after, the design went into mass production and the Anglepoise skyrocketed into homes across the world.
Shop the Anglepoise Lamp.
[ INSPIRATION ]
Behind the design
For many people starting out their career in product design, the future can seem daunting. So, we sat down with some of the industry’s movers and shakers to get their advice on how to become a product designer.
Read on to find more about how to make it.
Should aspiring furniture designers stick to one material?
Of course, if you’ve been working with one material throughout your studies then you may feel more comfortable with it. However, you should still have your finger on the pulse when it comes to other materials. Designer William Warren advises that “it’s useful to have great depth of knowledge in one material, but if everyone was to do that then you’d miss out on a lot of interesting crossovers.”
Celebrated designer Terence Woodgate also suggests not creating any form of material manifesto too early on in your career. To him you shouldn’t “create a manifesto and then create work. I think that’s the wrong way round. I think you’ve got to be flexible.” So, whilst developing a style and purpose is beneficial, not tying yourself to a material can mean more creative design.
Furniture designer David Steiner agrees, “it’s great to be a specialist in the one thing but I think you should aspire to be a specialist in many different materials. I’ve discovered lots of new materials and processes recently. I think the more the better really.”
Are new materials as important as wood and metal for product designers?
When it comes to materials, new ones are released daily. From sustainable upholstery fabrics to resins used to create unique textures, it can be hard to keep up. David keeps up with the latest trends by visiting material libraries. For him, they’re great because you can “have a visit and look at things you wouldn’t know about any other way”. If you’re interested in finding out about the latest materials in product design, head to the Institute of Making’s library.
But just because there are new materials popping up left, right and centre, that shouldn’t mean you ignore existing materials. “You can never overlook some of the most beautiful natural materials too,” says Terence.
“You really have to get to grips with materials. You have to hold them and understand them, stress them, break them, work them. I think it’s very important to understand your materials. If you don’t understand materials, you can’t create something really fantastic. And neither should you be fearful of failure. Every prototype is a route to a potentially great design.”
Are apprenticeships as good as university degrees in product design?
One popular route into furniture and product design is via an apprenticeship. Woodworking and design apprenticeships are offered by brands and workshops across the UK and are a great way to learn practical skills. We asked our experts for their thoughts on apprenticeships.
To Jay Blades, an apprenticeship can help young people do more than just develop life skills. He says that apprenticeships help “them to see that education or employment are viable options. Some young people we work with are third-generation unemployed, so they don’t really see the importance of it. The apprenticeship side of things is just getting them used to design, furniture and selling things. Then, hopefully they’ll go into design or employment.”
William Warren has worked with students in the Art, Architecture and Design department of London Metropolitan University. His students all come with different experiences: “Some people have done training in construction or woodwork or building work and are looking for more design skills. And the other way, lots of people come as designers but need to understand the materials and process.”
Many university courses in design run live projects with companies like Heal’s. To William, “that gives students a very good understanding of how the industry works, much like an apprenticeship would.”
Can I be a product designer without a degree?
You can definitely be a product designer without a degree. There are plenty of designers who didn’t go to university and are huge successes. For example, Tom Dixon is completely self-taught and one of Britain’s most well-known designers. Similarly, Terence did not go to university and has forged an impressive career. Morgan Hamilton-Griffin, founder of The Holborn, says “university is important for a lot of people but not for all.”
Do aspiring product designers need technical skills?
For Terence Woodgate, “the idea really is fundamental to the piece and how it’s going to end up”. Often, he’ll work on non-commissioned speculative pieces where he creates an object because nothing else is available that fits the brief. In those situations, Terence has no doubt that “the idea has to come first”.
However, that isn’t to say technical skills aren’t important. It’s a huge strength for product designers to be familiar with a material’s properties, how it bends when it’s being worked and how flexible it is. When you know this, you’ll be able to create even more exciting designs. This knowledge tends to come from time spent working with different materials and in workshops.
So, whilst the design may come first, a good understanding of technical skills is also paramount.
Can you still become a product designer if you can’t draw?
When we asked our experts this question, the answer was a wholehearted “absolutely”. Terence, for example, can’t draw. Instead, he uses technology to draw with. “I would rather spend hours on a computer and create a photo-realistic rendering than show someone my drawings,” he says.
William agrees, “you don’t need to be an expert draftsman to draw. I think you need to get ideas out of your head and onto paper.” Whatever method you use, the process of transferring your ideas from your brain to paper is essential.
Terence says, “You’re having a conversation yourself when you’re sketching. You put down shapes and eventually something starts to talk to you.” Plus, there’s the added benefit that once your ideas are on paper, you can return to them time and time again.
What do furniture brands look for in good design?
When the team at Heal’s look for up-and-coming designers and new designs there are some criteria they have in mind. The main thing they look for is an antique of the future. If there’s a design that will stand the test of time and doesn’t simply follow a fleeting trend, you can bet our buyers will spot it.
Equally, if a design really stands out for its ingenuity and unique approach to design, then it will catch their eyes. To avoid fast furniture buying habits, brands like Heal’s will look for designs that are well made, sustainable and will last a lifetime. So, when designing furniture consider the materials you’re using, how it will fit into homes and if it’s necessary.
Want to hear their advice for yourself? Check out the full interview here.
Here at Heal’s, we pride ourselves on being #WhereDesignLives. Over the next six weeks we're going to be shining a spotlight on an array of innovative and iconic brands at Heal's across our Instagram and online. For today’s post, we’d like to introduce you to our key brand partners and give you a little insight into the brands.
Iconic Brands at Heal's
Vitra
Bringing together the best in iconic, contemporary design, Vitra believe that their thoughts and feelings are shaped by their surroundings. That is why they strive daily to improve interiors through the power of good design.
Flos
For fifty years Flos have been crafting objects of light and shedding brightness on generations of dreams. Their collection offers a range of modern lamps and chandeliers from some of the leading cutting-edge designers, and they continue to pioneer new styles.
De La Espada
De La Espada prides itself in putting the designer first, really appreciating and respecting the design process and valuing the modern artisan. Their furniture is where the creativity of some of the world’s leading designers meets the highest level of European craftsmanship.
Porada
Italian design house Porada use only the finest quality materials to produce furniture pieces that are works of art in their own right, such as the Infinity Table, Giolo mirror or their contemporary Walnut Chair.
Knoll
Knoll furniture is an institution of American design crafting pieces that are instantly recognisable yet always evolving.
Fritz Hansen
Standing on the shoulders of both iconic and contemporary designers, Fritz Hansen creates furniture, accessories and lighting designed to those who appreciate timeless designs and a product out of the ordinary. Whether you're looking for a Fritz Hansen chair or a modern Scandinavian dining table, you'll find it at Heal's.
British Brands at Heal’s
ercol
Iconic British furniture brand ercol is known for its blend of quality craftsmanship and stylish design. Since 1920, this family business has produced luxuriously hand-crafted chairs and tables. ercol furniture is renowned across the globe thanks to its long-lasting quality.
Case
Working with world-renowned designers, Case is a vanguard of creativity and creates luxury wood furniture that is modern, with integrity and character.
Innovative brands at Heal’s
Tom Dixon
Tom Dixon is one of Britain’s most acclaimed industrial designers, bringing wit, imagination and charm to everyday objects. Relentlessly innovative, incomparably creative and a true pioneer of design, where Tom Dixon innovates, others follow.
Gazzda
Bosnian design house Gazzda embraces its homeland’s fusion of Eastern and Western cultures, and the longstanding tradition of craftsmanship that accompanies them. The brand was created for a simple purpose; to make the world a bit more handsome and cosier than they found it, while creating furniture that will make you smile.
ferm LIVING
Founded in 2005 by designer Trine Andersen, ferm LIVING’s designs enhance the small and candid moments of everyday life. Based on a passion for authentic design and clear functionality, the Copenhagen-based design house is rooted in the Scandinavian design tradition and are constantly challenging themselves to shape the future.
Amura
Amura is a young brand rich in culture and passion, and eager to bring into your home the best of Italian craftmanship.
Muuto
With their name coming from the Finnish for 'new perspectives', Muuto handpicks leading contemporary designers who are strong interpreters of their philosophy. By expanding on their heritage with forward-looking materials, techniques and bold creative thinking, their ambition is to deliver new perspectives on Scandinavian design.
Sustainable brands at Heal’s
Kartell
Continuing to break the mould in furniture and lighting, each Kartell piece is made in collaboration with prestigious international designers such as Philippe Starck and Ferruccio Laviani. Ongoing research and innovation in industrial processes have enabled the Bio Componibili cabinet to be produced with a biopolymer made from renewable raw materials, derived from non-GMO agricultural waste.
Linie Design
Committed to sustainable design, Linie Design rugs are produced using slow craftsmanship, without machinery, and transcend trends and the transience of time and so are passed on as a treasured heirlooms.
SCP Furniture
Founded in 1985, SCP is firmly established as one of the UK’s most innovative and internationally respected manufacturers and suppliers of contemporary furniture. True to its founding idea, SCP makes design products that are beautiful, functional, and made to last.
Mater
Named after the Latin word for mother, Copenhagen-based design studio Mater serves as a daily reminder of our connection with mother earth. Mater limits its impact on the planet by using techniques that support local crafting traditions and the environment.
Riva 1920
Based on the scenic coast of Lombardy, Italy, Riva 1920 creates contemporary crafted furniture using only the finest solid wood timbers. Each element is subjected to detailed qualitative and functional compliance checks, guaranteeing an authentic and completely natural product.
Gandia Blasco
Gandia Blasco, based in Valencia, produces its rugs in India by artisan rug makers. Sustainability has always been a priority for GAN. From the beginning, it has been the principle that has permeated all the processes of the brand: from the manufacture of its products and the renewal of artisan techniques to the preference for natural materials.
Artisan brands at Heal’s
Artisan
Bosnian manufacturer Artisan is steeped in heritage. Having emerged from the traditional woodworking shop Ćostović, over 50 years of experience is poured into each creation. A genuine passion and appreciation of wood is fused into the entire manufacturing process.
For over 50 years, Italian lighting specialists Flos has continued to pioneer new styles, with the collection offering a range of modern lamps and chandeliers from some of the leading cutting-edge designers. Today we’re sharing an interview with Edward Barber & Jay Osgerby – designers of the Bellhop collection for Flos.
Based in London, yet truly international, the Barber & Osgerby studio is home to many lighting projects from the Olympic Torch in 2012 to the 2016 Bellhop (and its 2020 Floor version) lamp for Flos. With an outlook focused on longevity, they have navigated the pandemic by having an adaptable, multi-floor studio space.
Over Zoom, they shine a light on their story of three decades while sitting inside their east London studio, surrounded by their works. They tell tales of the Japanese bowl that inspired Bellhop, compare colour choice to naming children and explain turning up their design game for historic companies.
Your studio has had multiple London locations over the years, how has this informed your practice to date?
EDWARD BARBER: After our flat in Notting Hill we moved to Trellick Tower – it was on the 22nd floor, we had an incredible view. I lived there for about six years, we had the studio there for three. Then we moved to the Isokon workshops (in Chiswick). That was really great because we were close to the wood workshops, we learned a lot about furniture making there, and particularly about plywood.
A lot of the early pieces that we designed were plywood because we were right there by the workshops. We were doing small architectural projects at the time and for one of them we designed some restaurant furniture. One of the pieces was a low table ,the Loop Table, which is in birch plywood. That table was really a stepping stone into the furniture world because the table was seen by Giulio Cappellini in 1997.
At the time Cappellini was the most interesting furniture company working with both young designers and established designers, and said he wanted to produce it. So we got a leg-up right from the first piece we designed. I think that was the moment when we changed our focus, when we realised that we were much more interested in designing furniture than architecture.
JAY OSGERBY: Partly because it’s a faster process. When you’re doing an architectural project, you only ever make a prototype. You never actually get to produce. You don’t get successive opportunities to change, develop and iterate an idea, whereas in furniture and product design, you do.
There must be a connection to the material straight away that you don’t get with architecture.
JAY OSGERBY: You rarely get it at all with architecture, at least not in the same way.
EDWARD BARBER: You get a lot more control than with architecture, where there are so many unknowns…
JAY OSGERBY: Furniture is the layer that goes between the body and the building. Humans in buildings are just rattling around, and it’s actually furniture scale objects that act to bridge the scales: Building to Human.
EDWARD BARBER: If you take a blank white room, it doesn’t really say as much until you have an object in it. A beautiful chair and table will completely transform that space. Furniture helps to define spaces.
JAY OSGERBY: Otherwise you’re in a situation where there is an amazing space with natural light, then it gets cloudy, there is no light, and nowhere to sit.
Bellhop LED Floor Lamp
Speaking of light, how did you get into designing it?
JAY OSGERBY: Back in the early 2000s, we had four or five ideas for lights and we knew at the time there was only one manufacturer that we wanted to talk to, and that was Flos. So we spent a great deal of time getting a series of projects to propose. We’ve always had the idea that we set our sights on the best manufacturer in each field, and that’s how we approached it with Flos.
EDWARD BARBER: We launched our first project with Flos in 2007, which is the Tab lamp. We both have it in our homes and studio, it is a good little work lamp. That was a good success, and then it was almost 10 years until we did another really successful lamp which was the Bellhop.
JAY OSGERBY: I think we’ve always preferred the light from lamps. One of the things that tends to happen a lot in architecture is that the architects and lighting designer do the very best to make the space look as dramatic as possible. They don’t necessarily think about creating the intimate environments, which is what you get with lamps. On the whole you get a better lighting quality from a lamp – again, it’s more human.
What is a day in the studio like for you?
JAY OSGERBY: Before lockdown, we spent half the time here, and half the time overseas . It’s a constant thing, swinging between looking at prototypes, sketching ideas, talking about things, sitting on things, trying to break things, try things out. Until recently, we did quite a lot of talks and lectures too.
EDWARD BARBER: When you launch a new product, depending on the company and their ambition for the project, they will often send you off around the world to promote it… whilst that can be fun it’s nice to be at home more with the family now. I’ve been coming into the studio since May, pretty much every day. The studio hasn’t been full since February, so we haven’t had that team feel for quite a while actually, which is a shame.
Flos Lighting
Tell me a bit more about the Bellhop lamp. When was it first designed?
EDWARD BARBER: Originally we created it for the restaurant in the London Design Museum in 2016. Flos really liked it, and decided to produce it. Then we launched it in 2017 at EuroLuce. The idea was that the restaurant could charge them during the day, and at night they put them on the tables. But, once we designed it we realised it was such a nice object to have around the house. You can walk around with it, and it’s like a little friend that you take with you. It’s basically like having a candle that you move with you from room to room.
JAY OSGERBY: They were originally metal, and just a small batch production.
What was the initial inspiration around the shape?
JAY OSGERBY: When we were talking to Flos about the Design Museum project we happened to have a really beautiful Japanese bowl in the studio. We simply dimmed the lights and shone a torch into the underside of this bowl. The reflected light that bounced from the porcelain was really beautiful. So we thought, how could we recreate that? That was the starting point, as abstract as it sounds.
EDWARD BARBER: In a restaurant, you want to have reflected light off the table. You don’t want to have a glaring light on a table between people who are facing each other. So this lamp was always focused around having light coming down and bouncing up off the table surface.
Let’s talk about the rechargeable element of this lamp. What is the studio’s relationship with technology?
EDWARD BARBER: What’s interesting is that 10 years ago it would not have been possible to make this lamp, because the battery life was so poor, it would have lasted maybe an hour or so. Whereas now, if you have it on its lowest setting (it has four settings) it lasts about 24 hours and in time it’ll get better and better. If Flos are making this lamp in 10 years time, you’ll only need to charge it once a month!
JAY OSGERBY: I think technology works when it’s invisible, it’s not something that we want to really show off. It comes as more of a surprise, in the way that you use the objects rather than something that’s actually overtly tech-driven. Even the Tab lamp used a halogen light bulb at first, then it needed to be swapped to LED – that was weird for us, that transition from replacing a bulb, to where the technology is baked into the product itself.
Tab and Bellhop are ornamental objects, as much as a light.
EDWARD BARBER: People don’t just buy lighting for the home because they give a good light, they have to feel great in the home. I think that is why people are drawn to the Tab lamp and the Bellhop. Especially the Bellhop I think they feel like it’s like a friend.
Bellhop LED Floor Lamp
What about Bellhop Floor, how did that come about?
EDWARD BARBER: We suggested to Flos that we should make an uplighter as part of the Bellhop collection. So we flipped the top upside-down, but we needed a bit more character for such a large scale lamp. We did this by making the top in glass, which gives a really lovely glow.
The colours of the Bellhop Floor include white, cioko brown, green and brick red. How did you choose them?
EDWARD BARBER: It is always pretty intuitive. The thing about colour is that it is very transient in relation to design. You pick what feels right at the time.
JAY OSGERBY: It’s a bit like naming children. When you think you’ve got a new colour, or a new name, you actually get it out there and you think, it’s a new challenging thing. Before you know it, everybody is doing it.
We can’t talk about lighting without mentioning your 2008 commission of the Olympic torch.
JAY OSGERBY: That was a great project. It was quite stressful, but very enjoyable.
EDWARD BARBER: At the Olympic opening ceremony, about 3 billion people are watching on television from around the world so you don’t want the flame going out at that moment! When we got the job we did think this is either going to be the best thing we ever did, or the very worst.
I know you haven’t been able to travel there for a while, but what is it like going to Flos’ factory?
EDWARD BARBER: Flos is always fun. They have a really lovely design studio where everything’s all set up perfectly for lighting. They have got all these channels cut into the floor so you can’t trip over the mass of cables. There are different rooms set up so you can test and measure the light levels with automated blinds on the windows. It is highly efficient.
JAY OSGERBY: When you are there, you feel part of the history of the company. You know the people that have been there from the past 50 years, working on projects. You feel quite fortunate. It’s quite common actually in Italy to be in the same place that the great Italian design heroes used to work. It is inspiring.
EDWARD BARBER: When you work for companies that have got an incredible design history, you almost feel that you owe it to them and yourself to up your game, and come up with something really great that doesn’t let the side down.
Here at Heal’s, we’re passionate about championing women in everything we do and over the years we’ve collaborated with countless talented female designers. These designers helped to shape and influence the Heal’s collection you see before you now.
To celebrate International Women’s Day 2021, we’re shining a spotlight on a few of our favourite female designers and showcasing a selection of their brilliant designs.
Handwoven storage basket by AAKS
Handwoven Storage Basket
A A K S is a Ghana-based design company that was founded by Akosua Afriyie-Kumi in 2014 to showcase her favourite weaving techniques and support the creation of the sustainable jobs in Africa. All of her baskets are hand-woven by artisans in small villages, using exactly the same methods and practices as their ancestors.
Woven entirely from straw, this basket comes in a choice of three exuberant colours to make laundry fun again. It also comes with a complementing lid which adds effortless style to utility rooms.
Isola sofa by Lucy Kurrein
Isola 3 Seater Sofa
Let us introduce you to the striking elegance of the Isola sofa, created by the incredible and award-winning designer, Lucy Kurrein. Inspired by floating islands, this highly contemporary collection is one of our most forward-thinking ranges and would be right at home in the modern design shows of Milan and Paris.
Oudh geranium diffuser by Urban Apothecary
Oudh Geranium Diffuser
Transport yourself to the Middle East with the sweet and smoky Oudh Geranium diffuser by Urban Apothecary, founded by Tajinder Banwait. Majestic, mysterious, and magical, the Oudh Geranium diffuser plays with your senses and elevates your mood with this precious, ancient ingredient.
One of the most highly valued ingredients in a perfumer’s palette, Oudh is a rare wood and appreciated for its smoky and aromatic profile. Flood your home with this spicy and sweet aroma, accented by the sweet notes of geranium, amber, vetiver, patchouli and decadent praline.
Sgraffito bed linen by Eleanor Pritchard
Sgraffito Bed Linen
Exclusive to Heal's, Eleanor Pritchard's iconic lines and contrasting textures are seen in the distinctive and unique Sgraffito linen. Made with a beautiful blend of cotton and linen in petrol blue the beautiful and complex Jacquard weave design is incorporated into the weave using a special loom, instead of being printed.
Tra-ra clothes rail by Tomoko Azumi
Tra-Ra Natural Beech Clothes Rail
Lightweight and elegant, Tomoko Azumi’s Tra-Ra exploits the natural flexibility and strength of beech wood to create a stunning contemporary silhouette, While seemingly delicate in its balance of slender beech wood, this angular framed clothes rail has been beautifully crafted for durability to produce a versatile piece of open storage.
Circuit natural dye cushions by Ceres
Ceres Natural Dye Cushion Circuit Pattern
London-based design studio Ceres designed the Circuit Natural Dye cushions exclusively for the Heal’s SS21 collection. Inspired by modern architecture, Circuit is a bold composition of shapes and pastels that brings the light and vibrancy of summer into the home.
Hand-printed in Brixton using all-natural dyes, the colours are derived entirely from locally collected plants and bio-waste. Delightful and entrancing, the pastels look great alone of mixed with other cushions.
Sky storm marbled dinner plate by Bisila Noha
Sky Storm Marbled Dinner Plate
Bisila Noha’s sea and storm dinnerware collection is hand thrown and hand finished in her studio in London. Her marbling technique gives both depth to the surface and personality to all of her pieces, while her distinctive brushstrokes mean that no two pieces are identical. This collection is perfect to serve food and drinks as well as pure decorative centre pieces.
Woman collection by One Nine Eight Five
Woman Throw
The Woman collection by Eleanor Nadimi, founder of One Nine Eight Five, was introduced to help raise awareness about the pressures of growing up in a society that obsesses over unrealistic concepts of what is beautiful and what is not – in particular, the young women who are growing up under the often-distorted gaze of social media.
The line drawing of the female form was made to celebrate the beauty found in every woman, with 15% of all profits being donated to the UK's eating disorder charity, Beat.
Geo LED Ceiling Pendant Gold and Crawford Dining Table
Spring, is that you? Let us introduce you to Heal's SS21. Our latest collection aims to respond to the growing need for beautiful, yet functional furnishings in every room and taking joy in those all-important home comforts.
This season reflects our new way of living of wanting to transform our homes into a place of sanctuary and calm, yet also acknowledges the need for escapism. To celebrate the launch, we’re sharing five pieces from the collection that we think will catch your eye.
Reveal Desk And Neo Chair
Reveal Desk and Neo leather Chair
What better way to reveal the new season than with the Reveal desk, designed by Danish dynamic duo, Says Who. Designed for living spaces that also function as a home office, the Reveal desk blends seamlessly into contemporary, open-plan settings. At the end of the working day, the soft-close lid can be shut to conceal paperwork, transforming the piece into an industrial-style console table, so you can switch off and enjoy the return of your living space.
Also exclusive to Heal’s and designed by Says Who is the Neo chair. The black steel powder-coated frame is simple yet striking. Crafted in Italy, Neo works as beautifully in dining room settings as it does in a sophisticated home office space.
Amira Bedroom Collection
Amira Bedroom and Marlow 4 Poster King-Size Bed
In response to the growing trend for introducing dark and sophisticated woods into the bedroom, Amira furniture seamlessly blends element of the iconic arts and crafts movement with the classic mid-century aesthetic. Exclusively designed for Heal’s, the collection is created by Adam Daghorn, whose ethos is to craft ‘antiques of the future’ through exquisitely executed design, which will be timeless for generations to come.
Available in four chest configurations and a double wardrobe to offer storage solutions for bedrooms of all sizes, Amira sits effortlessly against the Marlow Four Poster bed which is now available in a super-king sized option.
Flette Desk
Flette Desk
Danish design-duo Says Who strike again with the eye-catching Flette desk. Taking its name from the Danish translation of ‘Cane’, the beautiful Flette collection offers practical storage solutions, featuring a delicate silhouette offset by a pale blonde solid oak.
The desk offers a more feminine, lightweight approach to office storage, but can easily double up as a dressing or console table. Flette is also available as a sideboard, which features a moveable shelf offering ample space, ideal for a living room or hallway to easily hide away toys or bags.
Marano Collection
Marano Chest of Drawers and Bedside Table
Exclusive to Heal’s, the Marano bedroom collection by Says Who demonstrates the beauty of simple design. With a light design expression, the collection is crafted from quality solid oiled oak, and blends perfectly into existing schemes, complementing an array of styles.
Black stiletto legs match the small black joins on each leather wrapped handle, elevating Marano’s simple silhouette, while the light wood brings earthy, neutral tones to the bedroom space for a sense of calm. Another addition to the collection is the Marano desk – a sophisticated piece that offers functionality with a generous dose of style and is an elegant home office solution.
Benefitting from a generous top design, the desk offers plenty of room for keeping on task while you work through the day. Complete your work from home scene with the Edit chair, which offers a generous tub-style for ultimate comfort.
Tortona Sofa
Tortona Sofa and Hebe Medium Table Lamp
Last, but by no means least, we’d like to introduce you to the Tortona sofa, designed by Says Who. Prioritising comfort without sacrificing style, the Tortona is a pared back yet intricately designed piece, carrying a contemporary finish that sits effortlessly within any setting.
The collection features a footstool, armchair, three-seater, four-seater and is available in a wide selection of upholstery options. Match Tortona with Studio Gud’s lavish Notch coffee and side table. Made in Northern Italy, the seemingly simple piece celebrates the beauty of mixed materials through a complex intersection of marble with wood.
Shop the new Heal’s SS21 collection here.
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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