Paul Smith

The Paul Smith range at Heal's centres on the collaboration with Anglepoise, producing colour-led editions of the iconic Anglepoise 1227 and Type 75 task lamps in Sir Paul Smith's distinctive tonal palettes. Each edition pairs the engineered precision of a British task lamp with the characteristic Paul Smith eye for colour, typography and considered tonal variation.
  • Out Of Stock
    Paul Smith Storyteller Natural Reed Diffuser Paul Smith Storyteller Natural Reed Diffuser
  • Out Of Stock
    Paul Smith Bookworm Scented Glass Candle Paul Smith Bookworm Scented Glass Candle
  • Out Of Stock
    Paul Smith Early Bird Natural Reed Diffuser Paul Smith Early Bird Natural Reed Diffuser
  • Out Of Stock
    Paul Smith Sunseeker Natural Reed Diffuser Paul Smith Sunseeker Natural Reed Diffuser
  • Out Of Stock
    Paul Smith Botanist Natural Reed Diffuser Paul Smith Botanist Natural Reed Diffuser
  • Out Of Stock
    Paul Smith Sunseeker Scented Glass Candle Paul Smith Sunseeker Scented Glass Candle
  • Out Of Stock
    Paul Smith Early Bird Scented Glass Candle Paul Smith Early Bird Scented Glass Candle
  • Out Of Stock
    Paul Smith Botanist Scented Glass Candle Paul Smith Botanist Scented Glass Candle
  • Out Of Stock
    Paul Smith Day Dreamer Natural Reed Diffuser Paul Smith Day Dreamer Natural Reed Diffuser
  • Out Of Stock
    Paul Smith Bookworm Natural Reed Diffuser Paul Smith Bookworm Natural Reed Diffuser

    The Paul Smith x Anglepoise collaboration, launched in 2003, pairs Sir Paul Smith's colour sensibility with the British-engineered task lamps Anglepoise has produced since 1933. Each edition reimagines the 1227 or Type 75 in a new colour palette, often with custom shade colours and matching cable and base. The collaboration remains among the longest-running in modern British design.

    Each Paul Smith x Anglepoise edition is produced in a specific colourway for a defined period, often running for one or two seasons before being retired. Some editions become permanent parts of the Anglepoise range if demand holds. Limited-edition pieces carry identification detail on the lamp itself.

    Sir Paul Smith is a British fashion designer who founded his eponymous label in Nottingham in 1970 and has grown it into one of the country's most recognisable design brands. His trademark striped prints and saturated colour palettes translate across fashion, accessories, and collaborative product design, including the Anglepoise partnership.

    Yes, the Paul Smith x Anglepoise lamps accept modern LED bulbs in standard UK fittings, with most editions using E27 screw-thread bulbs. Dimmable LED bulbs paired with a compatible wall dimmer give fine control over the light level, suiting the lamps' dual role as task and reading lighting.

    • British Designers At Heal's: Stephen Smith
      Designers
      British Designers At Heal's: Stephen Smith
      As part of British Designers at Heal’s we welcome Stephen Smith, our artist-in-residence, whose work is available to view and purchase at our Tottenham Court Road store. Working under the studio name of Neasden Control Centre, Stephen's work is known for its multi-disciplined hand drawn approach often combining lettering, drawing and collage within graphic compositions. We sat down with Stephen to find out a bit more about him, his work, and what inspires him as an artist. What motivated you to work as an artist? Is it what you wanted to get into growing up? I have worked as a both an artist & illustrator since I graduated from the University of Brighton in 1998. Although there are obviously differences between my commercial studio work as Neasden Control Centre and my art practice essentially I’m motivated by environment, society & culture - both historic and contemporary. This influences my work in both capacities. I was lucky enough to be taken by my family to museums and art exhibitions as a young child which had a big impact in my learning and development and overall interest in the arts. I have always enjoyed all aspects of what I do. It’s become my whole life and something I live for. How would you describe a typical working day? I don’t tend to have typical days. I try and keep things flexible between my studios. I have a studio for commercial work which is more desk orientated and a separate studio for painting which is larger and enables me to explore different processes in a playful way - some of these works are large in scale and so require a different space to work in. Due to the diverse nature of the projects I tend to take on sometimes a day can consist of; planning and research for future work, site visits, sewing large sections of canvas, painting, drawing for illustration or commercial projects, digital editing or working on design led projects with collaborators I work with. I also try and keep things flexible as this suits my process and practice to expect the unexpected. Give us some background on your collection. What was the inspiration behind it? The starting point for this series spawned from a journey I took to Baikonur Cosmodrome (Russian Space Station). During this trip I witnessed the flat plains of Kazakhstan on a 24 hour train journey, vast architectural interventions and colour from the region at first hand. These have subsequently became embedded in a visual language as a metaphor for this time / place within the surface. I am exploring this through a process of formal abstraction. This process embodies the deconstruction and subsequent reconstruction of both material and motifs. I see these as integral to the form of the painting and paradoxical in approach. Within this I am exploring the interaction between both the physical material and painted motifs, where the motifs act as a method of communication like say a maritime signal flag. This visual language is documented by my support work in collage and drawings in mixed media on paper. As a painter, I am particularly interested in the process of breaking down and re-contextualising. Integral to this has been exploring the boundaries between paintings on stretchers and un-stretched canvas. I am interested in engaging with how the folds, sewn edges and layers within the canvas can act as a form of mark making. How long does it take to create your artwork? The paintings exhibited at Heal’s currently are part of series of works I have been making over the past year or so exploring both the physical process of painting and construction / deconstruction within it. Stephen Smith's artwork on display in our Tottenham Court Road store The paintings are often reworked and therefore can take up to a year to complete. In this series I have deconstructed the form of both the paint and painting structure by cutting and machine stitching the canvas so that it encompasses a collaged process. This process has enabled me to explore drawing, painting, scale and colour within my work. How would you describe the feel of the materials used in your design and the choice of colours? One of the things that my process has enabled within deconstructing and reconstructing the canvas through collage and stitching has been the ability to cut directly through the middle of paintings and, by doing so, creating areas of both raw and painted canvas within this action. Stephen Smith's artwork on display in our Tottenham Court Road store This has enabled different colours and elements to interact with each other in combination with textural qualities and marks across the surface. The tension of the paint and collaged colour is held in a form of chaos directly within this physical process. I’m trying to achieve a balance between the line, form, surface, colour and overall compositions at all times. Therefore the paintings very much have evolved from Modernism. I am particularly drawn to mid-century form within Modernism and the often brutal nature of the architecture celebrated again in recent times from this period of stark concrete and painted murals.
    • Heal's 200: Dodie Smith And The Heal's Cat
      Heritage
      Heal's 200: Dodie Smith And The Heal's Cat
      Whilst Heal’s has a long history of famous connections – including the Bloomsbury Group as well as Modigliani – there’s one celebrated name that actually spent time at Heal’s as an employee. Dodie Smith, author of the classic I Capture the Castle and The Hundred and One Dalmatians, spent nearly 10 years working at our flagship store. Read on for the surprising story of Dodie's time at Heal's… Dodie Smith and Heal’s Dodie Smith (1896-1990), acclaimed playwright and author, gas captured the imagination of millions with her compelling storytelling. But before she found fame as a writer, Dodie was a struggling actress in London who eventually gave up her acting pursuits and found a job at Heal’s as a shop assistant. Having joined the business in 1923, she went on to run the toy department among other responsibilities. She quickly made her mark and was renowned among Heal’s staff for her sharp tongue and quick wit. Undeterred by the formidable presence of Ambrose Heal’s long-term mistress Prudence Maufe, she embarked on an affair with Heal which she delighted in keeping secret from other staff. In Valerie Grove’s book ‘Dear Dodie’, she’s described as “not temperamentally suited to the shop girl’s humdrum life of clocking in from nine to six.” She was a fiery character that was prone to tardiness and temper tantrums (she once “flung one of the assistants, a heavy girl, across the china department”) but since she was having an affair with the owner of the store, she knew she was unlikely to be sacked. When Dodie began to find success as a playwright towards the end of her time at Heal's, she moved into a new home in Dorset Square. Ambrose Heal offered to provide all the furniture at cost price but Dodie had something very particular in mind for her bedroom. Having a dislike for conventional wardrobes and chests-of-drawers she suggested purchasing the furniture for that room at Italia House instead. However, Sir Ambrose was horrified at this idea which would have meant buying reproduction furniture, and so he offered to design a suite exactly to her liking. The result was the Dodie wardbrobe which featured inlaid gold art-deco lines. The Dodie Wardrobe designed by Ambrose Heal (1932) Dodie and the Heal's Cat During her time at Heal’s, Dodie became fond of the Heal’s cat which remains on our Cecil Brewer staircase to this day. She wrote in her autobiography Look Back with Astonishment, “On the sill of a window that lit it was a very tall bronze cat, (really a serval) which I came to think of as presiding deity of Heal’s. I later let it be known that it would grant wishes and I was to see various members of the staff reaching up, rather furtively, to touch its paws. And when I eventually sold the cat, which was priced at £40, Mr Heal wrote firmly to the customer – who must have been startled – cancelling the sale, and had a card lettered saying ‘Heal’s Mascot. Not for Sale’.” The beloved Heal's Cat After several years working at Heal’s and having grown tired of competing for Ambrose’s affection, Dodie married a former co-worker, Alec Beesley in 1939. By this stage she was making a name for herself as a playwright and, following rapturous reception of her sixth, Dead Octopus, Dodie and her new husband moved the United States. She continued to receive regular letters from Ambrose Heal. While homesick in the US she wrote her first novel, I Capture the Castle, which was - and still is - very well received. The opening line “I write this sitting in the kitchen sink….” is among one of the most quoted first lines in British fiction and captures Dodie’s strong personality and style of writing. Ambrose himself is even quoted as saying “what a marvellously Dodie-esque opening!” Dodie and the Dalmatians Inspired by her own love of animals, especially Dalmatians, she later tried her hand at children’s fiction. The Hundred and One Dalmatians became her most famous publication, largely in thanks to Walt Disney’s film adaption of the story. Dodie had had a number of Dalmatians as pets over the years and after her husband’s sudden death in 1987, her last Dalmatian, Charley, became her constant companion. She even set aside a sum of money in her will for his care in the event of her death. When Dodie did pass away in 1990, Charley followed just three weeks later. Dodie Smith and Charley Come visit the Heal’s Cat and explore the place Dodie spent many of her formative years at our Tottenham Court Road store.
    • How To Spot A Fake Eames Lounge Chair
      Buying Guides
      How To Spot A Fake Eames Lounge Chair
      As one of the world’s most iconic chairs, it probably comes as no surprise that the Eames Lounge Chair is the victim of untold inferior copies. In fact, fake Eames Loungers sit unknowingly, or knowingly, in peoples’ homes across the globe. Maybe you’re looking to buy a vintage Eames Lounge Chair online. Or perhaps you’ve seen a new one in a shop but aren’t convinced it’s authentic. It’s completely understandable that you want to make sure it’s authentic before splashing out on it. To help you decide, we’ve compiled some of the ways you can tell a real Eames Lounger from a fake. These sure-fire ways to spot a fake Eames Lounge Chair should help you make this important decision. Read on to find out. The size of an original Eames Lounge Chair Aside from a taller version introduced in 2010, the Eames Lounge Chair hasn’t changed sizes since it was designed in 1956. That means you can tell an original Eames Chair from its size. Fake Eames Lounge Chairs tend to have completely wrong proportions. So, if the size is off, then the odds are that it’s a knock off. If you’re buying an Eames Lounger from a second hand or vintage shop, then get your tape measure out. A classic Eames Lounge Chair measures 84cm tall, 84cm wide and 91cm deep with a seat height of 38cm. A tall Eames Lounge Chair is 89cm tall, 84cm wide and 92cm deep with a seat height of 38cm. Labels on an authentic Eames Lounge Chair Whether your Eames Chair is vintage or brand spanking new, it should have a label to prove its authenticity. When looking for a label on an Eames Chair, we tend to start with the base. It will normally be at the point where the base connects with the chair’s shell. If it isn’t there, then try sliding off the chair’s cushions and you may find a label underneath. Once you find it, a label should have one of two names, Hermann Miller or Vitra. To European and Middle Eastern audiences, Vitra is renowned for making Eames furniture. If you’re buying the chair here, then that’s what you should expect to see a Vitra label. However, Hermann Miller was the original manufacturer of the Eames Lounge Chair in the USA and even commissioned it in the first place. Of course, some Vitra loungers will have made their way across the Atlantic and vice versa. So, don’t be surprised if it has a Hermann Miller label attached to it. Whether it’s a Hermann Miller or a Vitra tag, either tag should guarantee its authenticity. Both brands have gone through a wide range of labels since the chair was first produced. That means there are many different labels that could be on your chair. It could be a small metal plaque, a sticker with Charles Eames’ signature or a roundel. If you can’t find a label on your Eames Lounger, then don’t despair. If the chair’s old and the right size, with all the quality fixtures and features then it’s probably just missing a label. How much does an Eames Lounge Chair move? An authentic Eames Lounge Chair should swivel 360° in a fluid motion. That is, the shell swivels on the base itself. If the base has wheels or castors, then it won’t be an original. Many people think that this type of chair is a recliner, but it isn’t. Yes, an Eames Lounger will tilt slightly when you lean back on it, but it’s no reclining chair. So, if the chair in question reclines far back or has mechanisms to help it recline, then it isn’t an original. An Eames Lounger’s premium finish Always remember the prestige reputation manufacturers like Hermann Miller and Vitra have. Not to mention the exacting standards of Charles Eames himself. That means original Eames Chairs are always finished to the highest possible standard. All authentic Eames Lounge Chairs are made up of three wooden shells. That’s one for the seat, one for the back and one for the headrest. Then there are two shells that make up the armrests. The shells all appear as though floating with no visible screw or bolts. The only place you may spot a screw is on the armrests and original ones will be black. Effort has been made to ensure the design is structurally sound whilst concealing the screws. So, if screws stick out like sore thumbs, it won’t be an original. The base of an Eames Lounge Chair The chair’s base is also a tell-tale sign. It should have five legs and be made using die cast aluminium. Since they’re made using this technique, the base should be one solid piece of aluminium, rather than having individual legs screwed together. Each leg will have a slight angle and taper off into a rounded end, rather than a squared end. The base isn’t always the same finish, in fact, expect to see it polished, chromed or matte black. So, if there’s less than five legs and steep angles on the base, you’re probably looking at a fake. How much does an Eames Lounge Chair cost? The price of an Eames Lounge Chair differs depending on the leather and wood finishes that you choose. But needless to say, the price tag that comes with them reflects the work that goes into making them perfect. That isn’t to say it’s a walk in the park to create a replica. The many elements of an Eames Lounger’s design means that a new replica could still cost upwards of £1,000. However, a used replica will set you back a few hundred pounds. So, if the price is substantially lower than those advertised by Vitra or Hermann Miller then it’s likely a fake. Interested in buying an original? See our authentic Eames Lounge Chairs here.