Last year heralded the tenth anniversary of London Craft Week, an annual showcase of exceptional work from new names and established makers. Yet ‘craft’ routinely suffers from something of an image problem with many mistakenly associating it only with wobbly pots and fiddly tchotchkes. This is a mistake.
To me, craft means something that embodies the hand of the maker. When something has been sculpted, stitched, hammered, whittled or woven by hand, within it by default lies love and care. To be surrounded by such things can only be beneficial to the soul. In the words of artist and designer Helen Amy Murray, “the loving commitment and careful artistry involved in creating unique works of art by hand adds a value far beyond the monetary, the power of hand craftsmanship is infinitely more special to behold”. It is also something the British are particularly good at.
From the virtuosity of wallpaper marque Cole & Son (craft that rests on the shoulders of three centuries of history), to the interiors realised worldwide by the David Collins Studio, what the British excel at is distinctive designs that incorporate artisanal workmanship. It is what Sharon Lillywhite, Founder & Creative Director of Oliver Burns Studio, perfectly describes as thoughtful luxury, “spaces that are felt, rather than formulaic”. In short, craft is design that makes an emotional connection – spaces that affect the way you feel, furniture that you can fall in love with.
It even applies to board games. As Alexandra Llewellyn, designer of intricate bespoke backgammon sets, says: “We have a rich tradition of artisanship in Britain and craftspeople dedicated to creating forever pieces using time-honoured techniques. I’m proud to support and showcase their skill through games that will be played and enjoyed for generations to come.”
This idea of something being made to be enjoyed for generations is what particularly distinguishes luxury craft. Especially as today sustainability must be a dominating theme through all of design. However, that doesn’t mean designers must feel obliged to fashion their wares only from recycled corncobs, mycelium and seaweed. Being environmentally aware is not just about being materially sustainable but being aesthetically sustainable, too.
In the rush towards ‘new’ eco materials, in some cases the need simply to create things of use and beauty has been rather forgotten. Just because I can now compost my chair cushion or have a night light powered by algae doesn’t mean it has a greater intrinsic value over the long term. In truth, I think the path to the future of craft is a lot less complicated.
At Matthew Cox, every maker is given a letter when they start to remind them of the value of their work. In it Cox writes, “By making everything to the best of our abilities, we ensure they are robust enough for years of use and adaptable enough to serve different purposes over time. We hope each piece lives a long life, proudly bearing the marks of its usefulness and looking all the more wonderful for it.”
This is a time-honoured path to the sort of timelessness that endures. Instead of relying on novelty, it returns to a commitment of creating pieces that can become part of a family’s history. And in the same breath, history is sometimes woven into the pieces themselves, whether by artful appropriation and restoration, the reuse of offcuts or recycling. Cox continues: “By making only what we need, and choosing decoration most likely to bypass trends and become more beautiful with time, we can consciously choose to work in tandem with nature and hasten the healing of our planet.”
It is a sentiment echoed at Goldfinger, an award-winning social enterprise, furniture workshop and academy, where the emphasis is very much on tree-to-table, purpose-led craft. In the words of the studio’s Co-Founder Marie Carlisle, “Circularity in luxury interiors can and should be planet and people positive. Even when designing for a more modern aesthetic, we can be drawing on time-honoured craft techniques and local resources to ensure the longevity of both.”
This to me is the heart and soul of truly future-focused craft. A refusal to compromise on the core values of the discipline itself – quality, integrity, passion. Or as Maryam Roohipour at Peter Reed, the Lancashire-based textile mill dedicated to the manufacture of glorious quality linens since 1861, puts it, “In the future, luxury interior crafts will carry stories and history woven into every stitch, button and seam.”
Lead image: Cole & Son Fornasetti Senza Tempo Nuvolette