Meet the makers at Sanderson

In Walpole’s 'Meet the Makers' portfolio for the Book of British Luxury 2026/2027, we celebrate the people behind the design of the products and services that have become a global calling card for British luxury excellence. From historic hand-printed wallpaper to timeless trench coats, we speak with the highly skilled individuals who pour their passion into their respective crafts to create new British icons.

In this edition, we go behind the scenes at Anstey, the wallpaper factory of historic British interior and decorating brand Sanderson: a place where cutting-edge printing meets century-old craft, with beautiful results.

With its roots in importing luxury French paper hangings to Britain in the 19th century, Sanderson has developed into one of England’s most renowned interior design names. Wall coverings remain at the heart of the iconic brand, and today it sits within the wider Sanderson Design Group, comprising six interior brands and two factories manufacturing fabric and wallpaper.

Sanderson also houses priceless archives of floral fabrics, wallpapers and printing blocks, providing a vital reference point for the design studio. Design Director Claire Vallis says, “We are so lucky to have a business that has everything under one roof, from design to manufacturing. The beauty of Sanderson is that we can delve into our archive of rich history and work with artisans with decades of experience to produce the most beautifully British-manufactured fabric and wallpaper.”

Combining a state-of-the-art digital design studio with traditional hand-printing skills and techniques, Sanderson’s wallpaper factory, Anstey, has a rich heritage of its own, backed by technical expertise and the broadest machine profile in Europe, meaning it can offer an unparalleled combination of printing permutations covering gravure, rotary screen, flexographic, surface, surflex, digital, flat screen and hand block printing methods.

For an understanding of what all that means, we’re better off in the hands of Richard Hunter, whose title of Conventional Supervisor refers to the machinery he specialises in rather than anything else, as becomes clear. Embracing innovation is a part of the DNA here. Hunter notes that, while the machine he is currently working on is “a very old, traditional machine”, it reveals the constant strive for technological improvement. “It mimics the block print, but on a roller, so you get all the imperfections from a block print that give it character,” he explains. “It looks like it’s painted on.”

“We still paint so many of our designs by hand, often adapting rich archive documents, like The King’s Rose, to make them relevant for today’s interiors,” explains Rebecca Craig, Head of Design. “It’s such a privilege to create new pieces by learning from the past and reimagining them for the modern home. Recently, we’ve been painting three-metrehigh murals, taking reference from designers working in the 1920s. It’s both remarkable and inspirational to see them come to life, and a reminder of how design constantly evolves and returns in a beautiful, continuous creative rhythm.

”Being so open to experimentation requires a collaborative approach across all studios and departments – and the shared, deep understanding of every stage is crucial in developing unique designs like Rose & Peony or Chiswick Grove. “You know, not many mills are left out there anymore, and we’ve got every capability here,” says Jeanette Newcombe, Innovation Manager. “And along with that, we’ve got an expert who knows absolutely everything about that process.”

All of which means that, in developing designs for collections, the innovation team can get an understanding of the design ideas and then, with the skill set at hand, fully realise the vision, whatever it may be. Maybe it’s actually that a design requires us to paint a mural, and we can go off and do that,” Newcombe says. “For anyone experiencing the brand, it’s about making those historic patterns feel entirely relevant for modern living.”

Talking of the future, Newcombe is refreshingly positive about the state of British manufacturing in this field. “We fly the flag, just sending that message out to people to say, look, we’re here. We’re successful. You hear a lot of universities are closing down their textile departments because they think there’s no call for them, but we should be harnessing the next generation. The job opportunities and the scope are mind blowing. This industry is thriving.”

When a roll of Sanderson wallpaper finally leaves the press, its ink thick, tactile and filled with history, the team allows themselves a moment of quiet pride. It is a blend of both heritage and cutting-edge expertise.

Photography by Sam Walton