The pieces launched at the exhibition were created especially for the ‘Sala da Pranzo’ room within the museum and were designed as a response to the room’s dazzling tapestries, geometric marble floor and ornate wooden carvings.

The Museo Bagatti Vasecchi is a historic renaissance style house-museum nestled in the heart of Milan’s fashion quarter. Two brothers, Barons Fausto and Giuseppe Bagatti Valsecchi, dedicated themselves to refurbishing their family home and in the late 19th century, collected an extraordinary array of fifteenth and sixteenth century paintings and decorative arts for the interior.

The show was the first of its kind at the museum and encompassed luxury furniture, lighting and soft furnishings from seven international designers.

Five new Amy Somerville furniture designs were launched at Milan Design Week 2019:

Bartleby Credenza: Shown here in natural oiled American Black Walnut with blackened brass details.

Rita Chair: A gracefully delicate American Black Walnut dining chair upholstered in ‘Citrine’ Smoking Room Velvet. Also available in customer’s own material.

Pace:Frame:Time Table: in two contrasting natural tones of American Black Walnut and supported by geometric brass collared plinths. Other finishes can be commissioned.

Oxalis Two Seat Bench: in Amy Somerville ‘Carnelian’ Smoking Room Velvet. The bench features channeled and hand-sprung upholstery atop a hand-carved solid wood frame.

Bartleby Credenza – Lacquer: Shown here in natural oiled American Black Walnut with blue lacquer doors and blackened brass details. The high gloss lacquer doors can be produced in custom colours.

Amy Somerville: 21 Boston Place, London, NW1 6ER

Tel: 020 7586 2211

www.amysomerville.com

The post Amy Somerville at Milan Design Week 2019 appeared first on The House Directory.

A successful studio owner balances design projects with business development.
I see clients every day who are launching, growing or streamlining their interiors business. The most successful love the business side and embrace it as much as their creative projects. It is my job to ensure all of my clients take a holistic approach. At Camberyard we use a 360-degree framework, identifying all the areas of one’s business that, when put together, add up to a whole. Attending to every area provides the best chance of creating a successful studio long into the future.

The ‘business’ side represents the foundational elements essential to sustained growth.
At its core, this includes the practical aspects of setting up a studio: contracts, insurance, CDM regulations, GDPR and financial planning. On a tactical, brand level: PR & marketing, networking, social media, website/SEO and strategic reviews. Put yourself in a strong position by staying on top of the practical and financial elements, creating clear action plans for your brand, and scheduling regular reviews.

Identify and clearly articulate your USP to build a compelling brand.
In a competitive industry with an easily accessible online market, it can be difficult to stand out. Thus, the key questions are: Do you know your USP? What will make your dream client find you, engage with you and, most importantly, hire you? Your particular offering and unique voice need to come through clearly in all of your branding from your tagline to your website, social media and press. And, of course, in face-to-face interactions – practice that elevator pitch!

Get inventive to connect with your target market.
First, identify your ideal market. Who are they, what do they spend money on, where do they live? Next, think about how you will find and gain access to them. In addition to any online branding, PR and marketing work, go out and meet your audience face-to-face. You might organise a colour workshop by collaborating with a nearby kitchen company or, if your target market is home gyms, you might connect with gym equipment suppliers and see what opportunities you can open up. Get creative and get out there!

Your website is key to your brand.
Don’t be the designer with an out-of-date blog and broken links. Make sure your website reflects your company foundations. If your blog has fallen by the wayside, look at ways to change the format to omit the date whilst still retaining the information. Social media is, of course, a fantastic tool to grow your online presence and start to engage with journalists, potential clients and brands with whom you would like to collaborate. It’s an immediate way to create a voice and get your brand out there, tapping into a wide network. Your website is about current, quality content.

On and/or offline business – the choice is yours.
The internet has transformed the market. Computer-savvy clients can source furnishings and, crucially, see the price it is retailing. This online-based interiors market creates the option of engaging purely online with a client. The client sends a brief and a studio can then provide a full interior design service remotely – sharing ideas, giving advice and buying the products – without ever meeting the client. Consider how you want to run your business. What will best suit your needs and help you to achieve your targets? It may be fully online or only offline – or a mix of both.

Time, integrity and strong testimonials are integral to building a brand
At its core, building a strong brand is about investing time with your clients when you first meet them (whether on or offline). They need to buy into the values of your brand and, most importantly, into you. Creating a rapport with potential clients is important to first getting the business; developing that connection into a strong collaboration is then key to the project’s future success.

Monetary success should not be underestimated.
One of the most important questions to ask yourself after you have defined your brand and USP is whether your studio is financially viable. If not, there is work to be done. Financial planning should be one of your larger fractions of action. A healthy profit gives you options. For instance: what projects you accept/decline; whether you can afford to hire staff; what premises you want for your studio; and how you plan for future growth. It doesn’t necessarily mean outsourcing certain areas (though it can include that). It means really working on the creative marketing element to barter and collaborate with other designers and brands.

Collaborate not compete.
Fellow designers or brands should be an inspiration and support rather than a threat. Take time to build connections. Visit design fairs, attend talks and other industry events where you can meet people and see others’ work. Joining a group like the Camberyard Collective – where a huge range of creative professionals share knowledge, form collaborations and work together to develop their skills and grow their businesses – is a way to form an instant network of like-minded people.

Polly Williams, The Designers’ Advisor, Camberyard

07889 748 908

polly@camberyard.com   

www.camberyard.com

The post Top tips for building a brand & developing your business appeared first on The House Directory.

Q: What is an antique?

A: Many specialists consider ‘antiques’ items which are 100 years of age or older. Reputable antique dealers also value objects of 100 years or more according to their condition, aesthetics, rarity or historical significance.

Q: How can you identify if an item is an antique?

A: Learning to identify each era and period style is a good place to start. You can learn by browsing auction houses and antique fairs and studying catalogue descriptions. Or visit architectural salvage specialists to identify items from specific periods; for example, furniture from the Victorian age will often be made of dark wood such as mahogany or walnut and feature carved embellishments.

The more you look, the more you learn to discern the difference between period styles and the greater your awareness of whether something is antique, vintage or reproduction– whether it is Georgian (circa 1800-1830), Victorian (circa 1830-1890), Art Nouveau (circa 1890-1910) or Art Deco (1920s and 1930s)). A reputable dealer will describe items they sell with accuracy and be a valuable source of information.

Q: What is vintage?

A: We usually describe vintage as at least 20 years old and less than 100 years old. Whether it is clothing or furniture or lighting, it should also be characteristic of a particular fashion from a specific year or decade and reflect the tastes of that era.

Q: What is collectible?

A: Collectibles cannot be attributed to age. Collectibles can be anything from postage stamps to railway memorabilia, clothing or toys. A ‘collectible’ is an all encompassing term and is not necessarily old or rare.

Q: Are collectibles valuable?

A: Value of collectibles often depends on how sought after items are. The more in fashion and in demand, the more collectible; more so, if items are hard to come by. Trends and events can increase value; for example, music legends or royal wedding memorabilia. Collectors place high value on items in good condition, whether antique, vintage or collectible.

Q: What are the best tips for buying antiques, vintage and collectibles?

A: When it comes to buying, do as much research beforehand as you possibly can. It is important to ask the right questions regarding the age or period of an item, its rarity and condition. Buy from a reputable source. A knowledge of how in demand something is will establish whether the piece is currently collectible. But trends change and items out of fashion today can become the collectibles of tomorrow.

Westland London : St. Michael’s Church, Leonard St, London, , EC2A 4QX

Tel : 020 7739 8094

www.westlandlondon.com

The post Antique, Vintage or Collectible: What Is The Difference? appeared first on The House Directory.

Completed in December 2018, the work is known locally as The Tiled Corridor.  Priest tapped into local, Victorian architecture for her inspiration and collaborated with specialist ceramic manufacturer Craven Dunnill Jackfield, fusing studio ceramics with factory tile-making.

“To properly collaborate with a manufacturer like this – it’s gold dust. Craven Dunnill Jackfield is a rare species and we need to safeguard it – there aren’t any others like it.” Frances Priest

At the hospital, the installation adorns both sides of a light-infused corridor, stretching 14m by 2.5m high. The glaze palette mutates from ochre-yellow to teal, providing a sense of movement. The relief tiles interlock to create vast patterns, but with no pattern repeats and few straight edges.

The winning pitch – ceramic art

The original brief focussed on signage artwork in vinyl for the new mental health hospital. However, Priest’s previous ceramic art Patterns of Flora and her initial pitch also featuring ceramic tiles proved convincing. She was given the go-ahead to work on a large-scale art installation along one of the hospital corridors. The health authority saw the project as a way to both soften the clinical environment while providing some interior beauty.

 “The tiles have been so well received by patients and staff alike; they have brought colour and interest to the entrance of the hospital, which is no longer a blank canvass.” Tim Montgomery, hospital director

Echoes of Victorian architecture

The Tiled Corridor has echoes of local Victorian tenements and the glazed stairwells of Craig House, once part of the old hospital. Priest’s research took her to the Jackfield Tile Museum, Shropshire, where she had access to a wealth of archives, including relief and embossed tile designs from the 19th century.

A collaboration with artisan tile maker Craven Dunnill Jackfield

On her first visit to the Museum, Priest met Adrian Blundell, production director at Craven Dunnill Jackfield, renown for their original tile production and ceramic expertise. It proved to be a pivotal moment, leading to her decision to collaborate with the company on this project.

 “Frances’s empathy with ceramics and her creativity meant she was able to push the normal boundaries of design, arriving at something new and contemporary.” Adrian Blundell

A team of around 20 ceramists worked on the project, ensuring its smooth progress. Production started in August 2018, and the tiles were installed at the hospital in December 2018. The completed piece features more than 2500 tiles, slip cast by hand at CD Jackfield. These are interspersed by some 300 of Frances Priest’s studio-made tiles, featuring a flower style reminiscent of her previous work. The bespoke palette of coloured crackle glazes developed for the project, included ochre-yellows, teals and dramatic accents of deep blue and pink.

A lasting impression on the senses

During the two weeks it took to install her artwork, those passing along the corridor commented on how the tiles sparkled in the sunlight. Also, how the colour-drenched space created a warmth reminiscent of somewhere hot, like Morocco or India. Priest was surprised and touched to hear how the staff loved the opulence in their working environment, contributing to them feeling valued in their jobs.

Having now completed her first ceramic art collaboration with CD Jackfield, Frances Priest is eager to do more public pieces and to further explore the extensive archives held at the Jackfield Museum.

Craven Dunnill Jackfield:  www.cdjackfield.com

T: +44 (0)1952 884124

Frances Priest: www.francespriest.co.uk

Peter Navratil at Recraft (installation): www.recrafts.co.uk

Becky Brazil (project manager)

photography by Shannon Tofts

The post Ceramic art: Craven Dunnill Jackfield collaborates with Frances Priest appeared first on The House Directory.

Why did you become interested in rattan?

I can’t pinpoint precisely when I fell in love with rattan, other than adoring a 1920s portrait of my grandfather sitting in a rattan chair in Africa. I first became aware of the plant material used for making furniture when I was studying Egyptology and saw the pieces with which Tutankhamen was buried!

How did you formulate the idea of making rattan furniture and lighting for Soane?

Having bought an Edwardian rattan sofa from a house sale in Ireland, I decided to make a modern version for Soane, but quickly realised how hard it was to find British rattan weavers. Every avenue I explored in my search for rattan workshops assured me that I would have to go to the Far East, but I was determined that the sofa should be made in Britain, just as every other Soane design is.

Eventually, in 2003, I found Angraves, the last rattan factory in the country. It was a family run business which had been founded in 1912. Although it employed 35 people, there were only two craftsmen left who knew how to practise traditional rattan furniture making. Having made our sofa so brilliantly, we collaborated on many pieces with Angraves for the following eight years.

Taking me completely by surprise in 2010, the owner of Angraves called me to say that the company was going into administration. I was galvanised by the fear of losing these specialist skills from England forever and a need to fulfil client orders, so we borrowed money to buy the raw materials and machinery from Angraves’ administrators and rebuild the workshop. Buying the workshop was undoubtedly one of Soane’s proudest moments. We now make a mix of our own new designs, adaptions of antiques and bespoke pieces for clients who want one-off designs.

What is rattan?

Rattan really is an extraordinary material, stronger and more durable than most other plants. Like bamboo, which ranges from the miniature to the giant, there are about 600 species of rattan. However, unlike bamboo, rattan is a vine with flexible stems which scramble through and over other vegetation, using spines that act as hooks.

Rattan is an eco-friendly material, cheaper and much faster growing than timber and therefore more sustainable, as it’s very fast growth does not require forest clearance. The plant was originally brought to Britain in the 19th century by traders returning from Indonesia, China and Japan.

How long does it take to make each item?

Traditional, handmade rattan furniture is extremely labour-intensive. The plant arrives in the workshops in bales and is then cut to size. The canes are soaked and then steamed to make them more malleable. Once they are soft enough to be woven, each cane is either bent into shape or woven by hand, which is rather like knitting without the needles and a lot more physical. As it dries, each of the rattan strands contracts, giving the piece a tight finish. It can take a skilled weaver up to three days to make a large lampshade and over 2 weeks or more to finish a sofa. An extremely contemporary commission, a double bed with a geometric woven headboard, was more than a month’s work!

Which rattan items look best painted, and which look best in a natural finish?

There is a tendency to view rattan rather nostalgically, but what is so exciting about this material is the versatility of what can be achieved. The finish really transforms it. Rattan is particularly at home surrounded by plants in garden rooms and orangeries, and in these spaces, with good natural light, my preference is usually for natural rattan, but in some rooms it can also look wonderful painted in joyful colours. My favourite painted finishes are emerald green, lacquer red, shell pink, and a new addition ‘Messel Green’. Black painted pieces can also look extremely dramatic.

What are some of the most interesting pieces you have made for designers?

Commissions can vary enormously. We recently made a beautiful, clean-lined bench designed by Foster & Partners for the entrance of Maggie’s Centre in Manchester, as well as the rattan bar at Chiltern Fire House designed by Studio KO. Most recently, we collaborated with Cox London on a curvaceous rattan and forged iron screen for the VIP Lounge at Collect 2019, commissioned by interior designer Douglas Mackie.

How do you visualise the rattan range expanding in future?

I really love the soft, diffused light rattan gives and I have particularly enjoyed designing rattan lighting over the last 15 years. We currently have some very sculptural lighting designs being prototyped.

Soane Britain: 50-52 Pimlico Rd, London, SW1W 8LP

T: +44(0) 20-7730 6400

Instagram: @SoaneBritain

Twitter: @SoaneBritain

www.soane.com

The post Rattan Weaving with Lulu Lytle of Soane Britain appeared first on The House Directory.

Doran has worked closely with YSP’s tenant farmers, British Wool and British manufacturers including Alternative Flooring, to transform this raw material into interior furnishings. Featuring her Waterlake design, a distinctive pattern inspired by the movement of water and flora on the estate at YSP, Alternative Flooring have produced a unique Waterlake runner. Dyed to specific colours from Doran’s chosen palette, the yarn is expertly woven by Alternative Flooring on Axminster narrow- width looms to create a luxurious runner, bringing together traditional techniques and contemporary design, and providing a plush exhibition centrepiece.

Ella Doran says:“I am very excited to be working on this project with YSP, featuring the journey of British wool, culminating in my exhibition in June. It celebrates the park’s resources, its beauty, and the joy of creativity and collaboration. I hope to shed light on the amazing range of processes that wool goes through in order to become a finished product and how nothing goes to waste.”

Lorna Haigh, Creative and Marketing Director of Alternative Flooring says, “Wool floorcoverings have such a story to tell pure craft, which also celebrates British manufacturing – we like the term ‘manucrafting’. This whole project is the story of this wonderful process using this wonder fibre. The new wave or patterned carpets are art-inspired and Ella’s contemporary take with Waterlake is just perfect’.”

Alternative Flooring with Ella Doran Waterlake limited-edition runners (only 10 available using fleece from YSP sheep) in Blue are available to buy online at Alternative Flooring and YSP from June 2019. RRP £450.00 Size 2.7m x 0.69m.

Production of the design in various colours available from September 2019.

Alternative Flooring: 4 Stephenson Close, East Portway, Andover, Hampshire, SP10 3RU.

T: +44 (0)1264 335111

Instagram: @alternativeflooring / @elladoranhomewares / @YSPsculpture

Twitter: @AlternativeFlr / @elladoran / @YSPsculpture

Facebook: @alternativeflooring

www.alternativeflooring.com

The post Alternative Flooring Collaborates with Ella Doran appeared first on The House Directory.

1. How, Chris, did you and Nicola meet?

We met while studying fine art sculpture at Wimbledon School of Art in the 90s.

2. When did you begin working together?

Soon after we left art school, we set up home and studio together – first in Auckland in New Zealand where Nicola was working for a celebrated glass artist, a bronze foundry and an art gallery (all at the same time!). I was welding sculpture in a makeshift studio under the house and working for an antique dealer in Parnell. Casting in glass and bronze takes a great deal of knowledge and experience which Nicola was getting in spades whilst I honed my fabrication and welding skills and we both continued to draw and create, bouncing ideas off one another.

Image: Christopher and Nicola Cox of Cox London photographed by Alun Callender

3. What types of specialists are now working in your North London workshop?

We now employ a full-time team of 24 in-house makers, all experts in their field.

The Atelier is split into teams across three buildings on the same site in North London. It surprises clients to know that we are twenty minutes north of Victoria on the Victoria line.

Our main departments are Foundry, Fabrication and Finishing. Our staff are made up of craftspeople, technicians and artists and nearly all of them would say they are all of these things. The term that we find best describes our people is that they are “makers”. They come from a myriad of backgrounds and experiences: jewellery, architectural metalwork, fine art studios, silver-smithing, mould-making, foundry work, sculpture and painting degrees, architectural practices, restoration and conservation, set-making, forge work, the list goes on.

Image: Hand crafting the Polypore chandelier in Cox London’s workshop.

4. Where do you find inspiration for your sculptural furniture and lighting, especially the new Polypore Dish Chandelier?

Somehow, whether consciously or subconsciously, nature plays a big part in inspiring our pieces. The Polypore light began with the discovery of a large and impressive bracket fungus when we were on a riding holiday in Wales. The beautiful shape led to some 1:1 hand drawings, which is how our designs often start. We imagined round tiers of bracket fungus and then of course with the introduction of different materials, in this case thousands of glass leaves, ideas begin to take on another life and new meanings.

5. Which craftspeople were involved with the making of the chandelier?

At a certain point, you have to commit to an idea wholeheartedly and go for it. Polypore took around eight of our makers, several months of painstaking work to complete.

6. How long does it take to create the Polypore?

It took us eight months to conceive and create this piece: relatively quick when you consider that some ideas percolate for years before they come to fruition and others never make it at all.

Image: Cox London’s Polypore chandelier, a handcrafted, four-tier organic light made with thousands of hand-pulled Venetian glass leaves.

7. Where can we see this work of art?

It is currently on show in our Pimlico Road showroom, 194 Ebury Street.

Image: Cox London’s Polypore chandelier- one of the highlights at the Collect VIP Room curated by Douglas Mackie and sponsored by the Pimlico Road Design District, supported by Grosvenor Britain & Ireland. Collect is the only gallery-presented art fair dedicated to modern craft and design.

Further Information:

1250mm diameter x 1000mm high excluding chain or canopy.

Bronzed iron chain can be supplied and appropriate ceiling canopy tailored to requirements.

Price £90,000 plus vat.

Cox London: 194 Ebury Street London SW1W 8UP

T: +44 (0) 203 328 9506

Instagram: @CoxLondon

Twitter: @CoxLondon

www.coxlondon.com

The post Cox London on the Polypore Chandelier appeared first on The House Directory.

This collection, launched in 2016, was one of The World of Interiors highly commended collections of that year with only two pieces.  Since then, a footstool and window seat have been added.  The collection boasts the best in classic Georgian design, with elegant proportions and tapered round legs painted to keep the pieces chic, relevant and of the moment.

Salvesen Graham Sofa

124cm Wide x 76cm Deep x 94cm High*

9m of fabric required (fringe is additional)

Retail price from £2200 excluding fabric

Salvesen Graham Window Seat

124cm Wide x 45cm Deep x 65cm High*

5m of fabric required

Retail price from £1,520 excluding fabric

Salvesen Graham Chair

70cm Wide x 76cm Deep x 94cm High*

5m of fabric required

Retail price from £1600 excluding fabric

Salvesen Graham Footstool

120cm Wide x 80cm Deep x 46cm High*

4m of fabric required

Retail Price from £940 excluding fabric

*Please note dimensions and fabric can be changed for bespoke orders

About Salvesen Graham…

Working with private, residential and commercial clients in the UK and abroad, design duo Nicole Salvesen and Mary Graham draw on their combined experience of over 25 years to bring a fresh interpretation to traditional interiors. Underpinned by the use of colour, texture and pattern, and the juxtaposition of antiques with contemporary pieces, Salvesen Graham create beautiful interiors, with a sense of easy living and elegance, that sit comfortably within their environment and meet the high expectations of their clients. www.salvesengraham.com

About David Seyfried…

David Seyfried was founded more than 30 years ago and produces exemplary handcrafted and bespoke upholstered furniture for the UK and internationally. This well respected furniture maker can be found at their Chelsea Harbour showroom.

*All pieces available through www.davidseyfried.com

The post SALVESEN GRAHAM IN COLLABORATION WITH DAVID SEYFRIED appeared first on The House Directory.

Here are some ideas from Go Modern who distribute the Italian range, Battistella.

1.Select beds and furniture which can adapt in size and style and that are not gender-oriented.

A modern composition of furniture from Battistella. This range is gender neutral and perfect for accessorising and adding to as a child’s needs and preferences change.

2.Removable safety features can be added including guard rails for beds.

3.Avoid themed or fantasy furniture. These may seem like a great idea at the time but children’s interests change quickly and those large expensive pieces will soon need replacing as they become too childish.

Battistella’s neat shelving unit can be dressed with age appropriate toys or books.

4.Consider what your child needs in the way of furniture now and what you can add later. You may now only need a bed and a chest of drawers, but may later want to add a wardrobe, so look at children’s furniture collections that are flexible.

5.Look for furniture which is practical, yet bright and lively in appearance.

A simple desk for toddler arts and crafts can become a homework corner once a child starts school.

6.Make certain the items you choose do not have sharp edges.

7.Consider beds with trundle beds underneath for when friends stay the night.

A neat example of a trundle bed, also with under-bed storage.

8.Some manufacturers have extending beds in their range, which can be increased from 138 cm to 208 cm in length.

9.Beds, including bunk beds, which have integrated chests of drawers, or desks or simply a storage drawer underneath are space savers.

This clever solution from Battistella, seamlessly transforms from desk to bed, perfect for when space is tight.

10.Capture the age of your child by changing wall art, lamps, bed linen, area rugs, books in a bookcase and paint colours or wallpaper in the room.

These colourful shelves can display toys and art projects for younger children and later become useful book storage.

11. If you are completely renovating your home, don’t forget to wire in for advancing technology.

To see more of the modern and versatile Battistella range, visit Go Modern.

Tel: 00 44 (0)20 7731 9540

www.gomodern.co.uk

The post CHILDREN’S FURNITURE TO LAST THROUGHOUT CHILDHOOD. appeared first on The House Directory.

“Every now and again a fabric presents itself as the perfect cushion fabric. We are always looking for fabrics which have a slightly worn look.  One of our most successful cushion collections was the vintage indigo range from Guatemala. It was hard not to look and touch these fabrics without thinking about your favourite pair of old blue jeans.” 

Andrew Damonte

Image: A silk Jajim fabric cushion, the central fabric panel in a striped vintage silk Jajim and the two side panels in a matching plain vegetable dyed silk.

On a recent buying trip to Istanbul Andrew came across wonderful fragments of vintage 19^th and early 20^th century silk Jajim fabric.  Textile dealers often rave about their 100% wool collections of Persian Jajim, with brightly striped colours. However, these fragments of silk Jajim were actually from Azerbaijan and because they are so fine, the colours are more vivid and interesting than their Persian counterparts.  Andrew’s research revealed that Azerbajan had in fact been at the centre of Middle Eastern and European trade in silk for some time, especially serving the Russian Empire in the late 19^th century.

Image: A multi-coloured silk Jajim cushion

“Because the main fabric fragments are vintage we must ensure that the panels framing it are a good match. A modern chemically dyed fabric would not work. The entire matching process is quite intensive, but entirely worthwhile.” 

Image: Detail of a cushion showing the silk Jajim striped fabric and matching plain vegetable dyed silk.

Nushka source vintage silk Jajim fragments and use modern vegetable dyed silk to match the original silk fragments.

Image: The additional silk panels are made using traditional methods to vegetable dye silk.

A great deal of care goes into the dyeing of these silk panels as it does to matching the central striped fragment.

Image: Coloured silk yarns left to dry before being woven.

Image: A selection of plain woven silks, ready to combine with the vintage silk fragments,  to produce the Jaijim cushion collection.

The result is a wonderful mix of vintage textile and modern tactile luxury. The range can be seen and purchased on the Nushka website.

www.nushka.co.uk

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