DE S IGN CENTRE
artists or taking inspiration from antique fabrics found at auction. Florals were augmented by collaborations with great decorators such as David Hicks and John Fowler; then stripes and geometric patterns were added, placing the designs in a resolutely English decorative spirit. Under the new regime, designs will still be made to order, and there are endless possibilities for them to be customised for a minimum run of 10 metres. Clients can select 30 different grounds, including silk, cotton and linen, and choose from a 350-strong colour chart. Colours are mixed specially for each job using pigment-rich inks, and applied by two craftsmen, four hands at a time, using the screen print method. Pierre Frey is proud that the designs will continue to be printed in this traditional way at the small Norfolk workshop. “It’s an exciting moment – we’re saving savoir-faire,” says Dufour about preserving the unique identity and specialist skills of the brand. Modern British Kitchens takes cabinetmaking to new levels with thoughtful
craftsmanship and imaginative high-end concepts. All the making happens at its Hampshire workshop – but in the Design Centre East showroom you can explore examples of the firm’s clever storage ideas, respect for materials and immaculate detailing. But it is just the starting point. “Customisation is everything to us,” says sales director Tristan de la Haye, “it allows a customer to express their own style – it’s the same as having a suit made, there’s a sense of occasion, but of course, uniqueness.” For a recent client, an avid collector of whiskies, the team designed a discreet area behind a bench seat to house 25 bottles in his collection. “We like to think we’re building antiques for the future,” adds de la Haye about the work. For Jennifer Manners, bespoke designs are the “crux of everything we do. It
really came about because with rugs taking up such a big proportion of a space, if they’re not exactly right, it throws the balance off on the room completely.” She works collaboratively with designers and architects, but she also deals directly with private clients, listening to them and interpreting what they want, while
“IT’S AN EMOTIONAL INVESTMENT TO CHOOSE SOMETHING THAT IS AS TIMELESS AND AS LONG-LASTING AS A RUG – IT’S SO PERSONAL”
using her expert knowledge to guide them. She recalls how an elegant client told her about a Missoni coat which she wore when she got engaged to her now husband. She then walked to the cupboard to reveal the coat and in an instant, they both knew a palette of lime, rust and blue for the rug had been determined. “It’s an emotional investment to choose something that is as timeless and as long- lasting as a rug – it’s so personal to you,“ comments Manners. To acquire a bespoke piece could be the ultimate wish: a one-off that perfectly
reflects your taste. For others, the process of commissioning may be a little intimidating. This is why a raft of Design Centre showrooms can customise a line they already know how to make, rather than starting something completely from scratch. At Eccotrading Design London, for example, furniture is available in a variety of colours and finishes, while the seating collection is supplied in custom upholstery. Designs by Porta Romana can be scaled up or down, proportions can be changed, and designs can be painted to your choice. The workshop is the heart of the business. Here, metal, wood and composites are transformed by artisans into exquisite pieces using skills such as painting and gilding, giving every one the mark of a hand-crafted object. From convincingly aged plaster to perfecting a patina, each new finish must work in harmony with the design. Recent pieces include work by Gareth Devonald Smith whose willingness to experiment have led to several highly successful collaborations. If the effect of our new awakening about customisation is the appreciation of high-quality products that are built to last, then the future might just be a little brighter, and more sustainable, than we think.
RIGHT, TOP TO BOTTOM: A bespoke rug by Jennifer Manners Design, inspired by a homeowner’s treasured Missoni coat; the hand-making process of a Jennifer Manners rug has remained largely unchanged for centuries. OPPOSITE: Artist and designer Gareth Devonald Smith’s creatively ambitious work for Porta Romana – the ‘Thera’ chandelier, ‘Bronte’ pendant and ‘Oyster’ ceiling light
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