THE JOURNAL
IS THE FUTURE OF DESIGN SLOWER AND BETTER?
Too often it is tempting to buy something that will do for now, but as the world moves away from the idea of a throwaway culture, Claudia Baillie investigates the importance of seeking out timeless pieces that you can hand down to the next generation
In many scenarios, commissioning bespoke pieces is a clever way to level up those details, and a host of brands at Design Centre, Chelsea Harbour are adept fulfilling such needs. While it may be a slower exercise than opting for an off the shelf purchase, ultimately a custom product, or even a skilful adaptation of an original can work better in a space and therefore add longer lasting value. And with sustainability now at the forefront of everybody’s mind, it’s never been more important to bypass throwaway or fill-the-gap options, and to instead embrace well-made, high-quality items that will stand the test of time.
T
he devil is in the details is a saying that rings particularly true in the world of design, where planning, preparation and meticulous execution are all key to a successful project.
“Bespoke pieces that meet specific requirements
can bring a scheme together,” notes Karen Howes, founder and CEO of luxury interior design practice, Taylor Howes. “They offer something truly unique and are built to last, therefore can become treasured
“WE WORK IN SUCH A DETAIL-ORIENTED BUSINESS THAT SPECIFICS CAN NEVER BE OVERLOOKED”
heirlooms. With artisans and manufacturers constantly developing new techniques, processes and finishes, the possibilities have become almost endless.” It’s a sentiment echoed by Selina McCabe, senior partner at specialist architecture interiors studio, Winch Design,
whose clients also see the value in bespoke. “Across all of our projects, we strive to collaborate with talented, passionate makers. Our partnerships span those with studios boasting three generations of heritage to emerging talents who offer a fresh approach,” she explains. “Spaces become more evocative when there’s a story, and when pieces represent interests and personalities.” The late Thierry Despont and his London-based team required exclusive fabric for bedroom curtains at Raffles London at The OWO, which opened its doors in 2023. To meet the brief, the experts at Pierre
Frey invited them to see the Le Manach Toiles de Tour archive patterns, with a view to selecting a design to weave specifically for the project. Several thousand metres of fabric were produced in the Pierre Frey mill in France.
OPPOSITE: Interior designer Samantha Todhunter commissioned a bespoke version of The Rug Company’s ‘Climbing Leopard’ design as a runner for her early-18th-century staircase, with each big cat perfectly placed upon the treads ABOVE Pierre Frey’s looms in France weave Le Manach textiles: even small quantities can be made to order in a client’s chosen pattern and colour
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