Decorex is a high-end fair featuring a range of brands and designers, each presenting their latest collections of furniture, fabric, lighting, decorative craft and contemporary art. Designers Nick Woodhouse and John Law investigate this year’s fair.
Last month saw the annual return of London’s leading interior design event, Decorex. The four-day affair was back for its 46th edition, one that attracted designers, buyers and specifiers alike, all keen to see the latest displays and installations from nearly 300 brands across fabrics, furniture, materials, finishes and lighting. As well as offering the chance to find the perfect pieces for clients and projects, it also allows those in the industry to take a deep dive into emerging trends, and to see how they are shaping the future of interior design. This year’s edition was no exception, celebrating innovation, craftsmanship and creativity in equal measure.
At the forefront of these trends and themes was the show’s firmest spotlight yet on sustainability. Exhibitors showcased a wealth of products that balanced style and luxury with responsible production techniques and eco-friendly components. Recycled and responsibly sourced materials took centre stage, alongside natural fibres and organic linens. Throughout the show, visitors were invited to attend talks and discussions to gain valuable insights on responsible sourcing, minimising packaging and waste, adopting circularity, and restoring nature and biodiversity.
Each year, the Decorex Sustainability Awards also shines a light on ecologically minded producers, with this year’s worthy winners including London-based designer Tamasine Osher. Drawing inspiration from both nature and architecture in her work, Tamasine juxtaposes natural and human-made materials in unexpected ways in her handcrafted furniture and lighting pieces. Her intention is not only to preserve, but also to push the boundaries of the heritage craft of wood turning. With this in mind, her stand this year included Grain, the first lathe-turned translucent timber light; using whole pieces of storm-fallen or surgeon-felled ash, natural grain interruptions and blemishes were allowed to shine, to tell the story of the tree from which it came.
This affirmation of artisan craftsmanship resonated throughout the show, with an evident commitment to preserving traditional expertise across decorative items, furniture and textiles. Companies such as CTO Lighting led the charge; established over 25 years ago by husband-and-wife team Chris and Clare Turner, CTO unveiled seven new products at this year’s show. Committed to using high quality, noble materials and upholding the tradition of British craftsmanship, each of their light fixtures is meticulously crafted using products such as hand-finished brass, mouth-blown glass, and artisan-crafted stone from the UK and Europe.
The show also gave those less established makers a chance to share their passion and knowledge. Following its successful launch last year, Making Spaces returned, providing a platform for talented artisans to showcase their craft and the intricate processes behind it. This year’s makers included Elizabeth Ashdown, one of only a few hand passementerie artists working in the UK today, and The Marchmont Workshop, one of the last manufacturers of rush chairs in the country.
These pieces were often accompanied by bold colour pairings, with exhibitors using daring palettes to create impactful, dynamic stands. Winning Best Newcomer at the show, Floor Story continued their release of their bold and flamboyant 10 x 10 rug editions, celebrating ten years of collaboration across ten designers. The show coincided with the company’s latest release from the series; a range with designer Henry Holland. Emulating the patterns of his renowned ceramics, Holland mixed traditional techniques with iconography from the rave scene of the ’80s and ’90s for this collection.
These bold tones were by no means restricted to living spaces. Kast’s stand was also a standout at the show, displaying their collection of concrete wash basins in every conceivable colour tone. Their headquarters on the edge of Sherwood Forest are home to both their design studio and their factory, from which they initially produced the world’s first dedicated collection of concrete wash basins. Now encompassing a wide range of designs, their collection pushes the boundaries of form, colour and materials. The concrete itself uses limestone from local suppliers in Derbyshire, alongside specially sourced sands and high-quality pigments that are blended to create their palette selection of 28 colours.
This love of colour went hand in hand with the ever-strengthening influence of maximalism at the show. Lavish displays, confidently layered textures, patterns and colour to wonderful effect, with Tatie Lou’s stand a particular highlight. Here, founder Louise Wargnier takes her inspiration from Mother Nature, the magic of India, and the beauty of ancient Japanese crafts, creating a new collection of original prints each year. Each collection is transformed into a set of different colourways before being applied to wallpapers, fabrics, cushions, and lampshades, as well as blankets and table linens. To minimise their carbon footprint, they manufacture the majority of their collection in the UK, in small batches or made to order to avoid unnecessary waste.
As always, we left the show feeling both inspired and energised. The show struck a difficult balance; one that looked firmly to the future whilst also ensuring that the lessons and techniques of the past were not only acknowledged, but also nurtured and celebrated. n