Tree Line takes inspiration from our original Stockend Woods wallpaper and historical botanical drawings. The design explores the shapes and silhouettes of beech trees, simplifying their natural forms to create a stylised woodland landscape.

Developed through hand-drawn and painted studies, particular attention was given to the rhythm, spacing and repetition of the trees. The result is a playful yet considered design that retains the character of the original artwork while offering a fresh interpretation of a traditional woodland motif.

Aurelia takes inspiration from traditional Indian block-printed textiles, exploring their distinctive motifs, gentle irregularities and rhythmic repetition. The design was hand-painted onto textured paper, allowing the surface to influence the brushstrokes and introduce a subtle, tactile quality to the artwork. 

The result is a decorative yet understated pattern that celebrates the charm of traditional printing techniques, with a softness and individuality that comes from the hand-painted process.

Dapplewood draws inspiration from the painted landscapes of Rufus Porter, Victorian needlework and the silhouettes of Louise David Sangy. The design focuses on the shapes and outlines of trees and foliage, exploring how simple silhouettes can create a layered and atmospheric woodland scene. 

Hand-painted onto paper, the artwork combines historical influences with a playful, contemporary approach, allowing the silhouettes and their repetition to bring rhythm and character to the design.

Elowen takes inspiration from the rich textures and decorative details of historical Russian bed curtain borders and saddle cloths found in the British Library collections. The design explores the character of these traditional textiles, particularly their intricate surface patterns, irregularities and tactile qualities. 

These references have been reinterpreted into a contemporary wallpaper design, retaining a sense of the original craftsmanship while creating a soft, rhythmic pattern with depth and texture.

Atwood takes inspiration from the stylised floral motifs found in 17th-century embroidery. The design combines decorative flower shapes within a flowing ogee structure, creating a rhythmic and balanced repeat. Drawing on the charming irregularities and intricate details of historic needlework, Atwood reinterprets traditional textile motifs with a fresh, contemporary feel while retaining a sense of their original craftsmanship.

Fiora takes inspiration from our original Cynthia wallpaper and a historic textile held in the Winterthur Museum collection. Bringing together these two influences, the design explores stylised floral forms and the decorative qualities of traditional printed textiles. The motifs were developed to create a balanced, flowing repeat, retaining the charm and character of the original references while introducing a fresh interpretation. 

The design was hand-painted onto paper using gouache paints, allowing for subtle variations in colour, texture and brushwork. These painterly details bring softness and individuality to the pattern, celebrating the handmade quality of the artwork while giving Fiora a timeless, decorative feel.

Orin takes inspiration from early American depictions of tree leaves, exploring their distinctive shapes, natural movement and decorative qualities. The foliage has been stylised to create a pattern that sits somewhere between traditional woodland leaves and more exotic, tropical forms, giving the design a subtle sense of the unexpected.

 The artwork was hand-painted with an emphasis on texture, allowing variations in brushwork and colour to bring depth and character to the leaves. The composition balances bold foliage shapes with a natural, flowing rhythm, creating a versatile botanical design that combines historical influences with a fresh, contemporary feel.

Auric takes inspiration from the bold, playful graphics created by Alexander Girard for the La Fonda del Sol restaurant in 1961. The design explores the simplicity of geometric forms, rhythmic repetition and expressive use of shape that characterised Girard’s distinctive visual language. 

The artwork was hand-painted directly onto grasscloth, allowing the natural weave and irregular texture of the surface to influence the painted marks. Once complete, the artwork was scanned and developed into a repeating pattern, preserving the tactile qualities and subtle variations of the original painting. The result is a graphic yet textured design that combines mid-century influences with a contemporary, handcrafted feel.