As we move slowly into spring, I’m delighted to introduce a new series of designs in soft duck egg blues, muted salmon pinks and intricate florals, layered with cameo and jewel detailing. Revisiting one of my favourite collections from two summers ago, I’ve reworked the original compositions, introducing new ornamental elements, refined symmetry and delicate flourishes, while preserving the light, decorative feel that first defined the series. The palette draws on the elegance of English decorative arts and the subtle hue of hand-painted porcelain. There is a renewed softness to these pieces, a celebration of colour, textile and embellishment, echoing the romantic revival we are seeing across contemporary culture. The theme and palette coincidentally align beautifully with the latest season of Bridgerton, and its renewed embrace of Regency colour, florals and richly layered costume. 

The collection features The Swan & Porcelaine Scarf, The Fan & Cameo Scarf, and The Fan & Feather Scarf — designs inspired by English heritage porcelain, Wedgwood jasperware, neoclassical cameos and the ornamental ceramics of Kew Gardens. Drawing from the refined symmetry of Neoclassicism, the romantic detailing of the Georgian decorative arts, and the botanical precision associated with early scientific illustration, these pieces reinterpret 18th and 19th century English craftsmanship through a contemporary lens. Delicate swans, classical medallions, feathered fans and porcelain motifs echo Wedgwood relief work and the pale blue and cream palettes synonymous with English decorative tradition.

The Pear Tree Scarf and The Rose & Lemon Scarf are rooted in the tradition of the English garden — inspired by the painterly richness of Romanticism and the intricate natural observation of Victorian natural history illustration. Within these designs, each element forms part of the English garden ecosystem. Pears reference the long tradition of orchard cultivation in Britain and the still-life painting of the 17th and 18th centuries. The passion flower, widely grown in Victorian glasshouses, introduces a more exotic botanical note while reflecting the period’s fascination with plant collecting and scientific study. Cabbage white butterflies and damselflies situate the composition firmly within the English garden in spring, while ramshorn snails subtly allude to pond life and layered garden ecosystems. Wasps, often overlooked in decorative arts, add a necessary sense of balance - vital pollinators and predators that reflect the realism underpinning the ornamental surface. Together, these elements reinforce the dialogue between decorative beauty and natural history that runs throughout the collection.