William Morris Prints Once Lost To Time Now Restored

In 1999, the works of William Morris were embroiled in controversy. Up for auction, the the textile designer’s archive was snatched out of the hopeful grasp of the V&A and snapped up by California’s Huntingdon Library. Much to the dismay of art patrons and historians across the UK, Morris’ rich archive of wallpapers, fabrics, weaves and embroideries (many produced with his creative director John Dearle) were shipped across the pond, far from their homeland and locked in the library’s archive for more than 20 years. 

That is until now. Having discovered 50 incomplete works by Morris in the collection, the team at Huntingdon approached Morris & Co. to ask if they would take up Morris’ mantle and finish them themselves. Stepping into the historical shoes of the beloved designer, the team at Morris & Co. picked up the pen laid down by Morris and Dearle to create The Unfinished Works, a new collection adding 26 new designs to Morris’ already expansive portfolio. Pushing the boundaries as they believe Morris himself would, the team sought to produce designs as precisely as the original artists would have envisaged, using their notes and references where available as guidance. 

‘As artists, we’ve asked ourselves not what we should do, but what we can do to preserve, refine, and complete these exquisite pieces of archival art, making them relevant not only to today but also to the future as part of art history,’ says Morris & Co.’s lead designer Jess Clayworth. ‘We hope William Morris and J. H. Dearle will be proud that we’ve followed the design trail they set out, bringing these designs to life as a creative team spread over the centuries. The Co. in Morris & Co. is alive and well in The Unfinished Works.’ 

Sanderson Design Group (the group which homes Morris & Co. and Sanderson) is no stranger to archive designs. Sanderson was founded in 1860 by Arthur Sanderson. Seeking inspiration from abroad, he and his sons imported French and Japanese papers to Britain to establish their own wallpaper and fabric printing business. Renowned for its floral and illustrative botanicals, the brand frequently delves into the archives to reimagine classic designs and styles in new ways. 

Lead designer Becca Craig believes this archival prints trends is driven by a growing desire for timelessness and nostalgia in our homes. ‘Harking back to designs of the past is a great way to create a timeless interior, reconnect with memories, and create an intimate, comfortable space,’ she says.

As the trend cycle moves away from the white and grey world of minimalism, we are embracing maximalism: more colour, clashing patterns and tactile textures. And where better to draw from than the richly maximalist world of the past? 

To embrace archival prints in your own home, Craig recommends layering up your space with patterns – plural. ‘You don’t have to limit yourself to one pattern; build up a scheme that incorporates lots of lovely designs that speak to you – embrace the new and old,’ Craig suggests. ‘Florals paired with bolder, more geometric shapes can really update a look. Small-scale patterns against large florals, decorative stripes, and global styles can create diverse looks, from country houses to modern townhouses.’

Heritage & Archival Prints We’re Loving Right Now

While Morris & Co. is famed for its heritage and archival prints, many other brands are increasingly drawing inspiration from the past. From collaborating with historic palaces to legacy fashion brands, homeware designers are breathing new life into the fabrics and designs which would have otherwise remained lost to time.

Pooky Lighting x GP&J Baker

Known for their kitschy collections and frilly florals, Pooky Lighting has teamed up with fabric brand GP&J Baker to unearth designs from its 140-year-old archive which have never before seen the light of day. Featuring four lampshades from a treasure trove of lesser-known and previously unreleased patterns from the 18th and 19th centuries, these hidden gems of textile history have been revived for the modern age by Pooky’s bright colours and bold trimming.

The star of the collection is the large-scale Bokhara design: an Ikat print with connections to the Silk Road which has been gathering dust in the archive since the 1900s. Preserving its grand scale, the linen fabric creates an abstract, almost painterly effect when displayed on Pooky’s first drum-shaped shade.

Designed with the same colours as the Bokhara range, the accompanying Tuffley prints are a swirling seaweed-inspired design from the mid-1800s originally created for dress textiles. Better suited for smaller shades than the large statement pieces of Bokhara, Tuffley is printed on cotton with a silk-viscose trim for a more delicate feel. Elsewhere in the collection is Dotty – a spot print from an 1810 waistcoat recoloured in vintage-inspired palettes – and Zaraband, a single colour Ikat design in deep red and dark teal.

Sofas & Stuff

Teaming up with the Royal Horticultural Society and the V&A, Sofas & Stuff‘s collections frequently thread history throughout its designs.  Design director and CEO, Andrew Cussins, explains that one of the joys of working with archived and heritage prints is the history that each design carries with it. ‘In our collaborations with institutions such as the RHS and the V&A, we are constantly reminded that a fabric is never just a fabric – it is a narrative, a piece of cultural memory, and a way of bringing stories into the home.’

The pieces in the RHS collection don’t just boast timeless designs, but tell stories – ‘Not just of a plant,’ as Cussins explains, ‘but of the artist who painted it and the moment in horticultural history it represents.’

Meanwhile, the V&A Threads of India collection is inspired by everything from the palampore bed hangings of the 18th century to the intricate ikat weaves of the 19th century. One of the world’s richest archives of global craftsmanship, the V&A inspired textiles are not only decorative but represent centuries of trade, artistry and cultural exchange. As Cussins adds, ‘For me, using heritage prints in design is about more than aesthetics – it is about creating homes that resonate with authenticity. These fabrics allow us to connect with the artistry of the past while living fully in the present, which is what makes them so endlessly inspiring.’

Laura Ashley

Where some brands fish for inspiration from palaces, libraries and estates, others draw from their own rich ponds of archival designs. Laura Ashley frequently revitalises its own work, such as the Braysmith Toile drawn from the 1994 collection (which in and of itself is inspired from a late 18th century landscape print adorned with a bucolic country scene).

Elsewhere in its archival collection, is the Peacock Damask drawn from a 1970s Laura Ashley wallpaper print and the Tuileries print, inspired by an antique Toile de Jouy print from the archive brought back to life in 2002. The collection also includes more contemporary inspiration, such as the Giselle design of allium flowers and curving stems which was first launched in the spring/summer 2012 as well as the antique Tatton design from autumn/winter 2008 which has been reimagined as a modern classic for the brand. 

Piglet In Bed

A charmingly knackered English country house inhabited by a warm mischievous soul, muddy dogs, tweeds hanging in the entryway, fires in every room and a pony who can often be found wandering into the kitchen: this is the inspiration from Piglet in Bed‘s new ‘Winter at Hawthorn’ collection. Reimagining heritage style for the present day, it’s a celebration of eclectic eccentricity.

‘Winter at Hawthorn is inspired by that quietly eccentric spirit,’ explains founder Jessica Hanley, ‘a love of old houses, well-worn textures, and the beauty of a life that’s gently unravelled at the edges.’ Alongside ginghams and bold stripes inspired by the British seaside, the collection also features three timeless Morris & Co, patterns: Honeysuckle, Double Bough and Oak. Reworking these archival prints with its playful colour palettes, the brand has found a way to bring the past well and truly into the present.