Two modern purple chairs and two round stools sit in a room with a bold, colorful geometric and striped wall design and blue carpet.
Sketch x Camille Walala x London Design Festival 2026

September 21, 2026

Words: Jennifer Ring

A New Chapter In British Design: London Design Festival 2026

Britain’s new creatives are reshaping the way we think about interior design, one project at a time. At this year’s London Design Festival, held from September 12-20, the capital became a stage for the UK’s design community, bringing emerging voices into conversation with established names. Across the city, material experimentation, meticulous craftsmanship and unconventional thinking pointed towards new ways of living, and crucially, new ways of making. The result was a compelling portrait of British design in transition: ambitious, experimental and increasingly responsive to the shifting context of contemporary life.

Max Radford Gallery X Christopher Farr

  • Modern room with geometric wood armchairs, green wall tapestry, abstract rug, low table, and concrete ceiling, illuminated by natural light.
    Photography courtesy of Max Radford Gallery.
  • An abstract-shaped object covered with textured fabric in cream, black, and bright pink sits on a gray floor against a plain white wall.
    Photography courtesy of Max Radford Gallery.
  • A textured fabric sculpture with pleated surfaces in cream, pink, and black sits on a smooth floor, with a multicolored carpet partially visible in the background.
    Photography courtesy of Max Radford Gallery.

New London gallerist Max Radford teamed up with heritage rug brand Christopher Farr to present some of the most exciting new names in British design alongside archival textiles. At the intersection of fine art, craft, and design, the show explored new material approaches and progressive design thinking through limited-edition and collectible pieces.

London-based designer Lewis Kemmenoe presented Angle, an immaculately crafted timber lounge chair comprising a patchwork of six different varieties of reclaimed wood. Meanwhile, emerging designer Tessa Silva offered an equally tactile approach with the Smock Fragments Bench, made from multiple pleated layers of cotton and hand-stitched wool fabrics. The piece serves as both a sculptural artwork and a functional seat designed for reclining.

Barbican X Made

  • Two modern lamps, one blue and one red, are displayed on white pedestals against a wooden paneled background.
    Photography courtesy of MADE x BARBICAN.
  • A modern wooden armchair with white cushions sits on a red-tiled floor, framed by tall, textured concrete columns in a symmetrical architectural setting.
    Photography courtesy of MADE x BARBICAN.
  • Modern lounge chairs, a wooden sideboard, and round tables are arranged in a lush indoor space with large plants and natural light from a glass ceiling.
    Photography courtesy of MADE x BARBICAN.
  • Curved white bench in a garden setting, partially obscured by large green leaves and surrounded by mulch and plants.
    Photography courtesy of MADE x BARBICAN.
  • A round white table with a unique cutout design sits on a curved brick patio next to a stepped water feature with brick platforms.
    Photography courtesy of MADE x BARBICAN.

Icon of 1950s Brutalist architecture, London’s Barbican housing estate became a source of inspiration for a new furniture and lighting collection produced by interiors brand Made.  Drawing on archival research, original floorplans and the pioneering work of interior designer Miriam Howitt, the 23-piece collection transformed the Barbican’s signature architectural details into a range of furniture, lighting and textiles. Concrete pillars become modular shelving and sweeping architectural curves become a duo of coffee tables, in a design language defined by the Barbican’s infamous geometric forms, modular layouts and grid structures.

Floor Story

  • A woman sits cross-legged on a patterned rug, examining several sheets of printed geometric designs spread out in front of her.
    Photography courtesy of Coco-Lom.
  • A red chair sits on a geometric blue, black, and gray rug next to a table with a black-and-white marbled surface, all on a yellow floor.
    Photography courtesy of Coco-Lom.
  • Rectangular rug with abstract geometric patterns in shades of blue, green, black, white, and gray, arranged in vertical strips.
    Photography by Rob Wilson Photography.
  • A person sits on a red couch next to a round table, with a colorful backdrop displaying the words “HOME” and “PEACE” in large letters.
    Photography courtesy of Lakwena.
  • A metallic chair and round table sit on a colorful, abstract-patterned rug with curved shapes and bright shades of red, blue, green, orange, and black.
    Photography courtesy of Lakwena.
  • A colorful geometric rug with concentric arches and the words “HOME” at top and bottom, and “PEACE” along both sides in bold letters.
    Photography courtesy of Lakwena.

Visionary rug producer Floor Story unveiled five new collaborations with some of the most exciting names in British design, including artist and designer Lakwena, who brought her signature uplifting color palette to the floor with a hand-tufted wool rug in vivid neon hues. The design marks Floor Story’s first foray into fluorescent dyes, introducing a new intensity of color to its collection. Reflecting on the creative process, Lakwena said, “I see the patterns and colors as flowing out from the centre of the carpet. With all of my work my intention is always that it will bring hope and life to the spaces it inhabits.” Meanwhile, East London-based designer Coco Lom drew inspiration from her neighborhood surroundings, translating them into a visual study of speckled yarns and bold, color-blocked forms.

2LG Studio: You Can Sit With Us

  • A geometric wooden chair with an angular backrest, integrated side table, and a minimalist design sits on a stained concrete floor against a plain wall.
    Photography courtesy of Mara Bragagnolo.
  • A rectangular, dark red leather handbag with a woven pattern displayed upright on a beige stone surface against a beige curtain background.
    Photography courtesy of Josh Jen.

Curated by interior design mainstays, 2LG Studio, this group show celebrated diversity in design as a reaction to the manicured perfection of industrialization, bringing together handmade furniture, lighting and objects designed with heart. Housed in East London’s Shoreditch Town Hall, the exhibition was curated by 2LG co-founders Russell Whitehead and Jordan Cluroe and featured works by more than twenty designers, spanning textiles, seating, glassware and more.

Among the highlights was Maria Bragagnolo’s Bad Posture Chair, a playful rejection of the conventions of the traditional seat. Designed to accommodate “incorrect” and nonconforming positions, the chair invites the sitter to adopt multiple spontaneous postures, challenging the belief that furniture should dictate how we sit.

Lighting took an equally tactile turn with Josh Jen’s woven leather pieces. Drawing on his experiences growing up in South Africa and later living in London, the British-African multidisciplinary designer reimagines the language of weaving beyond its traditional contexts, bringing it from the realm of fashion into the world of interiors. Long associated with leatherwork, basketry, and textiles, the technique finds an unexpected new expression in the form of a sculptural table lamp.

Craft X Tech

  • Four white ceramic containers with black speckles, each of different shapes and sizes, are arranged on a plain, light background.
    Photography courtesy of Owari Shippo.
  • Four colorful, fabric-wrapped sculptural objects with rounded shapes and pastel tones are displayed upright and suspended against a plain gray background.
    Photography courtesy of Arimatsu Narumi Shibori.
  • Three pleated, fan-shaped fabric panels in green, pink, and orange are stacked vertically and suspended against a plain background.
    Photography courtesy of Arimatsu Narumi Shibori.

Craft X Tech hosted six unique collaborations between acclaimed artisans from Japan’s Tokai region and London-based designers, including Laura Bethan Wood and Philippe Malouin—exploring the future possibilities of artisan techniques in contemporary design.  Set within the historic V&A Museum, the exhibition highlighted ancient Japanese craft techniques in new iterations across ceramics, paper, textiles and metalwork.

Master of the traditional shibori textile-dying technique, Hiroyuki Murase teamed up with British designer Bethan Laura Wood, known for her expressive use of color, to create sculptural lighting with traditional shibori in vibrant tones.

Meanwhile, Kasane marks the latest collaboration between Japanese enamel expert Shigeyuki Ando and British-Canadian designer Philippe Malouin. Drawing on the traditional Owari Shippo technique, the pair have developed a series of ceramic vessels defined by architectural forms, balancing centuries-old craftsmanship with a distinctly contemporary sensibility.

Camille Walala X Sketch

  • Colorful room with bold geometric wall art, two purple modern chairs, and two matching purple stools on a blue carpet.
    Photography ©Mark Cocksedge.
  • Two purple lounge chairs and a small table sit in a vibrant room with geometric, multicolored wall art and a blue carpet.
    Photography ©Mark Cocksedge.
  • A hallway with bold, geometric wall designs in blue, green, red, orange, and black, leading to a door with a matching colorful pattern and ornate black trims.
    Photography ©Mark Cocksedge.

Iconic London restaurant Sketch, enlisted graphic artist Camille Walala to transform the entrance to their Grade II listed Mayfair site with her signature Memphis-inspired geometric pattern and vibrant color.  The installation, launched during design week and running through October, brings an abstract cityscape of layered graphic shapes, drawn from the designer’s longstanding fascination with architecture and the urban environment.  

Chant Chambers by Lee Broom

  • Square, tiered chandelier with multiple small round lights, suspended from the ceiling, set against dark wood-paneled walls.
    Photography courtesy of Lee Broom.
  • Close-up view of three rectangular, glass pendant light fixtures with round bulbs, suspended in front of a dark wooden wall.
    Photography courtesy of Lee Broom.
  • A glass cube lamp with a glowing spherical light inside sits on a wooden surface, against a matching wood background.
    Photography courtesy of Lee Broom.
  • Room with dark wood walls and floor, a tall glass block window, geometric light fixtures, and two pedestal stands with cube lights.
    Photography courtesy of Lee Broom.
  • A rectangular pendant light with spherical bulbs hangs above a small sculpture on a pedestal, both in a minimalist beige room.
    Photography courtesy of Lee Broom.

Lee Broom reimagined the humble glass block in his latest iteration of Chant lighting, transforming the architectural material, into a scaled-up installation of chandeliers and linear pendants. Broom makes a convincing argument for bringing back the architectural glass block, a symbol of mid-century design, they popped up on everything from bathrooms to partition walls. Broom reinvents the familiar material in a new contemporary iteration, crossing the boundaries between lighting, sculpture and architecture in a collection that feels reminiscent of late-1970s glamour, without tipping over into kitsch territory.

Slancha at The Hoxton

  • Modern lounge area with a white brick wall, unique metal and wood furniture, woven chair, geometric table, and wall-mounted light fixtures. A sign is displayed on the wall.
    Photography courtesy of Slancha Collective.
  • Close-up of a metal chair showing interwoven aluminum strips fastened with rivets, creating a grid pattern on the seat and backrest.
    Photography courtesy of Slancha Collective.

Contemporary design studio Slancha hosted a celebration of emerging talent, at the Hoxton Hotel with a collection of furniture and objects from Britain’s most innovative creatives. Selected works included the sculptural “Ingot” stool, crafted from hand cast aluminum by Scottish designer Mark Sweeney and dynamic stainless-steel tableware with architectural forms by Hanna Fastrich.

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