With just a few weeks until the end of Clerkenwell Design Week, we’re still talking about it. We have already discussed its novelties, evocative locations, and strengths. The numbers speak for themselves: 160 showrooms, over 250 international exhibitors, and 16 venues scattered throughout the district. Among these venues, the historic Charterhouse and the Church of St. Bartholomew the Great stand out for their charm. Another strength of the 2025 edition is its ability to combine the authentic identity of British design with the fresh, creative look of international brands—a perfectly successful mix that makes the event even more inspiring.
The British presence was strong and focused on quality craftsmanship. Prominent brands in the “British Collection” included Hand & Eye, which showcased terracotta and stone lamps made in Devon, and Origin Furniture. Origin Furniture featured David Irwin’s Caston chair, which is entirely made in the UK from marine plastic waste and has a 3D mesh and tubular steel frame.
An extensive review of lamps took place at the House of Detention. Of note is the Carnival hanging composition by Curiousa, which is part of its Sculptural Stack series. The Carnival composition combines porcelain, wood, and Curiousa’s signature hand-blown glass to create three teardrop-shaped chandeliers that evoke the characteristic “harlequin” motif. J. Adams & Co., on the other hand, presented its new Apex and Strata circular lamps at its St. John Street showroom. Designed by founder Will Earl, these pieces are handmade in Birmingham.
The creative mash-up established between architectural firms and companies at the kermesse was original. These firms combined their expertise to create innovative installations. Conran and Partners collaborated with Secto Design, a Finnish firm that pioneered the use of certified birch combined with contemporary architectural aesthetics. An exhibition at the Great Sutton Street storefront showcased the company’s dedication to sustainable design and craftsmanship, featuring light creations that directly evoke the natural world.
On the other hand, the HawkinsBrown studio on Clerkenwell Road hosted Beasley’s Biscuit Bar, an installation by Sons of Beasley. This collaboration between designers Carl Clerkin and Alex Hellum featured colorful, sustainable furniture made from Plykea’s waste.
What contributions from around the world? Italian company Moroso presented the latest additions to the 2025 collection in its showroom in the city, particularly the Clay armchair. The Clay armchair is the result of designers Zanellato/Bortotto and Moroso’s research on ceramics and their desire to recreate an ancient connection by using techniques and manufacturing processes that are now rare. The defining feature is the ceramic panel that serves as the backrest, transforming the seat into a sculptural piece of furniture. Each piece is handmade in the historic ceramic district of Nove, Vicenza, with two- and three-dimensional slabs decorated with glazes.
Muuto, a member of the Scandinavian collective, makes an appearance with its new outdoor collection, Settle. This seating series was designed by the Norwegian duo Anderssen & Voll. They developed an outdoor line rooted in Scandinavian tradition that blends functionality and aesthetics with materials such as powder-coated steel, wooden armrests, and fabric bands.
