FIBREGLASS

The studio is drawn to working with fibreglass for its ability to hold complex, sculptural form while remaining structurally strong and relatively lightweight. In production, forms are cast as single shells, allowing generous volumes and continuous surfaces that would be difficult to achieve in solid materials. Each piece is hand-finished, with subtle surface variation retained as evidence of the making process.

In raw finishes, the glass fibres remain visible within the resin, offering a direct view into the material structure and the production process. Over time, fibreglass may develop a gentle patina or tonal shift, reflecting both material behaviour and use.

We're also able to offer bespoke pigments that can be colour matched to your project. Please submit a custom request here.

ALUMINIUM

The studio turns to aluminium for its durability, corrosion resistance and its capacity to capture fine detail through casting. Pieces are sand-cast in solid form, a process that leaves visible markings and an irregular surface character that is intentionally preserved. Brushed, ground or anodised finishes deepen this character, producing a molten-like surface that continues to evolve as the material ages..

RUBBER

The studio works with rubber to soften the form and reduce visual hardness. Applied as a sprayed finish over a timber core, rubber creates a continuous, uniform surface. It is highly durable and easy to maintain. Subtle variation in texture is inherent to the hand-finishing process.

JESMONITE

The studio is drawn to working with Jesmonite for its versatility and the way it allows forms to be cast as seamless, continuous volumes. This gypsum-based composite, combined with water-based resin and pigment, supports sculptural shapes with a strong sense of mass and surface continuity.

Depending on formulation, Jesmonite can be finished for interior use or reinforced for exterior environments. Surface variation and subtle weathering are inherent to the casting process and form part of the character of each piece.

We're also able to offer bespoke pigments that can be colour matched to your project. Please submit a custom request here.

SYCAMORE

The studio continuously returns to sycamore for its pale tone, fine grain and clarity of surface. Its quiet character allows proportion, silhouette and joinery to take the limelight. Hand-worked and finished, sycamore responds subtly to climate over time, with natural variation in colour and texture reflecting the individuality of each piece.

We're also able to offer bespoke pigments that can be colour matched to your project. Please submit a custom request here.

OAK

The studio regularly turns to British oak for its strength, durability and capacity to age gracefully. Sustainably sourced British oak is used across a range of finishes, from limed and natural surfaces to scorched treatments. Traditional processes, including chemical darkening and flame scorching, react to the grain and sap content of the wood, resulting in tonal variation between pieces.

CERAMIC

The studio works with ceramic where durability and performance are essential. Forms are developed from hand-made plaster models and cast in specialised laboratory-grade ceramic, allowing gentle asymmetries and subtle imperfections to remain visible. Finished with a high-gloss glaze, ceramic pieces are highly scratch resistant and suitable for wet rooms and exterior environments, including frost.

MARBLING PAINT

The studio uses marbling paint as both surface finish and expressive tool. Low-VOC automotive pigments are hand-poured and layered directly onto timber surfaces, allowing colour to flow, pool and respond to gravity. The process produces unique surface patterns, with a clear lacquer to seal the surface while preserving the visibility of the paint layers beneath.

OPIO BOUCLE

Opio is a bouclé wool by Pierre Frey with a soft handle and textured surface. The blend of wool, mohair and alpaca creates a gently irregular finish that adds depth without dominating the form. It has been selected specifically for the Gummy range, where its surface texture works comfortably with the collection’s rounded, sculptural forms.

Woven in northern France at Pierre Frey’s Living Heritage mill.

Martindale: 25,000

Composition: 37% Wool, 23% Mohair, 23% Alpaca, 12% Cotton, 5% Polyamide

CONFETTI BOUCLE

Confetti is a pebble bouclé by Rosemary Hallgarten with a soft, plush handle and a lightly mottled surface. Made from a blend of alpaca and wool, the fabric combines chunkier yarns with a creamy base, creating a textured finish that brings colour without overwhelming the form. It has been selected for its ability to add depth and surface interest while sitting comfortably against sculptural, rounded designs.

Martindale: 25,000

Composition: Alpaca, Wool

YETI MOHAIR

Yeti is a hairy plain weave wool by Pierre Frey with a soft, generous handle and a subtly raised surface. The blend of wool, mohair and long-haired alpaca creates a rich, tactile finish that adds depth without dominating the form.
Woven in northern France at Pierre Frey’s workshops.

Martindale 20.000

Composition: 61% Wool, 15% Mohair, 14% Alpaca, 10% Polyamide

WOOL BOUCLE

Wool Bouclé by Rogers & Goffigon is an upholstery fabric with a soft handle and a richly textured surface. Composed predominantly of wool, the fabric has a nubby, knotted and curled structure, with a palette ranging from soft neutrals through to deeper, darker tones. Rogers & Goffigon fabrics are manufactured exclusively at small European mills, selected for their craftsmanship and consistency of quality.

Composition: 98% wool 2% nylon