Over the past fifteen years,  Victoria Stainow has quietly built a collection that sits somewhere between decorative arts and collectible design. Guided largely by instinct, her work brings together artists and makers whose pieces carry both craftsmanship and character, objects made to live with, and to last. We spoke about the idea of the ‘antiques of the future’,  long-standing collaborations with makers, and the role instinct plays in shaping both a collection and a home.

How would you describe your work, and your way of working?

I have always worked by instinct, and the collection is made of artists that I have encountered over the years, as well as furniture pieces which I have admired and reproduced.  It has grown organically over the past 15 years or so. Everything in the collection is something I like enough to have in my own home (and I do!).

Victoria Stainow’s London home features some of her iconic pieces, including the Table Basse, Quadravi Sconces, Swan Mirror and Lampe Bamboo.  The house was designed with the help of Tara Craig and featured in House & Garden.

 

You describe your pieces as ‘collectible’. What distinguishes collectible design from decorative objects? When does a piece cross that threshold?

I think collectible implies something that is unique, handmade, and also something of a certain quality which will only improve over time, the antiques of the future you might say…

Detail of the the Table Jean by Carol Fulton

You’ve developed long-term relationships with artists and makers. How do you cultivate those partnerships, and what defines a successful collaboration?

I am so lucky to work with such wonderful artists and makers—a successful collaboration from my point of view is to be able to present their work effectively and also to sell their work.  I am very aware of my responsibility to them.  All of the people I work with are very conscientious about lead times and also quality —Again, I am lucky with that.  It certainly becomes much more than a business relationship over time…

How do you balance commercial viability with artistic integrity?

I am afraid I have never been commercially viable!  I am completely driven by my passion for the artists and the quality and originality of their work… As a result, my prices have very low margins, and my accountant is not happy!

Gail Dooley’s Flamingo Mirror

You have a wonderful collection at home. How do you know when a piece is right for you? Is there one that feels especially personal?

I rely totally on instinct and eye—it is not an objective decision; it is from the heart.

Stainow’s home in France showcases several pieces from her collection, including Catriona’s Manoury ceramic lamps and Tabouret. Featured originally in House and Garden. Paul Massey photography.

Has your eye evolved over time? What are you drawn to now that you weren’t ten years ago?

I think my eye has shifted a bit with the times…perhaps towards more warmth of materials.  I am less drawn to glass and brass than I was, although if brass is finished as bronze or aged that is totally ok!

Is there a material you find yourself repeatedly returning to?

Always ceramics! I also like plaster resin, such as in WP Sullivan’s work. Cast bronze too….for its warmth and tactile quality.

WP Sullivan lighting

Claudio Gonzalez Ostrei Mirror

Should collectible design feel challenging, or comforting?

A bit of both I guess—It is always good to have something in a room which jars the eye and often these pieces do that.  Having said that, I do find the metallic glazes of Helena’s work very comforting, and warming.

Helena Lacy’s Footstool

For more information, visit:

www.victoriastainow.com

www.instagram.com/victoria.stainow/

Photography: Natalie Dinham and Elena Bazu unless otherwise stated.