When an American designer rooted in history yet focused on the future meets a British house that cultivates craftsmanship, the language of form undergoes transformation. Rather than a brutal change, it emerges through a dialogue of materials and time that communicate without clashing. In their joint collection, Soane Britain and Billy Cotton create a conversation between fabrics, wallpapers, furniture, and lighting to gently reactivate design codes.
The collaboration promises an assumed tension between patina and polish, past and future. This intriguing result represents an alchemy that challenges modern design thinking. "My interest started with people and stories, which then evolved into objects, which became my tools for decorating," Billy Cotton explained to Homes & Gardens.
Cotton, who trained at the Pratt Institute and has headed his studio since 2011, has set a clear direction for his work. "I'm always trying to move things forward. I always want to think about modernity," he revealed. His methodology remains clear: white walls, eclectic pieces, and a perspective that connects different eras to nourish a modern design that feels lived-in, never static.
The collection features three key lines: Palomar, Quadrille, and Aquinnah, each showcasing modernity through materials. In lighting, the Palomar family features brass or nickel tubes that evoke optical instruments, named after the San Diego observatory. Tradition finds its way into other pieces, including a five-arm Regency chandelier with metal arms wrapped in rattan or leather, and the Edgar line that employs the same wrapping technique.
The Collins dining table, crafted from solid wood with a leather belt and brass rivets, was created by artisans in Suffolk and Essex. The Aquinnah seating combines rattan seats with a leather-wrapped metal structure designed like scaffolding with visible mechanics. "I like being able to see beautifully expressed engineering," Cotton emphasized. This constructive honesty sets the tone: technique becomes aesthetic without excess.
According to Lulu Lytle, the collaboration offered the designer space "to dream gently" while presenting Soane's workshops with "new challenges in terms of technique and material usage." In terms of patterns, the hand-printed Quadrille linen draws from 18th-century applied flowers, and there's also a stripe that Cotton considers "a neutral because I can place anything against it." The archive becomes contemporary through the craftsman's hand.
The discourse ultimately refocuses on usage. "Partly because I felt that humans weren't being considered in design, that everything revolved around aesthetics and not people and how they live," Cotton explained. He seeks objects "where there is community, materiality, and longevity of use, all things increasingly important for facing the technological world we live in."
The collaboration represents a philosophical shift toward human-centered design without sacrificing sophistication. Cotton's approach demonstrates how historical references can inform contemporary living while maintaining relevance for modern lifestyles. The partnership between American innovation and British craftsmanship creates pieces that honor tradition while embracing forward-thinking design principles.
With a final twist that captures today's spirit, Cotton added: "I find that if you make something real, it will be good. But things don't always have to be so serious. Aren't we also here to have a little fun?" This playful yet thoughtful approach defines the collection's unique position in contemporary design, where craftsmanship meets creativity and tradition informs innovation.
