What’s the inspiration behind the new collection?
This collaboration has been a brilliant meeting of design minds. Our work with Henry is inspired by both sides of the creative fence: Henry’s ceramics blend with our obsession with color for a unique collection that references many art forms.

Henry’s use of the nerikomi technique in his clay work spoke to us as a design team; we were inspired to explore how that would translate to a flat surface, with texture and technique being of the utmost importance to this collection. Distilling a 3D form into a flat surface print was a fantastic challenge and allowed us to tap into textures and depth of color in ways we’ve not done before.

Our archive has also proved to be a wealth of historical design inspiration. Henry was blown away by its depths. We took elements of designs from it and layered them into this collection—reimagining florals for a cool assortment that speaks to Harlequin’s and Henry’s unique styles. Even from a contemporary angle, our archive is an inexhaustible source of inspiration unlike anything else.

Then there is Henry’s clay color palette. Color is an obsession of ours at Harlequin, and his take on color is distinct and considered. Henry uses a relatively limited palette, so we took samples of glazed and unglazed clay paint chips to form the colorways for this collection. We’ve created organic, flowing combinations that mix beautifully with one another, each color story flowing into the next without end.

What was the starting point for this collection?
We looked to Henry’s ceramic work, which has taken the interiors world by storm. We’ve built a collection that references the undulating, relaxed linear forms of those items—plates, bowls, vases and more—and also discovered something new in surface printing. A specific reference point was Henry’s use of the nerikomi technique: the layering of colored clay that is then sliced to reveal stacks of colors. This is reflected in many of the designs. It’s a beautiful, textural style that blends well with the other designs in the collection, including patterns drawn from our archive. These styles serve as the softer, floral elements of the collection. Particular pieces really spoke to Henry, so we’ve brought them into the light for Harlequin x Henry Holland. Ludaix and Fellcroft are two examples.

How did the collaboration come about?
I’ve been mesmerized by Henry’s work for a long time. I’ve always been fascinated by his ability to find “the moment” in design and lead with it. He has a very discerning eye for new, yet-to-be-discovered directions—it’s how he’s pivoted to take the design world by storm with his ceramic pieces. Henry is great at grabbing opportunities and is always brave enough to take things further and make them bigger. We love his perspective, as it aligns with our values as a brand and our commitment to being intrepid in our design ethos, and have applied this bold school of thought to our collaboration. I think it’s pretty unheard of to take 3D objects and transform them into surface patterns. It’s almost an inversion of the norm—as usually it’s the other way around.

Henry is a friend of Sanderson Design Group, and from when he first came into the fold to the decision that he was the perfect artistic partner for Harlequin, we’ve been excited to explore and reveal how the ceramic world can play into a contemporary textile collection. This collection epitomizes that.

What piece/design are you most excited to unveil?
That’s a tough question, because I am excited to unveil the whole story. It’s an iconic yet usable collection, and I think it will become a classic of its time. If I had to name names, I would highlight the Nerikomi drapery, which we’ve used in our new headquarters at Voysey House in London. It interprets Henry’s signature style in clay work, translating it fantastically to drapery fabric. Marble Tapestry is another favorite of mine (and Henry’s). Made of woven fabric and a boucle, it has endless depth and texture. Ludaix is a beautiful example of an archival design reimagined in incredible colors. A Japanese-style floral silhouette, it’s very organic but elevates the decorating story. Potshop is fabulously fun and representative of Henry’s ceramics—the physical stacking of pots and bowls—while Edenfield, a brilliant take on a woodgrain effect, has also merited a place in Voysey House. This collection isn’t just a representation of Henry’s ceramics; it’s full of classic, considered options for interior designers to explore.

How do you feel this collection pushes Harlequin forward?
It’s a very cool collection, and one that I feel confident will lead in the market. The techniques we’ve used to achieve texture and depth make it quite experimental. As a brand, we’re still diving into color personas and finding people’s happy places. It has been fantastic to bring Henry on board to offer another perspective as we continue our work in color science, and his take is reflected in these fabrics and wallcoverings. Matcha and Neptune, two greens from the collection, are examples of signature Henry hues that marry beautifully with Harlequin’s vision.

How does the collection build on or complement your other offerings?
It thoroughly mixes with it, which is how it was designed: not in isolation but as another layer to our portfolio. We also have some new plain fabrics coming out, and Mineral, in particular, has a palette that works brilliantly with Harlequin x Henry Holland. As a collection, it blends with our “renew” theme while maintaining its own unique edge.

What about the collection feels fresh and exciting?
It is a completely usable decorating story. The techniques are utterly new—full crewelwork, space-dyed yarns, boucle embroideries and boucle appliqués, for example. These are layered techniques. Plus, we’ve had a lot of fun with organic textures across fabrics and wallcoverings: Consider the unmistakable Tapestry!

Tell us about the materials in this collection. Are certain materials used throughout, or does a specific material highlight a particular piece?
Our range of moiré styles makes a stand-out book on its own. Wallpaper with a silk emboss gives the feeling of fabric—it’s actually vinyl, so it’s easy to use—while matching textiles mean designers can color-drench schemes for a traditional moiré effect. We’ve paid close attention to the technical details of these designs so that they look bold and contemporary yet offer performance.

How do you envision designers using this collection?
We’re excited to see how they create with it. This range could go from classic interpretations to contemporary vibes. The interior design community always surprises and delights us with what they do with our collections.

Can the collection be customized? What options are possible?
Regarding upholstery and other usages, it’s always down to the designer to customize the collection, but we do have the privilege of producing all printed fabrics and wallcoverings in our own U.K. factories. This allows us a huge amount of creative freedom and equips us with technical knowledge. Bespoke options are always a conversation that can be had with designers at any point in time.