David Hunt
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David Hunt Lighting

British manufacturers of bespoke and luxury lighting

David Hunt Lighting traces its roots back to a candlestick maker from the 1790s. Over the following two centuries, the company has enjoyed its moments in the limelight. In 1851 it was one of the companies chosen to exhibit at Prince Albert’s Great Exhibition, housed in the famous Crystal Palace in Hyde Park. In 1910 it embraced the then new-fangled technology of the electric light.

 

Last year marked a similarly important milestone as the brand opened its first London store at the Chelsea Harbour Design Centre, joining some of interior design’s most celebrated names with a curated collection of bespoke products in the sought-after centre dome.

 

Balancing tradition and innovation, David Hunt Lighting has successfully adapted its designs to each new decade, while remaining true to its heritage. In large measure this adaptability is due to the handcrafting techniques kept alive in its Cotswold workshop. One piece of lighting can pass through as many as 17 skilled pairs of hands during the production process, with techniques including ironwork, sculpting, hand painting and resin casting.

 

The company is renowned for its fine surface finishes, which are applied not only to solid brass components but also to cast resin pieces with flawless results. Sandblasting, barrel finishing, antiquing and oxidising techniques are all used for both contemporary and traditional lighting, producing an unrivalled quality of finish.

One piece of lighting can pass through as many as 17 skilled pairs of hands with techniques including ironwork, sculpting, hand painting and resin casting

David Hunt

This dedication to hand-craftsmanship gives David Hunt Lighting an enviable range of bespoke services. Pieces are generally made to order with a choice of colours and finishes, ensuring that each new light fits perfectly with its surrounding interior. Creative Director, Hollie Moreland, expands on the brand’s timeless appeal: ‘Design is about combining functionality with aesthetic. For me that aesthetic has to be enduring and create a personal connection.’

 

The clean lines of her latest collection conjure the understated opulence of 1950s high society with a hybrid of English heritage and new American expression. Hollie continues, ‘This year, I have been inspired by the extraordinary design duos of the 1950s such as Sister Parish and Albert Hadley, John Fowler and Nancy Lancaster. A riotous celebration of rich materials and pattern is grounded by a study of classical architecture, proportion and restraint.’

 

Indeed, the new range of pendants, task and picture lights explores a scholarly theme with subtle neoclassical detailing. The Imperial table lamps have glass columns topped with resin detailing in the Corinthian style, while the Pompeii pendant has a Greco-Roman bowl design in alabaster glass suspended on solid brass rods with fabric tassels. The Paphos and Noble lamps show architectural influences in a very different way, with painted resin tumble-aged by ceramic stones in the workshop’s barrel finisher to produce a distressed surface.

 

Each piece recalls both the brand’s first candlesticks – realised in brass over two centuries ago – and the bold new vision of its creative director. Thoughtfully designed and meticulously made, each collection adds a chapter to this historic manufacturer’s story.

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