Ardmore - A Creative Alchemy of Clay, Cloth and Colour

31 August 2021

If maximalism, colour, and more-is-more is your mantra, read my interview with Feé Halsted. She is the artistic alchemist behind Ardmore and has created an empire of vibrant design.

When we were children, we had a treasured book called The Butterfly Ball and Grasshopper’s Feast. Richly illustrated by Alan Aldridge, it opened a door into an exquisite fantasy world. The longer you stared at the page, the more you would discover hidden beneath the layers, lines, colours and shapes. I remember how my siblings and I would gasp in excitement when we discovered something we’d never noticed before; like a face concealed in the metal of a hand-mirror, or an ant milking a cow in the background.

I get that same feeling of adventure and wonder when I look at the fabrics and ceramics created by Ardmore. Brilliant colour and sublime pattern come together in the spirit of maximalist style, leaving the viewer with the feeling that they’ve just been on a journey to another world and that something exciting is just around the corner. More is more, and that’s a wonderful thing.

It was a huge privilege and delight to chat to Feé Halsted of Ardmore recently. And because the interview unfolded so organically, I wanted to write it down pretty much exactly as it happened (breaks in the Zoom signal notwithstanding.)

Feé is an artist, entrepreneur and story-teller. She’s a capturer of moments, rule-breaker, and master of creative and societal transformation. Her ability to harness creativity, foster talent and spot opportunities is deeply inspiring. She’s brought the world incredible colour, design and joy for many years. Her ability to see work as play, and play as work, is perhaps the secret to why Ardmore’s creations are so full of life, love, movement and energy. Without further ado, meet Feé, founder and mastermind behind Ardmore Ceramics and Design.

LP: I understand you did a BA in Fine Arts and a Post Graduate in ceramics. How did you fall in love with ceramics?

FH: During my graduate course, painting was my major, so painting and colour have always been my big love. And pattern. I love pattern. After I'd finished my degree, Juliette Armstrong asked me to stay on and do a Postgraduate Degree in Ceramics. I thought about it and thought - why not? I did an extra two years of ceramics, but I did it in a very painterly way. I wasn't good at throwing. I really used ceramics as a medium to build three-dimensional sculptural work, so to speak. To achieve texture and build body into my work . I really consider myself more a painter then then a sculptor, but I loved building the pieces that Bonnie and I did for the Standard Bank Young Artist Awards. They were like three-dimensional wall art. That's where they said I broke all the rules, because I actually used board and I built with glue and paint. It wasn't ceramics per se, where you make a tea pot, put it in the kiln, glaze it and it has functionality to it. I used ceramics more as a fine art medium.

LP: Do you still work with ceramics yourself?

FH: No, I’m always thinking of ideas, running the business, and helping our artists. We have around 80 artists that I help generate ideas for.

LP: Bonnie Ntshalintshali was one of your first students. Was it always your plan to teach other people as well? Or did you start off with Bonnie and then a greater need to teach others unfolded?

FH: I think I've been a born teacher - from when I was young. I remember teaching my younger brother. He says that's why he was never good at school - because I was his teacher :). I think your play becomes your life.

I worked at Caversham Mill with the potter, David Walters. He taught me a bit about business and making products that could be sold. And whereas all of my contemporaries who were teaching or lecturing at Universities had an income, and would therefore make art on the side, I got thrown in the deep end from the beginning. I had to make art and sell it. Ceramics is a great medium to do just that.

When David went overseas, his kiln operator - a man called Phineas Mweli - stayed behind. It felt natural to get stuck in and help him out. Phineas was filling the kilns on the side with little guinea fowl, genets, and otters that he’d made. So actually, he kind of became my first student, and I sold the things he made on the side. This all happened before I went to lecture at Durban Technikon, and when Durban Tech retrenched me, it was an obvious transition for me to want to help and work with others. That's how Bonnie came to be.

Creativity breeds creativity, and soon Bonnie’s friends, sisters, cousins and aunts all joined in making ceramics. It was an organic process. To unravel, or to unleash such incredible talent has been my biggest joy.

LP: I've been I was watching all your mother's day segments on Instagram, and you’ve created such an incredible legacy that’s spanned generations.

FH: Thank you. That's very kind. I don’t think I thought too much at the time - I just did.

LP: Did the people who came to learn from you come because they loved art, or was it always in the back of their minds that they could earn an income? Or was a bit of both?

FH: At the time, one of the chaps said to me, “We thought it was play”. At first, the people I taught didn’t take it very seriously, because working with clay was something that herd boys did. The herd boys made toys from clay. But yes, I think it was an interest. And a lot of the women didn't have work in our rural area, so I think for them it was a matter of also finding a job. As you know, hand crafts go hand-in-hand with women's work , culturally speaking. Pot making, basket weaving, sewing and bead work is traditionally women's work. The Ukhamba pots are made by women. So it started off as a means for women to earn a living, as well as do something with their hands. LP: Did they manage to work at home? Or did they always come to the studio to work?

FH: They came to the studio at Ardmore, which was originally the old stables. We literally used to sit under the lemon trees and just work. And play - have fun playing and making things.

LP: Your students came from rural backgrounds. Did they have an idea of the potential that lay in ceramics? And has your aesthetic changed over time with regard to how you imagine your designs - especially with the introduction of social media? It seems you’ve managed to stay true to your particular aesthetic, which everyone associates with Ardmore.

FH: We've stuck true to our aesthetic. I've always been in love with fauna and flora, as well as the richness of Africa’s landscape, animals and plants. I'm an animal person and we've stayed true to that. And then the quirkiness, and the whimsy, and the humour, and the storytelling has come about in tandem with how the fauna and flora are depicted. I've always enjoyed the naive and the not-so-abstract, so to speak. I think we've developed. But we also go backwards, then forwards again. The naïve, folk-like, childlike, fun, storytelling-whimsey is still there today. And then, of course, we incorporate high sophistication via pattern and design.

LP: You didn't realise at the time that Ardmore was going to grow into this incredible empire?

FH: I think I was driven by excellence. My father always said, if you're going do something, do it properly. And I never patronised people and said, “That's good enough.” The artists followed my standards and my vision. I’d say things like “ Come on, we can do better”, “I imagine that like this”, “You can push that some more”, and “Let's make that face look more realistic.” I think my abilities that stemmed from my fine art background allowed me to not dictate the pieces. While the overarching concept had to be exactly the way I wanted it to be, everybody's individualism came through in their art.

For me, it was about seeing the inherent beauty. Being able to see the beauty within a piece and not change it. Although we work with clay and paint, and the guiding concept is consistent, individual artists make it their own. When I see that their pieces are working, I hang back. I'm not there to try and make one artists work like another’s.

LP: I’ve been amazed that stylistically, you've managed to be so consistent, despite the fact that you work with such a wide range of artists, painters and ceramicists. It's mind blowing that you can immediately recognise an Ardmore, but that each piece does have those slight differences here and there. So you keep a level of consistency with your input, but otherwise, the artists have got free rein?

FH: Oh, absolutely. That's what you want from artists. I keep saying, “Come on, put your story in there. Give me a story. Show me something new.” I don't want to be dictatorial. Obviously, commercialism comes into it. And when something's popular and can be harnessed, it makes sense to tap into that.

For instance, during COVID, we decided to use the topic of COVID’s lockdown. The pangolin then became a symbol of lockdown and a popular means to an end, in that it could generate earnings. After all, you're not going to be so “pure” as not to capitalise on a concept if it ultimately benefits the artists. You certainly can't bastardise a theme, but you’ve got to remember that people need to work and earn a living from what they do.

LP: Was adopting or illustrating Zulu folklore tradition strategic, or did it grow out of the viewpoint of the artists who created the art? Ardmore seems to pay homage to the artists in that they get to tell their own stories.

FH: Initially, the artists told little day-to-day stories - like somebody getting caught by the police for stealing and how the police van would arrive to pick them up. These lived-stories started emerging. And I saw the beauty in that. For example in Bonnie's last supper, she didn't know what people would have eaten in that era. So she put a goat's head and castle lager on the table. I noticed lovely cultural signifiers emerging that were far more meaningful than placing things like potatoes, grapes and wine on the table - which had little relevance for local artists in the South African context.

I started encouraging these cultural signifiers, because I could see what was happening in terms of story-telling. One thing I realised was that many artists didn't know their own history. They didn't know about Cetshwayo, Queen Victoria and the Battle of Isandlwana. That's when I introduced the historical stories. And when HIV and AIDS came about, the artists didn't want to talk about it. It was taboo. But slowly I started seeing AIDS stories coming through in the artworks, and I ran with it. So the work becomes a silent teaching that I encouraged, without it being a manifesto.

Ardmore still tells stories. COVID times have presented interesting story-telling themes. For example, today I was in Lidgetton and I saw one of our artists, who instead of doing his art, was bootlegging. He had a wheelbarrow full of booze. So that became a story. It's conversations that lead to these relevant stories. It’s important that artists do work that is of personal relevance to them. We've just had looting and one of our artists discovered footage of a man in a wheelchair cleaning up. We incorporated that as a testament to the doers of South Africa.

In that way, pieces can help you in troubled times. They can show that where there’s fear, there’s also grace and hope. These small stories become part of bigger stories that will probably land up in my Museum - if somebody doesn’t end up buying the piece, that is. My museum is important to me. I love our museum, because it shows the stories and the interpretations thereof. It’s a living museum.

LP: Have you seen an evolution in the style and skill of the artists as time has gone by? How do you compare the current artwork against the way it was originally produced?

FH: The style and skill of artists has definitely evolved. And we see different influences coming through. You mentioned social media earlier and the artists have all got access to these visuals now. In the early days, we didn't have this kind of access - I had to feed the visuals to them. So the style was originally more naive, more pure, in a way.

Nowadays we see other influences come through from other art and artists. We have Zimbabwean artists that have joined Ardmore who have had their own exhibitions around the world. So a more sophisticated Ardmore has evolved - but always with that spirit of naivety. You've got to work with each individual’s talents, training and experience.

The women traditionally draw using flat shapes and patterns, and they love intricate decoration. And some of the men who've had training produce subtle shading and “realistic lions”. Both work well in different contexts. There’s no right or wrong.

In the early days, it was mostly men who did the sculpting, because they harnessed that ability via modelling clay oxen. The woman on the other hand, were traditionally beaders and basket-makers - so their skill lay in decorative work. The skill of sculpting a giraffe, for example, wasn't there yet. That came about from the men. The Sotho men who joined Ardmore had strong sculpting skills which I think actually stemmed from observing nature and from being herdsmen, watching over sheep and goats. They seemed to have a deep understanding of how animals move. The women on the other hand, created plants which were rich in pattern, colour and decoration.

So our older artists tend to be more naive artists. And whereas before, it was men who sculpted and women who painted, the younger men have transitioned to painting. And their painting is very sophisticated and realistic.

LP: Ardmore‘s modern collectibles have been able to transcend the craft-art distinction. As much as what you do makes you special and unique, it would be nice to see more of an Ardmore vision and interpretation for products that you typically find in South African curio shops. It seems that South African curios are a static interpretation of our art, craft and culture. Almost like they're not created from the heart. What is your take on that?

FH: It's funny, you know. I totally get it. If you explore some of these curio areas, you’ll notice that if a product sells well, it gets repeated and repeated and repeated. Until it’s got no more soul. I think that on the back of my fine art training, I'm always changing. I'm always moving. I've always got a new idea. For instance now, with the launch of our outdoor fabric, I was inspired to conceptualise outdoor sculptures. So we've created these beautiful ferns, aloes and weaver birds that hang from their nests.

So there’s a progressive thought process that always prevails in our work. With me as the mentor, we never get stuck into mainstream commercialism. In some ways, COVID has been the best thing that happened to Ardmore. We were getting into a rut from some of our distributors who would request 50 pieces of something. But this is what kills. Sadly, money, marketing and wholesaling can really kill the art side of things.

But it's a hard juggle, because, we want people to earn money. Ardmore isn’t just an art studio - people make a living and they feed another 15 people. So the very beautiful artworks are priced what they’re worth and command very high prices. We do also make more accessible art d’ objet – but these are still one-of-a-kind, special pieces. Although every smaller piece is still completely unique, there is the risk that they will take on a more commercial reputation, which might end up devaluing the pieces. I have to oversee what’s made and how it’s sold to make sure this doesn't happen. Pretty much everything we do is never repeated. We might create “versions-of” – but each piece is essentially one-of-a-kind.

LP: Ardmore’s creations follow an African aesthetic and theme. It's such a beautiful, rich, style of art. Do you ever make pieces that don’t reference Africa, perhaps incorporating other flora and fauna from around the world?

FH: It’s interesting actually. When there was those terrible fires in Australia and the little koala bears were being rescued, there was an image doing the rounds of a lady saving a koala bear. That act speaks to conversation and care for animals. Well, one of our artists picked up that story on the news, and he started making koala bears that were being saved. This story progressed into a story about an arc with little koala bears and kangaroos on it, which could save them from the fires. So we’ve definitely noticed a diversification in terms of animals - but the overarching theme of saving animals was similar to Africa’s wildlife conservation plight.

We’ve been commissioned in the past by an American distributor to create American and other cats. Snow leopards, tigers, etc. We've done it - but it can be hard. The artists do a superb job, but we did have a laugh. They started putting Zulu men on the on the tiger’s backs and I had to remind them that the people who live where tigers live, aren't Zulu, they’re Indian. So, yes, we've done it, but I prefer to stay authentic to Africa. So, so long as we stay within the Africa continent, I feel we’re being true to Ardmore. But yes, we’ve done kangaroos too.

LP: It would be terrible if it was true, but has anyone ever tried to copy your art?

FH: Definitely. I think it's when something is successful, people just see the money side of it. And then copying is going to happen. After all, the top brands all over the world are copied and you've got to take it as a compliment. If they're not using our brand with the Ardmore A, there's not much we can do about it. You can't deprive someone from earning a living. But yes, it’s irksome and annoying. And of course, they cut your prices. I think the difference is when you look at Ardmore, the quality of colouring and the painting is instantly recognisable. I think you've got to take the approach that if anybody is trying to rip you off or emulate you, they're doing it for money’s sake.

I’ve got one of the most amazing Zimbabwean painters who said to me “If you don't put your love into your work, it's not acceptable.” So I rarely battle with artists who throw pieces at me without putting that energy, love and extra effort into it. This is a standout feature of Ardmore. The artists love their pieces, and this love shines through. I think that’s what commands the prices.

LP: I suppose that's what ultimately protects Ardmore artworks. I think that anybody who wants an Ardmore, would only want an Ardmore and wouldn't want a knock-off.

FH: Well, thank you. Yes, we are the originals. But you know, knock-offs are going to happen.

LP: So many people want to start art and craft initiatives as a way of helping others. How did you make the business model thing side of things work?

FH: Initially, Bonnie was keen on working with me as she had polio, so finding work in the fields wasn’t an option for her. Bonnie trusted that I would grow and develop her talent, and she was paid when we had exhibitions - for example when we went to Seoul. She didn’t depend on getting a set salary. But slowly but surely, as things started to happen, I gave her a set salary, and also commission on her work when it sold.

The business side of things had its own momentum. I realised fairly soon that I had to own the work because you can't expect people to work without earning an income.

We work with a very detailed model. If a painter paints on a plate, he’s the one who’s actually adding the most value - the thrower in that case plays a minimal role. Every piece is assessed detail in order to work out who gets what share. Is it 50-50? Or does the painter or sculptor get more? The artists are basically entrepreneurs and with art – it’s about talent. We believe in creating young people who write their own cheques and take responsibility for their work and what they produce. The beauty of how we work lies in the maxim, we are because of others. The maker, the painter, the kiln guy, the glazer – they all have to work together.

I think the beauty of Ardmore is that it's a family of people taking responsibility for each other. If a painter hasn’t finished painting one of the sculptors work, both aren’t going to earn well that month. So we're in this together. We know we’re there to help and support each other and that creates an element of responsibility that I think is very important.

I think there's a lot of NGOs, where it's just about handouts, handouts, handouts. I'll never forget when I was in Barbados, I visited a pottery studio. There was so much stock! The pottery was crammed full, but the potters just kept making more stuff that ultimately wasn't even very good product. I asked who they sold the pottery to, and they explained that the production was state funded. There was no business sense to that. There's no point in making something that nobody wants to buy.

We've prided ourselves that at Ardmore, we've never had government funding. We've had support from government during Mbeki’s time. We got support when we were taken to Malaysia, Germany and London, which helped put us on the international market map. But it wasn't a handout. I think handouts are a problem. Making things that no-one will buy doesn't make sense.

Clay is a is a reasonably priced product to work with. It's a bit like mining - taking a raw material that's fairly cheap and turning it into a jewel. That has been our strength - having talent and the ability to convert a raw material into something of true value. And what is the value of art? It's a hell of a difficult thing to judge the price of something. Ultimately, prices of pieces are determined by what you can get for them.

And when times get tough, we have to weigh things up and have a flexible approach. After all, what’s more important? Letting people earn a living, or sitting on stock and being arrogant? But the long game is all about finding what something is worth -what are people prepared to pay for it - and slowly growing your name and integrity.

LP: It obviously took a long time for you to get established.

FH: Yes. It was winning the Standard Bank Young Artist Award. It was selling at auctions at Christie's. It was being part of exhibitions at the Venice Biennale. Value is embedded in the history that comes before a product. That’s what gives it clout. You don't just arrive at that overnight.

LP: One of the one of the less exciting questions, perhaps, is how on earth do you transport and ship your ceramics?

FH: It's an art in itself. And we've learned the hard way. We used to have a lot of breakages, but we've invented a bubble wrap bandage that we make - it’s a bit like a boerewors roll. You learn from others as well. It might not look so luxurious all wrapped up, but at least it arrives safely.

My son suggested that we needed to get a foam machine to foam-wrapped the pieces. Although the outlay was high, the outcome has been worthwhile. So it's also about listening to the younger generations, growing and taking calculated risks. Spending money where you have to. That's how you grow the business.

But ceramics do still break, so we started offering China restoration. We work with people who restore China because if a little ear gets knocked off a customer's piece, does that devalue it? After all, it's not a functional piece. And with restoration, a little bit of extra love goes into it. That's part of part of the business, you know, that extra love and care.

LP: I like the idea that everything is worth salvaging. What was the impetus behind creating Ardmore fabrics, which was a total stroke of genius?

FH: I’ve always loved William Morris and the Bloomsbury Group - the whole idea where art and craft come together. I suppose it stemmed out of not having money to decorate my house. For example, if I needed a candlestick, I made a candlestick. And if I needed a chandelier, I made a chandelier. And if I needed a carpet, I designed it and went to a weaver friend who made it. So I love the whole idea of living with art.

I did an exhibition many, many years ago, before Ardmore started, which was called With De Morgan in Mind. I worked with David Walters who threw me some pots and plates which I painted. I got a friend to weave me a rug that I designed, and I put the concept together at the exhibition in Durban. So I think the concept for fabric was actually there a long time ago. But the Ardmore fabrics happened when my son was studying business at university. We met for breakfast and while we were chatting, I asked him, “Do you want to start a little business with me? We'll take the ceramic designs on to fabric. Because I don't have much to leave you - other than a few pots. But we could have a bit of fun.” And that was the start of Ardmore Design.

It's been a funny journey with Ardmore. Whenever I have an idea for something, it somehow falls into place. Around this time, a friend of mine said she’d applied for a growth challenge grant for me. It was a monetary sum that we had to spend in a year and develop a business. Well. we won the grant and it translated into what is now Ardmore Design.

We came up with The Qalakabusha (“New Beginnings”) sofa that won the best designed object at Design Indaba. And then we went into fabric. I knew nothing about fabric at the time, so I spoke to my sister-in-law Marguerite McDonald, who knew a lot about fabric. We started printing in Brazil. And so, Ardmore fabrics were created. Over time it's expanded to homeware and furniture.

My daughters are both fine artists who studied at Pietermaritzburg University. Katherine does all the designing which is transferred to digital format. She works with two young graphic designer trainees and some of the artist who work with the ceramics are now illustrators who also work on the fabric design side.

LP: What is the printing process that you use to achieve these vibrant, incredible colours and rich palette?

FH: Digital printing gives you that variety and depth of colour. Our first collection, the Colour kabusha collection was vectors, which is like silk screening. It tends to lose all that lovely painterly-ness which is what you want to retain. When our ceramics are glazed, they look like watercolours, and that's the effect we wanted to achieve.

LP: I see you've chosen to use a beautiful velvet base-cloth. How did that happen?

FH: That was a fluke. We've use velvet and we also use a beautiful cotton/linen and silks. With our next collection, I want to offer something more. We’re looking at using cut-out velvets and embroidery, to build up a bit of texture. Also some Jacquards. We’re evolving and giving customers a little bit of something new. I think having a fine art approach for our fabrics means that trying something new is fun. It must be fun! LP: Do you have a favourite fabric design from your range that you absolutely love?

FH: That's a hard one. There are so many that I love. The Monkey Bean has been a great one. But I also love the feather. I’ve had to fight for what I call the Amazumpa design. People thought it was a bit too African for the international market. People get seduced by the bold animals and the plants, and they don't look at the coordinates - the “not-so-in-your-face designs. Some of those are very beautiful. Our feather design is such a beautiful design. It was interesting, when Cole & Son did the wallpaper version of our feather, they created a very perfect interpretation. But I had to say no, that's not Ardmore. Ardmore is organic. Ardmore has different shapes, and different movement, and shadows, and tweaks of colour. I think the feather is one I really love a lot. It's a special one. What is your favourite?

LP: My favourite is Sabie Forest Dawn. It dances. It's got those beautiful blues and transports me to another planet. I really love it.

FH: That design was inspired by me looking for a leopard. My bush-buddy kept saying “There it is!” I searched and searched in the dappled sunlight and it took me an hour to spot it - but I wasn't going leave until I saw it. So that design is a bit like camouflage, as well as the play on light, leopard spots and shadows.

LP: It's absolutely magical. I love that you’ve used colours that aren’t typically African. Sabie Forest Dawn takes your mind and eyes on this exciting journey because when you look at it, it's got the African references and then the unconventional colour palette.

FH: When we worked with the Cole and Son on the wallpaper, the designer said “Your porridge will always sell.” In other words, the greys and the beiges. She said that Ardmore is daring and brave, so while we have to offer something iconic and bold, we also have to include more commercial colours. Working with the designers from Cole & Son and Hermes have taught us so much.

Being an artist, I've only got the art to rely on. I don't know about fashion trends or seasonal trends. So it has been very interesting. In fact, our first range of cushions were designed like paintings –squares and didn’t have a repeat. We've had to learn a lot and our collaborations have taught us so much. And then of course, I always put the spanner in the works by bending the rules. After all, who's to say what's right or wrong?

I think if you keep the art at the top of it, it works. It’s tricky when you start to subscribing to fashion, fads and colour trends.

LP: Do you have another range coming out?

FH: We do. I think it will be out in 2023. I like stories. My son got married last December - just before his bride got COVID. They got married at Thanda Game Reserve, so we’ve called the range The Thanda Collection.

It references life during COVID. We incorporate the pangolin going into protection, and also the tortoise as a symbol of protection. We’ve also incorporated weaver birds which are symbolic of nesting and building nests for your bride. Weaver birds are prolific in December when my son got married. So there’s going to be lots of embroidery and I'm very excited by it.

We’ve also included a storytelling design - an African toile - incorporating giraffes, African scenery and plants. We've used a lot of colour, including some primary colours which were used for the wedding. And a lot of red. So we’ll weave our way around the story of the wedding using the colour influences and animals that we saw in Thanda Game Reserve.

LP: Do you ever drip feed part of your process through onto your social media pages? Like your conceptual stages - how you arrive at your sketches, colours and mood boards and so on?

FH: Yes, I think that's an interesting thing to talk about. We’ve found that people really enjoy the process. And we find that people enjoy video content. Perhaps it’s also because of Covid and because we all haven't been able to interact face-to-face.

LP: If there was one piece of advice you could give people wanting to start their own enterprise, what would your advice be? FH: I think the word passion. You just have the passion and energy. It's leadership, energy and passion and then you can do anything. I don't do negative at all. I always had the same mantra as Obama “Yes, we can”. If I get asked, “Will you make a basin with a jaguar for somebody’s residence in London? I say Yes, we can! We don’t know how, but we’ll try.

And don't say no to things. Think it through before you say no. And be authentic. Be yourself and have a lot of positive energy. You can work with people if you keep up that spirit . It is exhausting, sometimes. It takes a lot out of you. And just get on with it. Don't think too much.

As long as my kids will have me around to irritate them, I'll still be in the business. I love working with my children. It's great fun. Watching the young adapt to difficult circumstances and still show me a lot of respect, is very special. It's not fun doing anything unless you're sharing it.

Thank you so much Feé for the interview. I so loved talking with you. Our histories unfold as we live them, and we often forget to write them down as they happen. It’s an honour to be one of the scribes who has been trusted to recorded a moment of your incredible creative journey.

Dear Reader, I urge you to spoil yourself by grabbing a cup of tea and perusing Ardmore’s beautiful creations. You'll find them here:

https://www.ardmore-design.com/collections/fabrics

https://www.ardmore-design.com/collections/furniture

Big love, Li