Luke Edward Hall, In The Frame

Inspired by British folklore, classical mythology, and the beauty of the natural world, Artist and designer Luke Edward Hall weaves past and present to retell and reimagine forgotten stories through a whimsical lens.

Recently, we had the pleasure of visiting Luke at his studio in the Cotswolds where we discussed his recent projects, life in the country-side, and making the most of the winter months.

What three words would you use to describe your work? For those who might not know you, could you please introduce yourself? 

Let’s say… romantic, colourful, fantastical.

History, architecture and folklore often appear as themes in your work. Are there any historical periods, art movements, or legendary stories that interest you in particular? 

I'm always looking to the past for inspiration. I often turn to certain periods in history, but I have a deep love of folklore and mythology, too. Classical mythology has been a looming inspiration ever since I founded my studio, the classical world of ancient Greece and Rome, and I’ve long been in love with British folklore. Stories to do with where I live here in Gloucestershire, and further afield, countryside lore, Arthurian legends, and also Celtic mythology. I spend a lot of time reading about and researching these topics. I enjoy clashing things together. Although I think it’s important to look back, I'm never trying to create a pastiche. It's always about trying to tell a story through a new lens. A lot of my work is essentially storytelling, whether I’m making a piece of clothing, a fabric design or a painting. In a way, it’s a strange thing to fully grasp or explain, inspiration, because, at least with my own work, it's never – I look at A, I do B, and I end up with C. I am a sponge and I’m taking in all of these different things from a lot of places and periods, and then – I sort of see it in this way – my work, the result, it’s a sort of tapestry, and it brings many elements, thoughts, feelings and ideas together.

Your work spans a variety of mediums, from painting and drawing to textile design, interior design and creative direction. How do you feel they complement each other, and do you have a favourite?

I work as an artist, painting and drawing, and I have a small clothing brand. I work on interior design projects and collaborations and I do a bit of writing as well. I think all of my work has various threads that run throughout. The main one is to do with my outlook on the world, a sort of romantic viewpoint. Colour and a sense of optimism are key as well I think, and so is my love of nature, the land, mythology and magic. Painting and drawing is at the heart of everything I do. I make work for exhibitions, which feels very pure and personal, but also, when I'm working on clothing designs or interior design projects, every knitwear pattern or piece of furniture starts with a sketch. I don’t really use computers – drawing and making by hand is a really important part of my practice and approach.

In daily life, what inspires you to create, and how do you approach new work?

Living in the country is a big inspiration. I love where we live. The sort of hyperlocal stuff, the folklore of our surrounding hills and fields. We live close to the Rollright Stones, an ancient complex of Neolithic and Bronze Age megalithic monuments, a place full of magic. Having a garden here is a big inspiration too – we started making a garden six years ago when we first began renting in the country. Many of the flowers we grow appear in the work that I do, in paintings and drawings but also in clothing prints and patterns.

Over the years, you’ve collaborated with the likes of Ginori 1735, Burberry, Lanvin, Diptyque, the Royal Academy of Arts, and the V&A. Are there any projects that stand out to you?

I've been really lucky to work with some incredible brands and institutions. Ginori, for example, who I make porcelain with, is a wonderful Italian company with a history of making going back to the 1700s. Wonderful archives and its manifattura I always love visiting – it’s a sort of dream world, the best factory I’ve had the chance to visit. Working with Burberry was one of my first big projects, back in 2016. I had only recently set up my studio. It was the first time I'd worked on a project with a big company, and seeing my work in shop windows, in magazines and on products – it was a really special moment. Starting Chateau Orlando and having the chance to launch my own company was, of course, a very big moment, too. This year I’ve had the wonderful opportunity to work with several excellent museums and institutions including the National Portrait Gallery, the Louvre, Glyndebourne and the Garden Museum.

You’ve also been working on some beautiful interior projects, including the renovation of your own homes in the Cotswolds and Camden. Do you have any top tips for interior design?

I wrote a column for the FT for about five years – it was question and answer format, and I wrote mostly about interior design. The thing I would say over and over again is that I think the best interiors are the ones that reflect their owners and feel truly original. I think it's best to ignore trends. You must follow your own passions, your own interests, and collect the things that make you happy. Also: be brave.

Since getting your first pair of Løkka spectacles in 2023, the style has almost become part of your identity and daily uniform. You suit them very well - how long have you been a spectacles wearer?

I think I began probably around age 17 or 18, but I didn't start wearing glasses full-time until I was perhaps 21 or 22. Right from the beginning I was like, OK, I’m actually pretty happy about this. I've loved having fun with different shapes and colours over the years and it's definitely part of my identity. I don't feel complete unless I've got my glasses on.

Over the years Luke has added to his MONC collection with Løkka in Bottle Green, Apricot, and Poppy Red.

I love this frame because I like a round style but not too round and this is a perfect kind of in-between oval-meets-circle. The overall look is light (really thick frames don't really suit me), and I enjoy the slightly angular top edge of the frame, too. Of course the fact that Løkka comes in a huge variety of colours is brilliant, also, because I like to chop and change throughout the week.

In 2022, you launched your fashion and homeware brand, Chateau Orlando. Can you share some of your inspiration?

I studied menswear fashion design at Central Saint Martins. Experimenting with clothing has been a way for me to express myself since I was a teenager. When we launched Chateau Orlando we started with knitwear, and since then we've been growing it all quite slowly. I view it as another way for me to tell stories because, with each collection, I can explore the various topics that excite me, from Cornish folklore to Greek wildflowers.

The project is called Chateau Orlando because I wanted it to have a name that people would be curious about. I was putting together many of my favourite words and, in a simple way, I really liked this combination, how it looked on paper, and the sound of the words when spoken. Also, Orlando is one of my favourite novels. I liked the idea that Chateau Orlando could be a crumbling old hotel in the south of France, or perhaps a nightclub in Hollywood in the 70s – you know, all flashing neon lights.

Let’s talk Church Merch! This Summer, you collaborated with the National Church Trust. Can you tell us a bit more about this project?

I have a thing for old churches, their architecture and interiors full of wonders from stained glass to tapestries, kneelers and embroideries. I made it a bit of a mission of mine earlier this year to try and see a new one every week, mostly fairly local to me in Gloucestershire and Oxfordshire. A charity that helps to preserve historic churches, National Churches Trust, got in touch with me and I had this idea that, with Chateau Orlando, we could work on a project together. We made some merch and we gave a portion of the profits to the charity. It was a small thing, but this is exactly the kind of project I want to do more of with Chateau Orlando – I want to make nice products for our audience, of course, but I also want to bring attention to the places, people and things that I think matter and need talking about.

As we head into the depths of Winter, what’s on your dopamine list to stave away the chill and continue feeling positive and inspired?

I love autumn and I love winter. I'm not really a hot weather kind of person. This is my favourite time of year – October, Halloween, November, Christmas. It’s a time of merriment and I love the country at this time of year… As you know, I’m big on folklore, and when I can, I like to head out and celebrate ancient customs and the cycle of the seasons – there are always wonderful things to attend or explore. For 5th November this year I’m heading to a town in Devon to see a really crazy annual tradition – barrels containing tar are set on fire and carried through the streets. Certainly a way to raise spirits! After Christmas, when it can be a little bleak, I like to hibernate and get my head down. It’s usually a quiet time when I don't have to travel too much, and I often like to concentrate on my painting during this time. When you have a garden, there is always so much to look forward to. Before long the snowdrops will be in bloom…

Finally, a question we ask everyone In The Frame - which three guest past, present, future or fiction would you invite to a dinner party?

Ooo! Three is very difficult! I’m going to say… Cecil Beaton, King Ludwig II of Bavaria and Ithell Colquhoun. Oh, and Cedric Morris and Arthur Lett-Haines. That’s five – sorry! I should really throw a proper party.

To discover more of Luke's work, follow him on Instagram @lukeedwardhall or visit lukeedwardhall.com