WATTS 1874 - 150 YEARS OF HISTORY
Founded in 1874 as Watts & Co. by George Frederick Bodley, George Gilbert Scott Jr. (director of Watts 1874 and great-grandfather of Marie-Séverine de Caraman Chimay), and Thomas Garner, the company marks 150 years since its establishment. In the history-rich atmosphere of the Watts 1874 showroom in London—surrounded by refined textiles and rolls of wallpaper drawn from the company’s archives—we had the pleasure of meeting Marie-Séverine de Caraman Chimay (MS), who took over the company from her grandmother in 2002, carrying forward this remarkable heritage with grace and dedication. In this compelling interview, which evokes defining moments and family memories, we explore the history of Watts 1874, what it means for MS to represent the fifth generation at the helm of the company, the events marking this anniversary year, and the brand’s special relationship with Romania.
LD: This year marks 150 years since the company’s founding—a major milestone. How will you celebrate it?
M-S: We are very proud—first of all, simply to still be here. We asked ourselves how we could celebrate this anniversary in a meaningful way, how we could push ourselves further. The first event of the anniversary year was our debut at Paris Déco Off, which proved to be a great success. For this occasion, we were fortunate to collaborate with the Cité internationale de la tapisserie d’Aubusson, a project we have been developing together for several years. They loaned us two original seventeenth-century tapestries from their collection, which we exhibited alongside our work. For us, this collaboration represented a tremendous recognition of Watts’ craftsmanship and dedication. This was followed by London Design Week, where we delivered a presentation paying tribute to my grandmother, who saved Watts after the Second World War. Our next major project is participation in WOW!house. As you know, it is a highly dynamic exhibition format. This year, we are designing the room called The Legend, the largest space in the show, in collaboration with Alidad—which is extraordinary. What truly moved me in this collaboration was not only the design process itself, but the depth of research he undertook into my family history. The level of documentation was remarkable. In one of our first meetings, he told me: “I want to design this room as if it belonged to one of your ancestors.” And I realised how deeply he understands what Watts is truly about.
LD: Your grandmother used to show you the hand-printing wallpaper technique when you were a child. Do you feel that returning to this craft creates a dialogue between you?
M-S: Yes, I do. My grandmother was an incredibly energetic person; she trained as an actress and even had a Hollywood contract. She used to say: “My dear, I didn’t take it because I looked too much like Vivien Leigh!” She joined Watts when the company reopened in 1947, after the war. In her diary, she wrote: “Oh, everything was covered in cobwebs.” When she arrived, the family gathered and said: “We have just survived four years of war—the country is nearly bankrupt. Who will buy expensive silk and hand-printed wallpaper now?” But she insisted on continuing the family business. She restarted operations slowly, placing strong emphasis on wallpaper production.
LD: As the fifth generation involved in the company, do you see this as a blessing or a burden?
M-S: Oh, it is definitely a blessing. I feel very comfortable in this role. There is so much to tell about Watts—we are connected to so many projects and buildings. For instance, my great-grandfather, who was director of Watts between the two world wars and shortly after the Second World War, won a competition to design Liverpool Cathedral at only 21 years old. Of course, the commission could not proceed—how could they entrust such a major project to someone so young? He later contributed to the design language of the iconic red telephone box, as well as buildings such as Tate Modern and the Battersea Power Station. Just last week, Westminster Abbey held a service commemorating his passing. It is truly extraordinary.
watts1874.co.uk
Photo courtesy of Watts 1874
Interview by Sofia Țanicui
Discover the full interview in Volume II.