Why Watts & Co. Started:
A Vision of “Fully Furnished” Design
It’s 1874, and London is booming. The Victorian age is in full swing—Queen Victoria reigns over an Empire, and the city’s skyline is changing almost daily with new and ambitious architectural projects. Charles Dickens has given us indelible images of London’s bustling streets, while Sherlock Holmes is forever associated with Baker Street. In this world of grand ideas and architectural marvels, three young architects see an opportunity to merge style, craftsmanship, and convenience in a bold new way.
Founders of Watts & Co - 1874
Meet the Founders Three
George Frederick Bodley, Thomas Garner, and George Gilbert Scott Jr. had trained together in the practice of George Gilbert Scott Sr., the celebrated Gothic Revival architect. Through countless hours spent at the drawing board, they shared two core beliefs:
- Architecture deserved a holistic approach—beautiful buildings should be matched with equally beautiful interiors.
- Quality craftsmanship must be protected, sustained, and constantly reimagined for new projects.
Beyond designing churches, houses, and public buildings, these three recognised a gap. If a single firm could supply every interior finishing—from wallpapers and fabrics to altar frontals and bespoke furniture—they would have an innovative edge. And so, Watts & Co. was born.
Maps of Watts & Co on Dacre Street
A “Department Store” for Architects
From its earliest days at 30 Baker Street, Watts & Co. stood apart. This wasn’t simply a shop but rather a design resource—an in-house team that produced (or sourced) everything an architect might specify to give a building its final, unified flourish.
- Wallpapers were hand-blocked in Islington by John Perry.
- Stained glass came from Burlinson and Grylls.
- Metalwork and altar vessels were crafted to exacting designs.
- Embroidery and sewing rooms within the premises brought elaborate church vestments and drapery to life.
- Even a specialised house painter—famously Mr. Mole—was on hand to perfect colour schemes and finishing details.
For Bodley, Garner, and Scott Jr., founding Watts & Co. guaranteed that every detail of the buildings they designed—from the largest swathes of wallpaper to the smallest piece of embroidery—would align seamlessly with their architectural vision.
The 'Pear' at Ham House
The Power of Pattern and Colour
The founders’ design language was anchored in the rich, decorative tradition of the Gothic Revival. In an era enamoured with ornate detail and historical references, Watts & Co. offered grand-scale patterns, luxurious jacquard velvets, and vibrant colour palettes. Bodley, for instance, loved to pair carved oak paneling with bold green fabrics—his “Pear” design, still in production today, is a quintessential example of the firm’s historical yet enduring style.
Through commissions in great country houses like Powis Castle in Wales and Ham House in Surrey, Watts textiles and wallpapers became integral to some of the most distinguished Victorian and Edwardian interiors in Britain. Meanwhile, ecclesiastical projects ensured Watts’ hallmark craftsmanship was showcased in cathedrals and churches, reflecting the firm’s origins in the Gothic Revival movement.
From Then to Now
Fast forward 150 years, and Watts & Co. still stands at the intersection of architecture, interior design, and refined craftsmanship. Surviving through two World Wars, post-war austerity, and changing fashions, the company has adapted while preserving its founding ethos:
- Quality without compromise.
- Authenticity rooted in the archives.
- Innovation that respects heritage while embracing fresh artistry.
Mrs. Elizabeth Hoare and the team at Tufton Street
Over time, dedicated figures like the late Mrs. Elizabeth Hoare—granddaughter of the famed Gothic Revival architect George Gilbert Scott—would step in to save the company from the brink of bankruptcy, steering it through new relationships, commissions at Westminster Abbey, and a growing ecclesiastical clientele. But the original vision of Bodley, Garner, and Scott Jr. remains remarkably intact.
Today, when you see a magnificent piece of damask or a bold-scale pattern from Watts & Co., you’re experiencing the same spirit that guided these young architects in 1874: a belief that every interior space—whether a royal chapel, a country manor, or a modern home—deserves beauty that is meticulously designed, masterfully made, and deeply meaningful.