Artwork | Signature Collection
We’ve been inspired by Victorian lace patterns and combined them with four official Royal colours to form our Signature collection. Whilst makeup was associated with the socially untoward in Victorian times and therefore rarely used, fashion was booming. Ornate lace patterns were visible across a vast array of ladies garments and accessories of the time, and it’s these patterns that have inspired us to design something that seamlessly blends 19th century elegance with the Charles Mallory mark. This beautiful lace design marries strokes of gold with historically regal colours reminiscent of Great Britain; specifically London, home to one of the longest standing monarchies in the world. The Charles Mallory symbol marks our pride in the bordering lace pattern and all that is represents.
The term ‘Fern Green’ was first coined in 1902 to describe the rich green tone observed in fern plants. Fern plants, commonly found in moist woodland, first existed on earth over 360 million years ago, preceding dinosaurs and flowering plants.
Robin Egg Blue
The term ‘Robin Egg Blue’ was first used in 1873 to describe the radiant shade of blue observed on the eggs of American Robins. The un-speckled shade of cyan is a result of the biological pigment, biliverdin, produced by tree nesting birds.
This deep fuchsia and burgundy fusion, termed ‘Cerise’, derives from the 19th century French term ‘cherise’ translating literally to ‘cherry’. The word was first cited in Britain in an article written for The Times newspaper, in the year 1858.
This vibrant variation of Royal Blue has been referred to as ‘Queen’s Blue’ since 1661. The colour is said to be the creation of a consortium of Somerset millers, commissioned to make a dress for the wife of King George III and Queen of England, Charlotte of Mecklenburg-Strelitz.
Artwork | William Morris Collection
The Charles Mallory William Morris collection exhibits the work of Britain’s most renowned Victorian textile designer. Morris’s work, inspired by the natural world he observed and loved, greatly influenced late 19th century furnishings and interior decoration. Morris was a perfectionist at heart, whom created works of utmost quality and beauty. At Charles Mallory we share Morris’ innate search for perfection, and thus dedicate a collection to this celebrated textiler and national treasure. Interestingly, some of his most captivating works were created by his loved ones and employees at Morris & Co.
Golden Lily (1899)
This design was inspired by the art of John Dearle, a former Morris & Co. employee. He was an exceptional textile designer, who started his working life as an assistant in William Morris’s first shop on Oxford Street. This popular Victorian pattern ‘Golden Lily’ reflects his love of nature.
This wonderfully typical Victorian print ‘Chrysanthemum’ was heavily inspired by Morris’ intimate knowledge and love of nature. The design was first used in the drawing room of his good friend and British art patron, Alexander Ionides.
Strawberry Thief (1881)
‘Strawberry Thief’ is undoubtedly one of Morris' most famous designs. His inspiration came from the birds he saw stealing fruit from his kitchen garden at Kelmscott Manor, West London. The design was first printed in 188 at Merton Abbey Mills in London.
This is the splendid art of Victorian embroiderer, May Morris, daughter to the renowned William Morris. This timeless floral pattern ‘Honeysuckle’ reflects her extraordinary understanding of natural forms. The intricate twining tendrils make this design exquisite.
Artwork | Heritage Collection
Our Heritage Collection uses symmetry and colour to spawn truly wonderful and majestic patterns. Through the medium of natural forms, wildlife and emblems of our heritage, these designs encapsulate historical international relationships with Britain. Artworks in this collection are both simplistic and complex at the same time, subtle and bold, elegant and meaningful. This collection is timeless.
This classic design was inspired by the distinctive, symmetrical and ovate petals of the wildflower Cornus canadensis, also known as Bunchberry. The flower species is classified under the Cornaceae family of flowering plants and is commonly found covering moist woodland in the cooler climes of the Northern Hemisphere.
This classic design symbolises the 800th anniversary of diplomatic affairs between the United Kingdom and Morocco. The relationship between the two monarchies was initiated in 1213 by King John. The lattice design reflects traditional Moroccan textile patterns, whilst the colour emulates the country’s golden desert sands.
Fleur de Lis
This traditional design exhibits an array of ‘Fleur De Lis’, a French expression translating to ‘lily flower’. These decorative symbols can be seen on the Crown Jewels of England, however they are historically associated with the French monarchy. The emblem is thought to have been based on the yellow flower, Iris pseudacorus.
In Asia, the peacock symbolises beauty, happiness and prosperity. Peacock motifs were first incorporated into textiles during the 19th century, becoming increasingly desirable during the Art Nouveau era. Famous peacock designs by William Morris, Walter Crane and Liberty are still greatly popular today.
Artwork | Leyendecker Collection
The prolific and groundbreaking artwork of Joseph Christian Leyendecker shaped the trajectory of art, advertising, and design throughout the early 20th century. His works remain the definitive representations of the Golden Age of Illustrations in America.
As the premier cover artist for one of the Nation’s most popular publications, the Saturday Evening Post, J.C. Leyendecker was responsible for some of the western world’s most iconic images, including jolly Santa Claus in a red coat lined with fur, as well as the New Year’s Baby. His May 30, 1914 cover inspired the tradition of giving flowers on Mother’s Day.
Our newest collection reflects the flamboyance, ease, and glamour of the roaring 1920’s as captured by its most famous illustrator.
Commissioned as the cover for February edition of Life Magazine in 1922, “The Flapper” was immediately recognized as a masterpiece. Her tantalizing expression, decadent and exquisitely detailed apparel, and the sense of freedom and ephemerality evoked by her Monarch wings all contribute to this beautiful image’s status as the quintessential representation of that free spirited age.
This mirthful and lavishly colored illustration depicts a gorgeous, flower clad ballerina posing provocatively en point as a tumbler kneels enthralled, desire writ plainly on his masked visage. To quote the bard, love makes fools of us all.
Let’s Dance (the Arrow Collar Man)
The Arrow Collar Man is one of Leyendecker’s most iconic images, modeled after his friend, muse and partner, Charles Beach. Here he is wonderfully depicted embracing a lover mid-Waltz. Beach remains the consummate depiction of a handsome gentleman of the times, and this particular image perfectly captures the stately, refined elegance of that dignified era.