Meet The Makers: Mathew Hilton

Always putting the functional needs of customers first over simply aesthetics, designer Matthew Hilton is arguably one of the most respected talents in Britain, combining elegant simplicity with complex engineering to craft truly exquisite furniture.

Based out of his studio in Crystal Palace, London, the designer was always interested in painting, sculpture and architecture, but it wasn’t until studying at Portsmouth College of Art when furniture design became a potential career. He enrolled in a course at Kingston Polytechnic and set up his own studio shortly after graduating and working for a couple of designers.

Going it alone, he created the iconic Balzac Armchair, now considered a modern classic. Ever since, he has committed to creating furniture that people can live with – balancing form and function – and specialises in cutting-edge wood-manufacturing techniques. It’s hardly surprising, then, that Hilton’s designs are displayed in the permanent collections of the V&A, amongst others. Rightfully so, as Matthew Hilton has become synonymous with excellence. Here, we sit down with the esteemed designer to talk craftsmanship, and discover the inspiration behind his ideas for Case.

What inspired you to become a designer? 

I always wanted to do something creative. As a kid, I used to paint and make clothes. I didn’t do that well in academic subjects a school, so I concentrated on being creative. I was unsure how to channel my creativity until I went to art school, which is when a tutor suggested furniture design. That’s when things started to fall into place.

Do you come from a creative family? 

I was the first to go to art school in my family. My dad was a doctor, as is my older brother and sister, and my mum is a midwife. It was a bit of a struggle to be the only creative one – but, in fact, it’s always been a motivator for me. I became obsessed with furniture design once I went to university – I used to browse through the shops that sold vintage furniture on the King’s Road.  

What materials do you favour? 

I like working with timber, because it’s the strongest and most traditional material, plus I understand it well. It’s an interesting time because of CNC development – a tool that creates objects from wood – which is finally modernising after being stuck in a rut for quite a long time. Wood also gets better with age, and it endures, which I find fascinating.  

What inspires your designs? 

I’m influenced by a lot of things from the past, from art to architecture, but mostly my inspiration comes from understanding what the product needs to do – along with the brief and the brand, of course.  

What is your design process for Case? 

It usually starts with a conversation with Paul Newman, the director of Case, because he’s found a new manufacturing facility or spotted a gap in the collection. Then we talk about it and explore some ideas together. Once we have a design in mind, we go to the factory to see what’s possible.  

What role does manufacturing play in the design process? 

Manufacturing is important. You can’t design something without knowing exactly where and how it’s going to be made, because every factory is slightly different. I need to know what their strengths and weaknesses are, as well as the things that cause them challenges. Case moves its manufacturing around – that’s one of the things Paul is great at – and finds new manufacturers that give us new possibilities.