Whereas other countries are often associated with one particular aesthetic, the UK’s strength lies in its diversity and eclecticism. The weird and wonderful chandeliers designed recently by Tom Dixon, Tord Boontje, Michael Anastassiades, Georg Baldele and Nigel Coates for Swarovski’s Crystal Palace project perfectly demonstrate this point. From a stylistic point of view, British design is impossible pigeonhole. Freshness and originality are what designers strive for, and individualism is the key. The British scene happily encompasses the cool restraint of Jasper Morrison, the playful maximalist exuberance of Ron Arad, the decorative lyricism of Tord Boontje, and the off-the-wall wackiness of Michael Marriott.

Also significant is the sheer volume and critical mass of the design community in Britain, and the healthy cross-fertilisation between different disciplines. Textiles and lighting are particularly flourishing at the moment, with exciting work being produced by a host of small, entrepreneurial, designer-led companies, such as Timorous Beasties (printed textiles and wallpapers), Anne Kyyrö Quinn (felt-based soft furnishings), Helen Yardley (rugs), Dominic Crinson (digitally-printed tiles), Sharon Marston (fashion-inspired textile-based lighting) and Tom Kirk (lighting made from industrial plastics and glass). Witty, resourceful and technically ingenious, British furniture and furnishings designers lead the creative world. By Lesley Jackson.