Exploring the Fascination with William Morris’ Vibrant Floral Patterns

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The British artist’s designs appear on mugs, plates, shoes and more. A new exhibition explores how his signature style became so ubiquitous—and how Morris would feel about his 21st-century legacy

Lillian Ali – Staff Contributor

April 10, 2025 4:05 p.m.

The distinctive patterns of branches adorned with vibrant flowers and fruits have permeated various aspects of daily life. Over a century after his passing, William Morris’ artistic designs can be found on an array of products, from wallpapers to dinnerware, and even on more modern items like phone cases and hand creams.

This widespread recognition of Morris’ intricate artistry is the central theme of the exhibition “Morris Mania,” currently showcased at the William Morris Gallery in London. The exhibit, running until September 21, delves into Morris’ body of work, his philosophical beliefs, and the enduring impact of his legacy on modern culture.

Hadrian Garrard, director of the gallery, expressed his motivation for creating the exhibition through his observation of Morris’ designs’ omnipresence. In conversation with the London Times, he remarked on the necessity to examine how Morris, heralded as Britain’s finest designer, became a viral sensation in contemporary society.

To further engage the community, the gallery issued an open invitation for the public to showcase any Morris-themed objects they owned. This call resulted in a diverse collection of items, including toys, mugs, chopsticks, shoes, and face masks, all featuring Morris’ iconic floral designs.

Sam Jacob, the exhibition’s designer, likened Morris’ patterns to those seen in the science fiction classic Alien, suggesting that they can seamlessly adapt to any context—whether it’s a decorative mug or a submarine, he remarked in a conversation with the Guardian‘s Oliver Wainwright.

Morris emerged as a pivotal figure of the Arts and Crafts movement, a late 19th-century artistic movement responding against the impacts of industrialization on craftsmanship and quality of life for workers. Morris, who held socialist ideals, conveyed his disdain for modern civilization, stating in a 1894 piece that “the leading passion in my life has been and is hatred of modern civilization.”

Despite his initial resistance to commercialization, Morris’ designs have found their way into both luxury and budget-friendly retailers. His motifs even appeared on Temu, a Chinese e-commerce site offering A.I.-generated Morris-style merchandise. The exhibition contemplates the tension between Morris’ original values and his current legacy, with Garrard noting, “We see what capitalism has done to his work,” in commentary to Financial Times‘s architecture and design critic, Edwin Heathcote.

Morris advocated for the values of community and worker welfare over profit. However, he also recognized the potential of technology to contribute positively to artistic expression. As artist Jeremy Deller reflected in the London Times, Morris would likely be intrigued by the modern ease of production, despite the lack of traditional craftsmanship in many objects showcased in the exhibition, such as mass-produced iPhone cases. This shift in production methods might both inspire and disturb him, considering the ongoing issues related to labor rights that mirrored the challenges of the Industrial Revolution.

Nevertheless, the popularity of Morris’ aesthetic aligns with his belief that beauty should be accessible to everyone. For instance, he created linoleum options for those unable to afford his luxurious carpets. Deller referenced Morris’ famous assertion, “Have nothing in your houses that you do not know to be useful or believe to be beautiful,” to highlight this ethos.

“Morris Mania” will be on view at the William Morris Gallery in London through September 21, 2025.

Source
www.smithsonianmag.com