Gergei Erdei on the influences behind his riotous new tableware collection
How did Herculaneum come about as a concept, and what does the name signify?
Herculaneum was the name of the Liverpool-based pottery which created gorgeous Greek-inspired transferware in the early 19th century and it’s also the name of an ancient Italian town, located near Naples. Herculaneum was buried under volcanic ash and pumice which perfectly preserved its ruins. That idea influenced some of the prints I designed and used on my table linens and cushions. When I looked at the transfer prints of Herculaneum Pottery, I felt they were so perfect and it’s sad that they closed down and nobody will ever produce their designs again. I have the same feeling when I see a perfectly painted Greek or Roman vase in a museum–why can’t I just walk away with this piece of perfection? Both of these stories surrounding Herculaneum resonated with the concept of my brand and its inspiration; to preserve the beauty of the past but to transfer it into the present to be used and celebrated in everyday life.
What do you want your new collection to say about you as a designer?
I hope it represents the continuity of my references and storytelling, but I am also focused on creating something that feels relevant and refreshing and never repetitive. I am on Pinterest almost every day and Instagram is also a great source for inspiration, as are vintage shops. I am constantly getting new influences and even though I do have a clear personal aesthetic, I always aim to put it in a new context with every collection. I am a Gemini and I get bored of things easily, so I am really focused on not boring anyone with my work. I think I am in a good place with this as the first designs were very Roman-inspired, the second collection had a medieval feel, and now we have jumped to Palm Beach in the 1960s. Every product is designed with a mindset that it has to make a strong impression and it has to be something you can’t find anywhere else.
I am also not just a designer but I am building a brand that grows from season to season and it’s important to create products that sell and complete each other so people can combine them and in time they can build their own library of designs. There are a few brands I keep coming back to when I shop clothes or gifts and this is my goal–to be a destination for clients who are looking for home accessories you can’t find anywhere else.
How does music tie in to the collection?
When I worked in Rome at Gucci we constantly listened to these fabulous Italian classics from the 1960s, 1970s and 1980s during fittings and this is how I became obsessed with Mina, Ornella Vanoni, Iva Zanicchi and Patty Pravo. Everyone was singing them while working. Imagine listening to all these songs while you are having a rooftop party in Rome and everyone wears vintage Pucci kaftans while drinking Campari soda. It would be such an unforgettable night! Ever since then I have kept listening to a lot of Italian songs. In general I love music that is full of theatrical drama and transfers my brain to the era that inspires me. If you are looking for the perfect tracks for your dinner party I actually collected my Italian favourites on Spotify and it’s available for anyone in my Amalfi folder–just search on my name and get ready for some time travelling!
Describe the collection in three words.
Nostalgic, exuberant, uplifting.
Did you work with any specific craftspeople on creating these pieces?
Yes I did. The production process is always very exciting because as the brand grows and the selection expands I always discover new suppliers. I am focused on producing everything locally in Britain but also on finding the most suitable craftsmen for every design. The glassware and the plates are both produced in Hungary by small manufacturers who are the last craftsmen that have the knowledge of certain artisanal techniques. They mostly learnt all their skills from their parents and grandparents but there isn’t a new generation who could continue their workshops. They are so little known; if you think about glassware, for example, the first thing that comes to your mind is probably Murano, but I feel I have the responsibility to support all these unknown businesses as long as I can. This is especially true after Covid because once they disappear, there isn’t a new generation to replace them.
How does this collection move on from your previous work?
I started my brand during the first lockdown and this is now my third collection so it’s still very fresh. The first two collections focused on printed linen products but they were mainly individual accessories for your home. My main goal has always been to grow the brand in a way that allows you to fully furnish your home with my designs, and hopefully very soon they will appear in your wardrobe too. For this spring and summer season, I designed table linens, placemats, glassware and dinnerware in four very joyful colourways, so it’s the first collection that allows you to completely dress a very important area in your home with Gergei Erdei designs. I felt that after all of the difficulties of the past years, the table should be the first area to focus on because that’s where everyone will gather and reunite. In terms of prints and designs, the past collections were inspired by ancient Rome, however, this one reflects on the 1960s hotel interiors of Palm Beach and the fantastic geometric motifs of David Hicks and André Arbus. Of course, you will find a few nods to Pompeiian frescoes and antique mosaics which are part of my ‘motif library’ but they are placed in a refreshingly contrasting style this time round.
What is it about the 1970s that holds so much inspiration for you as a designer?
I love colours, prints, dramatic interiors and a good amount of bling. The 1970s were filled with all this. It was an era when suddenly everyone started pushing the concept of individuality and I think people got to a point of liberation when they did not care anymore what society was thinking–a great contrast ton the 1950s when people were still really restricted by morals and public opinion. Menswear became super sexy and interior design did too. Think about all the chrome and mirror-panelled walls or the statement carpets of David Hicks. I love how many trends were going on in parallel, from space-age motifs through to geometric influences. I feel this era created the real playboy aesthetic which very much resonates with my personal taste in interior design. Romeo Rega, Renato Zevi, Jean Claude Mahey are some of my favourite designers from this period. It would be amazing to somehow create a collaboration to reestablish their design studios.
Gergei Erdei: @gergeierdei | gergeierdei.com
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