Tom and Pandora Harrison:
Pandora and Tom started SELVA London after they framed a collection of vintage Christian Dior scarves belonging to Pandora’s Grandmothers.
The scarves were beautiful blown up florals, with vibrant Warhol-esque colours and Pandora was keen to find a way to display them in her home. Pandora’s mother Kitty Morris lent her skills as an expert textile conservator, and together they were able to produce beautiful large scale, one of a kind art work.
After encouragement from friends who saw them hanging in their West London home and wanted their own, they produced a few more which were quickly snapped up.
The appeal of these pieces is down to the variety of styles available which work with all decors ranging from country house to urban loft living and corporate office space to hotels. The price is very accessible compared to other original art works and very importantly the finish is high-end.
The presentation of the pieces is what makes them special. Kitty has perfected the technique after many years conserving textiles for museums, galleries, private collectors and foundations. The product is bespoke and all hand produced, the frame itself gives a modern but timeless edge to the pieces protecting them from UV damage and it's light in weight.
With Tom working in the film world and often on location, they have been lucky enough to have sourced stock from many of European thrift shops, boutiques and markets. Rome, Berlin and Paris being current favourites. With family connections in the US they also have access to the hidden treasures of NYC, Philadelphia, DC and deepest Virginia.
Commissions are also taken for those who have their own stash of beautiful scarves, modern and vintage. Damien Hirst for Alexander McQueen range in particular are much sought after.
Our passion is to provide visually stunning pieces of art for people who enjoy and appreciate beautiful things.
Kitty Morris:
I grew up on a farm in Dorset, England, surrounded by sheep and cows. I also have strong Middle Eastern connections. My father, before he retired and took to farming, worked all over the Middle East. My mother also worked there during World War II.
As a result of this, we had one of the most exotic farmhouses in the West Country, full of Persian carpets, embroideries and colourful ceramics.
As a child I always loved clothes and textiles. Having initially studied fashion, I became more and more interested in the construction of fabric. I flirted with the idea of being a tapestry weaver but ended up studying conservation.
When I finished my training I was shown a Suzani embroidery by a friend. “It’s very nice,” I said, “but very dirty!” I offered to wash it for him and my love of Islamic embroidery had begun.
Since then I have worked as a conservator, specialising in museum display.
I have contributed to major projects and exhibitions at venues and in institutions round the world. In the past few years.