Contemporary Craft

A History: British Craft from the Post-War Years to Now

6 February 2026

Philip Smith

In the years following the Second World War, British craft underwent a profound transformation. Set against a backdrop of reconstruction, austerity and social change, makers across the UK began to reconsider not only how objects were made, but what role they might play in a modern society.

The post-war period gave rise to a confident and intellectually rigorous craft culture, one that blurred boundaries between fine art, design and making, and laid the foundations for the contemporary craft landscape we recognise today.

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Textiles

Textile art was among the most radical developments of the period. Artists such as Sheila Hicks and Magdalena Abakanowicz, whose influence resonated strongly in Britain, alongside key British figures including Mary Restieaux, Ann Sutton and Mary Farmer, pushed textiles beyond functional weaving into sculptural and conceptual territory. Shaped by developments at institutions such as the Royal College of Art, textiles became a medium for experimentation with structure, scale and abstraction, aligning closely with post-war modernist ideals. This legacy can be seen in the work of contemporary textile artists such as Alice Kettle and Margo Selby, who continue to explore material, narrative and form in innovative ways.

Studio Ceramics

British studio ceramics similarly flourished in the post-war decades. While rooted in the philosophy of Bernard Leach and the Anglo-Oriental tradition, the field was increasingly diversified by a new generation. Makers such as Lucie Rie and Hans Coper redefined the ceramic vessel as an expressive, sculptural form, balancing restraint with individuality. Their influence opened the door for artists including Elizabeth Fritsch, Ewen Henderson and Alison Britton, whose work challenged orthodoxies and expanded the expressive language of clay. Today, this lineage continues through contemporary practitioners such as Edmund de Waal, Rebecca Warren and Sara Flynn, whose practices reflect both continuity and reinvention.

Metalwork

Metalwork and jewellery experienced a parallel renaissance. Post-war silversmiths including Gerald Benney, Stuart Devlin and Malcolm Appleby combined exceptional technical mastery with bold modern design, often operating at the intersection of studio practice and industrial production. Their work redefined British silver for a new era, embracing texture, abstraction and sculptural form. In jewellery, makers such as Wendy Ramshaw, David Watkins, Peter Chang and John Donald moved away from traditional notions of preciousness, favouring unconventional materials and expressive forms.

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British 1935 -

British 1940 - 2021

British 1887 - 1986

British 1902 - 1995

British 1934 - 2000

Australian 1931- 2018

Scottish 1946 -

British 1944 - 2017

Studio Glass

Glass also found a new voice in post-war Britain. Influenced initially by Scandinavian design and later by American studio glass pioneers, artists such as Sam Herman, Michael Harris, Peter Layton and Colin Reid helped establish studio glass as a serious artistic discipline in the UK. Glass shifted from factory production to the studio, becoming a medium for personal expression, technical innovation and architectural ambition.

Furniture

Furniture and applied design completed this post-war craft ecosystem. Designers including Robin Day, Gordon Russell and Ernest Race championed well-designed, well-made furniture for everyday living, aligning craft values with social purpose. Their belief that good design should be accessible, durable and meaningful continues to resonate in the work of contemporary designers such as Rupert Williamson, Gareth Neal and others who bridge craft, design and sculpture.

Today, this rich post-war craft heritage is increasingly reassessed and appreciated not only for its aesthetic qualities, but for its cultural and historical significance. Collectors, institutions and scholars alike are recognising the importance of these makers in shaping Britain’s creative identity. Within this context, auction houses with deep craft knowledge play a vital role, not simply as marketplaces, but as custodians, interpreters and advocates for the field.

At Lyon & Turnbull, long-standing engagement with British craft allows for a nuanced understanding of post-war making across disciplines. By presenting ceramics alongside textiles, jewellery beside metalwork and furniture in dialogue with glass, a fuller and more interconnected picture of post-war creativity can emerge.

As interest in material-led, thoughtful making continues to grow, the post-war years stand out as a period of extraordinary innovation and quiet radicalism. Championing the best of British contemporary craft from this era is not about nostalgia, but about recognising a legacy that continues to inform and inspire the present.