Words by Hannah Armistead
Picture courtesy of Col Store
The name COL is, foremost, an homage to my late grandfather Colin — a creative, eccentric, mad-hatter of a man, forever etched in my memory: hunched over his pottery wheel, cigarette balanced on his bottom lip.
But ‘col’ also means together, or with — to collect, to collaborate.
This layered meaning brings together both past and future, personal and collective, and represents the philosophy on which COL is built — connection…
To physical form — to hold, to touch, to make.
To the places we inhabit — and the people we share them with.
To the objects that fill our spaces — and the stories and history they hold.
My affection towards objects and craft was shaped through the influence of my grandfather. He was a potter, designer, and teacher. I spent many school holidays in his makeshift studio — happily, messily shaping things from clay — and have fond memories of watching him breathe life into form, and patiently teaching me his craft. Over time, I’ve amassed a collection of his pieces, as well as many of my own imperfect childhood creations. Not only do I hold these dear, but these experiences instilled, from a young age, a deep appreciation for human creation, expression, and craftsmanship. It’s this appreciation which guides our approach at COL — from the objects we source, to the stories we share, the people we collaborate with, and the inspirations we draw from.
Objects, for me are much more than inanimate forms. They are what we collect over a lifetime — holding personal sentiment — and much like clothes, they are an expression of individual tastes, and by extension, personal expression. They are what bring life to a space and fill it with soul.
And that essence of soul — that is the imprint of the object’s creator. It’s the traces left from past owners, the history collected as it passes hands. The story woven into the fabric of a piece — an invisible thread that links people and objects.
I’ve always been drawn to old things — objects, books, furniture, architecture — not because of their age, but out of an appreciation for the craft and honest materials used. These are things which were created to last and, as a consequence, have been cherished for many lifetimes. Created slowly, skilfully — made to endure and weather with time.
And beyond the noise of mass production, this kind of careful creation remains rooted within the rich landscape of today’s makers — whose craft will equally stand the test of time — passing between hands and homes, being appreciated by many. Just as those pieces from the past continue to.
In a world which so often demands speed and encourages disconnected consumption — there is a growing desire to seek out true connection, to cultivate a sense of place, to purchase consciously, to seek out things to hold onto.
The spaces we cultivate create room to foster connection — for personal retreat, for communing with others, for sparking our own creativity. This is not about style over substance, or buying based on trends, but about shaping environments that offer us a vessel for connection. And this is what COL seeks to honour.