In a recent Substack post, Jill Singer, co-founder and editor-in-chief of Sight Unseen, recounted receiving, 20 years ago at her South African engagement party, an onslaught of homewares from designer Carrol Boyes. Her brand, Carrol Boyes, clearly an institution in its home country, has recently begun making inroads internationally, with an online store having recently opened in the UK. Singer writes of being mystified by the metal designs, which teeter between covetable surrealist-inspired pieces and gift-fair kitsch.
Singer’s feelings resonated when I saw the news of the UK launch. Initially drawn to the irrefutably ‘fun’ pieces in the sort of muted metals that are so popular right now, I found myself wavering as I explored the website. Some of the figurative items, a Carrol Boyes trademark, felt a touch cartoonish. But, confusingly, other pieces – like this vase and this mirror – capture an irresistible midcentury modern-meets-Art Nouveau aesthetic. Certain items, like this vintage bowl, trivet and cream boat, hit the mark of perfection. And there's nothing wrong with a bit of kitsch: figurative pieces such as this candle holder and these door handles are ideal candidates for introducing the sort of unexpected touches that make a space feel intentional.
Carrol Boyes was founded in 1989 in a small studio in Cape Town. The eponymous artist and designer left her teaching career at 35 to launch her own brand – which she did within six months and without a formal business plan, driven simply by the vision of transforming everyday household items into artistic statement pieces. Today, the family-run business, led by her brothers Charles and John Boyes, boasts 41 boutiques across South Africa and distribution in major department stores in the United States and Australia.
The brand’s metalwork, tableware and home accessories emphasise simplicity, functionality and a sculptural, fluid-lined aesthetic. Many pieces feature Giacometti- or Henry Moore-esque human forms executed in materials like pewter, aluminium and stainless steel (the brand also stocks ceramics, glass, wood and textiles). Think: a spindly aluminium figure holding up a bowl, Atlas-style; the glass top of a drinks trolley supported by two similar, splayed figures; and a pair of salad servers imagined as two profiles kissing.
The 'Reclining' champagne cooler
From the 'Woman/Man' 24-piece cutlery set
The renewed interest in Carrol Boyes reflects, perhaps, the design zeitgeist of 2026. The designer's pivot from sculptural training to functional design mirrors a contemporary appetite for cross-disciplinary work, while the hand-cast pieces speak to a renewed interest in artisanal traditions. As Amy Dennis of Edinburgh’s Studio Sale notes in Singer’s post, vintage pieces that bear subtle irregularities and patination resonate more strongly than the brand’s recent, more polished items.
While Carrol Boyes’ designs may have caused me to momentarily interrogate my notions of taste, I’m happy to declare myself a disciple of the brand, which occupies a fascinating space between art and utility, humour and elegance. After all, nothing good is ever unanimous.