Living room designed by Furnishing Futures
CategoriesInterior Design

Children in social housing “sleeping on a blanket on a concrete floor”

Living room designed by Furnishing Futures

Increasing numbers of people in social housing are living in inhospitable conditions because they are unable to afford even basic furniture and flooring, Dezeen reports as part of our Social Housing Revival series.

In the UK, social-rented homes are usually handed over to new residents in a sparse state – lacking basic elements of decoration and furnishings, as well as essential appliances.

As the cost of living continues to rise and the availability of crisis-support services diminishes, a growing number of people are unable to afford to furnish these homes, meaning they are sometimes forced to live in a harsh environment for months at a time.

Living room designed by Furnishing FuturesLiving room designed by Furnishing Futures
Top: before – many UK social-housing residents live with furniture poverty. Above: after – London charity Furnishing Futures makes new interiors for women who have fled domestic abuse

“For the families who we work with, the point that is most distressing is the void condition – the homes are given and [social landlords] don’t bother painting the walls, and there’s absolutely no flooring down,” said Emily Wheeler, founder and CEO of Furnishing Futures.

“Most people over time can manage to get some furniture together that’s gifted to them from the local church or friends or family or whatever, but it costs thousands and thousands of pounds to put flooring down, even in a one-bedroom flat.”

London charity Furnishing Futures was recently established to address the issue among women fleeing domestic abuse, creating interiors to a high standard using furniture donated from brands.

Furnishing Futures CEO and founder Emily WheelerFurnishing Futures CEO and founder Emily Wheeler
Emily Wheeler founded Furnishing Futures after realising that the poor condition of social housing was driving women back to abusive partners. Photo by Penny Wincer

Domestic-abuse survivors and people leaving care or who were previously homeless are particularly at risk of furniture poverty since they are less likely to have items to bring with them.

Wheeler said Furnishing Futures is seeing increasing demand for its services as more people come under financial pressure.

“Initially we were only working with women who were in receipt of benefits or experiencing severe poverty or destitution,” explained Wheeler.

“But now we’re working with families who are using the food bank but the woman is a midwife, or she’s a teaching assistant, or she is a teacher, and that is new.”

Social home in dilapidated conditionSocial home in dilapidated condition
The charity increasingly encounters families living in destitute conditions

Sometimes the conditions the charity witnesses are shocking, Wheeler told Dezeen.

“People are experiencing real hardship,” she said. “We’ve frequently come across people who have no food, no clothes, no shoes for their children.”

“The kids are sleeping on a blanket on a concrete floor – there’s nothing in the flat whatsoever,” she continued. “And those people might even be working as care assistants, or teaching assistants. So it’s really, really difficult at the moment for people.”

Interior created by Furnishing FuturesInterior created by Furnishing Futures
Furnishing Futures seeks to deliver interiors that “look like show homes”. Photo by Michael Branthwaite

According to the campaigning charity End Furniture Poverty, more than six million people in the UK lack access to essential furniture, furnishings and appliances – including 26 per cent of those living in social housing.

Only two per cent of social-rented homes in the UK are let as furnished or partly furnished, the charity’s research has found.

Wheeler is a trained interior designer who formerly worked in child safeguarding.

Furnishing Futures volunteer working on a homeFurnishing Futures volunteer working on a home
The charity decorated and furnished 36 homes in 2023. Photo by Michael Branthwaite

She was prompted to set up Furnishing Futures after discovering that many women in social housing who had left dangerous homes were driven back to their abuser by poor living conditions.

“When women were placed in new housing after having escaped really high-risk situations, they sometimes felt that they had no choice but to return because they couldn’t look after their children in those conditions – there’d be no fridge, no cooker, no washing machine, no bed, no curtains on the windows,” she explained.

“People are expected to go to those places at a time of great trauma and distress, and recover, but those places are often not conducive to that because of the design and the environment.”

Shot of interior by Furnishing FuturesShot of interior by Furnishing Futures
Wheeler said the interiors industry could be doing more to have a bigger social impact. Penny Wincer

The charity overhauled 36 homes in 2023, helping 99 women and children. It takes a design-led approach with an emphasis on finishing interiors to a high standard.

“We professionally design them and they look like beautiful homes – they look like show homes when they’re finished,” Wheeler said.

“And the reason we do that is because it’s really important that the women feel that they have a beautiful home and they feel safe there, that they feel for the first time that someone really cares about them,” she added.

“It also supports the healing and the recovery journey for those women.”

To help ensure quality, the charity only works with new or as-new furniture. It works with brands to source items that would otherwise be sent to landfill – usually press samples or items used at trade shows, in showrooms or on shoots.

Donating partners include Soho Home, BoConcept, Romo Fabrics and House of Hackney.

Wheeler is keen for Furnishing Futures to expand beyond London but the charity is currently held back by limited warehouse capacity and funding.

“If we had more money and more space we could help more people, it’s as simple as that, really,” she said.

Furnishing Futures warehouseFurnishing Futures warehouse
The charity relies on donations from furniture brands

The charity continues to seek donations from brands, particularly for bedroom furniture and pieces for children.

As well as calling for social-housing providers to let their properties in a better state, Wheeler believes the design industry could be doing more to help people facing furniture poverty.

“I do think that where the industry could catch up a little bit is working with organisations like ours,” she said.

For example, charities are unable to take furniture lacking a fire tag – which tend to be removed – so imprinting this information onto the items themselves would make more usable.

Children's bedroom designed by Furnishing FuturesChildren's bedroom designed by Furnishing Futures
The charity is often in need of items for children’s bedrooms. Photo by Michael Branthwaite

In addition, donating excess items as an alternative to sample sales could be a way to reduce waste with much greater social impact, she suggests.

“There’s probably millions of people across the country living without basic items and yet there’s massive overproduction, but the waste isn’t necessarily coming to people who actually need it,” Wheeler said.

“There are things that the industry could be doing that will create a huge social impact very easily.”

The photography is courtesy of Furnishing Futures unless otherwise stated.


Social Housing Revival artwork by Jack BedfordSocial Housing Revival artwork by Jack Bedford
Illustration by Jack Bedford

Social Housing Revival

This article is part of Dezeen’s Social Housing Revival series exploring the new wave of quality social housing being built around the world, and asking whether a return to social house-building at scale can help solve affordability issues and homelessness in our major cities.

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Portrait of Nora Fehlbaum by Tom Ziora
CategoriesSustainable News

Vitra “willing to take risks” on changing products says CEO Nora Fehlbaum

Portrait of Nora Fehlbaum by Tom Ziora

Swiss furniture brand Vitra will prioritise reducing the environmental impact of its existing lines through material innovation, CEO Nora Fehlbaum tells Dezeen in this interview.

One of the industry’s best known and most influential manufacturers, Vitra‘s collections include iconic pieces such as Eames plastic shell chairs and Panton chairs.

Like its peers, the brand is under increasing pressure to reduce the ecological footprint of its operations in the face of worsening climate change.

Portrait of Nora Fehlbaum by Tom ZioraPortrait of Nora Fehlbaum by Tom Ziora
Nora Fehlbaum spoke to Dezeen at the Vitra Campus in Weil Am Rhein

Speaking to Dezeen at the Vitra Campus in Weil Am Rhein, Germany, Fehlbaum suggested that the company’s heritage as a high-end, design-focused furniture brand is inherently aligned with sustainability.

“Vitra’s greatest contribution to sustainability is its products with an above-average service life, which omit everything superfluous,” she told Dezeen.

“Our roots in modern design would allow nothing else.”

However, she claimed Vitra is “doing everything we can with all the means we have” to become more sustainable.

Alvaro Siza designed Factory at the Vitra Campus which has been partially converted to accommodate the new Vitra Circle StoreAlvaro Siza designed Factory at the Vitra Campus which has been partially converted to accommodate the new Vitra Circle Store
The Álvaro Siza-designed Factory at the Vitra Campus has been partially converted to accommodate a new Vitra Circle store (also top)

“Everybody at Vitra has understood our environmental mission,” she said. “We don’t have a sustainability officer – everybody has taken it as their own.”

Vitra’s stated goal is to be “a net-positive company based on all the indicators of its ecological footprint by 2030”.

It has a long way to go, with the company’s most recent sustainability report published in 2022 stating that its total emissions for the year were equivalent to nearly 141,000 tonnes of CO2.

Eames shell chairs now made from recycled plastic

The brand’s sustainability strategy is chiefly focused on its popular existing products, Fehlbaum said.

“We have the biggest impact if we change the products that we sell the most of already, rather than inventing one single sustainable product,” she argued.

“At Vitra, a product is never final, but continues to evolve.”

Eames shell chairs in the Vitra Circle storeEames shell chairs in the Vitra Circle store
The Vitra Circle store refurbishes and sells second hand Vitra products

As of January this year, the shells of the Eames plastic chairs manufactured by Vitra are now made exclusively from recycled post-consumer plastic.

“[The Eames shell chair] is probably the most iconic, most copied chair out there – and it won’t be available in virgin material,” said Fehlbaum.

The switch means the shells have a speckled finish that differs from the originals, but Fehlbaum is satisfied with this “recycled aesthetic”.

“It’s a different aesthetic, and of course we hope the consumer gets used to – and maybe even comes to love – this new aesthetic,” she said.

“That’s a risk that we’re taking and that we’re willing to take.”

speckled material next to originalspeckled material next to original
The RE plastic shells are noticeably more speckled (on the right) than the original plastic shell (on the left)

It follows earlier switches of products and parts from virgin to recycled plastic, starting with Barber Osgerby’s Tip Ton chair in 2020.

A number of accessories like Arik Levy’s Toolbox and Konstantin Grcic’s Locker Box have since followed. The entire HAL chair family, designed by Jasper Morrison, now also have their shells manufactured using recycled plastic.

The recycled plastic is taken from household recycling obtained through the German garbage collection programme Gelber Sack (Yellow Bag).

“Utilising this raw material instead of petroleum-based primary plastics generates fewer climate-damaging emissions and less primary energy consumption,” Fehlbaum claimed.

The role of recycling in solving the world’s plastic pollution crisis is contested among designers.

Some, including designer Richard Hutten and Belgian curator Jan Boelen, argue that big brands are using recycling to create an illusion of change while continuing to use virgin plastics.

Others, among them the CEO of the Ellen MacArthur Foundation Andrew Morlet, argue that durable, recyclable plastics can form part of a circular economy.

Many recycled plastic products involve the use of some virgin plastic or additive substances that then complicate or inhibit their own recyclability.

Vitra said its RE product, used for the Eames shells, does not contain any virgin plastic and can be fully recycled at the end of the product’s life thanks to the use of technical fillers, like glass fibres, rather than any additives that prevent onwards recycling.

A selection of Vitra products on displayA selection of Vitra products on display
Vitra products are available to purchase at discounted rates at the new Circle Store

Another sustainability initiative is Vitra’s Circle Stores, which sell used furniture and accessories by Vitra and Artek, such as sample products and exhibition pieces, with prices depending on the condition of the products.

All products are tested for functionality and repaired if necessary so that a renewed product warranty can be granted.

The first Circle Store opened in Amsterdam in 2017 in response to questions from customers about second-hand Vitra products, with a second in Brussels.

A third recently “moved” from Frankfurt and opened in an adapted space at the Álvaro Siza-designed Vitra Campus factory building, with a service and repair area where customers can bring their products to receive a new lease of life.

“With the Circle Store, we can offer our environmentally conscious clients an even more environmentally conscious choice: namely that of a second-hand product,” said Fehlbaum.

Absence in Milan “really wasn’t such a huge deal”

The brand has also taken steps to rewild parts of the Vitra Campus. The Piet Oudolf garden was completed in 2020 and Vitra is working with Belgian landscape architect Bas Smets on a masterplan plan for fewer roads and more native trees on the site.

Fehlbaum acknowledges that some may be sceptical about the sustainability work it is doing within the context of widespread greenwashing.

“It’s impossible to get through this jungle of messaging,” she said.

“How do we talk about it to make sure that it is clear how thoroughly and authentically we’re really tackling this?”

Some other furniture brands have also reduced their presence at design fairs amid concerns about the significant emissions associated with shipping products around the world for temporary showstands.

Vitra has historically had a significant presence in Milan during the Italian city’s annual design week in April, but was noticeably absent in 2023.

However, Fehlbaum said that although she was asked about this a lot “it really wasn’t such a huge deal”.

“For us, it makes a lot of sense to use what we already have,” she said.

“We have the Vitra Campus and it’s not so far from Milan. We prefer to use and invest in something that can be around for five or 10 years rather than spending a lot of energy and resources on something that after five days we’re going to have to break down.”

It is yet to be seen if the brand will return to Milan design week this year.

“The way we think about it [showing at design fairs like Milan] is never black or white,” Fehlbaum explained.

“There might be a moment where we say Milan is exactly the right place at the right moment to talk about something, and then maybe we’ll be there.”

Staged at the Eames house, Pacific Palisades, California. Image © Eames Foundation, 2023.Staged at the Eames house, Pacific Palisades, California. Image © Eames Foundation, 2023.
The Eames Plastic Chair RE was photographed at the Eames house, Pacific Palisades, California. Photo by the Eames Foundation

Vitra was founded in 1950 by Nora Fehlbaum’s grandparents Willi and Erika Fehlbaum and has since grown to become one of the industry’s leading names.

Nora Fehlbaum succeeded her uncle, Rolf Fehlbaum, as CEO in 2016 and identifies improving the brand’s sustainability as her key mission.

“There is still a long way to go before reaching our environmental goals,” she acknowledged. “Things need to be tested, mistakes must be made, and in the process the company might sometimes overlook an important aspect or underestimate the impact of an activity.”

This is now a central part of the brand’s function as an industry leader, Fehlbaum suggests.

“The designer landscape has changed. In the past, it was a lot about iconic design and breaking the mould, building your own brand and your studio – new things – and now, the students that are graduating come with their own environmental mission,” she said.

“I see our role, together with these people and with the right suppliers and innovative companies, to find solutions that are, for lack of a better term, sustainable in the longer term.”

Other interviews recently published on Dezeen include the Kvadrat CEO saying sustainability is “not making our lives easier” and Iittala creative director Janni Vepsäläinen sharing her goal to help the brand “remain culturally relevant for another 100 years”.

The photography is courtesy of Vitra unless otherwise stated.

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