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Rory Hutton is an accessories designer who draws inspiration from the aesthetics movement, seeking to create beauty in everything he makes. A frequent collaborator with the Royal Ballet and Opera Shop, his collection is influenced by some of the performances seen on our stages, as well as legendary figures in the world of opera. We asked Rory about his creative process, his personal favourite designs for the Royal Ballet and Opera shop, and more.
I am an artist and accessory designer, primarily working with linocut. I am based just outside Cambridge, although I grew up in Ireland. The romance of Ireland’s Georgian architecture and its rich literary heritage are among my earliest influences.
I established my studio in 2013, creating whimsical prints inspired by history and storytelling. To date, I have collaborated with over 50 museums and heritage sites in the UK, alongside designing my own collections of silk scarves and accessories.
I usually begin with some initial research for a new design, but I prefer to keep this minimal—just enough to feel I have a solid understanding of the key elements. For example, with an opera, I might ask a friend to name three objects that immediately come to mind when they think of Tosca, for instance. I find that overly researched projects can lose their spontaneity as you try to cram in too much. I'm seeking an essence, not a comprehensive overview!
After completing the research, I tend to let the project sit in my mind for a couple of weeks while I work on other things. When I finally begin the design, it generally flows out as a finished piece.
I love history and learning. I am fortunate to collaborate with some incredible institutions, which constantly inspire me through their archives, exhibitions, and performances. I love being challenged to look at new things and push beyond my comfort zone. Working with the Royal Opera and Ballet has certainly given me this opportunity.
I’ve been working with the Royal Opera and Ballet since 2018. I suppose we chose each other, and I couldn’t imagine a dreamier client. They were my second client in the heritage space after the British Museum, and I’ve always felt immensely privileged that these two extraordinary institutions took a chance on me. I am delighted to say I still work with both!
Each new commission is a challenge, giving me the space to explore productions that may not be familiar to me. Wagner’s Ring Cycle stands out as one that initially intimidated me, but with encouragement from the Royal Opera and Ballet team, I think we created something truly successful. It’s still one of the most visually striking designs in my portfolio, and whenever I wear that scarf, strangers always stop to ask about it!
Working with the Royal Opera and Ballet has also broadened my knowledge, especially in opera. What could be better than receiving an education in opera while designing scarves inspired by some of the most important productions for this renowned institution?
The Maria Callas Centenary scarf we created in 2023 holds a special place for me. I’ve loved Maria Callas since I was a teenager—her style and voice are incredibly inspirational, hence this commission felt particularly meaningful to me. During my first meeting with the Royal Opera and Ballet in 2018, I actually proposed a Callas scarf, so I was thrilled when I finally got to bring that vision to life!
For this design, I explored her favourite colour, her love of miniature poodles, and pearls. I designed the scarf while listening to her sing, and Penhaligon’s even gifted me a bottle of her favourite scent, so it felt like having her in the room with me while I worked. Looking back on the process, I’d say it was one of the most fun and inspiring moments in my creative career.
I’ve always thought Sara Lowes' headdresses are exquisite. I believe her work has been featured in the shop as long as mine, if not longer, so clearly, I’m not the only one who thinks so!
Tosca is my favourite. I have even visited the Basilica of Sant’Andrea della Valle in Rome, where one of the opera’s scenes takes place.
One of my friends sings Vissi d'arte every time I host a party at home—usually late into the night and unexpectedly. Combined with the Royal Opera and Ballet’s glorious production this cements Tosca in my heart.