Watts 1874: Five generations of enduring British design vision
Marie Séverine de Caraman Chimay, the fifth generation custodian of the storied interior house, speaks to the philosophy that has guided Watts through nearly 150 years: timelessness over trend.
AI-assisted voice playback. Starts only when you choose Play.

Behind panels of hand printed botanical wallpaper, in shades of teal and olive that seem to breathe with a quiet authority, Marie Séverine de Caraman Chimay articulates the philosophy that has guided Watts 1874 since its founding in 1874. “We don’t want to be trendy, we want to be Watts,” the words overlay a portrait taken within the showroom itself, a statement of such crystalline certainty that it reads almost as a manifesto for a house that has never chased the fleeting.
The fifth generation custodian of this most British of design institutions speaks alongside her husband, Jean de Caraman Chimay, who serves as Creative Director. Their partnership represents not a departure from tradition but rather its most considered evolution. Watts has moved through nearly a century and a half by understanding something fundamental: that true luxury resides in permanence, in the slow accumulation of beauty that doesn’t announce itself but rather deepens with time.
The showroom itself, photographed by Simon Brown for Country Life magazine, becomes a kind of manifesto in itself. Rolls of wallpaper frame the space like artworks, their patterns drawn from the house’s archives, each one carrying the fingerprints of designers who understood that a room’s soul resides in its surfaces. Greens and golds, botanicals rendered with the precision of natural history, speak to a philosophy rooted in observation rather than invention.
Watts 1874 operates from its in house creative studio, where the work of design becomes less about following cycles and more about cultivating relationships between materials, colour and the spaces they inhabit. This approach, born from the company’s earliest days and maintained through five generations of custodianship, explains why the house’s work refuses to date. A Watts interior from 1950 sits comfortably beside one from 2024, both speaking the same language of restraint and rigour.
The house remains located in London, where its showroom continues to welcome those who understand that luxury design is not about novelty but about the patience required to create something that will outlive fashion itself.
Imagery courtesy of Watts 1874 (@watts1874).