Our History

Watts & Co. was established by three of the most influential architects of the 19th century: George Frederick Bodley, George Gilbert Scott Jr, and Thomas Garner. All were trained under the renowned Sir George Gilbert Scott, Surveyor of Westminster Abbey, eminent architect of the Albert Memorial, St Pancras Hotel, and architect of over 800 other buildings and churches. 

Bodley and Scott Jr had known each other from as early as the 1840s during their apprenticeship in Sir Gilbert Scott’s practice. Garner came into architectural partnership with Bodley in 1868, and in addition to their design ventures at Watts, they worked on over 100 commissions over three decades.

Bodley was in large part the creative force behind many of Watts’ iconic pattern designs, and he led the firm with a vision for Gothic Revival style that reinvigorated ecclesiastical design. His work at Magdalen College, Oxford (St Swithun’s Quad), Church of the Holy Angels at Hoar Cross, and Washington National Cathedral (with his pupil Henry Vaughan) are admired as some of his finest. He won the RIBA Gold Medal in 1899 and was awarded an honorary doctorate from Oxford University in 1907. He was dedicated to his architectural and stylistic vision and served as chairman of Watts & Co. until his death in 1907.

Scott Jr, often called ‘Middle Scott’ (to differentiate him from his father Sir Gilbert Scott), was known for his intellectual flexibility and refined style. Though many of his buildings are sadly lost to history, his influence lives on in Watts’ graceful and distinctive aesthetic. On the subject of style, Scott Jr’s vision was clear: ‘I yield to no one in my love of medieval art, but I recognise the merits of the really good work of all schools.’

Compared to his co-founders, less is known about Garner, but he brought to the partnership an enthusiasm for the Gothic style and a keen eye for fine draughtsmanship which made him an invaluable partner. Only one known photograph of him exists, taken in front of his and Bodley’s first major secular commission, the London School Board offices on the Victoria Embankment. 

It was in these projects that the seed of Watts & Co.’s foundation were laid: the visionaries wished to combine their architectural style with their own interior details, exerting complete control over fabrics, furnishings, and fittings. Garner was on the same page as his partners: he was drawn to late Gothic, Tudor and Elizabethan design and, by the time of his death in 1906, had amassed a large collection of images and information on 16th-century grand houses. Though little is known about him personally, his architectural legacy and design sensibility were essential to the firm’s early success.

Unlike their contemporaries in the Arts & Crafts movement, such as Morris & Co., the founders of Watts & Co. were wary of being seen as tradesmen. They preferred the role of ‘gentleman-artists-architects’ as Bodley put it. The origin of the name ‘Watts’ remains something of a mystery. It may have been a clever play on the phrase 'What’s in a name?’ or perhaps a humorous reference to the name of a Hampstead clergyman who owned the property where the founders lived.

From the beginning, Watts & Co. distinguished itself by its unique and versatile designs for everything from woven fabrics to bespoke metalwork, embroidery, and church furnishings. Inspired by Gothic forms, Renaissance art, and the sturdy grace of Tudor architecture, Watts quickly found a market and gained recognition through the founders’ architectural commissions. Watts' fabrics, designs, and embroideries were sold commercially and used extensively by leading architects and designers of the day. The patterns, still as popular today, bear names like ‘Gothic', ‘Holbein', ‘Memlinc’, and Crivelli, reflecting their historical roots.

At Watts’ original home at 30 Baker Street in London, the workrooms buzzed with activity. Customers could view new creations on display in the shopfront, while seamstresses and embroiderers worked their artistry behind the scenes. The building also housed Watts’ embroidery school, where the ancient craft was preserved and passed down. The company became widely known for its outstanding embroidery, which was a key part of the Gothic Revival’s interest in medieval textiles. Watts continues to be at the forefront of keeping this unique and extraordinary tradition alive today. 

Managing the daily life of the establishment was J. L. Davenport, a memorable figure with eccentric dress and a love of the violin. Legend has it he may even have inspired the character of Sherlock Holmes himself.

Watts & Co. has played a key role in some of the most historic events over the last 150 years. One of the most important commissions was for Queen Victoria’s Jubilee celebrations in 1887 at Westminster Abbey and again in 1897 at St Paul’s Cathedral. Watts was also chosen to design the lavish robes for Edward VII’s coronation in 1902, and our creations have featured at every coronation since.

In 1953, the designer Keith Murray’s striking copes for Queen Elizabeth II’s coronation marked a bold fusion of modern design with traditional form. Beyond royal occasions, our work has been seen in bishops’ palaces, university chapels, and stately homes across Britain.

Watts & Co. has long been the trusted name among the world’s most discerning church architects. Sir John Ninian Comper, Stephen Dykes-Bower, Ralph Adams Cram, and Sir Walter Tapper all relied on Watts to complete their visionary spaces in both Britain and America. Sir Edwin Lutyens turned to Watts to create the viceregal thrones at Government House in New Delhi.

Watts’ reach continues to expand beyond Britain to churches and cathedrals across America, Europe, and worldwide.

In 1951, Elizabeth Hoare, granddaughter of Scott Jr and great-grand-niece of Bodley, became director of Watts & Co. Under her guidance, the firm entered a new era of restoration and conservation. This included important work for the National Trust, the Palace of Westminster, and numerous cathedrals throughout Britain.

She also helped to build a significant collection of 19th-century ecclesiastical textiles, culminating in the creation of the Elizabeth Hoare Gallery at Liverpool Anglican Cathedral, a lasting tribute to the firm’s dedication to preserving its design heritage.

From 2001 to 2016, Watts was led by director David Gazeley, whose stewardship ensured the company continued to grow while remaining true to its founding vision. Today, Watts & Co. is proud to be still family-run, overseen by the fifth generation of its original founders.

We continue to innovate and to create vestments, furnishings, and bespoke designs for some of the most prominent religious and cultural institutions in the world.

In 2007, our contribution to the world of design was celebrated with a major exhibition at the Victoria & Albert Museum in London: George Frederick Bodley: The Beauty of Holiness.