Vintage & Designer Homewares
Some of the most interesting collectable objects were never created to sit behind glass.
They were designed to be used.
Candle holders, bowls, trays, vases, serving pieces, desk accessories, metalware and other objects made for the home can represent important examples of industrial design, craftsmanship and changing domestic taste.
But an attractive household object is not automatically collectable.
The questions collectors usually need answered are more specific:
Who made it?
Where was it made?
What is the design or series called?
How old is it?
Is it genuinely a designer piece or simply similar in style?
Was it originally sold individually or as part of a set?
Is it still being manufactured?
What condition problems matter?
How should it be cleaned without damaging the original finish?
And, ultimately, what makes one piece worth collecting while another remains ordinary second-hand homeware?
This guide has been created to help answer those questions.
At TMC Emporium, our approach to vintage and designer homewares is based on identification, maker attribution, construction, materials, condition, provenance and design — not simply appearance.
What Are Vintage & Designer Homewares?
Homewares is a broad term for functional and decorative objects intended for use within the home.
Collectable homewares can include:
- Candlesticks and candle holders
- Decorative and functional metalware
- Bowls and centrepieces
- Vases
- Trays
- Serving pieces
- Barware
- Desk accessories
- Boxes and containers
- Glassware
- Decorative ceramics
- Sculptural household objects
- Modernist accessories
- Designer kitchen and dining objects
- Interior accessories
The category can encompass everything from an Art Deco metal tray to a post-war Scandinavian bowl or a late-20th-century German stainless-steel candle holder.
The common thread is design.
A good piece is more than merely functional. Its maker has considered form, proportion, material, construction and how the object interacts with the person using it.
The Museum of Modern Art’s history of Good Design demonstrates that this relationship between practical domestic objects and considered design has long been taken seriously by museums and designers. MoMA’s historic Good Design programs included furniture, appliances, ceramics, glass and other consumer objects and promoted the idea that useful everyday products could also represent significant design.
What Is the Difference Between Antique, Vintage and Contemporary Designer Homewares?
These terms are frequently used interchangeably online, but they do not mean exactly the same thing.
Antique
In the collecting trade, antique is generally used for an object approximately 100 years old or more.
Context still matters, but a homeware item from the early 20th century may now legitimately fall within the antique category.
Vintage
There is no single universal age definition that applies to every collectable described as vintage.
In the marketplace, vintage usually describes an older object associated with a recognisable past period rather than something recently manufactured.
An object does not become important merely because it is old.
Maker, design, rarity, condition and historical context remain important.
Contemporary Designer Homewares
A piece can also be collectable without being old.
Objects by established designers or manufacturers can develop a following while they are still relatively recent.
Some become particularly sought after after a model is discontinued or a design becomes associated with a particular period in the manufacturer’s history.
For that reason, this Knowledge Centre deliberately includes both vintage and designer homewares.
What Makes a Household Object Collectable?
There is no single test.
The strongest pieces generally have several of the following characteristics.
1. Recognised Maker or Designer
An identifiable manufacturer or designer provides a starting point for research and attribution.
Examples might include recognised German, Italian, Scandinavian, British, American, Japanese or Australian design houses.
2. Strong Design
A mundane object can become significant when its form solves a functional problem in an inventive or visually distinctive way.
3. Quality Materials
Stainless steel, silver, brass, glass, ceramic, timber and other materials can all be collectable when used thoughtfully.
The material alone does not determine quality; what matters is how it has been employed.
4. Construction
Look at how the piece has been fabricated.
Are edges neatly finished?
Are seams intentional?
Does it sit correctly?
Are joins precise?
Does the structure make sense for the design?
5. Rarity or Discontinuation
A discontinued model may become difficult to replace, particularly when collectors are trying to complete sets.
However, discontinued does not automatically mean valuable.
Demand still matters.
6. Condition
Original condition normally matters more than making an older piece appear artificially new.
7. Completeness
A matching pair, graduated group or complete set can be more desirable than a single orphaned component.
8. Documentation and Provenance
Original boxes, catalogues, labels, invoices and reliable previous ownership information can all strengthen identification.
How Can You Tell Whether a Homeware Piece Is Actually Designer-Made?
Start with the object, not with an online image that looks similar.
Turn it over.
Examine every surface.
Look for:
- Engraved names
- Stamped names
- Etched logos
- Moulded marks
- Printed manufacturer marks
- Foil labels
- Paper labels
- Country-of-origin marks
- Model numbers
- Product codes
- Patent or registration numbers
- Designer signatures
Then compare those details against documented examples.
A similar silhouette is not enough.
Many successful designs have been copied, adapted or reproduced by unrelated manufacturers.
The most reliable attribution combines several forms of evidence:
mark + construction + dimensions + materials + documented design
rather than:
“It looks the same.”
Where Should You Look for Maker’s Marks?
Collectors often miss identification marks because they look only at the obvious front surface.
Check:
- Under the base
- Along the bottom edge
- Inside bowls and containers
- Near hinges
- Beneath removable components
- On candle sockets
- On the reverse of handles
- Along seams
- On protective feet
- Under labels
- Around fittings
On minimalist designer objects, branding may be deliberately discreet.
A very small engraved name can completely change the direction of your research.
Does a Manufacturer’s Label Prove Authenticity?
A label is useful evidence.
It is not infallible evidence.
Labels can:
- Fall off
- Be replaced
- Be transferred
- Become damaged
- Belong to packaging rather than the object
- Differ between production periods
For that reason, we treat a label as one component of identification.
If the object also has the correct form, dimensions, construction, materials and manufacturer branding, attribution becomes much stronger.
Original labels should normally be preserved rather than removed simply to make an object appear cleaner.
How Do You Identify an Unknown Designer Homeware Object?
A practical identification sequence is:
Step 1 — Photograph the entire object
Take front, back, side, top and base photographs.
Step 2 — Photograph every mark
Even a partial logo or number may be useful.
Step 3 — Measure it
Record:
- Height
- Width
- Depth
- Diameter where applicable
- Weight
Dimensions can distinguish visually similar models.
Step 4 — Identify the material
Is it:
- Stainless steel?
- Aluminium?
- Brass?
- Silver or silver plate?
- Pewter?
- Glass?
- Ceramic?
- Timber?
- Plastic or acrylic?
Step 5 — Examine construction
Look at bends, welds, seams, screws, castings, feet and removable parts.
Step 6 — Research the mark before guessing the style
A maker’s name is generally more useful than searching something broad such as “modern silver candlestick”.
Step 7 — Compare documented examples
Compare not only photographs but also:
- Dimensions
- Material
- Model name
- Country
- Branding
- Construction
Step 8 — Separate what is known from what is suspected
For example:
Confirmed: marked BLOMUS.
Likely: part of a particular series.
Unconfirmed: exact production year.
That distinction is important in responsible cataloguing.
Can You Date Designer Homewares from the Style Alone?
Usually not accurately.
Style can provide a broad period, but it should rarely be used as the only dating method.
A minimalist stainless-steel object might appear “mid-century modern” even though it was produced decades later.
Useful dating evidence can include:
- Manufacturer history
- Archived catalogues
- Packaging
- Model numbers
- Label design
- Country-of-origin wording
- Retail catalogues
- Advertisements
- Design registrations
- Known designer tenure
- Previous purchase documentation
- Date-coded components
When a precise manufacturing date cannot be established, it is better to use an honest broad description than invent a narrow date range.
Does “Modernist” Mean “Mid-Century Modern”?
No.
This is an important distinction.
Modernism is a broad design philosophy associated with functionalism, simplified forms, materials and rejection of unnecessary ornament.
Mid-Century Modern generally refers more specifically to design associated with the middle decades of the 20th century.
A later designer object may clearly use modernist principles without being a genuine mid-century object.
This matters when describing contemporary or late-20th-century homewares.
Calling every minimalist object “mid-century” can lead to inaccurate dating.
Why Are German Designer Homewares Collectable?
Germany has a significant history of architecture, industrial design and functional household design.
Collectors often associate German design with:
- Precision
- Functional construction
- Material honesty
- Restrained ornament
- Strong geometry
- Industrial manufacturing
- Long-term usability
These characteristics are not universal to every German object, but they provide useful context for many recognised German design manufacturers.
A well-designed German household object can sit comfortably between a functional utensil and a piece of small-scale sculpture.
What Is BLOMUS?
blomus is a German design company producing furniture and accessories for the contemporary home.
The company traces its origins to 1961 and describes its design philosophy in terms of authentic materials, minimalist design and functional contemporary objects.
The company has become particularly associated with restrained modern interiors and has worked extensively with materials including stainless steel.
Modern blomus products continue to demonstrate the company’s emphasis on clean lines, functional design and carefully considered materials.
This makes older and discontinued blomus objects interesting not simply as household accessories but as part of the continuing story of German product design.
How Do You Identify BLOMUS Homewares?
Look first for the blomus name or logo.
Depending on product and period, identification may appear as:
- Engraved BLOMUS branding
- Printed branding
- Manufacturer labels
- Base labels
- Product information
- Country identification
- Model or series information
Not every piece will retain its original label.
For this reason, compare the object itself with documented examples.
Pay particular attention to:
- Dimensions
- Metal finish
- Shape
- Construction
- Base treatment
- Candle socket or functional component
- Placement of branding
Are Older BLOMUS Pieces Vintage?
Some now may be; others are better described simply as discontinued or earlier designer pieces.
BLOMUS dates its company history to 1961, but that does not mean every BLOMUS object dates from the 1960s.
This is an easy mistake to make.
The age of the company and the age of an individual object are two different things.
Unless the production period of a model has been established, it is safer to describe it as an older, discontinued, modernist or designer BLOMUS piece rather than assigning an unsupported decade.
Are Discontinued BLOMUS Designs Collectable?
They can be.
A discontinued design may attract buyers because:
- It is no longer available new
- Someone needs a missing component from a set
- The form suits a particular interior
- Collectors follow the manufacturer
- The design represents a particular period in the company’s output
But discontinuation alone does not guarantee rarity or high value.
Desirability also depends on:
- Design
- Condition
- Completeness
- Availability
- Size
- Original packaging
- Market demand
TMC Emporium Case Study: BLOMUS Nero Germany Set of Three Candle Holders
A useful real-world example is a set handled by TMC Emporium and catalogued at auction as:
German BLOMUS Modernist Nero Set of Three Graduating Candle Holders
The set comprises three differently sized candle holders.
Large
Approximately 35 cm high
Medium
Approximately 28.5 cm high
Small
Approximately 22.5 cm high
The complete set weighs approximately 1.136 kg.
Each candle holder uses a sculptural metal form rather than the traditional stem-and-foot arrangement of a conventional candlestick.
The body rises toward a cylindrical candle socket while the folded form creates a large open area through the centre.
That negative space is an important part of the visual design.
Viewed together, the three heights form a deliberate graduated arrangement.
Why Is the BLOMUS Set Useful for Identification Research?
Because several different types of evidence survive.
The set can be studied through:
- BLOMUS branding on the metal
- Manufacturer labels on the bases
- Matching construction
- Consistent metal finish
- Three corresponding graduated sizes
- Shared design language
- Auction provenance identifying the group as BLOMUS Nero
This is much stronger evidence than identifying the pieces solely from a similar photograph online.
Were BLOMUS Nero Candle Holders Sold as a Set of Three?
This is the sort of question where care is necessary.
A group of three matching graduated examples does not by itself prove that the manufacturer originally retailed them as a boxed three-piece set.
They may have been available in separate sizes intended to coordinate, or they may have been retailed together.
Unless original BLOMUS catalogue or packaging documentation establishes the original sales configuration, the safest description is:
“set of three matching graduated BLOMUS Nero candle holders”
rather than claiming that they were originally factory-packaged as one three-piece set.
This distinction may seem minor, but it is exactly the type of detail that separates careful cataloguing from assumption.
Why Can a Graduated Set Be More Desirable Than One Candle Holder?
Matching graduated objects have a visual relationship.
When displayed together, the variation in height creates rhythm while the repeated form keeps the group coherent.
A complete matching group may also be harder to assemble later.
For collectors, completeness can therefore matter.
However, whether three pieces command three times the value of one depends on actual market demand.
Sets should not automatically be valued simply by multiplying individual asking prices.
How Do You Value Vintage and Designer Homewares?
There is no universal price guide.
A useful valuation considers:
- Maker
- Designer, if known
- Model or series
- Age
- Material
- Condition
- Completeness
- Rarity
- Documented provenance
- Recent comparable sales
The last point is important.
An online asking price tells you what a seller hopes to obtain.
A completed sale tells you what a buyer actually agreed to pay.
When possible, use multiple genuine sold comparisons rather than one optimistic listing.
Does the Original Box Increase Value?
Sometimes.
Original packaging can:
- Confirm model identification
- Provide a product number
- Preserve instructions
- Establish how pieces were originally grouped
- Appeal to specialist collectors
- Strengthen provenance
For relatively recent designer objects, packaging can be particularly helpful.
But absence of the box does not make a well-designed object uncollectable.
For many buyers, condition and the object itself remain more important.
Does a Complete Set Matter?
Often, yes.
Completeness is particularly relevant to:
- Graduated candle holders
- Nesting bowls
- Serving sets
- Condiment sets
- Barware
- Desk sets
- Tea and coffee services
- Cruets
- Modular objects
A missing component can reduce desirability.
Conversely, an individual replacement component can sometimes have value precisely because other collectors need it to complete their own set.
What Condition Problems Matter Most?
Different materials fail in different ways.
For designer metalware, inspect for:
- Deep scratches
- Dents
- Creases
- Bending
- Corrosion
- Pitting
- Tarnish
- Heat discolouration
- Candle wax
- Missing feet
- Missing inserts
- Loose fittings
- Altered finishes
- Aggressive polishing
Light surface wear from normal use is different from structural damage.
A collector may readily accept minor age-related wear while rejecting an object whose original finish has been irreversibly altered.
Do Scratches Ruin the Value of Stainless-Steel Designer Homewares?
Not necessarily.
Fine surface marks can be expected on objects intended for domestic use.
The significance depends on:
- Depth
- Location
- Visibility
- Whether the finish is brushed or polished
- Rarity of the object
- Overall condition
Deep scratches across a highly visible brushed surface matter more than minor marks underneath the base.
The condition should be described accurately rather than hidden through aggressive restoration.
Should Vintage Stainless Steel Be Polished?
Usually, caution is preferable.
A brushed or satin surface is itself part of the design.
Heavy polishing can:
- Remove the original directional grain
- Create glossy patches
- Round crisp edges
- Highlight scratches
- Permanently alter the finish
BLOMUS itself recommends gentle care of its stainless-steel products using soft cloths and avoiding abrasive or aggressive chemical cleaners that may damage the surface.
For collectable examples, preservation is generally preferable to trying to make an older object look factory-new.
How Should Brushed Stainless-Steel Homewares Be Cleaned?
For ordinary light cleaning:
- Remove loose dust with a soft cloth.
- Use a soft cloth lightly dampened with lukewarm water.
- Follow the direction of the brushed finish.
- Dry the surface carefully with another soft cloth.
- Avoid scouring pads, steel wool and abrasive powders.
BLOMUS specifically advises against abrasive or chemical cleaning agents and recommends soft cloths for its stainless-steel products.
Before applying any specialist metal cleaner to an older collectable piece, test cautiously and consider whether cleaning is actually necessary.
How Do You Remove Candle Wax Without Scratching a Designer Candle Holder?
Avoid scraping the surface with a knife or other hard metal implement.
First determine whether the candle holder includes coatings, inserts, adhesives or other materials that could be affected by heat or cold.
Wax should be removed gradually and conservatively.
Once loose wax has been removed, any final surface cleaning should follow the manufacturer’s appropriate material-care guidance.
The objective is to remove residue without changing the original finish.
Is Stainless Steel Always Non-Rusting?
No.
Stainless steel is corrosion resistant, but it is not immune to staining or corrosion under every condition.
Environment, contamination, chemicals, moisture and surface damage can all affect it.
This is another reason not to assume that every mark on stainless steel can simply be polished away.
Is Every Minimalist Stainless-Steel Object Valuable?
No.
This is one of the most important lessons in collecting modern homewares.
A piece may look impressive and still be generic mass-market décor.
Value generally becomes stronger when attractive form is accompanied by:
- Identifiable maker
- Recognised design
- Good construction
- Original condition
- Scarcity
- Collector demand
- Provenance
Buy the object and the evidence, not merely the aesthetic description.
Is Designer Homeware Art?
Sometimes the boundary is deliberately blurred.
A candle holder remains a functional object, but an accomplished designer may manipulate shape, space, balance and material in much the same way that a sculptor does.
This is why major museums collect industrial and domestic design alongside traditional fine art.
MoMA’s design collection and its historic Good Design program demonstrate the cultural importance attributed to well-designed everyday objects.
The better question is often not:
“Is this art or homeware?”
but:
“What has the designer done to elevate an ordinary function through design?”
What Is Negative Space in Homeware Design?
Negative space is the empty area around or within a design.
It can be as important as the physical material itself.
In a sculptural candle holder, for example, an open central section may:
- Reduce visual mass
- Emphasise vertical height
- Create shadows
- Change appearance from different angles
- Allow several pieces to interact visually
This is particularly relevant when examining minimalist and modernist objects because ornament has often been replaced by proportion, geometry and space.
What Materials Are Most Common in Collectable Designer Homewares?
Stainless Steel
Common in modern and contemporary design because it can be precisely formed and finished.
Brass and Copper
Used both structurally and decoratively and often develop distinctive surface patination.
Aluminium
Lightweight and highly suited to industrial manufacturing.
Glass
Used for everything from functional vessels to highly sculptural forms.
Ceramics
Includes factory-produced designer wares as well as individually made studio pottery.
Timber
Especially important in Scandinavian, mid-century and studio design.
Plastics and Acrylics
These should not automatically be dismissed as cheap materials.
Innovative plastics became an important component of 20th-century industrial design.
Material should always be understood within the context of the object’s design and period.
Which Countries Are Important for Collectable Designer Homewares?
Collectors encounter important design from many countries.
Particularly strong collecting fields include:
Germany
Modernist and functional design, metalware and industrially manufactured household products.
Scandinavia
Especially Denmark, Sweden, Finland and Norway, with strong traditions in glass, ceramics, metalware and timber.
Italy
Important for glass, ceramics, lighting, furniture and highly expressive post-war product design.
Britain
A broad history encompassing Arts and Crafts, modernism, studio craft and industrial design.
United States
Major post-war industrial and consumer design.
Japan
A significant combination of traditional craft, ceramics and modern industrial design.
Australia
Studio pottery, craft traditions, metalware and locally designed domestic objects all form increasingly interesting collecting fields.
Country of origin alone does not determine quality, but it can provide valuable historical context.
Should You Buy Designer Homewares to Use or to Display?
Either approach is valid.
One of the attractions of collecting homewares is that many pieces can remain functional.
However, before using an older object, consider:
- Its condition
- Material
- Stability
- Heat exposure
- Food safety where relevant
- Whether use could permanently damage it
- Replacement difficulty
Rare pieces may be better preserved.
More readily available examples can often continue serving the purpose for which they were designed.
Should You Restore Designer Homewares?
Only when the intervention is justified.
Restoration can sometimes stabilise or improve an object, but unnecessary restoration can also reduce originality.
Before altering a piece, ask:
- Is the damage structural?
- Is the current finish original?
- Is professional conservation required?
- Will the treatment be reversible?
- Will restoration erase evidence of age or manufacture?
For many vintage homewares, careful cleaning and preservation are preferable to refinishing.
What Should You Photograph Before Selling or Cataloguing Designer Homewares?
A useful photographic record should include:
- Complete front view
- Reverse
- Both sides where relevant
- Top
- Base
- Maker’s mark
- Manufacturer’s label
- Construction details
- Any model number
- Any damage
- The complete set together
- Individual pieces where useful
Photographs are not merely sales images.
They form part of the object’s identification record.
What Information Should Be Recorded?
For each piece, record as much of the following as possible:
- Manufacturer
- Designer
- Series
- Model
- Country
- Material
- Approximate period
- Height
- Width
- Depth
- Diameter
- Weight
- Quantity
- Marks
- Labels
- Condition
- Repairs
- Provenance
- Acquisition source
- Purchase date
- Purchase price
- Supporting documentation
Good records become increasingly valuable as an object changes hands.
What Should You Ask Before Buying an Unidentified Designer Object?
Ask:
Can I identify the maker?
Can I photograph the mark?
Is anything missing?
Is it damaged or simply used?
Has it been polished or refinished?
Are all pieces genuinely matching?
Is this a documented design or only attributed by the seller?
Are the dimensions consistent with known examples?
Can I find genuine sold comparisons?
Would I still want the object if the attribution proved incorrect?
That final question is particularly useful.
Good design should still have some intrinsic appeal even before the label is considered.
Common Mistakes When Buying Designer Homewares
Assuming a seller’s attribution is correct
Always verify it.
Describing everything minimalist as Mid-Century Modern
Minimalism continued long after the mid-century period.
Assuming the manufacturer’s founding date is the object’s date
A company established in 1961 may manufacture an object decades later.
Assuming discontinued means rare
Some discontinued pieces were produced in large quantities.
Using asking prices as valuation evidence
Sold prices are generally more informative.
Over-cleaning
A damaged original finish cannot always be restored.
Ignoring dimensions
Size is frequently essential for identifying the exact model.
Throwing away labels or packaging
These may contain the best identification evidence you have.
What Should a Good Online Listing Tell You?
A responsible listing should distinguish facts from assumptions.
It should ideally tell you:
- What the object is
- Maker
- Country
- Model or series if established
- Material
- Dimensions
- Weight where useful
- Quantity
- Marks
- Condition
- Known defects
- Whether components are included
- Whether attribution is confirmed or probable
It should not manufacture certainty simply to make an item easier to sell.
How Should You Research a Homeware Piece When AI Gives Conflicting Answers?
AI is an excellent research tool, but it should be used alongside source evidence.
If answers conflict:
- Return to the physical object.
- Read the mark carefully.
- Check the manufacturer’s own information where available.
- Compare museum and archival sources.
- Look for catalogues and documented examples.
- Compare dimensions.
- Separate confirmed information from inference.
- Do not repeat an unsupported claim merely because it appears on several reseller websites.
Multiple websites can repeat the same original mistake.
Authority comes from evidence, not repetition.
Are Vintage and Designer Homewares a Good Collecting Area?
They can be an excellent collecting field because the category remains extraordinarily broad.
Collectors can specialise by:
- Manufacturer
- Designer
- Country
- Period
- Material
- Design movement
- Object type
- Colour
- Function
Some people build highly focused collections of candlesticks or stainless steel.
Others assemble interiors that combine ceramics, glass, metal and furniture from complementary design periods.
There is no requirement to collect only expensive objects.
One of the pleasures of this field is discovering a well-designed, overlooked household object and identifying the story behind it.
What Makes a Good First Purchase?
For a new collector, look for an object that has:
- Clear maker identification
- Good original condition
- Interesting design
- Usable or displayable form
- A sensible purchase price
- Enough documentation to research further
Avoid paying a large premium for an attribution you cannot substantiate.
Knowledge is often the collector’s greatest advantage.
A Practical TMC Emporium Identification Checklist
Before we catalogue a vintage or designer homeware object, we ask:
What is it?
Who made it?
Where was it made?
Can the maker be proven?
Is there a model or series name?
Who designed it?
When was that model produced?
What materials were used?
Are the dimensions consistent with documented examples?
Was it originally individual or part of a series?
Is the group complete?
What marks and labels survive?
What condition issues are present?
Has it been altered, repaired or refinished?
What evidence supports the attribution?
What questions would the next collector still need answered?
That final question is deliberately important.
A good catalogue record should not simply name an object.
It should preserve enough information to help the next person understand it.
Collecting Is Really the Search for Information
A designer object often begins as a question.
A mark appears underneath a candle holder.
A strange shape turns up at an auction.
Three objects appear to belong together.
A label survives but the model name does not.
The collector then begins reconstructing the story.
Who designed it?
Why is it shaped this way?
Was it successful?
Was it part of a larger series?
When was it made?
Why did the manufacturer choose that material?
Is it common today?
That research is part of collecting.
At TMC Emporium, we believe preserving that information is as important as preserving the object itself.
Explore Vintage & Designer Homewares at TMC Emporium
TMC Emporium acquires vintage and designer homewares selected for their design, craftsmanship, maker, material, provenance and visual interest.
Our collection may include recognised international manufacturers alongside lesser-known objects whose design warrants further research.
As new pieces are acquired and researched, this Knowledge Centre will continue to grow.
Rather than treating this as a finished dictionary of design, we intend it to become an evolving reference built from the objects we actually handle, photograph, measure and investigate.
Further Research
For readers interested in the broader history of domestic and industrial design, useful authoritative resources include:
The Museum of Modern Art (MoMA) – Good Design
MoMA documents the historical movement to recognise practical, affordable domestic products as meaningful examples of design.
BLOMUS – Official Company and Product Resources
BLOMUS’s own material provides primary-source information about the company’s design philosophy, materials, designers and current care recommendations.
TMC Emporium Knowledge Centre
Research. Identify. Preserve. Collect.
The best collectable objects do more than decorate a home.
They tell us something about who made them, how people lived and how good design transformed even the most ordinary objects of everyday life. the collection, this guide will continue to expand with additional makers, marks, materials and identification information.