We sat down with Kit Lintin to discuss Curio, her captivating collection of 19 still life paintings presented by Tarka Russell at Knatchbull's Savile Row atelier.
In this conversation, Lintin reveals how the world of bespoke tailoring shaped her vision—from the restrained palette of browns, navy and burgundy inspired by Knatchbull's recent collections, to the incorporation of tailoring details like cuffs and buttons as sculptural subjects. She shares insights into her creative process, the objects that draw her attention, and how traditional techniques inform her distinctive approach to light and composition. A meeting of two disciplines united by precision, materiality and craft.
How did Knatchbull’s world influence Curio, and what inspiration did you take from the brand?
When envisioning how the collection might come together, I spent time in the Savile Row atelier, where the deep tones and rich fabric textures immediately created the atmosphere. Knatchbull’s most recent drops inspired my restrained palette of browns, navy and burgundy that established the foundation for the series. Working closely with Tarka Russell, who curated the show, we explored how best to refine the compositions, ensuring a balance between structure and material presence, particularly the interplay of surfaces like glass, which became central to the series. Curio draws from Knatchbull’s visual and material world; I wanted the paintings to feel as though they belonged within the atelier, reflecting a shared appreciation for craftsmanship and structure. I saw the compositions as an opportunity to challenge what we traditionally see depicted in still life, incorporating elements from Knatchbull’s garments like a cuff or a set of buttons, giving these tailoring details a sculptural presence of their own.
What draws you to the kinds of objects you paint?
I’m fascinated by objects that hold a certain presence or quiet character. Many of the objects I paint are things I’ve collected over time, from carefully selected vintage market finds, objects passed down through family or everyday items I use daily. They often carry subtle histories or associations that I find intriguing. I tend to favour simplicity over excess, isolating singular forms in one composition, so that objects can take on a presence that feels elevated or quietly mysterious.
Who are you outside of your artwork?
I grew up in the Yorkshire countryside, so now living in London, long walks through the parks or along the river offer a chance to slow down and take a quiet pause. I have a soft spot for vintage, constantly collecting fabrics, furniture and small objects that carry story and texture; my flat reflects this slightly eclectic aesthetic. Cooking and hosting friends or discovering a new spot together, is a daily joy and I love the intimacy of a table set with care. Travel continues to shape my palette and perspective, for example a recent trip to Mexico, helped inform the earthy tones in Curio. And perhaps less seriously, I play backgammon obsessively, a habit passed down from my mum.
Your work has such a distinctive tone and mood — where does this come from?
My practice is rooted in traditional training, working with a limited palette, often beginning with a base layer of burnt umber to build depth and tone. This creates a muted, timeless quality that I find grounding. I’m drawn to still lifes and classical compositions where light and shadow define mood, where atmosphere becomes as important as form. Over time, I’ve embraced simplicity, allowing glass, fabric or the glint of metal to lead the eye.
How did you decide on the 19 paintings that make up Curio?
The collection includes a series of small-scale works, each like a traditional study with objects rendered close to life size. Alongside these, the larger compositions allow the still life to expand into something more immersive. Fennel Doves, for example, depicts two calla lilies whose curved stems and subtle button details echo the structure of Knatchbull’s signature blouse. Each piece was selected for its balance of form, tone and dialogue with the atelier, a series of quiet and considered encounters.
What made Knatchbull the right setting for Curio?
The atelier has such a richness of textures inside, from wool or silk garments to brushed metal, wood and marble counters. Working with Tarka, we considered how these interior materials could create a dialogue with the works, choosing to highlight the reflective qualities of glass in particular to emphasise the precision and structure found in tailoring. There’s a shared attention to detail and process between tailoring and painting; both require patience and discipline to achieve their finish. Within Knatchbull’s world, Curio feels naturally at home, a meeting point of two disciplines built on observation, materiality and craft.
