With an exhibition currently at London’s Design Museum, the quintessentially British designer Paul Smith combines objects from his own collection with works from April’s Made in Britain sale. The Made in Britain sale will take place on 1 April. For more on the exhibition Hello, My Name is Paul Smith, visit www.designmuseum.org.

Sir Paul Smith. Photography by Sandro Sodano.

Drawing on his personal archive to reveal his unique, intuitive approach to design, Sir Paul Smith is currently the subject of an exhibition at the Design Museum – extended by popular demand until 22 June. Together with works from his own collection, here Sir Paul makes his personal selections from the forthcoming Made in Britain sale, which celebrates the role that Britain played in the development of Modernism with an array of fine art, prints, sculpture, photography, studio ceramics and mid-century furniture.

In 1967, London was really happening and one of my favourite artists RICHARD HAMILTON’S Release (detail shown, £15,000–18,000) is a real example of the time we were living in. This piece shows Mick Jagger handcuffed to Robert Fraser – an art dealer with whom I was very familiar – following their appearance in court on drug charges.

MARY FEDDEN, whose Orange Still Life (£30,000–50,000) is shown here, studied at the Slade School of Art, something my wife Pauline also did many years after her. Mary’s work appeals to me because of her bold mix of colour and her confidence in clashing pattern with pattern.

TOM DIXON chair (1984) I’ve been a friend of Tom Dixon’s for many years; in fact his daughter, Florence is my goddaughter. I have several of his pieces and worked closely with him at the beginning of his career. This is just one example of something Tom kindly made for me. It lives among all my many ‘things’ in my studio in Covent Garden.

EUAN UGLOW Girl on Arms and Knees. I have several pieces by Euan Uglow but this drawing is particularly special to me. Euan was a friend of mine and also taught my wife Pauline at the Slade School of Art. His work is always perfect but at the same time abstract.

LEWIS MORLEY’s iconic photograph of Christine Keeler (£7,000–10,000) is symbolic of the promiscuity of the ’60s. The whole image is beautifully composed and is very suggestive; the womanly shape of the chair complements Christine’s shoulders and narrow waist.

This three-panel painted wooden screen is a great decorative piece from DUNCAN GRANT (£8,000–12,000), one of the members of Omega Workshops Ltd. As a clothes designer I love the way that group of artists used pattern and colour on pottery, textiles, stained glass and more. Fantastic!