The
ENGLISH HOME
Celebrating the essence of English style March 2021 | Issue 193 | £4.75 | UK Edition
ELEVATE THE EVERYDAY Simple ideas & beautiful buys to make life at home special
KITCHEN DESIGNS Create a scheme to enhance your lifestyle
PLOTTING AHEAD Planning now for an idyllic summer garden
SEASONAL REFRESH • Chic conservatories • New paint colours • Spring decorating
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CONTENTS MARCH 2021
34 Notebook
English homes
Style inspiration
15 NEWS Our monthly digest of notable
34 A FRESH PERSPECTIVE Harmony and
69 LEVEL OF DISTINCTION Creating
people, places and products.
22 DESIGN DISCOVERIES Beautiful new
home buys on our radar this month.
28 SHOPPING: FRESH START Rejuvenate
interiors taking a cue from nature.
30 SHOPPING: PERFECTLY PRACTICAL Use
the best tools for spring cleaning.
32 THE EDIT Hill & May, Chadder & Co
and Rapture & Wright catch our eye.
33 SUBSCRIBE The perfect gift for a
loved one or a treat for yourself – a subscription to The English Home.
6 THE ENGLISH HOME
flow combine for an elegant feel in a handsome Hampshire manor house.
44 GLOWING WITH COLOUR A sixteenth-
century Suffolk home filled with vibrant hues and playful patterns.
52 CHARACTER STUDY A layered
aesthetic brings warmth and charm to a Victorian terrace in West London.
60 PERFECT TIMING The sensitive
restoration of a historic Grade II listed house in Hampshire.
contrast with paint and textiles.
70 LIFE IN THE KITCHEN Designing
a kitchen to suit a lifestyle.
81 NATURAL CONNECTION Decorating
ideas for orangeries and conservatories.
90 ROOM WITH A VIEW The story of
Westbury Garden Rooms.
92 THE NEW NEUTRALS The evolution of a
colour palette and its roots in history.
98 PLOTTING AHEAD Plans to enjoy the
garden in summer and beyond.
92
104 44 62
64 Quintessentially
60 121
111 BLOSSOMING FORTH Spring begins. 112 FROM PATCH TO PLATE: MATTHEW FORT
Our food columnist on the delicious delights of vibrant pink rhubarb.
114 MAKING THE EVERYDAY SPECIAL
Inspiring ideas for making the most of life at home. 121 SWEET SLUMBER Advice on how to achieve a good night’s sleep. 130 MY DESIGN HERO Designer, cook and
author Sophie Conran on artist and designer Oliver Messel.
52 THE ENGLISH HOME 7
A letter from home
I
always think of March as a key month for planning to refresh interiors for spring. A time to find inspiration and ideas to put into place as the days lengthen. Over the past year, our homes have had so many roles to play and we’ve expected more than ever from them. They’ve had to inspire our daily lives, provide a space for us to relax and feel secure in, as well as become workplaces and even temporary classrooms. We may feel that we’ve used every inch of space as a result, or that some updates could help our interiors fulfil so many different functions. Our feature on kitchen design looks at the lifestyle of the household in order to plan a scheme to perfectly suit and, indeed, enhance it (p70). Garden rooms, orangeries and conservatories are in the spotlight too, not only to provide a useful additional space, but stylish ideas for decorating them too (p81). We also look at exciting projects for the garden, such as outdoor kitchens, to make the most of life at home when summer arrives (p98). However, not all change needs to be large to have impact. We also offer simple but effective ideas for elevating the everyday (p114) – perfect for those looking to make small changes that uplift and add a little luxury to daily life. We hope you find this issue full of ideas and inspiration to add to your own plans this month, whatever they may be.
This smart garden room has us craving an indooroutdoor year-round space. For further inspiration on updating garden rooms, turn to page 81. Turquoise Dreams encaustic cement tiles, £160.80 a square metre, Otto Tiles
Samantha Scott-Jeffries, Editor Follow us on Twitter @englishhometeam Pinterest at pinterest.com/theenglishhome Facebook at facebook.com@theenglishhome Instagram at instagram.com@englishhomemag
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The
ENGLISH HOME
Celebrating the essence of English style March 2021 | Issue 193 | £4.75 | UK Edition
ELEVATE THE EVERYDAY Simple ideas & beautiful buys to make life at home special
CONTACT US Editorial 0333 014 3215 The English Home, Jubilee House, 2 Jubilee Place, London SW3 3TQ Email theenglishhome@chelseamagazines.com Website theenglishhome.co.uk Advertising/Publishing 020 7349 3700 The Chelsea Magazine Company Ltd Email info@chelseamagazines.com
KITCHEN DESIGNS Create a scheme to enhance your lifestyle
PLOTTING AHEAD Planning now for an idyllic summer garden
SEASONAL REFRESH • Chic conservatories • New paint colours • Spring decorating
WHERE THE HEART IS Eclectic, colourful, stylish houses full of personality
TEH UK MARCH 2021 COVER with boxes.indd 1
COVER PHOTOGRAPH: © ANDREAS VON EINSIEDEL
EDITORIAL
Editor Samantha Scott-Jeffries Managing Editor Sarah Feeley Art Editors Claire Hicks, Rebecca Stead Sub Editor Lea Tacey Decorating Editor Katy Mclean Features Editor Eve Middleton Homes & Lifestyle Editor Clair Wayman Editor-at-Large Kate Freud
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M U LT I - F U E L
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NOTEBOOK
Our monthly edit of news, shopping inspiration and inside information
SPOTLIGHT ON…
Morris & Co’s 160th anniversary Founded in 1861 by William Morris and friends from the Arts and Crafts movement, Morris & Co is celebrating its 160th anniversary this year. Its iconic wallpaper and fabric designs adorn homes worldwide and are instantly recognisable, most notably Strawberry
Thief (which dates back to1883), Acanthus (from 1875) and Willow Bough (1887). The brand started out as Morris, Marshall, Faulkner & Co, a decorating business providing beautiful, hand-crafted products and furnishings for the home. Morris & Co’s output was prolific, driven by William Morris’s enthusiasm and determination, and his wholehearted belief in the Arts and Crafts movement, which
emphasised the importance of decorative arts and craftsmanship in the home as a reaction to mass-production. William Morris’s famous maxim still holds true today: “Have nothing in your houses that you do not know to be useful or believe to be beautiful.” To mark the anniversary, Morris & Co will launch the 160 range in the summer. sandersondesigngroup.com/morris&co THE ENGLISH HOME 15
NEWS
RESET THE TABLE
Be bold, say the founders of Setting Pretty Standing in front of a magnificent tapestry at London’s White Cube Gallery in 2018, Stephanie Bloom remarked to her friend Julie Darwent: “Wouldn’t that make a wonderful tablecloth?” This lightbulb moment, coupled with a frustration at what they saw as “the lack of reasonably priced elegant yet practical table linens and accessories”, prompted them to create their own tableware, launching the company Setting Pretty last year. The duo design napkins, tablecloths and napkin rings in a palette of vibrant colours and bespoke prints intended to be mixed and matched. “We want to encourage our customers to be playful and bold when it comes to dressing their table,” they say. “Changing the colour palette of a table is a quick and non-committal way of introducing new colours and moods to your home.” settingpretty.com
HERITAGE ADORNMENTS
Door furniture proudly cast in England In 1860 JD Beardmore & Company was established as a general ironmongery store in Fitzrovia, London, with everything cast in England. After its heyday, the company had gone into administration by the 1990s. Danny Vara, whose family owned a hardware shop, says: “I went to see what was for sale. I’d hoped to pick up the display cabinets but, in the end, we got the business.” He discovered a treasure trove of original moulds and catalogues from the 1890s and 1900s. “We bought a foundry in Hastings – the South Coast has a long history with ferroners,” he says. “I wanted to have the flexibility of being able to reproduce all the old patterns and designs as well as producing new ones for our own collection.” Today its quality door, window and cabinet ironmongery adorns the likes of Buckingham Palace. beardmore.co.uk
ROOM FOR REFRESHMENT Sales of Frenchic paint surged 500 per cent during lockdown, shipping 115,000 tons globally over a single six week-period. Using £15,000 earmarked for her pension, and driven by her love of upcycling furniture, Pamela Gruhn founded the company in 2014, initially from her kitchen table in Surrey, using her garage as a warehouse and partnering with a small factory. Today the firm has over 600 stockists in 26 countries, and won the Queen’s Award for Enterprise in the Innovation category last year. Frenchic’s environmentally friendly chalk and mineral furniture and wall paint has no toxins, solvents or odour, is virtually free of volatile organic compounds and comes in over 60 colours. frenchicpaint.co.uk 16 THE ENGLISH HOME
FRENCHIC PORTRAIT © RICHARD BOOTH
Lockdown demand for eco-friendly paint
A RT IS AN AB O D E
Palazzo Inspired Poetic Modern Loft Lifestyle New York Vibes Discover Coastal Tactile Textures Explore Heritage Eclectic Comfort The Riad Edit Chic Boho
Designed and curated by an interior design team with an amazing little black book of contacts, brands, makers, artists and craftspeople - honed over decades in design. Shop five furnishings collections, accessories, home fragrance and thoughtful gifting. Access an edit of homewares not commonly found on the high street.
artisanabode.co.uk hello@artisanabode.co.uk | 01626 834705 |
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NEWS
A DISCERNING EYE
Antiques legend’s rural relocation Half a century since his career began, Ken Bolan is still brimming with passion for antiques. His antique-dealing business ventures have taken him to Switzerland, Sweden, Dorset, London and, most recently, Wiltshire, where he has opened a new showroom. “It has been the most extraordinary journey,” he says. Born in Scotland and raised in the English countryside, in the early 1970s Ken moved to Switzerland where he set up four shops selling English antiques. “I was incredibly lucky to be taken under the wing of two very generous society ladies who appreciated the English style that was to become highly fashionable throughout Europe,” he says. “My entire career has been a constant exploration and it has been a total joy to discover and interpret different styles and ideas from around the world.” Returning to England in the early 1980s, he opened antiques shop Talisman in an old brewery in Gillingham, Dorset. It became a sensation, drawing experts and designers from across the globe.
18 THE ENGLISH HOME
Moving the business to London in 2006 further cemented his close bond with top interior designers. Kit Kemp describes him as “always brave and bold, mighty and imaginative. Whenever I need a statement piece, I visit Ken. We sometimes need a crane and sometimes stop the traffic to install one of his monumental pieces, but it is worth all the effort. Ken is a one-off character. He has the ability to create spaces with enormous style, balance and harmony. Buying antiques becomes a fabulous adventure.” Approaching 70 and seeking to ‘downsize’ – but not retire – Ken closed Talisman in 2019, and late last year opened appointment-only Ken Bolan Studio in an Area of Outstanding Natural Beauty near Tisbury. “Now I have the joy of not needing to think in a commercial manner, but rather with the joy of buying things for the pleasure of discovery,” he says. “It is simply wonderful to take on projects which inspire and excite me, and I am looking forward to the next adventure!” kenbolanstudio.com
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NEWS
WIT ON THE WALLS Divine Savages go maximal
Founded in 2017 by London husbands Jamie Watkins and Tom Kennedy, Divine Savages brings a sense of maximalist fun to the home through its exuberant and passionate designs – always with wit and a wink. The duo design luxury wallpapers and fine fabrics, home accessories, gifts and limited-edition art prints in a carefully curated a spectrum of colourways so the ‘volume’ in each room can be controlled – from soothing tones to a stimulating symphony. “Our mission is to inject a splash of wonder into your home,” they say, “encouraging a braver use of pattern, print and colour, and our collections reflect our passion for daring design with a flourish of both the divine and the savage.” The brand’s team of craftsmen celebrate heritage manufacturing with intricately engraved rollers and hand-mixed paints. Recent launches include Beloved Beasts and new colourways for wallpaper Crane Fonda (right). divinesavages.com
IMMERSIVE EXPERIENCE Colourful emporium Number 13 opened late last year in Kensington as the first flagship store and showroom of companion companies Wicklewood and Blithfield. It beautifully showcases the full collections of long-established fabric and wallpaper house Blithfield and colourful artisanal home decor company Wicklewood. Dressed as a curated space to immerse clients in the worlds of both brands, the store has plans to host launches for new collections, offer design advice and host virtual events. Wicklewood recently launched its first full dinnerware collection. Mexican ceramics created in collaboration with artist Gorky Gonzalez, hand-painted Italian
20 THE ENGLISH HOME
plates, colourful resin cutlery made in France and recycled glassware from Central America sit alongside hand-woven Colombian Iraca placemats and vivid Indian handblock-printed tablecloths, made using traditional techniques handed down through generations. New collaborations include illustrations by Felicity Buchanan and mirrors by Amy Balfour, with more planned for 2021. Blithfield’s complete library of fabrics and wallpapers can be viewed and ordered in the showroom, including its recently launched Somerset collection inspired by antique textiles, with colourful new prints, weaves and embroidery. wicklewood.com; blithfield.co.uk n
FEATURE SARAH FEELEY PHOTOGRAPH (LEFT) © JON BOND PHOTOGRAPHY
Wicklewood & Blithfield’s new flagship store
Loer Pendants | May Coffee Table | Mawnan Planter
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DESIGN DISCOVERIES Beautiful new home buys that are on our radar this month
SHADES OF SPRING Inspired by intertwined ribbon seen on village maypoles in spring, these new hand-painted glazed wall tiles are available in four shade options to add a lightness of touch. Festive Ribbon tiles, £8.94 each, Claybrook Studio
TAPPING INTO STYLE The sleek design of the Oscar wallmounted tap, with a single cross-head mixer that controls both hot and cold water, is perfect for bringing a touch of luxury to smaller spaces in either a gold or brushed-gold finish. Oscar tap in Brushed Gold, £540; Bryony Basin, £900, both London Basin Company
EXOTIC TEXTILES Drawing inspiration from Persia and Western Anatolia, designer Birdie Fortescue’s Spring-Summer 2021 textiles include botanical forms and block-printed borders inspired by Damascus tiles. Scallop placemat, £17.50; Cabbage dinner plate, £21; Saral side plate, £10; Floral Napkin, £14.50, all Birdie Fortescue
SHOPPING
PURE LUXURY Showcasing graceful proportions and gentle curves, this reinterpretation of the classic castiron slipper bath from interior designer Susie Atkinson offers both elegance and comfort. Whitewater bath, from ÂŁ3,792, Susie Atkinson for Drummonds THE ENGLISH HOME 23
SHOPPING ECLECTIC CUSHIONS Choosing contrasting patterns in similar hues, such as these cushion covers from Oka’s new collection, creates a relaxed bohemian feel and enlivens interiors. Cushion covers (from top): Areca in Putting Green, £60; Nostell Diamonds in Red Madder, £50; Locksley in Putting Green, £60, all Oka
HISTORY REPEATING Fine artist Sophie Coryndon’s love of texture and detail is clear to see in this fabric and wallpaper collaboration – here her medieval motif print lends itself beautifully to a chic bedroom backdrop. Cushions and drapes, Albarello in Ink, £180 a metre, Sophie Coryndon for Soane Britain
NATURAL INSPIRATION Four new fabric prints drawing on last year’s rural lockdown make up the latest additions to Zoe Glencross’s Elements collection. Lampshades in Fallen Leaf, Aqua (left) and Confetti Leaf, Aqua (right); cushions in Seafoam, Aqua (middle) and Swirl, Blues (second from right), all from £65 a metre, Zoe Glencross 24 THE ENGLISH HOME
High-performance rugs made from 100% recycled water bottles
www.jennifermanners.co.uk +44 (0)20 3903 0687
SHOPPING
Designed with a lightness of touch, the new collection from Sebastian Cox is made using skilfully coppiced wood from the designer’s own ancient woodland in Kent. Sweet Chestnut and Cherry Sideboard, £3,150, Sebastian Cox
PRINT PERFECT Rug designer Amy Kent’s work with Rapture & Wright sees this design from the fabric and wallpaper studio ethically handmade in India and Nepal as one of five in their creative collaboration. Soldanelle, £750 a square metre, Amy Kent x Rapture & Wright 26 THE ENGLISH HOME
SAVAGE BEAUTY The wild beauty of the moors forms the basis of Lancashire brand Woodchip & Magnolia’s new collection encompassing 15 paint hues and five wallpaper designs. Onism Mallard Blue Floral wallpaper, £85 a roll, Woodchip & Magnolia n
FEATURE EVE MIDDLETON PHOTOGRAPHS P22 (CLAYBROOK) © BEN CARPENTER; P23 © DARREN CHUNG; P24 (SOANE BRITAIN) © MIKE COLEMAN; (OKA) © MEL YATES
WOODLAND MAGIC
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SHOPPING
Curtain, Melford, £35 a metre; wallpaper, Fencott, £59 a metre, both National Trust collection, Sanderson
Synergy table lamp in Pea Green resin and a brass finish (shade to order separately), £1,750, Margit Wittig
Flora Oolong print (61cm x 80cm), £80, Neisha Crosland
Kentwell three-seat three-hump sofa in Varese Grass, from £3,126, Sofas & Stuff
Gently rejuvenate interiors by taking inspiration from nature with pure whites, tender greens, creamy yellows and duck egg blues for an effortlessly fresh mood. Bring in tactile beauty with furnishings and accessories crafted from natural materials, including carved woods and pure linen. Continue the theme with subtle seasonal patterns such as leafy trellis prints and spring bird motifs.
Marsh end table, £1,259, Beth Webb for Arteriors
Parisian antique grey pot, from £13 (small), The Future Kept Beacon Hill Damask HC-2 paint, from £24 for 0.94l, Benjamin Moore
Lazy Linen bedlinen bundle in Dusky Pink, £235, Loaf Camellia White tea-for-one teapot, £140, Fortnum & Mason
English Revival Modern Classic glazed larder, £POA, Mereway Kitchens
Felce hand-painted tile, from £8.04 each (10cm x 10cm), Series ‘S’ collection, Balineum Wallpapers: (back) Jangal, Shell; (left) Kasavu, Shell; (right) Pahari, Vanilla, all £68 a roll, Designers Guild Blue Palamino serveware, from £14 for an 18cm plate, Daylesford 28 THE ENGLISH HOME
FEATURE SUZANNA LE GROVE PHOTOGRAPH (SOFAS & STUFF) © WILL HOUGHTON; (MARGIT WITTIG) © SIMON BROWN; (DAYLESFORD) © NEIL WATSON; (DESIGNERS GUILD) © JAMES MERRELL
FRESH START
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SHOPPING Extendable feather duster, from £29 (small), Ostrich2Love
Silent Butler oak storage mirror, £165, Heal’s
Arbour Lattice wall tiles, £79.95 a square metre, Original Style Sorghum hand broom (large), £55, Foundland
Reviving surfaces, forgotten corners and furnishings with a good dust and clean is a satisfying annual ritual. Make the prospect more desirable with well-made tools for the job, such as natural feather dusters and soft cleaning cloths. To retain the feeling of calm well after spring cleaning has finished, take note of where extra storage would improve the sense of order within a room. To avoid compromising a particular scheme, invest in cleverly designed beautiful storage that is charming to behold day after day.
Blue White Spot storage jar, £54, Susie Watson
Full Circle Plant Based Dye Cleaning Cloths, £12 (set of three), National Trust
Lined rattan storage basket, from £21 (small), Marquis & Dawe
Kitchen scissors, £17, Garden Trading
Door handles, shelf brackets and homeware, all Willow & Stone
Wooden ironing board, £345, Summerill & Bishop
Andrée Jardin organic olive dishwashing liquid, Sage & Basil, £12.50, Divertimenti Linen Bray bread bags, from £14 (small), Rowen & Wren
30 THE ENGLISH HOME
FEATURE SUZANNA LE GROVE PHOTOGRAPH (SCISSORS) © THE LITTLE PHOTO COMPANY LTD
PERFECTLY PRACTICAL
Nothing added‌ but you! There are limitless design options and zero chemicals in our natural swimming pools. Take your step into nature by contacting us on‌ 01359 251030/07703 468440 | kate@naturalswimmingpools.com www.naturalswimmingpools.com
NEWS
THE EDIT British-made and sustainable designs from lighting to linen catch Editor-at-Large Kate Freud’s eye this month HILL & MAY It was whilst searching for beautiful lampshades for their own homes that friends Emily Stewart and Sarah Serocold
realised there was a gap in the market for well-priced, unique designs. They decided to explore whether it was possible to design and handmake their creations in collaboration with skilled artisans, and before long they were taking orders from friends, and Hill & May was born. Though the company is relatively young, the duo have clearly tapped into a popular market. The brand’s impressive collection of lampshades is made from a range of its own fabrics which are all printed by hand on to silks and linens. These can be custom-made into any size, shape or quantity, allowing Hill & May to work on both residential and larger hotel projects. The company also carefully selects saris which are upcycled into beautiful one-of-akind, limited-edition lampshades. All its creations are then hand-pleated to finish, each design complemented perfectly by one of the company’s lamp bases available in a wild range of colours in both wood (which is hand-turned in the UK) and ceramic styles. hillandmay.com
RAPTURE & WRIGHT Creating fabric and wallpaper has always been a labour of love for the team behind Rapture & Wright, one of only a handful of studios in the UK to still print by hand. The company was started in 2004 by Peter Thwaites, an illustrator who had been creating exotic murals and wall finishes for interior designers worldwide, and Rebecca Aird, a graphic designer, both of whom were looking for a more creative way to use their skill sets. Having designed many patterns over the years that they hoped to turn into fabrics and wallpapers, the duo set up shop with a printing table in a barn, and the business went from strength to strength. Both artisans at heart, Thwaites and Aird enjoy using simple, traditional techniques. Their creations are designed in a beautiful range of jewel tones, with everything from floral to geometric prints on offer. Though the methods they use may be traditional, what sets them apart 32 THE ENGLISH HOME
is their forward thinking when it comes to reducing Rapture & Wright’s environmental impact, with their in-house studio allowing them to develop groundbreaking, environmentally sustainable production methods. raptureandwright.co.uk
CHADDER & CO When Chadder & Co was launched in 1987, it was with the intention to restore enamel and roll-top baths, but it was not long before Martin Chadder, the company’s founder, realised the need for other bathroom products, too. Today, Chadder works alongside his son, Sam, still selling antique baths and fittings from the brand’s extensive collection, but now also designing bespoke creations for a client’s specific needs. These include bespoke toilet cisterns – which can be found in Crazy Bear Group hotels – to soap bottle holders available in different finishes to hold products by Molton Brown and Penhaligon’s. The company’s mosaic baths are something to behold, available in an extensive colour palette, with more being added to the collection this year. Another of its products, the Royal Lion’s Head bath filler, helps support the conservation of lions, with Chadder & Co donating £40 from each one sold to the Born Free Foundation. Both beautiful and ethical. chadder.com n
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Nabis wall paint from Papers and Paints sets the palette for the drawing room, which is decorated in traditional English country house style with a mix of patterns and antique furniture. The eighteenth-century mirror is from James Graham-Stewart.
34 THE ENGLISH HOME
A fresh PERSPECTIVE Harmony and flow were restored to this handsome house in the Hampshire countryside to create an elegant and welcoming home FEATURE CHRISTINE STOVELL PHOTOGRAPHY ANDREAS VON EINSIEDEL
The pretty, antique sofa is covered in turquoise Cunard velvet from Claremont. Mugham Flower fabric from Robert Kime was used for the cushions. A pair of urns from Orchid Furniture sit in the alcoves.
 36 THE ENGLISH HOME
A
s a highly successful retailer, Keith Abel has a particular talent for spotting the potential in others and encouraging them to realise their unique skills. “Figuring out what someone is good at and letting them get on with it is the fun bit. I’ve been blessed by people who’ve come along at the right time,” he says, modestly. It is an approach Keith also applied to the process of finding and creating a new home, beginning, in 2008, when he engaged a search agent to save himself valuable time and effort that might otherwise have been wasted on a long mission to find the right property. “I needed greater access to London and wanted an old-fashioned English house – something that was liveable and comfortable, but also simple and functional,” he explains. “Ideally, I was looking for a ‘fixer-upper’, something that would be a bit of challenge.” The property that ‘ticked all the boxes’ for Keith sits in a quiet location on the edge of a picturesque village in north Hampshire. Dating back some six centuries, with later Georgian, Victorian and twentieth-century additions, the listed manor house stands assuredly in formal grounds of extensive lawns, mellow walls and
‘I wanted something liveable and comfortable, but also simple and functional’ ABOVE In the dining room, Venetian Damask wallpaper by George Spencer Designs in a bespoke colour makes a dramatic backdrop to the gleam of crystal and a chandelier from Denton Antiques. The gilt convex mirror is from Tarquin Bilgen. LEFT A custom printed and coloured Uppark Damask fabric by Bernard Thorp was used for the blinds in the entrance hall.
‘It was about rationalising an interior that had evolved over 50 years’ ancient, clipped yews which give way to softer planting and a wider vista across distant fields. “I immediately loved the look of the house, with its red brick facade,” says Keith. “There wasn’t a lot I wanted to change structurally; it was more about rationalising an interior that had evolved over 50 years.” Keith turned to award-winning architect Elspeth Beard – who is also famous for being the first British woman to circumnavigate the world by motorcycle – to help him unravel the knot of large rooms which had been subdivided according to the requirements of previous occupants, resulting in a disconnected series of smaller spaces. Working closely with planners and conservation departments, and sensitive both to her client’s needs and to the history of the house, Elspeth simplified the layout to restore a sense of proportion to the rooms and create a cohesive flow throughout the house. Careful attention to hard finishes, such as the rounded school radiators, deep, comfortable old baths which were all reconditioned and restored, and ABOVE The kitchen cabinetry is by Plain English and the Prismatic Railroad Pendants are by Holloways of Ludlow. LEFT Rain or shine, there’s something for all weathers on the attractive and practical antique coat-stand.
38 THE ENGLISH HOME
Sophisticated layers of textiles and tonal contrasts are complemented by walls and bookcases painted in Bath Stone 2 by Papers and Paints. The chevron pattern fabric on the armchair in the foreground is Claremont’s Matelas de Laine. The six-legged stool is by Robert Kime.
THE ENGLISH HOME 39
‘Life is precious, so it’s important to make each moment count’ wooden pulley racks suspended from the ceiling in the old-fashioned laundry room, bring warmth and character to the ambience of each space. Keith takes great pleasure in entertaining, so the new layout had to be sufficiently flexible to accommodate gatherings both large and small. The entrance hall now leads into a spacious central hall with stairs and an open-plan reception space. A series of four service rooms became the large, light-filled kitchen and dining area where up to a dozen people can comfortably sit for a cosy supper or informal Sunday lunch. There is also a formal dining room, a drawing room and a library, previously a conservatory. Stairs in the grand central hall lead to a spacious galleried landing and six bedrooms, and attic rooms above. With the architectural revisions in place, Keith briefly toyed with the idea of bringing the interior up to date by painting everything white. Instead, he decided to seek expert advice on a wider palette of colours from interior designer Sarah Morris of McWhirter Morris, who he had met through a mutual friend and whose work he knew and admired. Sarah, who is known for interiors which combine comfort, charm and the kind of timeless, enduring styles which are ‘resolutely anti-fashion’, realised that the house alterations had, in effect, created a blank canvas which called for a more nuanced and comprehensive approach to the decoration. “Although the rooms were of a good size and shape, the house itself lacked personality,” explains Sarah. ABOVE The handsome red brick manor house has a Tudor core with later additions and sits in extensive grounds. RIGHT The stylised florals of Le Manach’s Victor Hugo fabric for the curtains teamed with cushions in Kos fabric by Vaughan intensify the colour palette in the bright and inviting library.
40 THE ENGLISH HOME
‘This arrangement has meant we have made full use of every room in the house’
THE ENGLISH HOME 41
ABOVE In the main bedroom, the four-poster bed is dressed in Bergama linen by Robert Kime and the wallpaper is George Spencer Design’s Palm Stripe.
“There were a few rugs that I could work around, but there was very little furniture that would fill the space, as Keith’s previous home had been very different both in character and size. Comfort was a priority, so I suggested wallpaper, which I think adds warmth, pattern and individuality.” Wallpaper has been used to striking effect in some of the bedrooms, the main bathroom and in the formal dining room, where
42 THE ENGLISH HOME
George Spencer’s Venetian Damask wallpaper in a bespoke colour bathes the room in a golden glow. Throughout the house, Sarah has referenced a colour palette that varies in intensity but blends with the well-chosen pieces of antique furniture, lighting and art to create a harmonious whole. Whilst fabrics from Robert Kime and Colefax and Fowler amongst others have been used in the majority of rooms for
Colefax and Fowler’s Snow Tree wallpaper sets the tone for the luxurious main bathroom which has extensive views across the grounds.
‘Wallpaper adds warmth, pattern and individuality’
curtains, upholstery and cushions, the galleried landing and luxurious main bathroom have been left free of curtains for a surge of natural light and views across the extensive grounds. “A dynamic business,” Keith observes, “is about building a culture where everyone involved is contributing ideas. Once the right people have been hired, it’s buzzing.” By applying the same philosophy
to finding and renovating a house, he has produced a beautiful, functional and comfortable home that brings pleasure to both him and his guests. “Life is precious, so it’s important to make each moment count,” he reflects. “The beauty of this house is that it’s perfect all year round for entertaining, and in warmer weather, people can spill out into the garden. It’s a great success.” n
ABOVE Cole & Son’s Hummingbirds wallpaper, twin nineteenth-century bedsteads and vintage bedspreads make this guest room cosy and inviting.
THE ENGLISH HOME 43
Glowing WITH COLOUR A vibrant mix of colour and pattern, in all its many forms, has infused this sixteenth century house in Suffolk with an uplifting, playful feel FEATURE AMANDA HARLING PHOTOGRAPHY ANDREAS VON EINSIEDEL
44 THE ENGLISH HOME
Antiques such as the round side table and the mahogany tall boy, known as Grandpa Goodman because it was made as a wedding present for a Goodman relative and passed down the generations to John, are mixed with contemporary pieces giving the sitting room a pleasantly informal look.
ABOVE The Georgian fire surround and the Delft tiles so often found in period Suffolk houses are original. Little Greene’s Yellow Pink on the wall matches the yellow silk trim on the framed pair of Chinese armbands hanging on either side of the fireplace. LEFT The sitting room is vibrant with colour and pattern. The toile de Jouy screen was sourced from specialist dealer Su Mason, whilst the sofa, bought in the 1970s, is covered in purple velvet from The Conran Shop and cushions made by Lynn from 1930s velvet curtains.
46 THE ENGLISH HOME
L
ynn Walford is recalling how she and her husband John swapped life in busy Hackney, east London for the picturesque East Anglian village where they have lived for the past 10 years. “It was only a matter of time before we moved to Suffolk,” she says. “Although John was born and brought up in Kenya, his family had owned a home in Walberswick since 1905, where he loved to spend holidays. This part of the world had long been familiar to him, and to me too, from the days when we met as students at Birmingham University.” The couple both studied drama, John going on to stage fashion shows and events for designers, and Lynn a stylist and fashion editor. “Because of work, we lived in London, but the more congested it became, the more we yearned for a quieter environment with cleaner air,” Lynn says. “So, after our daughter had completed her studies and left home, we set about looking for a place in the country. John still teaches in London a couple of days a week, so being within reach of a station was important, but apart from that we were pretty flexible about where we lived.” The village house the couple eventually bought has undergone many changes since it was built in the latter
‘Once the weather warms up, we turn off the Aga in the original kitchen and cook and eat in the new kitchen’ part of the sixteenth century. The core dates from 1590 and originally consisted of two or three terraced cottages but was later altered to become one property. At the end of the eighteenth century, it was gentrified with the addition of the Georgian facade and the attic floor which provided accommodation for servants. The alterations the couple have made since moving in have been mainly decorative. “The first thing we did was change the traditional ‘Suffolk Pink’ of the facade to Farrow & Ball’s Wimborne White to freshen up the exterior,” Lynn says. “According to research, ‘Suffolk Pink’ was first used in the fourteenth century by the dyers of Suffolk, who added natural materials to limewash, such as elderberries, or blood from pigs or oxen. Blackthorn or sloe juice were other less grizzly ways of tinting the paint.” Lynn and John also converted what had been a music room, built by previous owners in the 1960s, into a dining room and kitchen that they use in the
ABOVE Adam’s Eden wallpaper by Lewis & Wood adds a decorative flourish in the new kitchen. The blue chairs are from Coexistence in Islington and the table is made from scaffolding planks resting on Victorian carpenter’s trestles sourced from a reclamation yard. RIGHT Nothing co-ordinates but everything looks effortlessly stylish. A turquoise lamp base elevates the bottom half of a Welsh dresser.
THE ENGLISH HOME 47
The original kitchen is used mainly during the winter months, when the oil-fired Aga keeps the room warm. Art in the form of a toucan by master ceramicist John Chipperfield, founder of the Suffolk Craft Society, sits on the shelf above. The farmhouse table is contrasted by a pair of early Ikea metal chairs with seats painted in Willow Tree by Dulux.
48 THE ENGLISH HOME
The shelves in the pantry are filled with china and serving dishes. The original bells summoning servants remain in situ.
‘I’m not a purist when it comes to combining designs of one era with those of another. It’s all in the mix’ summer. “Once the weather warms up, we turn off the Aga in the original kitchen and cook and eat in the new kitchen,” Lynn says. “The kitchen appliances in it are concealed in the cupboards so they don’t dominate the room. It makes a change and, if the weather allows, we can open the French windows and take everything outside to eat in the garden.” A previous owner was the late garden designer Mark Rumary. “We try to keep up his good work by retaining his planting and his design scheme which divided the garden into a series of ‘rooms’,” Lynn explains. Time for the garden is limited, however, by her other occupation: “I’ve always loved decorative
textiles and fine linen, and I’ve been collecting them for years, buying at auctions, antique fairs and from specialist dealers,” she says. “There’s something magical about holding a piece of Spitalfields silk.” “After we moved to Suffolk, she continues, “I did a professional pattern-cutting course and began using fabrics from my hoard to make dresses. Each one is a one-off and I sell online as well as at The Country Brocante fairs around the southern half of England. Since the first lockdown, I’ve concentrated on making decorative items such as cushions, throws and lampshades. Everyone is spending so much more time at home rather than dressing up and going out, so
TOP The Georgian facade provides the perfect backdrop for the Madame Alfred Carrière climbing roses. ABOVE The couple’s whippet Lily sits with Lynn, who is wearing one of her own designs. To find out more, visit @lynn walforddbdlondon
THE ENGLISH HOME 49
In pride of place on the landing is a painting by Robert Anderson. It was commissioned in 1879 by John’s great-grandfather and was the only item John’s father managed to salvage after his own father went bankrupt during the Great Depression in 1929.
ABOVE LEFT Using three shades of Little Greene’s French Grey on the walls and ceiling gives the main bedroom added dimension and depth. On the bed is a 1920s French cotton quilt, and cushions made by Lynn using antique silks and trimmings. Bedside tables picked up in a junk shop have been painted in Dragon’s Blood by Fired Earth. The lampshades are from Su Mason. LEFT The wardrobe in the couple’s daughter’s bedroom has been painted by John in true Bloomsbury style to reflect her love for Charleston in Sussex.
50 THE ENGLISH HOME
there is a demand for individual, handmade accessories which add interest to one’s surroundings.” Lynn’s flair for design and decoration can be seen in her own home, where her skill with a needle and her resourceful approach is evident throughout. In the sitting room’s vibrant mix of pattern and colour, in the dining room, where a wonderful ‘tree of life’ wallpaper spans one wall, and upstairs, where finely worked antique and vintage textiles add interest and atmosphere to the bedrooms. “Being resourceful was a necessity when I moved to London after leaving university,” Lynn says. “Nobody had any money, so we’d buy one crepe blouse and dye it a different colour every week. On Saturdays, we’d shop at Biba or Bus Stop. Once we were all dressed up, it was off to the clubs on the King’s Road. One of my first dresses was from Mary Quant’s shop on the King’s Road. Later on I had a couple of Ossie Clark’s beautiful dresses, and I loved the cut of the clothes from Mr Freedom. It was an exciting, innovative time.” Initially, Lynn worked for a magazine where the art director, Stanley Glazer, taught her about photography, graphics and design. Later, she worked on films and commercials as a costume stylist. “I just
The bathroom walls are painted in Farrow & Ball’s Elephant’s Breath and the bath is painted in Dragon’s Blood by Fired Earth whilst the needlework panel was a gift from a friend. “Our whippet Lily is loved by all who meet her,” Lynn says.
‘I’ve always loved decorative textiles and fine linen, I’ve been collecting them for years’ had to think on my feet. Staying calm and coping, adapting, nipping in here, letting out there. Teaching someone to style is impossible – one either has ‘the eye’ or one hasn’t. It can be honed, of course, by studying the work of talented designers and makers. On the sewing side, I’m largely self-taught, but I’ve found that the more you do the more you learn.” Lynn’s innate sense of style – having the confidence to mix bold pattern with equally bold colour – is balanced by knowing when to stop. In the sitting room the plain yellow walls are a foil to the panoply of patterned cushions on the Ercol day bed and the purple velvet sofa. In the dining room, the timeless design of the wallpaper is contrasted by contemporary dining chairs. “I’m not a purist when it comes to combining designs of one era with those of another,” she says. “It’s all in the mix.” n
RIGHT In the guest bedroom, a reproduction oak wardrobe bought at auction has been fitted with shelves and painted with White Lead Deep on the exterior and Pale Wedgwood inside, both by Little Greene.
THE ENGLISH HOME 51
Character STUDY
A layered aesthetic has brought warmth and personality to this Victorian terrace, enabling its owners to fall in love with it all over again FEATURE RACHEL LEEDHAM PHOTOGRAPHY RACHAEL SMITH
Purchased whilst the project was underway, this painting by Julia Whitehead was a serendipitous find. The Luca wall lights in Amethyst are by Fiona Makes at Fiona McDonald.
The walls in the drawing room are covered in Sacramento grasscloth from Stereo. The television is hidden in a chinoiserie-style cabinet by Oka. The cushion in Marbleized velvet is by Beata Heuman; the ottoman in sorbet pink leather is by David Seyfried.
THE ENGLISH HOME 53
This space opposite the drawing room on the first floor also serves as a guest bedroom. A truckle divan bed covered in Verandah Peacock Blue by Veere Grenney doubles as a day bed. The Verona mirror and 1940s French coffee table are both from Fiona McDonald. Scrolling Fern wallpaper in Chestnut by Soane adds lively pattern to the walls.
‘Once the main pieces were in place in the drawing room, I suggested adding an enormous table lamp, as I realised the space could take it’ ABOVE The armchairs by Fiona Makes at Fiona McDonald are covered in Span in Honey by Christopher Farr Cloth. The impressive 1920s gilded iron chandelier is from Carlton Davidson Antiques and the large table lamp is the Larimar from Porta Romana. The Rhodonite rug by Jennifer Manners beautifully pulls the palette together.
F
amily dynamics change as children grow and a love affair with a house can wane in the process. It sometimes takes a real shake-up to reignite the passion first felt for a family home, and such was the case with this four-storey Victorian terraced property in West London. Its owners, Jane and John, had bought and renovated it as newlyweds, but now, with three children aged 15, 14 and nine, plus a dog, they were finding its layout lacked the flexibility they needed. “The children had got to the point where they wanted their own space, but we all lived in the family room off the kitchen, while the large double reception room on the first floor was very rarely used,” Jane says. The family had recently completed a lengthy project building a second home in the Cotswolds, and having plundered their London abode for furniture and art, it
54 THE ENGLISH HOME
now felt rather bare and unloved. “It certainly needed more furniture but it also lacked warmth – I was tired of white walls and ready for something much more colourful,” recalls Jane, who tasked interior designer Kate Arbuthnott with refurbishing the house over the course of six short weeks during the children’s summer holidays. The brief included tweaking the kitchen, redesigning the bathrooms and building new fitted storage. “It was a tall order, but having emerged from such a lengthy build, we felt that speed was of the essence with this project,” Jane explains. Kate cut her teeth working with Emma Burns at Sibyl Colefax & John Fowler and she is known for her inviting, layered interiors that are underpinned with a sharp eye for detail. Her knowledge of fabrics and wallpapers is encyclopaedic and it was with these that she kicked off the key schemes for the house, starting
The striking Cupola pendant by Tamasine Osher Design brings an organic element to the dining room. The Chestnut wallpaper is by Marthe Armitage and the patterned chair fabric is Antalya by Borderline.
THE ENGLISH HOME 55
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The leafy wallpaper in the dining room was one of the hero designs Jane selected: ‘It had particular resonance as it is block-printed nearby’ with the much under-used first-floor drawing room. “I encouraged Jane to select a few hero designs that guided me for the palette,” Kate explains, pointing out the arresting abstract print used to upholster a pair of 1960s-style armchairs. “Jane alighted on this design, which then inspired the fabrics in soft blues and the gorgeous amethyst glass wall lights.” Kate suggested the tobacco-hued grass cloth on the walls to offset the couple’s art. “People are often afraid of using colour when it comes to displaying paintings, but it can really make the pieces stand out,” she says. The same rich shade was picked up in an elegant fern-print wallpaper for the other half of this double reception space, which serves primarily as a study. “There isn’t a spare room, so this area needed to double as an occasional guest room,” says Kate, adding, “The sofa is in fact a truckle divan that we dressed in a textural peacock blue linen so that it looks like a smart day bed.”
A leafy wallpaper in soft, silvery hues, was another of the hero designs Jane selected, this time for the dining room next to the kitchen on the ground floor. “It had particular resonance as it is block-printed in a studio not far from the house,” explains Jane, who reveals that she also loved Kate’s suggestion of an organic pendant light crafted from spalted beech, whose asymmetrical design was a deliberate choice to mitigate the fact that the ceiling rose is not perfectly centred above the dining table. “Kate is wonderful at layering lighting, so she also included table lamps, and wall-hung pendants by Michael Anastassiades at Sigmar,” Jane says. “And having dimmer switches means that when we have guests for dinner it feels wonderfully intimate, but also that this room works as a place where the children can do their homework.” New fitted storage in the dining room was an important part of the brief, too, and includes
ABOVE The island unit is topped with Calacatta Tigre honed marble from Artisans of Devizes and the cabinets are painted French Gray by Farrow & Ball. The cupboard handles are from Chloe Alberry. OPPOSITE The ultra-slim Empire console table from Scumble Goosie is painted in Dragon’s Blood by Fired Earth. The Ebury mirror is available to order from Julian Chichester.
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Interior designer Emma Sims-Hilditch designed the headboard and used Mark Alexander’s Retro fabric from Romo to cover it. A false wall was built behind the bed to create Rupert’s dressing area. The bedside cabinets are from Chelsea Textiles, with lamps by Vaughan and the bedspread is from The White Company.
ABOVE Details such as cut fringing on the cushions add all-important tactile touches in the master bedroom. The Zulu lamp bases are by Porta Romana whilst the Mid Century Modern bedside tables are from Chelsea Textiles. The Erased rug is by Jennifer Manners. LEFT This pleasing arrangement showcases a Countess mirror by Julian Chichester flanked by tall Acanthus column table lamps by Vaughan. The Drummond sideboard is from Oka.
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generous cupboards built into the alcoves either side of the chimneybreast. Although they look deceptively shallow, the dining room cupboards extend into the alcoves and provide storage for all manner of things – from shoes to dog leads to cycle helmets – that had formerly cluttered the nearby entrance hall. “The cupboards are deep enough for coats but I filled in the alcoves above them so that they don’t appear bulky in the space,” says Kate, who created more storage in the kitchen by designing an island unit to complement the existing cabinetry. It is topped with a richly veined marble to add a touch of pizzazz to the space. Whilst the main works were completed within the rigid timeline – “I had a programme of what each tradesperson had to do each day, and needless to say, it was detailed,” laughs Kate – it was inevitable that some of the pieces would be added at a gentler pace. “I think it’s important to leave a few holes,” she explains. “For example, once the main pieces were in place in the drawing room, I suggested adding an enormous table lamp, as I realised the space could take it – this is the sort of thing that I couldn’t have envisaged at the planning stage.”
The couple’s daughter selected this vibrant crewelwork design, Kaliska in Rose Indien by Manuel Canovas at Colefax and Fowler, for her headboard. The bespoke Altiplano brocade cushion is by A Rum Fellow.
‘The house now gets used in a much more fluid way and is a really inviting place’ Jane is the first to admit that Kate nudged her into making braver decisions than she would have taken on her own. For instance, when Kate suggested a bold pink floral wallpaper for the tiny downstairs loo – with woodwork in a matching rhubarb pink – Jane wondered if it was a step too far. “At first I thought it seemed so loud. I called Kate up saying, ‘I hate the loo!’,” she remembers. “She suggested I should live with it for a few days and now I really do like it, as does John, who is the least pink person.” “The house now gets used in a much more fluid way,” Jane says. “It is a really inviting place for entertaining friends, and my husband and I love the fact that we have a comfortable drawing room we can retreat to. Even the children comment on how much better it is to live in. I think everyone has fallen in love with the house all over again.” n
ABOVE LEFT The woodwork in the cloakroom has been painted in Rhubarb by Paint & Paper Library to match the Palampore Blossom wallpaper in Pink and Red by Soane Britain. RIGHT The master en-suite bathroom floor is in North Haven Penny Mosaic by Fired Earth unites and the blind fabric is Fez Seafoam from the Guy Goodfellow Collection.
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Perfect TIMING A chance discovery and a tantalising childhood memory have resulted in the sensitive restoration of a Grade II* listed house in Hampshire FEATURE & STYLING CELIA RUFEY PHOTOGRAPHY JAMES BALSTON
With the kitchen the hub of the household, the sitting room can afford to be more formal with seating arranged around a coffee table by Tom Faulkner. Two antique chairs purchased with the house and re-covered in Harcourt velvet by GP & J Baker establish the bold blue thread that runs through the room in accessories and soft furnishings such as the curtains in Kalmar by Colefax and Fowler.
ABOVE The kitchen, designed and fitted by Lewis Alderson Fine English Furniture, has been moved to the largest ground floor room in recognition of its importance to contemporary family life. French windows flood the room with natural light and give easy access to the garden. The splendid Arctic Pear chandelier is by Ochre and the paint colour on the island is Squid Ink by Paint & Paper Library.
T
he turn of events that found Becci Friend, her husband, Rob, and their three children leaving London in 2016 began when she saw a house for sale in the Hampshire village where she had grown up. She knew the house, but had never been inside. “It had a high hedge along the front and, as a child, I’d thought it must conceal a secret garden,” she says. Despite not having previously had any firm plans to move out of London, Becci could not resist the temptation to book a viewing. “A couple had lived in the house for 30 years,” she explains, “and nothing had been done to the interior since the 1980s, but it immediately felt like a proper home. I think Rob realised he’d be fighting a losing battle if he didn’t agree that this was the right house for our family.” The handsome property that brought the couple and their children – Oliver, William and Henry,
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now respectively 10, nine and seven – back to Becci’s old village was built around 1812, possibly for a local merchant. The house is Grade II* listed, which meant that making changes to it was not straightforward. “Our initial idea had been to add an orangery to the kitchen at the back of the house,” Becci explains, “but our application for Listed Building Consent was turned down. So then we needed to find another way to adapt the house for family living that would take account of the conservation officer’s concern about possible damage to the historic structure.” Help came unexpectedly from a previous owner of the house, still living in the village, who brought over a plan showing how the rooms were laid out in 1930. “We worked out that if the existing drawing room overlooking the garden at the back became the kitchen, it would create a modern family living space,” Becci says. “And if the adjoining morning room
The combination of a large mirror and low level illumination from table lamps is designed to give softer layers of light in the evenings. The rug is from Farnham Antique Carpets and the pendant light is by Owl Lighting.
‘Nothing had been done to the interior since the 1980s, but it immediately felt like a proper home’ LEFT A plan of the house dating from 1930 shows how it was used by previous inhabitants. RIGHT Tucked under the sweep of the stairs is a handsome chest purchased from the estate of the previous owners and flanked by antique chairs covered in Otello No 2 velvet by Nobilis. THE ENGLISH HOME 63
‘It is a very simple house, nothing too rambling, and it has kept all its Georgian character’
ABOVE Framed by a magnificent magnolia tree, the imposing scale of this doublefronted Georgian house is matched by the simple elegance of the elevation. ABOVE RIGHT Original glazed doors with an integral fanlight link the kitchen to the dining room, which sits at the front of the house.
through the original glazed doors became the dining room, and the previous dining room across the hall, our sitting room, it would then be a matter of redecorating and furnishing without any structural alterations at all.” The laundry room leading off the back hall was given a new role as the family’s snug and the old kitchen took over laundry duty. “This arrangement has meant we make full use of every room in the house. If we’d been allowed the extension, we wouldn’t have used the space nearly as effectively.” The kitchen was now to be the focal point in a busy family house, but challenges lay ahead to make it work within the restrictions of the listed status. Becci was helped by Tom Edmonds of Lewis Alderson Fine English Furniture, whose showroom Becci passed every day when taking the children to school and whose work includes fitting kitchens. “One issue was how large to have the kitchen island as there are five
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of us who sit around it every morning for breakfast,” she explains. “We decided to give more than half of its area to eating and seating. On the other side are two ovens, a large hob and drawers.” To ensure no damage to the room’s structure, a low-level extraction system had to be installed, and the best way to fit pipework around the sink had to be organised with considerable ingenuity. As only one ceiling fitting was permitted, an incredibly large pendant was chosen to light the island. Floorboards fitted in the 1970s throughout the ground floor were in poor condition, so Becci had tumbled oak in a chevron pattern laid in the hall, kitchen and dining room. “The floor was then aged with a wax-based finish,” she says. “It’s practical flooring and it has linked these related areas.” Becci and Rob also needed to establish furniture placement, particularly in the sitting room, as any alteration to the existing electrical layout was
Wallpaper in Veranda Trellis and curtains in Garden Blossom, both by Zoffany, keep the dining room mood fresh and light. The Darby dining table by Benchmark echoes the warm wood tones of the tumbled oak chevron flooring from Wood Floors of Farnham.
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‘This arrangement has meant we have made full use of every room in the house’ ABOVE Brocatello Zinc wallpaper by Zoffany reflects soft light around the master bedroom. Colour and pattern is introduced via other elements such as the bench, covered in Mikado Raspberry velvet by Osborne & Litte, and Messina Vase table lamps with Tribal collection shades by Vaughan. A Smoke Crystal chandelier by Tigermoth adds dramatic effect. ABOVE RIGHT Stone Too oval washbowls and Artlinea tables from CP Hart bring elegance to the en-suite bathroom.
restricted by the Conservation Office. “That was when I called in Georgina Taylor of Overbury Interiors,” Becci explains. “Having come from a smaller London house, all the furniture was the wrong size and shape for these rooms. I also needed help to be bolder in my choice of colours and patterns, and my brief to Georgina was to take me out of my comfort zone.” In one respect though, Becci was the one who controlled the ongoing refurbishment day by day. She is a qualified surveyor and employed these skills throughout the project, managing plumbers, electricians, decorators and kitchen and bathroom installations with an efficiency praised by everyone who worked at the house. Georgina first came up with a proposed layout for the sitting room and a number of colour schemes based around Becci’s preferred palette. “I love her skill in mixing patterns and colours, as I find it easy to be overwhelmed with options,” Becci says. Georgina also recognised specific issues such as the importance of fitting corded curtain poles because of the high ceilings, the deep shutter boxes at all the main
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windows, and the need to be clever about how curtains returned back to the walls. Becci and Rob had purchased some antique chairs from the estate of the previous owners and Georgina suggested how they could be integrated into rooms with bold colours to make a particular statement. Becci was also glad of Georgina’s advice on where to look for sofas and chairs, lamps, console and coffee tables. “But the sitting room mirror I sourced myself,” she says, “from Looking Glass of Bath, and for a while I had tinfoil on the wall to work out the size it should be.” Becci’s instinct that this could be a perfect family house has been fully justified. “The rooms are large but there are not too many of them,” she says. “It is a very simple house, nothing too rambling, and it has kept all its Georgian character. Rooms flow, the boys run in and out and we use all of the space.” When Becci thinks about what called her back to this village, all that is missing is the vision of a secret garden – she understood when she first walked through the door that, with mutual respect, a historic house can cope very well with modern family living. n
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STYLE INSPIRATION
Our special section dedicated to design and decorating inspiration begins here
LEVEL OF DISTINCTION
FEATURE KATY MCLEAN
Creating contrast helps to bring depth, richness and character to a scheme. Here, walls painted a bitter chocolate hue provide a dramatically distinct backdrop to textiles from Colefax and Fowler’s new spring collection. The cushions, with their rich colours and intricate crewel work pattern, are showcased as works of art when set against the deeply dark paint. Cushions in Somerton, £159 a metre, and all fabrics, Colefax and Fowler. Discover more of the new collections in our April issue.
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kitchen
LIFE IN THE
Combine practical and decorative design details to create a kitchen to suit the way it is used, whether as a multifunctional family space, a sociable room for entertaining or home to a keen cook
In this calm and orderly kitchen, the Nickleby prep table takes centre stage. Kitchen from ÂŁ40,000 (excluding appliances), Humphrey Munson
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FOR
DESIGN IDEAS
A
s one of the hardest-working rooms in the home, used day and night and by all members of the household, a kitchen needs to be not only practical but beautiful too, to make spending time there enjoyable. Often, the lifestyle of the homeowner and the way the kitchen is primarily used will dictate its layout, content and decoration. Keeping this in mind as the first consideration when planning a kitchen will ensure it functions and is a pleasure to spend time in for all who use it. Here we look at five different styles to enhance the heart of the home.
Everything in its place This calm and orderly approach to the kitchen keeps it as a functional, yet elegant space. Clever storage hides gadgets, appliances and cookware, leaving just a few beautiful pieces on show. Though there might be space to pull up a stool for a spot of breakfast, or a quiet cup of tea, this is not a lively, social space. A clean, fresh and limited palette works well to maintain a restful and organised feel – off whites, whether cool or warm, perhaps with a soft accent colour in sage or pale blue might be favoured. Classic touches such as polished brass or nickel, marble worktops, wood or light stone flooring are all excellent choices. Above all there is nothing unnecessary on the counters – a pantry cupboard or even a separate pantry keeps everything neat and tidy.
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CLOCKWISE FROM TOP LEFT Chichester kitchen, painted in Mist, from £8,000; Imperial nickel pendant light, £215, all Neptune Brass Piped Pendant light, £69.99, Charlton Island Paints (from top): Green Smoke and James White, £49.50 for 2.5l Estate Emulsion, Farrow & Ball Mr Clarke 40cm wall clock, £65, Newgate Kamari Decorative Jug, £85, Oka Marmi Hex Marble-Style porcelain tile, £38.88 a square metre, Porcelain Superstore Millbrook three-door sideboard, £1,269, The Painted Furniture Company THE ENGLISH HOME 71
Family living
This multifunctional space may well be open-plan, combining a dining area, sitting room, and perhaps even an office area. It is where the family gathers to prepare food, catch up and relax. Having distinctions between different areas can help to designate different functions, for instance placing a rug in a seating area will make it stand apart from the cooking and eating areas. When it comes to colour, some may prefer the spacious feel achieved through light, neutral hues, whilst others may be more daring, using bright hues or adding bold accent tones. Rust oranges and mustard yellows work well to enliven navy cabinetry, whilst bright pastels can create a prettier effect. Colour can also be used to zone as well as unite different areas, for instance, matching a sofa to a tile splashback. Storage in which to stow away toys, schoolwork, office and hobby equipment and more is crucial in a family kitchen. Ensure dining areas are located close to the kitchen for ease of serving food, with seating areas away from the main hustle and bustle. Use a corner or nook for a desk, if needed, and of course, a spot for the family pet might also be a necessity.
CLOCKWISE FROM TOP Iconic kitchen, from £70,000, Smallbone Cabrera Jasmin Mint tile, £224.50 a square metre, Claybrook Dynamo 1 pendant in Blue, £102, Dar Lighting Group Walls in Gettysburg Gray Chalkboard Paint, £30 for 0.94l, Benjamin Moore Paints (from left): Polka Dot, Rosie Posie and Toy Soldier, all £42 for 2.5l Claypaint, Earthborn Paints
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DESIGN IDEAS
CLOCKWISE FROM ABOVE Suffolk kitchen, painted in Ink, starting from £8,000; Byron pendant light in Grey, £150 (large); Ludlow bar stool, Natural Oak £375, all Neptune Kasbah Ink Runner, from £138, Weaver Green Deeply Dishy luxury dog bed in Velour Contrast Aquamarine, £140, Charley Chau William armchair in Hajdu Stripe, £2,100, Mind The Gap
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A range cooker and plenty of work surfaces provide the perfect space for those who are passionate about cooking. The Classic English Kitchen, from £25,000, deVOL
HIGHLY ANTICIPATED The Greenacre design was originally part of Colefax and Fowler’s spring launch – and one The English Home featured in our April edition. The collection was paused and the many readers who enquired about the availability of this charming design will be pleased to know it is now available, along with a host of other beautiful designs. The new colourways of the everpopular Bowood are also worth investigating. Greenacre, in Forest Green and Leaf Green, £85 a metre, Colefax and Fowler
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DESIGN IDEAS
The cook’s domain
CLOCKWISE FROM ABOVE West Bucknowle kitchen, in Mole’s Breath and Inchyra Blue (both Farrow & Ball), from £40,000, Guild Anderson Wells ceiling-mounted pot rack in Nickel, £17,976, Waterworks Copper utensils, £59, Idyll Home Cobb rise-and-fall pendant, £245, Original BTC Paints (from left): Indigo, Brunswick Green Deep, Sang de Boeuf, all £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint Weathered oak three-leg bar stool, £179, Ella James Pomegranate 42l cast-iron oval casserole, £82.07, Denby Little Cress double oven glove, £39, Tori Murphy
For those serious about cooking up a storm in the kitchen, a truly practical space is essential. Generous worktops perhaps a large island for extra preparation space is crucial, along with a sizeable oven (or two) and plenty of storage for ingredients. Good cookware such as copper pans can also be used to make the space attractive – hung from a pot rack or displayed on open shelves. Heritage colours work well here – a deep green or red-brown teamed with copper finishes perhaps. Somewhere to perch in the form of a wooden bar stool is useful, but the focus of this space is creating delicious food and enjoying the process, so having plentiful preparation space and storage is key – as is excellent lighting.
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DESIGN IDEAS
A sociable space
This kitchen comes into its own in the evening as a perfect spot for supper or for drinks with friends. The look is glamorous, with rich, dark hues of navy, green or black on cabinetry and sleek worktops and golden accents. This kitchen works well for the host who can cook and still be able to entertain guests as they sit on an upholstered bar stool sipping a drink. A bar area, drinks cabinet, wine rack or chiller fridge are essentials. Whilst kitchen lighting has to be practical for cooking, ambient lighting is crucial. Opt for a row of dimmable pendant lights in glass, perhaps even crystal, and brushed brass for an opulent look.
CLOCKWISE FROM TOP LEFT Soul Kitchen with New Classic cabinetry, from £35,000, Martin Moore Globe and Brass pendant, £125, Cox & Cox Gold and Glass cocktail shaker, £25.50, Audenza Arc cocktail glass, £18.45 for two, Not Just Jugs Terrace 68-piece dinner set, £2,450, Micucci Interiors Lucia bar stool in Royal Blue velvet, £119, Cult Furniture Goldfinger counter stool, £1,450; Jacques three-light pendant £1,995, both Jonathan Adler
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DESIGN IDEAS
This country life
CLOCKWISE FROM TOP LEFT Blind, Rose Linen, £168 a metre; cabinet skirting in hand-block-printed cottons, £104 a metre, all Molly Mahon Tiles (from top): Chateaux Ormeaux on Thebes; Chateaux Bourron on Papyrus; Chateaux Behen on Papyrus, all £280.25, a square metre, Original Style R3 Series 90 Electric with Induction Hob, Aubergine, £8,196, Aga Scullery kitchen table in Pale Grey, £1,295, Loaf Provence sink mixer in Pewter, £695.04, Perrin & Rowe Blinds and plates, all Susie Watson Designs 78 THE ENGLISH HOME
FEATURE KATY MCLEAN PHOTOGRAPHS P71 (TILE) JAMES BROOME; P72 (BENJAMIN MOORE) © JOHN BESSLER; P75 (WATERWORKS) © SLOAN HOWARD; (TORI BURCH) © JACK NEVILLE; P78 (MOLLY MAHON) © ALUN CALLENDER; (SUSIE WATSON) © ADAM CARTER
Cottage kitchens radiate rustic charm with wooden countertops, flagstone floors, farmhouse tables and pretty textiles. Ticking stripes or sweet prints offer a country feel and can introduce colour in in the form of raspberry pinks to enliven calm greys or rich blues. A butler sink and traditional-style taps maintain an authentic flavour – this is not a place for crisp, modern lines and glossy surfaces. Wooden dish racks are perfect to display much-loved china – or perhaps if space allows a heavily dressed Welsh dresser. An Aga or range cooker exemplifies the country kitchen and should be a primary focus – choose a suitably lovely colour. n
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DECORATING
Natural
CONNECTION
Decorate a garden room, whether a conservatory, orangery or even a greenhouse, to provide an enjoyable space that bridges interior and exterior
A
garden room provides a natural link between a home and the green space beyond. It could be a conservatory in which to relax, an orangery designed for everyday living, or a greenhouse that doubles as a dining room in summer. Glazed structures like these create an extension to the home, a half-way space where house and garden, inside and outside, come together.
Whether used year-round or only during warmer months, garden rooms can provide a sanctuary to retreat to, a practical well-lit place to read or paint in, or a space in which to socialise. However they are to be used, they can offer the perfect canvas on which to experiment with a more adventurous approach to interior design, introducing bolder patterns or furniture styles than elsewhere in the home.
Often, the best sources of inspiration are the verdant plants and colourful blooms in the world outside. Being influenced by them can result in a pleasing synergy between interior and exterior zones. ABOVE Blinds in Manilla emboridery, £69 a metre, all other fabrics and wallpaper all Glass House collection, Sanderson THE ENGLISH HOME 81
Style Notes • Consider how the space will be used, year-round • Create a connection between inside and outside, as well as with exisiting interiors for flow
A MATTER OF CHOICE
TOP An orangery from Vale Garden Houses provides an extra sitting room. ABOVE A garden room provides the perfect space for enjoying a hobby. Curtain, Tabletop Lichen, £31.50 a metre, Villa Nova
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Many properties already have a garden room or conservatory, but, for those thinking about adding one, there many different options to consider. A classic conservatory with glazed walls, either floor to ceiling or half bricked, perhaps with a glazed or partially glazed roof as well, can be built in keeping with a particular period style. “It is important the design of a conservatory is sympathetic to the existing property in terms of both its size and its architectural detailing,” says Lisa Morton, director of Vale Garden Houses. “Mixing architectural periods would be frowned upon, unless the period of the property is less clearly defined, with additions or alterations made over the years, and it can take a more relaxed approach.”
For a more contemporary aesthetic, clean-lined unfussy extensions with glazed walls are a popular option, perhaps including bi-fold doors and a roof lantern. Greenhouses, too, can double-up as living spaces in the warmer months. “In recent years customers have shown a preference for lean-to and abutting structures so they can walk in seamlessly from their living space,” says Tom Barry, managing director of Hartley Botanic. “We see customers using their greenhouses for relaxation, dining and exercise. The environment of a greenhouse is extremely calming, allowing you to both fully take in your garden and be surrounded by the plants you are growing.” John Lawson, sales director of Alitex, has also observed this shift, but cautions that single-glazed greenhouses are designed with
DECORATING
plants in mind and will be too cool for comfort through the winter months. Stylist and author Selina Lake is full of enthusiasm, though. “There is something a little magical to me about spending time in greenhouses,” she says. “Due to their very purpose, they are warm spaces to hang out in, and being surrounded by plants makes them an ideal structure to just be in. A perfect example of how a practical space can still be appealing and inspiring.” For those seeking a year-round living space, particularly for dining or a home office, a conservatory with heating for winter and ventilation for summer is usually the best solution. Something else to consider is a true ‘garden room’ – a structure built apart from the main house: the ideal place for teenagers or grown-up children, a home office, or gym.
ABOVE LEFT Indooroutdoor fabrics are stylish and practical for a garden room. Selection from Landmark Textures collection, Thibaut ABOVE This citrusinspired wallpaper design is perfect for an orangery. Wallpaper, Orange Blossom, £115 a roll, Cole & Son RIGHT A part-glazed roof and bifold doors offer abundant light. Henley Ceramic Slate and Aluminium dining table with eight Cliveden dining armchairs, £6,699, Bridgman
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ABOVE Stylist Selina Lake has decorated this Alitex greenhouse with an abundance of o ers, echoed in oral cushions Mismatched chairs and lighting from Rothschild & Bickers make it a wonderful setting for dining LEFT ere, insects and plants are Lake’s inspiration for a home office or hobby space within a traditional glasshouse from lite
BRING THE OUTDOORS IN Once a structure is chosen and its purpose defined, the pleasure of decorating and furnishing can begin. “When designing a garden room, it is important to consider the viewpoints and incorporate colour schemes which work well with the outdoors,” advises interior designer Emma Sims-Hilditch. “Greens, blues, sunny yellows and neutral tones are all timeless choices which will complement the garden space.” If there are walls that can be papered, a botanical motif that ties in with the external surroundings can work well. From small-scale florals or leafy patterns to grander mural-like papers, there is a plethora of designs to pick from. This can be an opportunity for a little fun, perhaps evoking a tropical mood with rainforest creepers, palm fronds and exotic blooms, with luscious greens and flashes of bright colour. Some papers evoke a Mediterranean feel or a classic ‘hot house’ look, recreating the aesthetic of a greenhouse within an orangery or conservatory.
DECORATING
Style Notes • Take inspiration from nature to blur the boundaries between interior and exterior • Use botanical or floral designs, native or exotic, on walls and fabrics • Seek natural textures such as grasscloth to echo the garden • Accessorise with plants and flowers
RIGHT Tiles are a practical choice in greenhouses or conservatories, adding colour and pattern too. Turquoise Dreams encaustic cement tile, £160.80 a square metre, Otto Tiles BELOW A ‘hot house’ look has been created with a large-scale design used as a screen in a large glass house. Palm House, £245 a roll, and fabrics, Osborne & Little
RIGHT Create a backdrop full of colour with a mural featuring largescale blooms and an outdoor scene. Nirvana mural wallpaper, from £295, Woodchip & Magnolia BELOW RIGHT cho nati e ora and fauna with a woodland design. Woodland wallpaper in Lichen, £69 a roll, Fiona Howard
In a greenhouse, plants provide the natural decor perhaps enhanced with playful soft furnishings. Selina Lake worked with Alitex to create a range of lifestyle settings within greenhouses. “Use cushions chosen to complement their surroundings and add floral pattern,” Lake suggests. “For a study area, let bees and other insects inspire a new greenhouse office scheme.” Use vintage entomology prints on available walls, mixed with rustic secondhand furniture and metalwork painted green, then add lots of lush green plants, including succulents planted, for example, in a set of mini desk drawers. If window frames can be painted, consider soft green shades for a more seamless blend with the
outdoors, or a soft neutral stone colour. It is important, also, to consider how a garden room connects to the rest of the house. Though a conservatory can feel like a separate area, if it flows from another room either in an open-plan manner or through glass, consider how the two zones can be integrated more cohesively. Interior designer Katharine Pooley suggests “using the same colour palette to really connect the space with the rest of the house, while also incorporating a variety of patterns and textures to add a layer of interest to the room.” Textured papers such as grasscloth can make a lovely choice for a neutral but interesting wall treatment with a tactile connection to the natural world. THE ENGLISH HOME 85
his greenhouse y artley otanic is easy to access from the house and pro ides a arm, sheltered spot for a morning cup of tea
TYPES OF GARDEN ROOMS CONSERVATORY A conservatory should be predominantly glazed with over 75 per cent of the roof glazed, and a delicate frame – whether timber, metal or UPVC. ORANGERY An orangery is a more substantial structure than a conservatory having pilasters, an inset roof and less glazing.
Style Notes • Curtains can be used for winter warmth and privacy • Specialist blind treatments create shade when needed • Hard flooring is most practical but add rugs in natural materials for softness
ABOVE A separate garden room can pro ide a space for an additional space for ork, rela ing, or entertaining Painted in Pure Brilliant White, from £17 for 750ml 10-Year Exterior Satin, Sandtex
• Glass lampshades will make lights twinkle and gleam
GARDEN ROOMS A separate structure built in the garden – this could house a sitting room for teenagers, provide a home office, a gym or a place for pastimes, from art to music. As with any external addition or garden structure, ensure if planning permission is needed. Most conservatories, provided they fall under certain conditions, will not require permission, but orangeries and other extensions may. Check with the local planning authority on gov.uk 86 THE ENGLISH HOME
ABOVE dd a contemporary feel ith glass and rass pendants Pendant lights, from £72, Pooky RIGHT oman linds pro ide ad usta le shade and pri acy in a sunny, gla ed room Roman Blinds, from £72.55 each, English Blinds
LEFT Braid is used here to add a tailored finish to alls in different finishes in this scheme y interior design studio unter Co
FEATURE KATY MCLEAN PHOTOGRAPHS P105 & P107 (TRAVERS) KIP DAWKINS. P107 (HOULES) STUDIO DES PLANTES
GREENHOUSE Designed for growing plants, these structures are single glazed. They can be freestanding in a desired spot in the garden – ideally near a vegetable patch or kitchen garden, but can be abutted to the house and have sliding doors adjoining the home for easy access.
DECORATING
ABOVE Emma Sims-Hilditch has used linen, wool, velvet and a crystal chandelier to make this a space to be enjoyed in cooler months, too. BELOW A modern garden room by Garden Retreats.
YEAR-ROUND COMFORT A garden room is naturally at its best when flooded with sunlight. But at the hottest times of the day or year, so much glazing can sometimes make them too warm, and simply being outside can be better. Alitex’s John Lawson notes that garden rooms, particularly greenhouses, are best enjoyed in spring and autumn “when the temperature is ideal for creating a warm space in which to escape the rest of the house for a coffee, to read the paper or even to exercise.” Though greenhouses might be a little too cool in winter, a heated conservatory can be enjoyed throughout the year. The obvious attraction of a conservatory is the view outside, but in the cooler months or as evening falls, some window treatments might be desirable. Even in summer, it can be good to have a way of creating some shade. Blinds are the classic choice, and many companies offer specialist, flexible treatments for glazed roofs and walls. For a more gentle mood, voiles and sheers might soften harsh sunlight, whilst traditional curtains in heavier-weight textiles will provide comfort and warmth for a room used in winter – whether as an
additional sitting or dining room, or a snug for watching television. Katharine Pooley notes that other additions can make the space useable year-round. “A log-burning stove can add a touch of comfort – perfect for warming up in the colder months, as well as giving the room a unique focal point,” she suggests. “Utilise throws and blankets as well for a subtle winter update to create an inviting snug.” Lighting is also important for a room used in winter or in the evening. A beautiful chandelier can be the perfect choice, as it will catch the light and twinkle during the day – or opt for simple glass pendants. “Consider table lamps for a gentle glow,” Pooley suggests, “or if you choose a ceiling light, install a dimmer switch to create some more ambience.” Emma Sims-Hilditch says that on some projects she has installed floor lighting leading from the garden room to the ourside to create an illusion of outdoorindoor living. “On one recent project,” she adds, “where the conservatory was to be used as an additional living room, we wanted to avoid a ‘glass box’ look. So we introduced textured rough boarding to the walls. Combining this with heavy weighted
linen on the sofa, velvet cushions and a chunky woven wool rug, made the room a welcoming space in which to relax and enjoy the garden views beyond.” On a practical note, garden room flooring needs to work year-round, connecting indoors and outdoors. Hard flooring – whether marble, wood or tiles – is the most practical option for footfall from outside and is easy to clean. A rug can be used to add interest and comfort underfoot, perhaps something made from natural fibres such as jute or seagrass to complement a natural or botanical theme. THE ENGLISH HOME 87
DECORATING
ABOVE Take cues from nature with a leaf pattern in pretty hues. Cushions in Lazza, £22 a metre, iLiv LEFT Outdoor furniture can be used indoors for a lightweight look. Corner sofa, £1,250, and all other furniture, Hampstead collection, Garden Trading BELOW Katharine Pooley has created yearround comfort ith lu urious oor-length curtains and a variety of lighting. BELOW LEFT Indulge in some comfort with a cosy armchair in a i rant oral fa ric Dakota armchair in Szekely Folk, £1,500, Mind The Gap
Style Notes • Woven furniture is a natural natural choice for garden rooms • Consider armchairs or sofas if a garden room is to be used throughout the year
FURNITURE A natural choice would be furniture that can be used indoors and out, perhaps to take onto a patio when the weather is fine and extra seating is needed. Woven furniture such as rattan is a popular choice in this case. Aesthetically it works well with a verdant backdrop and, being light, can easily be taken outdoors, where it will not jar visually with any other outdoor furniture. Lightweight metal furniture offers similar advantages, particularly for dining tables. “Furniture choices such as wicker and rattan will work well and give the space 88 THE ENGLISH HOME
its own identity, drawing up an earthy theme to differentiate from other living spaces,” says Pooley. “Use wooden accents and foliage to accentuate this look, or consider more modern styles if you’re after a more contemporary feel.” Removable seat-pads and cushions, perhaps covered in attractive and practical indoor-outdoor fabrics, are also an option. These types of fabrics are designed to be stain, mildew and water-resistant, and have better light-fastness than indoor fabrics, therefore less likely to fade in direct sunlight – an obvious boon in extensively glazed rooms.
Traditional conservatory or garden furniture is not the only option for a garden room; conventional indoor furniture can work equally well, particularly in heated rooms used yearround. Sofas and armchairs are a must if the room is to be used, not just for an occasional cup of tea, but for significant periods of time. To lighten the look, add side tables or a bench in rattan or consider a statement wicker rocking chair. For those utilising the space as a sunroom, a sun lounger might also be a nice touch, offering the option for some serious relaxation. n
FEATURE KATY MCLEAN PHOTOGRAPHS 83 ((THIBAUT) KIP DAWKINS; (VALE) CG ARCHARD; P85 (ALITEX) JULIA CURRIE; P86 (OSBORNE & LITTLE) ANDREW TWORT; P88 (GARDEN RETREATS) DIANA COTOVAN
• Indoor-outdoor fabric offers versatility and practicality, being water-resistant and less liable to fade in direct sunlight
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THE STORY OF WESTBURY GARDEN ROOMS
ROOM WITH A VIEW
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here are not many men who would build a conservatory for their mother, but Jonathan Hey, a self-taught builder, was unfazed at the prospect and surprisingly pleased by the results. Not only did he enjoy the process of the build, but also designing the conservatory itself. So much so, in fact, that it led him to launch his company, Westbury Garden Rooms 30 years ago. Before long, Hey’s business had taken off and he was designing garden rooms, orangeries, pool houses and conservatories for people across the country. The brand continues to grow and today creates designs all over the world, from Paris to the United States. Its most recent overseas project, and largest to date, was a pool house for the Grand Hotel, Nuwara Eliya, in Sri Lanka. “It’s amazing how an orangery or garden room can completely transform where and how you live,” Hey says. “In fact, many of our clients say that it becomes the new heart of their home.” Hey likes to begin the process by establishing with the homeowners how the new space is to be used, whether as a kitchen extension, a dining space or simply a quiet area in which to relax and connect with the garden. This way, he and his team are able to create something unique to the each homeowners’ needs, with no two designs the same. When arriving at either of the Westbury Garden Rooms offices – one is in Essex (along with the factory), the other in London – the first impression is of a homely, friendly feel, added to by a warm welcome from the office dogs. Client meetings are held in a purpose-built orangery, flooded with natural light from large
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timber windows, helping to envisage how a space like this would be lived in. Behind the scenes, there are around 25 people working in the factory, another 25 in the office and 10 people in the fitting team. All the brand’s structures are manufactured in the UK, in its factory, and each and every one is crafted from Accoya wood, which is made from pine that goes through a non-toxic, environmentally friendly chemical process called acetylation. Accoya is the world’s leading high-performance wood and is sourced from fast-growing, certified sustainable forests, and not only is it stable and durable, but it is also resistant to rot, so its properties match or exceed those of the best tropical hardwoods, plastics and other non-renewable alternatives. “As a business, we have always been committed to ensuring that we act in an environmentally responsible manner so that not only do we have a low carbon footprint, but as a result our customers’ homes do too,” Hey explains. Westbury Garden Rooms’ commitment to the environment and the years of expertise, dedication and attention to detail all contribute to its well-earned reputation. In fact, the majority of the brand’s commissions come from customer recommendations and word-of-mouth, something it is particularly proud of. “We often revisit and photograph finished rooms,” says Hey. “It’s a real pleasure being greeted by happy homeowners who have found a new love of their home since investing in a garden room.” westburygardenrooms.com n (For design advice on decorating a garden room, turn to page 81.)
FEATURE KATE FREUD PHOTOGRAPHS (ABOVE) GEORGE BROOKS; (TOP LEFT) DARREN CHUNG
How beautiful wood-frame and glass structures from orangeries to pool houses and conservatories can revive a love affair with the home
ABOVE LEFT This classic orangery extension on a Victorian home, creates an informal seating and dining area overlooking the garden. ABOVE RIGHT This garden room, which was built to house a kitchen, has been carefully designed to blend in with the style of the house. LEFT This orangery extension for a large, manor house in Kent has twin roof lanterns to allow as much light as possible to flow in. OPPOSITE Skilled craftsmen at work in the Westbury Garden Rooms factory in Essex.
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The new
NEUTRALS Colour has the power to transform our homes and reflect the mood of the moment. We look at the evolution of a palette for our times and its roots in history
Artwork and companionable colour choices give gallery appeal to this kitchen. Cabinetry, Book Room Green; upper wall, Light Bronze Green; splashback Elysian Ground; highlight stripe, Nether Red, all Little Greene
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DESIGN INSIGHT
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olour choices for interiors rarely stand still and recent decades have seen the fall of magnolia, a love affair with taupe, and more than a decade of grey in all its moods. Deeper shades are confidently in the mix too, but off-whites and soft neutrals remain the bedrock of home decorating as every paint chart makes plain. Whilst many of us have been turning to richer, darker colours in recent years, light colours are still the essential backdrop to everyday living, and seem to be even more so at a time when a large majority of us have been confined to our homes. David Mottershead, founder and managing director of paint company Little Greene, noted early on in the pandemic that people had begun buying warmer off-whites. “It was as if time spent working and living in the same environment had instigated an intuitive move towards more companionable tints,” he says. The search began for the signature tint that matches this far from ordinary moment. “I talked to the National Trust about a new capsule collection based on our mutual interest in keeping the colour concept related to nature,” Mottershead says. A plan was agreed for Little Greene to introduce a new collection named ‘Stone’, reflecting historic colours derived from earths rich in iron oxides. These encompass ochres for soft yellows and reds; siennas for brownish oranges and reds, and umbers for a range of browns. Some colours in this collection were taken from Little Greene’s ABOVE Pigment dispenser tubs at Little Greene. MIDDLE LEFT The imposing great staircase at Penrhyn Castle in North Wales that inspired Little Greene’s Baluster and Castell Pink shades. MIDDLE RIGHT Chocolate Colour by Little Greene on walls and woodwork highlights the bright contrast in colour and pattern of the seating and rug. RIGHT In recent decades paint companies have sought to replicate colours seen in period buildings, including The Royal Pavilion in Brighton.
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LEFT One of a series of four painted wallhangings in the chapel at Hardwick Hall, Derbyshire. The prominent deep red provided the reference for Arras in Little Greene’s Stone collection. BELOW LEFT Red ochre pigment as it comes into the Little Greene paintworks. It is the red base from which many warmer neutrals, as well as reds, are made.
existing palette, others were sourced from National Trust properties and taken directly from stonework. A hue named Baluster captures the limestone grey of the imposing staircase at Penrhyn Castle in North Wales, and another, named Nether Red – inspired by the stone walls at Nether Alderley Mill in Cheshire – speaks of rich sienna earth. “We have a spectrophotometer that analyses colour mathematically so it can be reproduced in the lab,” Mottershead explains. “Then we return to the site with that paint colour to check the match. There’s a lot of science in the maths of colour. Surprisingly the eye is more sensitive to analysing light colours accurately, whereas science is better with strong colours. We also analyse paint chips chemically.” In previous centuries, the majority of people relied on just two off-white finishes for walls and ceilings: 94 THE ENGLISH HOME
BELOW A warm earthy sienna tone runs through this study in a variety of concentrations. Ceiling and cornices, Ferdinand; upper wall, Castell Pink; lower wall, Nether Red; shutters, Arras, all Little Greene OPPOSITE Hues with ochre pigment at their core are shown here in varying shades of Little Greene’s Clay on the walls, the central panel in Scullery, and lower walls in Purple Brown.
DESIGN INSIGHT These finely crafted, steam-bent oak planters are designed and made in Cornwall by Tom Raffield. Merryn floor-standing planters: Short, ÂŁ695; tall, ÂŁ745, both Tom Raffield
The enduring properties of stone have never lost their appeal. The subtlety of its colours and the reassuring resilience we draw from its strength underfoot have registered at this moment of change
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A stronger colour on doors can define a junction between different areas whilst keeping walls neutral for continuity. Ceiling, upper walls, dado, door and trim, in different shades of Portland Stone; doors in adjoining passageway, Dark Brunswick Green, all Little Greene
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FEATURE CELIA RUFEY PHOTOGRAPHS P120 (PENRHYN CASTLE) © NATIONAL TRUST IMAGES/ANDREAS VON EINSIEDEL; (ROYAL PAVILION) © NIGEL SPIERS/ALAMY; P121 (HARDWICK HALL) © NATIONAL TRUST IMAGES/ROBERT THRIFT; P124 (NETHER ALDERLEY MILL) © NATIONAL TRUST IMAGES/JOHN MILLAR
DESIGN INSIGHT
limewash from limestone burned in kilns and mixed with water gave a disinfectant wash; and chalk combined with water and glue from animal bones and horn gave a hardier distemper. Most colour added to paint before the discovery of synthetic dyes came from earth pigments. Architectural historian Edward Bulmer’s paint brand Edward Bulmer Natural Paint offers thoroughly researched colours for every era and he makes a particular point of restating how decorating colours available to most people before the arrival of colour chemistry were based on common colours derived from digging up earths rich in iron oxides. Bright paint colours were hugely expensive – with the brilliant blue from crushed lapis lazuli defining the status of the few who could afford it – and sometimes toxic: vivid arsenic-based greens and yellows were not only costly but could also poison painters with their fumes. Events such as discoveries at Pompeii and Herculaneum in the mid-eighteenth century set off a fashion for terracotta reds in grand houses, and when chrome yellow was discovered in the early nineteenth century, it became a key colour in the Regency period. With the discovery of aniline (or synthetic) dye in 1856 came the ability to colour paint and a previously unimagined freedom in home decoration. Decorating choices throughout the twentieth century celebrated the ever-increasing palette of hues on offer, though it was brilliant white that surprised the 1920s when it was first formulated. Orange hues and greens from lime to olive were post-War favourites in the 1950s and 1960s, and a new interest in traditional colours ran from the late 1970s through to the 1980s. Patrick Baty at Papers and Paints was one of the first to track down historic paint colours like blue verditer, once a costly by-product of silver refining. He found it on the gallery walls at The Royal Pavilion in Brighton and the colour is among many more in his Traditional Colours paint collection. Other strong brights with historic associations include Farrow & Ball’s Picture Gallery Red, based on the gallery walls at Attingham Park in Shrophshire, and Cook’s Blue found in the cook’s closet at Calke Abbey in Derbyshire. The subtlety of stone and the reassuring strength we draw from its resilience underfoot have registered at this time of change, with our homes suggesting the colour most needed now. If this is truly a new stone age, its many tints can be discovered across all paint collections, waiting to match the mood of the moment. n
A green taken from the early nineteenthcentury Book Room at Wimpole Hall in Cambridgeshire is used for the upper wall. Upper wall, Book Room Green; lower wall, dado and skirting, Sage Green; right-hand wall, Green Stone Pale, all Little Greene
TOP RIGHT Nether Alderley Mill in Cheshire was the source of Nether Red, the colour recurring through its walls. TOP MIDDLE David Mottershead, founder of Little Greene, using a spectrophotometer to take a reading from the wall at the Nether Alderley Mill. THE ENGLISH HOME 97
BUYER’S GUIDE
Plotting AHEAD
Lay plans now for a garden to enjoy all summer and beyond. Our expert design advice and brilliant buys will help transform any garden into a beautiful outdoor living space
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any of us truly discovered the joys of outdoor entertaining last year as restrictions made socialising indoors nigh on impossible. In its new capacity, the garden has become a multifunctional space requiring comfortable seating and an attractive dining area (often with a well-equipped cooking zone), as well as fulfilling other roles such as providing a quiet, contemplative place to relax, somewhere for children to play, and perhaps a sunny spot for cultivating home-grown produce. Packing all this into the available space in a way that looks attractive is a feat that can be achieved most effectively through zoning – an approach to garden layout which, like interior design, creates areas with a clear purpose. “The number of spaces created will depend on the site and budget but also on the way one lives one’s life,” says garden designer Helen Elks-Smith of Elks-Smith Landscape and Garden Design. “The best approach is to make a list of what you would like to do in the garden. We all live our lives differently, so it’s about understanding what works for you, your family and guests.”
LEFT Thoughtful layout and innovative design are key to creating an outdoor space that can be enjoyed throughout the seasons. Swimming ponds, from £110,000, Gartenart
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BUYER’S GUIDE A PLACE TO RELAX One garden activity that has become increasingly popular is cooking outdoors, and over the last year, greater opportunity and warmer weather has seen interest grow at an even faster rate. Where previously outdoor cooks used a barbecue or pizza oven, now fully equipped outdoor kitchens, complete with modular cabinetry, countertops, a sink and a range of cooling and cooking options are all the rage. Installing such a kitchen requires space and a small amount of disruption. The space needed depends on several factors, including the number of appliances desired, whether there will be a gazebo or other structure above and if seating or dining will be integrated into it. Jacques Shelton, director at CENA Outdoor Kitchens explains: “You could allow a span of as little as two metres to accommodate a grill, fridge and sink, but be prepared to work with a smaller work surface. A kitchen with all the bells and whistles will need more modules adding, and therefore demand more space. Usually it’s a trade-off between the fittings wanted and how much space is available.” Some kitchens are installed as part of a complete landscaping project, but they can be added to an existing garden or terrace. “We need a level hardstanding area such as a patio,” says Shelton, “and an electricity supply and plumbing are essential if lighting, a fridge and a sink with running water are part of the design.” Weather is a consideration, too, and whilst all the kitchen components must be made from materials that will withstand the elements, shelter in the form of a gazebo or retractable sail should be provided to protect both the kitchen and the cook from sun and showers. For those who don’t want to invest the space or budget in a fully functional kitchen, barbecues offer a flexible, alternative way to cook. They can be stored away in winter, moved to catch the sun or shade in summer and vary in price and ambition – from small table-top grills to multi-functional models that will cater for a crowd. The latter usually offer multiple cooking methods and can bake, roast and smoke as well as a grill. Fuelled by gas, charcoal or wood, some are also designed to perform as heaters, keeping guests cosy after dinner is over. LEFT A festoon of lights transforms the dining table. Supported on uprights clamped to the table top, the lights connect to an exterior electricity socket. Bernard dining table, £3,800; Mona dining chair in Old Lace colour, £540 each; Light My Table lighting, £430, all Vincent Sheppard TOP A chic chiminea-style outdoor fireplace banishes the chill when the sun sets. Kamino cast-iron fireplace, £999, Morsø
ABOVE LEFT Try a pizza oven for relaxed outdoor eating. Rusted outdoor pizza oven, £540, Rowen & Wren ABOVE RIGHT This circular seat can be placed around a tree or set in a shady oasis to offer relief from the sun. Glenham circular tree seat, £3,350, Barlow Tyrie RIGHT Classic loom chairs combined with a wooden table add textural interest. Chatto Lloyd Loom dining chairs, from £344; Pembrey table, £1,800, all Neptune THE ENGLISH HOME 101
ABOVE Water can work its magic in even the smallest of outdoor areas. Choose a compact feature with an integral reservoir and plug into an outdoor power socket. RHS Wisley water feature, £499.99, Crocus LEFT The gentle trickle of falling water has the ability
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to conjure a feeling of calm. Mimeo cascade fountain in Verdigris Copper and Bronze, £29,371, David Harber BELOW Create an indulgent outdoor spa area with comfortable sunloungers and a high-sided hot tub. Wooden hot tub, £POA, Riviera Hot Tubs
BUYER’S GUIDE
After dark, a glowing heat source is a wonderful focus for a seating group, and amongst most visually appealing of these is the firepit. Whether in the form of a shallow bowl or a taller brazier, most are relatively inexpensive and burn wood, creating a convivial atmosphere and bringing the warmth and fragrance of an open fire to an outdoor gathering. “They can extend the use of the garden by two months or so at either end of the season,” says garden designer John Wyer of Bowles & Wyer. THE POWER OF WATER Even gardens designed primarily as social spaces need an area of tranquillity in which to enjoy the scents, sounds and colours of the outside world. Introducing water in the form of a pool, fountain, stream or waterfall will help create a peaceful atmosphere as well as being an excellent way of encouraging and supporting wildlife in the garden.
The style of water feature will exert a strong influence on the garden’s character. A round or rectangular pool, cool and still, reflects the sky, drawing light down into the space and holding the attention, whilst a long thin body of water such as a rill invites the eye to follow it, drawing the gaze into the distance. Those who find the idea of wild swimming appealing may consider a freshwater swimming pond or pool – the designs of which can range from formal, through to being seamlessly integrated into natural surroundings – whilst those more predisposed to luxuriating might prefer the idea of a natural wooden hot tub for relaxation purposes. Beyond water features for bathing, a fountain or gently flowing stream will be aesthetically appealing as well as produce a soothing sound. “Water in gardens, especially moving water, is quite a dominant element,” says Elks-Smith. “Its interaction with sunlight can be something quite magical and the
ABOVE Here, a Japanese-style swimming pond provides a therapeutic effect for mind and body. Swimming pond, £POA, Natural Swimming Pools
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BUYER’S GUIDE
sound of falling water is a good distraction from background noise.” Be aware that adjustment may be needed as the way water falls, its rate of flow and what it falls on to all have an impact on the quality of the sound it makes. Water features can be fitted in virtually any outside space, from the centre of a lake in a formal garden, to a small city garden where a wall spout, bowl fountain or bubbling sculpture would be in proportion to the space. Many draw their water from a reservoir hidden under the feature, recycling it to produce a constant flow; most need a mains or solar-powered electric pump to move the water, and filtration will help to keep it healthy. A water feature offers great rewards but does require careful planning and consideration. “Water features tend to be fairly high maintenance,” cautions ElksSmith. “And, of course, there are safety issues, especially where there are children and pets.” LAYING PLANS There is nothing new about the concept of zoning a garden and examples such as National Trust properties
Sissinghurst Castle Garden in Kent and Hidcote in Gloucestershire – which is divided into a series of outdoor ‘rooms’ – show how doing so can add order, surprise and intrigue. In a private garden intended for a variety of uses, careful planning is essential. “I tend to divide spaces for different activities,” says Wyer. “Sitting in the shade reading, kicking a ball about, sunbathing and formal dining all have different requirements, and these need to be considered from the start.” Changing with the seasons and throughout the day, light is another factor that must be given early consideration. Being aware of one’s own timetable is a good first step says Elks-Smith. “Are you busy during the day and then only sit down in the evening? Or do you have a chance to relax during the day? As the sun moves around the garden, a bright daytime space may be in shadow by early evening. How you use the garden will direct you to the best layout solution.” Having mapped out the zones, the next step is to link them in a way that feels natural. Paths made from materials that complement those used for the house
ABOVE LEFT A splash of paint adds interest and character. Superdec opaque wood protection in Mid Green, from £36 for 2.5l, Sadolin TOP RIGHT In this design by Amanda Patton the raised beds for growing vegetables are gently separated from the rest of the garden by massed grasses. ABOVE Add drama with generously sized planters. Courtyard copper garden planter (large) £5,040, Architectural Heritage; Garden design, Butter Wakefield
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give a feeling of cohesion, whilst discreet paths that are no more than a mown strip threading through longer grass provide minimum distraction to planting elsewhere. “It’s always best to have more than one route to a destination rather than a single path leading effectively to a dead end,” says garden designer Amanda Patton. “This allows areas of planting to define and enclose the different zones and makes the linking spaces beautiful in their own right. Vistas through a series of zones will entice you to explore.” Another technique Patton favours is to use levels. Landscaping a sloping garden so that it forms a series of flat areas makes the space more usable and steps connecting them are an additional attractive feature. Sculptures, a gazebo or decorative trees used as accent pieces punctuating the landscape are a way to signpost a zoned garden, but add them sparingly to avoid fussiness – the most elegant results come from restraint. “Make the planting the main focus so there is a sense of sitting amongst foliage and scented flowers,” advises Wyer. “A simple structure to the design helps make the garden feel less busy and allows each space to sing.” n 106 THE ENGLISH HOME
ABOVE A social hub positioned to catch the sun from morning til evening, this dining and cooking area in a garden designed by Helen Elks-Smiths is flanked by water and loose planting, with views of a quiet seating area beyond. RIGHT For a casually chic alternative to a pair of matching planters, consider two or more of the same design but different heights in a material that weathers beautifully. Round Fluted Zinc Barrel Planters, £180 (for three), Cox & Cox
FEATURE MAGGIE STEVENSON PHOTOGRAPHS P98 (GARTENART) ANDREW BANKS; P102 (DAVID HARBER) © CLIVE NICHOLS; P105 (AMANDA PATTON) © MARK BENTLEY; (BUTTER WAKEFIELD) © ELEANOR WALPOLE
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sittingspiritually.co.uk 01297 443084 © The Royal Horticultural Society 2020. Endorsed by the Royal Horticultural Society Registered Charity No 222879/SC038262. rhs.org.uk
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BARNES OF ASHBURTON
Whether it is a multifunctional open-plan kitchen, a practical boot room, creative home office or a luxurious master suite, a bespoke design is tailored to every need ABOVE A light-filled kitchen in lime wood with cockbead detail and oak elements, this bespoke design blends classic and contemporary style. TOP RIGHT Barnes of Ashburton will design furniture to suit every space and every requirement, creating a unique, authentic interior that stands the test of time. ABOVE RIGHT For a hardwearing boot room, a flow of space and efficient storage are key.
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or an interior that provides the perfect balance between form and function, bespoke furniture will be custom designed to suit every requirement. Renowned for its handmade kitchens of exceptional quality, distinction and attention to detail, Barnes of Ashburton prides itself on its custom-made fine timber furniture that can be created for any room of the home. Its highly skilled team may be masters of bespoke kitchen cabinetry, but they are also more than about designing and making kitchens. Their passion lies in starting with a blank canvas, where any room can be given a new lease of life and a completely new look with creatively designed furniture that is made to measure for the perfect fit. Based in Devon, the Barnes of Ashburton workshop is filled with designers and artisan cabinetmakers who use their 40 years of experience to hone traditional
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skills such as mortice-and-tenon joinery to create bespoke kitchens and freestanding furniture for bedrooms, dressing rooms, living spaces, a study or home office, boot rooms, cloak rooms and more. Their designs are as much at home in a converted barn as they are in an old rural farmhouse, so whether it is a modern take on the traditional Shaker-style kitchen that is required or a wall of floor-to-ceiling wardrobes for a master bedroom or dressing area, no project is too much. “We pride ourselves on our traditional methods of cabinetmaking blended with a modern approach to design,” says director Kim Whinnett. “We get asked to create so many different designs that no two projects are ever the same. As well as kitchens, bedrooms, studies, boot rooms and cloak rooms, we can also build swivel bookcases for living rooms, an organised utility
FEATURE HAYLEY GILBERT PHOTOGRAPHS © PAUL RYAN-GOFF STYLING HOLLY KEELING INTERIORS
BEAUTIFULLY BESPOKE FOR EVERY ROOM
PROMOTION
A multifunctional island painted in Little Greene’s Harley Green with a Silestone quartz worksurface in Snowy Ibiza makes an instant statement in this bespoke kitchen. Kitchens from Barnes of Ashburton start from £25,000.
space for laundry appliances or a classic freestanding pantry cupboard made to your specification.” Every piece of furniture is handmade and designed exactly to suit the purpose and room it is needed for, and nothing is too much trouble for the team. “We start by discussing our clients’ needs as well as their preferred look and style,” says Whinnett. “We’ll go into the practical and functional elements that are needed, as well as the finish, colour, style and so on. As we design and make every piece to order, we can pretty much do anything. And we can also fit anything too. With period properties in particular, homeowners are often faced with awkward corners, wonky walls, sloping ceilings and original architectural features that need to be worked with, and this is where a bespoke design can really help. Not only can we install and fit around these features, but we can also create a design that ensures these elements are incorporated into a scheme, should the client wish to make them into more of a feature.” This year, our homes will continue to be more important than ever in terms of viewing them as a sanctuary as well as a hub of activity for busy kitchens, home working and possibly even home schooling. Now is the perfect time to start planning that next project. Perhaps the bedroom could do with a complete change, with ample storage that keeps clutter at bay. If tired of muddy boots and paws leaving footprints and pawprints across the kitchen, a dedicated boot room or cloak room could be the
perfect solution. Or if somewhere quiet and orderly to work from home is needed, a study area in an existing room or a separate office space will provide peace and tranquillity for contemplative and creative thinking. With Barnes of Ashburton, an interior project will be inspirational, practical and above all timeless, with carefully considered details and a quality build that lasts a lifetime. To book an appointment for a consultation visit barnesofashburton.co.uk or call 01364 653613. n
ABOVE Make the most of every centimetre with elegant bedroom furniture that runs from floor to ceiling.
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QUINTESSENTIALLY
Inspiration for seasonal pastimes and making the most of life at home starts here
BLOSSOMING FORTH
FEATURE KATY MCLEAN PHOTOGRAPH FLORA PRESS/ EWA
Bursting with life, cheer and positivity, the blossom to be found on hedgerows and trees at this time of year marks the start of spring and offers a taste of the floral bounty to come. Blackthorn is one of the first to put on a display with its pretty white petals blooming in March and April, with apple trees soon following suit. Pinker hues from cherry blossom bring delight in April and May. Gather bunches to fill vases or pitchers with an exuberant arrangement of flowers, or fashion into a wreath to add a sweet, fragrant and welcoming springtime adornment to a front door. We further celebrate spring’s floral delights in the final instalment of ‘The Seasonal Home’ series in our forthcoming April issue.
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MY ENGLISH HOME
Matthew Fort FROM PATCH TO PLATE The food writer and critic praises the many virtues of rhubarb and suggests a deceptively simple, deliciously elegant dessert to satisfy a sweet tooth
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First of all, the claggy soils of that part of Yorkshire are ideally suited to giving rhubarb sets their start in life, before the flourishing plants are moved to sheds, where they’re kept in total darkness for several weeks whilst those elegant pink wands rise up ready for harvesting. Secondly, there was plenty of cheap coal to heat the forcing sheds. Thirdly, the proximity of a convenient railway meant that it was easy to send harvested rhubarb to the markets at Covent Garden, Borough and Spitalfields in London. There was even a ‘rhubarb special express’ that ran nightly from Ardsley during the season. Alas, no more. But the tradition lives on in the names of some varieties – Timperley Early, Victoria, Hawkes Champagne and Collis Ruby. My own pet plant is Timperley, an admirable rhubarb in every way, judicious in flavour, generous in crop, handsome in colour. Rhubarb’s culinary qualities are many and varied. It makes a captivating crumble, a terrific tart, a fabulous fool, a gorgeous gin, as well as a chutney, jam, compote and ice. It’ll add zip to smoothies and zap to cake. It can be teamed with mackerel in place of the classic gooseberry, or with pork instead of the standard apple. And it can be roasted or stewed. However I cook rhubarb, I like to add vanilla extract, and perhaps a thumb of ginger and a dash or two of elderflower cordial. I find they help broaden out its flavour. And, of course, don’t forget to add plenty of sugar. All rhubarb needs plenty of sugar. Is there any other fruit – or vegetable, come to that – of such distinction and versatility? n
RHUBARB FOOL WITH SLIVERED ALMONDS Serves 4
INGREDIENTS 150g caster sugar 2 large rhubarb stalks, trimmed and cut into 8cm sections 300ml whipping cream 60g icing sugar, sifted 1 tsp vanilla extract 80g flaked almonds, lightly toasted
METHOD • Combine the caster sugar with 300ml water in a saucepan. Bring to a boil over moderate heat until the sugar has dissolved into a clear syrup. • Reduce the syrup to a steady simmer and add the rhubarb sections. Cover and simmer over low heat until the rhubarb is tender to the tip of a knife, about 10 minutes. Take off the heat. • In a large mixing bowl, whip the cream, icing sugar, and vanilla extract to soft peaks. • To serve, divide the whipped cream mixture between bowls and spoon the warm rhubarb (and its syrup) and flaked almonds on top.
About Matthew Best known as a judge on BBC2’s Great British Menu, Matthew is an award-winning food writer and critic. He was the Food & Drink Editor of The Guardian for 15 years and is the author of four books.
PHOTOGRAPHS P112 (PORTRAIT) GRANT SCOTT. P114 © STOCKFOOD / BAUER SYNDICATION ILLUSTRATION MARINA MARKIZOVA / SHUTTERSTOCK
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here is something inherently cheering about rhubarb. It may be its lively colour – pink-goingon-red. It may be its flavour – sharp, crisp, bright. It may be because it’s the first edible thing to come along after the quiet months of winter. Rhubarb is the herald of spring, if not actually spring itself. We think – I think – of rhubarb as a fruit, whereas, technically speaking it’s a vegetable, or so the real experts say. In fact, to settle an argument as to the exact nature of rhubarb, in 1947 a customs court ruling in the US reclassified it as a fruit. Perhaps they were confused by the example set by keen vegetable gardener Thomas Jefferson, who advocated eating the leaves as if they were spinach. I don’t advise it, as the leaves of modern varieties are laced with oxalic acid and poisonous. To be honest, it’ll be a little while yet before I’ll be picking the first sticks from my own garden – although I’m daily checking the crowns stirring in the darkness of the clay cloche they sit under. However, the first harvest of rhubarb from Yorkshire’s ‘rhubarb triangle’ will be in greengrocers and supermarkets already. Once upon a time, the rhubarb triangle was defined by Leeds, Wakefield and Bradford in Yorkshire, but it has shrunk a little since its glory days in the nineteenth century and now Wakefield, Morley and Rothwell mark its boundaries. Why Yorkshire? You might think that rhubarb, as a native of Siberia, would be particularly suited to Yorkshire’s climate, but that isn’t the real reason why it became so profitable an export from the county. As so often, the explanation is much more mundane.
RECIPE
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Making the
EVERYDAY SPECIAL
Now, more than ever, many of us are seeking inspiring ideas to make the most of our homes. Here we look at simple ways to enhance day-to-day life
S
pring is in the air and what better way to refresh the home than by updating favourite rooms as well as those that are used infrequently to prepare for the year ahead, whatever it may bring. This need not mean redecorating or a complete redesign. It can be something as simple as using china and table linen usually reserved for special occasions to make everyday suppers feel more special; or lighting scented candles to fill a room with a deliciously evocative scent, perhaps as a reminder of a delightful holiday with loved ones or memorable event; or taking the time to pull out an heirloom quilt or super soft blanket to snuggle under whilst watching a film. Taking inspiration from the Scandinavian ‘hygge’, which is a way of living that focuses on quality of life and well-being, is a great place to start. What better way to consider how to make the most of home than by thinking about how it can appeal to all the senses? Over the following pages, industry experts share their insights on how to activate the five senses – sight, sound, touch, smell, and taste – to create the best ambience to take us through our daily lives.
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LIFESTYLE
Smell Jo Malone CBE, founder and creative director of Jo Loves, cherishes the personal approach to introducing scent to the home. “A candle can transport you to any time or place, giving a sensorial experience that allows you to remember things like family holidays or celebrations,” she says. “All the candles I create are inspired by travel, fond memories or favourite places. I created Pomelo on a white beach, inspired by the beauty of Parrot Quay in Turks and Caicos, but it also holds another memory for me – it is the smell of home. I burn Pomelo every day and it reminds me of the luxury of life and the preciousness of creativity.” “Candles and essential oils are also a great way to herald the arrival of each new season, or add a different scent to a room, depending on your mood or style for that day”, say Taline Findlater and Victoria Gray, managing partners of Olivine Design. “Choose something light and delicate for spring and summer, and RIGHT omelo scented candle, , o o es
warm spices for autumn and winter. It’s a good idea to throw open the windows to refresh a room when changing scents.” Florist to the stars and royalty, Simon Lycett, reminds us that flowers are also a delightful way to introduce fragrance. “Scent is an essential element of any floral decoration,” he explains. “My favourite combinations are jasmine and rosemary, with a breath of hyacinth, and later, in May, sweet peas and mint.” For Lycett, floral displays can go beyond traditional vases, too. “A wreath is a glorious way to introduce scent into the home. I use
S S
, ,
verdant green moss for the base, and simply entwine stems and trails of flowering white jasmine, which is a scent that I adore. For a final flourish, I add a few florets of white hyacinths amongst this to provide moments of contrasting texture.” ABOVE Add beauty and fragrance with an e u erant oral arrangement Romantic Juliet Bouquet, £49, The Real Flower Company LEFT Candles, home sprays and diffusers all fill the home ith a fa ourite scent Tonka & Florum diffuser, £40, Soho Home
ring out the est china and ta le settings to make eekday suppers feel more special nterior designer atharine ooley ad ocates displaying o ects that hold treasured memories
THE ENGLISH HOME 115
Touch “Homes are tactile spaces,” says Bernie de Le Cuona, founder of de Le Cuona. “As we spend more time at home, we need to choose healthy interior textiles that appeal to our senses. Keep your homes free of any synthetic material with harmful chemicals. For me, all fabrics should be a joy to touch and my favourites fabrics are linen and cashmere. “With our natural textiles, it is all about mixing and layering textures to create depth and interest. This tactility becomes the pattern when you use plainer fabrics. With linen, it’s about layering the weights to lend a room depth instead of one ‘ta-dah’ print. Some of our linen is finished to be buttery soft and rumpled, whilst some is raw and gravelly. We also combine linen with silk, which gives it a lustrous feeling and beautiful ball-gown drape for curtains.” Interior designer, Emma Sims-Hilditch, reminds us that it is not just textiles that introduce much-needed texture to our homes: “Panelling can be a clever way to introduce texture into a room. Halfheight panelling, paired with patterned or coloured wallpaper, can be slightly softer than full-height alternatives. For a more rustic look, a lime-washed timber used on ceilings, particularly in kitchens, creates the perfect natural texture for a modern country home. Be sure to use a 50/50 water and paint emulsion wash to create the perfect lime-washed finish.”
ABOVE Fabrics from de Le Cuona’s Pure 2 collection. Clockwise from left: Night Shadow, Silver Fog, Pale Noon and Dawn Breeze 116 THE ENGLISH HOME
Olivine Design believes the rule of three is a useful principle to follow when hanging pictures or displaying objects, and of course, remember to move items around to keep things looking fresh.
Sight “It is true what they say, feeling houseproud and creating a space that makes you feel good impacts how you feel,” says interior designer, Katharine Pooley. “Declutter your space, remove what no longer serves you, and fill it with objects and items you love and that represent memories. I’ve filled my home with a number of things I’ve collected on my travels,” she continues, “and whenever I walk into a room and see an object from a trip, I’m transported back to that time. I believe it’s always best to have fewer homewares and accessories on display, rather than feeling overwhelmed with the number of trinkets or belongings you have showing. Work with matching colours that help to highlight them in a space.” Findlater and Gray, of Olivine Design, offer helpful advice, when it comes to displaying objects on shelves and arranging photo frames, to avoid the problem of no longer ‘seeing’ what is on show. “You can’t go wrong if you stick to the rule of three, especially for bigger decorations,” they say. “Group them closely together, then leave space between
this and the next selection of items, the eye will then know what to rest on and enjoy. Hanging pictures is a real art. Don’t be tempted to hang prints or pictures evenly around the room; group them together for more impact and remember to hang them at eye level so you can see them. Change objects and favourite accessories. Put one group away and bring out another, that way you’ll rediscover and appreciate things in turn. Or move them from one room to another every now and again – you’ll be amazed how different they can look and feel in another space.” ABOVE A selection of patterned cushions from A Rum Fellow add character, colour, texture and comfort.
LIFESTYLE
ABOVE Set the scene for an informal, gregarious lunch with tableware in soft off- hite and light-a sor ing lack gla es Salamanca tableware, from £8 for a fruit bowl, Canvas Home
REMEMBER TO: • Light scented candles • Print treasured photos and frame them • Indulge in a luxuriously soft blanket to snuggle up in
“Soundscapes can make our lives happy and sad, energetic and calm, positive and negative,” explains Emma Simons, founder of Nox Entertainment. “So whilst we are still working and isolated at home, we can use music to maximise our productiveness and overall wellbeing. Match ambient playlists to your environment. If you’re based in the kitchen amongst all the family hubbub and need to focus, try some relaxing acoustic Spanish guitar. If in the hushed conservatory, where your eyes keep wandering from your task to the garden, how about some of the most inspirational tracks of all time to get the mind focused?”
When it comes to making and enjoying food, embrace the idea of “unhurried pleasures”, as Clare Stiles, stylist for artisanal Swedish-style bakers Peter’s Yard explains. “Our philosophy is that good things take time, whether that’s a slow and savoured evening or simply a moment to reflect within a busy day. From a perfectly put-together cheeseboard to dips and nibbles with a glass of wine, the best accompaniment to any food is time.” LEFT Rustle up a quick canape or pre-dinner nibble and eat it somewhere new – perhaps sitting in your favourite armchair beside the fire, or, if eather permits, outdoors Crackers, Peter’s Yard
• Make a playlist and turn it on
Sound
Taste
For some, compiling a playlist brings its own enjoyment, but those who find the idea overwhelming can turn to the experts, like Nox Entertainment, who can tailor a bespoke mix especially for you. When it comes to listening to music, Simons says, “We would always recommend stereo speakers to optimise sound quality. Whatever your budget, pick a brand name that is trusted – Bose, Thomann, Bang & Olufsen, Yamaha. These companies have been around for decades, for a reason.
RIGHT Take music around the house with a porta le speaker Funk Bluetooth Speaker, £95, Cuckooland
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KEY ROOMS TO CONSIDER
Home office Tick off these five tips from Taline Findlater and Victoria Gray to create a beautifully functional office space 1. Make it personal as well as practical. We have all had to consider our backdrops for inevitable zoom calls, but the walls in front of us are free for inspiration. It doesn’t have to be too formal either. Framed posters or artwork from favourite galleries are great, or gather tear sheets from magazines, postcards, photos, travel ideas for when we can freely go out again, and get sticking. Washi tape is brilliant for this as it won’t take the paint off your walls when you add to or change the display. The wall will evolve over time as it is added to, which makes for a much more dynamic and personal space.
3. Being practical does not have to mean clinical – many high street stores do great storage boxes and desk accessories to store or hide piles of paperwork in pretty casings. 4. It is absolutely essential to get the lighting right. A desk lamp is great for task lighting, but consider lighting to be switched on as the day get darker. Table lamps or floor lamps around the room can add ambient light. Nothing beats natural light so try and keep your desk near the window. 5. Add plants to the space. They brighten any room and can be moved around to keep the space interesting. 118 THE ENGLISH HOME
‘Walk around the house to see where the best lighting falls during work hours, and plan your office there’ Emma Sims-Hilditch ABOVE Try to place a desk near a window to make the most of natural light. Walls in Silhouette, from £24 for 0.94L, Benjamin Moore LEFT ress a home office ith a print or poster, plants and good lighting, oth task and am ient All furniture and accessories, John Lewis & Partners
FEATURE CINEAD MCTERNAN PHOTOGRAPHS P115 © RAY MAIN; P117 (PETER’S YARD) © MOWIE KAY; P119 © JAKE EASTHAM
2. Organisation is everything. Storing files and paperwork does not have to mean bland office cabinets. Find cupboards from antique or secondhand shops and use these instead. Paint them or mix them into an office set up – old and new make for a fun and interesting interior.
LIFESTYLE
Home spa Having your own personal refuge for relaxation can be life-changing and a release from everyday stress. No matter how big or small a bathroom is, it is possible to include a spa product for an extra-special feeling of luxury. Whether the additions are indulgent lotions, balms and oils or luxurious bathroom appliances, a home spa is becoming increasingly popular. Yousef Mansuri, head of retail design at C.P. Hart, suggests “transforming a standard steel inset bath by adding jets, digital controls, and chromotherapy lights. Showers can be turned into steam-rooms by adding a steam generator and full-height glass doors. And if steam isn’t required, a luxurious walk-in shower, with a large ceiling-mounted multi-function shower head, instantly turns a space into a spa,
with rain, waterfall and mist functions, and optional lighting.” However, for a truly authentic, and cost-effective, solution, Mansuri recommends “choosing a Kneipp hose or an affusion pipe, to replace a standard hand shower and create the holistic hydrotherapy treatment known as ‘Kneipp therapy’, which dates back to the 1800s. With gentle motions, water pressure is applied to the arms, thighs and face to revitalise or relax the body in the privacy of your own home.” If space is not an issue, and dry heat is what is required, “saunas are a great way to introduce spa luxury into the home,” says Mansuri. With a larger variety of wooden finishes than ever before, a sauna can now effortlessly fit into a desired scheme, rather than dictate it. n
Create a spa mood at home with luxurious sanitaryware, accessories and soothing body lotions and oils. Dawn freestanding bath, from £2,495, Waters Baths of Ashbourne
NEW DECORATING GUIDE 1 UIDE 2 20IGN G
S DE
SITTING ROOMS
INTERIOR DESIGN CREATING THE PERFECT ENGLISH HOME
Case Study One
Serene
SITTING ROOMS Four top interior designers reveal what to consider when designing a stylish sitting room with enduring appeal
P
ersonal style and architectural considerations are priorities when considering the design and layout of a sitting room. However, function is undeniably an important factor too – where some may require a sleek, elegant space for evening drinks and entertaining, others may need a family-friendly room where different generations can come together and relax in each other’s company. How best then to blend these varying elements? We talk to leading designers to glean insights on key projects of theirs and highlight stylish and effective solutions.
PROFESSIONAL DESIGN ADVICE Kitchens Bathrooms Sitting rooms Dining rooms Home offices Dressing rooms
Louise Bradley on combining a contemporary aesthetic with a period property Interior designer Louise Bradley provides insights on fulfilling a brief to create a luxurious, contemporary setting that was sympathetic to the history of a Grade II listed property.
PLUS
Chic shortcuts & wise buys Essential resources & brilliant tips
The brief
“The main house at the estate – a 130-acre shooting and fishing estate in Surrey – is Grade II listed and was designed by Scottish architect JM Brydon in 1885 as his own home. The sitting room boasts large windows and ample natural light, and is the main space within which the family gathers and hosts their friends. The client’s brief was for a classic-contemporary aesthetic that also fitted with the history of the house.”
Past and present
“Working with a Grade II listed property sometimes has its challenges, with many existing features needing to be retained throughout the interior architecture of the building. The clients wanted an elegant yet comfortable drawing room in which they could relax and entertain family and friends, with a classic contemporary-feel decor that was also sympathetic to the history of the estate. “We retained the original floor, the original columns and fireplace. The beautiful large bay window had amazing views over the gardens so it was important to look at a floor plan and colour scheme that made the most of the spectacular gardens; to achieve this, we opted for soft muted colours that would complement
ABOVE The bespoke ornate breakfront bookcase along the far wall is designed to complement the style and history of the property and echoes architectural elements in the room.
the different seasons. Under the bay window, we made a large comfortable window seat that offered an area to relax, dressed with a variety of bespoke cushions using different textures and patterns, perfect to recline amidst for morning coffee and papers. The comfortable contemporary sofas were upholstered in a soft chenille and again dressed with cushions in assorted traditional prints. Cushions always add an element of luxury allowing to add colour without overpowering the room.”
Creating a blend
“The choice of a coffee table with clean lines and an aged mirror top had a more contemporary feel, dressed with interesting books and accessories adding interest
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BATHROOMS
Case Study One
Blissful
Gemma Gordon-Duff on creating a decadent en suite Interior designer Gemma Gordon-Duff, of architectural interior design practice Gordon-Duff & Linton, reveals how she created a luxurious central London master suite with decadent materials and unfussy design details to create a scheme with a difference.
BATHROOMS
Design experts reveal important considerations in balancing style and practicality to create the ideal bathroom
athrooms, as intimate, personal spaces, have to be functional and hard-wearing yet also provide a cocoonlike and indulgent zone where we can close the door and feel at peace. It is vitally important, therefore, to get the feel right, particularly as warmth, comfort and a sense of luxury are bound to be high on the list of priorities. So the question is how to marry the brisk efficiency necessary for the early
Only £7.99 (UK) or Nina Campbell, Joanna Wood, Jane Churchill, Paolo Moschino, £9.99 (Overseas) Susie Atkinson, Emma Sims-Hilditch & many, many more...
morning rush with the pleasure of a relaxing evening bath or a long, hot shower? Here, our bathrooms special showcases a range of rooms by four experienced designers, each demonstrating that it is eminently possible to marry form and function and create a space which is both perfectly practical and a beautiful haven in which to refresh and unwind.
The brief
“My client’s main residence is outside the UK and so, as this home is used intermittently, they wanted the master suite – bedroom, dressing room and bathroom – to have all the luxuries of a hotel, but with a more homely feel. They loved the decadence of a copper bath in the dressing room, and asked us to use this as the starting point for the design. The property is a handsome Georgian townhouse, with high ceilings and beautiful architectural features, and so another aim was to complement this feeling of grandeur with a suitably classic yet chic design.”
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RIGHT The simple design and clean lines of the coffee table create a perfect setting for a carefully curated selection of books and mementoes.
14 THE ENGLISH HOME
AVAILABLE NOWB
OVER 30 INTERIOR DESIGNER CASE STUDIES BY
to the space. A central chandelier was a must and completed the overall aesthetic. The occasional table lamps, in both metal and rock crystal, created another level of light to the room in the evenings. The large bespoke breakfront bookcase was made by one of our trusted artisan craftsmen and is designed in a traditional style with a specialist paint finish in aged black, with an antique mirror detail in the pilasters to add interest. It also allows the clients to display their books, objets d’art collected over the years on their travels and family photographs.”
Luxury & opulence
“The perfect place for the bath was by the window in the dressing room, with a cream linen Roman blind for privacy. I chose copper because the client expressed a desire for a statement piece and, to elevate the experience (and to allow for possible water splashes), raised the bath on an Arabescato marble plinth. The room is finished with a luxurious, cut-pile velvet carpet. Next to the bath, I designed an oversized ottoman in a sage cotton velvet that allows for clothes to be laid out, or for a partner to sit and chat. I do feel that bathing in a room full of soft, luxurious fabrics is a lovely, serene and elegant way to relax and cleanse. I designed wardrobe doors with a copper inlay to complement the bath. The en suite has plenty of space for a shower and vanity unit. I continued the opulent theme by using the same Arabescato marble on the walls, floor and even the drawer fronts. Above the vanity, wall-mounted taps create clean lines and allow plenty of space for toiletries, and a shallow mirror-fronted storage unit has inset lighting concealed beneath. The oversized, walk-in shower with a wet-room floor ensures the room feels spacious but unfussy. The finishing touch is low-level lighting in the bathroom that is automatically triggered by movement at night. The overall effect is luxurious but also quite architectural.”
OPPOSITE PAGE & ABOVE RIGHT A copper bath from Catchpole & Rye is raised to window height by being set on a marble plinth in the dressing room. The wardrobe doors feature a copper inlay to echo the bath’s exterior; they were designed by Gordon-Duff & Linton. The silverframed bird paintings are from Oka. ABOVE LEFT The alls, oor and drawer fronts of the en-suite shower room are covered with beautifully grained Arabescato marble from Stone of London.
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27/10/2020 15:40
23/10/2020 12:25
Interior Design: Creating the Perfect English Home 2021 is the ultimate room-by-room guide dedicated to helping create the dream home. From the publishers of The English Home magazine, it features invaluable advice from some of Britain’s finest designers and interiors experts on choosing all the key elements that make a house an elegant, inviting home. Order online at chelseamagazines.com/design
Buy online for £7.99 (UK) or £9.99 (Overseas) with FREE P&P and have it delivered direct to your door. Visit chelseamagazines.com/design THE ENGLISH HOME 120
EXPERT ADVICE
Sweet
SLUMBER Achieving a good night’s sleep is amongst the most basic and satisfying of human needs – let our expert guide provide advice and inspiration for restorative repose
A ABOVE Creating a restful bedroom sanctuary is key for a peaceful night. Camelia double divan, from £975, Button & Sprung RIGHT Ensure ultimate comfort with luxuriously soft nightwear. Aida women’s silk pyjamas £295, Soho Home
peaceful and refreshing night’s sleep is widely acknowledged as key to our overall wellbeing. Getting the recommended eight hours a night is said to bring myriad physical and mental health benefits, including boosting the immune system, improving memory and reducing stress. With March being National Bed Month, run yearly by the UK’s advisory body The Sleep Council, our thoughts turn to the many ways we can help ensure a perfect night’s sleep. These range from creating a restful sanctuary, to taking our sleep needs more seriously or investing in a new bed or mattress. For those seeking to sustain or improve the quality of their slumber, there really are myriad options available.
ADDRESSING SLEEP NEEDS To a greater or lesser extent, sleep is a physiological requirement for all of us. Age, circadian rhythms and activity levels all have their part to play in how well we sleep. Understanding how daily life can influence these variables helps lay the foundations for a sound night’s sleep. One of the biggest misconceptions, says The Sleep Council, is that we need less sleep as we get older. In reality, we tend to spend less time asleep as we age, not because we need less, but because declining sleep quality leads to changing sleep patterns. Creating a stable and balanced approach to mitigate environmental factors that negatively impact our quality of sleep will help soothe the mind and body, and estalish a process that leads seamlessly to sleep. Do bear in mind, however, that sensitivity to external stimuli varies from person to person. Gender is a key factor, too. The Sleep Council’s most recent Great British Bedtime Report points to some 51 per cent of women reporting sleep problems, compared to 39 per cent of men. THE ENGLISH HOME 121
Creating a calm atmosphere Simple steps can create a tranquil environment to help lull the body into rest: • Maintain regular times for going to bed and waking • Keep the hour before bed free from screens • Align your bedtime with your sleep type (see James Wilson’s advice on opposite page)
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EXPERT ADVICE
LEFT A serene ambience helps the body produce the natural sleep hormone melatonin. Oatmeal linen bedding bundle, from £261 (double), Piglet RIGHT Keep the bedroom screen-free and instead opt for reading or other peaceful activities. Coco bed, from £995 (double), Loaf BELOW RIGHT Choosing the right mattress can revitalise sleep. Adam Henson Burford 23,800 mattress, from £1,999 (single), Harrison Spinks
Avoiding caffeine in the afternoon has long been recommended, as it can inhibit the production of the natural sleep hormone melatonin. Staying away from screens in the hour before bedtime, reading or engaging in other peaceful activities, is also recognised as beneficial. Maintaining regular times for going to bed and waking also helps create a stable framework for sleep, as does regulating core body temperature, which should naturally fall a little lower at night as a signal to the body that sleep is imminent. Taking a warm bath can stimulate this shift, as can ensuring the bedroom environment is quiet and cool (ideally between 16°C and 18°C). Sleep expert James Wilson, also known as The Sleep Geek, points to the importance of tailoring these tips to an individual’s sleep type, that is, the natural balance of energy levels throughout the day. “We need to understand if we are a lark (early to bed, early to rise), an owl (late to bed and late to rise), or somewhere in the middle (a typical sleeper),” he explains. “We then need to align our bedtime with our sleep type – so owls might be after 11pm, with larks between 8-10pm. There is no point going to bed if it does not match our body’s natural rhythms – we need to ensure that if we are in bed, it is because we are ready to sleep, not because we think we should be there.” Just as when we make changes in other aspects of our lives, The Sleep Council notes, “Things may get worse before they get better,” and cautions that it may take up to a month for the effects of a new routine to take hold fully. For best results, changes need to be subtle and steady. THE ENGLISH HOME 123
EXPERT ADVICE
THE LOGISTICS OF SLEEP
BEAUTIFUL BUYS TO HELP WITH SLEEP Enjoy the scent of lavender to help unwind before bed. Meadowlands Lavender, Bergamot & Basil candle, from £35, Zoe Glencross Cover the eyes and drift off in elegant style. Connie Silk Charmeuse Eye Mask, £65, Liberty Wake up at the same time every day with soothing light-filled mornings Lumie Bodyclock Shine 300 Wake up to Daylight SAD Light, £109, John Lewis & Partners
124 THE ENGLISH HOME
Improve sleep quality with a gentle spritz of this lavender, camomile and vetiver-infused mist. Deep Sleep pillow spray, £19.50, This Works Help regulate body temperature by keeping feet warm in cosy cashmere bed socks. Cashmere bed socks, £36, Soho Home
BELOW The choice of mattress fillings and finishes can create different feels. Here, wool and hand stitching combine for optimum comfort. Mattresses from The Pure Natural Mattress Collection, starts from £550 (single), The Cotswold Company BELOW RIGHT Look to wool’s natural hypoallergenic and temperaturecontrolling properties to aid sleep. Luxury organic mattress topper, £249.99, Woolroom
It is estimated that we spend close to a third of our lives asleep, most of which takes place in bed. So it stands to reason that, in addition to being a focal style point of any bedroom scheme, a bed and mattress must also provide effective comfort and support. How do we know when to make a new purchase? The National Bed Federation (NBF) recommends that, whilst seven years is often cited as the benchmark for the life-cycle of a mattress, beds and mattresses can both have their lifespans shortened by factors other than usage. These include: changes in lifestyle (getting married, moving to a new home) or physique (fluctuations in weight, the effects of ageing). Warning signs to watch for include repeatedly waking with stiffness or aches, a noticeably better night’s sleep away from home, and a marked reduction in sleep quality over the past six months or year. Be aware that, whilst logic would suggest that simply replacing a tired mattress will bring results, it takes the right combination of bed base and mattress to create a properly supportive structure. Fixed or sprung slats, a metal grid, woven-wire, or divan base are amongst the many options on offer. A good bed and mattress are worth investing in, so it worth taking time and care when choosing. Be sure to allow sufficient space for movement, particularly if sharing a bed. The NBF suggests that a bed should be 10–15cm longer than the tallest occupant, and that two people should be able to lie side by side with arms behind the head and elbows out, without touching each other. Whilst comfort might be a subjective issue, spinal alignment – one of the key factors in knowing whether a particular combination of mattress and bed-base provides adequate support – is not. To assess if it is
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THE ENGLISH HOME 125
EXPERT ADVICE
correct, lie in a supine position on the mattress and try sliding one hand under the hollow of the back. If it slides in too easily, the mattress is probably too hard (leading to pressure on the hips and shoulders). If it is a struggle, the mattress may be too soft. Some gentle resistance, however, indicates it is just right. How a mattress is put together also matters. Differing structures and fillings offer a wide range of options. Some love wool for its natural hypoallergenic and temperature-controlling properties, which are said to aid sleep – research by the University of Leeds on behalf of specialist wool bedding company Woolroom suggests wool can encourage up to 25 per cent more stage-four regenerative sleep. Others prefer materials ranging from cotton through to synthetic composites. The NBF offers a comprehensive online guide at bedfed.org.uk
A RESTFUL SANCTUARY
As the focal style point of any bedroom, a bed and mattress must also provide comfort and support. ABOVE LEFT Victoria Brass Bed, from £895, Wrought Iron & Brass Bed Co, LEFT Beech bed base, from £500; lambswood mattress, from £1,100; lambswool topper, from £345, all Naturalmat
126 THE ENGLISH HOME
FEATURE EVE MIDDLETON
Setting the scene for sleep provides the finishing touch for a restful night ahead. Sensory impressions are key when creating a space in which it feels natural and easy to drift off calmly. Light-sensitive sleepers may benefit from an eye mask, blackout blinds or curtains with blackout lining. These can prove especially useful to keep to regular hours of sleeping. Similarly, a wake-up light alarm clock that gradually brightens at a preset time can gently rouse sleepers during the darker winter months. The noise-averse may find relief in the use of ear plugs, although long-term use is not recommended. An alternative could be using apps that generate white noise or ambient background sounds. These can be set to go on and off at pre-assigned times and can help block out jarring sounds, relaxing the body for sleep. Another option is guided meditations or sleep stories. Try the Calm app, with stories narrated by Stephen Fry amongst others, or the Headspace app for the Sleepcasts, which use ambient background noise. Scent can also play an important role in establishing a calming sleep routine. Lavender has long been a popular choice for slowing down the nervous system and decreasing the heart rate. Try it in the form of a pillow spray, bathtime candle or a dab of oil on the pulse points. A calming aroma that promotes relaxation is just one of the many incremental changes that can help nudge body and mind towards sleep. n
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Designer, cook and author Sophie Conran on artist, designer and architect Oliver Messel
“A
bout 15 years ago, I was very lucky to stay in one of the houses Oliver Messel designed on Mustique, and that got me interested in him and his journey. Messel went to the Slade School of Art in the early 1920s and started off as a painter, got into set and costume design for theatre and opera, then worked on Hollywood films in the glamorous age of the silver screen. He designed Vivien Leigh’s costumes for Caesar and Cleopatra in 1945 and was nominated for an Oscar for his work on Suddenly Last Summer in 1959. He was also a portrait painter, an illustrator and a fabric designer. In 1966, he moved to Barbados and started a new career as an architect and interior designer. It is Messel’s architecture on Mustique, in particular, that interests me. It is sensitive, uses local materials, and is not overly big and grand. The houses he designed have a breezy, uplifting quality, lovely symmetry, and a feeling of being immersed in nature. He often used a particular shade of green paint, now known as ‘Messel Green’, and, with a sea view on both sides, the houses feel almost transparent. Messel was from an era where things were handmade and ideas were sketched out. His drawings are just wonderful, very sensitive and sweet, and he had a really good sense of colour. He often had to improvise because of wartime shortages, making costumes using things like sweet wrappers and pipe cleaners. The results were glittery, fun and whimsical. His work has great joy and charm, and is also quite timeless, and that is the main way in which he has influenced me. I like to think that what I do is charming, timeless, thoughtful and whimsical. We all need things that make us smile, and Messel’s work is all about the human experience and making us sing a little bit inside.” n
130 THE ENGLISH HOME
ABOVE Depicting elegant blue trees and set in delicate golden frames, these Chinoiserie Blossom wall panels (£305 for two) from the Sophie Conran collection are elegant, classic and timeless. RIGHT A coloured sketch by Oliver Messel showing the decorative scheme for the Crush Room at the Royal Opera House, which he decorated for a gala ballet performance in 1950. BELOW The Golden Bouquet chest (£675), designed by Sophie Conran and her team, is hand-painted and was inspired by antique folk wedding chests.
LEFT The Oliver Messel Suite at The Dorchester hotel in London. Designed by Messel in 1953 – whose inspiration for it came from Venetian, Rococo and Ottoman interiors – it was carefully restored in the 1990s. RIGHT With scalloped edges and delicate bamboo details, the Blossom hand-painted metal table (£295) is an engaging piece from the Sophie Conran collection at sophieconran.com Read more in Oliver Messel: In the Theatre of Design by Thomas Messel, £45, published by Rizzoli.
FEATURE KATHERINE SORRELL PHOTOGRAPHS OLIVER MESSEL IMAGES COURTESY OF RIZZOLI
Oliver Messel (1904–1972), one of the foremost stage designers of the midtwentieth century
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