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ENGLISH HOME

Celebrating the essence of English style July 2021 | Issue 197 | £4.99 | UK Edition

EASY ELEGANCE

Step inside effortlessly beautiful homes all set for summer KITCHENS BY COLOUR How to choose a bright, dark, bold or neutral look ARTISTIC INSPIRATION Discover movements & cues to furnish interiors with ﬂair

EXPERT INSIGHTS • Hotel style at home • Smart ways with fabrics • Growing glorious peonies

ENGLISH ESCAPES

Leading designers, chefs and hoteliers reveal must-visit destinations

INTR O D U CING O U R M ODE RN K IT CH E N

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CONTENTS J U LY 2 0 2 1

52 110

Notebook

English homes

15 NEWS A designer doll’s house, new

34 SENSE OF SCALE An oak-framed

lighting by Tom Raffield and more.

22 DESIGN DISCOVERIES Make the most of

summer with this month’s stylish finds.

28 AWASH WITH COLOUR Bathroom brights. 30 SEASIDE ATTRACTION Coastal style. 32 THE EDIT Unfitted, The English House

and Lefroy Brooks 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

extension gives a Victorian property in Hampshire a new lease of life.

44 RESTORING INTEGRITY Unchanged

since the 1960s, a farmhouse in Kent undergoes a sensitive restoration.

52 COLOUR INFUSION Farrow & Ball’s

colour curator Joa Studholme in her historic former schoolhouse property.

60 TREASURE TROVE A Grade II listed

townhouse in London is home to three generations of the Hanbury family.

104

44 Style inspiration

Quintessentially

69 ARTFUL CURATION Design masterclass.

107 THE TASTE OF SUMMER Seasonal motifs.

70 ARTISTIC LICENCE How art and artists

108 FROM PATCH TO PLATE: MATTHEW FORT

77 COOKING IN COLOUR Explore the

110 SUMMER ESCAPES: ENGLAND’S BESTKEPT SECRETS Hoteliers, chefs and

inspire the designs we use in interiors. colour spectrum of kitchen schemes.

88 HOTEL STYLE AT HOME Designers

reveal secrets to recreate in interiors.

96 IMPACTFUL WAYS WITH FABRIC

Discover clever ideas for making the most of this decorating essential.

104 A LIFE IN DESIGN Interior designer Nina

Campbell and her eponymous brand.

The wonders of freshly picked berries.

designers on their dream spots in the UK.

118 RUFFLED BEAUTIES A cherished symbol

of the English summer, peonies are perfect for every garden.

130 MY DESIGN HERO Interior designer

Matthew Williamson on fashion and textile designer Dame Zandra Rhodes.

80 THE ENGLISH HOME 7

A letter from home

here has been a much-quoted phrase circling my mind for the last few months that will perhaps resonate with you too: “The eye has to travel”. These words were first spoken by Diana Vreeland, style maven and legendary editor of US Harper’s Bazaar and US Vogue for five decades, and they speak of a thirst for inspiration, creative ideas and colour, something all of us may be feeling whilst most international travel is still off the agenda this summer. With this in mind, we wanted to inspire you with features that offer a visual escape as well as ideas on how to bring the best of holiday style into your home. Wish You Were Here (p92) explores the design elements of some of the world’s must luxurious hotels for you to recreate at home, whilst Hotel Style at Home (p88) reveals the interior design secrets behind elegant hotels and stylish holiday cottages in England. Elsewhere in this issue you’ll find plenty of colourful interiors inspiration – from choosing a kitchen by colour to add character and impact (p77), to using artistic cues for decorating (p70). Of course, it is now possible to go on holiday in the UK, so we consulted top interior designers, chefs and hoteliers to get the inside track on their dream escapes (p110). Whether you recharge at home or away this summer, we hope there’s plenty within our pages to delight the eye.

We adore this de Gournay wallpaper in the Colony Hotel in Palm Beach. Discover this and more style ideas to steal from luxurious hotels in our feature on page 92.

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 July 2021 | Issue 197 | £4.99 | UK Edition

EASY ELEGANCE Step inside effortlessly beautiful homes all set for summer

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

KITCHENS BY COLOUR How to choose a bright, dark, bold or neutral look ARTISTIC INSPIRATION Discover movements & cues to furnish interiors with ﬂair

EXPERT INSIGHTS • Hotel style at home • Smart ways with fabrics • Growing glorious peonies

ENGLISH ESCAPES

Leading designers, chefs and hoteliers reveal must-visit destinations

TEH UK July 2021 COVER FINAL.indd 1

EDITORIAL

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NOTEBOOK

Our monthly edit of news, shopping inspiration and inside information

SPOTLIGHT ON… A Discerning Curation

Every interior designer’s little black book bulges with talented under-the-radar makers whose creations elevate a home from ordinary to extraordinary. Francesca Rowan-Plowden is sharing some of her most precious contacts through FRP Homestore, her new online shop. The director and lead interior designer at Rowan Plowden Design and founder of Design Havens For Heroes lives by the sea in East Sussex, where she scours vintage markets. FRP Homestore offers her careful curation, from cushions and glassware to tableware, soft furnishings, home accessories, antiques, lighting, limited-edition items and more. “Our homes are so important to us, but people often struggle with where to start with enhancing them,” she says. “At FRP Homestore my aim is help create their dream interiors with just a few clicks of a button.” frphomestore.com 

THE ENGLISH HOME 15

NEWS

Conjuring Grace

Vessels of distinction by Celia Dowson Adapting traditional techniques and experimenting to conjure new forms, finishes and tonal blends gives Celia Dowson’s ceramic and glass creations an unexpected quality. This London-based artist graduated from the Royal College of Art specialising in ceramics and cast glass, having won a scholarship from The Queen Elizabeth Scholarship Trust (QEST) which funded her final year of study. Her work reflects the changing light and movement in nature, capturing grace, fluidity and stillness. To make her Seascape Vessels, Celia combined both black and white porcelain, sanding back after the first firing to reveal layers of embedded mark and tone, then firing again before polishing by hand to achieve a soft and tactile finish. celiadowson.co.uk

Another Level

Tom Raffield’s new Leven lighting range Named after the Cornish word for ‘level’, Tom Raffield’s new Leven lighting range is inspired by the striking formations of the smooth, sea-eroded cliff faces and ridged headlands of the north Cornish coast. Cornwall is home for Tom, who is known for his hand-crafted steam-bent lighting and furniture. As well as wall and tripod floor lights, this new collection features both drum pendant and flush ceiling lights. The entire range comes in a choice of hand-curved oak or walnut, complete with sleek brass rivets, and a lifetime guarantee. “Each piece we create has been on an experimental journey and is individual, organic and carefully considered,” says Tom. “We source all the wood from sustainable woodlands, which, coupled with the low-energy steam-bending process, is a very ecological practice with little wastage.” tomraffield.com

A Cut Above

Bridgerton costume-maker’s interiors range Almost 100 million households watched period drama Bridgerton, for which many of the costumes were made by Liz Poole. Her creations star in West End shows such as Hamilton, Glyndebourne Opera and The Royal Opera House, and she works with fashion designer Susie Cave of The Vampire’s Wife. To add the finishing touches to her renovated Victorian railway cottage in Sussex, Liz and her team made cushions, quilts and seat pads using luxurious velvets and Liberty fabrics, all with a vintage feel. Her family and friends were so impressed that it sparked the idea for her new business venture – Velvet Linen – her very own range of items to buy online, including cushions and quilts, all lovingly handmade in Sussex, inspired by the romantic flora and fauna found in her gardens. velvetlinen.co.uk  16 THE ENGLISH HOME

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NEWS

Magical Metamorphosis

New rug collaboration with fashion house Alexander McQueen Reinvention, rebirth and renewal are the silken threads running through a striking new collaboration between fashion house Alexander McQueen and The Rug Company. Named Metamorphosis, this luxurious collection of five new rugs explores the magical transformation of nature and is inspired by looks from Alexander McQueen fashion collections. “I am delighted to be part of this collaboration, which represents the shared values of a love of nature and respect for tradition, hand-craft and innovation,” says Alexander McQueen creative director Sarah Burton, who herself knows all about reinvention. Having started as a young intern for visionary designer Lee Alexander McQueen in 1996, she became his trusted right-hand collaborator and was the natural successor upon his untimely passing in 2010. The following year, Sarah designed the wedding dress of Her Royal Highness The Duchess of Cambridge.

18 THE ENGLISH HOME

Sarah proudly upholds the values upon which the Alexander McQueen brand was founded, with great storytelling and creativity, all present in this fifth collaboration with The Rug Company, a creative partnership which dates back to 2010. Two of the new rugs – Painted Lady and Glasswings – capture a butterfly’s graceful movement, the latter (above) hand-woven in silk with shimmering silver tones and a translucent quality. Festooned with cherry blossom framing two soaring cranes, feathers intertwined, is the Crown Blossom rug (above left). The Tree of Life is an ancient symbol of growth across the globe, and its namesake silk-woven rug (left) has a mirrored effect of roots and leaves and an icy, glistening finish. Beetle (not shown) features a motif that has signified luxury for centuries. All of the rugs are hand-woven in Nepal and can be custom-ordered in size, shape or colour. therugcompany.com 

NEWS

Diary

Intricate Craftsmanship

Six brands worked on doll’s house The wedding dress of Diana, Princess of Wales, will go on show at Kensington Palace as part of new exhibition Royal Style In The Making (3 June to January 2022), featuring glittering gowns from three generations of royal women. hrp.org.uk

Mary Berry will be one of the stars at Hampton Court Palace Garden Festival, the world’s largest flower show (6–11 July), as will our sister magazine The English Garden, which will have a stand at the show. rhs.org.uk

Highgrove’s gardens feature in guided tours run by Sisley of notable gardens in the Cotswolds, Dorset, North Yorkshire, the Wye Valley, the Isles of Scilly and Cornwall. sisley.co.uk n 20 THE ENGLISH HOME

FEATURE SARAH FEELEY PHOTOGRAPHS P16 (TOP) © HELEN CATHCART; (MIDDLE LEFT) © HUCKBERRY.COM, (BOTTOM LEFT) © HUGH THRELFALL, (BOTTOM RIGHT) © MICHAEL JAMES PARKER. P18 © THE RUG COMPANY. P20 (BOTTOM LEFT) © ROB MCROBERT; (DIARY) TOP © REUTERS/ALAMY; MIDDLE © BETHANY CLARKE; BOTTOM © HIGHGROVE ENTERPRISES

A mini masterpiece of extraordinary craftsmanship and intricacy has been unveiled at Design Centre Chelsea Harbour. It took 16 craftspeople over two months to create 130 tiny pieces of furniture for this doll’s house by Christopher Guy in partnership with Fromental, Samuel & Sons, Gingerlily, Drummonds and Lalique. It will be re-dressed for autumn/winter and Christmas before it is auctioned for charity. Built as a classic London townhouse, it has a curved and cantilevered staircase, ceiling roses, lighting and opening doors. Christopher Guy artisans replicated the complex structures of its full-sized furniture in miniature, hand-carving signature features including ‘Chris-Cross’ chair legs. Hand-painted, hand-embellished papers by Fromental adorn the walls, including its collaboration with Lalique featuring tiny sparkling crystal swallows. Samuel & Sons used its fringes, braids, tassels and borders to create tiny cushions, rugs, chandeliers and curtains. Gingerlily handmade miniature silk bedding and even a miniscule silk eye mask, and Drummonds cast tiny versions of its Torridge bath and Double Lowther Vanity unit. christopherguy.com

‘Eustacia Vye’ English Shrub Rose

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DESIGN DISCOVERIES

Make the most of the summer season with this month’s stylish finds

LEADING LIGHTS

OUT OF AFRICA Encompassing textured linens, natural tones and handmade pieces from local artisans, the latest accessories collection from de Le Cuona highlights Africa’s raw beauty in testament to the brand’s heritage under South African-born founder Bernie de Le Cuona. Haiku Panel Cushion with Fringe Detail in Husk/Paper, £180; Haiku Cushion with Fringe Detail in Husk, £160; Hoxton Throw with Fringe and Leather Detail in Sesame, £530; Engraved Coconut Bowls, £160 each; Buhera Baskets (in background), from £775, all de Le Cuona

Rolled-edge detailing, an antique brass finish and a hand-sprayed exterior make up the charms of this new design from David Hunt Lighting, available in three colourways and customisable colour options. Ealing Cotswold Cream large pendant in Antique Brass, £342, David Hunt Lighting

CHECK MATE Made entirely from recycled plastic bottles, the wonderfully soft and entirely machine-washable textiles from Weaver Green now include a new range in the classic South Indian design Madras Check. Madras Check collection, from £45 for a cushion, Weaver Green

POTS OF FLOWERS Display summer’s floral delights in these charming glass vases by Emma Bridgewater, each bearing its own delicately etched inscription. From left: Little Glass Pot, £29.95; Small Glass Jar, £39.95; Little Goldfish Bowl, £39.95, all Emma Bridgewater

22 THE ENGLISH HOME

SHOPPING

SHADES OF SUMMER Brighter, lighter days make selecting seasonal outfits a joy – as do elegant bedroom storage solutions. We love the clever use of Burnt Sienna inside this smart wardrobe from Neptune’s latest launches. As one of the key shades in the collection, it lends a depth of richness to create character and warmth. Larsson Wardrobe in Moss Exterior and Burnt Sienna Interior, £2,960; Naunton rug, £355; Wycombe Bench in Natural Oak, £355;  Elland Throw in Burnt Sienna, £230, all Neptune THE ENGLISH HOME 23

SHOPPING

COLOURFUL CRAFTMANSHIP Hand-painted by artisans in Italy, the perenially popular border plates from Montes & Clark now include the new Gelato design launched for summer in a cheery ice cream palette of bright blues and vivid pinks. Gelato Cross-Hatch bowl, £34; Gelato Squiggle plate, £34, Montes & Clark

ISLAND INSPIRED Combining the skills of designer Anna Spiro and her sister-in-law, artist Pip Spiro, the new Islet textile and wallpaper collection sees bold hues and strong pattern inspired by their shared passion for little island havens. Fabric, from £189 a metre; wallpaper (not shown), £160 a roll, Anna Spiro Textiles, The Fabric Collective

24 THE ENGLISH HOME

NEW SHADES

OUTDOOR DINING

Included within two revised and recently launched paint charts from Little Greene are 14 new colours created for the occasion, such as this sunny hue inspired by historic oil paints. Walls, Indian Yellow, from £27 for 1l Intelligent Matt Emulsion, Little Greene

Allowing for greater guest numbers, this sleek powder-coated aluminium table extends from four to six seats, and is weatherproof for outdoor use. Amara Outdoors extendable oval table, £795; Fermob Luxembourg garden chairs, £225 each; Retreat tableware, from £30, all Amara

A place for everything & everything in its place Visit us at thedormyhouse.com or call 01264 365808 The Dormy House, 27 Walworth Business Park, Andover SP10 5LH

SHOPPING

SOAK UP THE SUN Ideal for reclining under warming rays, the sleek lines of this smart new set combine a solid acacia wood frame and modern rattan weave for durable comfort outdoors. Clapton chair and footstool set, £279, Cotswold Company

MAGIC FLUTING The pairing of a slip-cast fluted bone china base with a drum shade in chic ivory linen not only marks a first for Original BTC, but also creates a beautiful shadowplay thanks to the angleable ball-and-socket joint between the two, designed to facilitate reading. Fin King table light, £589, Original BTC

Specially designed for outdoor use and treated with a shower-resistant finish that is also anti-mould, anti-mildew and ante-microbial, the Great Outdoors collection from Andrew Martin includes cushions and fabrics, available across six designs, reworked from best-selling prints. Selection of cushions, £70 each; Glacier fabric, £70 a metre, all Andrew Martin

NATURE’S HUES Hand-dyed using leftover food skins, this soft organic table linen follows the seasons as new fruits and vegetables come into being. The latest gentle colourways, stemming from onion skins, see shades of cream and rose as the stars of the show. Onion Skin placemats, £28 (set of two); Onion Skin napkins, £30 (set of two); Red Onion Skin napkins, £30 (set of two), all Ved Cooks n 26 THE ENGLISH HOME

FEATURE EVE MIDDLETON PHOTOGRAPHS P22 (DE LE CUONA) © TUCKER IMAGES; (WEAVER GREEN) © PAUL RYAN-GOFF

OUTDOOR UPHOLSTERY

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SHOPPING

Bubbles & Bottles Carafes, £488 (set of four), Pols Potten at Made in Design

Sun Yellow two-panel shutters, from £299 a square metre, Shutterly Fabulous

Notched-wood vanity in French blue with brass taps by Volevatch, plus sconces, mirrors and interior design, all £POA, Humbert & Poyet

AWASH WITH COLOUR Rex bathmat, Colour 58, £71, Missoni Home at Amara

Add impact, character and fun with block colour in the bathroom. Whether a single statement piece such as a colourful bath or vanity, or a bolder mix of hues used confidently, colour can enliven this more functional of rooms and give it personality. Simply using tiles to create a coloured splashback, or adding bright towels to a white scheme can work wonders. A family bathroom can withstand a lively playful scheme in a mixture of several richly saturated hues. Limiting pattern and sticking to block colour will allow an assorted palette whilst still looking smart and considered.

Paul Smith Medium Artist Stripe towel, £44, Liberty

Bermuda Triangles in Moss, Tan, White, Blush and Navy, £84.24 a square metre, Claybrook

Lotus soap dispenser (low), Midnight Blue, £32, Mette Ditmer at Nordic Nest 28 THE ENGLISH HOME

Made-to-order Coral wall light, Pink, £865, Viola Lanari at Balineum

Bamboo toothbrushes, £4 each, Vegan Green Bee

Bute cast-iron bath with a pressed-steel surround, hand-painted in red, £6,702, Drummonds

FEATURE KATY MCLEAN PHOTOGRAPH (POLS POTTEN) © HANNELORE VANDENBUSSCHE; (HUMBERT & POYET) © FRANCIS AMIAND; (DRUMMONDS) © DAMIAN RUSSELL; (CLAYBROOK) © BEN CARPENTER

Hapa handwoven colour-block basket, Dusty Pink, from £78, The Basket Room at Amara

SHOPPING Cushions in Milano Stripe fabric, £78 a metre, The Design Archives

Boston coloured champagne coupe/ dessert bowls, £17.90 each, Villeroy & Boch

Marla Beaded Chandelier, Pink, £135, Bombay Duck

SEASIDE ATTRACTION

Anstruther Limited Edition Fine Art Giclée Print (30cm x 30cm), £79, Hannah Wisdom Textiles

Coastal style has enduring appeal, whether pared-back with whitewashed walls and driftwood, jaunty and nautical, or, as we celebrate here, full of seaside nostalgia. Whether living in one of our glorious seaside towns or seeking to emulate the charm of holiday memories of fish and chips, sandy toes and donkey rides, this look is full of pretty ice cream colours and sweet details. Combine the colours of the sea and sand with strawberry pinks, pistachio greens and creamy vanilla, in classic ticking stripes, fringing, beads and some witty nods to seaside attractions.

Svenska Blue, Cream and Antoinette Pink, £21.95 for 1l Chalk Paint, Annie Sloan

Fairground Ponies mug, £12, Sophie Allport

Fringed Gazebo, Blue Stripe, £460, Cox & Cox Pink Pinstripe block-print cushion, £35, Raj Tent Club

Sunset Stripes tiles, £162 a square metre, Otto Tiles

Donkey Brown wool throw, £69, Tolly McRae

Striped rocking deck chair, beech, £90, Garden Trading Seaside Neroli large hourglass candle, £26.99, WoodWick

30 THE ENGLISH HOME

FEATURE KATY MCLEAN

St Ives bone china nibbles dish, £12, Cream Cornwall

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www.theheadboardworkshop.co.uk or call us on 01291 628216 Headboards & Beds | Ottomans | Stools & Chairs

NEWS

THE EDIT Classically designed bathrooms, British-made kitchens and lighting catch the eye of Editor-at-Large Kate Freud this month THE ENGLISH HOUSE If ever there was a man who knows a thing or two about fine homes and furnishings it is Charles Morris, founder of The English House, which specialises in authentic architectural fixtures and fittings. Having spent many years working as a designer, concentrating largely on country houses (his career over the years has seen him work with everyone from royalty to Soho

UNFITTED In amongst a sea of high-end kitchen brands, Unfitted has set itself apart by doing just what the name suggests – primarily creating freestanding, handmade kitchens (though it offers the fitted variety, too). The company was set up in 2010 by Mark Shurey, who saw a gap in the market for freestanding bespoke furniture, that, brilliantly, people could take with them when they moved to a new house. Whether a traditional or classic look is desired, there are plenty of styles to choose from, even down to the range of timbers Unfitted uses, which can be painted, distressed, or refined with vintage and industrial finishes. If a customer is unsure of sure where to start, Unfitted’s design team can help work out everything needed, from pantry cupboards and range cookers to kitchen islands, before everything is handmade in the UK. If seeking inspiration, head to the company’s showroom in the beautiful town of Moreton-on-Marsh, in the heart of the Cotswolds. unfitted.co.uk

32 THE ENGLISH HOME

THE ENGLISH HOUSE FP EHUK DEC15.indd 1

House), he was quite used to designing the odd fireplace or garden structure. But he often found himself frustrated at the lack of good lighting designs available, so decided to create his own small range. After some encouragement, in 2007 Morris set up The English House, and now sells everything from wall lights and candelabras to ceiling lights and chandeliers that perfectly suit such beautiful settings. All the designs are made in the UK, and large quantities of stock are kept so it is possible to buy lights without the long lead time that comes with many beautiful pieces. The lights work equally well in domestic or public buildings, but the classical simplicity of each design adds a timeless feel to any interior scheme. theenglishhouse.co.uk

22/10/2015 10:08

LEFROY BROOKS For a beautiful bathroom, rich in historical detail, look no further than Lefroy Brooks, whose ranges come from an archive like no other. Going back to the turn of the twentieth century, it is possible to choose from the Classic British range that reflected the time, or perhaps the 1930s art deco-inspired Mackintosh collection or something from the 1950s range, inspired by the great American automobiles. Lefroy Brooks has been designing and manufacturing classic, heritage bathrooms since it was founded by Christo Lefroy Brooks in 1990. The brand makes everything from brassware and chinaware to baths and marble consoles produced in Massa Carrara. All the taps are cast, forged, polished and assembled by hand for a unique finish. New to the collection is Lefroy Brook’s first lighting range, which represents all

the classics from the twentieth century – the Globe, Flute, Torch, Deco and industrial Ten Ten. Each and every one of these is manufactured to be safe for use in the bathroom, and brilliantly they also have milk glass shades to provide extraflattering soft light. uk.lefroybrooks.com n

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Sense of SCALE An oak-frame extension and an abundance of colour and pattern have given a Victorian farmhouse in Hampshire a new dimension as a family home FEATURE AMANDA HARLING PHOTOGRAPHY ANDREAS VON EINSIEDEL

34 THE ENGLISH HOME

With a lovely outlook over countryside afforded by the steel casement doors by Fabco Sanctuary, the new extension by Fowler Architecture and Planning creates an open-plan space for informal family life. A ceiling lantern from Holloways of Ludlow hangs above the dining table from Konk Furniture and dining chairs by Loaf.

‘I specified mainly pale and neutral wall colours so that the focus is more on the fabrics and the paintings’ ABOVE The Tom Bayley kitchen is in a pale wood finish and De Nimes paint by Farrow & Ball. Roman blinds in Carnival by Michael Szell from Christopher Farr Cloth and a lampshade in Benaki by Lewis & Wood add pattern. The Loko bar stools are from Nkuku.

t is hard to imagine a more perfect location for a family home than that of the Victorian farmhouse in Hampshire belonging to Gemma Scott Knight and her husband Ben. Tucked away at the end of a private lane in a pleasant hamlet within easy reach of Basingstoke, the farmhouse, dating from around 1850, enjoys an outlook across fields and woodland. “It didn’t take us long to decide to buy it,” recalls Gemma. “When we started looking for a new home four years ago, it was just the sort of property we had in mind. With three teenage daughters, we wanted

36 THE ENGLISH HOME

more space for them and us, in a peaceful but not isolated location.” Whilst the house was of a reasonable size, Gemma and Ben decided to extend, adding an oak-framed living and dining area next to the kitchen where the family could relax and entertain in style. “Having a spacious informal living and dining area is part of modern life, so being able to build on to the existing house and incorporate a utility room, along with an entrance lobby with a cloakroom, has made a big difference,” Gemma  says. “I have four siblings, and when we meet up

RIGHT With no shortage of wooden beams adding warmth and texture, Gemma chose pale grey for the desk and a charcoal hue to update the vintage glass-fronted pine dresser. The scallop-edged sisal rug is by Tate & Darby.

THE ENGLISH HOME 37

ABOVE An armchair in a bright stripe from Andrew Martin and lampshades in Vaughan’s Milas embroidered linen add a vibrant note to the neutral decorative scheme in the sitting room. Curtains and blinds are made using Lewis & Wood’s Selsley Stripe and the sofa is from Sofas & Stuff. LEFT Walls in Elephant’s Breath by Farrow & Ball create a serene backdrop for the paintings Gemma and Ben have acquired from galleries such as Jenna Burlingham and Surface Inspirational Contemporary Art. The bronze framed mirror in antiqued glass is from Rupert Bevan.

38 THE ENGLISH HOME

with our offspring, it can be quite a crowd. Fortunately the house isn’t listed, which made getting planning permission that much easier.” The oak-frame extension, designed by Fowler Architecture and Planning, involved demolishing an exterior wall and reconfiguring the existing kitchen to make the connection to the new living and dining area. “The Aga had to be moved, so we took the opportunity to completely remodel the kitchen, with a large island unit forming the centrepiece,” Gemma explains. “Although the kitchen forms part of the original building, and has exposed ceiling beams, it now has a lighter, more contemporary feel, blending with the extension.” A set of generously sized steel casement doors and windows maximise views of the garden and the countryside beyond from the dining area. “We had the dining table custom-made to suit the space, and the Loaf chairs are a simplified, contemporary version of a traditional Windsor chair,” says Gemma. However, the extension provides more than a space for dining and entertaining; with a desk at one end of the room and a comfortable sofa by the window at the other, it has become a roundthe-clock family living space.

ABOVE The northfacing dining room has been given a dramatic new look with Linwood’s Casper Rosewood fabric on the chairs, and walls and woodwork in Squid Ink by Paint & Paper Library. Memories of Hong Kong are brought back by the nineteenth-century watercolour of Victoria Harbour. Gemma made the Indian block-print fabric lampshade on the antique mahogany sideboard. RIGHT Gemma (standing) and her sister Abigail, who set up and run their company Ashoka Designs together.

THE ENGLISH HOME 39

ABOVE Shaded by vines and festooned with lights, this terrace makes a charming spot for outside entertaining – as well as displaying the colourful Ashoka Designs lampshades and bedspreads. The table and cane dining chairs are from Neptune. LEFT Gemma with golden Labrador Nelly. The cushions are by Ashoka Designs.

40 THE ENGLISH HOME

BELOW By incorporating weathered roof tiles in varying shades, Fowler Architecture and Planning has ensured the extension is in total harmony with the adjoining Victorian farmhouse. The door beneath the porch leads into the boot room. The terrace is edged with guara and verbena.

LEFT & BELOW A quartet of Pierre-Joseph Redouté flower prints mounted on multicoloured boards make an eye-catching display above the bed in the main bedroom. Walls painted in Stone II by Paint & Paper Library allow the rosy hues of the fabrics to stand out. The curtains and blinds are in a Kate Forman floral print, the armchair is in Blithfield’s Diamond, the Indian kantha bedspread is from Ashoka Designs and the striped stool is an Oka design.

‘I like the way block-printed or sari lampshades can introduce colour and pattern to a neutral scheme’ An existing timber-built studio in the garden was another attraction for Gemma, as she and her sister, Abigail Rutherford, are partners in Ashoka Designs, a lampshade and soft furnishings design company they established soon after Gemma moved house. “Abigail lives close by and the studio doubles as our showroom and office, which has been an advantage over the past year as we’ve been able to carry on working,” says Gemma. Brought up partly in Hong Kong, the sisters have travelled widely in the Far East. “We were educated in the UK, but after university, we both worked in Hong Kong, where I was a specialist painter and then worked in interior design,” explains Gemma. “It was whilst Abi and I were in India, a few years ago, that we first started thinking about setting up a company to market the lovely fabrics we came across there. Ashoka has given us the opportunity to collaborate with amazingly creative Indian artisans.” Gemma’s love of colour and pattern is evident throughout her home. “I like the way block-printed or sari lampshades can introduce colour and pattern to a neutral scheme in the same way that cushions,  throws and rugs add interest and texture,” she says.

THE ENGLISH HOME 41

ABOVE A classic Tree of Life design – Roslyn from Sanderson’s Vintage Prints collection – covers the headboard in the guest bedroom. Cushions in striped and ikat Christopher Farr fabric pull the look together. The paintings are by Philip Jones, from Jenna Burlingham RIGHT Charlotte Gaisford’s Tiger Blue wallpaper adds a sense of fun to the family bathroom with a bamboo mirror adding the finishing touch. For a similar basket, try The Basket Room.

Both play an important part in the decorative scheme and I frequently change them round to keep things looking fresh.” With her experience in specialist painting, Gemma certainly knows how to use colour with aplomb. “The strong tone of the grey-blue walls in the dining room can take some people by surprise,” she says, “but it’s a north-facing room, and we usually use it at night, so I felt that the bold jewellike colours of the ikat upholstery would look dramatic and work well in candlelight.” This bold use of colour can be discerned in other decorative details in the house, such as the red ceramic pots used as low side tables in the sitting room. Gemma’s choice of furniture and fabrics is a deft fusion of contemporary art and design, mixed with antiques and updated classic styles. “I’m attracted to pinks and reds, so lampshades, cushions, rugs and paintings in most of the rooms include smatterings of those shades, which add warmth without being overpowering,” she says. “I specified mainly pale and neutral wall colours so that the focus is more on the fabrics and the paintings. An informal mix of periods and styles seems to suit a house of this age – it’s choosing the correct scale and getting the colours right that creates a sense of harmony.” n

42 THE ENGLISH HOME

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Restoring INTEGRITY Unchanged since the 1960s, a farmhouse in Kent undergoes a sensitive restoration to create a stylish and comfortable country home FEATURE PAULA WOODS STYLING JO RIGG PHOTOGRAPHY SUSSIE BELL

44 THE ENGLISH HOME

Bespoke bookcases stand either side of the restored fireplace. These, along with the furniture, were commissioned and made to order by Evernden Interiors. The Tigers Eye Titanium sisal flooring is by Kersaint Cobb.

A striking 1920s Moldovan Bessarabian rug from Joshua Lumley brings a splash of bold colour and pattern to the dining room. Hand-painted shades by Gavin Houghton sit on top of antique brass candlesticks.

The Plain English kitchen is painted in a combination of Farrow & Ball’s Rectory Red and Paint & Paper Library’s Stone V. An inviting mix of old and new includes an antique kitchen table, rustic-style Chortler chairs from Loaf and industrial-style pendants from Olive & the Fox.

46 THE ENGLISH HOME

‘Nowadays it is unusual to find uncoverted farmsteads, especially within an Area of Outstanding Natural Beauty’

t is said that life, at times, has a way of coming full circle. For Alice Owen, together with her husband Tim, this meant exchanging a busy London lifestyle for the rolling Kent countryside of her childhood and a more relaxed, bucolic way of living. “Despite already having a weekend home in Sussex, our long-term goal did not include turning our backs on the city,” she explains. “The plan had been to sell our London home and buy another with a larger garden nearby.” However, as Alice and Tim found themselves dividing more and more of their time equally between town and country, it was actually Tim, a London-based lawyer, who suggested a permanent move to Kent. Having established roots in the area proved particularly fortuitous for the couple when it came to finding their future home, as it was a timely tip-off in

2014 from a family friend that alerted them to a Grade II listed farmhouse coming to market following the retirement of a tenant farmer. “Once part of large country estate, the farmhouse had not been touched since the 1960s, yet it was still structurally sound,” Alice explains. “It was the only property we looked at as nowadays it is unusual to find unconverted farmsteads, especially within an Area of Outstanding Natural Beauty. What’s more, it was close to family and friends, and the right size for us.” Like similar estate farmhouses in the area, the property has sixteenth-century origins, with a Georgian facade and rooms that were added around 1800 – a charming mix that Alice and Tim were understandably keen to retain, despite considering extensive renovation plans. “We wanted to create a home where we could both comfortably work, relax and entertain,

ABOVE LEFT The reclaimed brick floor, sourced by Cox Restorations, offers practicality underfoot in the kitchen. ABOVE RIGHT The hallway is painted in Paint & Paper Library’s Blanket. Alice sourced the antique settle, which is topped with a cushion in Colefax and Fowler’s Eaton Check fabric.

THE ENGLISH HOME 47

ABOVE Teamed with matching sconces on the walls either side of the fireplace, a wheatsheaf chandelier, from Phoenix Antiques, creates a fine focal point above the dining table. The dining room walls are painted in Farrow & Ball’s Charleston Gray.

but it was also important to us that, no matter what changes were made, we would not lose the integrity of a period farmhouse,” explains Alice. With this in mind, the couple turned to Kent-based historic building specialist Cox Restorations, and interior designer Belinda Benton of Evernden Interiors to sensitively restore and update the property. Alice and Tim had already worked with Belinda on their Sussex home, so they trusted her with the complexities of the project. “As it is a listed property, we knew there would be restrictions when it came to implementing changes,” says Alice. However, thanks to the services of an experienced architectural practice and a very helpful conservation officer, the couple were delighted to sail through the planning process. Externally, a two-storey weatherboard extension was added at the rear of the house to create a study for Tim

48 THE ENGLISH HOME

on the ground floor and a dressing room above. Cox Restorations also rebuilt a thatched, oak-framed barn, which now serves as a garage, and carried out extensive repairs to a listed tithe barn, which provides stabling for the family’s horses. Upon stepping inside this handsome home, the benefits of the changes become truly apparent. The clever incorporation of adjoining outbuildings, removal of certain walls and reworking of spaces has instantly improved both layout and flow. It has allowed the creation of additional ancillary rooms, a large, welcoming, archetypal rural kitchen and separate suites for Alice and Tim. Luckily for the couple, Belinda was always on call to advise them on everything from layouts to joinery and decor. “Belinda’s first suggestion on visiting the house, prior to purchase, was to remove a section of wall that

On warm summer evenings, Charlotte loves sitting on the cosy back porch in her garden. A useful storage bench has been made using decking boards. The antique French tablecloth is from No.1 Lewes and the wall is painted in Cromarty by Farrow & Ball.

‘It can be scary when you put colour onto something that’s been white for a few years. It might look shocking at first, then you realise it works’

‘It was also important to us that, no matter what changes were made, we did not lose the integrity of a period farmhouse’ butted into the hallway, to open things up. Although we had only just entered the building, I knew I was in safe hands,” Alice recalls, whilst Belinda adds: “I thought it would be lovely to walk through the front door and look straight through the house.” “I like to be hands on,” says Alice, “so Belinda and I would regularly meet to discuss the project, and she was happy to work alongside Cox Restorations, who, as well as restoring period features – including rare five-paned Georgian windows – we tasked with sourcing any necessary additions, such as reclaimed floorboards and bespoke fire surrounds.”

Nowhere is the success of this collaboration more evident than on the ground floor, where the newly sited and installed kitchen appears to have evolved over the years. “The original kitchen was far too small for our needs,” explains Alice, “so converting the existing garage into a sociable space for cooking and entertaining was vital for us, as was incorporating the hayloft above to create a second study.” The spacious light-filled kitchen and adjoining dining area is a wonderful, characterful mix of neutral tones and warming russet red inspired by the  reclaimed brick floor sourced by Cox Restorations.

ABOVE Alice’s love of Cadboll Highland Tweed, which is woven in Scotland by Anta, provided the inspiration for the snug’s cosy theme, including walls painted in Btwn Dog and Wolf, by Paint & Paper Library. The ottoman was commissioned by Evernden Interiors.

THE ENGLISH HOME 49

ABOVE The Imperial Bathrooms cast-iron slipper bath, from The Bathroom Shop, is teamed with a marble-topped vanity designed by Evernden Interiors. LEFT Alice’s study features a Bonde desk from Nordic Style and a Faux Bamboo chair from Chelsea Textiles. The bespoke shutters, in Farrow & Ball’s Elephant’s Breath, are by Evernden Interiors.

‘The restored original floorboards at the front of the house hit just the right note alongside the Scandinavian-style decor’

LEFT Painted in Paint & Paper Library’s Joanna 130, the guest bedroom features Scandinavian-style furniture, including a pair of Gustavian nightstands. For similar, try Chelsea Textiles. Simple tongue-and-groove panelling in the en-suite bathroom injects a rustic touch.

50 THE ENGLISH HOME

Meanwhile, the former kitchen is now a cosy snug. “You could say it lacked inspiration with its cork floor, Formica units, and boiler hidden behind a false wall,” recalls Belinda, “but, to everyone’s delight, removing the false wall revealed a wonderful brick fireplace, and this now evocatively rich room is Alice’s favourite.” Belinda and Alice’s love of chalky historic paint hues and classic prints is evident throughout this inviting home, as is Belinda’s curated mix of relaxed, well-loved antiques and timeless, commissioned pieces, all expertly interwoven with new elements. This is aptly demonstrated in the more formal drawing room, where its perfect Georgian proportions are enriched with contemporary lamps and vibrant dashes of colour. New airy bedroom suites, complete with dressing areas and en-suite bathrooms, take advantage of

generous Georgian dimensions upstairs. Alice instinctively elected to indulge a passion for restful Swedish Gustavian-era design throughout this floor. “Cox Restorations were able to restore the original boards at the front of the house,” says Belinda, “and alongside the Scandinavian-style decor, they hit just the right note – modern and clean in their simplicity, yet hinting at the building’s past.” This design ethos subtly permeates every corner of the now comfortable, welcoming farmhouse, especially the older, pared-back guest and family areas, plus Alice’s pretty study that belies its humble hayloft origins. “Like many people, we’ve been working from home recently, and this has only underlined how happy we are with the results,” says Alice. “It really is a privilege and joy to live here.” n

ABOVE Alice’s pretty bedroom includes a Karlsholm bench from Nordic Style and an antique settle. The walls are covered in Cole & Son’s Clandon wallpaper in Duck Egg and the curtains are made using Lewis & Wood’s Kemble linen, trimmed with Amelie velvet and beaded trim by Samuel & Sons.

THE ENGLISH HOME 51

The wire-fronted kitchen cupboards are painted in Studio Green from Farrow & Ball. A Diner pendant light by Davey, from Holloways of Ludlow, hangs above the rustic table, which is teamed with dining chairs painted in De Nimes by Farrow & Ball.

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Colour INFUSION

Joa Studholme has used her skills as Farrow & Ball’s colour curator to enhance the unique features in her nineteenth-century former schoolhouse in Somerset FEATURE AMANDA HARLING PHOTOGRAPHY ANDREAS VON EINSIEDEL.

ABOVE The former schoolhouse dates back to the 1870s. What used to be the school’s playground now provides space for a delightful fair-weather dining area scented by white wisteria growing up the wall. The giant cardoon and topiary yew trees bordering the path were part of the original planting scheme. The dining table has been made weather-proof by adding a zinc top.

ome make life-changing decisions in a nanosecond, whilst others weigh up the pros and cons through long, sleepless nights. Joa Studholme and her husband, Andrew, fall into the former category. “We were staying with friends in Somerset for the weekend and, over dinner on the Friday night, another couple mentioned that they were selling their weekend home nearby, a nineteenthcentury schoolhouse,” Joa explains. “Intrigued, we drove over early the following morning, and by the afternoon, it was all agreed. We’d bought a house. The lofty ceilings in the kitchen and main living area are what made it particularly appealing as, although I’m not tall, my husband is 6ft 7, our son Cosmo is 6ft 5 and our daughter Nancy, is 6ft.” Approaching the schoolhouse, it quickly becomes apparent that it was not merely the exceptional ceiling height that prompted the impulse buy. The view from the property’s hillside setting resembles a stage set of a quintessentially English rural scene, with cows grazing in the fields and the comforting presence of the village church and its tower neaby.

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Joa has been Farrow & Ball’s colour curator for over 25 years and could be described as the éminence grise behind the brand’s global renown for colour and design. “I was friends with Martin Ephson, who in the early 1990s, with his business partner Tom Helme, acquired Dorset-based paint company Farrow & Ball, which was well known in the trade for producing fine quality traditional paint,” she explains. “Tom had previously worked for the National Trust and was very knowledgeable about historic colours, so when he and Martin opened the first Farrow & Ball shop on Fulham Road in 1996, I helped out on a part-time basis. I’d previously been working as a decorative artist, so my experience with colour and finishes was useful when customers needed advice. One thing led to another, and these days, in my role as colour curator, I consult all over the UK and abroad, advising homeowners, interior designers and architects on a wide range of projects. “Another aspect of the job is developing Farrow & Ball’s range of colours,” Joa continues. “I’m constantly experimenting. Indeed, the inspiration for the School

‘The lofty ceilings in the kitchen and main living area made it particularly appealing’ TOP LEFT Joa stands in front of the wire-fronted kitchen cupboards with floral Hegemone wallpaper from Farrow & Ball lining the interiors. LEFT The Esse range cooker and the vintage tiles in the kitchen came

with the house and Joa inherited the Windsor chair from her grandmother. The doors lead to the boot room on one side and the pantry on the other. ABOVE A warm shade of yellow applied to the window reveals in the

kitchen add a sunny glow. The painting to the right of the window is by Sandy Mallet and was a 30th birthday present to Joa, whilst the tall wooden chest of drawers was found in her father’s garage and upcycled.

THE ENGLISH HOME 55

Leading off the entrance hall, the bookshelves and ceiling beneath the gallery are painted in Farrow & Ball’s Railings, which creates a dramatic contrast to the lighter main living area beyond. A multi-patterned wing chair and colourful Bluebellgray rugs add a whimsical touch. 56 THE ENGLISH HOME

‘I decided to create a dark, dramatic area as one enters the living area and chose Railings, a soft, just off-black, to give it a cosy, library-like feeling’ House White paint colour came from wanting to find a soft white which harmonised with the exposed limestone and also reflected the abundant light in our new home.” Explaining how she chose the colour for the floor in the sitting room, Joa says, “Originally, the floor was much lower to prevent the children being able to see out of the windows, but previous owners had raised it to take advantage of the view and as the replacement floorboards weren’t anything special, I painted them using Mouse’s Back. It’s an earthy colour that creates the warm look I was after. It’s one of the original drab shades in the Farrow & Ball range – colour with no brightness.” When it came to lighting, Joa engaged specialist lighting consultant Kate Beard. “Kate suggested illuminating the ceiling by placing concealed uplighting on top of the walls beneath the beams,” she explains. “It accentuates the height and feeling of space, as do the Tom Dixon silver globes, which we already had. They were in my son’s bedroom in London. Here they add a quirky,  contemporary touch to a Victorian schoolroom.”

ABOVE A cocktail of colours, patterns and an eclectic mix of art from no-longer existent print publishing company Editions Alecto creates a relaxed feel in the sitting room. The low wall is painted in Sulking Room Pink which ties in with the lampshade dip-dyed in a vibrant paint named Rangwali. RIGHT The roof trusses, along with the window frames, are painted in Drop Cloth to highlight the architectural features, whilst the paler School House White was especially created for the walls and ceiling.

 THE ENGLISH HOME 57

‘We were so lucky. Neither Andrew nor I had had a garden before, so we were delighted to find ourselves with a ready-made, very lovely garden’ ABOVE The picturesque setting of the nineteenthcentury school house, overlooking the village church, was irresistible. The garden was originally designed and planted by Penelope Hobhouse for previous owners. “We were so lucky. Neither Andrew nor I had had a garden before, so we were delighted to find ourselves with a ready-made, very lovely garden,” says Joa.

The interiors have an evolved look due to Joa’s use of furniture such as the pink chesterfield sofa in the sitting room, inherited 30 years ago and given a new lease of life by Revival Upholstery in Notting Hill, and the kilim-covered footstool – a wedding present from Joa’s sister, Nicky, who found it in Robin Guild’s long-gone shop in Pimlico Road. The art mostly consists of prints published by Editions Alecto, a print publishing company founded by Joe Studholme, Joa’s father-in-law. “Editions Alecto, established during the early 1960s, were renowned for the quality of their printing and the outstanding contemporary artists such as David Hockney who worked with them on limited editions,” Joa explains. A stone arch frames the entrance from the sitting room into what was the smaller classroom and is now the kitchen. Joa reconfigured the kitchen’s layout, removing a peninsula section to create space a large kitchen table, and painted the existing cabinetry with Farrow & Ball’s Studio Green, reflecting the colour of the lush greenery outside. Meanwhile a colourful floral wallpaper adds a decorative flourish to the interior of

58 THE ENGLISH HOME

the wire-fronted cupboards. A warm shade of yellow applied to the window reveals is an ingenious way to add a sunny glow to the room on dull days. Other significant changes Joa made also concerned colour. “The gallery and the bookcase beneath it in the sitting room had been installed by previous owners. In order to contrast with the open white space beyond, I decided to create a dark, dramatic area as one enters the room and chose Railings, a soft, just off-black, to give it a cosy, library-like feeling,” she says. The gallery is Joa’s studio where she mixes colours and writes. Her latest book, Recipes for Colour, is the definitive guide to choosing colour for interiors. “With around 250 Farrow & Ball sample pots to play with, along with lots of brushes and ramekins in which to mix the paint, new colours evolve,” she says. “I think there’s a definite link between the colours we choose for our homes and what is going on in the wider world. Currently, customers are opting for strong saturated colours, whereas five years ago, all anyone wanted was shades of grey. On the interiors front, things are definitely looking brighter!” n

ABOVE The aged rosy-red velvet curtains and the ornate braided headboard in the guest bedroom were inherited from Joa’s great uncle. “The curtains must be almost as old as the school house!” says Joa. Walls are painted in a soft pink, Setting Plaster. RIGHT For the main bedroom Joa chose French Gray because the underlying green tone in the colour works well in this room, as it opens onto the garden. LEFT Joa loves the rough plaster finish on the bathroom walls. Decorative artist, Danny Robbins painted the side panel of the bath and the wooden floor in a diamond pattern using Peignoir and All White. All paints mentioned are by Farrow & Ball.

THE ENGLISH HOME 59

Afternoon light streams into the high-ceilinged drawing room. The Persian rug was bought at Lots Road Auctions and picks out the colours in the armchair in the foreground, an archive Le Manach fabric – Greuze – by Pierre Frey.

Treasure TROVE

Evoking a country house feel, this retreat in the heart of London is home to three generations and their eclectic collections FEATURE COSMO BROCKWAY PHOTOGRAPHY NATALIE DINHAM

Shelves in Amanda’s bedroom are a miniature gallery housing a lifelong collection of china, drawings and unusual finds like the vintage Chinese dolls in their original silk outfits. THE ENGLISH HOME 61

The drawing room leads into the lightfilled dining area and out into the garden. The Regency sofa table came from Spitalfields Market whilst the Bergère armchair is from textile dealer Katherine Pole and in a vintage Jean Monro print, whilst the cushion on the armchair is from Robert Kime.

Much-loved treasures jostle for space...the effect is magpie-like and has an eclectic charm that marks Amanda and Prunella’s approach to their home

ondon-based Amanda Hanbury describes her last house move as “a complete change of scene”. Exchanging warehouse-living in a converted Victorian tannery with acres of exposed-brick walls and industrial pillars for a period terraced house in Vauxhall’s conservation area was just the adventure the antiques collector was looking for. “We wanted a home for myself and my husband, Bill, with my daughter, Prunella, and granddaughter, Bea – a family commune over several floors,” she says. Back in 2016, chancing upon the wisteria-filled enclave of Grade II listed houses set close to the River Thames, Amanda and her family knew it was the perfect setting. “There were things about my old location I missed, such as getting up at dawn to scour

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Bermondsey Market for treasures, and bicycling on Sunday mornings to the chapel at the Tower of London,” she says, “but Vauxhall has, once you get past the frantic bus station, so many hidden gems, a community feel and serene streets like this one.” When Amanda first saw the tall Georgian brick house she remembers, “It was flooded with light, despite every floor being covered in dark brown furniture and cupboards. All three generations of us fell instantly in love with it. Prunella, my daughter, is KLC-trained [KLC School of Design] and has a wonderful eye for design. She moved in five months before all of us to be on site, spending weeks sleeping on a mattress in order to oversee the decorating and choose every colour and detail. It was a beautiful 

TOP Amanda, Prunella and six-year-old Bea all live happily under the same roof. ABOVE An armchair in Pierre Frey fabric sits next to a Georgian cabinet found at Bermondsey Antiques Market by Amanda’s son, Tom. The prints are from the family collection and were reframed at Pure & Applied in London.

The dining room in the double-height conservatory makes the perfect setting for a summer’s afternoon tea. The tea service in pale purple, painted in chinoiserie style, was found in Paris and the circular table is framed by antique French hospital chairs. Amanda inherited the elaborate Regency mirror from her grandmother and the washstand-turneddrinks table from her grandfather.

ABOVE Ornate Iznik tiles line the family bathroom, with a gilded mirror completing the look. “This bathroom feels like a tiny Leighton House,” Amanda says, referring to Victorian artist Frederic, Lord Leighton’s home, now a museum. ABOVE RIGHT The Chelsea porcelain cockatoo and Regency painted urn on the bedroom mantelpiece were given to Amanda by an aunt. OPPOSITE PAGE The kitchen, inherited with the house, has been repainted in Dix Blue by Farrow & Ball. “The challenge was to make it feel cohesive with the rest of the interior, so I let the same colour flow from the entrance hall to connect the dots,” says Prunella.

canvas for my belongings when we arrived. The bones of the house are so good that it was a joy to work with. We hoped the rooms would feel as though we had always been there once we’d finished decorating.” Prunella adds, “The house felt quite contemporary and functional. I wanted to transform it into something enveloping and with a hint of the country. I was also guided by the Victorian feel of my mother’s possessions and her own personality, which is so warm and cosy.” Amanda’s background is as intriguing as her home. Family properties include the famous La Mortola gardens on the Italian Riviera, a place where Amanda stayed many times as a child and which she credits as strongly influencing her love of light and scale. Her officer father took the family to Tripoli, where Amanda joined an army school. “We would bounce along in tented military trucks to class, and I became fluent in French – and barracks language,” she laughs. Returning to the family home, Turvey House (said to have been built by John Nash, architect of Buckingham Palace), which Amanda’s mother inherited, was a shock to the young girl after the heat and smells of Libya. “My memories of growing up are almost that of another time,” Amanda recalls. “I remember watching my grandmother sit at her desk writing letters before donning an immaculate hat and gloves and going into the gardens.” Always an avid collector, Amanda lists “rescuing chairs from French flea markets” as her favourite

64 THE ENGLISH HOME

activity and has brought the results of decades of antiquing to this townhouse. Every room blooms with layers of colour and pattern. The double drawing room, infused with light from French windows that open onto the dining room, is the heart of the home. Painted in the restful hue of Bone by Farrow & Ball, it is where the family gathers on the deep, squashy armchairs, covered by Amanda in fabrics from Pierre Frey and The Cloth Shop. Fermoie lampshades in warm tones and antique Regency and Georgian furniture complete the look. Touches of wit and fun are everywhere. The marble fireplace in the drawing room is given levity by the vintage glass baubles spilling out of the grate, whilst metal sconces, sourced by Prunella from Hector Finch Lighting, are draped in old French decorations and more etched baubles. Much-loved treasures jostle for space on the mantelpiece, including a gilded scallop shell and family photos. The effect is magpie-like and has an eclectic charm that marks Amanda and Prunella’s approach to their home. Amanda loves to share the stories behind the pieces she owns, from a Regency sofa table – “patched together from Spitalfields Market” – to a washstandturned-drinks table that belonged to her beloved grandfather. “I remember him shaving at the washstand in his stiff, striped pyjamas, so this is the thing I would save in a fire,” she says. Cupboards and open shelves reveal a cornucopia of collecting, from Italian amethyst glassware to crisply 

THE ENGLISH HOME 65

ironed piles of pre-war table linens, so beloved of country house entertaining. In Amanda’s words, “Prunella and I love to fill the house with things that have been lovingly made by hand all over the world, whether cushions from Robert Kime or simple block-printed fabrics from Delhi.” Amanda’s favourite space is her en-suite bathroom. Formerly dominated by “a mocha-coloured jacuzzi crammed into an ugly space”, it has been transformed with tongue-and-groove panelling, a cast-iron bath and, strikingly, an eighteenth-century Dutch marquetry cabinet. “My bathroom,” reflects Amanda, “is my peaceful retreat.” The master bedroom displays much-loved Italian porcelain from La Mortola and walls covered in a powdery pinky-grey that sets off the colours of the textiles, pictures and china to perfection. “It is Peignoir by Farrow & Ball,” says Amanda. “Prunella chose these soft shades for our bedrooms as a play on this being a ‘girls’ house’. I love the colour because it is so restful without being dull. I would never have chosen it, but that is the magic of collaborating – the new discoveries you make. This house has brought us even closer together as a family – and that is its real magic.” n

66 THE ENGLISH HOME

ABOVE Amanda’s bedroom boasts a splendid cast-iron bed, her grandmother’s chaise longue in an original chintz. A treasured collection of porcelain and pictures is set off by restful pink walls. RIGHT Amanda’s en-suite bathroom has been made into an indulgent boudoir for her by Prunella. The eighteenthcentury Dutch marquetry cabinet holds further objects connected to the Hanbury family.

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STYLE INSPIRATION

Our special section dedicated to design and decorating inspiration begins here

ARTFUL CURATION

FEATURE KATY MCLEAN PHOTOGRAPH THE OSCAR COLLECTIVE PAINTING BY POPPY ELLIS

This room is a masterclass in restraint and confidence – full of detail, pattern and colour, yet sublimely pared back and considered. The walls, in an intricately patterned paper, appear subtle in a soft grey, whilst the eye-catching painting provides the palette for the feature upholstery: firstly a show-stopping pink velvet on a chic sofa; secondly a chintzy floral design combined with an edgy electric-blue trellis motif on the beautiful ottoman. The decadent, deep-fringe trim adds frivolity and maximalism to this balanced ensemble. Ottoman in Creeping Trellis, Ice Emerald Rose, from £108.90 a metre, Parker & Jules

THE ENGLISH HOME 69

ARTISTIC

Licence

Discover fabrics, wallpapers, rugs, lighting and more that take inspiration from artistic techniques and styles to become masterpieces in their own right

DECORATING

ften, the artistic influences and artistry that go into creating textile, wallpaper, lighting and furniture designs go unnoticed or are taken for granted. Months of work go into creating the perfect scale and repeat in a pattern, colourways are trialled until the right palette is curated, and unseen hours of craftsmanship go into delivering the final result. Many pieces we decorate our homes with are worthy of being called artworks, and we have noticed several that take this further, either with direct references to an artist’s work or a specific period or style of art, be it abstract, watercolour, or sculpture. Here we celebrate these displays of artistry and how to let them, quite rightly, take centre stage at home.

Abstract inspiration

Abstract art, whether playful creativity with block colour and shapes or more expressive use of pattern, has long been an inspiration for rug designers. The Rug Company has a number of abstract designs in it range by fashion designer Jonathan Saunders as well as in its Colour Blocking collection. The latter draws inspiration from the Dutch De Stijl movement of the early twentieth century, using a pared-back aesthetic of geometric forms and primary colours to create contemporary works of art underfoot. A similar approach is visible in the inventive upholstery treatment (opposite) devised by the design team at Manuel Canovas to showcase the Rimini 

ABOVE LEFT Abstract shapes and bold colour create art for the floor. Witton Bright by Jonathan Saunders, from £1,100 a square metre, The Rug Company ABOVE RIGHT Combining both print and textile techniques, this wallcovering creates a show-stoppping backdrop in a home. Chintz wallcovering in Ultramarine, £123 a metre, Arte RIGHT Black Edition’s Zafaro collection displays different art styles such as the abstract design on this armchair. Inaya velvet, £151 a metre, Black Edition OPPOSITE The work of abstract artist Sonia Delaunay inspired this creative upholstery treatment. Rimini, £88 a metre, Manuel Canovas

Style notes • Experiment with geometric arrangements of plain fabrics on upholstery to create a unique piece • Unite a bold rug with accent colours in the room • A dominant wall design can work well in a dining room where it need not compete with textiles

THE ENGLISH HOME 71

collection of plains. Influenced by the work of French abstract artist Sonia Delaunay, they brought together a selection of block colours in a range of shapes, ingeniously creating a statement footstool. This approach could be used to co-ordinate colours in a scheme or simply to add a dramatic display of colour. Black Edition’s Zafaro collection is heavy in artistic techniques. Here the designers have worked with paints, pastels, charcoals and watercolours to develop an array of creative designs that have been brought to life with innovative weaving and printing techniques. From bold geometrics with softly diffused edges on velvet, to an abstract landscape and watercolour circles, and a floral design rich in painterly expressionism, the collection exudes artistry. French fabric house Élitis (shown at Abbott + Boyd, Design Centre Chelsea Harbour) has also embraced a range of artistic techniques in its 2021 collection of fabrics and wallcoverings. Painted silks showcase subtle variations of tone in plains and more abstract designs full of overlapping shapes that play with layers of colour. Other designs interpret the amazing textile creations of Thai-Japanese artist Kachama Kiratiphumtam, resulting in large-scale wallpapers that take inspiration from forest-scapes and hillsides in folk-style paintings. Arte is known for inventive wallcoverings and its 2021 collection includes spectacular ‘panoramiques’ featuring landscapes with a Fauvist quality. Its Les Tricots collection is a real showstopper, referencing haute couture with nods to textile techniques.

Style notes • Display painterly textiles like a painting on a canvas or in a frame • Papering in panelling can create a framed effect for statement designs. Ensure the paint choice allows the design to shine

ABOVE Inspired by the work of Matisse, Etamine’s Maison Jardin collection captures painterly techniques as well as cut paper work in block colour. From left: French Riviera, £91 a metre; Fleur d’Oranger, £118 a metre, both Etamine at Zimmer + Rohde LEFT Pierre Frey celebrates the work of artists and craftsmen in its 2021 collections. This design reinterprets the work of painter and sculptor Heather Chontos. La Toile du Peintre, £137 a metre, Pierre Frey

72 THE ENGLISH HOME

A combination of printing and adding soft yarns lends a textural dimension to abstract designs such as Chintz, which features chalk-like lines of vibrant colour. The bold, abstract uses of colour and shape in all these collections can be used very effectively for statement pieces within a room scheme. Team a strong pattern on Roman blinds or on a feature armchair or ottoman with other pieces in simpler designs. Consider using a striking wallcovering that might be overwhelming in a sitting room as a backdrop in a dining room, where it can provide a talking point and where soft furnishings in competing fabrics are used to a lesser extent. For bold flooring choices, keep the rest of the room fairly neutral to draw focus to the floor art, but pick out an accent colour in a lampshade to tie the scheme together.

Brush strokes

Leaving behind the bold lines and vibrancy of abstract designs, we turn to collections that take a softer approach and echo the ethereal beauty of watercolours. No9 Thompson’s Sumatra uses a watercolour technique to provide a twist on classic woven ikats.

DECORATING

Style notes • An expanse of wall is needed to showcase large-scale designs to full effect • Exaggerate the movement and fluidity of watercolour designs with opulent curtains • A Roman blind can be a good way to display a striking design

ABOVE This collage-like design layers shapes and tone-on-tone colour to beautiful effect. Still Life, Slate, £50 a metre, Villa Nova MIDDLE LEFT The neutral colourways of this large-scale abstract collage design are printed on surfaces such as Japanese paper weave and marshmallow manila hemp. Collage wallcover – Contrast Cream on Venetian Glass Glam Grass, £POA, Phillip Jeffries at Design Centre Chelsea Harbour BOTTOM LEFT A digitally printed watercolour design has given a painterly feel to this ikat fabric. Curtain, Watercolour Ikat in Jewel Tones, £84 a metre, No9 Thompson

Designer Richard Smith notes, “Like every designer on the planet, I adore ikats – the colour combinations are always unexpected and inspiring, and the traditional weaving technique gives an appealing, blurred effect to the motifs. Painting the motifs with watercolours and printing digitally really seems to capture the feel of the originals, whilst adding a more contemporary twist.” Inspired by photography, Rubelli’s Nadar Damask also leans towards to the blurred softness of watercolours. Studio designer Alberto Pezzato notes it is named after Parisian photographer and pioneer of art photography Nadar. “We wanted it to look like a camera is focused on a swathe of flowers (possibly water lilies) which, once printed, have become abstract floral shapes in various shades and shapes.” Other more expressive painting styles have been captured in Casal’s Van Gogh fabric, found at at Houlès, which is deeply inspired by the great artist’s early works. The painterly interpretation of a forest is influenced by the impressionist period at the start of Van Gogh’s career and captures movement and liveliness in brush strokes on a linen/cotton blend – a beautiful choice for an eye-catching window treatment. Much of Pierre Frey’s latest collection reinterprets work by artists and craftsmen, including French ceramists. The brand’s lively La Toile du Peintre design is an ode to the work of Heather Chontos, known for her bold compositions of dynamic marks. This is quite the statement piece and could be framed as an artwork on the wall or used for striking upholstery.

Creative with collage

Collage has inspired a number of collections, including Villa Nova’s Still Life collection, which we have noted for its array of artistic flair, with a favourite being the title piece, Still Life. This has a hint of artist Ben Nicholson’s abstract, layered compositions of bottles, often in just white or monochrome palettes. This style is evident, too, in Phillip Jeffries’ Collage wallcovering, with circles and squares layered in interesting formations in a neutral colourway. Though large-scale and impactful, it has a very useable quality that would suit a large expanse of wall – perhaps in an entrance hall or leading up a staircase. THE ENGLISH HOME 73

Etamine’s most recent two collections – Maison-Jardin and La Couleur des Fleurs – have both been influenced by the work of Henri Matisse. Designer Elodie Delétoille took particular note of his quote, “There are flowers everywhere for those who want to see them”, whilst paying homage to his expressionist styles. Whilst French Riviera captures painterly technique, Fleur d’Oranger is reminiscent of Matisse’s cut paper work, with bold blocks of coloured cut paper. Here Etamine has used the technique to create a stylised floral design in vibrant hues – the greens and orange-pinks in particular create a beautiful combination for a sitting room or bedroom.

Sculptural statements

Celebrating Charleston

The Bloomsbury group’s artists and their work at Charleston in East Sussex perennially inspires designers. Creative use of colour and form with paints has influenced several fabric collections over the years, most recently in George Spencer Designs’ Sussex collection consisting of a range of whimsical, eclectic designs, inspired by nature and in colours often associated with the interiors at Charleston. Kit Kemp, founder and creative director of Firmdale Hotels, is a fan of the Bloomsbury group and has used original artworks by its artists throughout the Charlotte Street Hotel in London. Australian-based fabric house Edit provided a selection of fabrics used by Kemp in a scheme that combines original artworks by Vanessa Bell and Roger Fry. “Original panels by Vanessa Bell set the mood, along with a fireside wing chair covered in a Bloomsbury-inspired fabric. Bell understood colours that work so well in all seasons, and the light of the English countryside,” says Kemp.

74 THE ENGLISH HOME

ABOVE Combining form and function, Ochre’s furniture and lighting are works of art. Sculptural, artisan techniques are used to create installationstyle chandeliers. Arctic Pear oval chandelier, £POA, Ochre RIGHT A Royèreinspired sconce with a sculptural spiral design finished in Faux Red Gesso. Medusa wall light, £1,452, Julian Chichester

Style notes • Lighting can become an art installation, combining form and function • Furniture can act as a piece of sculpture – curved metals look particularly artistic • Add a touch of whimsy with playful pieces

FEATURE KATY MCLEAN PHOTOGRAPH P75 (CHARLOTTE STREET HOTEL) © SIMON BROWN

Whilst there are sculptural qualities to much furniture and lighting, some, however, is an art form in itself, with pieces that, though functional, would easily look at home in an art gallery or design museum. Furniture, accesories and lighting brand Ochre creates pieces that look like art installations – particularly its dramatic chandeliers made from individually blown bubbles of glass artfully cascading or hanging in undulating waves. Tom Faulkner also uses sculptural techniques to create showstopping pieces of furniture in metal, often inspired by artists or by Faulkner’s own artistic interpretation of landscapes and rivers using sinuous lines. Cox London is also known for sculptural statement pieces and, with a nod to the realism of the great artist himself, has created The Caravaggio Tryptich – a trio of bronze-cast, silver-plated hand gestures each holding a light made of studio-blown glass concealing an LED bulb within. A similarly whimsical approach has been embraced by Julian Chichester, too, with the Medusa wall light – an eye-catching design with four spiral arms – inspired by French designer Jean Royère.

DECORATING

ABOVE LEFT Annie Sloan collaborated with the team at Charleston to create a palette of colours associated with the work of the Bloomsbury group. Here they have been used to create Bloomsbury-style murals and decoration on painted furniture. Charleston Chalk Paints, from £5.95 for 120ml, Annie Sloan ABOVE RIGHT A chair in Harlequin fabric by Edit Textiles complements a painting by Bloomsbury group artist Roger Fry in Charlotte Street Hotel’s library. LEFT The Sussex collection is inspired by the designs and colours found in Charleston House. Wallpaper, Charleston Paisley in Cut Hay, £210 a roll, George Spencer Designs

Style notes • Complement original artworks with textiles and papers inspired by the artist • Echo a favourite piece with a bespoke treatment on walls or furniture

Decorative paint specialist Annie Sloan is also an aficionado of the Charleston look. “I loved the artists’ spontaneous and free approach to painting,” she says. “It felt so punk! They pushed boundaries and took chances in an absolutely joyful way. You could tell they loved paint and colour.” Sloan’s love of the group’s work inspired her to collaborate with the team at Charleston to create a special paint palette featuring three colours associated with the Bloomsbury set – a warm mustard, a vibrant green and a deep damson. The colours are showcased in furniture and walls painted freehand by artist Maude Smith. For those seeking to recreate a similar feel, Sloan says, “Remember that wobbly lines are a part of the charm of this type of design, and you’ll make life easier for yourself if you’re working on a textured, ‘imperfect’ surface rather than a freshly plastered wall. If you trial your outlines and shapemaking on a piece of paper, you’ll be surprised by the impact you can make once you stitch those various patterns together. You’ll end up with a beautiful paint tapestry that Vanessa Bell would be proud of.” n

THE ENGLISH HOME 75

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BUYER’S GUIDE

Martin Moore

COOKING IN COLOUR The palette of colours for kitchen cabinetry is wider than ever, with bold hues and deep tones existing alongside gentler shades. Explore the spectrum to create atmosphere, mood and magic

n essence, a kitchen colour scheme is designed in the same way as for any other room. Aspect, personal preference and fashion all come into play, along with lifestyle, but there are some differences. Kitchens are busy spaces where heat is generated, so schemes that create a cool, calm atmosphere have their attraction, whilst bright colour schemes can promote a lively, energising effect in a family kitchen. Where kitchens form part of a multipurpose cooking, dining and living

space, colour can help them become a coherent part of the bigger picture. In others, where a wall of windows gives an uninterrupted view of the landscape, the right scheme can connect the indoor and outdoor spaces. Context is important. Neutrals might seem an undemanding choice and can function as the unchanging heart of more fluid colour schemes, but consider them closely and it becomes obvious that they too have colour. White can be warm or cool, and wood can be dark or light, with undertones of

gold, red and green. Bear these hues in mind when selecting other elements to complete the scheme. Colour does not have to take a starring role to have influence. Surfacing materials – such as boldly veined marble, patinated metal and decorative glass splashbacks – inject flashes of brilliance to a quiet scheme, adding character and lifting it out of the ordinary. Colour in the kitchen certainly provides food for thought and, here, experts in the field offer a guide to the menu. THE ENGLISH HOME 77

BRIGHT KITCHENS

This greenhouse by Hartley Botanic is easy to access from the house and provides a warm, sheltered spot for a morning cup of tea.

Ready-primed cupboards, from £535, painted in Boiled Egg, British Standard by Plain English

ABOVE Birch plywood and coloured laminate kitchen in Ritzy and Atlantic Blue, prices from £15,000, Pluck BELOW Shaker kitchen with curved cupboard plus curved legs on the island painted in Marazine Blue by Little Greene, prices from £12,000, The White Kitchen Company

PREVIOUS PAGE, CLOCKWISE FROM TOP LEFT Hand-built, bespoke townhouse kitchen with painted cabinetry, from £130,000, Artichoke Somerton kitchen in Baltic Green with brushed brass handles, from £15,000, Burbidge Kitchen Makers

Brasserie collection kitchen, from £70,000, Smallbone British Standard by Plain English kitchen, from £8,000, with cupboards painted in India Yellow by Farrow & Ball RIGHT Hexagonal encaustic tiles in Canola Yellow and Petrol Blue, £4.20 each, Bert & May

78 THE ENGLISH HOME

BUYER’S GUIDE

BRIGHT COLOURS

TOP LEFT Trousdale Hughes porcelain terrazzo tile, £56.95 a square metre, Claybrook TOP RIGHT Unfold pendant light, Orange, £159, Muuto at Holloways of Ludlow ABOVE Dresser in French Blue, Classic Collection kitchen, from £35,000, Martin Moore LEFT In-frame Shaker kitchen in Misted Fern, from £15,000, Naked Kitchens BELOW Zedra Touch swivel tap in chrome with touch control and pull-out spout, £813.36, Grohe

Choosing a coloured kitchen raises a number of challenges. Will it hold its appeal? Will future decorating options be limited? Will it date? It may seem safer to opt for the security of a neutral, but change is afoot. “There is still demand for neutrals, particularly greys,” says Martin Moore, director of Martin Moore, “but rather than being the dominant colour throughout the kitchen, we are increasingly seeing them used as the base against which bolder, brighter colours can really pop.” Kitchen colour choices span the spectrum – from classics like blue and green, both of which are easy to live with and slow to date, to paintbox brights used to replicate mid-century style or simply to create an environment that is brimming with personality. In many cases, when trends or tastes change, hand-painted cabinets can simply be refinished in a fresh new hue. Some kitchen companies, like Martin Moore, offer a repainting service to clients in search of a kitchen refresh, so when looking for someone to effect a makeover, try approaching the kitchen’s original maker first. Going for brighter colours need not be a risky move. “Bold hues used for large sections of the kitchen and teamed with highly decorative marbles and metallics can look luxurious and warm,” Martin Moore suggests. “On a smaller scale, consider a boldly coloured cupboard interior is a surprise and delight whenever it is opened.” Where a calmer atmosphere is required, using a single colour throughout can be elegant but combining two or three shades of the same hue will give the scheme an extra dimension. Tonal contrast can be very effective when used as a means of zoning the kitchen so that a wall of storage, base units or an island gently stand out from the rest of the furniture. THE ENGLISH HOME 79

LIGHT KITCHENS

PALE & INTERESTING

ABOVE Original kitchen painted to order, from £20,000, Harvey Jones ABOVE RIGHT Lay-On Classic kitchen in Farrow & Ball Shadow White with honed Calacatta Manhattan marble worktops, from £30,000, Roundhouse Design RIGHT The Real Shaker Kitchen by deVOL, from £12,000 with brass hanging rail, from £90, and aged-brass shelf brackets, £60 each. Kitchen design by Our Food Stories

80 THE ENGLISH HOME

Classic or contemporary, sophisticated, chic or full of country charm, white or light-coloured kitchens are supremely versatile, adapting easily to their surroundings. Equally at home in a Georgian townhouse or a coastal cottage they seem to flood dark rooms with light, make smaller ones appear larger and they always look crisp, clean and bright. In terms of design, such kitchens could be regarded as a blank canvas with no distinct character of their own, but Tom Howley, design director of bespoke kitchen maker Tom Howley, takes an alternative view. He explains that where bolder hues may distract the eye, “for me, a neutral colour like white accentuates every exquisite detail of the cabinetry, highlighting the quality of the craftsmanship and construction.” Whilst it is true that white kitchens are versatile, attention to smaller aspects of their design and the context of their setting makes each one individual. “The key with a neutral kitchen is to pair the cabinetry with contrasting walls and textural elements,” says Howley. “This will give the design an edge and create greater visual interest. Texture can be introduced in the form of wood, glass, metal and other tactile materials. Natural stone surfaces will give a white kitchen a modern twist, whilst glass in classic glazed cabinetry looks

BUYER’S GUIDE

beautiful and lets the light bounce around the kitchen.” When introducing an additional colour, the contrast need not be dramatic. A subtler way to add depth and nuance to a white kitchen is to identify the underlying hue in the predominant white and team lighter and deeper shades of the same tone to mimic the effect of shadow. “Warm whites and earthy beige both work well on their own,” says Howley, “but they are even better in a two-tone scheme where they enhance architectural interest.” In an all-white white kitchen there is no colour to detract from the design. As Howley says, “It’s all about pared-back style where traditional elements that echo a bygone era combine with modern finishes to produce truly cutting edge design.”

Bucknowle bespoke kitchen with oak bead detailing, from £35,000, Guild Anderson

Classic Shaker kitchen, painted in Little Greene’s Brighton (island) and Delicate Blue, from £12,000, The White Kitchen Company

ABOVE RIGHT Armstrong lever mixer tap in chrome with pull-down rinse, £692.88, Perrin & Rowe. RIGHT Shapwick ceramic sink, £294, Caple THE ENGLISH HOME 81

WOOD KITCHENS

ABOVE Made-toorder kitchen in real walnut veneer with solid walnut interiors, honed India black granite and Neolith Estatuario porcelain surfacing. Similar kitchens from £54,000, Barnes of Ashburton RIGHT Bespoke kitchen in oak with brass fittings, Breccia Capraia marble and Lapitec worktops, from £85,000, Lanserring

82 THE ENGLISH HOME

BUYER’S GUIDE LEFT Hector opal glass mini globe with a choice of metal fittings £204, Hector Finch Lighting

RIGHT Pavilion bar stool in lacquered walnut veneer, with a solid or upholstered seat and tubular steel frame, from £376, Twentytwentyone

Handmade, handleless cabinets in stained-oak veneer and Stone Grey Parapan with London Grey Caesarstone quartz worktops, from £30,000, Mowlem & Co

GO WITH THE GRAIN Recent years have seen wood finishes become an increasingly popular choice for kitchens as a new generation of designers discovers the potential in this traditional furniture-making material. The greatest revelation to those who thought wood was simply brown, is the rich variation of tone, hue, pattern and texture it offers. Whatever the style requirement, there is a timber to meet it – from rustic cabinets in rough-sawn, sustainable timbers to sleek, modern furniture using a range of wood species from around the world. “Most often, the wood is chosen for its aesthetics, to make the units look more like furniture and less like standard kitchen cupboards,” says Allison Lynch of Roundhouse Design. “In modern kitchens, the doors are likely to be flat, therefore we use timber veneer, a thin layer of wood glued to a coreboard to create a stable panel that won’t warp. The veneer can display the natural colour and grain of the timber or have a stain applied. We offer a range of varieties, from standard types like oak, walnut, maple and cherry,

to more exotic woods like wenge, macassar, ebony and eucalyptus.” Integral to its character, the wood grain is an important feature of the finished furniture. “We bookmatch the veneers so the grain carries through beautifully into drawers and, if used horizontally, across a series of units,” says Lynch. “Veneer works especially well in a run of tall cabinets that forms a backdrop to a feature island in a kitchen with a simple design and clean lines.” Beautiful as it is, wood is rarely used alone and is frequently seen alongside matt-lacquered cabinets in white or another colour, with plain worktops in concrete or composite stone. The materials chosen for surfacing impact on the overall design and by comparing samples designers and their clients can arrive at a compatible combination. As Lynch says, “It’s all about creating interest through texture.” 

RIGHT Frameless kitchen in white and brushed limed-grain oak, with Norfolk bar handles, from £12,000 (cabinets only), Naked Kitchens THE ENGLISH HOME 83

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BUYER’S GUIDE

DARK KITCHENS

INTO THE DEEP “There is a trend for darker, more heritage kitchen furniture colours, which is great to see,” says Hayley Robson, creative director at Day True. Colours that have come to the fore are inky blue, so popular it is sometimes referred to as the ‘new neutral’, forest green and off-black, though dark red and aubergine have a following, too. For a dark scheme to work successfully, it is important to balance the elements within it perfectly. “If the vertical surfaces are to be dark, we suggest keeping the horizontal surfaces – such as the floor and work surfaces – lighter, to create contrast and bounce light around the room,” says Robson. Al Bruce, director of Olive & Barr, and another proponent of dark-hued kitchens, agrees. “We choose Carrara marble and Carrara quartz for the light colour and dark veining that provides a visual link to the painted cabinets,” he says. Always specifying a matching upstand at the back of the work surface, for a clean and seamless look, Bruce often continues it onto the wall to form a splashback. 

m ain c o j ohns on

ABOVE Shaker kitchen in blue-grey with freestanding oak island, from £20,000, Harvey Jones ABOVE RIGHT Haddon kitchen in Charcoal, with burnished bronze fittings, from £15,000, Burbidge Kitchen Makers. Prices start. RIGHT Bespoke kitchen combining deep green painted cabinets with rustic oak, from £25,000, The Main Company

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BUYER’S GUIDE

Contrast is a theme throughout deepcoloured kitchens, and because metallic details such as cabinet hardware and taps stand out so clearly against a dark background, they can be critical to the overall tone. “Brass, for example, looks wonderful on dark blues and greens,” says Robson, whilst for a contemporary edge, Bruce suggests brushed chrome as an alternative. Good lighting is, of course, essential in any kitchen, but one with dark, lightabsorbing cabinetry demands even more careful consideration when it comes to lighting to ensure both functional and aesthetic demands are met. In addition to the clear background light needed for cleaning and all-over illumination, Bruce favours a combination of pendant lights and wall lights. “Bringing the light fittings down to a lower level gives a feeling of warmth that makes the kitchen more of a living space,” he says. n 86 THE ENGLISH HOME

CLOCKWISE, FROM TOP Traditional Cranbourne cabinetry painted in Carbon, Dust Grey and Porcelain, from £25,000, Life Kitchens Axis one-hole swivel sink mixer tap in Scuffed Brass, £350, Aston Matthews Slim brass hooded drawer pull, £19.75, Willow & Stone Lakefield kitchen, painted in Railings by Farrow & Ball with handles in Aged Brass, from £20,000, Kitchen Wurx by Unfitted

FEATURE MAGGIE STEVENSON PHOTOGRAPHS P77 (ARTICHOKE/STUDIO INDIGO) © LUKE WHITE; (BRITISH STANDARD) © ALEXIS HAMILTON. P77 & P85 (KITCHEN MAKERS) © JON DAY. P78 & P81 (WHITE KITCHEN COMPANY) © RUSSELL VALENTINE. P81 (GUILD ANDERSON) © JAKE EASTHAM. P82 (BARNES OF ASHBURTON) © PAUL RYAN-GOFF; (LANSERRING) © BEN REEVES. P83 (MOWLEM & CO) © JAKE FITZJONES.

DARK KITCHENS

Hotel style

AT HOME

Take inspiration from hotel and holiday cottage interiors. Leading designers share their secrets to success

uxury hotels and high-end holiday cottages are designed with guests’ every possible need in mind and careful consideration of how spaces will be used. Comfort, escape from everyday life and an opportunity to experience indulgences are all top priorities, but a holiday or short break can also inspire redecoration at home – perhaps trying a bolder look seen in a hotel or reimagining a layout to make better use of space. Here the designers behind inspirational hotels and holiday rentals reveal the clever ideas they incorporate, practical things they consider and the decorative choices to note.

ABOVE Interior designer Martin Brudnizki has included nods to the heritage of the eighteenthcentury Four Seasons hotel in Hampshire in this inviting reception room. LEFT Consider the way a room will be used to create the best layout. Here Brudnizki has cleverly divided the space to create a cosy sitting area, in a room at The University Arms hotel in Cambridge. RIGHT At Beaverbrook hotel in Surrey, Susie Atkinson has created an evolved feel by mixing textures and patterns.

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DESIGN INSIGHT

CLEVER USE OF SPACE Holiday houses in particular have to function as the perfect home as soon as guests arrive. Lisa Sansom of Squirrels Interiors has designed holiday cottages in Dartmoor, managed by Boutique Retreats, and says that the location means guests will frequently have muddy wellies and wet coats. With this in mind, she cleverly made use of the limited space available by creating a hidden boot-room cupboard within the wall panelling by the door. “It’s something that always pleases guests,” she says, “and is an idea they want to try at home.” Another simple trick Sansom employed is using antique chests of drawers as bedside tables. “They filled the space better, as well as providing storage and much more space for necessities like a drink, lamp, book and something decorative.” Layouts can be tricky in small properties that need to have space for relaxing, dining and preparing meals. Della Dees, owner of Rocksalt, a fisherman’s cottage in Mousehole, Cornwall, had to solve such a dilemma. “From the start we thought of the house as a boat looking out to sea,” she explains. “Therefore most of the furniture is bespoke and fitted.” Her ingenious ideas to save space include pull-out wardrobes fitted under the eaves, a lavatory that houses a tiny sink on top of the cistern, and custom-making the dining area with a bespoke table and a bench with hidden storage. Even large hotel suites need careful thought to ensure they do not feel cavernous. Susie Atkinson, who has worked on a number of hotel projects including Beaverbrook and Lime Wood hotels, says, “On a practical level, I think about how a guest may use the space. This could include placing a dressing table near natural light and making sure there is easy access to sockets for a hairdryer. Good reading lights by the bed are essential, as are practical surfaces on bedside tables so they don’t mark easily. Think about how you use your bedroom. Is it just a place for sleeping or is it a place you retire to, where you can write letters or read during the day? A sofa or armchair with a throw looks appealing for an afternoon snooze or read.” Hotels and holiday cottages are also often designed with wear and tear in mind, and an aim to keep things looking good as long as possible. Increasing longevity at home is a worthwhile endeavour. Katharine Pooley, who has designed hotels and a number of holiday rentals suggests choosing “robust materials as well as fabrics that can be cleaned easily”. Lisa Sansom echoes this by choosing paints that are breathable, but most importantly, wipeable, particularly for high-traffic areas such as hallways and kitchens.

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Expert advice

Renowned designer of hotels around the world, Martin Brudnizki shares his top tips for design at home CREATE A STORY – When we look to design a hotel, we always look to create a story. This is often built around the context of the project or a character in the local area. Of course, a home should be based on your personality, but if seeking a steer, always take the architecture, location and history of the area into account. This can help when choosing architectural finishes, paint colours, fabrics, furniture, artwork – if a narrative is created, it can help create those more interesting touches. MIX IT UP – At the same time, it is important not to create a pastiche or design an interior that transports you to a specific time or place. If you live in a Victorian house, the entire house needn’t be high Victoriana. This is something boutique hotels do well – building a story on the location and then mixing old and new, vintage and contemporary design together.

BE BOLD – In a highly competitive market, a lot of hospitality design is geared towards making a big statement and creating that talkability. Whether that’s the headboard, a mural or statement lantern. If you have the space and right architecture don’t be afraid to make a statement. PERFECT THE BASICS – Hotels do the basics right, so ensuring you have the right bedding, towels, bath robes etc, can make your own life a little more luxurious.

ABOVE The tiny proportions of Rocksalt cottage, Boutique Retreats, have been maximised with fitted furniture such as the bespoke sofa with full-length drawers under. ABOVE RIGHT Susie Atkinson used an exotic statement wallpaper in this suite at Lime Wood hotel. She suggests a similar approach for a guest room at home.

LEFT As the view from the top bedroom window at Rocksalt cottage is astonishing, Della Dees was inspired to install a compact freestanding bath looking out towards St Michael’s Mount.

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A SENSE OF LOCATION The joy of a getaway is experiencing something new, both in the destination and the decor of the accommodation. Many holiday lets will gently reflect the location, particularly the coast and countryside. Pooley says this is a big factor in her style choices: “You hope to create a relaxing atmosphere that also reflects the beauty of the surrounding countryside, so I would recommend really tuning into the location of your property and taking inspiration from local art, culture and nature. This can be amplified by touches from local artisans that really contribute to the sense of place, allowing your guests to immerse themselves in their destination.” Using locally sourced art, textiles and furniture can help root a home. Dees collects postcards of Mousehole so guests “can see how the village and property has changed, or rather, not changed, over the years”. Such an idea might be a fun touch for a lavatory so guests can see the history of the house or location. Designers also consider setting the scene with flowers and other displays as important. Sansom always ensures there are seasonal floral arrangements in vases, again sourced locally. Atkinson reveals she always decorates for all the senses. “Smells and sensory things are important,” she says. “The room needs to look nice, feel nice and smell nice. I love having stem vases or jars to pop in a single flower, twigs or grasses. Having something living in a room always lifts it.”

FEATURE KATY MCLEAN PHOTOGRAPHS P88 (FOUR SEASONS & UNIVERSITY ARMS) © JAMES MCDONALD. P89 (BEAVERBROOK) © SIMON BROWN. P90 (ROCKSALT) © MJ HERITAGE. P91 (DORMY HOUSE) © RAY MAIN

PIN-POINT PURPOSE – Think of the functionality and how you want to use the house. Where do you want to have breakfast? Where do you want peace and quiet to curl up with a book? Where is the best view and can you maximise it? Do you have a space for entertaining or a corner a bar table can fit into? Purpose is important to design.

DESIGN INSIGHT

ABOVE A suite in a delectable pale palette, designed by Emily Todhunter of Todhunter Earle, at The Dormy House hotel in the Cotswolds. Impractical maybe, but utterly inviting and luxurious.

STYLE STATEMENTS Often, a hotel room might have a braver design choice than one might attempt at home. “I can certainly be a bit braver with design in hotels,” Atkinson says, “because people are not necessarily staying in them for very long, but, conversely, it is important not to create something so on-point and fashionable that it dates quickly. I consider the setting of the hotel, as well as its surroundings and history, and try to build those elements into the design. It’s very nice to have a statement wallpaper in a room in your house, but

it might be better to choose that paper for a guestroom, cloakroom or boot room – a space that you’re passing through rather than spending every day in, because if you put up something that is a statement you can quickly tire of it.” Emily Todhunter has worked on projects at The Dormy House, and with Raymond Blanc at Le Manoir aux Quat’Saisons. Her approach is to embrace passions: “If all you are thinking about is practicality, it will be dreary. At Le Manoir, we decorated a whole suite in white, called Blanc de Blanc. It is hilariously impractical, but it is so important to decorate with a sense of humour. If your dream room is impractical, just look after it really well. Some of our most successful schemes are all white.” Other fun elements from a holiday might inspire a new idea at home: a bath in the bedroom to make the most of a glorious view; adding an indulgent sofa at the foot of the bed; or being bold with a colour choice. Sansom notes that guests remark on darker colours in the properties, wanting to copy them at home. Holidays allow a chance to test out a decorative idea and see if it is easy to live with. They might also add to a wish list of desirable luxuries to add at home. Pooley reveals, “I love to add special details like a bespoke, fully stocked bar, pizza oven, jacuzzi and outside log burners. The style of the property must have a unique sensibility, but certain items, like a large freestanding roll-top bath, have universal appeal.” n

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Wish you were here Bring a taste of far-off climes with inspiration from beautiful hotels around the world

ravel over the past year has been off the agenda for many and may well prove tricky for some time. Dreams of sun-drenched beaches, exploring ancient streets, soaking up a different culture and revelling in the luxury of a fabulous hotel can make the heart yearn for a few

touches of holiday flavour at home. Here we offer inspiration from four well-designed hotels that are certainly on the wish list once we can hop on a plane. Simple touches and updates can help to bring a taste of a favourite destination, whether a French chateau or a luxury Indian Ocean resort.

Enid five-light chandelier in polished nickel and crystal, £275, Laura Ashley Van Deusen Blue 6, from £24.50 for 0.94l, Benjamin Moore Antoinette mirror, £1,998, Beaumont & Fletcher

HOTEL CHÂTEAU DU GRAND-LUCÉ, LOIRE VALLEY Enjoying a prime location in the Loire valley, south of Paris, Château du Grand-Lucé offers a sense of a stay at Versailles. Classic French decor is at the heart of the restoration of this eighteenth-century property. Husband and wife duo Paul and Shannon Wehsener, of Paul Allen Design group, worked with French fabric houses Pierre Frey and Lelièvre to ensure they understood the history and context of the house, and they intentionally used French and European manufacturers for all the furnishings – including Braquenié, Manuel Canovas, Zuber, Dedar and Vintage Hermès. Paris flea markets, and antique fairs and shops across the French countryside were scoured for lighting and furniture. Indulge in this chic Parisian neo-classicism with a beautiful toile de Jouy, either as a wallpaper or a fabric choice – perhaps to create an coronet with drapes over a bed. The blues used in the King Room – Garden View (right) are particularly endearing. Some hints of pink for extra femininity would also work well. Antique or reproduction furniture in polished woods, or ornately painted and gilded pieces, will imbue gravitas. A statement crystal chandelier will complete the look perfectly. chateaugrandluce.com 92 THE ENGLISH HOME

Les Muses et Le Lion wallpaper, £291 for a five-metre roll, Pierre Frey

Borrowed Blue, £30.04 for 2.5l Mixing Matt, Dulux Clarinda armchair in blue, £630, Sweetpea & Willow

Demi-lune console table, £1,410, Oficina Inglesa

DECORATING

Oriental Crane print, £105, Sweetpea & Willow Palm Tree candle holder, £70, Rockett St George

Bloomingville Emmy cane chair £339, Amara

Ayaan table lamp, Gold, £192, Dar Lighting Group

Pagoda velvet cushion, £95, Florence Broadhurst

THE COLONY HOTEL, PALM BEACH Designated a landmark in 2020, and known as the ‘pinkest hotel’ on Palm Beach, The Colony has long been a favourite destination for discerning guests. From its construction in 1947, it attracted the likes of Frank Sinatra, Judy Garland and Sophia Loren, and its wonderfully designed, iconic interiors continue to appeal to guests today.. In 2017, current owners, Andrew and Sarah Wetenhall, announced a mutli-year restoration in partnership with interior designers Mimi McMakin and Celerie Kemble of Kemble Interiors. The rooms are saturated in gorgeous colours – signature pink, of course, and aquas, greens and oranges. It is the lobby that sets the scene, with a dazzling, bespoke, hand-painted wallpaper by de Gournay. Wetenhall created the design with de Gournay which features exotic palms that play home to a menagerie of flamingos, monkeys, parrots and wild cats, in a splendid greenand-pink palette. Elsewhere in the hotel, oriental references combine with art deco style. To encapsulate this feeling at home, source a peacock rattan chair, or an opulent pink-velvet incarnation and add oriental flavour through lighting choices. Have fun with quirky accessories such as candle holders with a spray of opulent palm leaves or bamboo-inspired furniture that is a perfect blend of oriental and art deco. Smart lacquer or metallic finishes add gloss and a counterpoint to rattan. Of course, a de Gournay paper would be sublime, but a beautiful framed print – or a set of prints – will add a smart finishing touch on a less grandiose scale. thecolonypalmbeach.com

Blossom bowl, £375, The Way We Live London Blossom hand-painted metal table, £295, Sophie Conran

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Mandir Grey Mother of Pearl mirror, £195, Graham & Green Silver Ottoman lantern, £1,574, Besselink & Jones Savernake day bed, shown in an antique textile, from £9,029, Robert Kime

Moroccan Mix hexagon patterned tiles, £35.28 a square metre, Porcelain Superstore

Dasari side table, £1,250, Paolo Moschino for Nicky Haslam Morocco printed throw in Mustard, £50, Walton & Co

L’HÔTEL MARRAKECH, MOROCCO Set in the heart of Marrakech’s Medina, Jasper Conran’s traditional nineteenth-century riad is an oasis of calm just moments from the bustling souks. Conran sought to restore the property using local craftsmen and traditional materials, whilst evoking the glamour of 1930s hotels. Combining Moroccan craftsmanship, antiques and art from Conran’s own collection, the hotel has a cosy feel, providing luxury and comfort in relaxed yet inspirational interiors. Dreamy four poster-beds dressed in billowing white sheers are the heroes of the suites, offering timeless allure. Richness is introduced thorough antique furniture in dark woods and patinated brass and bronze finishes. White walls provide a backdrop to traditional textiles in a rich palette of orange, brown and red. Kilims, ikats and suzanis would all work well when emulating the style at home. Other nods to the location might include lantern lighting, bone or mother of pearl inlay furniture and decorative tiles. Add further texture and luxury with indulgent tassel tie-backs. In the dining room and bar the 1930s elegance is evident, with wide-stripe fabric covering chairs and sofas a signature piece of the hotel. Replicate with upholstery or striped accessories, serve mint tea in a decorative teapot and dream of warm Moroccan afternoons. l-hotelmarrakech.com 94 THE ENGLISH HOME

Antiqued Gold Metal Swan door knob, £6 each, Gisela Graham London

Margaux key tassel in Aubergine, £48, Samuel & Sons Suzani, £1,580, Susan Deliss

Samarkand floor lamp, £154; heraldic printed linen ikat shade, £93, both Pooky

DECORATING

Left to right: Fernanda pendant, £1,731, Arteriors Wonder Bell shade, £60, Sofa.com Rattan Gaze pendant light, £229, Modish Living

Vejer tiles, £6 each, Bert & May Large black rattan oval mirror, £170, Kinfolk Decor Abeline Rattan side table, £20, Beaumonde

FEATURE KATY MCLEAN PHOTOGRAPHS P92 (HOTEL EXTERIOR) © ADAM LYNK; (HOTEL ROOM) © MICHAEL SPENGLER. P93 (HOTEL) © BRANTLEY PHOTOGRAPHY; (CHAIR) © MICHAEL BAY; (CUSHION) © YESHEN VENEMA. P94 (RUG) © ANDREW D STEEL. P95 (HOTEL ROOM) © JEAN-BERNARD ADOUE; (MODISH LIVING) © IT’S ABOUT ROME; (BEAUMONDE & CULT FURNITURE) © MICHAEL BAY

Navy Woven Diamond Stripe throw, £17.99, Gisela Graham London

LUX GRANDE GAUBE, MAURITIUS A luxurious resort on the north coast of Indian Ocean island Mauritius, with a triple bay of private beaches overlooking the lagoon, Lux Grande Gaube is a tropical paradise. Recently reimagined by Kelly Hoppen, the hotel has undergone a transformation to make it even more idyllic. Seeking to capture a ‘retro-chic’ feel, Hoppen has enriched her sleek style with natural textures. Rattan is evident in many areas. The striking display of woven lampshades in the restaurant is impactful and a look that can be paid homage to with rattan pendant lights – perhaps mix several shapes above a kitchen island. Though much of the hotel’s decor and furniture is white, creating a breezy, tropical feel, there are flashes of colour, too – turquoise patterned tiles, navy-and-white chevron-pattern chairs and blue-glazed pots echo the dazzling hues of the sea and sky. The bedrooms are muted, yet indulgent, owing to luxurious layers of texture. Crisp white bedlinen entices, with a subtle touch of coloured piping. Add indulgent pillows and throws in browns and navy for interest and extra comfort. Decorative objects in the form of a hand-painted or -decorated vase, would be a welcome flourish and extra level of detail. Natural fibres such as seagrass or hemp rugs and rattan or cane furniture will add to the relaxed, retro-chic mood. luxresorts.com n

Lexington Egyptian cotton sateen luxury bed linen, from £32 for a pillowcase, The Fine Cotton Company

Natural/Black Seagrass woven baskets, £55 for set of two, Cult Furniture Dotted Dash Fan Indigo vase, £115; Dash Triple Layer Zig Zag Indigo vase, £88, both Wicklewood

Braided Hemp Patterned rug, £320, Nkuku

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DECORATING

Impactful ways with

FABRIC

Discover clever ideas for making the most of this essential ingredient in decorating, whether for colour, pattern or texture

abrics are where many of us begin when furnishing and decorating a room. This is hardly surprising as they are the decorator’s workhorse, bringing colour, pattern and texture into play. Fabrics are incredibly versatile too: we sew them, mend them, remake them, line or stiffen them to extend their use. Moving house is one moment when change of use reveals how adaptable fabrics can be. Curtains from the old house seldom fit windows in the new. Unpicking and remaking them to fit the new situation is within the competence of many home sewers, and for the non-sewer, competent

makers in every part of the country take on projects like this. Fabric from curtains in good repair can be remade as pull-down or Roman blinds, cushions, even slipcovers for a bedroom chair or headboard. Getting to know how different fabrics perform is a reliable way to choose prints or weaves with staying power when buying new. Spending time in decorating shops discovering personal preferences will pay dividends. If looking for curtain fabric, establish whether the preference is for patterns printed on linen or cotton or a cotton mix. When plain curtains are in the frame, assess the drape factor. Look

through collections of upholstery qualities to establish a personal take on texture, assess how an appealing weave might feel as seating and be sure to discover its wear rating before buying. We not only see the fabric in our homes but we also touch it, therefore, meeting the tactile quality of silk on cushions, velvet on a chair, the cool handle of linen when curtains are drawn or a napkin is unfolded are moments to savour. OPPOSITE PAGE A large-scale print set against a plain can define the mood of a room. Interior design, Turner Pocock Darya Ikat Jewel, £176.40 a metre, Schumacher

EXPERT ADVICE ON USING FABRICS Get the best from fabrics for seating UPHOLSTERY CHOICES James Cook, designer and owner of traditional upholstery specialist The Odd Chair Company “Sofas and chairs depend on the quality of their upholstery to retain their comfort and good looks. Signs of wear will be visible first on the fabric covering, so it’s

important to choose a quality that matches your lifestyle. One insider secret worth knowing about is the Martindale abrasion rating for fabrics, known colloquially as the ‘rub test’. This test does just that; it subjects a piece of fabric to repeated rubs until it shows specific signs of wear and the number of rubs it has survived gives it its rating. Few high street seating suppliers quote the rating on their upholstery fabrics but it’s well worth asking. If you can supply your own fabric, look at weaves with a rating of 40,000 rubs or more.

Quality cotton weaves or a cotton/linen mix are good choices for family sofas and chairs. They upholster beautifully and the fire-retardant finish, now essential on much upholstered seating, doesn’t disrupt the handle on these. They clean well too, on fixed upholstery and removable covers. Wool fabric is lovely to work with and the best new ranges don’t bobble as some did in the past. Velvet is popular now, but a sofa will often have a seam on the back, as velvet can’t run along the sofa back in a single piece with seat cushions in another direction because of shading in the pile.”

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Pure silk curtains, cushions and a throw add sheen to the range of textures in a sitting room. Kashmiri silk, £47 a metre, James Hare

THE SILK ROUTE With its trademark lustre, silk has for centuries been chosen for rooms of high status. Behind its face value, it has much to offer says Saffron Hare of silk company, James Hare. “Silk takes dye like no other fibre because the cross-section of the thread is more triangular than round and this intensifies the effect of every colour, from the palest shades to the brightest,” Hare explains. “Silk fibre is not uniform and that means it can provide a variety of weaves, from gossamer-fine to the timeless appeal of damask. Silk can also be woven to give a matt finish for a more contemporary feel, and, when woven with Merino wool, delivers a mid-weight fabric with exquisite drape.” James Hare can also paper-back silk fabric for walls; its natural texture offers an appealing alternative to wallpaper. Silk has a reputation for fading, so for curtains at a sunny window, consider binding the leading edges in a more robust fabric, with braid sewn over the seam for decorative effect. Though it might be tempting to consider heavier silks for upholstery, these have low resistance to abrasion, so only use them on chairs that trade on their purely decorative appeal.

EXPERT ADVICE ON USING FABRICS Get the best from fabrics at windows CURTAIN STYLE Rebecca Day, co-founder of top curtain makers Merrick & Day and co-author of The Encyclopaedia of Curtains. “Beautiful curtains depend on the way they’re made up as much as the allure of the fabric itself. Unless you plan to make your own curtains, factor the

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making up cost into your budget. Whether your fabric is expensive or modestly priced, it is the quality of the lining and interlining (if used) that will enhance the status of the curtains and their life expectancy. A hand-sewn pinched or pleated heading is important too, as these allow curtains to hang in structured folds, something a gathered heading tape isn’t able to achieve. Adding detail to curtains will establish their impact, too. A plain border on leading edges and hems can frame a

significant curtain pattern or pull a busy colour scheme together. On plain fabric, a 10cm-wide contrast border on leading edges is always stylish and one way to make curtains in an inexpensive fabric look seriously impressive. Many of us are now sourcing fabrics online and choosing from small samples is a challenge. Try to see a full-width image of any fabric you are considering to understand the scale of the pattern and, with a large design, how it relates to the length of your curtains.”

DECORATING

MAKING A STATEMENT Sourcing fabric to define a room often results in a design perfect in every way except it will throw the budget out of the window. Rather than dismiss such a fabric from a project, interior designer Bunny Turner of Turner Pocock has a raft of ways to introduce costly fabrics without disturbing the economic outlook. “Cushions are the most obvious way to make a statement without consuming metres of fabric,” she says. “But, often these blow-the-budget designs are large scale and will work well as a Roman blind or on an ottoman, as they show off a bold design without extravagant use of fabric, and are better, in fact, than curtains, where you lose part of the pattern in the folds.” Headboards are another way Turner uses a modest quantity of fabric to full effect. “In a bedroom I designed recently,” she says, “I hung a full width of the client’s muchloved fabric from a rail attached to the wall behind the bed, rather as a tapestry is sometimes hung. That’s another economical route to showing a limited quantity of fabric to maximum effect.”  LEFT An antique ikat makes a defining colour, echoed by the leather upholstery on the fender. Interior design, Turner Pocock.

LESS IS MORE Devising a neutral room scheme without significant pattern or colour can be a safe or a brave approach to decorating. Calm certainly, but without variety somewhere in the mix, the result can be bland. To make the brief for this sitting room work, interior designer Emily Todhunter of Todhunter Earle considered the room’s size and feel, its architecture, its acoustics, even its view. “Sometimes it’s brave to be very simple and elegant,” she says. “It allows the room to do the talking and it will do it in whispers. This is partly down to the playing off of shapes, curves against angles, and smooth surfaces against textures. The fabric elements conspire in this, so soft folds in the curtain drape create their own shadows. Silk cushions against embossed velvet combine softness and texture to be enjoyed in close encounters.” Inspiring rooms designed in this way will introduce discreet colour in furniture, objects, or pictures to point up and interact with understated refinement.

ABOVE Detail informs the calm attitude of this sitting room with its mix of tactile textures on curtains and cushions. Interior design, Todhunter Earle. THE ENGLISH HOME 99

IN STITCHES Embroidered textiles provided pattern in the home before printed fabrics became available. Still used for curtains, cushions, bedcovers and hangings, but only for covering chairs admired but rarely sat upon. Linen, cotton or silk can all be embroidered by computer-aided machinery, with advanced programmes allowing textile designers to dictate the angle and length of stitches to get a range of effects, but are also still worked by hand. Crewelwork in chainstitch using wool yarn on linen often takes themes from English and Indian tree of life crewels of the seventeenth and eighteenth centuries and is stitched in Kashmir by men for companies including Marvic Textiles. Men also handembroider in cotton thread on fine linen for Chelsea Textiles. Its sprig and vine designs are taken from eighteenth-century English and French embroidery. Sold by the metre, these pieces can also be embroidered to size, with the linen joined to the required width and length and embroidered afterwards only on the area to be seen. This service can also be ordered for a shaped pelmet or headboard if a template is supplied.

Curtains, Bourbon Flower, £369 a metre; bed curtains, Fleur de Lis sprig, £148 a metre; bedcovers, Fleur de Lis Stripe £393 a metre, Chelsea Textiles

ANTIQUE INPUT “Antique fabrics carry a narrative,” says Susan Deliss, textile designer, dealer and interior decorator, “and are forgiving, as the eye accepts minor faults or evidence of wear as part of their life story. They bring humanity to a room and that resonates with people.” Demand for antique fabrics has generated plenty of fakes, and true antique pieces are becoming increasingly rare, as Deliss explains. “Finding genuine antique textiles in a usable quantity is why I began to design my own fabrics. On my travels I still collect the whole gamut from antique linen and hemp, to old Indonesian resist-dyed cloth and African wax cloth. High craftsmanship is essential, even if the fabric is aged.” Although longer lengths can be made into curtains, and larger decorative weaves stitched onto a backing and hung on walls, Deliss explains that many pieces are only large enough for a cushion cover, part of the upholstery on a chair, or lampshades. “I recently used a gossamer-fine Turkoman silk for a lampshade and lined it with stripes of ikat from the lining of a Bukhara merchant’s coat.” 100 THE ENGLISH HOME

RIGHT Antique fabrics used in this bedroom include an Anatolian handwoven striped linen on the headboard, an antique English handstitched indigo-dyed quilt, and indigodyed, handwoven strip cloth from Burkina Faso draped over the side table. Antiques and design, Susan Deliss.

DECORATING

LAYERED LOOK Combining many patterned fabrics in a room without visual overkill is a rare talent, and Penny Morrison is an interior designer who owns it. There is much to learn from her approach. For instance, she will hang plain or semi-plain curtains making it easier to retain them when other elements in the room change. There has to be calmness too, she says, so she will never mass rival floral patterns together. Instead she layers designs, often starting with a small print in a faded

colour on a sofa or chair then adding brighter colours and patterns in cushions covered in stripes, dots, checks and a variety of textures. “Some colour pairings drown each other,” she declares, “whilst blues, greens and pinks lift each other.” A treasure chest of accessories is essential to the relaxed comfort of her rooms, where more pattern arrives with the layering of antique and vintage fabrics: a paisley shawl over a sofa, a Welsh blanket ever-ready on

a side chair, an antique suzani flung over an ottoman. Lampshades from Morrison’s own collection in vintage sari silks contribute further sparks of colour and pattern. “I would never light a room with lamps under a sea of cream shades,” she adds. ABOVE Confident patterns meet face to face in a drawing room, with layered cushions supporting the rich visual mix. Design and fabrics, Penny Morrison.

THE ENGLISH HOME 101

Walling a room in linen is always warmly insulating. Lilac Original on Oyster, £275 a metre, Bennison Fabrics

UP THE WALL Walling a room in fabric as an alternative to paint or wallpaper takes plenty of fabric and considerable expertise, but the effect is richly rewarding. Closely woven cotton and linen prints are traditional choices. Gillian Newberry, owner and director of Bennison Fabrics, has always been a fan and her hand-printed linens are perfect candidates for walling. “Fabric on walls provides a special type of insulation,” she

says. “It feels warm in winter and cool in summer, and when I use our florals, it brings the garden into a room.” The size of the room will influence choice of design type and scale. Newberry finds all-over florals and geometrics work well in smaller rooms and designs with a lot of background space or with symmetrical motifs look good in larger spaces. “The fixing method we

normally use – aided by a very skilled upholsterer – is to frame the walls with thin wooden battens, then stretch and fix a layer of soft cotton lining, known as bump, to the battens. The fabric widths are joined then stapled over the bump onto the battens. We like to finish edges with double piping in the same fabric as the walling, but a good braid can also be used.”

GREAT OUTDOORS Fabrics for outdoor seating were first designed for use on boats. They still spend time on yachts and beside pools, but most of all, cushioning garden seating, in patterns and qualities now including chenille. Although these fabrics are water-repellent, cushions should never be left out in all weathers, as water will puddle on the surface and seep through the seams to wet the cushion inner. The other advantages outdoor fabrics offer over those used indoors are resistance to fading and mildew. Most are acrylic or polyester weaves. Those with the highest resistance to fading are woven in solutiondyed yarn in which colour is introduced 102 THE ENGLISH HOME

early in the process before the yarn is spun. This allows patterns to be woven rather than printed. Increased light-fastness in printed outdoor fabrics includes printing on solution-dyed cloth followed by machine-baking to stabilise the colours. Although outdoor fabrics seem to recommend themselves for use in a sunny conservatory, this is prohibited for upholstery unless the fabric is also given a fire-retardant finish. n LEFT Create an elegant outdoor space with water- and fade-resistant fabrics. Sofa, Bahia; cushions, Capretto, both Outdoor Performance Fabric collection, £215 a metre, Serena Dugan at The Fabric Collective.

FEATURE CELIA RUFEY PHOTOGRAPHS P99 (TODHUNTER EARLE) © RAY MAIN. P100 (CHELSEA TEXTILES) © SIMON BROWN; (SUSAN DELISS) © ANDREW D STEEL. P102 (BENNISON) © KEN SPARKES; (SERENA DUGAN) © LAURIE FRANKEL

DECORATING

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THE STORY OF NINA CAMPBELL

Nina Campbell’s eponymous brand has become one of the most celebrated in Britain’s design history. Here we look at the secret of the designer’s success

ABOVE Nina has always loved beautiful tea sets, so it came as no surprise when she started to design her own, like this Serengeti set, which is straight out of Africa.

104 THE ENGLISH HOME

hen a 19-year-old Nina Campbell started working as an assistant for Imogen Taylor, the principal designer at Colefax and Fowler, she could never have imagined it would prove the start of a career that would span the next five decades. Judging by her current workload, she shows no sign of slowing down. “I wasn’t even there to fold fabric,” recalls Nina. “I was actually taken on to make the tea. But I’d never made tea in my life. I recall making a disgusting cup of tea for John Fowler and he begged me never to make it again!” It was the start of a three-year stint at the company that taught Nina a tremendous amount. “John was just the most wonderful person to work for,” she says, “because once he realised you were interested, he taught you the most extraordinary things.” Before this, Nina had studied at the Inchbald School of Design, and taken her first role at the General Trading Company, helping young brides-to-be choose their wedding lists. “I have always loved laying tables – choosing napkins, glasses, cutlery, china – and it remains at the heart of what I do today,” she says. After leaving Colefax and Fowler, Nina joined forces with Mark Birley (founder of Annabel’s nightclub, which she helped to design at the time) and in 1970 they opened a shop on Pimlico Road called Campbell

DESIGN DOYENNE

& Birley, selling all the things she loved, such as tea sets from Limoges, cushions, beautiful trays and Porthault linens. Alongside this, Nina began taking on private interior design clients too, and it proved a winning formula, one that remains today. “My clients often love coming into my shop (after a while she and Birley parted ways, and the store relocated to London’s Walton Street) to see me and find inspiration in our new collections.” Interiors design clearly runs in the genes – Nina’s eldest daughter Rita Konig is a successful designer in her own right, and her son Max and youngest daughter Alice work for the Nina Campbell brand. “It’s lovely to have my children involved in the business, they have really helped the company to grow. My son Max is now managing director, and goes to all the trade shows, and my daughter Alice looks after the PR and the website. We all work from the offices above the shop in Walton Street.” Today there are more than 20 people working at Nina Campbell, with all the shop stock stored in a warehouse in West Sussex, fabrics designed at Chelsea Harbour and the decorating department above the store. Following the success of her interior design business, Nina soon began to design her

own fabrics, trimmings and wallpapers, which are all stocked by Osborne & Little, the worldwide distributor of the brand for more than 30 years. Nina’s client list includes everyone from Rod Stewart and Ringo Starr to the Duke and Duchess of York, and current projects include everything from a luxury care home to an estate in Maine. “What I love about my job, is that I never stop learning,” Nina explains. “For example, in care homes, you can’t use a chevron pattern as it’s stressful for dementia patients to look at. Things like that, I would never have thought of.” So, what does Nina believe is the secret to the brand’s success? “I think it has to be our longevity. We are very much a family business; we get a lot of repeat customers who love to come into the shop for a chat and a catch up. There’s that sense of familiarity and the personal touch that people seem to enjoy.” ninacampbell.com n ABOVE LEFT The gleaming finishes and bold use of colour Nina has used in this New York apartment design create a glamorous, cosmopolitan feel. ABOVE RIGHT Delicate pinks and pale mossy greens make for a warm and inviting stay in this guest bedroom in Wiltshire designed by Nina. LEFT Nina Campbell’s hand-blown Atelier Glass Tumblers add a splash of colour and fun to any table setting. OPPOSITE PAGE, TOP This apartment in Rome shows Nina’s ability to imbue a room with a sense of place and attention to detail, in particular, the fabric-lined walls trimmed with braid.

THE ENGLISH HOME 105

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AS SEEN ON

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QUINTESSENTIALLY

Inspiration for seasonal pastimes and making the most of life at home starts here

THE TASTE OF SUMMER

FEATURE KATY MCLEAN

Those first mouthfuls of ruby red English strawberries instantly evoke memories of sunny summer days. Capture that joy in a printed fabric to bring sunshine year round. This cheerful block-print by Molly Mahon is perfect for cottage charm – complete with wide, ruffled trims, though it also takes a smart guise in the copper colourway, perhaps to upholster dining chairs. Mahon also supplies block printing kits (from £7.50 for a single block) to create personal designs at home. From strawberries and cherries, to shells, butterflies, flowers and rainbows, there is a hand-carved block for capturing a favourite aspect of the great British summer on greeting cards, gift wrap or a pretty, bespoke, tea towel. Chair in Strawberries, Grass, £181 a metre, and all other fabrics, The Greencombe collection, Molly Mahon (See overleaf to discover why strawberries mean summer for Matthew Fort.)

THE ENGLISH HOME 107

MY ENGLISH HOME

Matthew Fort FROM PATCH TO PLATE

The food writer and critic celebrates the virtues of freshly picked berries as a defining treat of an English summer and reveals how best to enjoy them come to think of it, fruits define the English summer. They are the quintessence of summer, the soul of summer. It is the only season with a pudding named after it – Summer Pudding – that combines produce (white, red or blackcurrants, or best of all, in my view, mulberries, at the height of their ripeness and deliciousness), with old-fashioned thrift. Summer Pudding is best made with old-school sliced white bread to create one of the glories of the pudding world. The odd thing about our summer fruits is how few of them actually originated here. Take strawberries. Little appreciated in Britain before the seventeenth century, when that great gardener John Tradescant the Elder brought wild strawberries from Virginia in the American colonies and began the long process of crossbreeding that has led to the brilliant fruit we know and love. Gooseberries arrived from France – there is a fruiter’s bill to the court of Edward I mentioning a delivery of gooseberry bushes from France. Raspberries started their long journey south in Alaska; mulberries in China; cherries and rhubarb in Asia. Red, white and blackcurrants hailed from Northern Europe. We welcomed them all and made them our own.

My mother was also very fond of currants in particular. She would dip clusters of white and red currants first in egg white and then in icing sugar so that each cluster sparkled like a pendant earring and each tart berry was coated in a sweet shell. I still try to emulate my mother’s skill in growing, preparing and cooking fruit (and fail) and my father’s appreciation (also known as greed) of her efforts with rather more success. Each plateful marks that period of when the garden and its produce are at their most beautiful and most edible. NB: What about plums, apples, pears and quinces? I always think of them as late summer to early autumn fruits and I’ll turn to them when their season is due. In the meantime, let us just celebrate strawberries, raspberries, gooseberries, cherries … and cream, of course.

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.

PORTRAIT GRANT SCOTT ILLUSTRATION ELENA PIMONOVA / SHUTTERSTOCK. PHOTOGRAPH LILIYA KANDRASHEVICH / SHUTTERSTOCK

hen I was but a lad, summer proper kicked off with strawberries. They were a seasonal gastronomic starting pistol. I waited for them with almost uncontrollable excitement, and then I’d gorge on strawberries and cream for five or six weeks. Not just me, to be honest. My whole family – brothers, mother, father, grandmother. Not my sister. She had yet to be born. I may be indulging in the rosy dreams of nostalgia, but the strawberries of my youth – Cambridge Royal Sovereign if memory serves me correctly – had an intensity and brilliance that none I’ve eaten since have quite matched. After strawberries came raspberries – Malling Admiral – that we favoured even more highly because the raspberries’ extra tartness meant an extra dollop of cream (unpasteurised double cream from a Jersey or Guernsey cow for preference, as yellow as buttercups, sliding with slow grace from the lip of the jug) and a spoonful of caster sugar. Strawberries and cream, raspberries and cream, morello cherry jam, rhubarb crumbles, gooseberry pies (try poaching the gooseberries in a splash of elderflower cordial first), redcurrant jellies, mulberry fools – when you

FOOD

ETON MESS Strawberries, cream, meringue – summer in a mouthful. Somewhere in my files, I have an article by Heston Blumenthal about making Eton Mess. He said he and his team had tried all kinds of ways of deconstructing it, putting it back together, altering the ingredients, and after days of experimentation, the great man decided that the original, untidy, haphazard, fabulously indulgent original could not be improved on. This is not taken from his recipe. I don’t think he would countenance shop-bought meringues, but I do because this isn’t a pudding of the utmost refinement.

Serves 6

INGREDIENTS 6 shop-bought meringue nests 500g ripe strawberries 50g caster sugar ½ lemon 450ml double cream 1 tbsp icing sugar

METHOD • Hull the strawberries, slice in half and put into a bowl. Squeeze the lemon over them and sprinkle with the caster sugar. Leave for an hour or so. • Whip the cream until just short of stiff. • Break up the meringues with your hands into pieces of various sizes. Work them into the whipped cream. • Crush the strawberries gently with your hands. Work them into the cream and meringue. • Dust with icing sugar. Tuck in. n

THE ENGLISH HOME 109

SUMMER ESCAPES

England’s best-kept secrets

Rolling hills, romantic beaches and breathtaking countryside sit amongst Albion’s hypnotic and historic beauty – we reveal secret addresses and hidden spots from some of England’s most knowledgeable names

KIT KEMP

Founder and creative director of Firmdale Hotels and the Kit Kemp Design Studio What makes England a special place to take a break? For me, the warmer months are when the UK is at its best – I never go abroad in the summer as I love to explore our beautiful country. Where in England is your dream escape? The New Forest in Hampshire, as it combines countryside, the sea and open spaces. It sits just above the Isle of Wight in the Hampshire basin, where the climate is softer and spring comes slightly earlier. I love to ride, and in the Forest you can get close to so much wildlife that doesn’t mind the horse passing by. Do you have a specific memory of the New Forest? We rented an old farmhouse in 1992, within walking distance of a stony beach and with views to the Isle of 110 THE ENGLISH HOME

Wight from the upstairs rooms. The house was very old and had a secret passage in the walls, which we think must have been to hide smuggled goods from France, such as brandy or silk. It had a romantic feel that only houses with a history, and a certain stillness in time that comes with age, can attain. Where is the first place you would most like to visit in England for a break? I am looking forward to visiting Charleston, the country home of the Bloomsbury group. They have a wonderful literary festival there and very interesting exhibitions (charleston.org.uk). I would visit my favourite independent bookshop in nearby Alfriston called Much Ado Books (muchadobooks.com). Cate and Nash, who own the shop, always make it feel like an adventure to be with them. I am also longing to go to the the ballet at the Royal Opera House (roh.org.uk), or to a really good play, and I can’t wait for the Victoria & Albert Museum to open its doors again (vam.ac.uk). firmdale.com

CLOCKWISE FROM TOP LEFT Kit Kemp standing in the colourful doorway at Charleston, the East Sussex home of the Bloomsbury group, a source of inspiration for the Charlotte Street Hotel, co-owned by Kit. Wild ponies, in the New Forest in Hampshire. Much Ado Books in Alfriston, a favourite haunt of Kit Kemp’s, which stocks new, old and antiquarian titles.

TRAVEL

TOM AIKENS ABOVE RIGHT Tom at his restaurant. ABOVE The estuary of the River Yealm in Devon, home to the picturesque village of Newton Ferrers. LEFT Dining at The Pig at Studland, where the emphasis is on British-grown produce sourced from within 25 miles of the property, as well as from the hotel’s own walled kitchen garden. BELOW Orford Castle in Suffolk, which Tom and his siblings would get lost in as children.

Chef and owner of Michelin-starred restaurant Muse by Tom Aikens What makes England a special place to take a holiday or break? For me, the charm of England lies somewhere between the grassy edge where the coast meets countryside. I grew up Norfolk, where there are some stunning landscapes. Where in England is your dream escape? Do you have a specific memory of visiting this place? Holkham in Norfolk is a particular favourite. It has a beautiful flat beach that stretches for over a mile straight out to sea. As a child I would spend many hours playing on the sand dunes there, and there are also parklands and pine forests where you can horse ride for hours. There are some great places on the South Devon coast, too, including Noss Mayo and Newton Ferrers. There is a lovely estuary where my siblings and I would sail, catching mackerel, crabs and shrimp. There are lots of nice beaches there, too. My earliest memory of there is being about five or six years old and playing in the sands of Salcombe beach and Noss Mayo. There is a particular view that takes me right back to going to Newton Ferrers, a typical picturesque village with thatched houses and a harbour. It is on the estuary of the River Yealm, about 10 miles from Plymouth, and at low tide you can walk across the causeway to Noss Mayo. Where is the first place you would most like to visit in England for a break? Blakeney in Norfolk. I used to spend a lot of time windsurfing, sailing and crabbing there, and picking samphire from the mudflats, which inspired a samphire dish I had on my menu at Muse last year. Orford in Suffolk is also on the list. There is an Anglo-Saxon castle on the top of the hill there that we used to visit and get lost in as children. There are also lots of nice places to potter about there, but a must-do is enjoying half-a-dozen oysters at Orford Oysterage (pinneysoforford.co.uk) – divine! So, too, is The Pig at Studland Beach. The Pig Hotels exude charm – any of their sites – but this one right on the coast of Dorset is my favourite (thepighotel.com/on-the-beach). tomaikens.co.uk  THE ENGLISH HOME 111

ALEX POLIZZI

Hotelier, businesswoman and television presenter What makes England a special place to take a holiday or break? England is a very special place, offering as it does such a variety of wonderful landscapes, from the South Downs to the beautiful striking coastal paths of Cornwall. Where in England is your dream escape? I am very fond of The Lake District, and its dramatic lakes and mountains. I also love Norfolk with its enormously wide open and wonderfully wild beaches. Do you have a specific memory of visiting The Lake District? Gilpin Lodge in The Lake District. This hotel provides incredibly good food and understated comfort, the combination I am always looking for (thegilpin.co.uk). I went there years ago, for work, but I have always dreamed of going back. The surroundings are beautiful, but mainly I just know I will be looked after, and nothing will be too much trouble. Where is the first place you would most like to visit in England for a break? I would love to stay at the Artist Residence in Brighton, a hotel I adore (artistresidence.co.uk). We are still at a very delicate moment in the opening phase of our own hotel, The Star, [due to open 14 June] in nearby Alfriston, but Brighton is close enough that I could go for a night or two without needing to worry about work. I would also love to go and see Alan White at the Grand Hotel in Brighton. He is a chef I really admire (grandbrighton.co.uk). I am 112 THE ENGLISH HOME

TOP LEFT Being the grandaughter of Forte Group hotels founder Lord Forte has seen Alex Polizzi work in the hospitality industry along with her mother, hotel designer Olga Polizzi. TOP Inside one of the bedrooms at The Star. The hotel sits at the

centre of the medieval village of Alfriston, on the banks of the River Cuckmere at the foot of the East Sussex Downs. ABOVE The striking historic Victorian facade of the Grand Hotel in Brighton overlooks the seafront and the shingle beach.

also a trustee of the Team Domenica charity, which helps young people with learning disabilities find and retain meaningful employment, so I would certainly go to one of their three cafes in Brighton (teamdomenica.com). I love shopping and would, of course, head to The Lanes to see what gems I can find. One of my favourite clothes shops there is Our Daily Edit (ourdailyedit.com), and I also love Abode Living for home accessories and little gifts (abodeliving.co.uk). I am a great fan of Infinity Foods (infinityfoodsretail.coop), as they are dedicated to sustainability, have a wide selection of ethically and locally sourced produce, as well as excellent eco-friendly household products that I am researching for the new hotel. thepolizzicollection.com

TRAVEL

CLOCKWISE FROM TOP LEFT The Minack Theatre in Cornwall was built in the early 1930s by master builder Rowena Cade. Cottage-garden planting at West Dean Gardens in West Sussex. Cooking with local produce brings with it an affinity with the land. Florence Knight champions British food and producers and is the chef at Sessions Arts Club.

FLORENCE KNIGHT

Chef, author and columnist What makes England a special place to take a holiday or break? There is a wealth of culture and history on our doorstep, we have a great diversity of nature, too. We’ve always had growers and producers of good food and it’s great to see more independent restaurants, bakeries and local enterprises really embracing this. Where in England is your dream escape? West Sussex is quintessential England to me. I grew up there, and the villages have a homely quality and human scale that feels at ease in the landscape. Do you have a specific memory of West Sussex? I grew up near Petworth and still love to go back to rummage in the little antique shops, and always pop in to food shops such as The Hungry Guest (thehungryguest.com) and Cowdray Farm Shop (cowdray.co.uk). Petworth House, with its impressive kitchen and grounds, is perfect for an afternoon stroll (nationaltrust.org.uk/ petworth-house-and-park), or West Dean Gardens (westdean.org.uk). Otherwise I’m happy to drive a little further for the unusual

collection curated for the gallery at Pallant House (pallant.org.uk). One of my favourite things is the variety of ‘pick your own’ at Durleighmarsh Farm – asparagus, blueberries, mulberries, tayberries, wildflowers, and strawberries, of course (durleighmarshfarmshop.co.uk). And West Whittering beach is close by, which I think is one of the most beautiful in the country. Where is the first place you would most like to visit in England for a break? The Barbara Hepworth Museum and Sculpture Garden in St Ives is still on my list of places to go (tate.org.uk/visit/tate-st-ives/ barbara-hepworth-museum-and-sculpture-garden). Whilst there, I’d like to visit Leach Pottery (leachpottery.com) and see Michel François’s porcelain in Falmouth (michelfrancois.com). I’d also like to spend a summer evening watching a production at the Minack Theatre (minack.com) near Penzance. I’d like to eat at Fitzroy in Fowey (fitzroycornwall.com) and see the collection of artisanal homewares at the Little Shop in Fowey Hall Hotel (foweyhallhotel.co.uk). Maybe we could break the journey at Coombeshead Farm (coombesheadfarm.co.uk) and make a pit stop at Landrace Bakery in Bath on the way (landracebakery.com). sessionsartsclub.com  THE ENGLISH HOME 113

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TRAVEL

CLOCKWISE FROM LEFT Simonstone Hall hotel in the Yorkshire Dales National Park. Antique furniture and luxurious touches provide a warm welcome for guests at Simonstone Hall. The majestic form of Chatsworth in Derbyshire. Arthur trained at Kew Gardens and was head gardener at Emma Bridgewater’s factory in Stoke-on-Trent. The River Derwent runs through Matlock Bath, Derbyshire.

ARTHUR PARKINSON

Gardener and writer

What makes England a special place to take a holiday or break? The seasons – we are lucky to be a country with springs, summers, winters and autumns, as they bring a vitality to our landscape, flora and fauna. Where in England is your dream escape? Personally, I like the working countryside, as opposed to the chocolate box version of weekend homes and bistro pubs. I love Derbyshire and the Peak District villages around Matlock and Bakewell. Do you have a specific memory of visiting Derbyshire? When I was younger, we would holiday in Derbyshire on a working farm. We would walk and play, and me and my younger brother, Lyndon, would go walking in the woods with Sheila, our grandma. We would paddle in the waterfalls at Dovedale, and have fish and chips at Matlock Bath. Now, as an adult, I would love to go back and visit Chatsworth because of the farmyard, as, back

then, it was the heyday of Deborah Devonshire being duchess and she had hundreds of chickens running around! Where is the first place you would most like to visit in England for a break? I want to visit Simonstone Hall hotel in Yorkshire (simonstonehall. com) – it looks fabulous, but the main reason is because I want to photograph their hen house as I’m writing a book about hens. I’d also love to visit the Knepp Estate in West Sussex, it’s incredible what they are doing there in the name of rewilding (kneppestate. co.uk). I love the Worton Organic farmshop in Oxfordshire (wortonkitchengarden.com) – they have the most beautiful in-season cut flowers and an incredible kitchen garden that’s not too far from us. Chatsworth is top of our list, but the whole estate is fully booked this year, unsurprisingly, so when we will go, I don’t know, but it’s a very special place for me (chatsworth.org). There is the wonderful kitchen garden there, too, beautifully looked after by my friend Glenn Facer, whose Instagram account is a vital education for anyone wanting to grow their own (@glennfacer). Arthur Parkinson is the author of The Flower Yard: Growing Flamboyant Flowers in Containers (£22, Kyle Books)  THE ENGLISH HOME 115

SUSIE ATKINSON

Interior designer

What makes England a special place to take a holiday or break? There is such a huge variety in landscape, things to explore and places to visit, including wonderful cities and towns such as York, Cambridge and Winchester, to name but a few. I grew up not far from Stratford-upon-Avon and Warwick, which are lovely spots to explore. Where in England is your dream escape? It would be St Mawes, in Cornwall. I stay at Hotel Tresanton and love the beauty of the view (hoteltresanton.com). There’s a walk I like to do from there where you get a ferry across the water to Place, which is on the Roseland Peninsula, and then walk along the coastline, through Portscatho, where you can stop and browse in the little antique shops and galleries, and then walk on to The Hidden Hut, which is a fantastic little gem, set above the beach, serving fabulous simple food (hiddenhut.co.uk). Do you have a specific memory of visiting St Mawes? I did the walk to The Hidden Hut a few years ago, on Easter weekend with my family, on a beautiful blue-sky day with the birds singing, waves lapping the shores and the wildflowers coming into bloom. Even though it was a lovely day it was still chilly, so we had bowls of hot soup with homemade bread followed by delicious carrot cake. I love the simplicity of it all – being close to nature, sitting at weather-worn wooden tables with jam jars of wildflowers, wrapped in a blanket and taking in the view, the smell of the seaweed and the salty air. Where is the first place you would most like to visit in England for a break? North Norfolk, as it feels unspoilt. It has a raw beauty with lots of things to do. I would love to go back and take a boat out to Blakeney Point to see the seals, I would like to visit the tailor and workwear shop, Old Town, in Holt as I follow them and love their ethos (old-town.co.uk), the galleries and antique shops in Burnham Market and the surrounding area, or walk on Brancaster Beach or visit Holkham Hall (holkham.co.uk). susieatkinson.com n 116 THE ENGLISH HOME

ABOVE LEFT Hotel Tresanton in Cornwall provides beautiful views much-admired by Susie Atkinson on her stays at the property TOP RIGHT Susie’s work has seen her create interiors for hotels including Beaverbook in Surrey and Lime Wood Hotel in the New Forest. ABOVE & RIGHT The Hidden Hut on the beach at Porthcurnick on the Roseland Peninsula in Cornwall is run by Simon Stallard and Jemma Glass. Their menu features locally caught seafood cooked simply with fresh local produce.

FEATURE EVE MIDDLETON PHOTOGRAPHS P110 (NEW FOREST) © NATIONAL TRUST IMAGES/JOHN MILLER; (MUCH ADO BOOKS) © ROBERT SANDERSON. P111 (ORFORD CASTLE) © ENGLISH HERITAGE. P112 (ALEX POLIZZI & THE STAR) © PAUL MASSEY. P113 (FLORENCE KNIGHT) © CAROL SACHS; (COOMBESHEAD FARM) © ARTUR TIXILSKI; P115 (CHATSWORTH HOUSE) © DAVID VINTINER; (SIMONSTONE HALL) © JAKE DINSDALE AT SIMONSTONE HALL; (MATLOCK) © EYE35.PIX/ALAMY. P116 (THE HIDDEN HUT) © SALLY MITCHELL; (THE HIDDEN HUT BBQ) © DANNY NORTH.

TRAVEL

Ruffled

BEAUTIES A cherished symbol of the English summer, peonies are diverse, colourful, easy to grow and will sit perfectly in every garden

 118 THE ENGLISH HOME

FOR WHERE TO BUY SEE ADDRESS BOOK

GARDENING

Fill the home with fragrance by displaying home-grown peonies indoors. For best results, cut stems early in the morning at a 90-degree angle with sharp secateurs.

THE ENGLISH HOME 119

TOP Sweetly perfumed with a semi-double white bowl-shape of cream petals, Peony ‘Love Affair’ is a rare and extremely soughtafter and valuable Itoh variety. Paeonia ‘Love Affair’ (Intersectional ‘Itoh’ Peony), £449, Primrose Hall Peonies ABOVE Peonies are perfect for adorning bedroom and sitting room walls. Wallpaper, Pondering Peonies in Duck Egg, £99 a roll; woodwork, Moss paint, £45 for 2.5l Emulsion, both Woodchip & Magnolia

ncapsulating both the charm and romance of an English country garden, the first glimpse of the unfurling petals of a peony is a moment to be treasured. Emerging as tight, globe-like buds perched on tall stems, they open into a plethora of delicate petals, forming a dense pompom of ruffles or simple floral cups enclosing a mass of stamens. Heralding the arrival of summer, this is a much-loved bloom with many different guises. From classic pale pink to crisp milk white, buttery lemon and soft apricot to the deepest magenta and crimson, there is a peony variety to suit every preference and colour palette. Alec White of Primrose Hall Peonies says: “Every garden deserves at least one peony. Peonies evoke obsessive dedication from gardeners because of the sheer variety of their gorgeous blooms. Different shapes, colours and fragrances mean there is a peony to suit every garden.”

QUEEN OF FLOWERS The longest lived of all garden perennials, the peony is thought be named after Paeon, the physician to the

120 THE ENGLISH HOME

gods in Greek mythology, who outsmarted and angered his teacher. He was saved from death by Zeus, who turned him into an exquisite flower. Peonies date back to 479 BC in China, with the Chinese common peony (Paeonia lactiflora), revered and cultivated for its culinary and medicinal qualities, having been grown in the imperial gardens and gradually spreading in popularity to Japan. The first common European peony (Paeonia officinalis) was found during the 1400s and reached Britain prior to 1548. Deep crimson in colour, it can still be found on long-established estates today, but it is the hybrids bred in France some 250 years later that make up many of the ornate varieties familiar to us today.

GARDENERS’ FAVOURITES Long revered, peonies hold a special place in many gardeners’ and nurseries’ affections. Claire Austin, daughter of legendary rose breeder David Austin, and owner of Claire Austin Hardy Plants, has made a lifelong study of peonies. Her latest book, Peonies (£25, White Hopton Publications), showcases over 350

GARDENING

Where to enjoy Peonies

Visit to these gardens during peony season will provide endless inspiration Penshurst Place, Kent

ABOVE For a longer-lasting display of cut peonies, keep them away from draughts, full sun or bowls of fruit. LEFT Peonies’ voluminous blooms are brought to life in this elegant tableware. Peony collection, from £9, Sophie Allport RIGHT The peony’s ruffled petals are synonymous with romance and English gardens.

varieties. She explains: “Long-lived and hardy, peonies have been admired and grown by gardeners for many centuries. The flowers are so breathtakingly beautiful, you simply want to rub your nose in the large, softpetalled, often-fragrant blooms.” It is generally agreed there are three types of peony: herbaceous, intersectional and tree. Herbaceous peonies are traditional garden plants with large showy and sweetly fragrant blooms in bold colours. Sunloving with deeply notched leaves, they have single or double flowers in pink, cream, yellow and red. Intersectional peonies, also known as ‘itoh peonies’, are a cross between a herbaceous and a tree peony. With distinctive and often very unusual flowers that can last twice as long as those of a tree peony, they can be rare, costly and highly desirable. Growing to around 75cm they are relatively compact and sturdy plants. The first tree peony was introduced to the UK by Sir Joseph Banks and planted at Royal Botanic Gardens Kew in London in 1789. Reaching heights of 2.5 metres (8 feet), tree peonies’ mass of dinner-plate size, ostentatious blooms make them a towering spectacle.

From late May the 100-metre-long Peony Border is packed with hundreds of pink peonies including ‘Lady Alexander Duff’ and ‘Sarah Bernhardt’. penshurstplace.com

Sissinghurst Castle Garden, Kent World-famous garden created by English author and garden designer Vita Sackville-West and her husband Harold Nicolson. nationaltrust.org.uk/sissinghurst-castlegarden

Fairlight Hall, East Sussex The spectacular ha-ha border dates back to the early 1900s and includes many long-established herbaceous peonies. fairlighthall.co.uk

Royal Botanic Gardens Kew, London The peony border at the southern end of the Evolution Garden showcases varieties including the delicate Fernleaf peony, glorious Mlokosewitch’s peony and many tree peonies. kew.org

Hidcote Manor, Gloucestershire Herbaceous and species peonies nestle amongst the towering topiary in the spectacular Pillar Garden. nationaltrust.org.uk/Hidcote

Baddesley Clinton, Warwickshire Peonies in the lavishly planted herbaceous borders and formal walled garden at this secluded estate in the Forest of Arden make it a perfect place for a leisurely stroll in the sun. nationaltrust.org.uk/baddesley-clinton

Spetchley Park Gardens, Worcestershire Home to one of the largest UK collections of peonies. Many plants were brought back by plant hunters for Victorian horticulturalist Ellen Wilmot. spetchleygardens.co.uk

Hodnet Hall Gardens, Shropshire Home of the Heber-Percy family, within the grounds is The Circular Garden, dating back to the sixteenth century and filled with hundreds of Chinese peonies. hodnethallgardens.org

Newby Hall and Gardens, North Yorkshire A heavenly mix of peonies and a cool floral palette in the intimate Sylvia’s Garden. newbyhall.com ABOVE A truly enchanting sight, the Rose Garden at Sissinghurst Castle Gardens, Kent, in June, is filled with Peony ‘Félix Crousse’, perfumed roses and rambling honeysuckle.

THE ENGLISH HOME 121

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GARDENING

Notable varieties to try With thousands of peonies available, there are a few standout varieties

Peonies are amongst the few garden flowers that are recognised solely by their variety. ‘Claire de Lune’ and one of the oldest varieties, ‘Edulis Superba’, from circa 1824, are both favourites of specialist grower Alec White, but avid plant triallist Sarah Raven opts for a different bloom. “For old-time’s sake, I love ‘Sarah Bernhardt’,” she says. “I’ve been growing it now for 25 years. It’s a lovely soft pink, has a nice gentle scent, is very floriferous and has a decent length of flowering season for a peony, and a vase life of over two weeks, if kept cool.”

SIMPLE NEEDS Contrary to popular belief, peonies are hardy and easy to grow. As Claire Austin explains: “They thrive almost anywhere in parts of the world where the temperature drops below freezing in winter, and they need almost no attention once established.” With plants often thriving for up to 100 years, peonies are perfect for new and experienced gardeners alike, if conditions are right and a few basic rules are followed. “The trick with peonies is planning,” says Tony Wiseman, head gardener at Penshurst Place in Kent. “Peonies are picky about soil depth, so make sure that when you’re planting them, the crown is no more than 2.5cm to 5cm below the surface. The occasional feed can also make a big difference. We feed them in spring, when the new growth is about four inches, with a slow-release fertiliser such as bonemeal, and again in late summer, before the leaves turn for autumn.” Best planted in spring or autumn, peonies thrive in a sunny spot that has free-draining soil. Clay or chalk are both suitable, as long as grit and compost are dug in prior to planting. Grown from tubers, peonies can be bought as bare-root plants during the dormant period of October to early April. During the growing season, they are sold in containers. ABOVE The shape of this traditional-style handcrafted plant support adds year-round elegance as well as helping to stop bloom-heavy peonies collapsing. Lobster Pot support, from £79, Harrod Horticultural

PAEONIA ‘CORAL SUNSET’ Beautiful herbaceous variety, semi-double blooms change from coral to soft yellow as they age. £10.99 for a 3l pot, Kelways

PAEONIA LACTIFLORA ‘HONEY GOLD’ Fragrant creamy white flowers with strong straight stems that are perfect for arranging. £25 for a 5.5l pot, Primrose Hall Peonies

PAEONIA ITOH ‘CANARY BRILLIANT’ A striking itoh peony, it features yellow-cream flowers with apricot shades towards the centre of the flower head. £22 for one bare root, Hayloft

PAEONIA LACTIFLORA ‘SARAH BERNHARDT’ Popular since Edwardian times, this much-loved variety has enormous, double rose-pink blooms with a delicious scent. £8.99 for one bare root, Crocus

PAEONIA X ‘ALL THAT JAZZ’ A new itoh introduction that has frilly, yet sophisticated, apricot flowers streaked with raspberry. £39.95 for one bare root, Sarah Raven

PAEONIA ‘CLAIRE DE LUNE’ Single-cup flowers in a soft lemon hue and with a sweet fragrance. Perfect as a cut flower. £18.50 for a 4.5l pot, Mac Plants. PAEONIA LACTIFLORA ‘BOWL OF BEAUTY’ Carmine cup-shaped outer petals enclose a mass of finely cut paler petals. £11.99 for a 1.3l pot, Jacksons Nurseries THE ENGLISH HOME 123

Planting them at the right depth is crucial. Although herbaceous and intersectional peonies need to be 3cm below the surface, tree peonies prefer to be at least 7cm below. Bear in mind that a peony will not flower if planted too deep. Water well when first planted, and throughout the following summer, but be careful not to overwater.

SEIZE THE SEASON Peonies flower between late April and July, peaking in May and June, their fleeting season being part of their charm. Snip off blooms once past their best and, in autumn, cut back and remove dead foliage to prevent fungal spores from weakening the plant. Add a layer of well-rotted compost around the base of the plant in late autumn or winter for extra nourishment. With their tall stems and full, weighty flowers, peonies often require staking. Supports range from simple hoops to elaborate baskets, and these are best pushed into place before the shoots reach 15cm high. Moving a peony is best done between October and February, when the plant is dormant. To move, simply dig carefully around the tubers with a fork or spade, retaining as much of the root ball as possible, lift and replant, ensuring plenty of well-rotted compost has been incorporated into the surrounding soil. Providing it is replanted in a suitable position and at the correct depth, the moved plant will thrive. ABUNDANT INSPIRATION Long popular with artists, designers, florists and perfumiers alike, peonies are instantly recognisable. During the late 1850s when many new hybrids were emerging, French artists – including Manet, Monet, Gauguin and, most memorably, Renoir – quickly became captivated, and these blooms frequently appeared in their paintings. Today little has changed and leading design houses – from Sanderson to Lewis 124 THE ENGLISH HOME

& Wood and Designers Guild – continue to be inspired by these exuberant blooms. Beloved by florists for their spherical buds and mass of crumpled petals, the most popular cut varieties include ‘Sarah Bernhardt’, ‘Buckeye Belle’ and ‘Coral Charm’. “Peonies can take a while to grow, but they’re well worth it,” says floral expert Becca ArmstrongBenson. “We recommend cutting the peonies before they bloom – the ideal time is when the bud has a soft, marshmallow-like texture.” n

TOP LEFT Relaxed and undeniably romantic, these rose-pink double blooms are sweetly scented and easy to grow. Peony ‘The Fawn’, £28, Primrose Hall Peonies ABOVE Seldom troubled by pests, peonies are long lived perennials and eagerly anticipated. Pyramid rusted-iron supports, from £60, Room in the Garden LEFT Peony ‘Sarah Bernhardt’ is a favourite with florists and dazzles alongside lime Alchemilla mollis, Alstroemeria and carmine roses. Peony bouquet, from £69.99, Appleyard Flowers London

FEATURE JILL MORGAN PHOTOGRAPHS P118 GAP PHOTOS. P120 (PRIMROSE HALL PEONIES) © CARON SAUNDERS. P121 (VASE OF FLOWERS) © FUNNYHOWFLOWERSDOTHAT.CO.UK/WILFRIED OVERWATER/VRIJ VAN RECHTEN; (PEONY) © PELEVINA KSINIA/SHUTTERSTOCK; (SISSINGHURST) © NATIONAL TRUST IMAGES/JONATHAN BUCKLEY. P123 (HARROD HORTICULTURAL) © STEPHEN TABER. (SARAH BERNHARDT) © PHOTOWIND/SHUTTERSTOCK; (HONEY GOLD) © CARON SAUNDERS; (ALL THAT JAZZ) © SARAH RAVEN; (CLAIRE DE LUNE) © TONY BAGGETT; (BOWL OF BEAUTY) © JOHNATAPW. P124 (PRIMROSE HALL PEONIES) © CARON SAUNDERS; (ROOM IN THE GARDEN) © CLIVE NICHOLS; (APPLEYARD FLOWERS) © STEPH HARRIS

GARDENING

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WIN A GREAT BRITISH HOLIDAY

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Enter our competition for your chance to win a holiday in Britain for two worth up to £5,000, including free international flights What would your dream holiday to Britain include? A five-star stay in London and tickets to a West End show? A trip to historic Edinburgh? How about a stay in the Cotswolds, including a visit to one of Britain’s finest stately homes? Well, with our Great British Holiday competition, you can win all of this and more.

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THE CHARMING COTSWOLDS To conclude your trip, it’s time to escape to the countryside to visit one of Britain’s finest stately homes and the birthplace of Winston Churchill: Blenheim Palace. Accommodation for the night will be at Minster Mill, a glamorous and luxurious hotel on the banks of the River Windrush in the historic village of Minster Lovell. After a full English breakfast, you can take advantage of the hotel’s top-class facilities – from its spa to its croquet lawn – or explore your surroundings: the idyllic Oxfordshire Cotswolds are home to some of England’s most beautiful villages.

COMPETITION

Two annual tickets to Blenheim Palace, one of the country s nest stately homes and the birthplace of Winston Churchill. www.blenheimpalace.com

One-night stay for two at The Athenaeum, a e-star hotel in London s Mayfair district, near Buckingham Palace. www.athenaeumhotel. com

One-night stay for two at Minster Mill, a luxurious Cotswolds hotel near Blenheim Palace. Includes breakfast. www.minstermill.co.uk

Two-night stay for two including breakfast at the Radisson Collection Edinburgh on the city s Royal Mile. www.radissonhotels.com

Two premium theatre tickets, plus a threecourse meal at Prezzo for two with wine from Buyagift, the UK’s leading provider of experience days. www.buyagift.co.uk

Visit Edinburgh Castle, the cottish capital s unmissable historic attraction, followed by a three-course dinner for two from go-to gift experience company Red Letter Days. www.redletterdays.co.uk

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LEFT Having studied textile design, Dame Zandra Rhodes graduated from the Royal College of Art in 1964 and made an immediate impact on the home furnishings and fashion scene – which she has continued to do for over 50 years. She founded the Fashion & Textile Museum in London in 2003 and is currently collaborating with Savoir Beds (as showcased in our May edition of The English Home) and Ikea.

HERO

Interior designer Matthew Williamson on iconic fashion and textile designer Dame Zandra Rhodes

“I

first met Zandra in her studio in Hammersmith, when I was a student at St Martin’s School of Art. I had admired her from afar and was looking for employment during my year out from a degree in fashion and textiles. As a young boy interested in creativity and expression, I was taken by her unique appearance as well as her body of work – she is definitely one of a kind, and her eccentricity appealed to me. I did a placement with her for about five months. She was relentlessly on top of her game, fully immersed in what she was doing. She would create the prints for collections, and my job was to refine them for screenprinting. I also did some pattern cutting. At the end of each day I’d have to sweep the studio floor, and I collected remnants from her glamorous eveningwear collections; when I graduated, one of my dresses was made from those scraps. Zandra cemented two things for me: first, work hard and put the hours in, and second, whatever you do, don’t swim in the middle ground. Have your own steadfast vision. Zandra’s work comes from her heart and doesn’t rely on trends. She’s single-minded about what she does, and has no regard for toeing the line. The idea that you should be proud of your differences really resonated with me. In my opinion, Zandra is more of an artist than a designer. I find what she does very whimsical, joyful and light-hearted. Both Zandra and I have sought colour, pattern and joy from other parts of the world – her love of the exotic and optimistic is similar to mine. We have seen each other at various events over the years and she always remembers me. She’s adorable and a rare breed. And her vision is a pretty nice one to have – we should all be a bit more Zandra!” matthewwilliamson.com; zandrarhodes.com n 130 THE ENGLISH HOME

RIGHT After a 20-year career in fashion, Matthew – who is renowned for his use of pattern and colour – has pivoted into interior design, to great acclaim. BELOW RIGHT Matthew’s collaboration with Roome London, which launched this spring, is a collection of furniture featuring colourful graphic patterns and visuals, fusing art deco silhouettes with contemporary design. BELOW LEFT For rug company Floor Story, Dame Zandra Rhodes has created a capsule collection of rugs, reproducing work dating back to her fledgling career in the 1960s.

FEATURE KATHERINE SORRELL PHOTOGRAPHS (DAME ZANDRA RHODES PORTRAIT) © TIM BEDDOW/INTERIOR ARCHIVE. (FLOOR STORY) © YESHEN VENEMA

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