E D UI G
9 1 0 2 N
IG S DE
INTERIOR DESIGN
EXPERT ADVICE
CREATING THE PERFECT ENGLISH HOME
Colour Pattern Paint Windows Lighting & more DESIGN KNOW-HOW
Kitchens Bathrooms Compact rooms Open-plan spaces
PLUS HOW TO WORK WITH AN INTERIOR DESIGNER
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CONTENTS
2 0 1 9 I N T E R I O R D E S I G N G U I D E F R O M T H E T E A M AT T H E E N G L I S H H O M E M A G A Z I N E
128
10
118 to plan a colour palette and how to use chic combinations.
18 CHOOSING PAINT Paint experts
offer key insights to help pick the perfect paint hues.
Pattern 24 FABRIC PRINT TERMINOLOGY
An overivew of the different methods of printing and the resulting effects.
28 CONFIDENT USE OF PATTERN
Discover why pattern, whether subtle or dramatic, is essential in good room design.
36 WALLPAPER PRINTING TECHNIQUES
An easy reference to alternative wallpaper printing techniques and textures.
Window treatments 64 ELEGANT IDEAS FOR WINDOW DRESSING The importance of
window treatments, from shutters to blinds to curtains.
72 CURTAIN TERMINOLOGY
An insightful introduction to curtain headings, poles, tracks and linings.
rooms that also cope with the pressures of everyday life.
76 LIGHTING FOR FORM & FUNCTION Discover how
lighting can make or break a room scheme.
84 LIGHTING TERMINOLOGY An
introduction to lighting types.
90 ACHIEVING A SENSE OF FLOW & COHESION An introduction
to key lighting types and using them well.
98 RUG TERMINOLOGY Key terms
to know when buying a rug.
Size matters 48 MAKING THE MOST OF SMALL SPACES Clever decorative
effects to make the smallest of rooms utterly delightful.
56 FURNISHING A LARGE ROOM
How to use scale, structure and statement to give a capacious space character and focus.
Essential Extras 102 CREATING IMPACT WITH ART
The best way to display art to add interest in every room.
antiques to provide interiors with a sense of history.
Kitchens & bathrooms 118 DESIGNING AN INVITING KITCHEN FOR ALL Achieving
a warm, welcoming, multifunctional heart of the home.
126 KITCHEN DETAILS The
important ingredients for a well-designed kitchen.
128 BATHROOMS WITH A SENSE OF SANCTUARY Create a well-
appointed, alluring bathroom.
Professional advice 136 WORKING WITH A DESIGNER
Commissioning a trained professional to save time, money and reap dream results.
141 DIRECTORY OF INTERIOR DESIGNERS A list of designers
we recommend.
Plus 97 SPECIAL SUBSCRIPTION OFFER
to The English Home magazine.
143 ADDRESS BOOK Useful
decorating contacts.
146 THE GOLDEN RULE One final
August 2018
COUN Romantic,
relaxed and
| £4.40 | UK
designs to
contemporary
Edition
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L MY RURA ESSENTIALS Kidd
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CLASSIC Kitchens
Jemma Kate Humble Liz Earle Mary King Rachel Johnson Sarah Raven Sir Roy Strong
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IN COUNTRY THE CITY
ENGLISH HOME The
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English style the essence of
| Issue 162
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COLLECTIONS SPECIAL
Celebrating the essence of English style October 2018 | Issue 164 | £4.40 | UK Edition
NEW COLLECTIONS Nature & nurture The Essential edit of fabrics, flooring, lighting, furniture & more
SITTING ROOM STYLE
Three chic schemes: classic, colourful & softly modern
Living life
TEH UK AUGUST
18 COVER
well with
$6.99
40 COMBINING STYLE & PRACTICALITY Create inviting
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Celebrating
CANADA
10 CHOOSING & COMBINING COLOURS Where to start, how
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110 SOPHISTICATED WAYS TO ADD ANTIQUES Incorporating
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NINA CAMPBELL The importance of comfort & detail
17:33
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Celebrating
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ENDURING DESIGNS
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NG BRITA IN
studios and
luxury brands
Best of British
the essence of English style 163
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Small-scale
BOOT ROOMS & PANTRIES Desirable, practical spaces
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Edition
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Colour
Discover the prints & patterns that never fall out of vogue
COLOURSCAP ES Decorating inspired by palettes hues of land & sea TASTES OF Heritage A NATION varieties & culinar y favourites
TEH UK OCT 18 COVER v7.indd 1
23/08/2018 15:36
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THE MOST
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CHARACTE RESTO R
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NEW TALENTS
IN DESIGN
27/07/2018
12:46
DISCOVER THE ENGLISH HOME MAGAZINE For further inspirational interior design advice, look to our main title, The English Home magazine, available in print and digital format. To order your copy, please visit chelseamagazines. com/shop
piece of advice.
THE ENGLISH HOME 5
Editor’s welcome
C
With warmest regards,
Kerryn Harper-Cuss, Editor-in-Chief
6 THE ENGLISH HOME
PORTRAIT RACHEL SMITH PHOTOGRAPH DESIGN BY TOR INTERIORS
Follow us on Twitter @englishhometeam Pinterest at pinterest.com/ theenglishhome Facebook at facebook.com@ theenglishhome Instagram at instagram.com@ englishhomemag
reating a beautifully designed home that reflects your taste and style and acts as the perfect backdrop for the lifestyle you want to lead is what most of us dream of. The decorative journey can be such an enjoyable one if you know the common errors to avoid and have a strong understanding of the process. Whether working with an interior designer or commissioning professional decorators, curtainmakers, upholsterers and so forth, the essential starting point is to have a firm grip on the important design terminology that will crop up regularly, as well as on the key factors you need to consider when choosing colour, using pattern, buying lighting and planning layouts for every room. The English Home team is fortunate to be able to connect and collaborate with some of the most knowledgeable and inspiring names in the interior design industry, and this special annual guide is a curation of some of The English Home’s finest features on room design. Our aim here is to offer a truly comprehensive and timeless decorating bible that can be referred to again and again, providing the confidence to make choices and helping to focus energies and use budgets to wisest effect. Inside you will find directional advice on all the key ingredients of good design as well as an essential directory of some of our favourite interior designers whose years of experience you can count on to achieve the most beautiful, personal and tailored end-results.
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EXPERT ADVICE
CREATING THE PERFECT ENGLISH HOME
Colour Pattern Paint Windows Lighting & more DESIGN KNOW-HOW
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PLUS HOW TO WORK WITH AN INTERIOR DESIGNER
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CHOOSING &
COMBINING COLOURS Colour decisions can be confusing. Just where should one start when creating a colour palette for an interior? With careful thought and experimentation, it is eminently possible to develop confidence with colour and achieve beautiful schemes
C
olour is a hugely dynamic tool, affecting the way we feel in a powerful, albeit sometimes subconscious, way. An all-white or neutral decorating scheme is undoubtedly subtle and sophisticated, but for vitality, drama and sheer visual stimulation many will want to use a stronger colour of some kind somewhere in the home. The question is what colour, and how best to use it? The human brain can interpret literally millions of different colours, and we each have our own feelings about them: one person’s warm and intimate room is another’s nightmare of brash shades. All of which can, perhaps, make the thought of decorating with colour rather daunting. With so many decisions to make, one place to start is with a few practicalities. It is a good idea to choose colours that work with those of existing furnishings,
10 THE ENGLISH HOME
that complement period features in an authentic way, or that help with the proportions or atmosphere of a space – for instance, a darker colour to make a room feel intimate and cosy, a paler one to enhance a feeling of spaciousness and a warmer tone to counteract a north-facing room. A working knowledge of the colour wheel is also helpful. The wheel is divided into segments showing the primary (red, yellow, blue), secondary (orange, green, purple), tertiary and sometimes further colours. Colours that are adjacent to or opposite each other on the colour wheel will co-ordinate, as will triadic colours – those that are located at three equidistant points on the wheel. More straightforwardly, darker and lighter shades of the same colour always work together. As well as such rational methods, however – and possibly even overriding them – are the processes that are more
Successful colour combinations almost always share a warm or cool undertone. Choosing from one fabric range is a failsafe option. Chair in Jewel in Ruby, £156 a metre; curtain in Fern in Red Ochre, £144 a metre; stool in Otto in Honey; £96 a metre, all George Spencer Designs OPPOSITE Creating a moodboard can be extremely helpful as collating samples on a large board makes it easier to see how colours relate to one another. This moodboard is by Sims Hilditch.
ABOVE Add colour to a neutral palette with bright, eye-catching upholstered furniture and accessories. From left: Duke chair in Millwood Crush, £1,249; Duke large sofa in Kate Spade Marble Swirl Multi, £2,642; Tableau footstool in Leokat Maraschino, £588, Duke large sofa in Millwood Pool, £2,166, all Delcor BELOW Stone Blue by Farrow & Ball is a strong colour but not overly dark. Here it works with royal blue, lime, emerald green, orange and navy, in a design by Tor Vivian of Tor Interiors.
12 THE ENGLISH HOME
instinctive. “Always start with the colours that really appeal to you on an emotional level,” says Lori Weitzner, textile and product designer, and author of Ode to Color, published by Harper Collins. “The main point is that selecting colour is personal. What is right for one person is not necessarily right for another. There is no colour to be avoided except the colours that one does not like or feel good around.” For inspiration, Weitzner recommends perusing magazines, books and interiors shops, selecting fabric swatches, paint chips, wallpapers, tiles and photographs of interiors that appeal, and collecting them all in a folder to see how they link. “Look at the bigger picture by layering in real life, not just by looking at brochures or the internet. Pinterest is fine for the very beginning, but it is better to collect actual samples and play with them with in person. Like a puzzle, move the samples around on a board and in varying lights, and see what works and what does not.” Mary Graham, of interior designers Salvesen Graham, agrees that the holistic method is best. “It’s really worth trying to get an overall picture at the beginning,” she says. “We put everything on our design table in a glorious muddle so something will emerge.” As a first consideration, work out which areas within the room should be the strongest in terms of colour, and which will be secondary, or smaller highlights. Looking at the room as a whole, think about the visual weight of the colours in the room, ensuring an overall sense of balance, rather than putting all the strong colour in one area. A starting point is often the floor – especially if it is going to be patterned or covered with a large rug – or perhaps the curtains or upholstery. If the floor is neutral, the walls might be the main feature, though ‘feature’ walls as such tend to be less fashionable these days. Graham adds: “We’re not keen on feature walls because we feel they really stand out. If you love a colour then we think it’s great to commit, and use it everywhere.” As Weitzner says, creating a moodboard can be extremely helpful – a step further than a collation of samples, it puts them together on one large sheet of board, roughly in proportion to the size they will be in the room, making it easier to see how colours relate to one another. Patterns, too, can be a crucial element. “We often incorporate colour by using a patterned fabric as an anchor for a scheme,” says Graham. “Something like a suzani or an ikat is great – you can take the different colours in it and use them for the sofa, cushions, lampshades and other elements in different textures and colours.” Whilst it may seem logical to start by choosing paint shades first and then work from there, this is not always the ideal option. Weitzner says: “Start with whatever is the ‘driver’, meaning that if you have a favourite paint colour that makes you feel wonderful, start with that. If you have a favourite fabric, start with that. Then build a palette around your choice.” Graham, on the other hand, is more cautious: “It can be hard to source fabric with an exact colour to match your paint. If you choose your fabric first then you are more likely to find a paint that works with it. Sometimes, if you know the type of colour you want, you can start to choose fabrics, but it’s really best not to commit to the specifics until you actually know your scheme.”
Each of British Standard Cupboards’ hand-crafted Shaker units is supplied primed ready for painting. For a similar paint colour, try Farrow & Ball’s Brinjal. Cabinetry, from £465, kitchens, from £8,000, British Standard Cupboards THE ENGLISH HOME 13
CLOCKWISE FROM LEFT A dark blue wall is classic yet modern and it also provides a fabulous backdrop for vivid hues such as pink, lime and mustard. Two-seater Salvesen Graham sofa, from £2,200, David Seyfried Add drama by matching floorboards to walls and adding a strip of contrast. Walls, floor and cupboard in India Yellow; stripe in Green Smoke, both £43.50 for 2.5l, Farrow & Ball A dark ceiling can create unexpected interest in a tall but small room. Walls, Flint; ceiling, Deep Space Blue; window frame: Marigold, from £42 for 2.5l Absolute Matt Emulsion, Little Greene Here, harmonious colours add a playful touch. Skirting, Marigold; lower wall, Pale Lime; upper wall, Brighton; ceiling, Slaked Lime, price as above, Little Greene
14 THE ENGLISH HOME
Both Graham and Weitzner caution against the obvious approach of matching colours too exactly. “The end result could look quite contrived,” says Graham, “and when using different colours, try to use different tones as well, because if they are all the same depth of intensity it’s very boring.” This is when the colour wheel comes into its own, as do paint charts, which are generally laid out so that is possible to choose either across or down the rows so as to combine colours successfully. To play really safe, choose fabrics from one company’s collection, which will have been carefully designed to coordinate beautifully. In general, it is best to avoid mixing ‘warm’ tones (containing red and yellow) with ‘cool’ ones (with blue and green), and Graham also points out that ‘true’ colours like royal blue, composed of pure pigment, only really work in very bright, fresh light – in other words, they are not truly suited to the cloudy light of the UK. “They can be unforgiving and very graphic,” she says. “Slightly ‘dirtier’ colours are easier to work with.” The ultimate choice of colour should always take into consideration the effect of light, both natural and artificial, within a room. Fixing swatches to each wall and observing how they change during the course of the day is the only way to test this. It is also helpful to bear in mind that surface texture affects colour – in theory, it is possible to exactly colour-match a swatch of fabric using a paint
ABOVE Edward Bulmer Natural Paint’s Eau de Nile provides a hint of colour on the walls against which pastels such as pink and pale blue look delightful, as seen in this impressive open-plan kitchen. BELOW A strong red works well with a dark-wood floor and creates a dynamic atmosphere in this spacious study, by Thorp Design. The walls are covered with fine wool fabric by Pierre Frey, with curtains in Fortuny’s Canestrelli in rust and beige.
FEATURE KATHERINE SORRELL PHOTOGRAPHS P10 © ADAM CARTER; P13 © RICHARD GADSBY; P14 (SALVESEN GRAHAM) © EMMA LEWIS; P15 (THORP) © RICHARD POWERS; P16 (BENJAMIN MOORE) © JOHN BESSLER
For vitality, drama and sheer visual stimulation, many will want to use a stronger colour of some kind somewhere in the home company’s scanning and matching service, but a high-gloss paint will never appear to be exactly the same colour as, say, a slubby linen, however perfectly matched. A final thought: should one follow colour trends? Has grey had its day? Is it all about green, or maybe dark blue, or even so-called millennial pink? Experts advise always being true to your own tastes rather than purely following fashion. “At the moment we are really loving green, and quite dark, sludgy colours, as are really great as backgrounds for artwork. Meanwhile, at the other end of the spectrum, pale pinks are really flattering,” Graham says. “However, we really love all colour and would encourage everyone to experiment with it. The best way to follow trends is with accessories that can be changed whenever you want. On the whole, it’s best to follow your instincts and simply choose colours you really love.” n ABOVE Dark walls make a dramatic statement which can be softened by using white on woodwork and delicate or more feminine colours for furnishings. Walls, Black Beauty, £75 for 3.79l, Benjamin Moore
16 THE ENGLISH HOME
RIGHT Be inspired to combine soft pastel hues with darker, more opulent colours. Vicenza velvet fabrics in Orchid, Waterfall, Blossom and Amethyst, £45 a metre, all Designers Guild
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CHOOSING PAINT Here, paint experts offer key insights to help pick the perfect paint hues and make more confident decorating decisions
G
iven the incredible range of paint shades and hues there are to choose from, finding the perfect colour should be a breeze. Yet, as most of us know only too well, the reality of whittling down the choice to ‘the one’ can be a lengthy, even frustrating, process. Gathering paint charts and accumulating a teetering tower of tester pots seems to be an almost unavoidable hazard of decorating – unless employing the experienced eye of an interior designer – but why is this the case? Are homeowners simply frozen with indecision? Or is paint colour selection more complicated than it first appears? The truth, in fact, incorporates a little of both. Homeowners can be remarkably loath to commit to colour (hence the perennial popularity of neutrals), added to which, all paint is not created equal and the 18 THE ENGLISH HOME
human eye can be prone to error when ‘reading’ colour from a small paint ‘chip’ on a chart. Yet, with a little insight, colour confidence can come more readily and the frequency of success increase. TRUSTING INSTINCTS It is best to think of colour swatches on paint charts as a tentative first sensory connection, which may or may not entice further exploration. Instinct is a good initial guide to colour and most people will automatically be drawn to certain hues on a paint chart. Some are naturally drawn to cooler, tranquil shades, whilst others gravitate towards richer, warmer hues. It is wise to take note of this before the paralysis of analysis sets in. “Think about the colours you feel most drawn to in your everyday life,” Alyce Taylor, interiors stylist and creative director advises. “And use your intuition to
OPPOSITE Painting swatches on paper allows you to move your samples around a room. Claypaints, from £40 for 2.5l, from a selection at Earthborn THIS PAGE Harmonious shades of mint and palest aqua used on walls, woodwork and skirting create a visual flow. Walls, Fountain Green, from £43 for 2.5l Active Emulsion, Sanderson
THE ENGLISH HOME 19
ABOVE LEFT Edward Bulmer’s paint is made with natural ingredients and plant extracts. Fine Grey, £45 for 2.5l Emulsion, Edward Bulmer Natural Paint TOP RIGHT Little Greene paint is gorgeously creamy. Marine Blue, £43.50 for 2.5l Absolute Matt Emulsion, Little Greene ABOVE RIGHT Mylands uses real paint on its colour charts to convey the truest colours to its customers.
select those you’ll feel most comfortable living with in the long term.” She also emphasises the need to consider the relationship of a given room to any connecting rooms when choosing a new paint hue. “Don’t think of each room in isolation,” Taylor continues. “Think about the house as a whole, and choose similar tones, so that there is a flow from room to room. If you have a pale or neutral colour in a hallway leading directly to a room painted with a very strong colour, the effect may be jarring. Before making your choice, consider how each room scheme will feel as a visual progression. TESTING, TESTING A hand-painted chart will always give the most accurate introduction of hues to choose from, as it offers a direct replication of the authentic paint finish. Most paint charts are carefully ordered into colour families – not just by the obvious main hue, but by a cool or warm undercurrent, too. For example, off-whites can have a warm pink or yellow undertone, or a cool green or grey one, which, when translated from a small swatch to an entire wall, will become magnified in impact, so finding out what the undercurrent is will help to avoid mistakes.
20 THE ENGLISH HOME
Even the trained eye is not able to easily isolate one swatch from another within a range of vision on a paint chart. And because lighting conditions and paint formulation also have an impact on the way colours read, all the paint experts we spoke to stressed that it is essential to buy tester pots in a chosen formulation to test upon walls in situ. “Whilst we use actual paint on our colour cards for the truest colour, a colour card can only show small amounts, so can be deceptive,” Dominic Myland, managing director of Mylands of London, explains. “I always recommend selecting your favourite colour, then choosing one shade lighter and one shade darker as well. You may be surprised by which you ultimately decide upon. The type of light source (natural or artificial) and its quantity will change the way a colour appears in a room. The finish will also have an effect: matt paint tends to absorb light and can make a colour appear slightly lighter; eggshell and gloss typically make a colour appear darker.” Charlotte Cosby, head of creative at Farrow & Ball, concurs, emphasising the impact of natural and artificial light. “The amount of natural light and the direction that the room faces will have a significant impact on the appearance of a colour,” she says. “The same colour can appear quite different from
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ABOVE LEFT Choose similar colours for connecting rooms so there is a flow from room to room. Walls in Erica, Quail and Monument, £48.50 for 2.5l Pure Flat Emulsion; trims, Masque, £66.50 for 2.5l Architects Eggshell, Paint & Paper Library TOP RIGHT Benjamin Moore’s paint palettes are separated tonally. Walls: Baby’s Breath; Alcove: Marblehead Gold; both £25 for 0.94l Aura Matte, Benjamin Moore ABOVE RIGHT A tone-on-tone approach is soothing. Main, Quarter Silver; accent, Silver, both £46 for 2.5l Elite Emulsion, Zoffany
from room to room, at different times of the day, and even year. It is important to see a larger swatch of the colour in situ, so paint a piece of paper or card and place it in the room, looking at how the colour changes at different times of the day. If you are decorating a dining room mostly used in the evening, check the colours in evening light to achieve the desired look.” The English Home team advises that the larger the swatch, the more accurately the human eye can read the result. An A5-sized piece of card should be the absolute minimum size trial area, with A3 being desirable. In this process, the larger the better. As well as colour, this test will also help assess the opacity and application of each paint formulation. FACTORS TO CONSIDER Paint is never used in isolation, so it is vital to always consider paint colour in relation to its decorative accompaniments. Furnishings, curtaining and flooring can each cast an almost imperceptible colour halo: bold red curtaining (for example) will cast a warm echo upon a neighbouring wall. “This is such a simple but important factor to overlook,” says The English Home editor-in-chief Kerryn Harper-Cuss. “I once painted a hallway cream and it took several days to realise that the unwanted green undercurrent was the result of the
22 THE ENGLISH HOME
reflection of the dark green garage doors echoing through the hall window onto the walls.” A wall colour that is being painted over can also have an impact on the finished result – particularly if changing from a rich to a lighter hue, or from a cool to a warm hue. “When covering a colour that is markedly different from your new choice, it is always best to use the paint maker’s recommended undercoat as a base upon which to paint the finish,” says David Mottershead, managing director of Little Greene. “Undercoats are designed with very high obliteration to kill the colour underneath with the minimum number of coats, making the application of the finish easy with the minimum of coats also.” The choice of paint for woodwork or cabinetry can also impact on the final look. White is the default option, but do consider a contrasting colour or a tonal blend with the main wall colour. “Using white on the trim helps to give a room a clean, finished feel, which is why so many people like it,” says Helen Shaw, marketing director of Benjamin Moore Paints. “But using a colour can definitely help the room achieve a more sophisticated and complete look. As with any colour scheme, the more contrast there is, the more dramatic the effect. So, the safest scheme would be one where a colour a few shades darker than the walls is used on the trim. Benjamin Moore’s palettes are separated tonally into a muted palette and a clean
constituent blend of pigment, binder and solvent) varies in balance and quality from brand to brand, so the opacity and application of paints vary hugely too. Different paint brands offer different benefits in addition to the broad variety of tones and shades of colour, which is also worth taking into consideration. Fired Earth and Little Greene offer gorgeously creamy paint compositions and excellent opacity. Lakeland Paints, Earthborn Paints, Eicó and Edward Bulmer Natural Paint keenly promote their eco-credentials without sacrificing paint quality. Farrow & Ball, Mylands, and Papers and Paints all have strong heritage stories, either through archival reference points or the modern-day knowledge of the colour creators. If seeking something even more specialist there are plenty of smaller brands to investigate, too, such as Francesca’s Paints, Rose of Jericho, Auro, Nutshell, Craig & Rose to name just a few. Finally, it is important to remember that paint is one of the most inexpensive and instantaneous means to decorative transformation, so fear of error should be kept firmly in context. The cost of a mistake is much smaller than when investing in beautiful flooring or significant meterage of exquisite fabric. And the benefits of trusting in instincts and choosing a colour that really lifts the spirits is money well spent. n
ABOVE LEFT Bold walls contrast well with fresh white woodwork for a dramatic impact. Indigo Blue, £43 for 2.5l Active Emulsion, Sanderson ABOVE MIDDLE Experimenting with paint to get just the right shade that transforms your home and mood is money well spent. Wooster Olive by Abigail Ahern, £33 for 2.5l Matt Emulsion, Craig & Rose ABOVE RIGHT The dusky pink tones of the walls lend this entrance hall a warm, embracing feel. Salmon, £61.75 for 5l Eco Friendly Matt Paint, Lakeland Paints
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PHOTOGRAPHS P22 (PAINT & PAPER LIBRARY) © PAUL RAESIDE; P23 (CRAIG & ROSE) © GRAHAM ATKINS HUGHES; (LAKELAND) © ELIZABETH WHITING
palette, so as long as you stick within the same palette, you can’t get it wrong.” For the braver decorator, Shaw suggests, “If you want to be a bit bolder, you can reverse the effect and use the darker shade on the walls.” Judy Smith, colour consultant at Crown Paints, offers additional insights for trims. “If your wall colour is a soft pastel, think about making the woodwork another soft pastel that is the same weight of tone – a soft grey on woodwork with the palest pink walls, for example. For an unbroken look, opt to paint woodwork the same colour as the walls. This looks wonderful if you have painted shutters as well.” She goes on to suggest, “Skirtings and window surrounds don’t always have to match. Try painting a window frame in a different and/or bright colour. This is particularly effective with blinds so that you can see the whole surround.” Many interior designers look to the Architectural Colours paint range from the Paint Library for its perfectly tonal paint families for walls, trim and cabinetry. Each colour in the palette is numbered I, II, III, IV or V according to tonal weight, offering perfectly proportioned choices. The Colour Scales collection from Little Greene is similarly useful. Trying to copy a brand’s paint swatch with a mix-toorder colour spectrometer will not result in the same colour as paint composition (the important
Fabric print terminology Fabric for upholstery or curtains is a long-lasting investment for the home, so it is wise to take the time to research the life expectancy of a fabric and understand the technology behind its manufacture. The following terms will be of assistance
W
hilst the construction of any textile and the way it has been printed is not essential knowledge for the general consumer, the discerning homeowner will benefit from an understanding of the different techniques, the impact they can have on the quality and refinement of design, and the implications, therefore, in terms of cost and time to produce to order. Here we consider the different techniques for printing fabric and the importance of checking durability ratings. FABRIC TESTING There are three elements that upholstery fabric should be tested for: colourfastness, durability and flammability. Colourfastness to light measures the permanence of a colour on fabric after exposure to UV rays (sunlight) and fluorescent light, and is rated on a scale of one to five – with five being the most resistant to change; for upholstery a minimum level of four is recommended. Curtaining and upholstered conservatory furniture will both be significantly impacted by exposure to light. Colourfastness to rubbing assesses the amount of colour transferred from the fabric onto a white cloth in both its wet and dry state. Level four is recommended for the dry test and level three for the wet. This is, of course, of greatest importance on fabric used for upholstered seating. A fabric’s durability is measured through rub-tests. Broadly, there are two types of machine rub-tests: the Wyzenbeek test involves rubbing along the warp and weft of the fabric, whilst the Martindale test involves a figure-of-eight rub. The tougher the fabric, the higher the number of rubs it will withstand. A rub figure of around 20,000 is suitable for general domestic use and 30,000 for heavy domestic use.
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The industry test for flammability indicates a fabric’s performance when exposed to a flame. Remember, if buying fabric for reupholstering, it is essential to ensure it meets the required safety standard for flammability; it is illegal to sell secondhand furniture that does not. FABRIC PRINTING This is the process of applying coloured patterns or designs onto fabric. It is
different to dyeing, which involves the application of a single colour, usually by immersing the fabric entirely in a liquid dye solution. HAND-BLOCK PRINTING This is the oldest and most time-consuming printing method. A design is engraved in relief on a wooden block, dipped in dye and pressed against the fabric. Designs that are more delicate require the addition of
BELOW This block-printed design was originally created by British designer Peggy Angus. Diamond, £92.50 a metre, The Peggy Angus collection, Blithfield
fine metal strips to be driven into the block, a method called ‘coppering’. The skill of the printer is to make sure that successive pressings of the block are all exactly in line, which is achieved by lining up pins in each corner of the block. Hand-blocking is a slow and laborious technique and therefore much less commonplace today. Some traditional fabrics from India and the Far East continue to be produced this way and some artisan fabric designers practice this technique for short print runs, often created in home studios.William Morris used this method for many of his bestknown designs. ROLLER PRINTING Otherwise known as machine or cylinder printing, this method involves the engraving a design onto copper rollers; these are ‘inked’ with dye, then run continuously over a long length of fabric on a conveyer belt. Large machines are capable of printing from two to 16 colours in succession. Once a section of material has passed through all the cylinders the pattern is complete; this one ‘pattern
ABOVE A bold and colourful series of vibrant motifs, available on a linen/cotton mix fabric or velvet, for an even richer depth of colour. Armchair, Jocasta, Red, £75 a metre, Rosella collection, Colefax and Fowler ABOVE RIGHT This bold palm leaf design is digitally-printed in England on 100 per cent cotton. Blind, Zanzibar, Midnight; £31 a metre, the Curious World collection, Olivia Bard RIGHT Hand screen-printed and lino-blocked, Lindsay Alker’s collection offers an artisanal touch. Fabrics (from left): Palmyra, Indigo, £98 a metre; Casa, Indigo, £98 a metre;
THE ENGLISH HOME 25
FEATURE DEBORAH GRAY
ABOVE LEFT Plain cushions in Marimba, £52 a metre; patterned cushion, Ipanema in Neutral/ Pastel, £72 a metre; fabric in foreground, Ipanema in Aqua, £72 a metre, all Jane Churchill at Colefax and Fowler ABOVE RIGHT Fabric for upholstery should be colourfast, have a reasonably high rub count and a suitable fire retardancy rating. Arcadia in Apple Green (LF1822/04), £49.90 a metre, Linwood
repeat’ is marked by a ‘print colouration marker’ on the selvage, or side edge, of the fabric.
and affordable to have fabric or cushion covers made to personalised designs or from photographs.
SCREEN PRINTING The design is printed onto fabric through a stencil held in place by a screen. Each screen prints one part of the design in one colour. This can be done manually for small items, but the process is automated for larger amounts, with the fabric moved through the machine on a conveyor belt and the print repeating rapidly; this is known as flat-bed screen printing. Rotary screen printing uses dye-filled rollers, each covered with a stencil, one for each colour required for the design. This process is commonly used in the continuous printing of furnishing fabrics.
RESIST DYEING Methods are used to ‘resist’ or prevent the dye from reaching all the cloth, thereby creating a pattern. Tie dye and batik are the best known of these, where a wax or paste is applied to the cloth before it is immersed in dye; when the wax is removed the ground colour is revealed. The same effect may be obtained in modern screen printing by adding chemicals to the dyes.
DIGITAL FABRIC PRINTING This involves printing on textiles and garments using inkjet technology with specially developed dyes for use with different fabric types. There are no limitations on colour or pattern and it is particularly useful for printing larger or intricate designs in vivid colours and bespoke materials. It is surprisingly straightforward
26 THE ENGLISH HOME
IKAT Ikat means to tie or bind in Indonesian, and describes a traditional resist-dyeing method applied to either the warp or weft threads prior to weaving the fabric to create a pattern. DIRECTIONAL/NON-DIRECTIONAL PATTERN A directional-patterned fabric is one where the print goes in one direction (for example, a floral pattern), or two directions (stripes). A non-directional print is an all-over design, such as spots. n
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CONFIDENT USE OF
PATTERN
From the subtlety of one-colour or textural patterns to the drama of over-scaled, vivid designs, using pattern well creates endless potential when decorating to add personal panache to a home
B
old and brave or subtle and understated, pattern brings character, dynamism and even vibrancy to an interior, whether in the form of an entire, complex scheme, or simple touches such as a wallpapered wall or a set of cushions. Pattern can create a focal point – take a classic armchair, re-cover it in an oversized print, and think of the impact. It can provide subtle interest through a few accessories featuring charming, understated designs. Or it can be the raison d’être of an entire room – a complex combination of patterned walls, rugs, fabrics and decorative details. Pattern is timelessly popular, but is also having something of a fashion moment just now. Think of chevron-striped rugs, the recent vogue for colourfully invigorating tropical prints, and of the catwalk look called ‘matchy-matchy’ that has wound its way into interiors.
28 THE ENGLISH HOME
Not since the 1980s has it been so on-trend to use a single pattern on walls and curtains, perhaps even on upholstery and bedlinen, too. There is even a growing move towards decorating perhaps the most overlooked part of our homes – the ceiling – with eye-catching printed wallpaper or patterned tiles. However, whether for walls, ceilings or furnishings, the thought of choosing patterns, especially bold ones, or of combining two or more different patterns, can be daunting. There is no denying that it is easier to follow the most obvious route with pattern and limit it to appearing in just one or two places. But combining a variety of patterns, though harder to get right, can be tremendously exciting and full of impact. One place to find inspiration could be the pattern books created by fabric and wallpaper designers, where everything is already
The patterns here are united by an exotic twist, both in content and a softly tropical colour palette. Curtains, Indira, ÂŁ59 a metre; chair, Chari Stripe, ÂŁ69 a metre, both Jane Churchill at Colefax and Fowler OPPOSITE Gavin Houghton has combined different scales, colours and patterns for an eclectic look that creates an evolved feel in this cosy sitting room.
CLOCKWISE FROM LEFT For those worried about using a large-scale design on walls, choosing a maximalist pattern in a neutral colourway adds understated interest to a room, and is confident and impactful without being lurid or overbearing. Helleborus wallpaper, £115 a roll, Farrow & Ball Statement ceilings are becoming a vogue, but they need not be garish or overly imposing, as this charming interior demonstrates. The contemporary print – Hawthorn by Neisha Crosland – creates a contrast with the ancient beams for a modern country mood. The natural oak curtain pole is by Walcot House. Variations of scale and the density of patterns, plus a decorated ceiling, make for a beautifully cosy sleeping corner, designed by Alidad. This tremendous pattern by Flora Roberts has been used with flair in the Kipling Suite of Browns Hotel, London. Colours are picked out in the plains and stripes used on the chaise. Wallpaper, Alhambra, Verdure, £65.52 a metre, Lewis & Wood
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co-ordinated: stripes with damasks, spots with florals, and so on. They make an ideal springboard for ideas, but can be limiting, possibly even bland, if used extensively. “Using pattern books will always work,” advises Lily Paulson-Ellis of LPE Designs. “The designers are very clever and know their fabrics better than anyone, but you are always going to have a more organic look if you mix in patterns and colours from other books.” CONSIDERED CURATION Interior designers will often create a moodboard in order to assess how colours, patterns and surface textures will work together in the context of a room. If they do not go as far as actually sticking samples to a large rectangle of board, they will put together lengths of fabric (known as ‘returnables’), and swap them in and out until they are happy with the overall scheme. “I always put a moodboard together,” says interior designer Gavin Houghton. “I have to see everything working, including the colours of the woodwork in the room and the lighting.” For Paulson-Ellis, it is more about playing with a variety of patterns. “I rarely make a moodboard, but I do put things together to see how they look,” she says. “It’s often when you have spread everything out on the table and it’s a complete mess that interesting things jump out at you.” ABOVE A pale backdrop allows for a playful use of pattern and colour in this design by Stephanie Horton at Horton Design Associates. Curtains in Moghul Flower, £281 a metre, with Moghul Flower border, £172 a metre, both Neisha Crosland for Chelsea Textiles RIGHT Delicate trailing florals in a large overall repeat combine to create an airy and pretty bedroom. Summer Harvest wallpaper, £56 a roll, and all fabrics, Sanderson THE ENGLISH HOME 31
Here, there is a harmonious juxtaposition of the unexpected, with an emphasis on the uniting influence of colour. Bed canopy lining, Sloane, £63 a metre; headboard, Cameron Floral Vine, £118 a metre; curtains and bed drapes, Barchester Plaid, £91 a metre, and all other fabrics, Hodsoll McKenzie
Analysing a room and the taste of its owner, is the starting point for an interior designer’s deployment of pattern. “There are no rules,” says Houghton. “The room might need a bold wallpaper, and I go from there, or I might be inspired by a rug, a painting or some furniture that is in the room already. I try to work out if a client wants a look that is classic, comfortable, grand or playful, and gradually the scheme comes together.” Paulson-Ellis adds: “I tend to find one pattern that really captures my imagination, and everything else fits around that. One guide might be the composition of the fabric. If it’s a fine silk, for example, I use it on a bedroom armchair or a cushion rather than a sofa. And if a client is concerned that they might fall out of love with a strong pattern, or that it might go out of date, then I use it on smaller areas – it’s less expensive and can be changed more easily.” SENSE OF SCALE It is sensible to decide the position of the most dominant pattern first, whether it be on the walls, a rug, upholstery, curtains, bedlinen or smaller areas such as cushions or lampshades, and work secondary patterns in accordingly. Not forgetting that textures – the slub of raw silk, the herringbone of woven linen, chunky knitted wool – form their own kind of subtle pattern. Large-scale patterns are, obviously, well-suited to covering large areas (the walls of a spacious room with a high ceiling, for example), but this does not mean that they cannot be used elsewhere for impact. “It is very subjective,” says Paulson-Ellis. ‘‘It’s possible to put large-scale patterns on blinds or other smallish areas, but one has to bear in mind that very big repeats might not work on very small surface areas, such as cushions and lampshades. However, if you have a tiny downstairs cloakroom, it can be absolutely the right place to use a really fun, large-scale pattern on the walls. It’s affordable because you won’t need to buy too much of it, and you can push the look as far as it will go.”
TOP Adam’s Eden wallpaper from Lewis & Wood is an ever-popular design. It is large scale yet has a delicate painterly quality. Here, it is showcased as a gorgeous backdrop in a sitting room by Sims Hilditch, with the subtle coral tones echoed in the cushions. ABOVE A bold design from Travers has been used to full effect on the window treatments in this room by LPE Designs. Cushions from Oka and Barneby Gates add extra pattern and texture. THE ENGLISH HOME 33
‘Sometimes you don’t want too much balance, you want the room to look somehow slightly “wrong” ’ Colour is an important determiner, too, and will affect how and where each individual pattern is used. Good co-ordination is achieved by using tones – meaning the lightness or darkness of the colours – that agree with each other, says Paulson-Ellis. “Mixing patterns can be quite instinctive, but what works is all to do with tone,” she says. “It’s a bit like the Farrow & Ball colour chart – they all work well together because the base tones are holistic.” BALANCE AND VARIETY Varying the scale of patterns used within a room is an important means of adding dynamism. Really small patterns are only noticeable close up; from a distance they look like a plain colour. Though sometimes this can be a disappointment, it may also be an advantage, as a tiny pattern can be used as a lovely addition to a scheme that calls for a decorative but subtle element. Density, too, is a factor, as loose, open patterns give a visual ‘breath’, whilst intricate patterns with closely placed designs have more drama. As with scale, when using several types of pattern together a variety of densities gives balance and interest. 34 THE ENGLISH HOME
Should specific genres of patterns be put with each other? Toile de Jouy with damasks, oriental with chinoiserie, chevrons with geometrics? Whilst it may seem a good idea to limit the styles of patterns to maintain coherence, professionals actually advise the opposite. “With pattern, it’s worth keeping an open mind,” Paulson-Ellis says. “Think of the traditional English country-house look that has evolved organically, with lots of different patterns that sit together so nicely, as if they have always been that way. There could be an ottoman covered with a kilim next to a floral print, and they sit really well together.” Success with pattern mixing is a combination of trial and error, logic and instinct, but the only important thing is that the end result is pleasing and liveable. “It’s about a sense of balance,” says Houghton. “But then again, sometimes you don’t want too much balance, you want the room to look somehow slightly ‘wrong’. That’s the marvellous thing about classic English decorating – it looks like it’s been there forever, rather than looking too harmonious and like a hotel lobby. It has personality – somehow multi-faceted, a person that you’d like to get to know.” n
FEATURE KATHERINE SORRELL PHOTOGRAPHS P30 © (FARROW & BALL) © JAMES MERRELL; P31 (SANDERSON) © ANDY GORE; P34 (SIMS HILDITCH) © BRENT DARBY; (HAYMARKET HOTEL) © SIMON BROWN
ABOVE A variety of patterns can be brought together effortlessly when unified by their hues, as shown in The Artists’ Collection by Vanessa Arbuthnott. LEFT Kit Kemp’s designs are always an inspiration for how to combine both pattern and rich colour yet still feel gently co-ordinated and welcoming. This is the striking townhouse bedroom at the Haymarket Hotel.
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Calypso dining chairs with Wallis embroidery on Capri silk velvet - Aquamarine
Wallpaper printing techniques Whether for a statement wall or an all-over effect, wallpaper endures as a powerful decorative choice. With so many varieties on offer, here is a brief introduction to how each is made.
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aving become the most popular method of adding colour and decorative detail to interior walls for the emerging, statusconscious eighteenth-century merchant class – the tapestries adorning the walls of the wealthy were too costly – wallpaper has remained a mainstay of interior design ever since. Printing methods have come on apace since the early days of wallpaper production, with each new era bringing forth innovations to speed up the process, produce more intricate designs and increase availability to all and sundry. Here we look into the different processes and results they achieve. HAND-BLOCK PRINTING This is a traditional method involving the carving of wooden, metal or linoleum print blocks – usually one for each colour – and pressing them sequentially along the length of the paper. This technique is extremely labour intensive as the colouring and print alignment is all done by hand. Following the final pressing, these papers may be touched up or even coloured by hand.
the cylinder instead of raised. The ink collects in the recessed pockets and is absorbed by the paper as it passes over the cylinder. Because it only takes four transparent overlapped colours to make up most colours in the spectrum (four-colour process), this method enables unlimited colour and pattern choice. Most of the wallpapers that imitate the look of realistic objects, art or photography are printed by the gravure method. SCREEN PRINTING This method uses stencils to transfer the design onto a frame of stretched silk or similar synthetic fabric. Paint is applied to the frame and penetrates areas of the screen not blocked by the resistant stencil pattern. Several colours can be added to a long, flat printing bed and, using separate stencils, it is possible to build up a design using
successive layers. Screen printing may be done by hand, which is slow and costly; more commonly it is automated, when it is called flatbed screen-printing. ROTARY SCREEN PRINTING This is an automated form of hand-screenprinting. A hollow cylindrical screen is created with tiny openings where the unblocked areas on a silk screen would be found. The screen is wrapped around a repeatable cylinder and inks are applied from inside the cylinder. Through the use of a number of printing stations, a complex design can be built up. As the colours are dried between stations, colours can be overlapped or overlaid without showing through – although transparent inks may be used to create this effect. Rotary screen printing produces vibrant opaque colours with crisp, well-defined edges.
SURFACE PRINTING This is the oldest automated printing method still in use today. Designs are carved into cylinders, which are then coated with ink and pressed onto the paper. The machines lay down large quantities of ink, meaning the edges blur slightly. Consequently, surface printing is not as crisp as some other methods. Surface printers can have between 12 and 20 print stations, each applying a different colour as the paper passes through, so they are well-suited for multi-coloured patterns. Flexo (flexographic) printing is a variation on surface printing using engraved rubber cylinders or rollers. This method uses less ink so has a sharper finish. ROTOGRAVURE PRINTING Also known as ‘intaglio’, this method uses an engraved cylinder to transfer the image to paper, however, the design is recessed on 36 THE ENGLISH HOME
ABOVE LEFT A reinterpretation of an illustrative painting from the mid twentieth century. Asterid, Lantern, £196 a roll (3.25m x 52cm), Little Greene ABOVE RIGHT This design by decorative muralist Flora Roberts forms part of Lewis & Wood’s collection of wide-width wallpapers. Doves, Summer Blue, £56.40 a metre, Lewis & Wood
Botanical designs often look best at a slightly oversized scale. This graphic line drawing of trailing florals echoes an archive Indienne block-print design. Solaine, £58 a roll, Sanderson
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THE ENGLISH HOME 37
FAR LEFT These elegant Trees of Eden panels are an ode to the mythological garden. Trees of Eden panels, £175 a panel (450cm x 70cm), Martyn Bullard collection, Cole & Son LEFT Textured wallcoverings add a three-dimensional quality to walls. Orion (ORI5504), 91cm wide, £39 a metre, Brian Yates BELOW A gravure process is used to achieve the raised-ink effect of this pretty damask paper. Vintage Damask, £34.95 a roll, Galerie
LITHOGRAPHIC PRINTING Lithography is based on the chemical repellence of oil and water. Originally, designs were drawn on limestone with greasy ink or wax crayons, the stone was saturated with water, then the design was printed onto paper using greasy ink, which adhered only to the drawing, whilst being repelled by the wet parts of the stone. Modern lithographic printing methods use the same principles but using aluminium drums. The process produces crisp images with beautiful colour accuracy. FLOCK AND BEAD WALLPAPER Adhesive is printed onto pre-coloured wallpaper and nylon fibres or acrylic beads are sprinkled over it to form a luxurious raised-pattern effect.
FEATURE DEBORAH GRAY
DIGITAL PRINTING One of the most popular methods for printing wallpaper today, digital printing allows for unlimited flexibility, including the ability to replicate archive designs from an archive, print bespoke colours to suit an existing or intended scheme and produce small roll orders. EMBOSSED PAPERS: LINCRUSTA AND ANAGLYPTA Lincrusta is a deeply embossed wallcovering created by Frederick Walton (who also patented linoleum flooring) in the 1870s. Made from a paste of gelled linseed oil and wood flour spread on to a paper base then rolled between steel 38 THE ENGLISH HOME
rollers, one of which is embossed with the pattern, it gradually hardens over many years making for a very durable, washable surface, often mimicking ornate plasterwork or architectural features. It is designed to be painted either with oil-based or water-based paint and may be gilded or glazed to add additional decorative interest. A cheaper version is Anaglypta, which is lighter and more flexible, but less durable. NATURAL MATERIALS Natural fibres such as grasscloth, jute, sisal, seagrass, raffia and paper weaves add a three-dimensional quality to walls, with textures ranging from very fine to coarse. Individual stems or a woven mesh are glued by hand horizontally to backing paper, often in wider widths, frequently sold by the metre. Because of natural variations in the colour, size and shape of the stems, such papers often give a panelled appearance. A proprietary adhesive is used and specialist hanging is advisable. Professional cleaning may also be necessary.
PANELS AND WIDE-WIDTH PAPERS The most common width for wallpaper is 52cm (20.5 inches), however, standardwidth papers may range anywhere between 50.8 and 91cm (20 and 36 inches). Wide-width papers measure from 68.5cm (27 inches) upwards, or come in individual panels, sometimes with an option for bespoke sizes upon request. Panels and wider-width wallpapers offer the dual advantages of a reduction in the number of visible joins and the possibility of larger, more fluid and painterly designs, giving the impression of a hand-painted mural. The pattern on wider-width papers will usually be on a larger scale than on the standard-width design. Thanks to digital printing, manufacturers such as Lewis & Wood can scale the print on some of their designs to a bespoke size, dictated by the scale and proportions of the room in question. Wide-width wallpapers are often sold by the metre, untrimmed, and need to be hung by a professional decorator with hand-trimming experience. n
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COMBINING STYLE
& PRACTICALITY The secret of a well-designed interior is not simply about creating a series of inviting rooms. It is also very much about ensuring the house copes with the pressures of everyday life, whether that be children, pets or work
T
he key to a successful interior is to integrate the practical with the aesthetically pleasing as seamlessly as possible – always ensuring the function comes first. This is even more the case when adding pets, families and a busy lifestyle into the mix, and there are many ways in which practical solutions can be incorporated both efficiently and elegantly. As interior designer Emma Sims-Hilditch says: “It is very important that a design works for a client’s lifestyle and needs, so we are very careful to build up a picture of how a home will be used before developing the aesthetic.” HELPFUL ANCILLARIES In homes that are large enough to cater for them, using small rooms as ancillary spaces to the main living areas
40 THE ENGLISH HOME
can be of enormous benefit, offering not just welcome storage in a place that is ‘behind the scenes’ so to speak, but also, when necessary, somewhere to carry out activities that might make a mess. To this end, creating a utility room, larder or scullery, laundry room, mud room, boot room, tack room or even a flower room can be incredibly useful. If not an entire room, it could simply be a handy corner, a small outside area or even a porch or vestibule. Similarly, a separate entrance for day-to-day comings and goings will protect a country interior from mud and can be kitted out with cupboards, shelves and hooks as appropriate. Sims-Hilditch points out: “Countryside living inevitably means mud. We always try to plan for an area where muddy boots and shoes can be kept – whether this be a room all of its own or part of an entrance hall.”
Hard flooring is ideal for a dining hall, whilst bench seating is neat and efficient. Both look particularly elegant in this sixteenth-century manor house by Sims Hilditch Interior Design. OPPOSITE Using washable fabrics in a hallway makes good sense; these cushions even have washable trims. Trims on cushions all from the Regatta performance collection, from ÂŁ20 a metre, Samuel & Sons
CLOCKWISE FROM LEFT Heavy, full-length curtains keep draughts from blowing through external doors. Hang from a portière rod, designed to ensure that the curtain does not catch on the door. Curtain, In Full Flight, Powder Blue/Charcoal, £52 a metre, Vanessa Arbuthnott Create a pretty and practical scheme with white-painted floorboards, a sisal rug and loosecovered furniture for ease of washing when necessary. Radley Slip-Cover Snuggler Chair in Flourish Mist, £1,932, Collins & Hayes Charcoal can be a very functional as well as chic colour choice – opt for pretty floral patterns and pale wood to create country charm. Curtains, Anya, Charcoal, £75 a metre, Kate Forman Updating a Georgian Grade II listed former vicarage, Humphrey Munson designed a utility/ boot room which connects the back door to the kitchen. Bench seating features lift-up-lid storage for boots and bags. Humphrey Munson kitchens from £40,000
42 THE ENGLISH HOME
If a completely separate entrance is not possible, installing a boot scraper by the door is a good idea and an outdoor tap can be handy for cleaning exceptionally muddy wellies. On a slightly grander scale, installing an outdoor shower is relatively easy to do and an ideal way to wash a mud-covered dog. HARD-WORKING MATERIALS On the subject of entrances, flooring materials that are hardwearing and easy-to-clean are important, and especially so when animals and children are involved. Slate, stone, marble, tile or brick are all excellent choices. Wooden floorboards are lovely, but may require more attention to keep them looking their best. “We like to use brick-shaped stone tiles, providing hard-wearing yet beautifully textured floors,” says Sims-Hilditch. “Alternatively, we use Buscot limestone tiles, which add a different dimension to the room.” A good-quality doormat at the entrance is essential for trapping dirt and grit; the neatest way to install one is to set a section of cut-to-measure coir into a recessed ‘well’ in the floor. Invariably the lower portion of walls in entrance halls and on staircases will suffer from knocks and scratches, so it is worth considering painting them a darker colour, using a wipeable paint with a slight sheen rather than ultra-matt, or else protecting them ABOVE In this laundry room by Max Rollitt, curtains have been used to draw a veil over utilitarian shelving and a washing machine. RIGHT Edging on curtains helps to protect the main fabric from fingerprints and any floor dust, as well as adding a twist of colour. Curtains, Silverdale, red/green F4015/01, £155 a metre; edging, Lucerne, dark lime F3931/31, £55 a metre, both Colefax and Fowler
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with panelling, tongue-and-groove, embossed wallpaper or ceramic tiles, depending on the style and period of the property. In chilly entrance halls, heavy curtains make great draught excluders. A track or pole works well on doors that are not used very frequently, but special portière rods are better, being designed to open and close with the door so that the curtain does not catch. Whether a patterned or plain fabric is chosen, a dark border in a co-ordinating colour may be quite easily added at the bottom – and perhaps the leading edge, too – to avoid any dirt showing up. “Our customers often choose darker borders for curtains on doors out to their gardens and terraces, or when they have pets,” says Laura Pizzolo of soft furnishings company Prêt à Vivre. Speaking of pets, some specific measures will help to avoid scratches, dirty marks and unforeseen breakages. Stacey Sibley, creative director of Alexander James Interiors, recommends avoiding low tables with breakable ornaments, having separate ‘play areas’ for dogs and choosing pet beds that complement the overall decor. “In a house with pets,” Sibley adds, “when considering upholstery for sofas and armchairs, steer clear of delicate fabrics such as silk, and fabrics that are a magnet for pet hair, for instance, velvet, mohair, corduroy, velour or chenille. Instead, opt for smooth tapestries, leathers, synthetic fibres and quality textiles that are more likely to withstand claws.” When choosing upholstery fabric it is wise to check its ability to stand up to the rigours of family life. This is done by finding out its ‘rub count’. Any fabric with a rub count of over 30,000 can be used in a heavy-duty domestic situation, though nothing will withstand cat claws or a teething puppy – discreetly positioned scratching posts or chew toys for dogs are the answer here. If there is doubt over a fabric’s suitability, fabric suppliers should be able to offer advice and insights. A great way to allay any fears over potential damage to upholstery is to choose washable loose covers which, in the worst-case scenario, could be replaced. Informal
TOP Check a fabric’s durability (or ‘rub count’) to ascertain whether it is suitable for upholstery, particularly for pieces that will see daily use. (From left): The Petite sofa, from £1,202; Classic footstool, from £551; The Petite armchair, from £976, both prices exclude fabric, Delcor ABOVE Utility meets beauty in this boot room with a fusion of natural materials in the form of solid-oak cabinetry and Carrara marble tops. Two large cupboards with a central drawer stack and a shoe rack from £9,000, Naked Kitchens THE ENGLISH HOME 45
EVERYTHING IN ITS PLACE A place for everything is the key to successful interiors, and particularly so when dealing with children, pets, working from home and rural pursuits. The saying that one can never have too much storage is very true; the more there is available, the less clutter will be on show, resulting in functional and attractive living spaces. Ideally, storage will be planned carefully so that seldom-used items are tucked into more out-of-the-way places, whilst anything that is regularly used is easily to hand: the dog towel on a hook by the back door, for example, with bench seating nearby that has space inside for picnic rugs or bags of pet food. “Fitted joinery offers great space-saving and several options to combine seating and storage,” says Sims-Hilditch. “It also looks great – especially when accessorised with wicker baskets, wall lights and cushions.” Storage bench seating can, of course, be topped with lovely (washable) cushions, providing the perfect example of how the useful and the beautiful can be combined to create a liveable, comfortable and attractive home. n ABOVE In this family kitchen designed by Lily Paulson-Ellis there is ample storage as well as an attractive wicker dog bed and a practical limestone floor called Jura Beige. RIGHT In this design by Sims Hilditch Interior Design weatherproof cupboards have been tucked into a corner of a covered entrance area to provide attractive garden storage or an ‘outdoor’ boot room. 46 THE ENGLISH HOME
FEATURE KATHERINE SORRELL PHOTOGRAPHS P41 © BRENT DARBY; P42 (COLLINS & HAYES) © JON DAY; (HUMPHREY MUNSON) © PAUL CRAIG; P43 (MAX ROLLITT) © DAVE GIBBONS
sofas and armchairs are ideal in a snug, den, family room or at the far end of a kitchen. Cosy and welcoming, they are bound to be well-used and much-loved – and, thanks to not being on public show, less of a worry to maintain – leaving a smarter drawing room, decorated with ‘best’ furnishings, for entertaining guests.
V IC TORIAN INSPIRED LU XU RY
Esteemed in British heritage the St James Collection has been hand crafted in England with love and care since 1968.
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This charming room has been given a multi-functional purpose by using a compact, antique desk and bespoke, built-in bookcases with cupboards below.
MAKING THE MOST
OF SMALL SPACES With thoughtful planning, designing a small room offers the opportunity to create an exquisite space that is enjoyable both for its beauty and functionality
S
mall rooms can often seem like a big problem. Ensuring that a cosy snug, bijou bathroom, small study or child’s bedroom does not feel cluttered, chaotic and claustrophobic can present a dilemma, even in a large property. And dealing adequately with small-space living becomes absolutely critical in a country cottage, city-centre pied à terre or narrow townhouse. The answer lies in careful planning. Philippa Thorp of Thorp Design explains that she approaches every space, large or small, by considering how it should function and be enjoyed. “It’s not necessarily about size, but about how we use the space and the psychology behind it,” she says. The smallest of rooms has the potential to be utterly delightful. One great advantage of trying to make the most of the available space is that it encourages special
attention to each and every component. The first thing to consider is whether the space is really being best utilised, however limited it may be. Draw up a floor plan on graph paper and look for areas that could be improved. Something as simple as changing the furniture layout, moving a radiator or re-hanging a door so that it opens the other way, for example, could be an enormous help. If renovating, further interventions may be possible, such as replacing bulky radiators with underfloor heating, knocking rooms together or even adding a mezzanine floor level. At this stage it really is worth engaging the services of an architect or interior designer, whose years of training and experience will help visualise solutions that might never have been thought possible. If ceilings are of a reasonable height, then the answer is simple: go up. “Even if you have a small footprint, THE ENGLISH HOME 49
‘It’s not about size, but how we use the space and the psychology behind it’ PREVIOUS PAGE This open-plan room only allowed a small area to create an elegant and functional dining area. Violet & George used an array of ideas to ensure the room still felt spacious, including tall built-in storage, integrated lighting and a muted, co-ordinated palette with light-reflective details. TOP Open shelves and narrow worktops, rather than deep, solid cabinetry keep this scullery by Charlie Kingham light and spacious. ABOVE Lisette Voute has designed this sitting room so that the alcoves on both sides of the chimney breast are used for storage and a window seat neatly conceals a radiator, as well as providing extra seating. The large mirror above the mantelpiece reflects light around the room giving the room an airy feeling. 50 THE ENGLISH HOME
a tall room can feel like a big space,” says Thorp, who has designed several projects that include bespoke bunk-beds, always sized large enough even for adults to use if necessary, with integrated lighting and storage. One project included drawers within the steps up to the top bunk. “It’s really easy to do when you are having them made anyway. Never leave a space redundant,” she says. In a child’s room a raised bed could, alternatively, include a desk or seating beneath, thus freeing up the rest of the floor space as a play area. Other ways in which to use the full height of a room include wardrobes, bookcases and kitchen cupboards that extend right to the ceiling, bearing in mind that it will be important to plan in somewhere to store the ladder or stool with which to reach whatever is stored at the very top. Storage is, of course, vital in a small space. Nicky Mudie of interior designers Violet & George explains that a cluttered space becomes visually ‘noisy’, whilst one that is tidy and clear feels more relaxed and spacious. Of course, there is a balance to be found between clutter, necessary items that can be stored out of sight, and beautiful pieces for display. “We ask clients exactly what’s being stored,” Mudie says. “Have they got unusually large books? Do they hang or fold their clothes? Do they have lots of handbags or shoes? You have to think about every little thing. Where does the vacuum cleaner go? Where can clothes be hung up to dry? Do they store skis or gym balls? We measure what’s needed and then add more.” It may be counter-intuitive, but sacrificing some floor space in order to build-in storage can actually make a room feel bigger, thanks to its streamlined look. Whether a run of bookshelves and cupboards in the living room; wall-to-wall wardrobes (with clever interior fittings, of course) in a bedroom; floor-to-ceiling shelving in a study; or a tall cupboard in the corner of a hallway – they will all make a small space more functional and, if done with flair, more beautiful, too. Details such as hooks and racks – carefully planned for individual needs – will always help, and do not forget to fit shelving and cupboards into any ‘dead’ space, too: either side of a chimney breast, below the seat in a bay window, above a doorway, around a sofa, and so on. A careful selection of furniture will always enhance a compact room, both practically and aesthetically. Simple, slender styles have the least impact in a small space, whilst pale or transparent pieces blend into the background, and anything raised on legs will make the room seem larger because there is more visible floor area. In general, avoid deep upholstery, bulky outlines and fussy detailing. Folding, wall-mounted or compact furniture and fittings can help – but never sacrifice comfort or function. With a touch of lateral thinking, ordinary furnishings can be turned into dual-purpose ones, such as a chest of drawers that doubles as a bedside table or a coffee table that includes space to store magazines. Where appropriate, bespoke furniture is always a good idea, says Thorp. “Proportion is everything,” she explains. “In a smaller room, furniture does need to be smaller, but it’s not necessarily a good idea to buy small-scale furniture off the shelf – have something made to fit your room, employ a local craftsperson to build something that’s exactly the right size – it doesn’t have to be terribly expensive, you will love it, and it will last forever.”
LEFT A bed, a desk, plenty of storage and a comfortable seat – the perfect young girl’s bedroom, neatly fitted into one end of a room by Thorp. If ceiling height allows, a raised bed is an excellent solution to finding more floor space in a child’s room. BELOW LEFT Even a smaller bedroom can accommodate a four-poster bed. A curtainless design, such as this bed from Oka, does not overwhelm the space, and mirrors hung either side exaggerate the proportions of the room. BOTTOM LEFT This room by Violet & George uses ingenious thinking that transforms it from a library to a guest room. A fold-down bed is tucked up above the wall of shelves. BELOW Beata Heuman has cleverly made use of the space in front of the window to create a cosy cabin-style bed. A false wall allows for the bed to be ensconced with a curtain and shelves provide more storage space than a bedside table.
THE ENGLISH HOME 51
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CLOCKWISE FROM LEFT Using bold colour either high up or low down does not interfere with the uncluttered feel of the centre of the room. Here, Anouska Tamony also employs a wall-hung lavatory for unfettered flow of floor space. A small bathroom can contain a tub if a compact option is sourced. The Tubby Too from The Albion Bath Company is deep and sumptuous. Custom-made shelving surrounds this sofa in a design by Turner Pocock, neatly solving the problem of where to store books and hang paintings, and it even incorporates a pair of wall lights. In this slender dressing room, Studio Duggan’s use of foxed mirrors on the doors bounces the light and gives the space an open, airy feeling.
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FEATURE KATHERINE SORRELL PHOTOGRAPHS P48 © LOUPE IMAGES/SIMON BROWN; P49 © SARAH HOGAN; P51 (THORP) © RICHARD POWERS, (BEATA HEUMAN) © SIMON BROWN, (VIOLET & GEORGE) © SARAH HOGAN; P53 (ANOUSKA TAMONY) © CHRIS SNOOK, (ALBION BATH) © MARK WATTS, (TURNER & POCOCK) © ALEX JAMES
LEFT Bespoke joinery is the best way to ensure every millimetre of space is used, as in this kitchen designed by Lisette Voute. BELOW In this North London apartment, both glazed and closed floor-toceiling cupboards fitted along the length of a whole wall provide copious storage, leaving enough space for a full-sized Esse range cooker and a double butler’s sink. Note the use of pale colours, including a Carrara marble worktop and beautiful, natural floorboards. The cabinetry is from the Real Shaker Kitchen collection by deVOL.
Attention to light can also make a room appear much more spacious and pleasant. “Bounce light around by using mirrors – it will really open the room up,” says Mudie. A mirror positioned opposite a window will distribute the maximum amount of natural light, whilst a mirror near a light fitting will reflect its brilliance around the room. Glass, too, really opens up a home. If having building work done, consider enlarging windows or replacing solid doors or walls with glass, but for quicker, cheaper solutions, glass or acrylic furniture or see-through accessories such as lamp bases, door knobs and vases can be a useful aesthetic resource. Another means of enlarging the apparent size of a room is with a clever use of colour. Generally speaking, pale colours seem to recede, enhancing a sense of spaciousness, whilst darker colours absorb light and therefore appear more enclosing. A unified, pale colour scheme will always seem more bright and airy than a scheme that involves differing shades of dark colours. Paint radiators, cupboards and shelves the same colour as walls, so that they disappear. However, those who love bright colours of course should use them, whilst the current trend for very dark colours will definitely look fashionably moody – perfect for a room in which to feel cosy and enclosed. Try using pale colours in the centre of the room, with vivid colour on the floor (or even the ceiling) only, or, as Mudie advises, use similar materials and colours overall to create a sense of space. Where a space needs breaking up – perhaps in a multi-functional room – use contrast colours to create a visual ‘full stop’. When in doubt, the formula for a tiny room is relatively simple: more storage and light, less colour and slimmer furnishings. Plan for each and every millimetre of the room to fulfil its potential and either seek out clever, off-the-shelf solutions or commission a custom-made solution to suit the space when necessary. And remember: small is beautiful. n 54 THE ENGLISH HOME
Plan for each and every millimetre to fulfil a room’s potential
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FURNISHING
A LARGE ROOM Whilst it is easy to assume that only small spaces create a design problem, it can, in fact, be just as challenging to decorate a large room. The trick is to achieve pleasing proportions with well-scaled pieces and ensure that the layout is functional and liveable
A colourful rug unites the different zones in Edward Bulmer’s drawing room and allows for playful use of inviting and pretty colour throughout.
T
o be faced with a large area to design and decorate can, undoubtedly, be rather daunting. Comfort is not always easy to come by in a room with wide expanses of floor space or lofty ceilings – such a room can fall into the trap of being dull and bland at best or, at worst, cold, echoing and generally unwelcoming. On the positive side, though, it has enormous potential – it can be made elegant and inviting rather than impersonal and imposing. The challenge is, of course, worthwhile. “The bigger the better,” says interior designer Joanna Wood. “Never be frightened by a large space. It can only ever be a joy and a treasure.” The key aim when designing a large room is to create liveable, human-scale areas within. Depending on the circumstances, this may mean building one or more internal walls – perhaps to form a dressing room adjacent 56 THE ENGLISH HOME
to a bedroom, or a pantry at the rear of a kitchen, for example. The new ‘walls’ do not necessarily have to be solid and permanent. Provided they do the job of sectioning up the space in a way that makes sense, they could be glazed, three-quarter or half-height, or even slide or fold out of the way when necessary. A tall bookcase, a large screen, an oversized headboard or a kitchen island (or peninsula) can all be useful versions of a room divider, whilst in a period property where a wall has been knocked down between two living spaces, reinstating a pair of wide, panelled doors – which can be closed for cosiness or opened for entertaining – often solves the problem of how to use the long, thin space. Perhaps more straightforwardly, a large room can equally well be subdivided by careful positioning of furniture. “Don’t just shove furniture all around the
This impressive hallway, designed by Jamie Hempsall Interior Design, has a pair of rugs that provide comfort and break up the expanse of stone floor.
edges,” says Wood. “In a living room, start with the mantelpiece and create a grouping of furniture around it, with two sofas at right angles. One of our tricks is to put back-to-back sofas in the middle of the room, or with a console table in between them. In my own drawing room, I have a third seating area that is a card table with four chairs around it – people always gravitate towards it. And make sure furniture is at different levels by including tall pieces, such as a bureau or a bookcase. If it’s all low sofas and tables it can look like a hotel lobby.” Other rooms, too, can be subtly arranged so that different areas perform different functions. In a generous bathroom there may be room for an armchair or even a dressing table (always ensure good lighting and air extraction), and a large kitchen might include an informal breakfast table, a desk or a sofa. And in the bedroom, an armchair or a sofa is a lovely addition, whilst Wood thoroughly recommends a desk. “What could be nicer than answering emails with a cup of coffee in your dressing gown?” she asks. Spacious halls and landings could incorporate a sofa or bench, a desk and chair, or a console table with an oversized floral display or potted plant. ABOVE A spacious hallway is a room in itself, and can accommodate additional seating, a desk, storage and even space for socialising. Here, Mark Gillette has used lighting by Vaughan and a nineteenth-century Swedish bench mirror designed by the owner’s grandfather, who was an Arts and Crafts architect. RIGHT A decorated ceiling helps make a lofty room feel more human in scale, whilst larger-than-life artworks add drama and interest in proportion to their surroundings. Fireplaces should be correspondingly larger, too. Paul Chesney of Chesneys recommends they be between a third and half the height of the room. Shown here is the Durham fire surround, £4,150, Chesneys.
58 THE ENGLISH HOME
‘In a large room you can be braver than you could possibly imagine’
Joanna Wood has used flooring to delineate different areas in this vast open-plan extension. BELOW This converted barn has huge proportions, which Todhunter Earle has utilised by installing a tremendous large U-shaped sofa that makes full use of the space. The bold use of rich colour makes the expanse warm and welcoming – cosy, even.
Flooring and lighting are hugely important to visually reinforce the idea of separate areas within a room. A rug will ‘anchor’ a seating area, whilst an open-plan kitchen might feature stone flags in the cooking area and floorboards beneath the dining table. The same goes for lighting, which can be grouped intimately around seating or positioned suitably for brightness where necessary, employing central pendants and ceiling lights, wall lights and moveable table and floor lamps. “Use different types of lamps at different levels,” says Wood, “and put central lights on a dimmer – indeed, put all lights on a dimmer for a delicious ambience.” PROPER PROPORTIONS Maintaining good proportions is vital in large rooms. If the architectural details such as skirtings, cornices and architraves are too small, everything will feel off-balance, and it may be necessary to improve the ‘bones’ of the room by replacing them with larger-scale features. Window treatments, too, should be in proportion, and for a grand room the curtains benefit from a correspondingly ‘grand’ style. Interior designer Mark Gillette advises: “Ensure that pelmets are the right scale to the width of the window or they will look mean. Curtain poles should be a good three inches in diameter or they will THE ENGLISH HOME 59
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disappear. Remember that the taller a window is, the harder it is to draw the curtains, so it will be necessary to use pull rods.” If conventional furniture appears ‘lost’ in a cavernous room, it is best to use large sofas, dining tables and other key items of furniture, as well as larger works of art, ornaments and plants. In a large kitchen a huge dresser will be a bonus, whilst a bathroom might feature a roll-top bath as well as a pair of washbasins and a walk-in shower. And in reception rooms, landings and hallways, it is definitely a good idea to check that light fittings will not look too diminutive – it is often important to go larger than seems necessary, because once hung they tend to seem much smaller. In rooms with very high ceilings, using some taller furniture may help – this is a wonderful opportunity to install a sizeable upholstered headboard in a bedroom, for example. Another way forward may be to bring the ceiling down visually. “It can be a good idea to break the ceiling up, perhaps with plasterwork, or by installing more than one pendant light,” says Gillette. “Painting the ceiling a different colour also works very well in these circumstances – the colour will depend on the room itself and how much natural light it receives.” Colour can also be used as a means of creating ABOVE The intimate ambience of this beautiful dining room by Alexander James Interiors belies its ability to seat 12. The dramatically scaled light and dark wall colour set a cosseting mood and the square table creates a cosy grouping. LEFT What luxury to fit a pair of basins, a bath and a walk-in shower in one bathroom. Colour and pattern on the walls warms up this room, designed by Maxwell & Company, creating a feel that is both sophisticated and inviting.
THE ENGLISH HOME 61
ABOVE With three large windows along the length of the room, this living area had plenty of light which Emma Sims-HIlditch has amplified with a cool, calm palette. Two seating areas have been created, separated by a central round table. LEFT When there is plenty of floor area in a bedroom, it can be a wonderful luxury to create its very own seating area, complete with rugs and lamps. The window treatments very prettily reflect the grandeur of the room, which was designed by Mark Gillette. 62 THE ENGLISH HOME
FEATURE KATHERINE SORRELL PHOTOGRAPHS P157 © DARREN CHUNG; P58 (MARK GILLETTE) © BRIAN HARRISON/KUDOS; (CHESNEY’S) © JAKE FITZJONES; P59 (TODHUNTER EARLE) © PAUL MASSEY; P62 (EMMA SIMS-HLDITCH) © SIMON MCBRIDE
a sense of warmth and intimacy in a larger space. Deep, warm colours are appropriate, with dark grey and navy being highly fashionable, but even off-whites – which can sometimes seem quite dark on a colour chart – are more inviting than brighter whites. “In a large room, I never paint a single wall a different colour,” says Gillette. “I would paint all four walls or perhaps install wood panelling, whilst in a contemporary space it could be something more textural, like slate tiles on the fireplace wall.” More space offers another great opportunity: to use patterns in really exciting ways. From wallpaper to upholstery, window treatments to flooring, this is where large-scale patterns look really fabulous, and can be shown off to their fullest advantage. Mixing pattern is a skill, and Joanna Wood says that there is a choice between big, bold pattern or, for those who are less sure, a simple background with pattern layered within the seating areas. “In general, with pattern,” she says, “choose one big one and then layer in a mix of others – say a floral or a paisley, then put in a stripe or a couple of miniature prints, change the texture – a floral print and a floral weave, for example, and add blocks of plains.” The results can be superb, she says. “In a large room you can be braver than you could possibly imagine.” n
ELEGANT IDEAS FOR
WINDOW DRESSING Choosing just the right window treatment for each and every room – especially when a particularly awkward window is involved – means taking into account a number of factors and deciding from a wide range of options
S
o much more than a functional way to protect privacy and retain warmth, a well-designed window treatment will complement a house’s architecture, form a key part of the interior design scheme and, in general, give a room a sophisticated, ‘finished’ feel. There is an enormous variety of options, of course, and it can be difficult to know where to start. Budget, naturally, is a primary consideration, but there are many other factors, too, such as the outlook and aspect of a window, its size and shape, what space is available around it, and the style of the house overall. “I usually start by discussing what the client wants from their window treatments,” says interior designer Victoria Smee. “For some, practicality – blackout, privacy, insulation – is most important, and for others it’s all about the aesthetic. From this point I determine 64 THE ENGLISH HOME
what will look best for the purpose.” Fortunately, there are innumerable solutions, even for glazed areas that are not completely straightforward, whether they be bays or dormers, circular or triangular, floor-to-ceiling sliding doors or simply poorly proportioned windows. “Bay windows can be considered awkward, but they are my favourite to dress,” Smee continues. “There is a lot of space to work with and you can layer various treatments to make a real impact. A pelmet with curtains adds grandeur and the joy of this is that the pelmet conceals the workings. Adding Roman blinds frames the individual windows, and sheers provide privacy during the day.” Samantha Sandberg of Walcot House – designer-maker of luxury curtain poles – explains that there are two main choices for curtained bays. These are either a single pair of continuous curtains, or four curtains that stack back in
Sumptous floor-length curtains bring an additional layer of pattern to this room. Their blue hues are echoed in the drapery and bedding on the tester bed. A stylish cream border gives the curtains a tailored finished. Curtains in Cecelia toile, Delft, ÂŁ99 a metre, Jean Monro OPPOSITE Arched windows can be problematic to dress but sometimes the simplest option can be the most effective. A straight pole positioned high above the arch allows the beauty of the architecture to still be seen. Giselle, ÂŁ60 a metre, Sanderson
CLOCKWISE FROM LEFT Roll-up (or Swedish) blinds are given added interest when made using contrasting fabrics. Blinds (front): Bilberry, £38 a metre; (back): Whitby, £30 a metre and cushions in a selection of fabrics, all Sanderson For rooms that require screening without sacrificing light, window film is an effective and immediate option. Hex, from £30, Layla Faye collection, The Window Film Company Using Jungle fabric by Andrew Martin, interior designers Lambart & Browne have shaped a blackout Roman blind to fit the dormer window in this bedroom. These simple Frenchpleated curtains are mounted on a conventional covered lath, with added interest in the form of antique French gilded pelmets, sourced by the designer, Mark Gillette.
66 THE ENGLISH HOME
ABOVE Full-length shutters provide security as well as privacy and insulation for French windows. Classic Wood Shutters in Half-Solid Raised Design, from £259 a square metre, California Shutters RIGHT As the windows in this pretty sitting room are rather low, interior design firm Salvesen Graham designed Roman blinds with deep pelmets to give the illusion that they are much taller.
the angles of the bay. Whilst the latter option is relatively uncomplicated, the former requires a specially made fixing, with some being available from specialist companies and others that can be bought off the peg. Examples of these include ringed poles with passing brackets, purposebent metal tracks, steam-bent wooden poles, stainless steel or wooden poles with special connections, or covered laths, which are very small pelmets that cover the track but with the pleats of the curtain held in front. “As every bay is different,” Sandberg warns, “careful measuring and a template are essential.” For dormer windows, it can work well to fix a short pole across the window using recessed brackets, and then add a simple, unlined curtain that will not block out much light when opened. Other options include a simple blind, shutters or a double-sided curtain on a dormer rod, although Sandberg points out that these can droop if not supported with an extra bracket in the middle. “Shutters are an attractive option for arched or circular windows,” she says. “They draw attention to the shape as a lovely feature when open, and when closed they fit perfectly.” It is also possible to have Roman blinds made to fit specifically shaped windows – though it is worth bearing in mind how much stacked depth of the blind will THE ENGLISH HOME 67
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be static, and therefore block out light. In an apex window, for example, a Roman blind would permanently cover the triangular section at the top. “When considering floor-to-ceiling, wall-to-wall glass doors, a single curtain stacking on the static end of the glass is the best option,” says Smee. She adds that, if possible during a build or renovation, it is worth installing a ceiling channel in which to hide the track and gain maximum height. Shutters could be another solution – depending on whether there is room for them to fold out of the way – or a set of roller blinds, which can even be motorised to make life easier.
ABOVE A lath and fascia system conceals a corded track but, unlike a pelmet, shows off the curtain heading. Here, lined and interlined double-pleat-headed curtains and unlined double-pleat-headed sheer curtains hang from a painted lath and fascia, all made bespoke by Victoria Smee Interiors. BELOW An elegant ensemble of linen blinds and curtains created from bands of tonal fabrics. Note how the curtains are hung as high as possible to magnify the height of the room. Interior design and fabrics by Guy Goodfellow.
PROBLEM WINDOWS For tall, thin windows, for example, full curtains may be stacked back on both sides on poles that extend further than usual. If necessary, adding a deep pelmet and a blind will help lower the overall visual effect. Alternatively, a single curtain hung across the top of the glass and held with a tie-back draws the eye horizontally more than vertically. At short, wide windows, the ‘dead’ space above can be used to hang the treatment as high as possible, employing a pelmet or valance, or the waterfall of a Roman blind, to give the impression that the window is much taller. “Avoid Roman blinds at very wide windows, says Smee, as the weight can eventually put a strain on the cord mechanism.” When there is limited height above a window, Smee suggests a curtain on a track with a pelmet or a slim lath rather than a pole, in order to avoid seeing a gap of light above the pole. Alternatively, fit a ‘tuckaway’ Roman blind inside or outside the recess of the window, or else – to maximise light in a small window – a roller blind inside the recess, covering the roller at the top with a thin pelmet if desired. Where radiators, window seats, deep architraves and other obstructions provide an impediment to standard, full-length curtains, it is possible to project the whole fitting far enough out from the wall to cover the radiator by using extension brackets. Catherine Merrick, of master curtain-makers Merrick & Day and co-author of the Encyclopaedia of Curtains, suggests the alternative of having blinds with dress curtains at the sides. “Sill-length curtains don’t really make an impact,” she says, “though they can work with very cottagey homes.” DAYLIGHT & PRIVACY Some windows suffer badly from very bright sunlight, which may seem, in general, like a good thing, but when it creates glare, or fading of fabrics, is nothing but an annoyance. To minimise glare, sheer curtains, in a tight rather than loose weave, help to diffuse light, whilst specially treated ‘sunscreen’ blinds are best for work zones or where there are antiques that require protecting. Fading inevitably affects any fabric at a particularly sunny window. Vacuuming or soft-brushing curtains regularly will help them to last longer, as the sun will break down any dirt that gathers and encourage the fabric to disintegrate. Conversely, making the most of poor light is another frequent concern when selecting window treatments. “In dark rooms we try to clear the window as much as possible to let in maximum light,” Smee says, “either with Roman blinds stacking above the window when up, or curtains stacking each side of the window when open. Fabric choice is also very important, as this will have a big effect on the feel of the room. Light colours or linens and loose weaves are a good solution.” THE ENGLISH HOME 69
FEATURE KATHERINE SORRELL PHOTOGRAPHS P66 (SANDERSON) © ANDY GORE; (MARK GILLETTE) © BRIAN HARRISON; P67 (SALVESEN GRAHAM) © EMMA LEWIS; P69 (GUY GOODFELLOW) © ROBERT BARBER; P70 (BEDROOM) © BRENT DARBY
‘Plan really well, it is not time wasted, and don’t skimp on making up or on fixings’ Where privacy is an issue, sandblasted or etched-glass panels in strategic areas may do the trick – or perhaps window film, which is a versatile and less permanent alternative. Louvred shutters, top-down blinds and sheers – either as curtains or blinds – are further options, and can be layered with dress or moving curtains if desired. Finally, when it comes to design, Merrick advises looking carefully at pictures of windows and rooms for inspiration and then spending a considerable time planning. “If you are going to make curtains yourself, put the fittings up first, because it’s the only way to get accurate measurements,” she says. “Plan really well, it is not time wasted, and don’t skimp on making up, or on fixings. You could have the most expensive fabric, but if it is poorly made up and hung from cheap poles, it won’t look at all good, whereas you could take a dust sheet and if it’s made well and hung from decent fixings it will look great.” n 70 THE ENGLISH HOME
ABOVE A traditional upholstered pelmet shows off the pattern of the curtain fabric, Baptista linen in blue by Colefax and Fowler, and conceals the corded track that runs around the bay window of this bedroom designed by Sims Hilditch. BELOW Layering a plain blind and a printed curtain, in beautifully co-ordinating colours, creates an elegant effect in a bay window. Curtains, Grove, Auburn; rectangular cushion, Wetlands, Auburn, both £18.99 a metre, Abbey Gardens collection by Prestigious Textiles
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White curtain poles and juxtaposing patterns lend a light, country feel. Curtains, Summerby, Raspberry, ÂŁ49 a metre; and all other fabrics, Avebury collection, Clarke & Clarke
72 THE ENGLISH HOME
Curtain terminology The correct choice of curtain treatment can have an enormous impact upon the design of a room. Here is a brief introduction to some of the essential terms
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hen commissioning a curtainmaker or working with an interior designer, having a working knowledge of curtain design and the impact choice can have upon the style and hang of the curtains, and therefore the suitablility to the desired look of the finished room, is invaluable. Fuller, lined curtains with more decorative headings sit best in more classical or ‘country house’ settings. Those seeking a more pared-back scheme will find simpler treatments are key to the mood.
CURTAIN POLES Apart from very specialist, bespoke window treatments, the majority of curtains will be hung either on tracks or poles, which may be corded and motorised or drawn by hand. There are dozens of different options available: from slim cafe rods, designed to be hung at the halfway point of the window; gently curved poles – sometimes known as a French return – designed to avoid having a gap between curtain and wall; and drapery arms or portière rods, designed for doors and dormer windows. Many companies also offer poles designed in sections for bay windows. CURTAIN TRACKS & POLES Tracks are particularly versatile and may be fixed either to a vertical surface – directly on a wall or else on a baton or lath – or to a horizontal surface, such as a ceiling or the top of an alcove. A track will usually be concealed behind a pelmet or fascia and may either be made from light, flexible PVC – which is inexpensive and suitable for light to medium-weight curtains – or from metal, such as aluminium or steel. Aluminium offers both strength and flexibility as it can be bent for use with curved or bay windows, whilst steel is more suitable for the heaviest of curtains. Steel is naturally rigid, so can only be used for bays when created to length and used in sections. Poles offer a less structured feel,
more suited to relaxed, country-style schemes, and can be made to fit bay windows if made of metal. LATHS & FASCIAS A track can be fixed onto a board, known as a lath, and then hidden from view by a fascia. Both board and fascia can be covered in the same fabric as the curtains to create a neat finish. A lath can be made deeper to accommodate a second track for voiles or to clear radiators. As curtains are fitted to sit flush with the top of the board this system also provides light exclusion. FULLNESS The fullness of a curtain is dictated by the chosen heading. Gathered, goblet and cartridge headings require fabric of up to two-and-a-half times the width of the track or pole, whilst a triple pleat may need two-and-three-quarter times. Eyelet and wave headings need only double the width of the window span, or even slightly less. DROP The drop refers to the total length from the top of the curtain heading to the hem. This should include any additional material required to allow for pooling or puddling on the floor if desired. This can be anything from two to eight inches. HEM WEIGHTS Small, individual weights may be sewn into the vertical seams and at the corners of each curtain panel to ensure an even hemline and hang. Chain weights are small, heavy beads strung in a line, which also perform the same function. HEADINGS The type of heading chosen will dictate the fullness and drape of the curtains, and also the quantity of fabric required. Most modern headings are created using proprietary heading tape. Hand-sewn
TOP Softly gathered curtains on a painted pole work particularly well with pretty floral fabrics for a romantic, feminine feel. Curtains, Hatley, Raspberry, £75 a metre, Cabbages & Roses ABOVE Pinch pleats offer a middle ground between the formal and the informal. Made-tomeasure curtains, Pretty Maids, Mushroom/Teal, £52 a metre, Vanessa Arbuthnott
THE ENGLISH HOME 73
FEATURE JILL SHEARER PHOTOGRAPHS P73 (CABBAGES & ROSES) © A BEASLEY; P74 (INCHYRA) © ANGUS BREMNER
headings using plain buckram tape for stiffness are sometimes used to achieve bespoke, tailored headings. Goblet and cartridge headings are best for a classic, formal look, whilst gathered headings, such as pinch pleat (also known as a French pleat), twin and triple pleat, offer a country feel. Ruffle-top and flop-over headings add a further decorative dimension. Wave, eyelet and tab-top headings provide a more contemporary feel and require less fabric. Sheers are usually hung directly onto a pole or curtain rod with a rod pocket or narrow casing sewn into the top of the curtain in lieu of a heading. LEADING EDGE The central edge of each curtain panel that meets when curtains are drawn; the opposite side is known as the return edge. The leading edge is sometimes designed in a contrast fabric for further detail. LINING AND INTERLINING In addition to the standard white or ivory cotton or polycotton curtain lining, thermal and blackout lining is also widely available, providing extra insulation and lightproofing. Alternatively, a contrast or self-lining fabric may be used if the curtain is visible from the outside. Bump or interlining is a soft, thick, flannel or felt-like fabric placed between the curtain and lining to add body and insulation. PASSEMENTERIE A French term used to describe a range of decorative cords, trims, tassels and edging bands used to give definition and detail. n 74 THE ENGLISH HOME
ABOVE An elegant brass tieback adds a theatrical note to a classic weave. Laurel Leaf tie back, from £527 for small size, Robert Kime RIGHT A pelmet of scalloped flutes with a hem of cut fringing transforms plain linen curtains into a statement window dressing. Curtains and pelmet, Medium Weight Natural Linen, £49.50 a metre, Inchyra BELOW Finials come in a range of shapes, materials and finishes. Baroco Ribbed Sphere finial, from £120, The Bradley Collection
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LIGHTING FOR
FORM & FUNCTION Whether emphasising good points or disguising problem areas, highlighting colour, texture and form or drawing the eye to works of art, or unifying or opening up a space, lighting can make or break a room
Duxford Nickel Chrome Pendants, £165.60 each, David Hunt Lighting
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hilst indispensable on a practical level, light – both artificial and natural – is also vital for decorative impact and overall ambience. Like colour, it is an incredible manipulator. Poor lighting flattens and dulls, whereas clever lighting adds flair and sophistication. Altering a lighting scheme, whether it be a complete overhaul or a simple change of just a few fittings, can do more than just conceal faults and illuminate good points – it can transform a home. It should be designed to be adaptable at the touch of a switch to the desired mood, the time of day and the way each room is used. A lighting scheme should be drawn up when planning how to use a room, taking into account where furniture will be grouped and power points will be best positioned. As lighting designer Sally Storey, creative director of John 76 THE ENGLISH HOME
Cullen Lighting, explains: “The most effective lighting schemes work around the features in a space and how the client wants to use it. This requires forethought and planning. Get the furniture layouts locked down at the design stage of the project; also try to confirm finishes. These elements can dictate how best to light the space.” Light can be divided into four main types: general light, which gives good overall lighting (and is especially important on stairs and in hallways or particularly dark rooms); task light, to brightly illuminate a specific area such as a worktop, bathroom mirror or reading corner; accent lighting, which highlights features such as pictures, shelving or architectural detailing; and atmosphere lighting, which sets the mood, from a dramatic mix of light and shade to mellow pools of light in different areas of the room. Some rooms may require special treatment, for
An imposing chandelier provides a focal point in this grand entrance hall and the Lucca and Luccini uplights from John Cullen Lighting add drama and highlight the original Georgian architecture.
CLOCKWISE FROM LEFT These chic wall lights offer a modern echo of art deco. Perfect for illuminating bathrooms, the curved profiles are made of 8mm diameter solid-glass rods. Glass Pillar wall lights in Polished Brass, £599 each, Original BTC Available in polished brass, weathered brass or polished chrome to suit a variety of settings, this picture light comes in two sizes and is fitted with an LED light source. Cooper picture light, from £449, Davey Lighting Designed by American interior designer Celerie Kemble, this iron sconce, finished in a deep bronze polish, is full of impact. Its six bulb shades boast a copper finish for warm light and hand-punched details that scatter dots of light around the room. Calla Sconce, £510, Arteriors A little additional light is useful in a hallway. Whilst function is important, this is also a place where a decorative element sets the scene to welcome visitors. Crescent table lamp in black marble, £180, with 35cm vellum shade, £55, both Pooky
78 THE ENGLISH HOME
instance, dining rooms, which are most often used at night-time, or open-plan rooms where it is important to delineate the different areas within them. Although a central ceiling pendant may look pretty, or a standard grid of downlights in the ceiling be efficient, neither, on their own, will create any depth or interest in a space. Most rooms require three or four ‘layers’ of lighting provided by a variety of sources, including downlighters, spotlights or pendants, floor-level or wall-mounted uplighters, wall washers, floor or table lamps, and special shelf, picture or display lighting. For additional flexibility, dimmer switches are invaluable, says interior designer Joanna Wood, who also recommends preprogrammed lighting in major rooms as this allow a variety of lighting ‘scenes’ to be set, then accessed at the touch of a button. REVEAL THE ROOM There is a world of difference between lighting chosen for the amount of light it gives out and a light fitting that is chosen because it is a beautiful piece that enhances the overall room scheme, whether switched on or off. “You do need both,” says Wood. “When choosing lighting, plan for functionality first, then add in decorative fittings. Sometimes a beautiful piece, an antique chandelier, for example, may not actually provide enough light, so we will hang it and then add low-level downlights set in the ceiling.” ABOVE In this dining room designed by Sims Hilditch, an antique chandelier above the dining table is complemented by table lamps to provide a more intimate atmosphere. For a similar chandelier, try the Carbonne Ivory Chandelier by Vaughan RIGHT Sophie Elborne, creative director of Kitesgrove, chose a bespoke pendant from Aangenaam XL for this open-plan room to help with the acoustics of the high-ceilinged space and separate the area from the adjacent seating. Its gilt underside adds warmth to the light, too. THE ENGLISH HOME 79
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Mallory Turquoise lamp, £726.30 (not including lampshade), The Signature Collection, Heathfield & Co
When choosing lighting, plan for functionality first, then add in decorative fittings The John Cullen philosophy of lighting is very much to “hide the lights and reveal the room”, with concealed light fittings working to make a room look and feel wonderful without drawing attention to themselves. Storey advises careful consideration of where the light falls in a space, rather than where the light itself is positioned, and recommends fittings with a baffled light source so as to reduce glare. With the advent of miniature LED light bulbs and strips which always remain cool to the touch, it is now possible for lighting to be fitted in smaller and smaller spaces, whether within coving, around false ceilings or panels, behind mirrors or inside shelving systems. “LEDs give endless options,” says Storey. “Because they don’t get hot, you can use them within joinery of all sorts. They give an ambient light and they take up very little space.” Choosing the right LED bulb can be problematic, however. Historically, they gave a rather harsh, blue-white light that was not appropriate for all settings. Storey recommends, where possible, testing lights in situ or, failing that, looking for a colour temperature in the range of 2.4 or 2.5 kelvins, which gives a familiar warm, tungsten-like light for rooms which are used in the evenings, with 2.7 kelvins better suited for rooms where the lights are on during the daytime. She also recommends buying good-quality LEDs because their colour rendering will be true to life, rather than the flat appearance one associates with old-fashioned fluorescent bulbs. “The colour rendering index, or CRI, is a measurement of how well a light source will render colours in relation to natural daylight, with values from one
TOP Provide both function and ambience by including a mix of floor and table lights in a scheme. Kelly floor lamp in Antique Brass, £2,364; Kelly empire shades in Turmeric, £84 each; Perfume Bottle table lamp in Forest, £1,224; Slim Straight Oval lampshade in Alpine, £141, all Porta Romana ABOVE Large pendants can be hung over the well of a staircase to provide illumination for more than one floor level. Medium Blake Lantern, handmade in brass, black-gloss paint and nickel, £2,862 as shown, Charles Edwards
THE ENGLISH HOME 81
FEATURE KATHERINE SORRELL PHOTOGRAPHS P78 (ORIGINAL BTC) © ALEXANDER LAGERGREN; P79 (KITESGROVE) © EDMUND DABNEY; P81 (CHARLES EDWARDS) © NO LIMITS PHOTOGRAPHIC
to 100,” she explains. “Aim for 90 CRI or above; lower than 85 can give a very flat and lifeless effect.” Careful consideration of all light bulbs is, of course, a good idea, and it is actually very easy to alter the feeling of an entire room simply by replacing a bulb with one that is brighter or dimmer, warmer or cooler. Similarly, changing a shade can also make a huge difference – perhaps enhancing the amount of light given off, or altering its colour. Using a shade with a warm, metallic interior is a classic interior designer’s trick to create soft, flattering light. One of Wood’s favourite lighting tips is to fit wall lamps either side of a bathroom mirror rather than a single one above. “Otherwise it’s impossible to do your mascara and you look like you’re half dead,” she says. In a room with little or no natural light she recommends illuminating a glass panel so that it appears to be a backlit window, using concealed LED strips to mimic daylight. “I have even done this to create what appeared to be French doors leading to a balcony, with fake window boxes outside, behind smoked glass, so that it looked like the doors had a proper view,” she says. Clearly, a combination of forward planning and creative thinking are the keys to designing a lighting scheme. Logic and artistry combine – the latter comparable to painting with light – creating washes and filling in with highlights and lowlights. Each room is a blank canvas, but with imagination and a little effort it can become a work of art. n ABOVE An elegant floor lamp brings valuable extra light to the corner of a room as well as providing efficient light for reading. Ellington floor lamp, £1,512, Vaughan RIGHT This chandelier not only makes a statement but is also available with an IP44 rating for use where water spray is a risk. Clear Crystal Shallow Chandelier, from £2,520, Tigermoth Lighting 82 THE ENGLISH HOME
A wall-hung pendant makes an atmospheric alternative to a table lamp at the bedside. Japonica lamp, £720, Curiousa & Curiousa
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Lighting terminology Artificial lighting should be chosen with the function and mood of each room in mind. Here, we advise on varieties and their uses
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very room needs a well-planned combination of lighting sources to suit its purpose and look its best, both day and night. The key is to understand how each type of light works and select the right design for the required purpose. Function should always come first in choice, followed by a style to suit the period of property or the desired decorative effect. PENDANT LIGHTS Overhead lighting cannot be beaten for general ambient lighting purposes in hallways and functional spaces. There is a wide variety of options – from ornate chandeliers to industrial designs – to suit a host of different settings. Care should be taken to ensure pendants are hung at the correct height for the proportions of the space and to provide optimum lighting for the room’s function. Strong, sculptural shapes can add drama to an entrance hall or stairwell, whilst simple rise-and-fall designs can be heightadjusted to tailor the mood in kitchen and dining room settings. For seating areas or bedrooms, choose fittings that cast a filtered, pervasive, soft, warm light which is gentle on the eyes and brings an atmospheric glow to the room. LED lightbulbs (5 watt) with filaments that give off a warm, white colour are best for these types of light fittings, but do ensure they are dimmable as not all are. DOWNLIGHTS Invariably, recessed or surface-mounted downlights, small and designed to be used in groups, provide an even, ambient light across a space. Discreet and unobtrusive, recessed ceiling lights are ideal for rooms with low ceilings or for multifunctional
84 THE ENGLISH HOME
rooms. Choose an eyeball downlight, which can be directed as a spotlight for kitchens, bathrooms or offices and generally work best with eco-halogen or clear LED bulbs. A recessed or semirecessed fitting, designed to work with the soft light emitted from opal (rather than clear) LED bulbs, is best for general or mood lighting. UPLIGHTS Here, the light is directed towards the ceiling, which acts as a reflector, creating a gentle light with very little glare; perfect for general lighting purposes but a poor light to work by. Uplights shine on the ceiling, so are ideal to highlight attractive
mouldings or cornices. Carefully positioned, uplights can also be used to create dramatic shadows that add depth and emphasise an unexpected structural element in the room. Whilst uplights can be recessed into flooring at judicious positions around the perimeter of a room, wall lights with a fixed bowl-shaped shade can also work as supplementary uplights directing light towards the ceiling. TASK LIGHTING Reading lamps, desk lamps and undercabinet lights all fall under this category. Individual task lights come in different shapes and sizes and should all provide
This industrial style Utility large pendant fitting is created in a bespoke colourway, ÂŁ302, and can feature an optional polished chrome Utility cage, to be ordered separately, priced at ÂŁ50.40, from David Hunt Lighting OPPOSITE Made with hand-moulded copper and finished in bronze, the large glazed, spherical Masked Globe lantern is enriched with cast brass masks. POA, Jamb
THE ENGLISH HOME 85
LUX IN TENEBRIS The English House Handmade light fittings
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LEFT A variety of light sources can be used to create different levels of lighting around a room. Paris Lantern, available in a variety of finishes, from £3,240, Charles Edwards BELOW Under-cabinet lighting is essential to illuminate worksurfaces in a kitchen. Etta LED under-cabinet lights, £78 each, John Cullen Lighting
good illumination of a workspace or reading area to supplement general lighting as required. Task lighting should be adjustable to ensure that the light is well distributed and shadow-free and placed to the side of the working area to avoid glare, with the beam positioned directly onto the task area to avoid the bulb shining in anyone’s eyes.
A simple desk lamp may be positioned and adjusted to suit the particular task in hand. Wharton table lamp in matt black with aluminium shade, £117.60, Jim Lawrence
ACCENT LIGHTING The aim of accent lighting is to supplement ambient lighting and add drama, elegance or an unexpected twist to a room. This type of lighting should be brighter than the surrounding ambient lighting. It is also used to focus on artwork or architectural features that are of interest. WALL SCONCES Wall sconces are often used as accent lighting. In most situations wall sconces work best in pairs – unless being used as a task light – providing harmonious symmetry, often flanking a fireplace, mirror or painting, for example. Sconces come as uplighters, downlighters or a combination of both and offer single THE ENGLISH HOME 87
A group of simple pendants lights performs the dual task of providing a more intimate focus for dining and adding visual interest. Upton clear glass pendant light, from £125, Fritz Fryer
FEATURE DEBORAH GRAY PHOTOGRAPHS P87 (CHARLES EDWARDS) © NO LIMITS EXHIBITIONS LTD; P88 (FRITZ FRYER) © WILL PRYCE
or multiple bulb options to provide sufficient light for a space. The choice can be overwhelming: choosing a light that fits the period of the room is the safe option, but lighting can be used to dramatic effect when a more contemporary or unusual sconce is used in the context of a traditionally designed room. COVE, SHELF & STEP LIGHTING Cove lighting can be built into recesses or ledges in a ceiling, or located high on a wall, and directs the light upwards to the ceiling and down the wall, providing an even warm glow. Although cove lights may be used as ambient lighting, they are more commonly used to provide an aesthetic accent. Similar interest can also be created using shelf lighting, which forms small pools of light to add a focal point whilst simultaneously illuminating the objects on display. Step lighting on a staircase can create drama in both a period and a contemporary setting, turning a functional aspect of a home into a focal point. RIGHT Fix wall lights at roughly eye level either side of a basin to provide good lighting for bathroom activities. Burlington Round Light with Chrome Base and Silver Chiffon shade, £210 each, Burlington Bathrooms at Pure Bathroom Collection from Smiths Briten 88 THE ENGLISH HOME
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Clare Mosley handmade in england
FernsbyHall tapestry kits are designed by Catriona Hall and produced by Diana Fernsby. They are quirky and amusing mostly of rotund animals and birds using soft colours. Prices range from ÂŁ55 to ÂŁ85. Kits have a printed canvas, Appleton wools, a needle a photograph instructions and a canvas bag.
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English crystal lamp base with Eglomise decoration.
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BESPOKE BRONZE WINDOWS, DOORS & SCREENS
ACHIEVING A SENSE OF
COHESION & FLOW To create a home in which character combines with a sense of overall cohesion is a question of tackling design elements, both striking and subtle
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ore than a series of individual rooms, a truly well-designed house is a balanced whole, much greater than the sum of its parts. To achieve an enjoyable sense of unity means decorating with the bigger picture in mind, particularly apparent in halls, on landings and anywhere else there is a vista from one space to another, but crucial in general for the simple feeling of ease when inhabiting and moving around the home. “It is very important to have a sense of cohesion and flow,” says interior designer Emma Sims-Hilditch. “It makes for better living and allows the home to feel cosy and inviting.” Coherence does not, of course, mean employing repetition to the point of blandness, nor sacrificing the character of individual rooms. It means designing rooms 90 THE ENGLISH HOME
that function perfectly in themselves but that also relate to each other in a satisfying way. Like music, it is creating harmonious chords and symphonies rather than separate notes. In certain instances, this may mean architectural intervention. Some homes benefit from a change in layout to link spaces, for instance, widening or moving a doorway, knocking two rooms together or perhaps even relocating the staircase, for example. ARCHITECTURAL ELEMENTS Fitting, replacing or renovating appropriate features, such as cornices, dado rails and skirting boards, can also go a long way towards pulling the overall style together. These architectural elements are the underlying structure of the house and the visual repetition of them is always
Colour, pattern and a unity of flooring create a strong sense of cohesion in this apartment designed by Salvesen Graham. OPPOSITE Striped window treatments, cylindrical lampshades and navy upholstery echo an aesthetic from room to room in this family home by Nicky Dobree Interior Design.
More than a series of individual rooms, a truly well-designed house is a balanced whole pleasing. It could be, for example, that a drawing room is fully panelled, whilst the hall has panelling to dado height and the master bedroom’s wardrobe doors echo the same patterns and proportions. DECORATIVE INGREDIENTS Flooring is also crucial in linking spaces. Unifying flooring, whether wooden boards, stone flags, carpets or other, will contribute enormously to the sense of ‘flow’. Even if practical considerations mean that the floor cannot be exactly the same from one room to the next, it is worth taking care to ensure that the different materials relate to each other in some way, whether it be in the form of colour, tone, pattern or texture. Even what may seem like lesser details such as light switches, curtain poles and door knobs contribute hugely to a sense of an overall, well-thought-out plan – and these are relatively quick and inexpensive elements to synchronise. In terms of decorative interventions, reiterating colours, patterns, textures, shapes and materials is, naturally, a logical place to start. These repetitions should, ideally, be restrained and subtle rather than overt, and are most effective when planned to make up a palette that is simple and uncluttered without being simplistic or uninteresting. The most obvious strategy, interior designers advise, is to avoid using too many bold colours in ABOVE LEFT Jane Gowers has united these rooms with specialist paintwork, which emulates the worn patina of an Italian palazzo. The building work, including the cornicing, was carried out by Broseley. ABOVE Alexander James Interiors has cleverly created a sense of unity through a calm palette, yet retained clearly defined zones. LEFT Although contrasting in colour and pattern, a sense of scale unites these wallpapers in adjoining rooms. Wallpaper (foreground), Hegemone BP5707, £99 a roll; wallpaper (background), Atacama BP5805, £89 a roll, both Farrow & Ball 92 THE ENGLISH HOME
CLOCKWISE FROM LEFT This master bedroom and en-suite bathroom have flooring and colourways that co-ordinate without matching too precisely. Basilica Salt (bathroom) and Shore Oak (bedroom), from £70 a square metre, Signature collection, Amtico The designer Alidad has treated this passageway as a living space. Prints, paintings and furniture make it feel like a series of interconnecting rooms. Curtaining and wallpaper repeat a striking ombré colouring. Wallpaper, Savoie, Cobalt, £225 a roll; curtains, Savoie, Cobalt, £195 a metre, both Designers Guild Ebba Thott of Sigmar notes that subtle patterns, from herringbone weaves to whorls of woodgrain, repeated between rooms create a subliminal but still recognisable feeling of flow around a home.
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different places around the home. As designer Joanna Wood points out: “The paintbox effect is very tiring.” This is not to say, however, that a house should be painted from top to bottom in the same colour. Sims-Hilditch recommends employing lighter and mid colours that can vary in depth of tone to provide interest (paint charts demonstrate how effective this is for adding variety in a complementary way). She adds: “We often take inspiration from a piece of artwork or fabric to form the base of the colour scheme, and build on this from room to room to encourage continuity. In general, we use beautiful, natural materials and look to our surroundings so that the space is in complete harmony. The architectural finishes, furniture, fabrics, rugs, artwork, lighting and accessories must be layered up carefully so that depth and visual interest is created.” Attention to varying elements is necessary for building a cohesive scheme. Katie Goring of Studio Goring says that she tries to limit the number of paint colours and floor finishes in order to maintain a strong sense of flow without it necessarily being very noticeable. She adds: “If you have the basis of the room schemes flowing, it allows you to create individuality within each room through artwork, accessories and fabrics, whilst keeping a continuance that invites you on to the next space.” ABOVE In this house designed by Thorp, wide doorways act as picture frames, creating elegant views from one room to another, aided by subtle, neutral colours and a continuation of flooring. RIGHT Take a patterned wallpaper and use a colour from it in the form of a plain-painted wall for instant co-ordination. Wallpaper, Richmond Green, Stella, £94.50 a roll; paint (entrance hall wall), Blush 267, from £22 for 1l Absolute Matt Emulsion, both Little Greene
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THE ENGLISH HOME 95
FEATURE KATHERINE SORRELL PHOTOGRAPHS P90 © PHILIP VILE; P92 (FARROW & BALL) © JAMES MERRELL; P93 (ALIDAD) © JAMES MCDONALD, (DESIGNERS GUILD) © JAMES MERRELL, (SIGMAR) © PETR KEJCI; P95 (THORP) © RICHARD POWERS; P96 (SIMS HILDITCH) © ADAM CARTER
Continuing a colour theme between adjoining rooms creates co-ordination. Here and left, yellow and grey echo through a bedroom and en-suite bathroom in different guises, so each has its own character but there is clear unity. All fabrics from Vanessa Arbuthnott.
Another means of ensuring flow is to layout furniture so that the outlines of key pieces align with doorways, leading the eye from one space to another rather than blocking them so that they feel separate. Lighting, too, is a significant factor. Fittings themselves, where practical, can be duplicated either exactly (perhaps varying in size or colour as appropriate) or by virtue of unity of shape or material, whilst the light itself can lead the eye from space to space, placed to provide pools of light for atmosphere but avoiding impractical and unattractive dark areas. Such complex layering of form and colour, light and texture, architecture and decoration is not necessarily easy to carry out, and assistance from a professional can make a world of difference. Ebba Thott, of Sigmar, points out that relating different elements to each other is not rocket science, but the process can be extremely delicate and is a question of ensuring understated cohesion that verges on the subliminal. “Just colour-coding is too simplistic,” she says. “Things should be inter-relatable but not matchy-matchy. It may be that the pattern of the buttoning on an ottoman repeats ever so slightly the woven pattern of a rug – you don’t see it immediately. It is a case of looking at patterns, textures, and the composition of size and shape together with colour – it’s all about balance and harmony.” n RIGHT, MIDDLE A consistency of architectural features pulls together this design by Joanna Wood. The two rooms are also united by the use of Persian rugs and accents of red in each of the rooms. RIGHT Variety can be introduced into an all-neutral design by variations of dark and light. In this house designed by Sims Hilditch Design the wallpaper on the far wall is a luxury grasscloth by Altfield in Charcoal. 96 THE ENGLISH HOME
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Rug terminology Rugs come in a wide variety of different textures and patterns to supply both visual and aesthetic warmth to a room scheme. Here, we explain some of the terms used
P
eople have been making rugs for thousands of years, initially to keep the elements at bay and eventually – as dyeing and weaving techniques became more sophisticated – for more decorative purposes. Many parts of the world have their own rug-making traditions, with each imposing different meanings upon the designs and colours used: reds have been employed universally over centuries to symbolise richness and power; motifs such as lotus flowers, dragons and fish are laden with meaning in Chinese cultures; and an an elaborate lexicon of geometric designs and patterns has arisen in Islamic culture because depictions of animals and people are discouraged.
The type of knot used will indicate the origin of the rug. Indian, Persian and Chinese rugs are usually made using an asymmetrical knot (also known as the Persian or Senneh knot) tied around a warp thread, whilst the Turks, Caucasus and northern Iran favour the symmetrical (or Turkish or Ghiordes) knot. The Jufti knot, found in the highly prised Khorasan rugs from north-eastern Iran, is tied around four warps, making the knotting process faster. All these knots are cut individually whilst being worked. In Tibet the yarn is tied around two warp threads and a metal rod, and the knots are worked with a continuous piece of yarn until the pattern dictates a colour change, when the rod is removed and the knots are
cut. Most contemporary handmade rugs use this faster technique. To finish, the surfaces of all these rug types are clipped to ensure that all the knot tails are the same length. This is known as ‘cut pile’; the alternative is a ‘loop pile’, where the knots formed around a rod are left uncut, leaving loops. To determine whether a rug is hand knotted, examine the back of it; if the pattern and stitching is very even, then it will almost certainly be machine-made. Sometimes in machine-made rugs the knots are tufted or punched onto a latex backing; a hand-knotted rug will never have a backing. On a machine-made carpet, the decorative fringe might be sewn onto
HAND-TUFTED RUGS Used in both modern and traditional designs, hand-tufting is the fastest method of making a rug by hand. The pattern is drawn onto a woven canvas, then the rug maker takes a tufting gun and injects yarns in different colours into the drawn sections of the backing. The pile is then sheared to achieve the desired texture. This technique is popular in India and China. KNOTTING Knotted rugs are constructed using individual threads of coloured wool, silk or cotton, which are tied to strong vertical threads in cotton or silk (the warp) suspended on a loom. Each row of knots is kept in place by a woven horizontal thread (the weft). The edges of the rug are known as the selvedge. The end binding is formed by weaving a few rows of flatweave in a kilim style. These are then stitched into place and finished with a decorative fringe made from the continuation of the warp threads. 98 THE ENGLISH HOME
ABOVE Felt rugs are especially hardwearing and offer good insulation, whilst those in warming colours help to further heighten a sense of cosy comfort within a scheme as well as underfoot. Shyrdak felt rug, 1.8m x 2.85m, £1,800, Felt
In collaboration with The Rug Company, Norwegian artist Trine Kielland has created a rug inspired by her paintings. Deltille rug, from £1,987 (1.8m x 1.2m) or £890 a square metre, The Rug Company
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THE ENGLISH HOME 99
Beautifully designed Suzanis may be used as throws or wall hangings to bring a burst of interest to neutral schemes. Vintage Suzanis, from ÂŁ795, The Rug Company 100 THE ENGLISH HOME
LEFT Branches of blossom inspired this elegant pattern. Blossom handknotted wool and silk rug in Ecru, £1,075 a square metre, Tania Johnson BELOW Jennifer Manners’ bespoke rugs are made to order in Nepal using traditional Tibetan weaving methods.
KNOT DENSITY The knot density is measured by the number of knots per square inch (KPSI). The average is around 150 KPSI, whilst a fine rug may have a knot count of 500 KPSI. Knot density determines the price of a rug, based on the labour involved in producing it – a skilled worker can tie about 360 knots per hour. The more tightly knotted or woven a rug, the more detailed the design can be. WOVEN RUGS Woven rugs are created on a loom, weaving continuous weft threads through the vertical warp. Once woven, the weft thread is either cut, known as plush pile, or left in loops, known as Berber. Flatweave rugs are created on a loom with interlocking warp and weft threads, and include kilims, Aubussons, Soumaks and dhurries. The weaving technique makes them thinner than knotted rugs, and less insulating. Traditionally, the warp threads of flatweave rugs are made
of strong undyed cotton, linen or wool and the weft, which forms the pattern, is made of wool or cotton – although cashmere, silk and hemp rugs can also be found. These rugs are reversible. FELT RUGS Felted wool rugs are made by compressing and flattening wool which has first been soaked in boiling water to alter the texture of the wool. Traditional in Central Asian nomadic communities, felt rugs are particularly hardwearing and portable, and have excellent insulating properties. EMBROIDERED RUGS Embroidered rugs are stitched by hand directly onto linen, cotton or – less commonly – silk. Crewel work, tent stitch and cross stitch are the most commonly used stitches, and designs often include elaborate scrollwork and botanical designs. Berlin wool work is a popular style, produced as individually embroidered squares that are subsequently stitched together, whilst suzanis (the term derives from the Persian word for needle), originating from Central Asia, are prized for their decorative versatility and often used as bedcovers or wall hangings.
Needlepoint or tapestry rugs are constructed by stitching the yarn through a stiff open-weave canvas, often in elaborate designs of many colours to form the fabric and usually from wool, cotton or silk. Hooked rugs also use a canvas-style base; the knots are made by pulling loops of yarn through the mesh using a crocket-like hook. n THE ENGLISH HOME 101
FEATURE DEBORAH GRAY PHOTOGRAPHY P101 (HEX BY JENNIFER MANNERS) © JAKE FITZJONES
the ends, sometimes in a different yarn from that forming the framework, whereas on a hand-knotted rug it will be formed from the continuation of the warp thread.
Knots are tied around a rod, speeding up the knotting process without compromising quality. BOTTOM Available in handwoven, hand-knotted or hand-tufted styles, this geometric rug adds a contemporary touch to interiors. Hex rug, £1,605, Jennifer Manners
CREATING IMPACT
WITH ART
Paintings, photographs, prints and sculpture play a significant role in decorating choices, and there are many ways in which to show them off to their best advantage
W
hether it be a small sculpture, a large oil painting or a delicate watercolour, an artwork of any type will make an indisputable impact on an interior. “Nothing is finished without the art. It’s what designs the space,” states Martin Waller, founder of Andrew Martin. Interior designer Rebecca Hughes goes into further detail: “All too often art is treated as an afterthought, but it has just as much impact on a space as the furniture, and can transform both newly designed and existing rooms.” Works of art may be seen as providing the final addition to a decorating scheme or, conversely, even as the essential base around which a scheme is built. There are no hard and fast rules, points out Kate Smith of the Catto Gallery in London, which provides an art consultancy service to interior designers, architects, 102 THE ENGLISH HOME
individual clients and businesses. “Some people fall in love with a painting and just have to have it – they will find somewhere to put it,” she says. “Others will buy a painting because it has a specific purple that precisely matches their curtains. For others it might be purely for investment purposes. It may not even be hung in their homes but rather locked up in a storage unit. However, the majority of people buy a certain painting or sculpture to enhance the existing style of their home. Most people are going for a certain look with their houses, and they want the art they buy to fit with this.” That said, a work of art does not necessarily have to tie in perfectly with the period or even style of one’s property. “Art buyers are becoming braver about mixing styles to create dramatic effect,” says Smith. “In their furniture and decor, they combine many different elements from
In this entrance hall designed by Sims Hilditch, a selection of different pieces, including old maps, a family photo and a black and white landscape, are given cohesion through similar framing and a balanced but not uniform approach to hanging. OPPOSITE This gorgeous room allows the artworks to dominate and provide colour and interest in an otherwise subtle yet luxurious scheme. This property, ‘Between the Commons’ in Clapham, is available for holiday stays through theplumguide.com
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CLOCKWISE FROM LEFT Understated elegance always makes an impact, particularly with a portrait. This vignette provides an area of simple beauty, with both the painting and antiques on display on the demi-lune console. All items from a previous auction at Christie’s. A plinth is sometimes the best option for displaying sculptural pieces. Here, the French plaster bust is suitably placed upon a gilt pedestal, whilst the abstract marble sculpture is on an appropriately clean-lined white plinth. The Louis XV-style bergère chairs are covered in a Lelièvre fabric, in a room by Les Trois Garçons. Andrew Martin’s collection of 3D contemporary art, created from such everyday objects as leaves and pencils, brings added depth to a room. Artwork, In the Breeze, £395; armchairs, Peggy, £325 each; sofa, Peggy, £595; sideboard, Etta, £1,250, all Andrew Martin With the right mount and frame, even a small painting can stand out on a patterned wall. This room was designed by CVP Designs.
Here, interior designer Jane Churchill has elegantly incorporated a contemporary artwork within a more classic sitting room to great effect. The partial abstract brings energy to the room and its colour palette harmonises with the setting to create cohesion rather than a bold stylistic clash.
abroad, and a diverse range of sources and eras, to create an eclectic style. You don’t have to hang a Damien Hirst or Tracey Emin painting in a modern house. You can make a statement by choosing an older work like a Graham Sutherland or Alan Davie. Along similar lines would be a gilded, framed Old Master hanging in a minimalist’s home. It adds character – but you have to be true to your style, so only buy a work of art that moves you.” April Russell, whose interior design company works especially with existing or growing art collections, feels that art should not be bought solely to form part of a decorative scheme, but explains that if a favourite piece really stands out from the surrounding decor, it may be best to place it on its own in a more neutral space. One option, when deciding whether or not to make a significant art purchase, is to enquire as to whether the gallery will allow the piece to be borrowed for a short period, in order to assess how it looks in situ. Displaying art effectively is a matter of pinning down a number of variables, starting with which room to hang, mount or stand the work. Russell says: “It’s like a puzzle, and you have to start putting the pieces together where they harmonise.” Whilst some may love the conventional landscape-over-the-mantelpiece style, others may prefer to place greatly loved pieces in the most frequently used rooms, be they kitchens, family rooms, dining rooms or similar, so they can be enjoyed as much as possible. Any favourite spot is fine, provided the work is not likely to be damaged by its location – too close to a heat source or a children’s play area, for example. It is worth bearing in mind that paintings hung between two large windows can be difficult to see properly in daytime, against sunlight pouring in, and, if a work is under
ABOVE Favourite artwork should be displayed where it will be enjoyed, perhaps above a comfortable armchair, and illuminated by a traditional picture light, as in this room designed by Nicky Dobree, who sources as well as using clients’ exisiting art. THE ENGLISH HOME 105
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A set of inherited family portraits makes an eye-catching statement and a dramatic contrast to the contemporary furnishings in the drawing room of this South London home designed by Osborn Interiors.
ABOVE The colours from this large artwork are echoed in the wallpaper choice. Both the painting and paper have a modern style that feels harmonious and it is well positioned to provide a talking point over dinner in this dining room by Rebecca Hughes Interiors.
glass, it is best to avoid placing it opposite large windows, which will cause reflections (though non-reflective glass is a possibility). In fact, precious pieces should always be kept out of direct sunlight, unless protected by special glass, as ultra-violet and infrared radiation are enormously damaging to art, particularly watercolours and photographs. Size is another important factor to take into account: a large piece needs a correspondingly large wall (or stand) and, crucially, enough space in which to be able to step back and appreciate it. A small piece will look odd hung on its own on a large wall, but this can be overcome, says Russell, either by grouping a number of smaller pieces together into a ‘salon-style’ hang, or using an easel (free-standing or on a table) with which to display a single work. Waller recommends creating shapes and patterns by hanging multiple pieces on one wall, whilst keeping uniformity and structure in the final, overall shape. “If you have two portraits, face them towards each other as if they’re having a conversation,” he says. “And make themes, like putting all your pictures of animals together, even if they’re of different styles and eras. The important thing is to tell a story with the wall.” Some may feel that hanging a painting against patterned wallpaper is out of the question, but this is not necessarily the case. “If the wallpaper has a small pattern and the subject matter of the painting is large, it could work,” says Russell. “Or the same could go for a large painting against large-scale wallpaper in muted colours.” As for paint colours, Waller says: “When thinking about matching to a colour scheme, pinpoint one or two of the boldest colours in your room and reflect them in your chosen artwork. THE ENGLISH HOME 107
Precisely yet simply framed and hung in a grid formation, these sketches make quite an impact en masse. Fabrics from Manuel Canovas.
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Second, colour rendition – the ability of the light bulb to show true colours – which should be 95CRI or above. Lastly, consistency, by always buying from a reputable manufacturer.” Whilst it is possible to use freestanding floor or table lights directed at an artwork, custom picture lighting is ideal. In a contemporary environment, Triggs and Molyneux suggest a discreet track with spotlights, whilst in a classical setting they recommend considering picture lights, giving thought to their finish, perhaps matching them to other features in the room such as door handles and lights, or else to the picture frame or wall colour for a seamless look. As for lighting 3D artworks, they say: “It is most important to understand the artist’s intention, as the position and quality of light can have a dramatic effect upon how it is perceived and its focus within a room. Use spotlights in specific positions to accent the form of the sculpture. Choosing artwork is a very personal process that often elicits an emotional response, so it is important to spend time thinking about the best way to present and showcase the work once you take it home so that the experience continues beyond the gallery.” n
CHOOSING FRAMES Kate Smith of the Catto Gallery points out that, in most cases, artists are responsible for framing their own paintings, and will spend a great deal of time with the framer trying out different colours and profiles of frame before picking out the one they feel most complements the painting. “But if you are buying a painting and are not happy with the style of frame, it is perfectly reasonable to reframe in a style that fits with your home,” she says. “All framers will be able to help and advise as to a style of frame that will work with the painting. It might be worth holding onto the original frame if you are considering reselling the painting at some point in the future.”
FEATURE KATHERINE SORRELL PHOTOGRAPHS P104 (LES TROIS GARÇONS) © PAUL RAESIDE; P105 (JANE CHURCHILL) © ANDREAS VON EINSIEDEL; (NICKY DOBREE) © PHILIP VILE
Or, working inversely, pick out a colour in your artwork to highlight by using the same tone in cushions and other soft furnishings. This works similarly with shapes, mirroring a circular shape in an image with a spherical vase or sculptural lamp, for example.” Where on the wall to hang can be a challenging issue. Generally speaking, professional advice is to aim for the centre of the painting to be approximately at eye level, though ceiling height and furniture will also have be taken into account. According to art handler Pat Galligan of Christie’s, museums typically hang modern and contemporary works at 1.55m to the middle of the picture, with Old Masters a little higher. In many cases, it will be beneficial to deliberately illuminate the work in order to highlight it after dark. Professionals recommend LED lights for their small size, low-energy use and because they do not heat up. Harry Triggs and Andrew Molyneux, founders of art lighting specialist TM Lighting, explain the three Cs when selecting LED light bulbs or light fixtures: “First, colour temperature: we recommend 2,700K, slightly warmer than a halogen bulb but cooler than incandescent.
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SOPHISTICATED WAYS TO
ADD ANTIQUES
Whether bought or inherited, antique pieces bring a sense of history and character to a home. Here, we reveal how to successfully incorporate them with existing furniture and schemes
F
alling in love with a beautiful antique piece, bringing it home and then puzzling over quite where it will go and how it will co-ordinate with existing furnishings, is all too easy. The issue may be further magnified when the antiques in question are inherited rather than carefully chosen. This potential cause for concern, however, should really be a reason for celebration. With some thought, planning and maybe a little editing, a combination of old and new, or old and older, can be the making of a home, adding depth and character and creating a home that tells a story of evolution and the life lived within it, rather than looking like a stage set. “It’s important to add some texture to a room, and not just in surfaces, but also in the form of time,” says antiques advisor and buyer Elizabeth Fell. “If antiques
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aren’t included, interiors can end up very bland indeed.” Antiques dealer Matthew Cox adds: “Because every piece of antique furniture has a story, antiques bring instant personality to a space, as well as a warmth of surface acquired only by time. Decorating with antiques also shows a confidence and a cultural awareness.” When trying to decide where to start with using antiques, Cox says: “Only use pieces that are practical or have the most meaning for you. This goes for both inherited pieces and new purchases.” Whilst the most useful and attractive antique pieces could be anything from a kitchen dresser to a partners desk, Fell states that the most popular antique items, in her experience, tend to be chests of drawers, occasional tables – which add instant shape and sculpture to a room, as well as being inherently useful – and outdoor lanterns,
French and Swedish decorative antiques and accessories work beautifully in the English interior where lighter, more delicate settings are favoured. This enticing room shows pieces curated by Cotswoldsbased specialists Anton & K – used here in their own home. OPPOSITE An antique mirror is a marvellous accent in a room. Antique George II gilt mirror; Etro Paisley eighteenthcentury-style sofa, £4,950, both Augustus Brandt
CLOCKWISE FROM LEFT At Lorfords’ London showroom the antiques are displayed in styled room sets, such as this scene containing a 1970s Spanish brass-and-gilt wood mirror, a Louis XV-style 1950s French console table and a 1970s two-tier French coffee table. An antique sofa can be given a fresh new feel with contemporary upholstery choices. Fabric, Jag, £75 a metre, Kate Forman Designs In this entrance hall by Sims Hilditch, an antique seat on wheels sourced from an antiques dealer is both useful and attractive. Wallpaper, Adam’s Eden, £65.52 a metre, Lewis & Wood; Suffolk coat rack, from £135, Neptune The minimal lines of a twentieth-century sofa create a wonderful contrast with a seventeenth-century wall hanging. Brussels historical tapestry, after a design by Justus van Egmont, ‘Cleopatra Dissolving the Pearl’ c.1650 (sold); De Sede three-seater Cognac analine leather sofa, c.1970, £3,200, both Guinevere Antiques
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particularly for older properties. “A trend at the moment is for chesterfield sofas,” she says. “I have them reupholstered in jewel-toned velvet. They really are an excellent buy and add instant luxury.” MIXING PERIODS AND STYLES Juxtaposing antiques with new or vintage furnishings, or combining antiques from different periods, can be a challenge for the unprofessional eye. Too many pieces with nothing to unify them tend to appear cluttered, disparate and somehow ‘wrong’. Sometimes it is scale that is the problem, as pieces that are very different in size and proportion tend to look odd together (unless deliberately contrasted for effect), no matter what else they have in common. Thoughtful editing of extraneous pieces, supported by a trust in one’s own taste, is important. Cox says: “Give things space, and keep the designs bold and simple. You can find this type of design from every period and country throughout history. Once you have done this, it’s possible to punctuate a space with something more ornate, knowing that it won’t clash,” Cox adds. So for example, English Regency furniture, known for its beautifully simple, clean lines, would provide the perfect setting for a highly decorative piece from a ABOVE LEFT A considered vignette of antiques. A seventeenthcentury Brussels tapestry provides a backdrop to an ornate French Restoration-period mahogany marble-topped table. Table, £24,000; tapestry, £POA; blue-and-white pottery, from £650, all Julia Boston ABOVE RIGHT Robert Kime mixes antiques from different periods and cultures, including an early nineteenth-century Italian gilt-wood mirror, a thirteenth-century Italian table, Chinese vases, a Turkishweave ottoman, a Wedgwood cache pot and a Roman glass bottle. RIGHT In this country house sitting room by Susie Atkinson, neutral colours and simple shapes provide a modest backdrop against which a vintage coloured-glass table lamp shines out.
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contrasting era such as Louis XIV. “Another golden rule,” Cox continues, “is to always buy what you love. A strong, singular aesthetic will help things hang together in a very individual way.” Following these guidelines, antique furnishings can contrast beautifully with mid-century pieces, whilst a well-placed country antique or two looks very striking in a modern setting, for example. “There’s an honesty about country furniture that goes very nicely with industrial pieces,” says Fell, “but I do try not to mix country and town antiques together.” Fell’s advice is simple to heed when put another way – the rustic simplicity of materials and proportions of country pieces do not sit particularly well with the more elegant and refined use of materials and more formal, elongated shapes of ‘town’ pieces. ABOVE In this drawing room designed by Guy Goodfellow, two early nineteenth-century mahogany side tables (just seen) are placed either side of the fireplace, the coffee table is vintage 1970s and the chairs are a copy of a Robsjohn-Gibbings classic form. BELOW Combining antiques, vintage pieces and modern buys creates depth, texture and character within a room. This elegant and interesting space was designed by Salvesen Graham.
A SENSE OF BALANCE As with any other type of interior design, decorating with antiques requires balance. Susie Atkinson, design director of Studio Atkinson, points out that getting it right needs knowing how the space will be used, and particularly advocates blending light and dark, hard and soft, and old and new. “For example, there’s a big revival of ‘brown’ furniture. It’s nice to have that richness of colour, and it can be a good counterbalance to other pieces,” she says, “but it’s not a good idea to have everything brown. If you have a brown chest of drawers, for example, include painted pieces, too, and have a paler backdrop in the form of pretty wallpaper or lighter paint colours.” A consideration for the overall setting is, obviously, important, though Cox believes that antiques of a strong, simple design should work in any style of home. “And the cleaner the background palette, both architecturally and in terms of paintwork, the more fun you can have with your fittings and furniture,” he says. “A simple background not only gives your antiques a better chance of working in a space, but it also lets the time-acquired patina sing. A classical backdrop is quite simple, so a Georgian home would be a good background for pieces from all periods. In an art nouveau house it’s harder to make antiques from other periods work well.” It is wise to relate the scale of antique furnishings to that of the house as a whole. In a spacious house there is endless scope, but in a small, low-ceilinged property, the lean, spare lines of, say, Georgian furniture would probably be preferable to bulkier pieces from the Victorian or Edwardian eras. Another consideration is that the bigger the disparity between the architecture and the design, the more dramatic the effect. “Very early pieces look amazing against a contemporary background, for example,” says Cox. A clean-cut, white-painted room could be the perfect backdrop for one or two intricately embellished antique items, creating a gallery-like effect. On the other hand, deeper paint colours can be highly suitable in period properties, blending tonally with the time-aged patina of rich wood, foxed-mirror glass or burnished metal. As architectural historian, interior designer and naturalpaint expert Edward Bulmer points out: “Almost everything old is the result of colour derived from earth or minerals, so a colour THE ENGLISH HOME 115
Marion Lichtig is known for her skill at creating a house that looks as if it has evolved over time. The white chair came from Marchand Antiques; the painted French linen cupboard was discovered at Magus Antiques; the carver chair was found at Hilary Batstone; and the rug and wall light were sourced at auction.
ABOVE RIGHT ”We love the different finishes which using antiques in a room can give to the design. A cabinet in a rich wood and a detailed mirror can be juxtaposed with contemporary pieces to create a layered depth to the room,” says Mary Graham, co-founder of Salvesen Graham, who designed this space.
palette based on them is tonally suited to creating great backdrops for antiques.” REINVENTION & RESTORATION Of course, not all antiques fit perfectly into everyone’s home, and there are times when it is necessary to reinvent a piece in order to ensure that it is worth keeping. Atkinson says: “If a client has been handed down an heirloom that is strange or unfashionable, we might put it in an acrylic box and turn it into a more interesting piece of sculpture. Alternatively, we might hang it on the wall in a box frame, paint it or dress it up in some other way,” she adds. However, one should always be aware of the danger of devaluing an antique, so do consult a professional first and employ a restorer or skilled craftsman to make adaptations sympathetically. Fell describes herself as a “pragmatic” buyer of antiques and makes a point of looking for damaged sideboards or chiffoniers that would otherwise be
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scrapped or sold for parts, and restoring them, cutting off the back in order to fit a rise-and-fall television inside. Half linen presses – worthless without a top – can be converted to conceal a television at the foot of a bed. “One of the things that stands between people and buying antiques is the unknown cost of restoration,” Fell says. Yet there is no harm in asking an antiques dealer for a quote from their preferred restorer. It is also essential to enquire as to whether a piece has already undergone any kind of restoration to date. As part of its potential value and provenance, it is important to understand as much about the journey of a piece and to respect its age and history when considering any further work. If in doubt, there is a general notion within the antiques business that a good restoration is impossible to detect. Whilst following this simple mantra is respectful, treating antiques in this way also allows each piece to add its sense of charm and individuality to a home and give another lifetime of pleasure to its owners. n
FEATURE KATHERINE SORRELL PHOTOGRAPHS P111 © BRENT DARBY/ANTON & K/NARRATIVES; P112 (SIMS HILDITCH) © BRENT DARBY; P115 (GUY GOODFELLOW) © DAN STEVENS; (SALVESEN GRAHAM) © EMMA LEWIS; P116 (MARION LICHTIG) © SIMON BROWN
‘Combining antiques, vintage pieces and modern buys creates depth, texture and character within a room’
www.casdron.co.uk Technical Helpline 01962 732126
DESIGNING AN INVITING
KITCHEN FOR ALL
Whilst practicality is always a priority when designing a kitchen, the modern cooking space is frequently a gathering point for family and friends, too. Here, we look at how to create a heart of the home
T
o say that family life revolves around the kitchen is no exaggeration. Aside from coming together for meals – whether it be a boiled egg or a Sunday roast – this is also the room where little ones play with toys, older children do their homework or pass the time with a phone or tablet, dogs and cats snooze and adults catch up with paperwork or relax with a glass of wine. For entertaining, too, the kitchen comes into its own, used as a welcoming space for a morning coffee or evening aperitif and frequently favoured over the formal dining room for sit-down meals. No other room serves so many functions, which makes designing a hard-working yet hospitable kitchen a great deal more of a challenge – and so much more rewarding. “There are so many different ways of designing a kitchen and every layout will be specific to the individual
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room and the space available,” explains Andy Barette, creative services director of McCarron & Co. “It is important to be really honest and think hard about who does what in the room, and what your plans are for the future. For a family kitchen, the most important design element is to ensure that the cooking area is not a through-route to somewhere else. If you plan to create an island where people will sit at the same time as food is prepared, it must be big enough to be safe. Also, if you put the sink in an island it could mean lots of pots and pans – you might want to consider whether there is a better place to wash up that is not quite as visible from the dining area.” When space allows, separate areas that house the more utilitarian, ‘backstage’ aspects of a kitchen can be extremely useful. A boot room (perhaps including
MAIN Cabinetry pained in two complementary colours gives this Shaker-style Raynham kitchen by Naked Kitchens a modern twist. Bespoke kitchen cabinetry, from £20,000, Naked Kitchens OPPOSITE Appealing seat fabrics that complement kitchen cabinet paintwork create a charming feel in this British Standard kitchen. Individual cupboards start from £465; an average-sized kitchen costs around £8,000, British Standard
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CLOCKWISE FROM LEFT Crisp, clean lines and a contrast of dark paintwork with pale walls and floors create a handsome kitchen for cooking, eating and relaxing. Seating on two sides allows ample space for gathered family or guests to sit and chat. Shaker Bespoke kitchen, from £10,000, The Shaker Kitchen Company A spacious freestanding larder cupboard looks beautiful and provides plenty of concealed storage in any size kitchen. Handmade shaker kitchen larder cupboard, from £1,695, Home Barn This dining table comes with matching rustic-style bench seats for a neat and space-saving solution to informal mealtimes in the kitchen/diner. Arundel Rectangular table, from £1,485 (four seater); Arundel bench, from £445 (two seater), both Neptune Artichoke took influence from Flemish design to create this kitchen for a new-build country house. The large oak island has a specialist finish to age the material, providing a rustic feel. The sofa adds a welcoming touch. Bespoke kitchen, £POA, Artichoke
This country kitchen includes an island large enough for children to sit at to do their homework as well as a workstation for a computer. Kitchens from £45,000, Figura
a built-in dog bed), a walk-in pantry, a utility room to house the washing machine, dryer and cleaning equipment, some additional storage for seldom-used glasses and tableware – all will enable the kitchen proper to star as an uncluttered and attractive space. It may equally be possible to screen off an area with a sliding door or Crittall-style window. “Alternatively, if space won’t allow for a separate room, or you are looking for a storage solution rather than a kitchen redesign, a freestanding larder or pantry-style cupboard could offer an essential place to store food and everyday kitchenware,” says Joanne Emery, marketing manager of Burbidge. “Having items stored neatly, behind beautiful cabinetry or glass, will be both a functional and decorative use of space.” By the same token, integrated appliances are recommended for their streamlined appearance – though the range cooker will always be a desirable addition to a country-style kitchen. Barette suggests visiting appliance showrooms to gain a considered understanding of the huge variety of options available, whilst Emery says: “Opt for pieces that match the overall scheme and style you are trying to achieve. If you’re often cooking for large parties it may be worth investing in a double oven. Make sure small appliances fit within the look and are well placed throughout the room so they work with electrical outlets without getting in the way of guests having a good time.” Creating zones within the kitchen for different activities will help the space work efficiently. One way is to create a stand-alone island or L-shaped peninsula. “Islands and peninsulas are ideal for kitchen/diners,” says Emery. “They act as a divide between spaces, creating clear zones and giving the illusion of two
ABOVE McCarron & Co created a neat seating area to suit a kitchen created with its Brompton Kitchen collection. Under-seat storage can be incorporated on request. Kitchens from £35,000, McCarron & Co
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This kitchen by Davonport was designed to be the family’s main socialising space. The kitchen island features a breakfast bar as well as curved banquette seating on one end, paired with a round table as an informal dining space for family breakfasts. Leading off the kitchen is a snug, complete with a log burner. Kitchens start from £45,000, Davonport
ABOVE This cosy corner, combining the aesthetics of a drawing room with the practicality of a kitchen, could be used for catching up with paperwork as well as dining in comfort. The English Kitchen collection, from £35,000, Martin Moore
rooms, whilst offering an additional worksurface area that is adaptable in numerous ways.” Flooring can also be used to delineate different areas – perhaps stone or ceramic tiles underfoot in the cooking section, with floorboards or parquet in the dining area. “I like to mix flooring up,” says Barette. “These days it is possible to have whatever material and style you like, but it is important to research it carefully and in good time during the planning process. Flooring can’t be put at the bottom of the list, particularly as it has to be laid before the cabinets can be built.” Lighting, similarly, will help to delineate zones and should also be decided upon at a very early stage, when it will be least disruptive to conceal wiring within walls. “As with all rooms, a combination of downlighters and decorative lighting can be very effective,” says Chris Jordan, managing director at Christopher Wray. “Downlighters provide ambient and essential task light, whilst a pendant brings visual impact. A series of pendants above a breakfast bar, or a modern chandelier over a kitchen table, can be a beautiful feature. I recommend controlling each on different circuits so that you have greater flexibility.” Incorporating a dining area within or adjacent to the kitchen is always desirable, at the very least a breakfast bar with high stools, but possibly a bespoke table with a built-in bench-seat backing onto an island unit, or a completely separate table in a size, shape and style that suits the overall space – this could mean circular, oval, square or rectangular, and perhaps with extendable leaves. Always allow plenty of circulation space behind chairs (600mm–750mm is recommended by architects, THE ENGLISH HOME 123
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popular, whether it is a wine cellar, cooler or an additional fridge with a built-in water and ice dispenser,” adds Emery. “Consider placing it in the utility room or pantry, so drinks are perfectly chilled and ready to serve year round.” The hard surfaces and repetitive lines of a typical kitchen can lend themselves to a very functional, possibly even bland appearance. To minimise this, designers advise employing colour, texture and a range of appealing materials to create warmth and personality. Robust, easy-to-clean surfaces are best for the ‘working’ area of the room, but can be complemented by softer, more alluring finishes in the ‘entertaining’ and ‘relaxing’ zones. Artworks, ornaments, shelves of cookery books and other decorative accessories can all be added, provided they will not be damaged by splashes or humidity. “In general, we would encourage clients to think about co-ordinating colours, soft furnishings, worktops, handles and so on, to make the space more inviting,” says Barette. “Match the leather of the stools at the island with the upholstery of the sofa, or perhaps use soft paintwork over a wood grain. Imagine, for example, a mix of muted blue with polished copper and marble. Very appealing.” n
TOP LEFT Stone flooring with underfloor heating allows more wall space for kitchen cabinetry. Flooring, London White sandstone, £94.80 a square metre, Lapicida TOP RIGHT A woodburning stove in a kitchen provides an ambience that is warm (literally) and welcoming. 7449 wood-burning stove, £2,100, Morsø ABOVE An L-shaped island with built-in bench seating provides ample seating on a minimal footprint. New England Kitchen, from £50,000, Mark Wilkinson Furniture
FEATURE KATHERINE SORRELL PHOTOGRAPHS P120 (HOME BARN)) © MARK COCKSEDGE; (NEPTUNE) © ADAM CARTER; P121 (FIGURA) © ADAM CARTER; (MCCARRON & CO) © TREVOR RICHARDS; P124 (LAPICIDA) © NEALE SMITH
according to the Metric Handbook: Planning and Design Data) and ensure that the table is not too close to washing up or cooking areas. Many people are happy to do some paperwork at the kitchen table. If, however, a more permanent work space is needed – with a little shelving for storage and a dedicated desk – it is a helpful area to add to a kitchen, especially if designed with an eye to style as much as practicality, or perhaps concealed behind sliding doors. For comfort, if the kitchen is large enough, another wonderful addition is a comfortable seating area, which could range from an upholstered window seat where guests may perch whilst chatting to the cook, to an armchair or a full-sized sofa, perhaps even with a rug, coffee table and wall-mounted television. In an open-plan room of this type, it is imperative to invest in quiet appliances and good extraction. When designing a kitchen it is important to consider all the ways in which it is used, from where to put down heavy shopping bags to how dinner guests might mingle without getting in the way of the chef. For frequent entertainers, a built-in coffee machine, a boiling-water tap and a warming drawer may all make life easier. “A designated drinks storage area is always
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Kitchen details Richard Hibbert, national chair of the Kitchen, Bathroom, Bedroom Specialists Association (KBSA) offers key considerations when designing a kitchen
W
hen choosing a new kitchen, one of the earliest decisions will be whether to opt for in-frame or flush-front doors. In-frame doors are a feature of the more traditional kitchen, but in-keeping with the trend for mixing styles, there are now more modern variations on the traditional in-frame door available. The Shaker-style kitchen is a good example. In such a kitchen, the frame is attached to the front of the cabinet to hide the edges, and the doors and the drawers open within the frames. Usually associated with bespoke, hand-crafted kitchens, these doors can be natural wood or painted. Flush-front doors and drawers tend to feature in contemporary kitchens. True flush-front doors and drawers will be handleless and completely flat, without any indents or panelling, relying on push-release mechanisms to open. Available in a range of finishes and styles, doors can be made from a number of different materials as well as finished with a matt- or gloss-painted finish. DECORATIVE INGREDIENTS The level of decorative detail on kitchen cabinetry impacts on the finished mood and style of any scheme. For instance, plinths – found beneath the base cabinets within the kickspace where the cabinets meet the floor – once purely functional, are becoming more aesthetic. In recent years, plinth designs have developed into more of a feature. They can be in a contrasting colour to the kitchen doors to add extra interest or a mirrored finish to add an extra touch of designer flair. With new technology available, plinths can also be used to incorporate lighting or heating, either electric or hydronic – where hot water is circulated through the plinths, ideal for kitchens that are short on space. The addition of LED lighting to a plinth will add ambience to a room and create stylish spotlight effects with a choice of either warm or white light. Cornices are decorative features used at the top of wall units. Different shapes and heights are available and the choice is often down to personal taste and how much space is available above the top of the cupboards. Contemporary cornices will be less detailed, usually flat or angled, than more traditional, ornate designs. For those seeking a more ornate kitchen, pilasters are a decorative type of column built into or applied to the face of cabinetry that slightly project from the surface to add texture and detail. Pilasters are available in many shapes and sizes but usually 126 THE ENGLISH HOME
with ornate detail or carvings. More modern versions of pilasters are now also available, offering smoother and flatter shapes. WORKTOP SELECTION Worktops can be selected from a whole range of materials that vary in quality and provide different looks for the kitchen. Laminate worktops are the entry-level choice and come in a variety of colours and finishes, including high-definition print which provides a choice of realistic wood and stone textures. With the addition of matching upstands and splashbacks, they can create a stylish finish. Timber worktops are both beautiful and practical, and the natural anti-bacterial properties of wood make it one of the most hygienic surfaces available. However, wooden worktops do have one main disadvantage – they require maintenance. The surfaces need to be sealed completely to protect the wood and sustain its properties and durability. In addition, they will need to be kept dry and will need resealing from time to time to keep them looking good. Growing in popularity over the past 10 years, composite worktops are engineered using a blend of ground-down minerals, quartz usually, and high-quality resins. These are non-porous, hygienic and durable and can be made in a variety of colours by adding dye to the mixture. Well-known brand names include Silestone and Caesarstone. At the most expensive end of the range are the natural options, such as marble, granite, limestone and even slate. All have a high-quality finish and feel, and, with no two slabs being exactly the same, will ensure a distinctive look.
This kitchen blends the beauty of raw materials with classic kitchen design. The result looks good and also performs well in a busy kitchen environment. Dark blue cabinetry (background) from the Library collection; island (foreground) from the Forge collection, kitchens from £30,000, Bert & May
Stainless steel and glass are also popular worktop choices, particularly in more contemporary kitchens. Both are durable and hygienic but do need to be treated with care. SPLASHBACKS AND UPSTANDS The purpose of a splashback is to protect the wall from splashes when cooking or washing up and provide a surface that is easy to clean. Tiled splashbacks are the most traditional and popular choice and there is an extremely wide choice of tiles to choose from. However, modern alternatives, including acrylic panels, toughened glass and stainless steel are becoming more in demand. Toughened-glass and acrylic splashbacks can be coloured to match a worktop or have images printed on them for a touch of individuality. Stainless-steel splashbacks are a popular option but require regular maintenance and cleaning to keep them looking their best. In rooms where a full-length splashback is not desired, upstands are a popular alternative. Approximately 6cm in height and 2cm in depth, they prevent water ingress and provide an easy-to-clean surface in an area that can get messy. More often than not, upstands will be made from the same material as the worktops, providing a wide choice of natural materials such as granite or any of the man-made alternatives. PRACTICAL POINTS Technical fittings. such as drawer runners and door hinges, have an important impact on the functionality and ease of use. Runners are fitted to drawers to help them glide in and out
easily and provide stability. They can vary in quality and be designed to take different weight limits, so check carefully if you have lots of heavy pans to store. Soft-close drawers are a feature available with most good-quality kitchens and enable drawers to close independently and smoothly. Cabinet hinges, like drawer runners, can vary in quality. The majority of kitchen ranges now include soft-close hinges on doors as standard, but it is worth looking for a recognised brand, for example, many quality retailers use Blum hinges. Visible, or butt, hinges are most often used for traditional kitchens, whereas clip hinges are best for more a more contemporary, sleek look. Clip hinges allow the door to be removed for ease of cleaning. Most doors open 90 degrees but there is an option for a 110-degree opening which provides a greater opening and less likelihood of banging into the doors. n The KBSA is a national trade association founded over 30 years ago to promote excellence within the interiors industry and has more than 200 retail members throughout the United Kingdom. kbsa.org.uk TOP RIGHT The doors of this dresser allow the worktop to run to the back of the cupboards which have sockets inside. Bespoke dresser (including build, delivery, installation, painting and granite top), £15,060, Thomas & Thomas
ABOVE This kitchen is a gently contemporary variation on Shaker style and shows the appeal of in-frame doors. Chichester kitchen, from £10,000; Chichester Chopping Block (at end of island), from £1,015, both Neptune
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BATHROOMS WITH A
SENSE OF SANCTUARY Create a well-appointed and alluring bathroom that is perfectly practical yet is also somewhere in which to luxuriate at the end of a long day
T
here is no doubt that functionality is an absolute essential when designing a bathroom. Whilst some may feel happy with a room designed solely for quick and easy use – hardworking, hard-wearing and easy to keep clean – many yearn for a space, be it master, family or en suite, that offers a great deal more. With careful planning and some imagination, it is possible to create a luxurious bathroom in which it is a pleasure to linger, that is a delight to all the senses and which feels not only refreshing but also deeply reinvigorating. The starting point always has to be an evaluation of who is going to use the space and how. James Lentaigne, creative director at Drummonds, points out that this thought process often results in more than simply removing old bathroom fittings and reinstalling new
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ones in their place. Instead, it should include thinking holistically about the size, shape and layout of the bathroom, and how it connects with and relates to other rooms, especially the bedroom and dressing room. “Consider the existing space and whether you wish to gain any further space from elsewhere, or even divide the space up and put the loo in a separate room,” he says. “Some couples like to have a bathroom each, and we are seeing more and more clients who wish to create a bedroom/ bathroom – and not just with a bath in the bedroom, but even a freestanding shower as well.” At this early stage, it is essential to plan how the room will be heated and lit. No bathroom can be truly comfortable if it is cold and gloomy, and Lentaigne highly recommends both underfloor heating and a heated towel rail, positioned conveniently near the bath and/or shower.
OPPOSITE Joanna Wood designed this room using Colefax and Fowler fabric to line the walls. The vanity was made from a repainted antique French cabinet with a marble top added. The reflective surface and gorgeous colours of this chinoiserie wallpaper is a fabulous backdrop for the freestanding bath. Tweed cast-iron bath, from ÂŁ3,420, Drummonds, painted in Early Spring Green, from ÂŁ20.50 for 0.94l Regal Select Flat, Benjamin Moore
This pretty bathroom was designed by Nina Campbell and demonstrates how a unity of walls, window treatments and soft furnishings gives the space a relaxed, coherent feel.
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Bathroom light fittings must be rated for use in wet, steamy conditions – unless the room is spacious enough for them to be placed far enough away from water sources and splashes – and there is a huge amount of choice nowadays, from almost invisible LEDs to dramatic chandeliers. Lentaigne advises separate circuits to control wall lights, ceiling lights and perhaps also a decorative pendant. Position the brightest lights over the shower and basin, adding wall lights in judicious places – such as over one end of the bath in order to read a good book when enjoying a soak. Whilst thinking about electrics, it is also worth wiring in a heated pad behind the bathroom mirror to prevent misting, and adding a shaver/toothbrush charger point, which may seem like a minor consideration but, if overlooked, makes using the room on a daily basis highly inconvenient. The next stage to the design is choosing the fittings. “What are your hero pieces?” asks Lentaigne. “I think it’s nearly always the bath – leave the door to the room open and the bath can be like a beautiful work of art. Do you want a deep bath, a bath with a gently sloping end or a double-ended bath? Basins – one or two singles, or a double? Having two vanities, for example, is a fantastic luxury. Do you want a large shower? Bear in mind that a huge shower, especially in period properties, can be draughty.” There is a plethora of choice in both traditional and modern style fittings, but it is worth investigating how function and form marry together. Some baths, for example, retain heat better than others, whilst certain types of shower require a pump in order to achieve a decent pressure – so it is well worth taking advice from a good plumber. “Storage is hugely important in the bathroom,” says interior designer Annabelle Holland. “The room simply feels better when there is no clutter.” Lentaigne agrees, recommending built-in, shallow, concealed storage. “You can hide anything if you pull the walls out by 150mm and add push-release doors,” he says. “It’s a great use of space and you will be able to see everything on the shelves.” Holland points out, however, that adding freestanding storage pieces, when space allows, contributes to the ambience, adding a different colour, texture or provenance to a room in which much of the contents, by default, tend to be hard, white and shiny. “If you can mix things up the whole feel of the room is better,” she says. “You can create a cosy bathroom by including lots of different elements. Everything of the same type becomes very sterile, but mixing old with new, and incorporating a range of textures, makes it a more welcoming space. The texture of wood, for example, is a lovely thing to include, whether it’s a wooden floor (there are some very good sealants these days), panelling or tongue and groove on the walls, or simply a rustic stool.” Wallpaper, too, brings in an additional element of colour and pattern, and can be chosen from a range of bathroom-specific vinyl-coated styles, or sealed with decorator’s varnish. There is no doubt that including one or two items of freestanding furniture, provided the bathroom is large enough, increases the sense of comfort exponentially. To add a sofa, chaise longue or armchair in which to sink back and relax would be delightful, with the upholstery fabric adding that special
ABOVE The armchair, rug and antique mirror contribute to the relaxed feel of this traditional bathroom by Mark Gillette. BELOW Beautiful wooden floorboards, huge windows and a dramatic chandelier make this bathroom a glorious place to be, with the pièce de resistance a symmetrically placed freestanding bath. Knightsbridge twin-skinned, double-ended bath with a matt aluminium finish, £2,645, Frontline Bathrooms
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element of softness and texture. A small chest of drawers, tallboy, side table or plant stand would all introduce extra character, as well as the feeling that this is a ‘real’ room rather than just an in-and-out, squeaky-clean space. “Window treatments are another lovely way to soften a bathroom,” says Holland. “A light, see-through fabric drapes really beautifully. Alternatively, moisture-proof shutters work in both a traditional and a contemporary setting and let light in whilst retaining privacy. They can be coloured to match any scheme.” “It’s about getting the right finishes and using really nice materials that give you the feel you want,” says Lentaigne. “You can use tiles to add character to the design, and marble is a really fantastic material. And think about whether fittings will be brass, nickel, chrome or something more unusual, such as bronze, antiqued or blackened. Generally, however, it is best not to follow fashion too much. I find that people want their bathrooms to last and if you choose products that are timeless you won’t need to worry about replacing your bathroom again in a few years time. It’s much easier to change the look and feel of a bathroom with paint colours.” Holland recommends putting together a moodboard – online or on paper – with images of products and swatches of paint, wallpaper, flooring and fabrics. Playing around with this is an efficient way to identify what will co-ordinate and what needs refining, and the result may, if necessary, be passed to
ABOVE An overscaled image as a backdrop to a luxurious corner shower creates huge impact in this bathroom. EauZone Plus shower enclosure, from £1,668, Matki BELOW A mix of styles, materials, co-ordinated colours and textures gives this room, designed by Annabelle Holland, an elegant character. Well-sealed timber has been installed around the bath area, with carpet elsewhere for comfort.
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FEATURE KATHERINE SORRELL PHOTOGRAPHS P128 © BRUCE THOMAS; P130 © PAUL RAESIDE, FROM NINA CAMPBELL INTERIOR DESIGN: ELEGANCE AND EASE (RIZZOLI NEW YORK); P133 (ANNABELLE HOLLAND) © MARK BOLTON; P134 (WATERS BATHS) © JAKE EASTHAM; (LAURA ASHLEY) © DAVID GARCIA
‘Storage is hugely important in the bathroom. The room simply feels better when there is no clutter’ a design professional to carry out further research and manage the project to completion. To further the idea of comfort and relaxation, add mirrors, works of art, wicker baskets, floral arrangements, the fluffiest of towels and small accessories such as soap dishes, hooks and perfume bottles. The latest technology, too, can be highly desirable, whether it is a waterproof television, Bluetooth music system in the shower, voice-controlled smart lightbulbs or a smart mirror (a mirror with a television behind it) that delivers news alerts and the weather forecast. “I’m not sure I would like a television in the bathroom personally, but I love the idea of listening to music,” says Holland. “People have busy lives and when they have time to relax, the bathroom is a key place. There are many details that need to be thought about, but by introducing an interesting mix of elements you can create a cosy and inviting space that you really want to spend time in.” n ABOVE Dark walls and closely hung artworks provide a sense of drama in this spacious bathroom, which contrasts the clean lines of a modern bath with a period fireplace and vintage armchair. Haze Freestanding Bath, £2,295, Waters Baths of Ashbourne RIGHT This freestanding bathroom is prettily put together, featuring a pastel colour scheme and a floral blind. Laura Ashley Mineral Grey Splashback, from £198.00 for 900mm x 750mm, Tile Giant
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The Pyrford Double Vanity Unit with Slate Countertop - Painted Midnight Sky
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WORKING WITH
A DESIGNER
Whilst hiring an interior designer may seem daunting, it can be a smart move, delivering innovative decoration, maximising space potential and saving time
T
here is a certain mystique surrounding interior designers. Many of us might worry that hiring one is ‘cheating’, that costs will be exorbitant or that a professional may insist on throwing out our cherished possessions. Thankfully, these are misconceptions. There is a vast choice of talented, approachable designers delivering everything from a scheme for one room to a full house transformation. Working with an interior designer is often described as a ‘journey’ so it is helpful to understand the key parts of the process. WHY IT IS A GOOD IDEA As well as creating a beautiful, inspirational home – and taking a fresh look at existing furniture – an experienced interior designer will be able to make best use of available space, devise clever storage solutions and commission bespoke furniture. Their professional judgement minimises expensive mistakes, and they offer specialised knowledge of buildings, materials and furnishings, often liaising with builders and architects. They will also be able to streamline the project schedule and make sure everything runs smoothly. Their ‘little black book’ of resources is invaluable, from lighting and audio-visual experts to upholsterers and decorators. “And professional design,” says interior designer Antonia Stewart, “increases the value of your property.”
FINDING AN INTERIOR DESIGNER Finding a skilled designer can feel like a minefield, but it need not. The British Institute of Interior Design (BIID) is the ‘pre-eminent professional organisation for interior designers in the UK’ – so make it a first port of call. Its website has an A–Z of members, searchable via expertise, style, location or budget, and there is a free Designer Referral Service. Interiors magazines are an excellent resource, as is Instagram. “It not only highlights designers’ completed projects but you’ll get a behind-the-scenes look at how practices work,” Stewart says. Word-of-mouth recommendations are key, as Gail Taylor of th2designs explains. “If you find a designer you like but don’t know someone who has used them before, ask to speak to previous clients – if either are reticent, it is not a good sign.” SELECTING A DESIGNER Once armed with a shortlist, have an initial meeting with at least two designers, preferably on site. Most designers agree this should be free of charge. A face-toface meeting is important to ensure a good emotional ‘fit’ as it will be necessary to discuss personal lifestyle details and be confident the designer will listen. Equally, a designer must be comfortable with the desired end result and proposed budget. Interior designer Juliette Byrne recommends writing a brief, having
ABOVE LEFT Tor Vivian of TOR Interiors has produced a powerful decorative statement in this drawing room. The ikat fabric by Kravet on the antique sofa acts as a colourful centrepiece and allows accents of colour to be dotted around the otherwise neutral scheme. LEFT The mood board shows how unexpected colour, pattern and textures are pieced together FAR LEFT The furniture plan shows how two seating areas have been devised in the the generous drawing room – one to be used on an everyday basis around the fire, the other for entertaining. THE ENGLISH HOME 137
ABOVE An interior designer’s eye works across every aspect of a room’s design, including appropriate furniture. In this library, designer Beata Heuman has chosen a round table, rather than a desk to allow it to function as a dining space for intimate suppers. RIGHT Kitchens pose particular space problems. For Imraan Ismail of iiinteriors, the solution to fitting in all the appliances as well as storage space was to have a slimline dishwasher and a combined microwave/oven.
floor plans, listing the work that needs doing and having a guide budget before first contact. “This enables the designer to see if it is the type of project they’re well placed to take on,” she explains. QUESTIONS TO ASK There should be a two-way flow of questions. Check if the designer has worked on a project of a similar size previously, if the required timeline is possible and the projected budget practicable. Be specific. Do they enjoy creating family homes or are they listed building specialists? Most designers will want to know if building work is being undertaken, the deadline, whether any existing furniture needs to be kept and who the main point of contact is. Lifestyle queries may include whether anyone works from home. “I have a long list of questions to get a true picture of lifestyle, so we can design a home that looks great and works for the owner,” Taylor says.
LEFT Whilst this room is quite neutral, interior designer Antonia Stewart’s careful layering keeps the design sharp and formal.
COMMISSIONING Prior to being comissioned, a designer should draw up terms and conditions, including the scope of services, fee structure and a contract. “All information should be discussed in detail before you make a final client decision,” says Byrne. As for how a project proceeds, every designer differs. “Nearly all projects break down into two phases,” explains Stewart. Phase 1 is the information pack, putting together everything from furniture and electrical layouts to sanitaryware and hard finishes, and estimates for approval. Phase 2 implements Phase 1, taking it through the order process and onto site. FEES Whilst there are no set UK fee guidelines, the BIID details five options: a fixed fee for the whole project; a percentage of the cost of the completed works; an hourly rate (with an agreed ceiling); a fee for the design work, plus a handling charge for
procuring furniture, fixtures and equipment; or a fee for the design work and a percentage of the cost of supplying goods and furnishings. This may vary, and individual designers often use a mix, but all designers agree a contract is essential. As a guideline, the BIID offers two standard forms of Client Agreement, which individual designers often customise. Be aware that a designer should have professional indemnity insurance and public liability cover. ACCREDITATION When hiring a professional, we all like the reassurance of a recognised body. However, in the UK, whilst the word ‘architect’ is a protected term, anyone can call themselves an interior designer. With this in mind, in 2016 the BIID launched the BIID Registered Interior Designer® trademark in order to help clients to identify interior designers who have met the BIID’s rigorous standards. These include having at least six
ABOVE A beautifully realised illustration helps both client and designer to visualise the space planning and light.
years of interior design education and work experience; the support of at least two professional referees; professional indemnity insurance; and the successful completion of a face-to-face Registration Assessment. It is worth noting that there are also many highly regarded designers who are not accredited and provide a fabulous service. INTERIOR DESIGN QUALIFICATIONS Currently the BIID does not accredit any courses, although it does recommend criteria for choosing courses. Many interior designers either do a full three-year degree, a one-year accelerated diploma – which covers creative and practical training – or an intensive three-month certificate, often focusing on decoration and historical context. “Interior design partnerships increasingly want to employ staff suitably and recognisably qualified,” explains Alan Hughes, principal of the Inchbald School of Design. Practical experience THE ENGLISH HOME 139
ADDITIONAL INFORMATION • The British Institute of Interior Design (BIID) is the only UK professional body for interior designers that has been awarded Institute status. Its website offers a free downloadable guide: A Client’s Guide to Working with an Interior Designer. biid.org • The Society of British & International Design (SBID) is the professional body registered in the UK to accredit professionals in design and regulate and promote the interior design profession. sbid.org • An interior designer will focus the whole functionality and look of an interior, including space-planning, lighting and electrical planning, hard finishes, colour, kitchens and bathrooms, and storage. • An interior decorator tends to deal with soft furnishings, accessories, artwork and furniture once the space has been designed. • An architectural designer works more specifically on space-planning, furniture layout and scale plans.
140 THE ENGLISH HOME
matters, too. “Experience in the field counts with clients, and time spent learning in a professional studio is invaluable,” Hughes adds. Another qualification an interior designer can gain is Continuing Professional Development (CPD). This ensures that designers keep up to date with regulatory and legal matters, new software and materials, and current trends. BIID members are obliged to undertake an annual CPD requirement.
Do not be shy about requesting a design for just one room, as smaller interior design practices are happy to undertake these. Or sometimes, interior designers will work in stages with clients, completing first the ground floor, then the bedrooms. Larger practices may only be interested if renovating and designing an entire house. For time-pressed or overseas clients, turnkey services are a fabulous option, because the designer sources everything, right down to the accessories.
TIERS OF SERVICE There is a tiered choice of design options. For starters, consider online services, such as Jessica Buckley Interiors’ e-design service which provides a moodboard, room plan and shopping list from supplied photos and measurements. Mindful of busy clients, th2designs has launched th2studio to provide completely designed rooms ready to buy online. Some interior designers offer home styling, suggesting decorative accessories to pep up an existing scheme. For instance, Yellowhouse Design’s Light Touch service provides subtle tweaks for a low fee.
A SPECIAL RELATIONSHIP Although the designer-client journey must begin with hard facts, after a project is completed it is not unusual to return to the same interior designer time and again. Equally, designers will be happy to continue to source that perfect final piece of furniture or accessory. So it is worth remembering when hiring an interior designer that it may be a first step to a fruitful, long-lasting relationship. “Design is a collaborative approach, so trust your instinct and go with a designer you feel comfortable working with,” concludes interior designer Emma Sims-Hilditch.
FEATURE JUDITH WILSON PHOTOGRAPHS P138 (BEATA HEUMAN) © SIMON UPTON; (IIINTERIORS) © DANIELLA CESAREI PHOTOGRAPHY: P140 (STUDIO DUGGAN) © ALEXANDER JAMES
VSP Interiors’ brief for this family home was to add comfort, warmth and character to achieve that lived-in country look. As such, all the furnishings are either new but made to look older or antique.
ABOVE Here, Studio Duggan has created a clever contrast between the decorative gold-leaf chandeliers in the dining room and the pared-down black Pascha pendants by Frau Maier in the sitting room. RIGHT A mood board is an essential visual aid and helps keep the mind on the end goal. This one is an example by the KLC School of Design.
DIRECTORY OF INTERIOR DESIGNERS Drawing room scheme by Samantha Johnson
LONDON & THE SOUTH EAST ALEXANDER JAMES INTERIORS Elegant interior and architectural design. Tel 0118 932 0828 aji.co.uk
ALIDAD Sumptuous interiors for grand properties (plus Studio Alidad for more contemporary tastes). Tel 020 7384 0121 alidad.com
ANTONIA STEWART Specialises in high-end private residential projects. Tel 020 7622 9539 antoniastewart.com
APRIL RUSSELL Specialist in interiors that offset art and sculpture collections. Tel 020 7720 0046 aprilrussell.com
BEN PENTREATH Renowned for creating a distinctive and playful style. Tel 020 7430 2424 benpentreath.com Bedroom designed by Gramlick Designs
Our team’s selection of designers whose work they have seen first-hand or featured in The English Home. Most of the designers listed work nationally and internationally
BEATA HEUMAN
HENRY PRIDEAUX
JUSTIN VAN BREDA
Characterful, eclectic interiors with a contemporary edge. Tel 020 8741 0102 beataheuman.com
Classic interiors with a contemporary twist. Tel 07710 115094 henryprideaux.com
Considered and engaging furniture and interiors. Tel 020 7078 7996 j-v-b.com
CHARLOTTE CROSLAND
HUGH LESLIE
KATHARINE POOLEY
Bold, brave use of colour and pattern for atmospheric schemes. Tel 020 8960 9442 charlottecrosland.com
Eclectic, structured style with an eye for colour and textures. Tel 020 7584 7185 hughleslie.com
Bespoke and luxury finishes for homes from Mayfair to Kuwait. Tel 020 7584 3223 katharinepooley.com
DIANA BLANCHARD
IMRAN ISMAEL
LOUISE BRADLEY
Elegantly refined interiors to set a restful backdrop to home life. Tel 020 7722 1242 blanchard.uk.com
Liveable, beautiful spaces with chic multicultural details. Tel 07515 966235 iiinteriors.co.uk
Specialising in sleek, luxurious but supremely functional homes. Tel 020 7589 1442 louisebradley.co.uk
DOUGLAS MACKIE
JANE CHURCHILL
LOUISE JONES
Artful balance of classic and contemporary with rich textures. Tel 020 7487 3295 douglasmackie.com
Internationally-respected for quintessentially English style. Tel 020 7730 8564 janechurchillinteriors.co.uk
Comfortable, ‘grown-up’ interiors with careful attention to detail. Tel 020 7351 6858 louisejonesinteriors.com
GAVIN HOUGHTON
JENNY BLANC
MAURIZIO PELLIZZONI
Playful use of colour and pattern, for a look of British eclecticism. Tel 020 7998 6560 gavinhoughton.co.uk
Beautifully detailed interiors for town and country homes. Tel 020 8943 4144 jennyblanc.com
Blends European polish with timeless light and airy looks. Tel 020 7352 3887 mauriziopellizzoni.co.uk
GUY GOODFELLOW
JESS LAVERS
MAX ROLLITT
Provides an accomplished interpretation of English country-house style. Tel 020 7349 0728 guygoodfellow.com
Modern room schemes with judicious use of colour accents. Tel 07765 251969 jesslaversdesign.com
Distinctively smart interiors and a classical aesthetic. Tel 01962 791124 maxrollitt.com
JOANNA WOOD
MICHAEL NICHOLAS
Globally respected for top-notch contemporary elegance and classic grandeur. Tel 020 7730 0693 joannawood.com
Beautifully tailored interior design with meticulous attention to detail. Tel 020 7498 7755 michaelnicholasdesign.com
HELEN GREEN DESIGN High profile practice creating ‘luxurious yet liveable’ interiors. Tel 020 7352 3344 helengreendesign.com
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NATALIA MIYAR
SOPHIE PATERSON
Glamorously modern interiors based on texture and ambience. Tel 020 8629 5510 nataliamiyar.com
Interiors imbued with a distinctively contemporary calm Tel 01372 462529 sophiepatersoninteriors.com
NICHOLAS HASLAM
STAFFAN TOLLGÅRD
English style with continental flair by Paolo Moschino and Philip Vergeylen. Tel 020 7730 8623 nicholashaslam.com
Contemporary interiors suited to the period of the property. Tel 020 7952 6066 tollgard.co.uk
Tel 020 7731 2996 wickendenhutley.com
SOUTH WEST EMMA SIMS-HILDITCH
HAM INTERIORS TAYLOR HOWES
NICKY HASLAM Acclaimed for creating glamorous, witty interiors. Tel 020 7370 3100 nh-design.co.uk
NINA CAMPBELL World-renowned for her quintessentially English style. Tel 020 7225 1011 ninacampbellinteriors.com
PATTI MONEY-COUTTS Beautifully considered interiors with imaginative use of details. Tel: 01420 590219 overburyinteriors.co.uk
Softly modern elegance for calm, understated schemes. Tel 01249 783087 simshilditch.com
Sleek, chic interiors from this international luxury studio. Tel 020 7349 9017 taylorhowes.co.uk
Timeless design and a softly modern country allure. Tel 01491 579371 haminteriors.co.uk
TODHUNTER EARLE
HENRIETTA SPENCER-CHURCHILL
Refined sophistication from contemporary to heritage. Tel 020 7349 9999 todhunterearle.com
An encyclopaedic knowledge of Georgian design & architecture. Tel 01993 811887 spencerchurchilldesigns.com
TOR INTERIORS
HENRIETTE VON STOCKHAUSEN
Engaging use of colour for city and country interiors. Tel 020 7736 1201 torinteriors.com
Timeless classicism with a sense of luxury and drama. Tel 07787 574192 vspinteriors.co.uk
TURNER POCOCK PHILIPPA DEVAS Combining practicality with a chic, muted style for modern life. Tel 020 7584 9966 devasdesigns.co.uk
Panache with colour and pattern and a contemporary aesthetic. Tel 020 3463 2390 turnerpocock.co.uk
LISA SANSOM Colour and comfort with a warm country-house feel. Tel 01264 810332 squirrelsinteriors.co.uk
VICTORIA MEALE PHILIPPA THORP Beautiful, functional interiors with architectural empathy. Tel 020 7235 7808 thorp.co.uk
Serene interiors which champion craftsmanship and sustainability. Tel 020 7349 7021 victoriamealedesign.com
PENNY MORRISON Invitingly layered interiors based on a love of textiles and pattern. Tel 01547 560460 pennymorrison.com
WICKENDEN HUTLEY
PHOTOGRAPHS P141 (SAMANTHA JOHNSON) © CHRISTOPHER DRAKE
ROBERT KIME Masterful use of antiques and textiles for an illustrious clientele. Tel 020 7229 0886 robertkime.com
SALVESEN GRAHAM Classic interiors with a modern twist, and many levels of service. Tel 020 7967 7777 salvesengraham.com
SAMANTHA JOHNSON An effortless fusion of the classic and the contemporary. Tel 01494 882219 samanthajohnsondesign.com 142 THE ENGLISH HOME
A smart, pared back, tailored aesthetic with a fresh, airy feel.
Bedroom designed by Patti Money-Coutts
STEPHANIE DUNNING Elegantly relaxed and crisp, smart
interiors for town and country. Tel 01722 710608 stephaniedunninginteriordesign. com
MIDLANDS, THE NORTH & EAST ANGLIA EDWARD BULMER Architectural historian specialising in restoration. Tel 01544 388535 edwardbulmerpaint.co.uk
GRAMLICK DESIGNS Inviting English interiors with a sense of refined comfort. Tel 01608 664573 gramlickdesigns.co.uk
MARGARET SHERIDAN Long-established practice with a focus on country house style. Tel 01953 850691 margaretsheridan.co.uk
MARK GILLETTE Sumptuous interiors, particularly for large country houses. Tel 01244 851897 markgillette.com
MARY BARBER FRAY Inviting interiors and a thoughtful, collaborative approach. Tel 0121 445 6500 marybarberfray.com
SERENA WILLIAMS-ELLIS Designer with an in-depth knowledge of fine art and antiques. Tel 01768 898073 serenawilliamsellisltd.co.uk n
FOR READERS IN THE USA AND CANADA
The English Home tries, where possible, to ensure featured items can be bought by readers in the US and Canada. Simply contact the relevant company using the details in our address book. TELEPHONING THE UK We list UK telephone numbers for companies featured in the magazine as we know that they stock the products we love. Where a UK number is listed and you are ringing from the USA or Canada, dial the international code ‘01144’, then drop the first ‘0’ of the number in the listing. Freephone numbers (0800 and 0808) do not work outside the UK. TIME DIFFERENCE British Time is five hours ahead of Eastern Standard Time in the US and Canada. POSTING TO THE UK The current rate to post a letter or postcard via air to the UK from the US starts at US$1.20, depending on weight and size. From Canada, the rate is C$2.50 for letters and cards of 30g or less. Check with your local post office for other rates. CURRENCY At the time of going to press the exchange rate is US$1.28/C$1.74 to £1 sterling. Please be aware this will fluctuate on a daily basis. SUBSCRIPTIONS Subscription rates for The English Home are: USA US$39.75 (6 issues), Canada C$49.75 inc HST/GST (6 issues). If you wish to order a subscription, please contact our subscription offices. Telephone 1-866-926-0260 or visit britsubs.com/englishhome MAILING LIST Occasionally we make our subscribers’ names and addresses available to other responsible companies. To be excluded from this list, please write to: The English Home, PO Box 37518, Boone, IA 50037-0518, USA or telephone 1-866-926-0260 or email EHMcustserv@cdsfulfillment.com EDITORIAL LISTING Prices listed are correct at the time of going to press. Bedlinen sizes vary from country to country. Always check the item suits your requirements before ordering. ADVERTISING Some UK advertisers may not be able to ship to the US or Canada because of practical considerations or customs regulations. Please enquire direct to individual advertisers. CUSTOMER SERVICE Any queries should be directed to our subscription offices in the US and Canada. The details are as follows: USA: PO Box 37518, Boone, IA 50037-0518 Canada: 1415 Janette Avenue, Windsor, ON B8X 1Z1 Email: EHMcustserv@cdsfulfillment.com or visit theenglishhome@chelseamagazines.com Tel: 1-866-926-0260 For subscription details, visit britsubs.com/englishhome
ADDRESS BOOK Useful contact details for companies mentioned in this guide to Interior Design
Please note: all prices for products were correct at the time of going to press, but given the nature of an annual guide, may be prone to change during the lifespan of this print edition Albion Bath Company, The
Tel 01255 831605 albionbathco.com Alexander James Interiors Tel 0118 932 0828 aji.co.uk Altfield Tel 020 7351 5893 altfield.com Alyce Taylor Tel 07957 064855 alycetaylor.co.uk Amtico Tel 0121 745 0800 amtico.com Andrew Martin Tel 020 7225 5100 andrewmartin.co.uk Annabelle Holland Tel 0203 397 1964 annabelleholland.com Anouska Tamony Tel 07885 300913 anouskatamony.com Anton & K Tel 07875 911776 antonandk.co.uk Arteriors Tel 020 7929 8015 arteriorshome.com Artichoke Tel 020 7650 7611 artichoke.uk.com Augustus Brandt Tel 01798 344722 augustusbrandt.co.uk Auro Paints Tel 01544 388535 auro-uk.com Barneby Gates Tel 01672 560240 barnebygates.com Beata Heuman Tel 020 8741 0102 beataheuman.com Benjamin Moore Tel 01753 575756 benjaminmoorepaint.co.uk Bert & May Tel 0203 744 0776 bertandmay.com Blithfield Tel 020 7460 6454 blithfield.co.uk Bradley Collection, The Tel 020 7351 1790 bradleycollection.com Brian Yates Tel 01524 35035 brian-yates.co.uk British Standard Tel 020 7870 7688 britishstandardcupboards.co.uk Broseley Tel 01743 461444 broseleyfires.com
Burbidge Tel 0247 667 1600 burbidge.co.uk Cabbages & Roses Tel 020 7352 7333 cabbagesandroses.com California Shutters Tel 0800 1950196 californiashutters.co.uk Catto Gallery Tel 020 7435 6660 cattogallery.co.uk Charles Edwards Tel 020 7736 8490 charlesedwards.com Charlie Kingham Tel 020 7935 2255 charliekingham.co.uk Chelsea Textiles Tel 020 7584 0111 chelseatextiles.com Chesneys Tel 020 7627 1410 chesneys.co.uk Christie’s Tel 020 7839 9060 christies.com Christopher Wray Tel 020 7013 0180 christopherwray.com Clarke & Clarke Tel 01706 242010 clarke-clarke.com Colefax and Fowler Tel 020 7244 7427 colefax.com Collins & Hayes Tel 01773 309 599 collinsandhayes.co.uk Craig & Rose Tel 01383 740011 craigandrose.com Crown Paints Tel 0330 024 0281 crownpaints.co.uk Curiousa & Curiousa Tel 01629 826284 curiousa.co.uk CVP Designs Tel 020 8960 9026 cvpdesigns.com Davey Lighting Tel 020 7351 2130 originalbtc.com/brands/davey-lighting David Hunt Lighting Tel 01295 672 200 davidhuntlighting.co.uk David Seyfried Tel 020 7823 3848 davidseyfried.com Davonport kitchens Tel 0845 468 0025 davonport.com Designers Guild Tel 020 7351 5775 designersguild.com
deVOL Tel 01509 261000 devolkitchens.co.uk Drummonds Tel 020 7376 4499 drummonds-uk.com Earthborn Tel 01928 734171 earthbornpaints.co.uk Edward Bulmer Natural Paint Tel 01544 388535 edwardbulmerpaint.co.uk Elizabeth Fell Tel 020 8693 3993 fell.net Farrow & Ball Tel 01202 876141 farrow-ball.com Felt Tel 020 8772 0358 feltrugs.co.uk Figura Tel 01428 686500 figura.co.uk Fired Earth Tel 01295 812088 firedearth.com Fortuny fortuny.com Francesca’s Paints Tel 020 7228 7694 francescaspaint.com Fritz Fryer Tel 01989 567416 fritzfryer.co.uk Frontline Bathrooms Tel 0845 470 2424 frontlinebathrooms.co.uk Galerie Tel 01892 700730 galeriehome.co.uk Guinevere Tel 020 7736 2917 guinevere.co.uk Haymarket Hotel Tel 020 7470 4000 firmdalehotels.com Heathfield & Co Tel 01732 350450 heathfield.co.uk Hillary Batstone Tel 020 7730 5335 hilarybatstone.com Hodsoll Mackenzie zimmer-rohde.com/en/zr/brands/ hodsoll-mckenzie/ Home Barn Tel 01628 474011 homebarnshop.co.uk Humphrey Munson Tel 01371 821300 humphreymunson.co.uk Inchyra Tel 01738 860066 inchyrahome.co.uk
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144 THE ENGLISH HOME
Lincrusta Tel 01524 239679 lincrusta.com Lindsay Alker lindsayalker.com Linwood Tel 01425 461176 linwoodfabric.com Lisette Voûte Tel 020 7228 5824 lisettevoute.com Little Greene Tel 0161 230 0880 littlegreene.com LPE Designs Tel 07753 900065 lpedesigns.co.uk Lorfords Tel 020 3434 3133 lorfordsantiques.com Lori Weitzner Design loriweitzner.com Manuel Canovas Tel 020 7244 7427 manuelcanovas.com Marion Lichtig Tel 07931 993110 marionlichtig.com Mark Gillette Tel 01244 851897 markgillette.com Mark Wilkinson Furniture Tel 01380 850007 mwf.com Martin Moore Tel 0845 180 0015 martinmoore.com Matki Tel 01454 322888 matki.co.uk Matthew Cox Tel 01780 481092 matthewcox.com
Rug Company, The Tel 020 3369 3912 therugcompany.com Sanderson Tel 020 3457 5862 stylelibrary.com/sanderson Samuel & Sons Tel 020 7351 5153 samuelandsons.com Shaker Kitchen, The Tel 0333 444 5666 theshakerkitchen.co Sigmar Tel 020 7751 5801 sigmarlondon.com Smiths Briten Tel 0845 634 4321 purebathroomcollection.co.uk Studio Duggan Tel 020 3642 3120 studioduggan.com Studio Goring Tel 07717 511501 studiogoring.com Susie Atkinson Tel 020 7384 0700 susieatkinson.com Tania Johnson 07920 274753 taniajohnsondesign.com Thomas & Thomas Tel 01608 664022 thomasthomas.net Thorp Design Tel 020 7235 7808 thorp.co.uk Tigermoth Tel 0845 658 9059 tigermothlighting.com Tile Giant Tel 0345 307 5000 tilegiant.co.uk TM Lighting Tel 020 7278 1600 tmlighting.com Vanessa Arbuthnott Tel 01285 831437 vanessaarbuthnott.co.uk Vaughan Tel 020 7349 4600 vaughandesigns.com Victoria Smee interiors Tel 07966 214172 victoriasmeeinteriors.co.uk Violet & George Tel 020 8969 0654 violetandgeorge.com Walcot House Tel 01993 832940 walcothouse.com Waters Baths of Ashbourne Tel 01332 824166 watersbaths.co.uk Window Film company, The Tel 01494 794477 windowfilm.co.uk Zoffany Tel 020 34575 862 stylelibrary.com/zoffany n
PHOTOGRAPH LEWIS & WOOD (MORE DETAILS ON P30)
Jamie Hempsall Tel 01777 248463 jamiehempsall.com Jean Monro Tel 020 7259 7280 jeanmonro.com Jennifer Manners Tel 020 3648 6865 jennifermanners.co.uk Jim Lawrence Lighting Tel 01473 826685 jim-lawrence.co.uk John Cullen Lighting Tel 020 7371 9000 johncullenlighting.com Julia Boston Antiques Tel 020 7610 6783 juliaboston.com Kate Forman Tel 01962 732244 kateforman.co.uk Kitesgrove Tel 020 3588 0400 kitesgrove.com KLC School of Design Tel 020 7376 7400 klc.co.uk Lakeland Paints Tel 01524 852371 lakelandpaints.co.uk Lambart & Browne Tel 020 7042 9050 lambartandbrowne.com Lapicida Tel 01423 400100 lapicida.com Les Trois Garçons Tel 020 7613 1924 lestroisgarcons.com Lewis & Wood Tel 01453 878517 lewisandwood.co.uk
Max Rollitt Tel 01962 791124 maxrollitt.com Maxwell & Co Tel 020 3457 5864 maxwellandcompany.co.uk McCarron & Co Tel 020 7243 2315 mccarronandco.com Merrick & Day Tel 01652 648814 merrick-day.com Morsø Tel 01788 554410 morsoe.com/en Myland Paints Tel 020 3439 4519 mylands.com Naked Kitchens 01328 838854 nakedkitchens.com Neptune Tel 01793 427450 neptune.com Nicky Dobree Interior Design Tel 020 7828 5989 nickydobree.com Nina Campbell Ltd Tel 020 7225 1011 ninacampbellinteriors.com Nutshell Paints Tel 01392 823760 nutshellpaints.co.uk Oka Tel 01235 433930 oka.com Olivia Bard Tel 01274 360400 oliviabard.co.uk Original BTC Tel 020 7351 2130 uk.originalbtc.com Osborn Interiors Tel 020 8673 6483 osborninteriors.com Paint Library Tel 020 7823 7755 paintlibrary.london Papers and Paints Tel 020 7352 8626 papersandpaints.co.uk Pierre Frey Tel 020 7376 5599 pierrefrey.com Pooky Tel 020 7351 3003 pooky.com Porta Romana Tel 020 7352 0440 portaromana.com Prestigious Textiles Tel 01274 688448 prestigious.co.uk Prêt À Vivre Tel 01949 851178 pretavivre.com Rebecca Hughes Interiors Tel 020 8964 3457 rebeccahughesinteriors.com Rose of Jericho Tel 01935 83676 roseofjericho.co.uk
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THE GOLDEN RULE
T
aking your time to plan and create your dream house is the golden rule when it comes to successful decorating. Capturing your own taste and style in a gently evolved way is far more important than lavishing extravagant sums of money on expensive-looking pieces which achieve an instant but impersonal fix. Only a property developer seeking a timely turnaround, quick sale and swift profit should aim for ‘suits-as-many -as-possible’ decor. They are creating a stage set as a backdrop for an imaginary lifestyle. You are creating a home, and as we know, the most inviting homes are more than well-decorated spaces. A home is a sanctuary, your most personal space, a repository of dreams and aspirations, a story book of life past, and a warm and inviting setting for the life you want to lead with loved ones now. 146 THE ENGLISH HOME
It takes time to curate your story with characterful pieces – a blend of old and new – and art bought with the heart. And there is a great deal of joy to be found in the creative process, whether working with a designer or alone. One might even say that decorating a home is a journey that is never truly complete. But if that is not enough of a golden rule, we do have another useful suggestion: taking photos of rooms as you create them can be incredibly helpful. A photograph allows you to assess the overall balance and harmony of a scheme in a detached and dispassionate way. It is amazing the gaps that become glaring when seen through a lens. We hope our guide has set you upon an enjoyable journey. And we hope you will also continue to connect with us at The English Home magazine, where we offer style inspiration from designers, colour experts and stylish homeowners all year round. n
PHOTOGRAPH ANDREAS VON EINSIEDEL/ALAMY
And finally, we reveal the singularly most important design guideline we know of to help create the perfect home
Lady Anne’s Needlework Re t re ats Needlework tours and residential retreats in the UK and Ireland
Stitch Recreate Arts & Crafts, Elizabethan and Jacobean embroideries with international tutors. Small class sizes ensure individual attention in a relaxed and calm atmosphere.
Study Study textiles including 17th Century needlework during private sessions in castles and country houses with tutors present throughout. Meet the owners and enjoy exclusive access to hidden artefacts.
The Gentleman’s Nightcap This design was beautifully replicated and taught by Alison Cole at The All England Tour Part I in 2018, with the kind permission of Shakespeare’s Birthplace Trust in Stratford-Upon-Avon. Alison will be teaching again during the All England Tour Part II 19-30 September 2019. For full details please visit our website.
Stay Relax in luxury accommodation at our favourite hotels. Discover beautiful and remote parts of Britain with local hosts.
www.ladyannesneedlework.com Organised and hosted by The C rewel Work Company
ABTA No.Y6352
charnwood Exceptional clean burning wood stoves @charnwoodstoves www.charnwood.com