INTERIORS

1952

www.istockphoto.com Robert Keane, unsplash

Elizabethan Era

The Britain of 1952 was black and white. Current affairs were reported in black and white newspapers, our food was simple and uncomplicated (affected by rationing until 1954), clothing was unfussy with little flair or embellishment and parents had rules that were rarely challenged by their children. The nation was still struggling to recover from the repercussions of a World War which saw the obliteration of our greatest cities and the displacement of many of our people.

But with Queen Elizabeth ascending the throne and Churchill back in Downing Street, the period was hailed as the ‘new Elizabethan age’. Britain emerged from the ashes both literally and metaphorically. Where once, the skyline had been dominated by cathedrals, churches, castles and palaces (at the time of King George’s death, St. Paul’s Cathedral was the tallest building in Britain), soon high-rise concrete office blocks and buildings such as the Post Office Tower (1960) were being constructed. The Brutalist Britain of the 1960’s was a time of both architectural icons and eyesores! Mass housing estates sprung up as well as new cities like Milton Keynes. Impressive structures followed including the Gateshead and Millenium bridges, the London Eye, the Channel Tunnel, the Welsh and Scottish assemblies, the Gherkin and the Shard.

Interior design was no different, seeing dramatic shifts in design preferences during every decade from the 1950s right up to 2020. The Queen’s coronation was viewed by more than 20 million

Rosie Kinsella Interior Designer 01604 751262 www.millsandkinsella.com people, with the public gathering around newly bought televisions to see the spectacle. It was the coronation that put tv’s on the map and by 1956, many more people had them and were adapting their homes to suit. Furniture arrangements became less focussed on the fireplace, so sofas were instead positioned to capture the best view of the tv. Low backed, streamlined settees were popular and although televisions mostly came inside a cabinet, other furniture was designed as an extra add on to be sold in sets.

The late 1950s saw interiors reflecting space travel and flight, with stars and boomerangs appearing on everything from clocks to upholstery. Innovative materials such as plastic were further developed, initially as a material for moulding laboratory equipment but later to make home furnishings and furniture. The 1960s took plastic to a whole new dimension. Interiors became bolder, brighter, more dynamic, colourful and graphic. But by 1970 the environmental movement had been born and the first Earth Day was held. People had a desire to feel at one with nature, so filled their homes with earthy tones and a plethora of indoor plants. There was a resurgence in the use of wood, with designs losing their vivacity, becoming simpler and minimalistic.

By 1990, living rooms had become larger, all-purpose spaces, and the idea of open-plan living was taking hold. The term ‘family room’ was used to describe the one area in the house which could accommodate all the family’s activities, a concept that survives to this day.

More recently, however, changes in interiors have been reactionary rather than the result of a gradual shift in taste. The pandemic forced us to re-focus our minds. Up until the start of 2020, no one was questioning the merits of open plan living, until we were being forced to carry out our jobs in our all-purpose spaces. The 2020s have so far seen us desperately trying to regain our private places in which to think, work or take a call.

Queen Elizabeth II presided over 70 years of rapid technological expansion and sociopolitical change. Architecture and interior design move with the times, reflecting the shift in tastes, expectations and demands of the modern world. As the ‘new Elizabethan age’ becomes confined to the history books and we finish the era trying to recover from Brexit, the Covid-19 pandemic and de-escalate a war following the invasion of Ukraine by Russia, it’s only natural to wonder what the dawn of the next era will bring. Whilst it can be tricky and not necessarily helpful to try and predict the future, I am convinced that the next five to ten years could be very exciting for interior design.

2022

Smart homes are still in their infancy with technological advances being made all the time. Italian Design Company Tipic are currently developing induction hobs, weighing scales and phone chargers all built into the stone work surface of a kitchen! 3D printing will continue to play a considerable part in interior design. 3D printing can be used to design intricate furniture that modern machines are too clumsy to create. As this technology is further developed and the costs reduced, more designers will have access to it and we will see both creativity and productivity increase. Augmented reality will continue to combine virtual reality with the real world, enabling clients to overlay a virtual idea on top of an existing one.

And finally, sustainable design. As we all become increasingly aware and conscious of our environmental footprint, the future for eco-friendly design looks particularly bright. Undoubtedly, upcycling and buying locally will remain important, but striving to be energy efficient to reduce our reliance on natural resources and cut down our bills may be the pressing need of this new Carolean age.

www.istockphoto.com

Nicky Litchfield artist profile: Captivated by your delightful new friends?

www.istockphoto.com Nicky Litchfield is a talented British artist based in the Ribble Valley, Lancashire. She has been inspired by the animal characters she meets since spending weekends and summers at her grandparent's farm in her youth. The way Nicky presents her rural subjects, you can feel her real affection for them, recognising the character of each animal before you.

Having won the Animal Category or the Society for All Artists, Artist of the Year in 2008, the popularity of her work keeps growing. Creating her works mostly with oil and pastels, you might also see pencil or charcoal sketches which seem to show how Nicky brings these animals to life.

And, whether you see Nicky out in the countryside or at her gallery in Clitheroe, she’s likely to be enjoying the company of her companion Max, the dog.

We’re so fortunate at the Rose Gallery to be able to share with you a number of opportunities to enjoy Nicky’s work. Adorning our walls - and ready for yours - are a wonderful range of limited edition pieces likely to steal your heart: inquisitive lambs, cheeky foxes and playful pups. And if you visit the Rose Gallery right now, you also have the chance to enjoy some of Nicky’s original pieces, stunning works which will charm, even enchant, you.

Enjoy these friendly faces as you take some time out in the Love Lunch cafe at Bell and introduce yourself to us. We’d love the chance to meet you and share some of Nicky Litchfield’s beautiful work.

Natalie Trembecki Gallery Correspondent www.therosegallery.co.uk