The English Home May 2021

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ENGLISH HOME

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Celebrating the essence of English style May 2021 | Issue 195 | £4.99 | UK Edition

GLORIOUS GARDENS Choosing a designer, sculpture & planting inspiration

CLEVER WITH COLOUR The insiders’ guide to creative ways with paint

SMART UPDATES • Home offices • Floors for town & country • Decorative details

CREATING SPACE Structural changes to enhance life at home

FULL OF CHARACTER

Four stylish restorations, from historic barn to Jacobean country house

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CONTENTS M AY 2 0 2 1

60

Notebook

English homes

Style inspiration

15 NEWS Our monthly digest of notable

34 LEAP OF FAITH The sympathetic

69 RED ALERT Add verve with crimson.

people, places and products.

22 DESIGN DISCOVERIES Beautiful new

home buys on our radar this month.

28 NATURAL CONNECTION Garden chic.

30 REGENCY REVIVAL Graceful homeware.

32 THE EDIT Titley and Marr, Ensemblier

and Julian Chichester catch our eye.

33 SUBSCRIBE The perfect gift for a

loved one or a treat for yourself – a subscription to The English Home.

and stylish restoration of a historic house in Somerset.

44 ELEGANT REVIVAL A characterful 1930s

Arts and Crafts property becomes a beautiful and inviting seaside home.

52 FINDING THE MAGIC A nineteenth-

century former barn and cart shed in Suffolk is filled with vintage treasures.

60 COMING HOME A Victorian country

house in Surrey proves a welcome return to the UK for one couple.

70 WAYS WITH PAINT Transform spaces

inside and out in creative ways.

80 CHANGING SPACES Ideas for making

architectural adjustments in the home.

91 GREAT EXPECTATIONS A guide to

finding a garden designer to suit.

98 HARD FLOORING FOR TOWN OR COUNTRY Versatile options for all.

107 POINT OF VIEW Choosing a garden

sculpture to create a focal point.

114 INTO THE WOODS The story of

Trunk Floor.

6 THE ENGLISH HOME

34

104 128 62

44

52

64128

Quintessentially

70

80

117 THE GREAT OUTDOORS Set the scene

for a pleasurable al fresco gathering.

118 FROM PATCH TO PLATE: MATTHEW FORT

Our food columnist on the delicious seasonal delights of asparagus.

120 POTS OF PASSION Container planting

for a garden of any scale.

128 ELEGANT EMBLEM How to choose the

perfect rose to best suit every garden.

138 MY DESIGN HERO Plantswoman Sarah

Raven on gardener and gardening writer Christopher Lloyd.

THE ENGLISH HOME 7

A letter from home Whether looking for design and planting inspiration for the garden or to grow flowers to create beautiful indoor displays, such as this from the Lincolnshire Flower Company (p128), there is something for everyone who loves gardens and interiors this issue.

G

ardens today, perhaps more than ever, function as an additional room of the home – a room outdoors to escape to, relax in and enjoy.

It therefore seems only natural that we embrace this extension to our English homes with our garden special this month.

For those excited at the prospect of a large-scale garden project, we looked to the experts on our sister title The English Garden to share their infinite knowledge on Choosing a Garden Designer (p91) and for adding art to the garden in the form of sculptures (p107). Elsewhere, we study that most English of flowers, the rose (p128) and explore how to make a garden come alive with container planting (p120) – a quick and simple way to create an impressove display of blooms each season, whatever size your outside space. It will come as no surprise that we also couldn’t resist sharing our favourite new accessories for gardeners (p28), along with the edible delights that our regular columnist Matthew Fort is enjoying in his kitchen garden this month (p118).

Of course, this issue contains an abundance of inspiration for interiors too. From creative ways to update schemes with paint (p70) to making architectural enhancements to create bigger, brighter rooms that work for your lifestyle (p80).

With inspiration for both inside and out, this truly is an issue with something for everyone to enjoy!

Follow us on Twitter @englishhometeam Pinterest at pinterest.com/theenglishhome Facebook at facebook.com@theenglishhome Instagram at instagram.com@englishhomemag

MISSED AN ISSUE? To make life easier, you can now buy single editions or back issues of The English Home online and have them posted directly to your home address.

To order your copy, please visit

chelseamagazines.com/shop 8 THE ENGLISH HOME

PORTRAIT GRANT SCOTT PHOTOGRAPH KIP DAWKINS

Samantha Scott-Jeffries, Editor

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Awa r d

ORANGERIES

w i n n i ng

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or a ng e r i e s

GARDEN ROOMS

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&

G a r de n

C O N S E R VAT O R I E S

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ro om s

OAK BUILDINGS

Call for our inspirational brochure or book an expert design consultation 01278 764444 davidsalisbury.com

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The

ENGLISH HOME

Ga

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Celebrating the essence of English style May 2021 | Issue 195 | £4.99 | UK Edition

GLORIOUS GARDENS Choosing a designer, sculpture & planting inspiration

CONTACT US Editorial 0333 014 3215 The English Home, Jubilee House, 2 Jubilee Place, London SW3 3TQ Email theenglishhome@chelseamagazines.com Website theenglishhome.co.uk Advertising/Publishing 020 7349 3700 The Chelsea Magazine Company Ltd Email info@chelseamagazines.com

CLEVER WITH COLOUR The insiders’ guide to creative ways with paint

SMART UPDATES • Home offices • Floors for town & country • Decorative details

CREATING SPACE Structural changes to enhance life at home

FULL OF CHARACTER

Four stylish restorations, from historic barn to Jacobean country house TEH UK May 2021 COVER FINAL PD REQ2.indd 1

EDITORIAL

18/03/2021 17:14

COVER PHOTOGRAPH: © BRENT DARBY

Editor Samantha Scott-Jeffries Managing Editor Sarah Feeley Art Editors Claire Hicks, Rebecca Stead Sub Editor Lea Tacey Decorating Editor Katy Mclean Features Editor Eve Middleton Homes & Lifestyle Editor Clair Wayman Editor-at-Large Kate Freud Editorial Assistant Nell Whitaker

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For further inspiration on creating a quintessentially English home, visit our website theenglishhome.co.uk

Including... ✛ Room-by-room decorating advice ✛ Interviews with top interior designers ✛ Behind-the-scenes insights ✛ Invaluable buyers’ guides

theenglishhome.co.uk FOLLOW US ON...

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August 02 EnglishHome Charlotte Gaisford.indd 1

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NOTEBOOK

Our monthly edit of news, shopping inspiration and inside information

SPOTLIGHT ON…

Savoir x Dame Zandra Rhodes Fashion designer Dame Zandra Rhodes has collaborated with luxury bedmaker Savoir.

For her new Lilies design, which comes in six colourways, she created an exclusive artwork based on her Field of Lilies motif,

worn by Twiggy on the cover of Vogue and

by Sarah Jessica Parker in Sex And The City.

“I love how colour and print have the potency to change your mood and how you feel,” says Dame Zandra. “I think a bespoke bed is one of the most special things one can have in life. The amazing thing about the Savoir bed is that for the first time in

my life, the peace it exudes makes me want to experience breakfast in bed! I think it may change my life.”

Pictured above on the No2 bed, which takes over 80 hours to make by hand and was first created for The Savoy in 1905, Dame Zandra’s artwork can be upholstered onto any Savoir bed. savoirbeds.com  THE ENGLISH HOME 15

NEWS

Underwater Inspiration Sian Zeng’s new wallpaper range

Wallpaper designer Sian Zeng was snorkelling off the coast of Croatia in the crystal clear waters of the Mediterranean Sea when inspiration struck.

Using traditional Chinese inks and digitally drawn colours, she designed The Fish Collection, a playful new wallpaper featuring sea creatures and divers.

Available in Pink and Blue Green, this captivating seascape is also available as a magnetic wallpaper, perfect for a child’s bedroom, placing characters on the wall to stage an underwater adventure.

As featured in Notebook last year, Central Saint Martins graduate Sian considers wallpaper “hanging wall art” and a large order from a Hollywood actress helped kickstart her business. sianzeng.com

Going with the Grain Wood sculptor Philip Walker

When tree surgeon Philip Walker saw wood sculptor Alison Crowther delivering a piece of her work, he had no idea it would change his life. “A chance encounter,” he remembers. “The piece was a wonderful hand-carved bench in English oak, and I was amazed it had been produced from a tree cut down in the same garden.”

A few years later, he started assisting Alison one or two days a week with rough shaping duties. Picking up some skills, he gradually and tentatively started making his own work out of the timber he felled.

Today, Hampshire-based Philip hand-crafts elegant seating and feature sculptures in wood, focusing on highlighting its natural beauty. He has been awarded a scholarship from The Queen Elizabeth Scholarship Trust (QEST) to train with Alison to create largescale works. philipjameswalker.com

The Mother of Invention Multi-generational duo behind basins

Her fruitless search for the decorative basin she had in her mind’s eye prompted interior designer Anna Callis to create her own. This led to Anna and her daughter, Nathalie, founding The London Basin Company in 2015, creating strikingly patterned countertop basins.

Each porcelain basin is a hand-finished one-off, the travel-inspired designs modern interpretations of traditional Oriental and Middle Eastern patterns.

India was the inspiration for the new Marnie basin, which features an intricate floral pattern against a bold dandelion yellow. With a flat base, Marnie adds a new shape to the collection.

The company also offers vanity units designed to complement its basins, as well as taps and mirrors. londonbasincompany.com  16 THE ENGLISH HOME

ARTISAN ABODE

Home . . . it’s different for everybody

SS21 Palazzo Collection Here comes the sun . . .

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NEWS

California Dreaming

Farrow & Ball’s first paint collaboration American interior designer Kelly Wearstler wants to bring the California sunshine to English homes with her Farrow & Ball paint collaboration.

This is the first time in its 75-year history that Farrow & Ball has joined forces with an outside designer.

Each of the eight hues in The California Collection possesses an endearing warmth and invigorating freshness, is eco-friendly, low-VOC, water-based and comes in a recyclable tin.

Citrona is a soft citrus shade inspired by the lemon trees that thrive in California’s temperate climate and Palm echoes the iconic palm trees that dot the Los Angeles skyline. Meanwhile, Sand evokes the beautiful beaches of Malibu, and Salt is a crisp bright white, reminiscent of the air ushered in by the Pacific Ocean. Faded Terracotta reflects the warmth of pots and tiles in the California sun, Hazy is a muted blue-grey, capturing the fresh feeling of coastal early mornings, Tar represents sun-baked desert highways, and the grey of Stoke evokes cloudy days.

Kelly has been using Farrow & Ball in her projects for over two decades.

“I always say living without colour is like living without love,” she says, “so it’s been

18 THE ENGLISH HOME

a dream to partner with Farrow & Ball on a collection of paint that celebrates the emotions colour can evoke. Colour is the spirit of a room, and provides expressive power to transform a space with your personal voice, whether you’re painting all of your walls, or just one.

This paint collection is about what I truly believe California represents: bringing the outside in. From desert hues to the colours of sand at the beach to the sky, there are so many beautiful colours that have inspired this collection.”

As part of the process, Kelly visited Farrow & Ball’s headquarters in Dorset.

“Spending time in the lab was just magic,” she says, “and seeing the colours that I had in my mind’s eye was amazing.

I was so blown away at the attention to detail. What it does to the colours is so sensual, they have so much depth and evoke an incredible emotion.What I love about Farrow & Ball is all the paint is water-based. When I went to the factory there were no toxic smells, which is going to translate in your home. The colour palette I’ve created with Farrow & Ball is chic and sophisticated, but it’s also casual and California and relaxed.” farrow-ball.com (Turn to page 70 for our paint special.) 

BALHAM - HARRODS - HAMPSTEAD 0208 675 4808 www.indian-ocean.co.uk

NEWS

Optical Illusions

BOOKS

David Harber indoor sculpture

A Year Full of Flowers by Sarah Raven (Bloomsbury, £25) Beautiful, practical and easy to follow, this month-bymonth guide is essential reading.

Expert advice for chic home arrangements

The National Trust School Of Gardening

by Rebecca Bevan (Pavilion, £20) Packed with helpful step-by-step wisdom from some of the National Trust’s head gardeners.

Prince Harry and Meghan Markle’s wedding florist Philippa Craddock is launching online masterclass tutorials to share her expert advice on creating beautiful and sustainable floral arrangements at home, combining flowers and foliage to extraordinary effect in her signature wild and natural style. Students can learn at their own pace through online step-by-step practical and theory tutorials and live question-and-answer sessions with Philippa.

Launching her flower business from home in 2009 with a young family and no formal floristry training, Philippa’s clients now include Vogue, BAFTA, Christian Dior and the V&A. The cascading floral archways decorating St George’s Chapel in Windsor for the wedding of The Duke and Duchess of Sussex in 2018 put her firmly on the world stage. philippacraddock.com

Gardens in my Life

by Arabella LennoxBoyd (Head Of Zeus, £40) Marvel at dreamy gardens and the stories behind them told by an esteemed garden designer. n

Learn from a Royal Florist

20 THE ENGLISH HOME

FEATURE SARAH FEELEY PHOTOGRAPHS P15 © ALEXANDER JAMES. P16 (TOP LEFT) © VEERLE EVENS; (MIDDLE LEFT) © SARAH SHELDRAKE; (BOTTOM RIGHT) © DARREN CHUNG PHOTOGRAPHY. P18 (TOP LEFT) © HARRY CROWDER, (REST) © TREVOR TONDRO. P20 (TOP LEFT) © OLIVER EDWARDS; (BOTTOM LEFT) © ANTHONY CRADDOCK PHOTOGRAPHY

Known worldwide for his outdoor sculptures, sundials and water features, David Harber has unveiled a striking new standalone indoor piece, Turbine.

Inspired by the blades found in gas turbine engines, the sculpture has marine-grade, mirror-polished, stainless-steel blades arranged to bring it energetically to life as the viewer passes by and light, shadow and reflection shift back and forth.

Originally designed for an exhibition at the Galleria Nazionale d’Arte Moderna in Rome, Turbine is David’s second ever indoor sculpture.

“I always enjoy playing with optical illusions, creating sculptures and pieces of art that appear and disappear depending on how you look at them, or stop you in your tracks entirely,” he says. “Turbine encapsulates this perfectly; it may be a still piece, but it brings such energy and movement to it. I have no doubt of its ability to transform a room and beguile the observer, wherever it is placed.”

David has been making works of art from his Oxfordshire studio for over two decades. His work can be found in private gardens and public spaces across the globe. davidharber.co.uk

NEW Sonnette™ Shades Luxaflex® Sonnette™ Shades combine the simplicity of a roller blind with a cellular design.

Two layers of luxurious fabrics softly diffuse light creating a beautiful glow at the window, that will add style to any décor.

The Art of Window Styling

Find a showroom at luxaflex.co.uk

DESIGN DISCOVERIES

Creative collaborations and archival inspiration form this month’s focus

HISTORIC DESIGN Inspired by key National Trust sites, the tile collaboration between Sarsen Stone and the Trust includes hand-painted designs based on Delft tiles in the Dyrham Park dairy. A minimum of £10,000 in sales goes towards the Trust’s conservation work.

Collection from £45 a square metre, (Dyrham Dairy tiles, £90 for set of nine), Sarsen Stone x National Trust

BOTANICAL BEAUTY Inspired by the beautiful colour illustrations in Curtis’s Botanical Magazine – the world’s longest running (since 1787) botanical publication – the 16 designs that make up this tea towel and apron collection include blooms such as Aricula, Orange Lily, Heliantus and Macartney’s Rose, seen here from left to right.

Tea towels, £12.99 each; aprons (not shown), £21.99 each, all We Love Cushions

REVERSE PATTERN The cheery hues of the mimosa flower provide not only a lovely lift to spring tables in this floral print placemat, but are also captured in the yellow-andwhite stripe reverse – perfect for creating a change of mood by simply switching sides.

Mimosa quilted reversible placemat, £18, Sarah K 22 THE ENGLISH HOME

SHOPPING

ELEGANT OFFICE Part of Atkin & Thyme’s new season’s collection, this smart two-drawer console desk combines sleek lines and neat design perfect for carrying out paperwork and other home office tasks.

We particularly like the combination of warm rosewood, contrasting white marble top and elegant brass inlay.

Deco marble console desk, £449,  Atkin & Thyme



THE ENGLISH HOME 23

SHOPPING

HERITAGE HUES Featuring a specially developed velvet matt finish for walls and ceilings, alongside eggshell and a premium undercoat, the new 112-shade range from Dulux combines technical innovation with heritage hues.

Dulux Heritage, from £19.18 for 1l Velvet Matt. (For more on ways with paint, turn to page 70.)

READY-MADE RUGS

ARTISTIC LICENCE

Designed and woven in the UK, the Williamsburg 100-per-cent-wool rugs from Roger Oates sit alongside the brand’s bespoke service. In a reversible herringbone design, they can be finished with fringe or linen tape, and are available in two new colours: peach (below) and teal.

Williamsburg rug, from £365, Roger Oates

Bordallo Pinheiro’s eye-catching and vibrant ceramicware is now available at John Lewis & Partners, both online and in store. Designed and made in Portugal using fauna and flora as decorative inspiration, the colourful collection will add a distinctive quality to a table setting.

Bordallo Pinheiro ceramicware, from  £12, John Lewis & Partners

RECYCLED WEAVES The new Waves fabric collection from Kirkby is made from 100 per cent recycled polyester yarns, produced from waste plastic, and sees a percentage of profits go to the Marine Conservation Society.

Sofa, Harvest Gold; cushion, Dove, £44 a metre, Kirkby Designs 24 THE ENGLISH HOME



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SHOPPING

SWEET DREAMS Adding a touch of grandeur and creating a truly inviting space in which to rest and relax, the simple sweeping lines of this elegant four-poster bed are as pretty left unadorned as they might be if draped in romantic sheers.

Luna canopy bed, £995, Cox & Cox

Surface pattern designer Neisha Crosland and iconic American design house Schumacher have collaborated for the new Espalier collection of wallcoverings, trimmings and fabrics, including Thistle, a nature-inspired silk-linen print, seen here in Ivory.

Espalier collection, from £56 a metre, Neisha Crosland x Schumacher

TALES OF THE ORIENT Drawing inspiration from an archival document from the 1940s, this stylised wallcovering – presented in a bright, pastel palette – is part of a new wallpaper collection and features a beautiful landscape of mountains, willows and Oriental-style buildings.

Yanagi, from £146 a roll, Linwood n

26 THE ENGLISH HOME

FEATURE EVE MIDDLETON PHOTOGRAPHS P24 (SARSEN) © CHRIS SNOOK; (WE LOVE CUSHIONS) © MICHAEL LECKIE. P26 (KIRKBY) © PEER LINDGREN. P28 (LINWOOD) © JOHN BAILEY

ARTIST COLLABORATION

SHOPPING

Handwoven willow obelisk, £72, Rowen & Wren

Kadō snips, £29, Objects of Use

Brown tweed gardening gloves, £17.49, Burgon & Ball

Linen workwear apron, £65, Toast

NATURAL CONNECTION The warmth in the air, long daytime hours and brighter quality of light are amongst the many glorious reasons to spend more time in the garden this month. Be it tending to fragrant blooms, organising plants or simply enjoying the sights and sounds of nature, little is as gratifying as whiling away the hours outside. Enjoy taking the time to potter and prettify the garden with our smart solutions and charming buys to make the most of the great outdoors.

Tree of Life planter, from £64.50, Whichford Pottery

Highgrove Feathers blue tapered plant pot, £24.95, Highgrove

Three varieties of kale seeds, £12, Daylesford

28 THE ENGLISH HOME

Bees garden tool set, £26, Sophie Allport

Large zinc watering can, £65, Nordic House

Como tiered plant stand, £95, Cox & Cox

FEATURE EVE MIDDLETON PHOTOGRAPH (DAYLESFORD) © NEIL WATSON

Willow jardiniere, from £55, Jenny Crisp

Twine with bishop stand, £19, Midgley Green

Celebrating

50 Years of fine quality designs, hand crafted by Haddonstone

Call 01604 770711

Visit haddonstone.com

SHOPPING

The Clarence white marble fireplace, £4,080, Jamb

Calisto key tassel in Fog (above), £48; Calisto single tassel tieback in Fog (right), £140, Samuel & Sons

100 Years of Royal Albert 1900 Regency Blue three-piece set, £70, Royal Albert

REGENCY REVIVAL The elegance of Regency style has long been admired by our readers, but Netflix television series Bridgerton may have piqued interest in how to bring this graceful look into all manner of homes. Add nods to the style with shapely, carved furniture, gilded mirrors, and fine silks in pastel colours, or opt for contemporary twists in the form of wallpaper or a statement table.

Or simply set the scene for afternoon tea with the finest china and silverware to ensure the occasion is the talk of the ‘ton’.

Wisteria Smoke Blue fabric, £54 a metre, Jacqueline Milton

Casablanca silk pillowcase, £111, Gingerlily

Two-arm Denton wall light with medium backplate, £553, Besselink & Jones

Cameo wallpaper in Powder Pink, £120 a roll, Pearl Lowe x Woodchip & Magnolia

Tea strainer and long-handled caddy spoon set, £85, Fortnum & Mason

Ballygannon mirror in Antique Gold, £450, Oka

perch perrow xxxxxxx xxxxxxxxxxxxxxxxxxx

Regence candlestick, £85, India Jane 30 THE ENGLISH HOME

FEATURE KATY MCLEAN

Palais de Versailles Gold Chaise Longue, £1,160, The French Bedroom Co

David Bust side table, £295, Audenza

D E S I G N

S T U D I O

CM Design Studio is based between London and Monaco. They are a boutique team lead by Charlotte-Elizabeth Evans and Mary van Naeltwicjk. The design duo have worked on a selection of residential and commercial projects, for both developers and private clients internationally. The Studio emulates a tasteful balance between luxurious finishes and rustic touches, creating a relaxed and sophisticated aesthetic that suits a multitude of properties from a London townhouse, a Country Cottage to a Cote d’Azur Villa.

sourcing and so wish for them to become a focal feature in our schemes. We love working with more weathered furniture items as this creates a depth to our interiors; we bring them back to life with our wonderful restorers and then create a cohesion with our fabrics through calming colour tones, thick weaves and textured materials. The addition of sumptuous velvets, silks, hand painted wall coverings and specialist finishes, such as, selenite table lamps and intricate inlays in bronze, or specialist stones elevates the scheme and creates a subtle luxury.”

For Charlotte-Elizabeth and Mary, the fundamental starting block for any design scheme is a neutral palette. “We like to build on the finishes of carefully selected furniture and accessories, as these are the items that we have spent a great deal of time

By combining timeless elegance with a contemporary rustic edge, CM Design Studio effortlessly blends both form and function ensuring each Client is offered a fully unique design service. 100 Sydney Street for City Developments LTD, photographed by James Balston.

For further information Tel: +44 (0)20 7193 8510 or visit www.cmdesignstudio.com

NEWS

THE EDIT Timeless upholstered pieces, fine contemporary furniture and bright new fabrics catch Editor-at-Large Kate Freud’s eye this month ENSEMBLIER Ensemblier was founded by designer Tara Craig in 2014 to produce exceptional pieces of upholstery, from headboards and beds to sofas and chairs, with every design intended to last a lifetime – and be loved and recovered by generations to come.

Every piece is handmade in England by artisans in small workshops using only the finest sustainable, natural materials. Most of the designs stem from the brand’s extensive eighteenth-century archives and are based on classical theories, proportions and constructions to create timeless heritage products.

The brand’s bestsellers include the Casati and the Constance headboards, which are guaranteed to enhance any bedroom and are often reinvented with new fabrics. New designs are introduced each year, and the most recent launch, The Waldorf, is the result of a collaboration with interior designer Joanna Plant. In addition, Ensemblier makes bespoke items using a client’s specifications and fabric. ensemblierlondon.com

TITLEY AND MARR Textiles company Titley and Marr has been producing beautiful fabrics and furnishings for high-end residential and commercial interiors for more than 35 years. When it was founded by Kate Marr and her husband Ken Titley in 1984 the company gained inspiration from textiles created in the eighteenth and nineteenth centuries when the very best fabrics were created in Europe.

Today the brand’s collections include everything from paisley and herringbone, to ticking stripes, traditional florals, tribal textiles, African embroidery and even leopard print. The fabrics are made of textured yarns, wools, velvets, linens and cotton, in a mix of natural colours and rich vibrant hues.

The brand’s ethos that good design and colouration is the key to a beautiful living 32 THE ENGLISH HOME

environment lies at the heart of everything its does, and it manufactures its fabrics from ethically produced natural products, using UK mills whenever possible.

This season sees the launch of Titley and Marr’s beautiful African Skies collection, and later in the year, the brand will be reintroducing some old favourites in the form of a collection of nineteenthcentury block prints from the archive. titleyandmarr.co.uk

JULIAN CHICHESTEER There is a reason why Julian Chichester’s furniture can be found everywhere from Soho House to the Waldorf Astoria – as well as numerous homes across the world – which is that it works in all kinds of interior schemes, both traditional and modern.

As a child, Chichester was always surrounded by beautiful things which led to his love for antiques and fine art. When, in 1986, he left his job as a market trader in London and went travelling through Asia with the idea of importing antiques, it led to him being inspired to design for himself. Taking classical shapes from the nineteenth and twentieth centuries, he would add his own unique twist, such as transforming motifs into something new and fresh, and creating the unexpected by adding contemporary finishes and detail.

The latest collection celebrates a combination of soft palettes alongside his signature style and beautifully exaggerated shapes and finishes. The stars of the show include the Flamenco dining chair, the fabulous Gin’s Drinks cabinet (above), the wavy and wild Medusa wall light in faux red gesso and the Hockney stool with tapering brass-clad legs. julianchichester.com n

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Leap of FAITH Bravely tackling the sympathetic restoration of a historic house in Somerset has been a challenging but deeply satisfying labour of love for one couple FEATURE & STYLING JANET MCMEEKIN PHOTOGRAPHY ANDREAS VON EINSIEDEL

34 THE ENGLISH HOME

Hidden behind the floor-toceiling cabinets in the dining area are a mini dishwasher, coffee machine, sink, wine fridge and plenty of storage for glasses and crockery.

The walls are painted in Pink Ground, the cabinets in Railings and the woodwork in Shadow White, all Farrow & Ball. The bee photograph is

by Gerrard Gethings.

ABOVE The bespoke kitchen and adjacent dining area were designed by Joel Bugg Furniture & Spaces. A pair of Artek lights, sourced from The Conran Shop, inject a contemporary feel in the kitchen. The lights were originally designed in 1952 by Alvar Aalto for the Finnish Engineers’ Association. “Joel Bugg designed every detail in the kitchen and dining area, right down to the ironmongery,” says Alison.

W

hen a neglected Jacobean house has been languishing on the market for more than two years, it takes a special kind of couple with vision, passion and drive to embark on a major renovation journey.

Fortunately, from the moment Alison and Daren Hall set foot in the unloved property in Somerset, they were beguiled by its attributes and determined to throw caution to the wind to become its next custodians. “Since the house is Grade II* listed, we didn’t know whether planning permission would actually be granted to make the changes that we felt were desperately needed,” Alison says. “However, unlike other house-hunters, we refused to walk away.

It was a huge gamble, but we felt it would be well worth the risk.”

In 2014, keen to buy a house in the country, the London-based couple began scouring the UK for a suitable area to pinpoint for their search. “As Daren is originally from South Wales, we wanted to find somewhere fairly close to the the M4,” Alison, a nutritional therapist, explains. “During our search we fell in love with Somerset; an authentic county

36 THE ENGLISH HOME

with a host of villages that are enticing and attractive, without being too twee and chocolate-boxy. We’ve both always liked Bath, which has a rich cultural offering, and felt that somewhere within striking distance of this charming, lively city would be perfect for us and our daughters, Lilybet, 13, Clementine, 11 and Constance, nine.”

After many hours spent perusing the Internet, Daren, who works in fixed income sales, spotted a neglected three-storey abode located right in the heart of Beckington, a sought-after, vibrant village. Lured by the property’s wealth of period features, including original stone mullioned windows, capacious stone fireplaces, and magnificent gardens, he immediately arranged a viewing.

“We discovered that behind the front door of this house, lay a spectacular property, with a labyrinth of rooms steeped in character and history,” Alison recalls. “At the rear, it felt as though we were stepping out into a scene from The Secret Garden. The secluded grounds with a walled garden, rambling orchard and swimming pool were simply idyllic. Safe to say, we were totally enchanted.”

The family’s Italian Spinone, Sid, is very much at home in this rural retreat.

Tongue-and-groove panelling in the boot room has been painted in Farrow & Ball’s Inchyra Blue.

THE ENGLISH HOME 37

EXTERIOR IMAGE BY PHOTOGRAPHER MARK WATTS FOR UNIQUE HOME STAYS

ABOVE Zizi Durrance Interiors sourced Romo’s Papias fabric in Grey Seal for the bespoke ottoman, pulling the scheme together. A mix of cushions have been made using Lewis & Wood’s Royal Oak as well as Ian Sanderson’s Pasha Embroidery and Pomeroy Paisley. The artwork is by Jessica Albarn. The flowers are from Floristry at Poplars Farmhouse.

ABOVE The gardens have been lovingly restored to their former glory by Sarah Wilkinson of SJW Garden Design. Wool Merchant’s House is available to book for holidays through uniquehomestays.com

Built in 1653 for a successful wool merchant named John Horsman, the stone property was extended on the north side in the nineteenth century, and then altered in subsequent years, particularly during the 1970s. “At that time, pillars and cornicing, which apparently came from Salisbury Cathedral, were fitted in the hallway – something that we felt wasn’t particularly in keeping with the rest of the house,” Alison says.

Mindful that any changes they made needed to preserve the integrity of the building, the Halls were thrilled when highly regarded architect Simon MorrayJones agreed to come on board. “When we clinched the deal in 2015, Wool Merchant’s House felt rather higgledy-piggledy and didn’t flow well,” explains Alison. “Many viewers had been put off by the fact that, rather than a spacious kitchen-diner, there was a small galley kitchen and utility room that felt cramped and in the wrong place.”

After careful consideration and many detailed conversations with Simon and his colleague Helen

ABOVE “When Joa Studholme of Farrow & Ball visited, she recommended using Pigeon in the study to complement the French Gray that was chosen for the walls in the adjacent bathroom,” says Alison. The rug is from Weaver Green.

LEFT Alison in the hallway, where wooden panelling has replaced the ornate pillars and cornicing added in the 1970s.

THE ENGLISH HOME 39

‘I felt the muted palette of blues and greens with splashes of pink would work beautifully and pay homage to the house’s past’ ABOVE A velvet headboard, quilt and cushions create a sumptuous feel in this elegant guest bedroom. Walls have been painted in Farrow & Ball’s Setting Plaster and a pretty crystal wall sconce from Fritz Fryer adds to the feminine look. The quilt is from The White Company and cushions are from Cox & Cox.

Carey, plans were drawn up to remove a stud wall to combine the two small rooms and create a spacious dining room, complete with double doors leading out to the garden. On the other side of the mullioned window dividing the spaces, the former dining room would become a beautiful kitchen, designed by Joel Bugg Furniture & Spaces.

Meanwhile, on the first floor, a Jack and Jill bathroom was to be repurposed as a study, featuring a new rooflight, whilst a child’s bedroom would become an elegant bathroom. In the attic, disused space was destined to be transformed into a magical, cosy twin bedroom.

“Simon and Helen, who are experts in listed buildings, were brilliant at guiding us through the process and, once planning permission was finally granted, building work began in the autumn of 2016,” Alison adds. “Initially, we’d turned a blind eye to friends who visited in the early stages and asked us whether we had bitten off more than we could chew.

However, when we discovered that there were virtually

40 THE ENGLISH HOME

no foundations in the proposed new dining area and that the whole room would need to be tanked, we did momentarily wonder whether they were right.”

When it came to choosing colours, Alison gleaned inspiration from some old wallpaper she and Daren discovered in the house. “I felt the muted palette of blues, greens with splashes of pink in the wallpaper we found would work beautifully here and pay homage to the house’s past,” Alison reveals. To ensure that the choices she was considering would be harmonious, Alison invited Joa Studholme, Farrow & Ball’s colour curator, to visit. “Joa was brilliant, lovely and her expert advice definitely helped to crystallise my thoughts.”

With a range of atmospheric paint colours selected, Alison approached Victoria Clark Interiors to help create a cohesive scheme for the rest of the interiors. “Victoria was excellent and extremely conscientious,” Alison explains. “She came up with a raft of wonderful ideas for gorgeous fabrics and also made all the curtains, blinds and soft furnishings 

This cosy, attic bedroom is full of whimsical charm with its ancient beams and characterful brickwork.

Splashes of pink have been added with a roman blind in Ada & Ina’s Azig Cherry fabric, whilst cushions are in Deer Damask and Pineapple fabric by Barneby Gates.

THE ENGLISH HOME 41

ABOVE The starting point for the scheme in the master bedroom was the Damascus fabric in Verdigris by Lewis & Wood, used to upholster the armchair. The curtains and Roman blinds were made by Victoria Clark Interiors.

RIGHT The restful, newly created guest bathroom has been painted in Farrow & Ball’s French Gray and features a freestanding bath from The Cast Iron Bath Company, nickel taps from Holloways of Ludlow and a ceiling light from Fritz Fryer.

beautifully. Victoria’s upholsterer worked wonders on the armchairs that we sourced.”

Unfortunately, just as the decorators finished, the Halls encountered an unexpected setback. During the winter of 2017, snow got under the roof tiles, expanded and melted, causing the whole of the top floor to flood. “We were so upset as we had to rip everything up on that floor, including all the new carpets and furniture on that storey, and start all over again,” says Alison.

Despite the complications, the end result is a breathtaking home designed for modern-day living, whilst still retaining echoes of the past and a definite feeling of timelessness and escapism.

Alison has started renting Wool Merchant’s House out for short-term holiday lets and it gives her immense satisfaction to know that guests are enjoying their house. “It was a real passion project,” Alison says.

“Daren and I really enjoyed trawling antique and vintage shops to seek out beautiful pieces of furniture and loved the whole process of breathing new life into the house, which is now truly magical.” n

42 THE ENGLISH HOME

Staircases | Libraries | Panelling | Doors +44 (0)1935 826659 | stuartinteriors.com

44 THE ENGLISH HOME

Elegant REVIVAL The transformation of a characterful but tired 1930s property into a beautiful and inviting seaside home draws inspiration from its Arts and Crafts roots FEATURE CHRISTINE STOVELL PHOTOGRAPHY ALEXANDER JAMES

‘We liked the Arts and Crafts elements, the combination of natural light and materials. It’s a very relaxed and comfortable environment’ PREVIOUS PAGE In the dining room, a chandelier from Stuart Interiors hangs above the Marlowe table from Antiques

by Design. The chairs from The Dining Chair Company are covered in Robert Kime’s Mughal Flower fabric.

T

here is a soothing sense of permanence about Kathleen and Scott Simpson’s Sussex home, emanating, perhaps, from its Arts and Crafts influences, a regard for the calibre of craftsmanship and materials which resonate in today’s world. It is also a reflection of the couple’s simple yearning to find a country house to call their own after many years of renting second properties.

The couple have a townhouse in London, where Scott, a lawyer, is based, and were renting a house in Ludlow. When the lease for the rental property came to its conclusion, Kathleen and Scott welcomed the opportunity to move closer to the sea, where they and their family could pursue the leisure activities they

46 THE ENGLISH HOME

love. “We have three grown-up children who spend as much time as possible on or near the water, and my husband is part fish,” Kathleen says. “He’s a keen surfer, he sails and we both love paddle-boarding and beach walks with the dogs.”

Kathleen and Scott had become familiar with the picturesque villages of west Sussex through visiting friends in the area, and were drawn both by the coastal location and good links to London. Although this ideal combination would allow them to make the most of their weekends and holidays, it also created a high demand for rental properties, putting prices at a premium. “We’d always been aware of the limitations of renting a second home, but this cemented our thinking,” Kathleen explains.

The couple were charmed by the character and cosiness of a 1930s detached house set close to the sea, in a pretty village with strong yachting associations. “We liked the Arts and Crafts elements, the combination of natural light and materials. It’s a very relaxed and comfortable environment,” says Kathleen.

For all its allure, the house was in need of substantial renovation and whilst Kathleen and Scott could see how lovely the property could be, bringing it back to life was far from plain sailing. The Simpsons took the decision to move in and live with the imperfections for six months until they were sure of what they wanted for their home. “Our focus was on restoring the house to a good structural condition and modernising the interior without losing any of its character and comfort,” explains Kathleen. “We were keen to avoid any planning issues, so kept the room layout as it was with just a few minor adjustments.”

They began by employing a local builder, Nick Becker, of Tidal Bespoke, to renovate a detached annexe that was part 

LEFT A symmetrical balance of decorative elements epitomises the take on Arts and Crafts that Louise Jones has created for the interiors.

ABOVE Natural materials imbue the hall with a sense of calm. For a similar trolley, try Alfred Newall at The New Craftsmen.

RIGHT New wood panelling coupled with an antique settle from John Howkins Antiques adds period charm and character.

OPPOSITE PAGE In the drawing room, a Chinese laquer coffee table from Guinevere Antiques sits between Lawson Wood Alexander sofas.

Curtains in Begum

by Penny Morrison complete the look.

THE ENGLISH HOME 47

ABOVE The cabinets in the kitchen are by Sylvarna Kitchen Design, with Verde Italia granite work surfaces and travertine flooring from Gerald Culliford.

The Tiber pendant lights above the island are by Hector Finch, whilst the glass dome pendants are from Holloways of Ludlow.

LEFT The 1930s Arts and Crafts home stands in extensive gardens. As part of the renovation project, the roof tiles were relaid and handmade wooden windows installed.

The couple lived in the annexe in the background during the renovations.

48 THE ENGLISH HOME

‘Our focus was on restoring the house and modernising the interior without losing any of its character and comfort’ of the property so they could live comfortably on site whilst work progressed on the main house. “The only problem was that the annexe didn’t have a kitchen, so we had a lot of barbecues,” Kathleen adds, laughing.

The renovation spanned a period of 10 months, during which time the house was partially underpinned, the rising damp was cured, the roof tiles were relaid and the services were upgraded. Handmade bespoke wooden windows and doors replaced PVCu fittings, and engineered-oak floors were laid on the ground floor with solid oak upstairs.

Kathleen wanted to create a relaxed, comfortable home, a place where family, friends and work colleagues could enjoy time out. To help her achieve this, she turned to interior designer, Louise Jones, who is renowned for creating elegant and luxurious interiors. “Louise helped us with our home in London and has an excellent understanding of

our taste. We trust her completely,” says Kathleen.

“We wanted to incorporate some key pieces of furniture – pieces handed down through the family and other favourite items that have been with us for years – but we also asked Louise to find things that suited the house and our lifestyle.”

Kathleen and Louise have a shared philosophy of decorating according to the age and style of a property. “Kathleen and Scott’s London townhouse is traditionally elegant and formal, whereas their Sussex home has a relaxed, holiday feel,” Louise explains. “It’s a fresh take on Arts and Crafts, with fun, uplifting but welcoming interiors. One of the aspects of Arts and Crafts design that is especially enjoyable is that there are so many lovely wallpapers, fabrics and tiles to choose from. It was a fascinating period to research.”

Architectural details, designed by Louise, many handcrafted in the true spirit of the Arts and Crafts 

ABOVE Pineapples are traditionally associated with hospitality, so the 1930s antique light fitting is perfectly placed in this cosy kitchen alcove. The bespoke table and chairs are by Titchmarsh & Goodwin and the handmade cupboards are by Sylvarna Kitchen Design.

Farrow & Ball Lichen paint was used for the walls.

THE ENGLISH HOME 49

ABOVE Louise Jones created a quietly luxurious scheme for the master bedroom.

The walls are in custom-mixed paint

by Papers and Paints and the antique lamps are from Brigitte Garnier. Visit louisejonesinteriors. com to see more of Louise’s work.

LEFT The walls are in Bisque TC45 by Papers and Paints, the fabric canopy is in Algiers by Robert Kime and the antique light fitting is from Brownrigg Antiques.

50 THE ENGLISH HOME

movement, provide the backbone to the scheme, with new panelling in the hall and drawing room – where there is also a new stone fireplace – and in the period styling of the new bathrooms. Colours and patterns are drawn from the natural world, and by incorporating so many family pieces in a clever fusion of objects and styles, there is a deeply personal feel and a sense of the rooms evolving over many years.

“So many of our belongings, books and furniture have finally found a home here,” Kathleen observes with quiet satisfaction. “The Welsh dresser in the dining room, the chests of drawers which belonged to my Irish grandmother, the repainted Dragons [of Walton Street] nursery furniture in my daughter’s room. Even the rosewood bed which my parents accidentally bought at auction has finally come into its own.”

The leap of faith Kathleen and Scott took when they were beguiled by their sleeping beauty of a

‘So many of our belongings, books and furniture have finally found a home here’ holiday home has repaid them handsomely. Their commitment to making the property structurally sound and their devotion to reawakening its period feel has provided them with a sanctuary from city living and a seaside home at the heart of their family.

“We spend as much time as we can here,” says Kathleen. “We love our home in London, but this is the place we escape to for weekends and holidays.

In summer, we enjoy the garden room or being outside, as well as the cosy feel of the drawing room and being able to curl up inside. But what we truly love about this place is the sense of permanence after so many years of renting. We really feel we’re enjoying the best of both worlds.” n

ABOVE & RIGHT Satin Coutances Positif Vert fabric by Pierre Frey enfolds the guest bedroom.

Among the key pieces the family wanted to retain are the repainted bedroom drawers by Dragons of Walton Street, which furnished their youngest daughter’s bedroom when she was small.

THE ENGLISH HOME 51

Finding THE MAGIC A nineteenth-century former barn and cart shed in Suffolk is transformed into a warm and welcoming family home filled with vintage treasures FEATURE & STYLING NAOMI JONES PHOTOGRAPHY BRENT DARBY

52 THE ENGLISH HOME

Several walls were knocked down to create an inviting kitchen-diner.

The dresser is painted in Downpipe

by Farrow & Ball and the rise-andfall pendant light is from Holloways of Ludlow. For a similar rustic bench try Sustainable Furniture.

THE ENGLISH HOME 53

ABOVE The secluded weatherboard house is surrounded by a rambling garden full of majestic trees and beautiful flowering shrubs. Having peaceful garden views from every window, Claire enjoys watching the changing seasons.

RIGHT Claire leaning against the giant Alder that is at the heart of the family’s magical miniwoodland garden.

“O

ne of my favourite things about living in this beautiful tucked away spot is that I can witness the seasons transition from almost every window of our home,” says nature-loving Claire Rogers, whose home is situated at the end of a private lane in a very quiet Suffolk village. “It’s so quiet and calm as it’s not on the way to anywhere, yet the coast is just a short drive away.”

The house was originally an outbuilding serving the neighbouring cottage, with parts dating to the 1800s.

“The sitting room was once a barn and cart shed, open to the elements, with a hayloft above that is now our daughter Trulie’s room,” Claire explains. “The building had been extended again and again over the centuries, but without much thought to its use as a family home. So, since we moved in four years ago

The kitchen-diner leads into the cosy snug where the kitchen was originally housed when the family moved in.

The kitchen cabinetry is painted in Purbeck Stone by Farrow & Ball.

[2017], my husband Matt and I have tried to make sense of the higgledy-piggledy layout to establish a sense of flow, and added a proper staircase to replace what felt more like a ladder than a set of stairs.”

Before attending to the house, however, the couple gave the “swamp-like” swimming pool a thorough clean and service so Trulie could use it whilst they threw themselves into the 12-month-long renovations. They also tended to the charming yet slightly overgrown garden to reveal a far prettier space that has improved the view from the house, as well as providing a much more family and dog-friendly area for them and their two energetic lurchers, Woody and Jake. “We get the best view from the kitchen-diner,” Claire says, “although this wasn’t fully appreciated until we’d sorted out the ground-floor issues and made sure the house lived up to its true potential.” 

‘It’s so quiet and calm, yet the coast is just a short drive away’ LEFT The part of the building with the chimneystack was originally an old cart shed with a hayloft above. The property has been extended over the centuries and Matt built the oak porch.

THE ENGLISH HOME 55

In the pared-back, rustic sitting room, the brick fireplace and original beam bring character to the space, whilst Farrow & Ball’s Charleston Gray creates a warm neutral background colour.

 56 THE ENGLISH HOME

‘I much prefer reusing and recycling … all these objects with age and history add feeling to the home’ “The previous owner had installed the swimming pool pump as well as the utility room right at the heart of the house,” Claire continues, “and the kitchen was tucked behind in an area that we’ve since divided in two to move the utility into a more discreet location, and to create a cosy snug, with the addition of a wood-burning stove to make full use of the fireplace that was already there.” With those areas dealt with, the couple could then design a spacious, light-filled, kitchen-diner that would be perfect for cooking, eating, and relaxing whilst enjoying their lovely garden view.

Upstairs, even more work was needed to transform this warren-like property. Claire and Matt decided to sacrifice a bedroom to create a master suite with a dressing room and an en-suite shower room. “We didn’t really need four bedrooms as there are only three of us,” says Claire, “plus, it felt a bit odd that the smallest bedroom was the one with its own bathroom.

We love our more grown-up space now.”

The hands-on pair also freshened up the decor throughout with neutral Farrow & Ball shades, along

with a dark blue Dulux hue in the snug, transforming what was a dated Nineties interior, with yellow walls and Royal blue carpets, into a timeless home befitting its rural location.

“Matt and I have done most of the work,” explains Claire, “including the plastering, once the builders had knocked down various walls. We also did all the painting, and Matt built the front porch and an oak balcony off our bedroom – I made a tiny model of my vision and he upscaled it somewhat! We are both very handy as we’ve renovated five houses together. If we can’t afford to pay tradespeople, we learn how to do the job ourselves, with the exception of the specialist trades that need proper sign off.”

The couple also saved money by giving pieces brought from previous homes a fresh coat of paint. “I used to have a furniture shop in my garden years ago,” says Claire, “and what’s here are all the bits that didn’t sell.

When you have children and animals running around the house you can’t be too precious, so solid furniture that can be touched up with paint is the best idea.”

ABOVE LEFT Vintage books, jars and stones found on beach walks, create a charming vignette on an upcycled desk in the snug. Claire has transformed a second-hand chair with a cheerful yellow paint. For a similar shade try Yellow Pink

by Little Greene.

ABOVE RIGHT Woody the lurcher enjoys some relaxing in the cosy snug.

A collection of whimsical one-off treasures are grouped on a wall painted in a deep blue called Denim Drift by Dulux.

THE ENGLISH HOME 57

‘The power of paint is incredible for giving something a new look, as well as making pieces work in harmony’ ABOVE Claire and Matt transformed a dilapidated log cabin into a poolhouse.

“We took out the window at the side and the entire front section,” says Claire.“ Matt put on the cedar shingle roof and we painted the entire thing in Farrow & Ball’s Charleston Gray exterior paint.”

ABOVE RIGHT Claire herself plastered and redecorated this new dressing area, which leads to the master ensuite. The rug is from Snape Maltings.

Even the hand-built kitchen was picked up for a song and given a makeover. “‘We were amazed that someone was getting rid of this lovely kitchen,” says Claire of the couple’s Gumtree find. “We only had to travel to Norfolk to collect it and Matt did a great job of fitting it in our little space. Then I painted the units to blend in with the rest of our furniture. The power of paint is really quite incredible for giving something a new look, as well as tying odd pieces together to make them work in harmony.

I much prefer reusing and recycling than buying new, so I love visiting car boot sales and junk shops, and I have a few bits and pieces that I’ve inherited from my mother and grandmother; all these objects with age and history add to the feeling of a home.

“It’s such a warm and cosy house now, too,” she adds, “thanks to underfloor heating beneath all the stone flooring we laid downstairs; and as we’ve reconfigured the layout it’s no longer a series of small rooms – it feels light and bright and very welcoming, which is why from May to September we usually have a constant flow of family and friends coming to stay, especially those with children who enjoy the pool. But even when our visitors head home, this place doesn’t feel too large for our little family, it is really magical.” n

58 THE ENGLISH HOME

Yellow accents enliven this pretty guest bedroom, where neutral hues throughout convey a natural feeling of calm. For pendants with a similar feel try Rose & Grey.

French windows open onto the oak balcony Matt built off the master bedroom so the couple can enjoy the views with their morning coffee.

THE ENGLISH HOME 59

Designed by Surtees Furniture, in collaboration with interior designer Laura Passey, the bespoke kitchen is painted in Lichen by Farrow & Ball. The Buscot limestone flooring is from Artisans of Devizes, whilst the glass Tim pendants are from Hector Finch. The stylish bar stools from Ateliers London have seats covered in Jane Churchill’s Sherborne fabric.

Coming HOME Feeling an instant connection with a tired Victorian country house in Surrey, Tracy Verrier knew she had made the right choice to return home FEATURE CLAIR WAYMAN

PHOTOGRAPHY ASTRID TEMPLIER

THE ENGLISH HOME 61

ABOVE A Lattice globe light from Jamb hangs above the bespoke table

by Titchmarsh & Goodwin which also features a lattice motif around the edge. The George Smith Fairhill sofa, covered in the dramatic Roi Soleil blue brocade from Rubelli, accentuates the richness of the original Victorian oak panelling and parquet flooring.

H

aving spent almost 20 years living happily in America, English couple Tracy and James Verrier started to yearn for their homeland. “We were living in Michigan, and the original plan was to retire to South Carolina, but the more we came back to the UK for visits, the more we started to appreciate being home again,” says Tracy.

So, in August 2016, Tracy and James flew over for an initial whistle-stop tour of potential properties.

On the second day of the search, an estate agent told them about an impressive Victorian residence about to go on the market in the heart of the Surrey countryside. “We fell in love as soon as we saw it, with its strong symmetry and imposing facade,” Tracy explains. “We honestly weren’t expecting it

62 THE ENGLISH HOME

all to happen so quickly, but we didn’t want to let it go, so we put in an offer.”

Built in 1898, the house was full of character but very dated, so Tracy enlisted the help of interior designer Laura Passey to breathe new life into it. “It felt like the house was a person that needed to be taken care of,” Laura says. “The fact that we were redesigning the whole house just added to the specialness of this project. I’ve got a musical background so I tend to think of the comparisons between design and music, with different elements weaving together. As the property is quite grand, I felt I could do something on a symphonic scale, introducing various themes and considering how they would play off each other throughout the house.”

The Ropley chandeliers by Vaughan were the starting point for the scheme in the dining room, which includes hand-painted and embroidered Paradiso wallcovering

by Fromental. The bespoke walnut dining table, designed by Surtees Furniture, in collaboration with Laura Passey, has been finished to match the Klint dining chairs by Julian Chichester, which are covered in Pelham velvet by Fox Linton.

‘As the property is quite grand, I felt I could do something on a symphonic scale’ LEFT A magnificent magnolia tree festoons the front of the house.

When designing the interiors Laura took inspiration from the plants and flowers found in the three-acre garden.

RIGHT The burr walnut cabinet was made by Titchmarsh & Goodwin and offers a place to display favourite china and glassware.

THE ENGLISH HOME 63

‘I like to pull all the senses into the design process – the poetry of words, visuals, music, memories and historical references’ ABOVE This side of the double drawing room features George Smith sofas, covered in Radiance Parsnip

by Jason D’Souza and a George Smith ottoman covered in Lewis & Wood’s Stockholm Stitch.

A Chrysanthemum table lamp by Richard Taylor Designs sits on a nest of Salvatore side tables from Porta Romana.

In a previous era, the house had servants’ quarters, back stairs and servants’ bells, which Laura used as a springboard for her design inspiration. “I had television programmes like Downton Abbey and Upstairs, Downstairs in mind, contrasting a pared-back, earthy ‘Victorian housekeeper’ theme with a lavish, noble style which I called ‘painter’s garden’,” she explains.

Laura was guided by the style of the house and the couple’s taste. “I like to pull all the senses into the design process – the poetry of words, visuals, music, memories and historical references,” she explains.

“Tracy wanted something really fabulous and beautiful.

She was quite brave and bold about it all.” They all decided on a smart-casual country look that would feel relaxed and gentle. “I knew I wanted to embrace

64 THE ENGLISH HOME

a warm, cosy look that was also smart, but not twee or stuffy,” says Tracy.

The builders started work in September 2017, and throughout much of the renovation Tracy was still living in America, making trips to inspect the progress.

Laura collaborated with and guided Tracy along the way, taking her to showrooms and furniture workshops. “I loved being involved in the whole process, from choosing furniture to fabrics, even down to the tiebacks and trimmings,” says Tracy. “Working with Laura was fun. We bounced ideas off each other, and if either of us didn’t like something, we weren’t shy to speak up.”

One of Tracy’s requests was for a pink drawing room, so Laura chose a delicate, warm pastel scheme

with elegant floral touches to tie in with her ‘painter’s garden’ theme. “As this is a very pink room and quite a strong statement already, I let the colour do the talking by keeping the styling relatively simple, so the space can breathe,” says Laura. The dining room also received an opulent redesign, with a mix of luxurious bespoke, hand-painted chinoiserie wallpaper, blue velvet dining chairs and decadent chandeliers.

Meanwhile, upstairs was completely reconfigured and a sumptuous master suite created in a restrained palette of warm, champagne neutrals. Tracy also gained a dedicated sewing room by knocking through two tiny bedrooms which would have been servants’ quarters in times gone by. Working with a trusted team meant that Laura could reassure Tracy when she had moments of uncertainty. “At times it was distressing to see the house being pulled apart,” says Tracy, “but I knew it had to be done, because everything needed updating.”

Feeling very protective of the house, Tracy was keen  to preserve as much of its character as possible. “We

ABOVE & RIGHT Two Kingcome sofas in Lelièvre’s Paros fabric, topped with cushions in Evesham linen by Colefax and Fowler continue the understated elegance on this side of the double drawing room. Cabana Weave wallpaper from Phillip Jeffries adds subtle texture.

The Figeac chandelier and customised Brockton coffee table are both by Vaughan, and the Louis Philippe mirror with laurel leaf moulding is from Overmantels.

THE ENGLISH HOME 65

‘Everything I love has been brought together under one roof and I wouldn’t want to be anywhere else’ ABOVE The paredback look in this bathroom ties in with the ‘woodland walk’ and ‘Victorian housekeeper’ theme.

The marble-topped vanity by Surtees Furniture is painted in The Botanist by Paint & Paper Library. The weathered-brass bath from Catchpole & Rye plays on the utilitarian feel, along with The Water Monopoly aged-brass Rockwell mirrors and Original BTC York wall lights.

had the original oak panelling and the bannisters in the hall French polished, but I didn’t want the imperfections taken out,” she explains. “I wanted to retain as much of the quirkiness of the building as I could and wouldn’t let the builders straighten everything up, which is why the upstairs landing still slopes. She’s crooked and that’s fine. She’s over 100 years old.”

When it came to the decoration of the central hall, Laura let the Victorian oak panelling lead her. “This space feels quite grand, as well as cocooning and warm, so I played to that by choosing opulent gold furniture and a dramatic, rich blue brocade for the sofa,” she says,” she says. “Then the lighter, brighter rooms spill out from either side, with the vibrant blue chairs in the dining room echoing the blue in the hall.”

The biggest transformation in the house has been the kitchen. This was previously a series of smaller rooms, including a cramped galley kitchen, which, once these were opened up, became a vast, light-filled space with views onto the garden and

66 THE ENGLISH HOME

the magnificent Californian Redwood tree. With a focus on practicality, the smart but relatively restrained kitchen design was inspired by Laura’s ‘Victorian housekeeper’ theme and overlaps with her ‘woodland walk’ theme. A peaceful, muted green was chosen for the cabinets and Laura encouraged Tracy to have all the window frames and doors painted in the same green to create a cocooning effect. “That scared me a bit,” says Tracy, “but as soon as it was done, I knew it was a brilliant idea because it links so beautifully with the garden [see page 6].”

Tracy and James moved into their beautifully updated, much-loved home in the summer of 2018 and now revel in every aspect of it. “It’s hard to pick one room that’s my favourite,” Tracy says. “I love it all. Sometimes I walk into the drawing room in the evening, with the candles lit, and I just feel a sense of complete contentment. Everything I love has been brought together under one roof and I wouldn’t want to be anywhere else. Our family walk in and they can see it’s our house – it’s us. I’m very proud of it all.” n

ABOVE Fromental handpainted chinoiserie wall panels create a luxurious feel in the master bedroom. The bed from Savoir Beds is covered in Basmati Jasmine on the headboard, with a silk velvet on the bed base, both from Holly Hunt. The Murano glass table lamps from Bella

Figura sit on bedside tables

by Surtees Furniture.

BELOW Seraphina wallpaper

by Colefax and Fowler takes centre stage in this pretty guest bedroom. Laura Passey designed the bed which features Lucia Claro linen by Elitis from Abbott & Boyd. Sybil table lamps from

Porta Romana sit on Ebury side tables from The Odd Chair Company. The bespoke ottoman is covered in Monceau Ivoire from Manuel Canovas. The round mirror above the fireplace is from Overmantels. To see more of Laura’s interior design work visit laurapassey.com

ABOVE The oak Sooma dressing table from William Yeoward is teamed with a round button stool from Porta Romana covered in Lewis & Wood’s Rooksmoor velvet in Sea Holly.

THE ENGLISH HOME 67

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STYLE INSPIRATION

Our special section dedicated to design and decorating inspiration begins here

RED ALERT

FEATURE KATY MCLEAN

Adding a flash of colour to a scheme is often the missing piece of the puzzle. Many designers will suggest this colour be red – much like adding a classic red lip as a final touch to a made-up face.

Red draws the eye, and adds drama and character, as well as being timeless and understated.

Here, the glossy red lamp adds verve to this scheme, whilst the judicious use of fabrics and trims featuring red highlights brings cohesion. The elegance and prominence of blue and white allows for the playfulness of the red to add a contemporary twist.

Curtains, Monkey Business, £96 a metre; sofa, Tabitha, £96 a metre; cushions, Moonstone embroideries, from £110 a metre, all No 9 Thompson

THE ENGLISH HOME 69

Ways with

PAINT Quick, affordable and versatile, paint transforms spaces inside and out in creative ways that offer decorative impact

W

hether considering a complete redecoration or a quick update, the versatility of paint opens up opportunities to add creative details and be bold with colour.

A medium that can used in any decorating project, whether on woodwork, ceilings or walls, paint is relatively easy and affordable to change as desired, as well as to match to a preferred textile choice for a cohesive look. It allows for a bold contrast in block colours without the added worry of successfully combining patterns, and the range of finishes available offers a chance to subtly but effectively transform the completed look.

Here we look at ways to combine colours, add playful details on different surfaces, inside and out, to make the most of this essential, useful and transformative decorative tool.

70 THE ENGLISH HOME

HIGH CONTRAST Use contrasting colours of paint on walls, woodwork and original architectural features to make a striking style statement, perhaps adding a bold flash of colour above a picture rail (as shown above) or painting the top or bottom half of a room in different colours. A dark colour at the bottom helps to ground the room and everything in it.

For a softer look, teaming a lighter colour with a darker one to highlight certain features such as a fireplace or alcove brings areas of light to a rich and cosy scheme.

Contrast can be helpful, too, in zoning spaces or creating a backdrop to something – a bright colour around a bath, or behind a bed – or to give distinction to an area within an open-plan room.

ABOVE Use block colours to experiment with bold colour contrasting. Cornicing, Slaked Lime; picture rail and above, Leather; below picture rail, Pea Green; skirting and window, Obsidian Green, all from £48.50 for 2.5l Absolute Matt Emulsion, Little Greene OPPOSITE Deep colours look even more sumptuous in a matt finish.

Serpentine, £52 for 2.5l True Matt, Zoffany

DECORATING

PERFECT FINISH The beauty of paint is that it is available in a host of transformative finishes, from chalky, matt paints that create a soft, earthy quality and limewashes with a wonderful tactile character, to high gloss and lacquer for added glamour and luxury, or the gentle sheen of eggshell to help reflect light and enliven a room.

Finishes can be combined – gloss or eggshell can work on a wall, perhaps on the bottom half of a wall with a matt in the same shade above for a subtle but effective contrast. Peter Gomez, lead designer at Zoffany adds that, “Using the same colour on not just the walls but on the skirting, fireplaces or ceilings is a really strong trend, however, if you were to use different finishes of the same colour, you’ll gain interest in the light reflection, which will break up the room to make it feel more layered.” High gloss paint can look striking on cabinetry or other furniture and offer a hardwearing finish too.

Sumptuous velvet-like matt finishes create a cosseting backdrop and work particularly well on deep vibrant colours where the block colour, without sheen allows the colour to absorb light and shadow to create beautiful character. 

UP ABOVE Traditionally ceilings are painted white, which can be a brilliant choice for creating a light, airy feel, but if the walls are a dark colour, doing so can draw the eye to top of the room and make the ceiling feel lower. One way of countering this is to paint the ceiling in the same shade as the walls. This blurs the definition between where one begins and one ends. Or turn things around and keep walls lighter and neutral and apply colour above.

“Use unexpected dark colours on ceilings to create a dramatic but cosy and intimate atmosphere, whilst lighter colours can be paired with complementary pale tones or off-white walls to expand the space and make the whole room feel larger,” Dominic Myland, director of Mylands, advises.

Wallpapered rooms can benefit from ceilings painted in a colour matched to one in the paper design. A bonus of paint is that several companies offer a bespoke colour-mixing service to ensure a perfect result is achieved.

RIGHT Reverse traditional choices by painting the ceiling and woodwork in a colour and leaving walls white.

Ceiling and woodwork, Long Acre; walls, Walpole, both £51 for 2.5l Marble Matt Emulsion, Mylands

CREATIVE IDEAS Paint can be used to add playful details in rooms. Painting behind shelves or the inside of a bookcase is an easy way to add bespoke character. A smart idea is painting the shelves and backdrop in the same colour, with one or two spaces in a contrasting, brighter colour – perhaps to highlight a cherished ornament or picture as well as tie in an accent colour used elsewhere in the scheme.

Adding a bold band of colour to a wall is also relatively simple with the help of a spirit level and good-quality masking tape.

Details such as this make a room look well considered and instantly add personality.

Small details such as painting the edge of a door a different colour make for a surprising feature, particularly on darkpainted woodwork, adding a flash of a lighter, prettier colour to catch the eye.

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LEFT Simple yet highly effective, painting a wide band of colour in a contrasting hue adds a bespoke detail.

Walls, door and skirting, Squid Ink; stripe, Rufus, both from £51 for 2.5l Pure Flat Emulsion, Paint & Paper Library

DECORATING

SYMPATHETIC CHOICES Whilst paint can be used beautifully for contemporary updates, it is also a medium well-suited to period homes. A number of paint brands offer ranges of heritage or historically accurate colours for purists.

Edward Bulmer, interior designer and founder of Edward Bulmer Natural Paint, notes another benefit of paint for older houses. “Period properties seldom have dead-straight lines, so very linear wallpapers can be problematic and do not suit oak-beamed or irregular interiors so well,” he says. “Paint is also the most cost-efficient and breathable wall covering. It suits all rooms, is serviceable and, of course, easy to

update. And it is happily subservient to pictures and other furnishings in a way that wallpaper is not.”

This also stands for fabrics used on upholstery and for window dressings, which can be beautifully offset against a painted backdrop in just the right hue.

Bulmer advises considering original features when choosing the right colour paint for a period property.

“Period properties have features that will be part of any new scheme, like floorboards or an old fireplace,” he says. “Successful paint colours need to be the same in underlying tonality, and for this we use earth pigments to create a unifying harmony.” 

ABOVE In this period property a rich chocolate brown on the walls provides the perfect backdrop for a pink sofa by Edward Bulmer and furniture, artwork and antiques from Lorfords.

Walls, London Brown, from £49.50 for 2.5l of Emulsion, Edward Bulmer Natural Paint

THE ENGLISH HOME 73

COMPLETE TRANSFORMATION For the creative amongst us, paint can offer a world of opportunity to revive or transform furniture (though nothing antique or of significant value) with quality chalk paints that can be used on almost any surface. Paint can make a tired-looking cabinet or table into something special that works with a new decorating scheme, and avoids the need to buy new. We will discover more ideas on later on in this Ways With series, but painting furniture, frames and even walls in a decorative way – from stencil detailing to adding patina with waxes – can be a useful tool for providing that perfect finishing touch to a room. Investing a little time and effort can offer a rewarding result that is bespoke and full of character, as well as negating the need to search high and low for the ideal piece in just the right colour.

RIGHT Give tired or outdated furniture a new lease of life, perfectly tailored to a decorative scheme with easy-to-use chalk paints.

Oxford Navy and Old White, both from £21.95 for 1l of Chalk Paint, Annie Sloan

QUICK UPDATES One of the joys of paint is that it can be used for a quick and simple – yet impactful – update on just a small area or section of a room, without having to completely redecorate.

A weekend project adding an exciting detail or a splash of unexpected colour is easily achievable, and also easy to change if the result is not as desired. The recess of a window can be painted a bright sunny colour like yellow for summer and changed to something richer for winter. Insides of cupboards or

a pantry can be given a lick of paint – perhaps in a bolder choice than might be put on walls in living areas – to add a dash of daring when used. As Farrow & Ball’s colour curator Joa Studholme enthuses, “Bold but fairly small statements reflect our personalities, make us proud of our homes and bring joy into our lives.” Perhaps add colour to a white-painted staircase by painting the steps a contrasting colour, or simply paint the handrail for a striking dash of colour that can be changed as often as desired.

LEFT Adding a burst of colour in a window recess is an easy project that can be changed frequently for a quick transformation.

Walls, School House White; window recess, Babouche, both £53 for 2.5l Modern Emulsion, Farrow & Ball

74 THE ENGLISH HOME

DECORATING

OUTDOOR COLOUR Outside, paint is a useful medium for transforming the garden as well as making a welcoming sight at the front of the house. Giving a front door a makeover has a truly huge impact – it will always bring cheer when returning at the end of the day as well as delight visitors or passers-by.

Marianne Chillingford, creative director at Dulux, advises: “When choosing a colour for a front door, consider the materials of your house and how a colour

will harmonise with them if you are looking for understated elegance. But if you fancy something more striking, choose a cheerful summer petal colour like Lavender Quartz and frame it with white to put a smile on the faces of everyone who walks past.”

Masonry paints can be used to paint exterior walls in the garden – perhaps to create a colourful backdrop to a seating area, add impact to a walled border or bring personality to a display of plants. 

ABOVE Add cheer and personality with a front door in a favourite colour.

Door in Lavender Quartz, £27.95 for 1l Weathershield Quick Dry Exterior Satin, Dulux

THE ENGLISH HOME 75

DECORATING



SEAMLESS COLOUR Using the same colour across walls, ceilings and woodwork can be highly effective in making a space seem larger, without any hard contrasts or divisions.

Opting for a dark colour all over can actually soften its impact. Rather than making a room featureless as might be expected if covering features, woodwork and walls in one colour, it offers a contemporary and chic look that is soothing. Helen Shaw, director of Benjamin Moore UK, advises using this technique in

loft rooms. “Don’t let sloping ceilings put you off opting for colour,” she says. “Instead, make the most of the abundance of natural light to create a space that is airy and open, yet also cosy. Consider a warm, inviting mid-tone across the walls, woodwork and ceiling to maintain a light feel which is achieved by not breaking up the colour with white trims and ceilings. Instead, you’ll have an airy room that doesn’t feel cramped.” 

ABOVE Unified colour on walls, ceiling and woodwork creates a calming and larger-looking space.

Yarmouth Blue, from £25.50 for 0.94l Advanced Matt, Benjamin Moore

THE ENGLISH HOME 77

EXPERT ADVICE ON CHOOSING COLOURS How to select the right colour for a room, whether white or something bolder HOW TO CHOOSE A WHITE

WONDERFUL WOODWORK Skirting boards, doors, windows, stairs and bannisters provide an opportunity to add expression and impact. Colourful woodwork can add character to a white room and be a softer way to introduce a bold colour without taking it all over the walls, and it is easy to update as desired.

It can be a useful trick to help create flow through a house too, with woodwork throughout in one colour.

Find a colour that works well with other choices, for instance a pink can look good with whites, greys and black as well as various shades of green and blue. Dark blues together with greens are a versatile choice too. Though a unified approach creates a sense of flow, a door in a different colour adds character and creates a statement feature in minutes.

78 THE ENGLISH HOME

ABOVE Colourful woodwork looks considered and interesting and creates flow and unity throughout a house.

Bannister, Blackout; door, door frame, skirting and stairs, Pink House Pink, both from £31 for 1l of Wood & Metal Eggshell Paint, Mylands

“Before choosing a white, it’s important to select the style you wish to create before you begin.

Understanding how the nuances in different whites and soft neutrals behave in different light settings is also key. Remember that ambient light changes throughout the day, causing colours to appear to change too.

If you want to use the same white throughout your home, in rooms with different aspects, consider using whites with a grey or green undertone such as our Minim or Raw Chalk, which are very neutral, meaning they are neither warm nor cold, so work perfectly in north- or south-facing rooms.

If you are looking to use a range of whites and neutrals within a home, consider the light and orientation of each room, as well as the proportions of the space, and whether there are existing colours and surfaces to consider.

Most importantly, what kind of atmosphere do you wish to create? Whites with a soft pink (red oxide) or yellow (ochre) base will create a warm and soothing space, whilst whites with a blue undertone will make a room feel cooler and brighter – these shades are well suited to a south-facing room, where you want a crisp and impactful finish.”

CHOOSING COLOURS

Joa Studholme, colour curator at Farrow & Ball “When it comes to choosing colour for your home, you should first consider how and when you are going to use each space. Larger rooms used during the day are usually suited to lighter colours, whilst those used at night, therefore artificially lit, command stronger colours which create more intimate comforting spaces.

A strongly coloured hall creates a little drama when you enter your house and means that all the rooms off it feel bigger and lighter. For an extra chic twist, you can paint the spindles of your staircase in a really dark tone, which will create a striking spine running through your house without being overwhelming.” ■

FEATURE KATY MCLEAN PHOTOGRAPHS P71 (ZOFFANY) © ANDY GORE; P74 (FARROW & BALL) © JAMES MERRELL; P77 © JOHN BESSLER; P78 (MYLANDS) © SUSIE LOWE/THE PINK HOUSE

Andy Greenall, head of design at Paint & Paper Library

FUSION Hand crafted switches

An exquisite blend of finishes

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THE ENGLISH HOME 79

Changing SPACES

Ideas and inspiration for making architectural adjustments, from adding a home office to creating an open-plan kitchen and dining area

DESIGN ADVICE

W

hat is needed from a home is, for the most part, likely to change over the years spent there as families grow and life circumstances and needs alter.

The past year and more, though, has seen requisites change at a vastly accelerated pace. More time has been spent in the home daily, often with more than one generation in residence, and working at home has for many become an everyday arrangement. As a result, making alterations commensurate with these changes has become imperative.

Intelligent architectural interventions can achieve all that is desired, but it is essential that such work abides by current laws. Some extensions may be possible without planning permission under permitted development rights if specific limitations and conditions are met, whilst other projects will require it. Listed buildings, meanwhile, impose additional rules. Good architects will undoubtedly advise on such matters, but information can also be found at planningportal.co.uk

ABOVE A home office separate from the open-plan family room was essential in a home with young children. A sliding door creates a space-saving opening to the room, and contributes to the cosy feel of the space in this project by interior designer Katharine Pooley.

DEDICATED HOME OFFICE For many, an area to work in at home has become indispensable since last March. A separate room is often the most desirable solution for reasons of privacy and quiet, and if this cannot be achieved by repurposing a room in the house, building an extension or constructing a detached garden building can be a solution.

If an extension is to be added to a period building, local planners will often require it to be clearly distinct from the original structure, although there may be occasions when seamless blending is preferred. The local authority will be able to provide guidance. A glazed link between old and new can create a visual break and leave historic masonry clearly visible if that is what is required.

A loft conversion is a further option for adding a home office, and a property with a loft space that measures 2.3 metres at the highest point is generally suitable. However, factors such as the roof pitch and its structure are also crucial, and an architect can advise.

If extending is not a feasible proposition, a home office may be carved out of existing space. A stud wall can partition a large room and the office need not be a sizeable space to provide all the utility that is required.

Where physical separation is not vital, a home office area could be found within a living space. “Partitioning up a room into specific zones for work, relaxation,

play, and anything else that takes place in this space can create boundaries,” says interior designer Emma Sims-Hilditch. “Ways to achieve this include by rearranging furniture to act as subtle markers for these zones.”

Even small areas might afford an alternative solution. “Clever joinery which utilises otherwise unused space such as alcoves or under-stair spaces can be designed to act as an office,” says Sims-Hilditch.

ABOVE RIGHT Kelling Designs used a large landing to carve out a home office the owners of this property needed.

Interiors from £720, Kelling Designs

ABOVE LEFT Philippa Thorp Interior Design created a home office at the same time as the dressing room.

The glazed screen allows the two areas to work together in one space.

THE ENGLISH HOME 81

As the main focus for the bedroom, choosing the right bed to suit sleeping preferences and aesthetic tastes is of paramount importance.

Gloucester bed, £2,650 (double with slatted base), The Cornish Bed Company

A KITCHEN FOR ALL When more people are at home each day and every meal is prepared in the kitchen, creating a larger area can become a pressing concern. Happily, relief may be obtained by extending or by combining an existing kitchen with another reception room to provide a space with dimensions that permit distinct zones or even allow the construction of adjoining rooms. A pantry, utility or laundry room, and boot room, for example, might all be part of a kitchen extension to ensure they are conveniently located but will not disrupt the preparation and cooking space.

“Zoning is important but needs to be done subtly,” says Richard Moore, design director at Martin Moore.

He suggests varying flooring between kitchen and dining areas, or using lighting to create different moods. “For serious cooks or families who enjoy cooking together, a large amount of prepping space is important and a couple of sinks in different locations are also very useful,” Moore continues.

A generous space into which to extend need not be called for, however. Incorporating the narrow passageway – or side return – typical of Victorian properties into the rear wing of the house can be sufficient to create a kitchen that is both functional and beautiful.

Full-height glazing can introduce daylight and garden views on any rear extension, and are vital where side windows are ruled out by the need to retain privacy.

Location and type of kitchen cabinetry needs careful consideration if such glazing is installed as at least one wall is lost. A popular option is to have a large island

ABOVE In order to create a space where the cook is included in gatherings, the wall between the kitchen and the conservatory has been removed and a large island installed for guests to congrate whilst chatting and having drinks.

Similar kitchen from £20,000, Naked Kitchens RIGHT Extending into the side return of this period property has transformed this formerly narrow kitchen into a spacious and light room that is perfect for cooking and entertaining.

Real Shaker kitchen by deVOL, from £12,000

82 THE ENGLISH HOME

DESIGN ADVICE This previously small galley kitchen has been transformed into a light and airy space with a large island and adjacent dining area.

Cupboards from £535, British Standard by Plain English

with storage and appliances on both sides to make up for a reduced number of floor and wall cabinets.

Glazed roofs and roof lanterns will allow additional daylight to reach the room without compromising the layout of the kitchen, including in any side-return extension. Roof lanterns have the advantage of adding height to the room. Adequate ventilation is vital for any room, but particularly a kitchen where both steam and odours are generated – roof lanterns can have opening lights for ventilation, whilst roof windows are available as opening as well as fixed versions. 



RIGHT With plans to start a family, the owners of this home extended at the rear to allow for a larger kitchen and living area. Charlie Kingham, where kitchens start from £16,000, built cabinets to ceiling height for optimum storage with an antiqued ladder for access as part of the kitchen design.

THE ENGLISH HOME 83

Framing the view

Choosing windows to complement period homes

Repairing, draught-proofing or replacing wooden sash and casement windows not only adds charm and character to period properties, it also addresses needs such as structural issues and worn components, which in turn impact on energy efficiency and noise reduction.

Sash window repairs from £500, Ventrolla

For this period property, uPVC sliding sash windows with traditional mouldings and Georgian glazing bars are top hung and hinged at the sides, giving the appearance of authentic windows but with modernday benefits. uPVC windows, from £600 a window, Thames Valley Window Company

Windows in engineered timber with astragal glazing bars and Samuel Heath ironmongery are used here to create an elegant orangery, finished in a colour similar to Farrow & Ball’s White Tie. Bespoke projects, £POA, Timber Windows

84 THE ENGLISH HOME

MULTIPURPOSE ROOMS Multipurpose rooms can be the solution to a deficit of space. A careful approach should be adopted in reconfiguring internal space, however. “The changes we seek to make in altering our historic buildings often lose some of the structure that helped give these rooms their proportions and sense of scale,” says Robbie Kerr, director at ADAM Architecture. “If rooms are opened up, thought should be given to zoning the them, either with careful lighting or furniture, and finding ways to incorporate the necessary storage is so important.”

It is desirable to retain original features, such as cornicing. “Restoration of period features can appear laborious, time consuming and seemingly expensive for the return they give,” says Kerr. “But with care – a vital part of any restoration work – it is possible to reveal the craftsmanship and a very visual part of historical identity to a building. Where any stonework or conservation work is being done, it is essential to try out the technique proposed in a small (and preferably discreet) area to ensure that the underlying fabric is not damaged.”

Kitchen-dining-living spaces are highly sought-after and can be sympathetic to period properties as well as more modern ones. An orangery may prove an attractive extension option if the design echoes features such as the proportions, materials and design details of the original home.

Redesigning a staircase can introduce additional daylight – especially valuable in open, multipurpose ground-floor layouts. “If a staircase blocks out light then, depending on the space available, it might be possible to reposition it opening up a vast number of options. If not, a different staircase style might be the answer,” says Richard McLane, design director, Bisca.

A glass floor is a further intervention that can increase daylight. “In any space where a lack of ambient light is a problem, installing a glass floor can borrow light from another space without reducing usable floor space in the area where the natural light normally falls,” says McLane. 

RIGHT Studio Peake transformed the basement of this home with a relaxing and entertaining area at one end and, on the other side of the screen, a play area with a comfortable seating and a home cinema. The large space was made cosy by the subtle separation, but the screen’s glazing keeps it light-filled.

BELOW RIGHT Q Design House opened the entire ground level of this mews house to create a light-filled space zoned into an entrance hall, sitting room and place to relax and watch television (in the foreground).

BELOW LEFT A staircase with glass balustrades allows light to permeate combined entrance hall and music room on the ground floor of this home.

Staircase from £25,000, Bisca

DESIGN ADVICE

RIGHT The owners of this home inherited a series of small rooms on the ground floor, but needed space to accommodate the whole family at one time. Pam Baker of Martin Moore designed an open L-shaped layout that divides the cooking and social zones of the room with a glass screen.

Kitchens from £35,000, Martin Moore

THE ENGLISH HOME 85

BATHROOMS AND BATHING SPACES Hygiene has been front of mind during recent events, and all family members may have been in permanent residence over the recent period, resulting in a wish for additional bathrooms and bathing spaces, and there is much potential for adding them as part of an architectural project.

A large bedroom may provide the opportunity for partitioning to allow the creation of an en-suite bathroom, or space may be stolen from a large landing to provide adequate space. A bathroom may be as small as four square metres, and if only a shower is required, three square metres is a minimum. The position of the resulting bathroom or its size may not permit a window to be fitted, but the lack of natural light can be compensated for with good lighting.

In a bedroom, division between the sleeping area and a bathroom does not have to be a complete wall.

A wardrobe or other clothes storage could provide a divider between a bed and a bath and basin area.

A loft conversion also provides the opportunity to add a bathroom along with an extra bedroom.

A shower may be fitted at the highest point of the resulting room whilst a bath can be accommodated under its slope. In the loft, a roof window can bring daylight to a bathroom.

The services for a bathroom require planning and space may need to be found for a sizeable water cylinder. “How many people are showering at the same time and how long do they take in the shower?” asks interior designer Irene Gunter of Gunter & Co. Effective extraction is also needed for showering, and conventional extractors may detract from the 86 THE ENGLISH HOME

bathroom’s appearance. “We like to create linear extractor grills that look like air conditioning slots,” Gunter says. Building out walls of a new bathroom to conceal the back body of shower valves can also prevent the room from feeling cluttered.

Decor can be an effective way to create flow between a bedroom and bathroom, as well as between other new spaces and existing rooms, with repeated colours and materials establishing a link between the original and the new addition. n

ABOVE LEFT In this design by Turner Pocock an elegant blue vanity links the bathroom to a dark fabric-lined dressing room.

ABOVE RIGHT Transforming a bedroom into a bathroom has resulted in a luxurious en suite.

Viado bath, from £1,354, BC Designs; Axbridge crosshandle floor-standing bath-shower mixer in chrome, £975, Vado; Jumento vanity unit, £POA, Jo Love of Love Interiors LEFT An area beneath the roof slope and by a dormer window was the perfect position for a freestanding bath in this home.

Barcelona bath, from £3,675, Victoria + Albert

FEATURE SARAH WARWICK PHOTOGRAPHS P80 © MARY WADSWORTH, STYLED BY HANNAH FRANKLIN. P81 (KATHARINE POOLEY) © JAMES MCDONALD; (PHILIPPA THORP) © RICHARD POWERS. P84 (TIMBER WINDOWS) © STEVE HOGAN; (BISCA) © JAKE FITZJONES. P85 (STUDIO PEAKE) © ALEXANDER JAMES. P86 (VICTORIA + ALBERT) © PAUL CRAIG

DESIGN ADVICE

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Bisca Staircases - Designed, Crafted, Installed www.bisca.co.uk | staircase@bisca.co.uk | +44 (0)1439 771702 THE ENGLISH HOME 87

BARNES OF ASHBURTON

With its beautifully painted two-tone cabinetry and practical open-plan design, this handsome kitchen is ready for the summer season and beyond ABOVE In-frame timber cabinets hand-painted in Sulking Room Pink and Inchyra Blue by Farrow & Ball create a contemporary take on a classic Shaker style.

Kitchens from Barnes of Ashburton start from £25,000

W

ith summer on the horizon, we are all dreaming of entertaining family and friends with food and drink in an environment that is relaxing for the host and guests alike. So, when it comes to planning the perfect kitchen layout to achieve this, consider a scheme with different zones for various activities. Add an invigorating, refreshing colour palette, contrasting textures and materials, visual impact in every corner and the result will be the ultimate Barnes of Ashburton bespoke design, expertly made for modern living.

This family kitchen is the perfect example. “This was a lovely local job for a family in Staverton,” explains director Kim Whinnett. “It’s a beautiful room with high ceilings and big windows, so lots of light and detail. We designed the space with our Classic Style

88 THE ENGLISH HOME

handmade cabinets in solid lime wood, hand-painted in Farrow & Ball’s Inchyra Blue and Sulking Room Pink. The cabinet interiors and plate rack are painted in Peignoir, also by Farrow & Ball, and the tiles, from the Baked Tile Company, are exposed behind the glazed cupboards. The detailed result overall is down to lots of teamwork with our wonderful painters and finishers and great tradesmen. Our clients were also really easy to work with and got involved sourcing the handles, appliances, worksurfaces and tiles.”

As well as the blue and pink palette, Valley White granite worksurfaces in a sleek honed finish, and a solid oak breakfast bar on the island, the bespoke kitchen design features burnished brass handles from Armac Martin, which tie in with the taps and door hinges. It is this attention to detail that makes Barnes of Ashburton so special. Creating handmade kitchens

FEATURE HAYLEY GILBERT PHOTOGRAPHS © PAUL RYAN-GOFF STYLING HOLLY KEELING INTERIORS

PRETTY IN PINK

PROMOTION

The kitchen is full of contrasting materials, textures and colours that effortlessly work together to create a vibrant open-plan space.

of distinction, the Devon-based designer and artisan cabinetmaker knows all about making dreams come true with fine timber furniture made in its West Country workshop. Honing 40 years of experience, its team is expert at combining traditional skills, such as mortice and tenon joinery, with modern thinking for multifunctional spaces.

The clients could not be happier with the end result.

“The design was exactly what we wanted,” says the homeowner, Louise. “We felt that they really listened to what we wanted in terms of style as well as how important it was for us to be able to use the kitchen in a practical sense. The design that Debbie came up with was exactly what we wanted and she was very helpful in suggesting the type of hob that would suit our cooking needs. Nothing was too much trouble and she made sure that everything would fit in terms of where we wanted our coffee machine and other elements.

Everyone was so professional with obvious pride in their work and great attention to detail.”

The painted finish of the cabinetry really stands out within the space and Louise is thrilled. “The painters who work with Barnes are absolute perfectionists,” she says, “and the finish that they have achieved on the cupboards and drawers is faultless.” With areas for cooking, food preparation and serving meals, as well as casual dining, washing-up, storage, and even a spot for relaxed seating, this kitchen has it all, and more.

“Kim, the director of Barnes of Ashburton, has been so helpful throughout the project and really gave the impression that nothing was too much trouble,” adds Louise. “She guided us throughout the project, even managing to provide us with a dishwasher when no other company was able to. They are a fantastic team and instilled a lot of confidence from the word go. The end result is totally what we imagined and it works well too, which is so important. It is amazing how they have brought it to life with what seemed like zero stress.”

To book an appointment for a consultation visit barnesofashburton.co.uk or call 01364 653613. n

TOP The distinctive tiles from The Baked Tile Company reach up to the ceiling at one end of the kitchen to provide a focal point.

ABOVE MIDDLE This wooden cutlery drawer, made using traditional mortice and tenon joinery, is just one example of Barnes of Ashburton’s expert craftsmanship.

ABOVE RIGHT The plate rack is painted in Farrow & Ball’s Peignoir and keeps the space between the large windows light and airy.

THE ENGLISH HOME 89

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SI0163 English Garden May 2021 HPH.indd 1

90 THE ENGLISH HOME

16/03/2021 14:55

DESIGN ADVICE

Great EXPECTATIONS From bijou city havens to acres of lawn in the country, hiring a garden designer could be the key to unlocking a garden’s full potential

F

ew places have been as cherished as our gardens over the past year or so.

No matter how large or small, whether rural or urban, they have offered us relief from the strains of this uncertain period.

The rush on garden centres and nurseries over the spring and summer of 2020 points to how much our gardens have come to mean to us.

However, putting in a few new plants every now and then may not be quite enough. If lockdown has engendered greater expectations from our gardens, hiring a garden designer could be just the thing to do.

Garden designers offer varying levels of service. It is possible to commission one to elevate a front garden, make changes to a terrace or overhaul dated planting, but good designers can also develop, for example, a country garden

masterplan to be executed over many years, as ABOVE Alliums, lavender and classic and when time and funds allow. “A designer can English roses combine offer a morning’s consultation or sketch a plan. in this relaxed It doesn’t need to be the full service, although rhythmic planting by for most designers the dream is to work on a Thomas Hoblyn complete garden and oversee the build,” explains Garden Design.

Andrew Duff, designer, managing director of the Inchbald School of Design and vice-chair of the Society of Garden Designers (SGD).

Many, but certainly not all, designers will have some kind of qualification in garden design or landscape architecture. Well-known schools include KLC School of Design, Inchbald School of Design, London College of Garden Design, Writtle, Capel Manor and the Oxford College of Garden Design, all of which offer courses of varying lengths. Larger design firms might employ designers with degrees in landscape architecture. THE ENGLISH HOME 91

LEFT Here designer Andrew Duff has created an inviting corner in which to shield from the sun on a hot day.

ABOVE Think about how a space will be used and plant accordingly, such as in this terrace designed

by Richard Miers.

RIGHT A designer will help ensure that elements throughout the garden are cohesive.

However, whilst a qualification is a good indicator of ability, it does not automatically make someone a good designer. Some designers with a wealth of experience have had no formal training.

With its extensive search facility, the SGD is a good place to start looking for a designer. It is the industry professional body and accredited members must subscribe to a code of conduct, and hold up-to-date professional indemnity and public liability insurance. The SGD also offers conflict mediation in the rare event of a dispute. “Should a client and designer fall out, either party can come to the SGD and we are there to mediate,” says Duff.

“But if it’s an honest relationship, disputes are unlikely.”

The SGD is an important part of the industry, but not every established designer is a member. A good way to gauge someone 92 THE ENGLISH HOME

is to view their portfolio, which should be online, and social media channels – Instagram is a fair place to start. Clear communication from the outset is a good indicator of what will follow.

Duff advises sifting through a few designers to find those with an appealing design and work ethic. It is important to meet them more than once before making a final decision. Consider, too, how the garden will be used and draw up a list of requirements. In order to establish a visual representation of this, create a folder of images from magazines or online platforms, adding or removing images as preferences become clearer.

The designer should then develop a mood board to establish, as Duff puts it, that both parties are seeing the right shade of yellow. Do not be shy. Designers deal with a range of clients, from those who

have no visualisation skills to experienced plantspeople, and are adept at determining what a client desires – and needs.

Principally a designer of country gardens, Angel Collins says one of the first questions she asks prospective clients is how much resource will be available to look after the garden once it is built. This determines the extent and nature of any hard landscaping, and what plants are used. Set a budget and be realistic about the time and money that can be commited, both for the build and to maintain it in years to come. “You can’t put in an amazing but high-maintenance garden and expect the owner to look after it if they’re not committed,” she says.

Both Duff and Collins stress that a good working relationship between client and designer underpins a good garden. “There are so many dimensions to this work, but 

DESIGN ADVICE

ABOVE Be prepared to wait for the right designer and landscaping contractor – the best may well have a waiting list.

Helen Elks-Smith designed this garden.

LEFT Visit gardens large and small for inspiration. At the National Trust property Tintihull, Penelope Hobhouse devised these bold container schemes.

RIGHT A small garden with naturalistic planting by Andrew Duff. Sculpture by David Harber.

LEFT Rousham House and Garden in Oxfordshire, is renowned for its timeless planting design.

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DESIGN ADVICE

MONEY TALK Every project attracts a unique set of costs, ranging from a couple of thousand pounds to the millions. Whatever the size, obtaining clarity over what will be charged is essential • Do expect quotes for the work, bearing in mind that day rates tend to be higher on smaller jobs but come down on bigger projects involving larger sums and longer time frames.

• Make sure to understand the fee structure before work begins. It is not unusual for a deposit to be paid at the

outset and then for further sums to be paid at various stages of work. Costs might include travel, materials and ongoing maintenance if the company offers this.

• Confirm the number of drawings that will be delivered. It is usual to pay for the delivery of each one. Ask for examples to ensure they are up to scratch.

ABOVE The view of Priest’s House from the White Garden in August at National Trust property Sissinghurst Castle Garden in Kent. Many have been inspired by the planting and design at this and many other National Trust properties for their own gardens.

Visit nationaltrust. org.uk for details.

when you have your first meeting you are already building a professional friendship.

You want to really get on with the person you’ll be working with. And, as a designer, you want to give your life and soul to the project,” Collins explains.

After the first meeting, a topographical survey may be in order for larger gardens.

This establishes the shape of the garden, which is foremost in the designer’s mind when they are designing, and will aid the landscapers who build the garden. “The survey is in my mind at all times,” says Collins. “Then you start to draw. You want something that is right for the countryside and house but also has an extra-special loveliness about it.” Country gardens in particular are influenced by their surroundings, be they pasture, woodland, hillside or water. City gardens might borrow the view of a neighbouring tree or hedge.

A good designer will take this into account.

Designers work in individual ways. Larger, big-name firms will have a team of staff, and contact with the well-known designer at the  THE ENGLISH HOME 95

DESIGN ADVICE

LITTLE BLACK BOOK

Selected practices of varying sizes, offering garden styles from classic to contemporary Acres Wild Debbie Roberts and Ian Smith specialise in the design and master planning of larger country gardens in Sussex, Surrey, Kent, Hampshire and abroad.

Tel: 01403 891084; acreswild.co.uk

George Carter Garden Design Specialises in formal spaces inspired by the geometry of seventeenth-century gardens, a style suiting both old and modern.

Tel: 01362 668130; georgecartergardens.co.uk

ABOVE Not every project needs to be a major undertaking. Many designers are happy to refresh existing features. This feature is by Angel Collins.

RIGHT Angel Collins and other established designers of large country gardens often work from a masterplan executed over many years.

helm may be limited; smaller practices will be more intimate. Some designers specialise in design only, handing over their plans and planting lists and returning at the point of positioning plants if necessary. Others are involved in the entire process, working with landscapers and gardeners and helping to put in plants. Be clear from the outset and establish what the degree of engagement will be and who will be responsible for what.

Depending on the commission, it is worth allowing around six months for the process, from appointing the designer to completion. Be prepared to join a waiting list, both for the designer and the preferred landscaping contractor.

Collins, who visits some gardens once a week, says: “I monitor my time and take on only what I can manage.” It may be the case that if building work is going on elsewhere on the property, the contractors for this may well also be willing to work on landscaping the garden. An architectural firm engaged to work on a house might be able to recommend landscape architects and designers it has worked with in the past. All will agree that the 96 THE ENGLISH HOME

Kate Gould Gardens Renowned for chic, small, city gardens, especially in London. Larger urban gardens might be formal or more contemporary.

Tel: 01923 839733; kategouldgardens.com Richard Miers Garden Design Richard Miers’ designs are clean and classically contemporary in style.

Tel: 0207 8763765; richardmiers.com Catherine Heatherington Contemporary designs with an understanding and appreciation of traditional designs and techiniques. Catherine is an experienced London-based designer. Tel: 07786 518 386; chdesigns.com Jo Thompson Landscape & Garden Design Known for gently floriferous, winning designs often shown at RHS Chelsea, Jo has an international client list.

Tel: 020 7127 8438; jothompson-garden-design.co.uk

better the communication between them, the better the end result.

Gardens are lasting, personal spaces and it is important to feel completely happy with what is being paid for. Designers do have a stylistic signature, but their primary function is to implement their clients’ wishes and tastes in a practical but beautiful way. “I share everything with the client right from the start,” Duff explains.

“I share the design process, which allows the client to feel invested in the design and gives them a chance to communicate what they like and don’t like.” n

Helen Elks-Smith Garden Design Elks-Smith has a thoughtful approach to design and expertise in subtle, textural planting. She works around the South Coast, the Home Counties and London.

Tel: 023 8178 2660; elks-smith.co.uk Sue Townsend Garden Design Simple lines, bold plants and materials sensitive to their surroundings, across East Anglia and occasionally in London.

Tel: 01728 648790; suetownsendgardendesign.co.uk Butter Wakefield Garden Design Brings a country garden mood to smaller urban spaces, particularly in London but also elsewhere.

Tel: 07973 516149; butterwakefield.co.uk

FEATURE VIVIENNE HAMBLY PHOTOGRAPHS P91 © JASON INGRAM. P92 (DRIVE) © ANGEL COLLINS; (DECKING) © TRAVELPIXS /SHUTTERSTOCK; (TERRACE) © SGD/RICHARD MIERS; P93 (STEPS) © SGD /HELEN ELKS-SMITH; (TINTINHULL GARDEN) © NATIONAL TRUST IMAGES / ANDREW BUTLER; (SCULPTURE) © ANDREW DUFF; (ROUSHAM HOUSE) © ANDREW BASKOTT / ALAMY STOCK PHOTO; P95 (SISSINGHURST CASTLE GARDEN) © NATIONAL TRUST IMAGES / SAM MILLING; P96 © ANGEL COLLINS

Thomas Hoblyn Garden Design City courtyards, large rural estates and commercial landscapes all pique the interest of Thomas Hoblyn, for whom project size is less important than the challenge.

Tel: 01359 252 056; thomashoblyn.com

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These replica French limestone tiles are actually made from porcelain. With chiselled edges, they come in a selection of sizes for a rustic look.

Verdelais tiles, £75.74 a square metre, Fired Earth

Hard flooring FOR TOWN OR COUNTRY Rugged, durable and handsome, hard flooring is a versatile choice for both rural and urban settings – in every room of the house

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BUYER’S GUIDE

Versatile ceramic & porcelain tiles

Covering an enormous variety of shapes, sizes, patterns and textures, ceramic and porcelain tiles, as well as rustic brick pavers, unglazed terracotta ‘quarry’ tiles, Victorian encaustic mosaics and excellent imitations of wood, stone and marble are all heat- and waterresistant, long-lasting, low maintenance and very easy to clean.

An obvious choice for bathrooms, kitchens and hallways, where they can cope with splashes, humidity or muddy boots or paws, ceramic and porcelain tiles are also ideal for conservatories, utility rooms and even, sometimes, drawing or dining rooms. They can provide a subtle background or, if desired, eye-catching impact. In a modern, urban setting, for example, sleek, smooth-textured tiles might feature bold or monochrome colours and patterns, whilst in the country a more natural colour palette may well come to the fore, complemented by the rustic textures of brick or terracotta. Alternatively, prettier, gentler patterns may be the right choice for a rural home.

For a really authentic, aged look, it is even possible to source reclaimed vintage tiles, which have a beautifully handmade, heritage feel.

The ways in which ceramic tiles are laid can be absolutely key to their impact. In a historic setting, it could be large, pale squares with small black square insets at the corners – suitable both for the grander country or townhouse. Simple rows or grids of squares or traditionally proportioned rectangles can look very understated and traditional, whilst brick-bond (like a brick wall) is another classic.

In hallways especially, the intricate patterns of encaustic tiles are both distinctive and timeless, complementing period homes in town and country.

However, for a fresh take that would work wonders in a more modern home, it is possible to find encausticstyle tiles in updated colourways and with simpler laying patterns.

Another way to create a chic, contemporary effect, ideal for a smart city abode, is to choose extra-large tiles, tiny mosaics, or tiles that are unusually long and thin, with the latter laid in a grid formation rather than offset – and perhaps even employing a coloured grout for interesting contrast. Diamonds, triangles, fans and small squares can also be used in eye-catching ways, whilst herringbone and chevrons are definitely the looks du jour, creating interesting but not overly distracting patterns on floors in virtually any room. TOP LEFT Traditional yet crisp, this flooring complements the contemporary yet classic bath. Hand-crafted stone resin Othello Bath, from £1,645.83, Ashton & Bentley MIDDLE Create bold patterns for a feature wall or floor, with simple tiles. Zebra Stripe monochrome tiles, £29.95 a square metre, Walls & Floors MIDDLE RIGHT The endless colours of encaustic tiles can be used to create all sorts of laying patterns.

Victorian floor tiles, from 52p a tile, Original Style RIGHT In this house designed by Mark Gillette, Italian

terracotta flows from the dining room through into the hall.

THE ENGLISH HOME 99

Turn to stone

Sandstone, limestone, slate, granite and terrazzo (a composite of granite, marble, quartz, glass or metal chips set in cement or resin) are all gorgeously authentic choices for floors, with marble, of course, renowned as the epitome of luxury. Stone tiles are available in a wide range of sizes, from small mosaics through to very large slabs, in a variety of finishes and each possess a beautiful, natural colour and patina. Although they can be expensive, they should last at least several lifetimes, particularly if they are properly sealed, which also makes them straightforward to maintain.

Whilst stone is ideal for halls, boot rooms, flower rooms, tack rooms and the like, in areas that might get wet, such as kitchens or bathrooms, a version that is matt or slightly textured – sanded for a rough finish, or riven for an attractive, hand-split effect – is essential for safety. Whilst marble is very glamorous, it is tricky to use in a kitchen, as it can stain and corrode. This may be the place for a marble-look porcelain tile instead.

Another point to bear in mind when considering texture is that the rougher the surface and edges, the more rustic the stone will appear. Generally, this makes textural stone more appropriate for a country setting, but there are occasions when it can work beautifully as a foil for smooth, sleek surfaces in an urban interior.

The lovely soft, natural colours of stone are, of course, supremely well suited to a countryside home, and slabs of limestone or sandstone in irregular sizes and laid in irregular patterns, with chiselled edges and quite wide grouting joints, are ideal for almost any rural space.

In a city environment, large, smooth, pale flags look modern and reflect light well, whilst very dark tiles add a sense of drama. As with ceramic and porcelain floor tiles, bold chevrons and regular grids tend to have a contemporary feel that suits the modern-country interior and the townhouse alike.

Terrazzo, meanwhile, which is available as tiles, slabs or poured, is a bold choice that comes in almost unlimited colour options, from subtle neutrals to bold colours with large chip sizes that make a dramatic statement.

Finally, it is worth bearing in mind that stone can be cut in endlessly inventive and attractive ways, employing geometrics, borders and insets for added allure.  ABOVE LEFT In this timber-framed, open-plan extension by Border Oak, large limestone flags with softly chipped edges (from White Hall Flagstones), emphasise the sense of space whilst also reflecting light.

RIGHT Stone can be cut and laid to create subtle or eyecatching patterns, as seen in the elegant borders of this bathroom by Mark Gillette. The floor (from Stone Age) is Calacatta Oro and Light Emperador marble.

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ABOVE RIGHT The rugged finish of these limestone flags is perfect in a country kitchen.

Vieux Bourgogne Limestone Artisan Ancient finish, from £183 a square metre, Artisans of Devizes TOP FAR RIGHT Riven sandstone has both depth and character, is light-reflective, durable and easy to maintain. London White sandstone, £94.80 a square metre, Lapicida MIDDLE FAR RIGHT This bathroom by Thomas Griem of TG Studio uses marble with painted panelling as a softening contrast. The marble is Branco Venatto, which has light veining, including hues of pink, yellow and grey.

The clean-lined floor in the bedroom of the Long Room apartment in luxury hotel Heckfield Place proves that stone can work in all spaces.

THE ENGLISH HOME 101

The warm welcome of wood

Undeniably a classic, wooden flooring’s warmth, resilience and character makes it an ever-popular choice for all types of homes. Elegant and timeless, timber floors get better as they age but can also be sanded down and renewed where necessary (that said, sometimes a little wear and tear only adds to their attractive patina).

Solid-wood boards are cut from single pieces of timber, whereas engineered-wood ones are made from several layers of wood, laid in different directions and pressed together. It is impossible to tell the two types apart once installed but the stability of engineered boards makes them a better choice for underfloor heating, though their layers mean there is a limit to how many times they can be sanded and refinished.

Wooden floors work almost anywhere, from home offices to hallways, but even engineered boards may not survive well in the humid atmosphere of a bathroom, where they can warp and cup. Depending on their structure and surface finish, they may not be happy with too many splashes in the kitchen, either.

However, wooden floors are nothing if not versatile, and can possess a very different character if required: perhaps pale and understated, with a Scandi-style sense of coolness, perfect for a modern, urban room; dark and distressed in a townhouse snug; limewashed and knotty in a country kitchen – or indeed a wide variety of colours and textures in between. It is hard not to fall in love with a highly polished, antique wooden floor in a country drawing room or bedroom, perhaps topped with a beautiful rug for extra softness underfoot.

The species of wood from which floorboards are made is practically endless, though most of those sold in the UK are European oak, much loved for its attractive grain and its durability. Other choices include walnut, beech, merbau, maple, cherry, ash and pine, whilst finishes range from staining, fuming or limewashing to waxing, oiling or varnishing.

Both solid and engineered wooden flooring is available as boards (in varying widths), strips (less than 10cm wide) and blocks and, once again, the pattern of laying is everything: standard boards are subtle and classic, extra-wide boards are grand and impressive, chevron and herringbone have a more contemporary, interesting effect and parquet-patterned squares are glamorous and dramatic.  ABOVE LEFT Planed to give a vivid grain, these boards are finished with coloured oils to enhance the character of the timber. Landmark Dalton Chevron boards, £133.80 a square metre, Solid Floor LEFT These pale, rustic, engineered-oak boards have a lacquered finish for easy maintenance and durability.

Levana Herringbone LV414, from £72.98 a square metre, Kersaint Cobb

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Using refined English quartersawn oak, these planks been carefully seasoned and worked to a fine textured finish with a rich patina, recreating the distinctive feel of centuries-old wood.

English Native Timbers Galion plank, £POA, Woodworks

by Ted Todd

ABOVE LEFT In a modern country barn conversion by Pippa Paton Design, wide, pale boards give this kitchen a fresh and welcoming feel, contrasting with the exposed roof timbers.

LEFT In this Edwardian family home, redesigned by Maurizio Pellizzoni, polished boards are a glorious feature of the bedroom and dressing room and unite the spaces, leading to an en-suite bathroom with a Spey bath from Drummonds.

Poured floors Polished concrete and epoxy or natural resin floors are moving out of the commercial environment and into domestic territory, offering a minimal, modern, seamless look that works particularly well in openplan areas and is both hard-wearing and lowmaintenance. They can be dyed innumerable colours and work well with underfloor heating.

Polished concrete floors tend to look more ‘natural’ than shiny resin, and can be given a range of finishes, from highly polished to pitted or brushed, and some even resemble stone flooring.

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2 1

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SOFT FOOTING Add colour and comfort to hard floors with a beautiful rug. Particularly useful for designating areas within open-plan spaces, to add softness underfoot in a bedroom, or create impact in a hallway.

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4

5 8

9 7 1 Felt 2248, £525, Felt 2 Spring by Willow Crossley, £850 a square metre, Amy Kent Bespoke Rugs 3 Carulea Rug, Graphite Fog, £1,995, Oka 4 Malachite, Persian hand-knotted wool, from £2,792, Luke Irwin 5 Cubic Rug, Buff with Teal, £1,427 a square metre, Jennifer Manners Design 6 Compton Rug, Onyx, £2,250, House of Hackney x Axminster Carpets 7 Wildflower Walk by Paul Smith, hand-knotted Tibetan wool and silk, £2,750 a square metre, The Rug Company 8 Sami rug by Villa Nova, Teal, £725, Sweetpea & Willow 9 Nova Star Pink rug, from £372, Audenza 104 THE ENGLISH HOME

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www.kentchurchbutlers.co.uk THE ENGLISH HOME 105

H AM IS H M AC KIE S C U LP T U R E L I F E I N BRO N Z E

Catalogue available, get in touch if you would like to be sent one.

Sculptures shipped worldwide directly from my UK studio. www.hamishmackie.com • hamish@hamishmackie.com • + 44 (0) 7971 028 098

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106 THE ENGLISH HOME

DESIGN ADVICE David Harber’s large, contemporary sculpture Portal is made from an amalgam of oxidised steel and mirrorpolished stainless steel to create a striking focal point.

Prices from £33,000 including installation.

Point OF VIEW

Whether making a statement or providing a focal point, in reflective metallics or ancient stone, sculptural forms make an important contribution to the garden

THE ENGLISH HOME 107

ABOVE Created in 2019, this Bronze Roe Standing, £22,000, by Hamish Mackie would look naturally at home in a country garden or woodland. Limited edition of 12.

TOP RIGHT Andrew Kay most often sculpts the forms of animals native to Britain, such as his steel River Heron, £1,270, poised on the water’s edge and ready to strike with its formidable beak.

ABOVE RIGHT Sculptor Alison Crowther works almost exclusively in English oak, with her pieces being sold around the world.

Outer Sphere is in a private UK collection.

L

ike the accessories that add the finishing touches to a room in the house, a piece of sculpture for the garden is the perfect way to enhance an outdoor space. Prices vary considerably, depending on whether the piece is bespoke or bought off the peg, but a beautiful garden highlight is within the reach of every gardener.

“When you’re choosing sculpture, there is normally one of two scenarios,” says Polly Bielecka, gallery director at Pangolin London Sculpture Gallery.

“You either fall in love with a sculpture and find a way to make it work, or you have a spot in the garden for which you then go out and look for something.

How you choose the sculpture would change depending on which scenario you have, but my first and foremost advice is that you have to love it. The pleasure of sculpture is surely the fact that you’re looking at it every day, in different light, different weather conditions, and if you do not ultimately love it, you are missing out. It shouldn’t simply be seen as a decorative object or an ornament.”

There are countless styles of sculpture to choose between, from sleek and contemporary to abstract modern art, classical statuary or informal rustic pieces. Sculpture that mimics nature often sits well

108 THE ENGLISH HOME

in gardens. Consider Ruth Moilliet’s giant metal allium flowerheads, or Tom Hare’s towering willow sculptures of seeds at Kew. Animals rarely look out of place in a garden, either, whether as a classical stone stag on a plinth or a charming gaggle of geese crossing a lawn in a more informal setting. Abstract sculptures work well in gardens, contrasting with the plants around them, often because emphasis is placed on material rather than form. Human sculptures such as figures, busts and heads can also be used to create interesting scenes, but these can divide opinion – some gardeners find them eerie, or are startled by them, easily done when they are glimpsed out of the corner of the eye.

PRACTICAL CONSIDERATIONS Wide, open spaces are the most difficult places to site a sculpture, according to Bielecka. “Open horizons dwarf anything other than monumental sculptures,” she says. “Figurative sculpture works in intimate spaces and bold abstract pieces work better in bigger spaces because they can hold the space.” In a garden with a strong architectural design or bold planting scheme, choose something that will complement it in form, colour and texture.

DESIGN ADVICE

ABOVE A Georgianera gardener takes a moment to rest on his spade in this classic cast stone statue by Haddonstone, £749, which is based on an original eighteenthcentury statue at Burton Agnes in Yorkshire.

LEFT Journey is a powerful new sculpture in bronze

by Nadine Collinson, inspired by the voyage of the Mayflower and the ship’s intrepid Atlantic crossing. It can be seen on display at The Garden Gallery in Hampshire.

RIGHT Custom-made brass armillary (80cm) on Tudor plinth £5,175, Border Sundials

SUNDIALS AND SPHERES These classic pieces have been used to bring a reflective mood to gardens for centuries Not quite a sculpture, but capable of creating a focal point in traditional or contemporary styles, sundials are a historic piece of garden furniture. They also make a thoughtful present, especially if the dial is engraved.

Sundials need careful positioning to work accurately – their site should be sunny and not overshadowed by trees or neighbouring buildings. They also need to be exactly horizontal, and lined up with true north,

as opposed to magnetic north, but most suppliers should be able to advise on correct positioning.

Armillary spheres have a more eye-catching, sculptural look, as do the more contemporary takes on them.

THE ENGLISH HOME 109

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“It is worth investing a bit more to get the quality,” says Bielecka. “There are a lot of sculptures out there that are made of bronze resin and won’t last as long, year on year. For investment potential, it is worth spending a little more to support a younger artist working in better quality materials. Many galleries selling sculpture are used to taking payment in instalments. Always check the edition, because, like prints, the higher the edition the lower the price. Do not assume you’re buying a unique sculpture when it could be one of an edition of four or six or more, depending on its size.”

Among the practicalities to consider, as well as the artist’s background and what the sculpture is made of, are access, whether or not it will require a plinth and how it will be secured. “Access is really important, especially for heavy works,” Bielecka says. “Any steps, no matter how small, can pose problems so bear that in mind. For high-value works, it is highly recommended you use professional art movers to install the sculpture.”

Bielecka recommends that anything in bronze should be bolted to a base, not only for security but also for safety. “Wind can be catastrophic. You don’t

want a sculpture blowing over and damaging you, the garden or the piece itself. Bolt it to a plinth or a solid grounding, which you can then turf over if you want to integrate it with the garden. Be especially careful if the garden can be accessed by large vehicles. There are tracking devices for large, high-value objects. It is quite new technology – as soon as the sculpture is tilted or moved in any way, an alarm sensor goes off.”

Bielecka describes plinths as very similar to picture frames – they can make or break a piece of sculpture.

“Plinths bring to mind monumental pieces of sculpture, but having a plinth gives you the opportunity to raise a small, less costly piece but still make it look monumental, increasing its volume, height and width,” she says. “I don’t have a rule of thumb when it comes to plinth size, but I do think very carefully about the way it will fit with the sculpture – there is a huge range of finishes and different materials.”

POSITIONING SCULPTURE The obvious way to use a sculpture is to create a focal point. Positioned at the end of an allée or vista, 

CLOCKWISE FROM TOP LEFT Joe Smith has been sculpting large-scale slate forms since the 1990s and continues to do so with his daughter Jenny.

Clients include HRH The Prince of Wales at Highgrove.

This bronze Alice in Wonderland sculpture from Robert James Workshop reflects the studio’s inspiration – literary characters.

Reflection is the principal component in William Pye’s Tavola, Italian for ‘table’. Water enters the bronze vessel from underneath and pours out through spouts at each corner.

THE ENGLISH HOME 111

DESIGN ADVICE

Selecting materials Whilst choice of material for a sculpture is often a matter of taste, each option has its own merits

ABOVE Rupert Till’s distinctive animal and bird sculptures are crafted from malleable wire. Cock a Hoop with Pheasant is one of his best-selling sculptures.

particularly with symmetry on either side, it will pull the eye along and focus attention. Think about views from the house when deciding where to position the sculpture – a focal point that is in line with a view from a window will give a pleasing scene that can be enjoyed from the house all year round. “Sculpture is wonderful at adding a focal point or leading the eye to a part of the garden you want to emphasise or lift. It can lift a dull area but also complement a busy one,” says Polly.

Simply positioning the piece on a plain expanse of lawn will guarantee undivided attention, but certain sculptures can be enhanced with some considered planting. This can be formal – a square or circular bed, perhaps edged by box with the sculpture in the centre – or informal, by positioning it in a border so it rises on its plinth from a sea of flowers. Be careful when using delicate pieces this way, because they can get lost in the crowd. Meanwhile a smaller work on a low plinth could look great in winter but be completely consumed by plants in summer. “Think about it in all seasons; it might just benefit from being on a taller plinth,” Polly says.

“Draw a few sketches of the possible location,” advises Polly. “It is a good mental exercise in thinking about relative scale.” If you do not like drawing, print out photos and draw on top of them using tracing paper to get a good idea of how the sculpture will look in position. n RIGHT Life-like animal forms bring intrigue to outdoor spaces – from a distance it may be hard to tell if they are real. Emma Stothard makes horses, such as Mare and Foal shown here, as well as hounds and hares.

112 THE ENGLISH HOME

STONE Hand-carved stone makes for a long-lasting piece of sculpture. “If you have a piece of sculpture made from stone that has actually been quarried from deep down, you know it is millions of years old,” says Illingworth.

“On the other hand, stones such as sandstone are very heavy, so they’re difficult to work with and tend to be expensive, even for small pieces.”

MANUFACTURED STONE Cast stone is made from natural stone aggregates, mixed with a cement-like binding material and is moulded to resemble stone, which it matches in appearance. “It would be snobbish to say ‘Don’t have cast stone’. It is still stone,” says Illingworth. Stone resin is formed from stone that is ground to a powder then put in a suspension with resin. “It gives the artist the opportunity to create a sculpture using a mould so they can produce more than one edition,” continues Illingworth.

BRONZE Metals such as copper and iron, or metal alloys such as bronze, are popular materials for sculptures.

Sculptures and statuary cast from solid metals will be heavy and come with a high price tag, but they will

also make the best investment pieces long term. “Some will rust and develop a patination to give an aged look,” says Illingworth.

BRONZE RESIN Also known as ‘cold cast bronze’, bronze powder is mixed with a resin and poured into a mould. “The look of resin is just as good as the real thing and it does keep the prices down a little bit,” says Illingworth.

“It’s a very nice material and it’s lighter. It feels like bronze and sounds metallic when tapped.”

GLASS Often lightweight, glass pieces can be easily moved to ring the changes in the garden or take advantage of the sun. They can bounce light to throw spotlights onto shaded areas, whilst mirrored-glass pieces reflect the plants around them.

STAINLESS STEEL Shiny and reflective, stainless steel gives a strong contemporary look.

“Sculptures made from stainless steel won’t rust,” advises Illingworth.

Before buying, check carefully for cracks and breaks, dents or scratches.

ALUMINIUM “Aluminium pieces can come in very vibrant colours,” says Illingworth.

“Again they’re light, rust-free and it’s a relatively cheap material to make from.”

WOOD AND WILLOW Wood sculptures naturally sit well in gardens. Commissioning work made from a fallen tree is a lovely way to preserve a much-missed feature.

Woven willow is also fitting, although not long-lasting.

FEATURE VIVIENNE HAMBLY PHOTOGRAPHS P109 © CLIVE NICHOLS. P110 (HERON) © STEVE ROGERS; (OAK SPHERE) © JACQUI HURST; P113 (SLATE SPHERE) © RUSSELL SMITH; P114 (MARE & FOAL) © TONY BARTHOLOMEW

“Choosing a sculpture is very subjective. It depends on what kind of style and material you like,” says Andrew Illingworth of online sculpture supplier FiveTwo Designs (fivetwo.co. uk). “The big factor is cost, whilst the other is weight. Some people want sculptures that can be put in position and left there forever, others might want a piece that can be moved around the garden.”

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THE STORY OF TRUNK FLOOR

INTO THE WOODS

W

hen Ivan Clarke set about building his own home in the late Eighties (he was a structural engineer, but this was to be his first house build) he knew there was one material he wanted to be the star of the show – and that was wood. He had always loved the look and feel of it, so used reclaimed, pitch pine throughout the interior from floors and doors to the skirting and architraves. The wood was left exposed and simply finished with a natural clear varnish to truly express the character and nuances of the raw material. This first project for Ivan was to prove the beginning of a lifelong passion for wood, which led him to launch Olde Wood Floors, better known today as Trunk Floor.

Growing up in a house surrounded by wood clearly had an effect on Clarke’s children too, with his daughter Lisa and son Errol now both directors of the company. “As my childhood was spent around wood, I started to share my father’s passion for it, and I find its honest beauty is something I am very drawn to,” says Lisa. “Every day I am grateful that I get to work alongside a fantastic team designing and manufacturing floors of real substance.”

When Clarke started the business, he would cut old beams into resawn plank floors, but today the business offers a staggering array of oak finishes, as well as marble and limestone too. Trunk Floor now has showrooms displaying all its natural materials, in Dublin, London and California, as well as one at its head office in County Fermanagh, near the picturesque Lough Erne in Northern Ireland.

All the flooring – and there is a staggering array of finishes to choose from – is crafted at Trunk Floor’s workshops in County Fermanagh by the company’s team of 25 passionate artisans and

114 THE ENGLISH HOME

makers. The brand predominantly works with French oak and Russian birch for its engineered planks, although on occasion it does work with other woods, such as American black walnut.

“There’s a reason why wood has maintained its enduring appeal,” explains Lisa. “Its natural character and warmth add an unrivalled grounding to your home whilst at the same time providing it with better air quality than carpet, tiles or laminate. Not only that, but natural wood’s longevity is key. The patina and natural ageing of these beautiful, tactile surfaces is very appealing.” Added to which, people of course like to feel they are buying something that is going to last.

Trunk Floor works with a broad spectrum of clients, from homeowners and interior designers to architects and developers.

“We are artisanal in approach but can manufacture on a large scale which allows us to produce beautiful, authentic floors for each and every one of our customers, whatever the order size,” Lisa explains.

Finding the right floor for the client is a key factor at Trunk Floor.

“We try and find out as much as we can about what the client wants, then we can advise on all the aspects of choosing a natural material, from palette and tone to format and layout,” Lisa says.

This year sees Trunk Floor adding to its range by introducing a number of aged and antique textures, taking the brand back to its roots and where it all began. trunkfloor.com n ABOVE The use of a herringbone layout in this master bedroom, using the Provence PN3 character oak, adds interest to the style and creates a warm and luxurious finish to the room.

FEATURE KATE FREUD PHOTOGRAPHS (ALL BAR MOOD BOARD) © GYORGY KOROSSY

What started as one man’s passion for wood, turned into a global family business, Trunk Floor, that truly celebrates the beauty of nature’s bounty

ABOVE In the sitting room of this beautiful country home on the shores of Lough Erne, County Fermanagh, character oak in a pale grey is used to create a warm and classic feel.

LEFT For the study, 280mm planks have been used. They create a simple finish, complemented by furniture in the same neutral tones.

RIGHT ABOVE Each and every Trunk Floor plank is stained by hand by one of the company’s 25 artisans.

RIGHT BELOW Not only does Trunk Floor specialise in wooden floors but it has now branched out to work with marble and limestone too.

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QUINTESSENTIALLY

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

FEATURE KATY MCLEAN

THE GREAT OUTDOORS

Blue skies, rays of sunshine and cheerful displays of sweetly scented blooms are sure to raise the spirits and invigorate all the senses. Set up camp in a tranquil spot, whether in the garden or further afield, armed with a delicious picnic of favourite treats, plump cushions and perhaps a deckchair or two in which to while away the afternoon. Take time to savour the simple pleasures of being outside – the warmth of the sun, flowers dancing in a gentle breeze and the sound of birds and bees going about their day.

Vintage deckchair frame, £135, and cover, £30; Indian Summer picnic mat, £78, and all other textiles, Susie Watson Designs Handmade Home collection

THE ENGLISH HOME 117

MY ENGLISH HOME

Matthew Fort FROM PATCH TO PLATE

‘I

t’s been the most beautiful spring I can remember. Pretty much unbroken sunshine except for the odd rainy day.’ So said my garden diary this time last year.

Ah, the joys of the vegetable bed, even in the time of lockdown. The hope, the joy, the simple pleasure and modest pride in the early produce as spring slides seamlessly into summer. The smell of cut grass, blossom on the fruit trees, the murmur of bees, and the seduction of asparagus.

Nothing quite symbolises early summer to me than asparagus. The wild and curious flavour of those slender, green spears erupting from the earth. Bright green, naturally. The Belgians, French and Germans may favour the white asparagus, but in my view it’s not in the same league as our own emerald green spears. I say ‘our’, but strictly speaking asparagus isn’t ours. According to learned authorities, wild asparagus – asparagus officinalis – migrated westwards from Poland and Russia back in the day. The Romans cultivated it, as, a bit later, did the Moors, who helped spread the word about this most aristocratic of vegetables.

Asparagus reached England in 1638 and we took to it with enthusiasm. It reached the Americas a little later, as it was popularised by that energetic polymath and devoted vegetable grower, Thomas

118 THE ENGLISH HOME

Jefferson, who grew it in large quantities in his garden at Monticello.

Modern varieties go by such names as ‘Aspalim’, ‘Darlise’, ‘Gijnlim’ and ‘Guelph Millenium’, that speak of cutting-edge hybridisation from the garden research centres of New Zealand, Holland and the USA. These varieties may be productive and regular in shape, but, call me oldfashioned, they simply don’t have the magic (or the flavour) of traditional varieties such as that Victorian favourite, ‘Connover’s Collosal’, the great American asparagus, ‘Mary Washington’, or ‘Violetto d’Albenga’, Italy’s very own heirloom purple asparagus.

Sadly, I don’t grow asparagus myself.

I simply don’t have enough space to let a large bed lie unused for much of the year, but I grew up with asparagus beds as a child. It was one of those seasonal treats – a few weeks of gorging ourselves on these mysteriously delectable spears slathered in butter.

These days, the asparagus season has been extended by the judicious use of polytunnels, and I anxiously wait for the first bundles to appear in Stroud Farmer’s Market. I check the cut ends to make sure they’ve been picked that morning, or possibly the day before. If they look too dried out or show signs of shrinking up the stems, I pass on by, as asparagus is one

of those vegetables that, like potatoes, are transformed by being cooked and eaten as soon as possible after picking.

So, having got them home, what then?

If you’re a die-hard traditionalist, you’ll boil or steam them in a special upright asparagus pan, and then bathe them in melted butter, or hollandaise sauce if you’re being really sophisticated. However, now that asparagus has become a vegetable of the people, sometimes I roast them (about 10 minutes at 160°C), or fry them in butter (10 minutes again), or char them on a griddle pan.

If you’ve ever steamed or boiled asparagus, you’ll have been aware of how the water smells and tastes of the vegetable, which means you’ve lost that essence.

Roasting or frying in olive oil or butter means any juices lost by the spears go into the oil or butter and are not lost. I then shave Parmesan over them; incorporate them into frittatas; make a ristotto; or dip them into a soft-boiled egg instead of soldiers. In other words, eat them as fast as decency allows.

About Matthew Best known as a judge on BBC2’s Great British Menu, Matthew is an award-winning food writer and critic.

He was the Food & Drink Editor of The Guardian for 15 years and is the author of four books.

PORTRAIT GRANT SCOTT ILLUSTRATION OLIGA / SHUTTERSTOCK. PHOTOGRAPH © STOCKFOOD / MAGDALENA HENDEY

The food writer and critic tells of his excitement for the produce to come in his burgeoning vegetable beds and the sings the praises of asparagus in its many varieties

RECIPE

ASPARAGUS & PEA SOUP WITH CRÈME FRAICHE & MINT Serves 4

INGREDIENTS 500g asparagus 300g peas (fresh or frozen) 500 ml vegetable stock A sprig or two of mint 150 ml creme fraiche Extra virgin olive oil Salt and white pepper

METHOD • Bend each of the asparagus spears until they snap. Put the vegetable stock in a pan and bring to the boil. Add the bottom sections of the snapped asparagus and leave until they are cooked through (about 5–8 minutes).

• Strain the vegetable/ asparagus stock into a fresh

pan. Plunge 400g of the asparagus tops into the stock along with the peas. Cook for 4 minutes. Add the mint sprigs and them leave to steep for a minute or two.

• Purée the asparagus, peas, mint and stock to a smooth, velvety liquid. Season with salt and white pepper. Cut the remaining asparagus tops

in half lengthways and fry in the olive oil until tender.

• Ladle the soup into four soup plates or bowls and drizzle the olive oil from the frying pan over them. Pop a dollop of crème fraiche on each and arrange the fried asparagus at random on top.

(This soup can also be served cold). n

THE ENGLISH HOME 119

Kew-trained Arthur Parkinson, who has gardened for Sarah Raven and Emma Bridgewater, is passionate about container gardening. He says: “Even a window box has the power to unleash vitality for the greater good of your mind and of the planet, a nurturing of flora and fauna alike, creating visual and mental sanctuaries.”

120 THE ENGLISH HOME

GARDENING

passion POTS OF

Planting in pots is quick and can provide an abundance of blooms in a garden of any scale. Advocate Arthur Parkinson reveals how

I

garden in pots because I do not have a choice, but I rarely resent this because I see large pots like having great living vases of growing flower arrangements. You can fill a pot easily, cramming it with colour and textures, creating islands of flamboyance.

Good, big pots elevate the garden helpfully for a small space. This is wonderful as you get immediate floral grandeur that is uplifted to almost hip height immediately, plants that you would otherwise have to get on your knees to properly study just require a light bow to admire. If you place large pots around seating, a tulip behind you can seemingly be perched on your shoulder like a parrot, and by summer, flowers can be literally around, in or above your face, towering and engulfing.

Pot gardening is quick and satisfying because the whole job of planting and replanting is done very quickly, a sharp look for a whole season can be prepared within an afternoon. You can also treat a container garden like a profoundly changing stage, with the pots as props that can be moved around as you see fit. Compare this to having a constant expanse of earth to tackle and maintain that at times can be a great mud slick or baked hard, with a good dose of backache required to get it looking ship-shape.

Pots for islands of flamboyance

If you have your heart set on terracotta, you need to buy pots that have a frostproof guarantee, and also oxide within the clay, as this encourages a weathered look as the salts and calcium leach

through. Terracotta is porous, so in winter, when temperatures fall below zero, they can crack. This can be a real annoyance if it is an expensive pot, but placing them very near to the walls of a house, rather than scattered in a rambling garden, protects them, thanks to such microclimates being warmer.

So move them away from frost pockets in the winter if you can. Raising them off the floor using the dinky terracotta pot feet that you can buy is good protection, too, as it ensures air circulation under the bases and improves drainage.

With small, newly bought terracotta pots, the best way to age them is to dunk them in a pond or in a water butt, then a coat of algae will grow quickly on them. Even a bucket can be filled up with rainwater for the task – it must be rainwater for the algae spores to be present. I have an upside-down dustbin lid propped up on bricks on the floor of the yard that we use as a bird bath, and trios of terracottas take turns soaking in this, whilst providing little bathhouses to the precious town frogs. The water is emptied and refreshed weekly so that it does not harbour mosquitoes, and birds and bees also visit it to drink; all gardens should have watering holes for wildlife. After a month of being submerged, the terracotta pots will start to slime up and, once dried, look marvellous.

Large terracotta pots too big to be submerged can be painted generously with organic natural yogurt in the summer, which will then go green. For the algae to take, the pots need to be kept damp and away from full sun for a few weeks so that the spores can really get growing. When planting them up for summer, THE ENGLISH HOME 121

122 THE ENGLISH HOME

DECORATING GARDENING

line their insides with old compost bags as this will help them to stay cool and reduce moisture loss.

Dolly tubs, galvanised baths & metal bins

When I say pots, however, what I mean is galvanised baths, dolly tubs or old metal bins, not terracotta or expensive coppers – the latter would be stolen from a front garden sooner or later! I have come to realise, though, that not many people know what a dolly tub

is. These barrel-shaped, ribbed-sided old dears were the original elbow-grease washing machines used by almost every household in the nineteenth century.

They would have been positioned by the back door and filled up daily with hot soapy water. To assist with the handwashing, they had a wooden dolly (a pole for stirring the clothes around the tub) also known as a dolly-peg – in Yorkshire the dolly tub is aptly called the Peggy tub! What I love about them is their shape, like

ABOVE ‘Amazing Parrot’ tulips with tulips ‘Black Hero’, ‘Antraciet’ and ‘Black Parrot’ giving contrast.

OPPOSITE A garden of pots can be moved around as you see fit.

THE ENGLISH HOME 123

ABOVE Viola ‘Tiger Eye’ Red. Having arrived as seedling plugs a few weeks previously, they are grown on for a while in these old terracotta pots. They will all be planted into larger pots before the winter as they will quickly outgrow and then go to seed in these.

OPPOSITE The tulips here include the peony type ‘Palmyra’, the lily flowering tulip ‘Sarah Raven’, the classic orange and freesia scented ‘Ballerina’ and the plum smoke blushtoned ‘Ronaldo’.

a hard-boiled egg with its pointed top sliced off awaiting the dunk of a solider. They accommodate everything that I want to grow in a garden well and comfortably. The downside is that they now carry a price tag that reflects their antiquity.

Much cheaper, and just as helpfully big, are galvanised dustbins. Try to buy them second-hand so that they are already roughed up and weathered down, as until they lose their shine they look awful. The old, thick metal ones that were once used as actual dustbins are the best, as they are made of proper galvanised metal, with good, thick handles on them.

Old cattle troughs are wonderful, if space allows, as they will fill whole corners of terraces and gardens like great beached whales. Seek out local farmers who will usually be willing to sell you old and leaking troughs that are already aged and bashed about. They are very heavy once filled, however.

Oval tin baths are lovely things, too, they look especially nice in rows sitting on a terrace or on the edges of a raised bed. You will be able to find decentsized ones in good condition for between £40 and £50; I hate making holes in them as I just imagine them being filled up and used as duck baths!

124 THE ENGLISH HOME

The right size pots

Big is essential for scale and ease of care. Large and heavy pots are more resistant to storms, too, and this is worth remembering in our increasingly hostile climate.

For summer especially, remember that a pot needs to act as an anchor for something that is going to grow tall and be rocked about in the wind; if it is not heavy or broad enough, the whole thing will topple over.

One summer, we got hit horrendously by flash flooding; it was an almost Biblical flood. The yard was deep in water, as was the high street. It was immediately humid once the rain passed. It was a strange scene, and when such a thing happens you are a mere parasite scrambling about.

Thankfully, though, our garden was not lost; the large pots all stood firmly against and above this flash tide, and as the waters calmed and drained away, there remained our little garden by the door, still on its brick carpet, the water line just below the rim of the pots.

So despite the dismay inside the house, we just stood about the door and looked shocked into the faces of flowers, watching the bees return.

So it pays to go big with pots for many reasons; little pots usually make a small space seem smaller and they

GARDENING

THE ENGLISH HOME 125

126 THE ENGLISH HOME

TOP Buff Frizzle Pekin bantam hens, Patsy and Fergie, pecking in the yard.

ABOVE Small pots are usually only used in the autumn for planting tiny spring bulbs such as iris, muscari and fritillary.

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require a constant nannying of watering and feeding because they get hot and restrain the potential of many plants rather than allow them to flourish – unless you want succulents, that is. For the record, I don’t, not ever!

The only time I use small pots – old terracotta ones – is in the spring for small bulbs. These terracottas might also be used for planting up plug plants, and can look beautiful planted with violas, but even these will be far happier in larger pots as they are all about keeping roots cool and moist.

The pots that I use more often, which are substantially bigger than small terracottas, are old coal buckets. These are much more generous, holding around 12 litres of compost. Even if all you have is a doorstep, plonk the biggest pot you can find into that space as it will make your gardening life so much easier and allow for a display that is as lavish as is possible.

Most dahlias, annuals such as cosmos, and sunflowers and roses, will only thrive in large pots; they need them to grow big root systems that will in turn result in masses of flowers.

Not all annuals are this demanding, though, and if all you have is a balcony, then the amount of weight it can safely support will have to be considered. Windowbox annuals that are happy to grow shallow root runs, such as nasturtiums, marigolds, cornflowers, linaria, panicum, violas and borage, will all thrive here (if they get some sun), and they will billow up and go over the confines of the window box.

Herbs will be happy within small planters, too, but nothing will enjoy drying out to a crisp. The best lavender I have seen was growing in the top of a brick wall, planted in a narrow slip in the wall’s top.

It flourished because its snake of a home had a depth of rocky soil so the roots could grow down deeply into this chasm. Lavender is reliable, and in the winter the pots that hold it will form silver domes of the grey-blue foliage that will need to be cut back in the spring. It requires good drainage, but the soil can be a mix of sharp sand, grit and decent compost. Over the winter, goldfinches will enjoy eating the seed heads, unless you have collected them for lavender bags. To my horror, I keep seeing fake sprays of lavender in cafes and in window boxes lately – a huge sign of things going terribly wrong when herb royalty is replaced by plastic. n

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127 THE ENGLISH HOME

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Elegant

EMBLEM

With a wealth of beguiling colours, shapes and captivating scents to choose from, there is a perfect rose for every garden

GARDENING

S

ynonymous with English country gardens, roses have long been cherished by gardeners, interior designers, florists and perfumiers alike. With flowers coming in myriad forms, from plump buds of endless, unfurling petals to the simple, wide-eyed charm of the hedgerow beauty, they are undeniably the highlight of an English garden in summer.

Originating from Asia, roses have a rich and colourful backstory, as described by John Wood, head gardener at National Trust property Hinton Ampner in Hampshire: “Cultivated by ancient civilisations across continents, worn into battles and symbolic of love and peace, roses have been a part of our lives for centuries.”

Much of the rose’s everlasting appeal is due to the vast number of varieties commercially available. “Apart from being England’s national flower, roses are also one of the easiest and most versatile of all garden plants to grow, whether you’re looking to add structure and perfume to a mixed border or add a blaze of colour to a paved or patio area,” says Simon White, rosarian at Peter Beales Roses.

AN ENDLESS ARRAY “With their heady scent and blowsy appearance, English garden roses have an old-fashioned charm about them,” says florist Hannah-Victoria Taylor of Ixia Botanicals. Perhaps it is this sense of romance and nostalgia that appeals to so many, whilst for others it could be the poignancy of a named variety, a particular colour or flower shape or the role they perform in the garden. “Last year we saw an upsurge for more climbing and rambling roses, with customers looking to brighten up walls, fencing and outbuildings as well as adding height to their gardens with arches and obelisks,” White says.

In addition to their visual appeal, these beautiful flowers can create memorable, uplifting experiences.

Imagine training climbing roses to reach up to an open bedroom window and waking up to an exquisitely fragranced room on a perfect summer morning. Or perhaps, as Jan Howard from Room In The Garden suggests, “Stepping out into the perfumed paradise of a bespoke dining pavilion.” The combination of heady scent, sublime colour and delicacy makes roses an unrivalled garden gem. 

ABOVE Connect different areas of the garden with beautifully fragrant rose-covered tunnels or arches. Shown here is the rose garden in June at Mottisfont, Hampshire. For hardy, robust steel tunnels and arches try Muntons Traditional Plant Supports.

OPPOSITE Close-up of the pink white rose, Rosa ‘Little White Pet’ in the rose garden at Mottisfont in Hampshire.

THE ENGLISH HOME 129

LEFT Create a feast for the senses with a bespoke ironwork pavilion by Room In The Garden supporting an abundance of perfumed roses.

BELOW Accentuate a dreamy mix of pink shrub roses, catmint and salvias with traditional white-painted obelisks from The Wooden Obelisk Company.

‘Apart from being England’s national flower, roses are also one of the easiest and most versatile of all garden plants to grow’ OPPOSITE PAGE, LEFT FROM TOP Blush pink roses and bronze foliage are perfect companions in this arrangement

by Common Farm Flowers.

Introduced in 1790, the Charles de Mills rose produces large, sweetly fragrant quartered blooms in striking crimson hues.

Available from Trevor White Roses.

A glorious display of English shrub roses

by The Lincolnshire Flower Company.

“Roses aren’t just a pretty face,” says Henry White of Trevor White Roses. “Their variations and permutations provide for virtually every situation or use – ramblers can smother walls; species or rugosas yield large fruit for wildlife in winter; and centifolias and damasks are the embodiment of fragrance. The list goes on.”

CUT BLOOMS TO SAVOUR Cutting garden flowers to enjoy indoors is a simple and satisfying pleasure. Whilst some cultivars are marketed specifically for this purpose, many florists consider this unnecessary. “I think all roses are good for cutting,” Rosie Newbery from Somerset’s Common Farm Flowers says. “The challenge is to find roses with fewer thorns for cutting so that you can cut them quickly. I cut roses which climb the walls, climb through trees, in tight bud, already blown... it’s worth having a few different repeat-flowerers in the garden.”

With a vast colour spectrum of roses to choose from, it is worth nurturing those that complement the decor of individual rooms. Pale blush and cream roses such as David Austin’s ‘Desdemona’ and ‘Claire Austin’

130 THE ENGLISH HOME

possess a timeless elegance whether displayed on their own or mixed with other garden favourites.

Take a few simple steps to ensure roses have a long vase life. Hannah-Victoria Taylor from Cumbria’s flower studio and cutting garden Ixia Botanicals explains: “Roses can be cut in tighter bud. As long as the protective green foliage around the bud has opened, the petals will open.” Cutting roses on a cool morning and placing the stems straight into water also helps them last.

CHOOSING WISELY There are two ways to buy rose plants: as a ‘bare root’ plant or as ‘potted’ or ‘containerised’.

Bare root roses are dug fresh and sent from the nursery field between November and April, the plant’s dormant growth period. Supplied with no soil, they must be planted immediately, avoiding waterlogged and frozen ground, so their roots can establish in time for summer flowering.

Potted or containerised roses are harvested from crop fields at the same time but are grown on in nursery pots so their roots can continue to grow 

GARDENING

Where to admire roses

Seek inspiration from these beautiful, rose-filled gardens* David Austin Roses, Shropshire

RHS Garden Rosemoor, Devon

Five display gardens, bursting with over 700 varieties. Admire the deep herbaceous borders, box-edged beds, captivating rose-covered arbours and arches. davidaustinroses.co.uk

Nestled in a steep valley, this RHS garden includes The Queen Mother’s Rose Garden and The Shrub Rose Garden, filled with hundreds of traditional and modern roses. rhs.org.uk

Moor Wood Roses, Gloucestershire

Dunham Massey, Cheshire

A romantic garden that is proud to hold the National Collection of Rambling Roses.

Over 150 varieties tumble and cascade over the walls and up through trees and shrubs. moorwoodroses.co.uk

With over 300 roses, this property is home to Rosa ‘Dunham Massey’ and Rosa ‘Stamford’s Sanctuary’, after its role as a military hospital in the First World War. nationaltrust.org.uk

Peter Beales Roses, Norfolk

Helmingham Hall Gardens, Suffolk

A two-acre display garden that specialises in the preservation of old-fashioned roses.

Highlights include the St Albans Walkway, four rose-covered arched pathways leading to an impressive six-metre gazebo. classicroses.co.uk

Roses feature highly in the gardens of this moated Tudor hall. A dedicated rose garden, hybrid musk rose border and herbaceous borders lined with climbers ensures plenty of variety. helmingham.com

Dutton Hall, Lancashire

Mottisfont Abbey, Hampshire

Home to the National Collection of hybrid musk roses, the glorious gardens are set in the grounds of the fourteenth-century hall, deep in the picturesque Ribble Valley. duttonhall.co.uk

Home to the National Collection of pre-1900s old-fashioned roses, this is the place to come for romantic and fragrant roses set in a series of walled gardens. nationaltrust.org.uk

*Please check property websites before travel to avoid disappointment.

ABOVE The Rose Garden at Helmingham Hall is a glorious blend of fragrant species and old-fashioned roses set amongst meticulous topiary and clipped parterres. These beautiful village gardens encapsulate English cottage style, including a wealth of rambling, old traditional and fragrant shrub roses.

THE ENGLISH HOME 131

Every garden deserves a rose...

Gardening is a wonderful hobby, helping to boost mental health and spiritual wellbeing and now more than ever it is time to get out into the garden to discover and enjoy the beauty of nature and we at Peter Beales are aiming to help you achieve that.

We feel that every garden deserves a rose and every rose from our extensive world leading collection is of the finest quality, carefully selected and hand cultivated to the highest of standards here in East Anglia.

Our inspirational catalogue ‘A Treasury of Roses’ is the most comprehensive catalogue you could wish for. To receive your free copy please phone the nursery or visit our website: www.classicroses.co.uk quoting EH21.

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GARDENING

and establish. These plants are sold all year round, often in bud or bloom, and tend to cost more than bare root plants.

CARE AND CHERISH Roses are tough plants that aim to thrive, but for best results choose varieties suited to the available planting position. Most require good ventilation, nutrient-rich soil and sun (ideally four hours a day minimum), but a few varieties such as alba roses and other ground-cover roses can tolerate shade and poorer soils.

If good planting spots are limited, container planting is always an option. “Climbing roses – including one of my favourites, Rosa ‘The Simple Life’ – are great for planting in container pots,” says plantswoman Sarah Raven. “Make sure you use a 50cm-plus diameter pot, with very good quality compost, and make sure it is kept fed and watered.”

Nurturing roses is often seen as time-consuming and complex, but in reality just a few, simple tips need to be followed. “Before planting, prepare the ground

really well using plenty of well-rotted organic matter like manure or soil improver,” says Michael Marriott, chief rosarian at David Austin Roses. “Keep plants well watered as this is one of the best ways of encouraging speedy repeat blooming. In the first year, when the rose is building up strength, it is best to not cut any blooms at all, or only short stems, so as not to weaken it.”

Regular feeding is also key to strong and healthy plants, as Chris Styles from Styles Roses notes: “Roses are heavy feeders. Feed late spring and mid-summer every year with a specific granular rose feed. Failing to feed your roses will weaken them and lead to disease issues.” Blackspot and mildew are both unsightly conditions that call for prompt action. Although chemical treatments are available, the best method is to snip off damaged foliage and dispose of it with household rubbish rather than in a compost bin.

Established and mature rose plants should be pruned – essentially a matter of cutting out weaker stems and creating space for air to circulate. “Use sharp secateurs to cut out any diseased or deadwood,

ABOVE LEFT Planting roses alongside plants such as salvias can deter pests and prevent diseases.

Princess Anne shrub rose from David Austin Roses.

TOP RIGHT Climbing roses need an elegant and sturdy support. This Gothic Screen in galvanised steel adds a light contrast. Available from Agriframes.

ABOVE RIGHT Sophisticated shades, as seen in Sarah Raven’s beguiling Copper and Crimson Rose Collection, are certain to broaden this flower’s appeal.

THE ENGLISH HOME 133

GARDENING

Noteworthy Roses

ABOVE Pale stone paving and matt, black ironwork highlight the vibrant modern roses in the Queen Mother’s Rose Garden at RHS Rosemoor in Devon.

including any crossing stems,” says Taylor, “and don’t worry too much about cutting above a bud or at an angle. They will come back just fine.”

Snipping off – or ‘deadheading’ – spent flowers encourages further blooms, but do leave some to form bright, juicy hips for autumn and winter interest, and to feed wildlife.

SMART BEDFELLOWS Roses were once confined to dedicated rose gardens, but today they mingle happily with other shrubs and blooms, often for good reason.

There are many herbaceous plants that complement and extend a rose’s season of interest, and they can often help deter harmful garden pests too.

Strongly scented favourites such as alliums, thyme and mint will help keep aphids and blackfly away, whilst geraniums and marigolds both repel rose beetle.

Some flowers such as yarrow and catnip attract helpful pollinators, as well creating a beautiful foil for the roses themselves. n

134 THE ENGLISH HOME

YEAR-ROUND INTEREST: ROSA GLAUCA

FLORISTS’ FAVOURITE: ROSA ‘TIMELESS CREAM’

Magenta-tipped blooms set against bronze-purple foliage. Bright red hips appear in autumn and last throughout winter.

Large, full blooms in soft shades of cream and long, straight stems make this hybrid tea rose ideal for arranging.

PROLIFIC CLIMBER: ROSA ‘SCHOOLGIRL’

BESTSELLER: ROSA ‘MACMILLAN NURSE’

Laden with masses of fragrant, apricot-hued blooms and reaching up to three metres. Perfect for walls and arches.

One of Peter Beales Roses’ most popular, this shrub rose has white rosette-style blooms flushed with peach, is a repeat-flowerer and will thrive in most conditions.

BI-COLOUR BLOOMS: ROSA GALLICA ‘VERSICOLOR’

FOOD FOR WILDLIFE: ROSA ‘FRU DAGMAR HASTRUP’

Striped in palest pink and magenta, this eye-catching rose is a valuable source of nectar and is highly fragrant.

Good for pollinators and birds, this rugosa rose has simple pink open flowers in summer and large, juicy hips in winter.

FEATURE JILL MORGAN PHOTOGRAPHS P128 © NATIONAL TRUST/CLIVE NICHOLS. P129 © NATIONAL TRUST/CLIVE NICHOLS. P130 (RIGHT) © THE WOODEN GARDEN OBELISK COMPANY. P133 (MIDDLE RIGHT) © JONATHAN BUCKLEY; SARAHRAVEN.COM. P134 (TOP LEFT) © JERRY HARPUR/RHS. (NOTEWORTHY ROSES, CLOCKWISE FROM TOP LEFT) © THOMPSON & MORGAN; © SUTTONS/GAVIN SHAW; © PETER BEALES ROSES; © BURNCOOSE NURSERIES; © RHS/JASON INGRAM; © WAITROSE GARDEN

With over 150 species and 30,000 varieties, finding the perfect plant can take time. Here are a few of most appealing in their category.

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HERO

Plantswoman Sarah Raven on gardener and gardening writer Christopher Lloyd

130 THE ENGLISH HOME

CLOCKWISE FROM ABOVE Christopher Hamilton Lloyd OBE (1921–2006).

Read more about Lloyd in Great Dixter: Then & Now (Pimpernel Press, £12.99), a photographic record of the gardens at Great Dixter, past and present.

A display of potted plants at Great Dixter, used as a teaching tool for students to become comfortable with plant combinations, and to examine and trial new varieties.

The Long Border at Great Dixter.

The Oast Garden at Perch Hill, Raven’s farm in East Sussex.

A carnival of dahlias, a speciality of Sarah Raven’s, at Perch Hill, where she rigorously trials all the seeds and plants sold by her company for productivity and longevity.

FEATURE KATHERINE SORRELL PHOTOGRAPHS (PORTRAIT OF SARAH RAVEN) © JONATHAN BUCKLEY; (CHRISTOPHER LLOYD) © GREAT DIXTER HOUSE; (IMAGES OF CHRISTOPHER LLOYD AND GREAT DIXTER) © CAROL CASSELDEN, FROM GREAT DIXTER: THEN & NOW; (IMAGES OF PERCH HILL) © JONATHAN BUCKLEY FROM A YEAR FULL OF FLOWERS

“A

bout 25 years ago I was working as a doctor and had a young child. When I realised that combining hospital medicine with family life was, for me, a no-go, I decided to act upon a lifelong interest in plants and volunteer at Christopher Lloyd’s renowned garden, Great Dixter, near where I lived. It was the beginning of a complete change of career for me.

Christo was not just a brilliant and creative gardener, he was also a great communicator and teacher – even though he could be quite impatient. I loved his iconoclasm, the fact that he challenged British plant snobbery and championed certain plants such as zinnias and dahlias because they were incredible performers, judging them on their merits alone. He was incredibly inspiring, and the main thing he taught me about gardening was to keep an open mind. One thing I particularly loved doing with him was going out into the garden at night to shine a torch through canna leaves to revel in their extraordinary colours and markings.

Christo genuinely played with plants and their colour combinations, no holds barred, and that was very liberating. Sometimes things didn’t work and looked ugly together, but sometimes he made combinations of great glory and joy. Through his journalism and writing, and now through the incredible learning centre that is Great Dixter, he was one of the great garden gurus – and continues to be so, well after his death.”

Go to sarahraven.com, or call 0345 092 0283, for details of Raven’s mail-order gardening company, her cookery and gardening school, and open days at her garden, as well as details of her new podcast, ‘Grow, Cook, Eat, Arrange’ and latest book, ‘A Year Full of Flowers’, with photography by Jonathan Buckley (Bloomsbury, £25). See our review on p20. n

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