Interior Design Guide 2020

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INTERIOR DESIGN CREATING THE PERFECT ENGLISH HOME

SUCCESS WITH COLOUR

Comprehensive guide to choosing & using perfect tones

PROFESSIONAL DESIGN TIPS

Collating moodboards & planning layouts

DECORATING ADVICE

Using pattern Adding focal points Attention to details Incorporating antiques

Nina Campbell, Joanna Wood, Veere Grenney, Guy Goodfellow, Katharine Pooley, Emily Todhunter, Kit Kemp & many more...

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PLUS INTERIOR DESIGNER CASE STUDIES & INSIGHTS

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2020 INTERIOR DESIGN GUIDE FROM THE TEAM AT THE ENGLISH HOME MAGAZINE

63

Editor’s welcome

PORTRAIT RACHAEL SMITH PHOTOGRAPH (TOP RIGHT) © TIM BEDDOW

C

onfidence with colour is one of the biggest stumbling blocks for many a home decorator. There are so many beautiful hues to choose from, and whittling down the options can feel daunting. However, I’m a big believer in starting with your instincts and suggest that you will automatically find yourself drawn to certain areas of the colour spectrum.

Getting to know your home in all lights and seasons, too, will show that it gives clues as to the colours it suits best.

Inside our 2020 Interior Design guide, you will find chapters on the most popular colours, with detailed advice on how to use them. Additionally, our Decorating Editor, Katy Mclean, has gleaned fascinating personal insights along with case studies from some of the top interior designers in the country, which make for fascinating reading.

I’m delighted, too, to bring you wise words from yet more design talents on using pattern, details, antiques and focal points to enhance a room. Their names, along with other highly respected interior designers, are listed in our useful directory (page 139) to help those who wish to find and commisson a professional for the most polished end results.

I do hope you find our annual guide an invaluable resource to refer to again and again.

With warmest regards,

113 Designer Q&As 14 HOW TO USE PATTERN SUCCESSFULLY

Carlos García on blending patterns to best effect.

18 CREATING A FOCAL POINT

Sophie Elborne from Kitesgrove on giving rooms a focus.

20 DETAIL IN DESIGN

Katie Glaister and Henry Miller-Robinson of K&H Design on the importance of practical and decorative details.

24 DECORATING WITH ANTIQUES

Henriette von Stockhausen of VSP Interiors on integrating antique pieces within a room.

Decorative preparation 28 CREATING A ROOM SCHEME

From planning a moodboard to choosing a layout, we consider the ways professionals plan a successful setting.

Colour confidence 35

COLOUR CONFIDENCE... WITH BLUE

49

COLOUR CONFIDENCE... WITH GREEN

63

COLOUR CONFIDENCE... WITH AQUA

77

COLOUR CONFIDENCE... WITH PINK

89

COLOUR CONFIDENCE... WITH RED

From soft powder blue to striking deep indigo.

From fresh apple to soft sage to rich forest green.

From gentle duck egg to crisp turquoise to chic teal.

From dusky pale to joyful peony to dynamic coral.

From delicious berry to warming brick to classic burgundy.

101 COLOUR CONFIDENCE... WITH YELLOW

From delicate tones to sunshine hues to deep golds.

113 COLOUR CONFIDENCE... WITH SPICE

From bold paprika to gentle ginger to handsome nutmeg.

Kerryn Harper-Cuss, Editor-in-Chief

125 COLOUR CONFIDENCE... WITH NEUTRALS

From fresh hues to creamy schemes to moody settings.

THE ENGLISH HOME 7

101

Designer Insights & Case Studies 46 WILLIAM YEOWARD ON DECORATING WITH BLUE

In memoriam: Notes from the master of blue & white.

60 JOANNA WOOD ON DECORATING WITH GREEN

Perfect accent partners and understanding base notes.

74 NINA CAMPBELL ON DECORATING WITH AQUA

Best paints, chic colour combinations, how to be bold.

86 SAMANTHA TODHUNTER ON DECORATING WITH PINK

This versatile hue in classic and contemporary settings.

98 EMILY TODHUNTER ON DECORATING WITH RED

Selecting the right tone and perfect companion hues.

110 VEERE GRENNEY ON DECORATING WITH YELLOW

Harnessing its uplifting power and accent hues to avoid.

122 GUY GOODFELLOW ON DECORATING WITH SPICE HUES

How and where to employ these cossetting shades.

136 KATHARINE POOLEY ON DECORATING WITH NEUTRALS

Creating balance and interest with texture and detail.

Interior Designer Directory 139 DIRECTORY OF INTERIOR DESIGNERS

Commission a trained professional. This is a list of interior designers we have worked with and admire.

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146 THE COLOUR WHEEL Expert insights on how to Over 100 designs | Expert advice | 20,000m of stock | Express delivery 2

choose successful colour combinations.

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N G SI DE

INTERIOR DESIGN CREATING THE PERFECT ENGLISH HOME

SUCCESS WITH COLOUR

Comprehensive guide to choosing & using perfect tones

07768 311500

DECORATING ADVICE

Using pattern Adding focal points Attention to details Incorporating antiques

PLUS INTERIOR DESIGNER CASE STUDIES & INSIGHTS Nina Campbell, Joanna Wood, Veere Grenney, Guy Goodfellow, Katharine Pooley, Emily Todhunter, Kit Kemp & many more...

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ABOVE Carlos loves Middle Eastern fabrics, chinoiserie, pattern and plenty of bold colour. Here a golden yellow armchair looks striking amidst the blend of pattern and antique furniture.

RIGHT Here, classic English country house fabrics are deftly combined with spicier hued tones from warmer climes.

ABOVE RIGHT An eye-catching suzani forms a backdrop for the assortment of cushions on the sofa.

A rich red in the patterned elements unites the scheme.

CARLOS GARCÍA

How to use pattern successfully The founder of Carlos Garcia Interiors explains the importance of pattern in the home and summarises his considerations when employing beautiful prints

What does the addition of pattern give to an interior? And why is pattern an important element to introduce?

My aim when decorating a house is to transform it into a home.

Pattern adds warmth, softens, makes wide spaces feel cosier, rooms feel comfortable and it can be an economical way of filling a room without much in it.

Do you have favourite types of pattern, and why?

I can’t conceive of a room without pattern. I love pattern.

I’m terribly fond of small geometric patterns. I also like patterned weaves as they provide both pattern and texture.

When adding patterns to a room, where do you start? For example, with the colour, the mood, the period of the room?

Wendy Nicholls [a director at Sybil Colefax & John Fowler] once told me houses tell you what they want. I wholeheartedly concur.

Listen to a house/room and you’ll know what to do. If starting with a blank canvas, I always begin with walls, whether colour

or pattern, and build up from there. Otherwise an existing object – a rug, a painting, etc – may be a good departing point to inform the rest of the design.

Do you have any personal rules for using pattern. For example, odd numbers of different patterns, never mix X and Y, etc?

I tend to mix antique and new patterned textiles to add a lived-in feel and I always introduce a stripe in a room to let pattern ‘breathe’. I sometimes use a profusion of small geometric patterns to bring ‘order’.

What helps different patterns sit comfortably together?

And are there ever any that will never be friends?

Ideally, although not necessarily, I maintain an almost imperceptible thread running through. One small area of a pattern can inform the next. However, I tend to throw in something ever so slightly dissonant to add interest and/or wit, to take seriousness away. 

THE ENGLISH HOME 15

How do you use large-scale patterns?

Pattern is to be appreciated and should add texture to a room, therefore, the scale of a pattern may or may not be paramount.

The curtains in my drawing room in the country have a ridiculously large pattern repeat, almost two metres. An indulgence it may be, but they show off the pattern ‘uncontaminated’ by repeat, making it look like a specifically bespoke full-length pattern for the curtains.

Another good example is cushions where a particularly pretty part of a large pattern can be used to very good effect. It’s both the purpose of the pattern and its scale that determines how I use it.

Does a pattern always need to be authentic to the period of a house?

Not necessarily, however, I like the design to sit comfortably within its surrounds, therefore, the period of the house or some of the period features may inform some of the patterns used and make it feel more at ease.

Tell us about pattern combinations you have seen in other homes or venues that have set your teeth on edge?

At university, I was taught there’s nothing wrong or right in interior design – it either works or it doesn’t. One or two patterns on their own in an otherwise large, bland or quiet room may look out of place, odd, lacking in confidence. Pattern needs to be looked at in conjunction with everything else in the room. I also avoid themes; for me it’s all in the mix.

Are there any fabric houses or other resources you naturally gravitate towards when sourcing for interiors?

36 Bourne Street has a glorious selection of delicious little patterns on wallpapers and chintzes. Robert Kime has both beautifully large and small-scale wallpapers and fabrics. Namay Samay produces exquisitely crafted textured pattern weaves and stripes, and Nile & York the most delightful selection of small prints (glazed cotton and linen). Rugs are a wonderful way to introduce pattern in a room too, whether traditional rugs or modern, and I love the wonderful regimental, repetitive chevrons of rush matting, which add beautiful texture too.

What one piece of advice would you give to a homeowner who lacks confidence in adding more than one or two patterns to any interior?

It takes a lot of ‘busyness’ to make a room look quiet: fill it up, be bold, be brave! n LEFT, FROM TOP A small-scale pattern on the gathered lampshade adds an extra, gentle, layer of texture in this pared-back scheme.

The ottoman in the sitting room has been covered with a gloriously patterned antique Turkish marriage blanket found at The Decorative Antiques & Textiles Fair in Battersea.

Here, textured stripes and florals are brought together in a more rustic, Arts and Crafts style.

16 THE ENGLISH HOME

PORTRAIT CHRISTOPHER HORWOOD © CARLOS SÁNCHEZ-GARCIA PHOTOGRAPHS P14 (ABOVE LEFT) & P16 (BOTTOM LEFT)© ROBIN FORSTER PHOTOGRAPHY; (ALL OTHERS) © CHRISTOPHER DRAKE

Where do small-scale patterns work best?

I tend to use small patterns as a back-drop ‘texture’ for bedroom and bathroom walls, on small chairs and on loosely gathered lampshades.

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SOPHIE ELBORNE

Creating a focal point The creative director at interior design studio Kitesgrove offers insights on creating an interior focal point

ABOVE Sophie Elborne, creative director of Kitesgrove TOP RIGHT A feature wall light catches the eye and highlights elements of the vignette.

ABOVE RIGHT Symmetrically arranged, framed pressed flowers add interest above the headboard in this high-ceilinged bedroom.

How important is it to have a focal point in any room? And should there be more than one?

This depends on the use of the space and would differ in importance depending on whether it was a reception room designed for entertaining or a cosy snug for family use.

The focal point can also lie within the architectural features and, therefore, the interior design might want to be more restrained or conversely celebrate the feature via clever lighting or paintwork.

In the case of multiple focal points, we would always suggest these vary in scale to create a more layered aesthetic and avoid competing focal points.

It’s also sometimes more appropriate to celebrate the

18 THE ENGLISH HOME

smaller details, whether it’s a little corner that can be turned into a cosy reading nook or creating a tiny niche to house a delicate sculpture.

What sort of items can be used to create a focal point?

Anything and everything! As mentioned, architectural elements make a beautiful focal point but so can a collection of artworks, a beautiful mirror or a sculptural light fitting.

Do you have a favourite focal ‘device’ – be it art or lighting, textiles and so forth?

The Kitesgrove aesthetic is layered to create a sense that the space has evolved over time using art,

PHOTOGRAPHS P18 & 19 (PORTRAIT & BEDROOMS) © EDMUND DABNEY; P19 (SITTING ROOM) © MARK BOLTON

antiques, lighting and architectural features. We often use feature lighting to enhance a room scheme and to catch the eye in relation to the other elements.

Can you work with a client’s existing pieces – a collection of ceramics, for example?

We especially enjoy working with an existing art collection or piece as the starting point around which to build a scheme, as it can define the feel or palette of a space. It also allows us to adapt the interior architecture and lighting to suit the piece in question from the very beginning. Incorporating a client’s personal collection will always make the outcome more authentic to them.

In featureless rooms, do you ever adapt the architecture to build focus into a scheme?

In the case of a featureless space, we might look to draw the eye to a view outside the window or use colour or pattern to create interest.

How do you maximise the impact of a bed as the focal point in a bedroom?

Either a feature headboard and/or the dressing of the bed with beautiful linen and cushions can go a long way. Styling of the surrounding elements such as artwork, bedside tables and lamps or wall lights all contribute to how inviting the space feels. n

ABOVE LEFT A large round mirror enlivens what might otherwise be a neglected space on a landing.

TOP RIGHT Here, the rhythmic display of hats draws attention to the area above the headboard.

TOP RIGHT An offset artwork and fireplace create an interesting juxtaposition in this sitting room.

THE ENGLISH HOME 19

ABOVE Brass details have been used throughout in this marble bathroom.

RIGHT The Dolce pompom fringe from Samuel & Sons adds interest to a linen curtain in a teenage girl’s bedroom.

FAR RIGHT Navy piping added to the cream sofa in this bedroom makes it look more tailored.

The beautiful Georgian-inspired painted pelmet frames the window and conceals the curtain rail.

20 THE ENGLISH HOME

KATIE GLAISTER & HENRY MILLER-ROBINSON

Detail in design

The co-founders of K&H Design reveal the critical importance of interior details in every setting

Can details make or break a room scheme?

We feel the design is definitely in the detail. In this modern world, where it may appear easy to put together a ‘magazine’ look from the myriad of choice, in reality it can all too often be soulless and unhomely.

The design of a home should reflect the personality and practicality of everyday life whilst also being enjoyable, inspirational, beautiful and comfortable. This is where the detail comes in – be it the trim on a chair that elevates a more standard fabric, the reworking of treasured and inherited family heirlooms, or the fact that all the ironmongery matches and is just the right balance of warm, smart and reassuringly solid but definitely not ‘bling’.

What do you consider to be a ‘detail’ for an interior, and do you have a favourite you like to employ?

Detail is actually a really broad term for us – it applies to everything. The point, really, is that to fully design something, every aspect needs to be considered. For example: do the screws match the handles they fix to a door; is the tone of a curtain fabric complemented by the trim; is the curtain hem 

THE ENGLISH HOME 21

Passementerie is enjoying a renaissance. How and why does trim elevate a room?

Luxury and texture can elevate very simple and inexpensive fabrics to more than the sum of their parts – for instance the teenage girl’s bedroom curtain pompom trim by Samuel & Sons (page 20).

Do you have favourite types of passementerie and how can they be used in a way that feels current?

When we get the opportunity, we love to commission British makers to create bespoke passementerie – it is a dying art in the United Kingdom.

22 THE ENGLISH HOME

When design budgets are more constrained, is it possible to find cost-conscious details that still work hard?

For kitchens, we suggest picking very plain cupboard doors and cabinetry but then celebrate with some extraordinary handles.

Use plain linen blinds (much less fabric than curtains) and add a simple trim. Even if it’s just a line or two of vintage Petersham ribbon, the fact that thought has been given to develop something individual with detail will help it to stand out.

Bathroom budgets can be kept down with painted or mirrored walls rather than tiling, but go big with a reclaimed piece of stone for the vanity top. Applying marble to one wall and then using mirror to reflect the look is another great solution.

Which details elevate a piece of furniture to something special?

We love hand-painted specialist paint effects. This is a very clever way to take quite simple joinery into a completely new league. The subtle dragged finish of the joinery by Henry van der Vijver (above right) is enhanced with linen horsehair inserts and finished with minimalist antiqued brass handles by Ged Kennett. n ABOVE LEFT Rooms with different functions can be united by using the same flooring throughout, such as this natural, stained timber flooring.

TOP RIGHT Trim on the leading edges of curtains can add a sense of luxury and elevate simple fabrics.

ABOVE RIGHT Simple cabinetry is elevated with a specialist finish by Henry van der Vijver and bespoke handles by Ged Kennett.

PORTRAIT © CHARLIE HOPKINSON PHOTOGRAPHS (ALL) © SIMON BROWN

hand-sewn; has the colour of the silk thread in the hand-woven curtains been hand-dyed to exactly the right tone for the aspect of the room; do the kitchen handles have a lovely soft curve on the reverse so the handles are ergonomically comfortable when opening drawers and cupboards?

Spatial planning, including the housing and storage of personal items, should be done to the nth degree. Does all the furniture serve the right purpose as well as look great? Is the colour of the woodwork unified throughout a project? On one project where every room would have its own story we united the space through the timber flooring. On another, we stripped back the timber flooring to its natural state and stained it and then repeated in other areas.

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HENRIETTE VON STOCKHAUSEN

Decorating with antiques The co-founder of interior design practice VSP Interiors shares her insights on integrating antique pieces in a scheme

What does decorating with antiques lend to an interior?

Antiques add character and a certain softness to an interior, even if just incorporating one piece to create a special focal point in an otherwise modern room. They also show off fine craftsmanship that most modern pieces can’t rival.

Does every interior benefit from the addition of an antique?

Yes, in my opinion. A strategically placed antique in a very modern interior adds an element of surprise – the unexpected – and the juxtaposition creates an even stronger statement.

How does one integrate antique pieces into a more contemporary interior?

For a modern interior, if only having one antique, be brave and choose something extraordinary to make it the statement piece.

The same goes for an interior that is mainly antiques, make sure that your modern piece is a bold choice and is in stark contrast to the antiques in the room. This gives each integrity and importance.

24 THE ENGLISH HOME

Can pieces from different periods, countries and genres work within the same room?

I would say that if you like it and it makes you happy, mixing periods, countries and genres isn’t an issue. In my opinion, often the more contrived and forced an interior is, the less successful it is. An interior is meant to give comfort and happiness to its inhabitants.

Should antiques echo the period of a property?

Sometimes this is the case in historically important houses, particularly if one is trying to restore a room or house to its original design.

How do size and scale of a piece impact on its placement?

Scale is extremely important and I love to use it to create interest and contrast. Sometimes a huge piece in a small room can make all the difference and create maximum impact, and the other way round too. 

CLOCKWISE FROM ABOVE LEFT A pair of antique console tables lend gravitas to this fresh scheme.

Symmetrically placed ornate antique mirrors add to the theatrical air in this period bathroom.

A characterful antique chest of drawers is juxtaposed with contemporary art and sleek flooring.

An antique suzani is used as the backdrop on the impressive four-poster bed.

THE ENGLISH HOME 25

Would you ever use an antique piece as a starting point for a room scheme?

Due to their beautiful colours, we often use antique rugs as a starting point for our schemes. We find that it helps to build a client’s confidence in their decision-making as they can envisage the colour scheme from the beginning.

How do you work around existing antiques and sentimental heirlooms?

We incorporate them into our designs and make sure they have a very special space with enough focus. As our designs are unique for each client, and every project is as individual as our clients, their treasured possessions are incorporated in our schemes and layouts. This not only makes designing particularly interesting and enjoyable, but it also creates very individual homes.

Which challenges need careful consideration?

If you are buying at auction, it is very tricky to know the exact condition of each piece. If you don’t have huge experience in sourcing antiques, it can be a little challenging. In addition, pieces can arrive broken or in desperate need of restoration, which often costs more than anticipated – auction descriptions can sometimes be misleading.

Are there any antique shops or other resources you gravitate towards?

We source a lot from auction and I spend a lot of time leafing through auction catalogues and visiting the previews for my clients. I often check a website called decorativecollective.com which showcases all European dealers and their stock. But, more often than not, I find what I am looking for at Guinevere Antiques in London. It has the best and widest selection of beautiful, special, carefully selected pieces together with a stunning selection of lampshades and antique textiles. Owners Heather and Marc have an amazing eye and have created an Aladdin’s cave of wonders.

Can you share personal rules for decorating with antiques sensitively?

As decorating with antiques adds a uniqueness to your home, whether you use lots or only a few select pieces, choose what pleases you rather than focussing on the value. The simplicity of antique brown furniture can have a lovely impact against more modern pieces. One doesn’t need to spend a fortune on antiques to get a beautiful simple item that shows great craftsmanship, character and history. And through using antiques, you’re allowing the past to become part of your present.

TOP The industrial-style lampshades add an element of surprise in this otherwise traditional dining room with its antique furniture, framed maps and tapestry.

ABOVE The sofa is antique, as is the painting, and the cushions are made from antique velvet sourced by VSP Interiors. The rug is from Farnham Antique Carpets.

26 THE ENGLISH HOME

And finally, what one piece of advice would you give to a homeowner who lacks confidence in shopping for, or using, antiques?

Take it easy, start with a few pieces and find out what you like.

Go to auctions and make it an adventure finding your personal style and preferences. Most of all have fun. Every antique has a story to tell, so enjoy this and continue on its journey. n

Chimneypieces | Lighting | Furniture 020 7730 2122 | jamb.co.uk

Creating a

ROOM SCHEME From the smallest of practicalities to the exciting possibilities of patterns, colours and decorative pieces, successful interior design is all in the planning

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resh beginnings. A blank canvas.

A thrilling chance to express your personality – or perhaps, a daunting challenge? Designing a new room scheme – whether starting from scratch in a new-build, conversion or extension, or simply making over an existing room – will doubtless feel like all of the above unless you are enlisting the help of a professional interior designer.

However, rest assured that some careful thought, detailed planning and insider knowhow can offer invaluable help in creating a space that is not only functional and comfortable, but that also reflects your tastes and is tailored to suit.

The logical place to start is by closely analysing how the room is – or will be – used. “Really examine this, even if you are simply redecorating and not actually changing its function,” advises Alan Hughes, principal of The Inchbald School of Design. “What is to be the main use of the space and how many people will regularly occupy it? Does it need to adapt, or to perform more than one function?

What has worked in the past and what hasn’t? It comes down to basic planning and ergonomics: where am I going to put my cup of tea down? Is the desk in the right place? You need to be clear, so you can identify whether any changes are needed prior to decoration.”

At this point it is often helpful to measure the room carefully and draw

it to scale onto graph paper, making a note of windows, door, radiators, plug sockets, light switches and any other features or obstructions. This in itself may lead to both aesthetic and practical ideas; positioning a reading chair, for example, will depend upon a source of light (is there a nearby plug socket, or do you need to move one?) as well as not being too far from a source of heat in winter.

Hughes recommends, if possible, assessing the character of a room without its furniture, examining architectural details, considering if there are clear walkways and whether there is a need for conversational groups of furniture or a central arrangement. “Looking at the space ‘undressed’ like this is a great way to assess its good and bad points,” he points out.

“If, for example, the flooring is a dominant tone or colour and cannot be changed, then you need to factor this in.”

Next, start to develop your thinking about the decoration, starting with what designers these days call ‘mood’. Hughes believes that it is important to analyse the way natural light impacts on the space, and how that will influence colour and texture.

A room with a large north-facing window, for example, may feel rather cool, in which case you could consider ‘warmer’ colours and soft textures rather than lots of hard, shiny surfaces. Patterns, too, can look very different in different lights. At the same time, consider which items of furniture 

OPPOSITE A collection of elements for a moodboard inspired by a selection of fabrics from Vanessa Arbuthnott’s Bohemian Collection TOP Combining subtly contrasting, complementary fabrics creates a restful yet interesting space.

Sofa in Dunsford chenille, £99 a metre; armchair in Quinn damask, £84 a metre; footstool in Hemming textured velvet, £129 a metre, all Colefax and Fowler ABOVE Studio G’s multi-purpose textured plains are available in a versatile range of 48 shades.

Brixham in various shades, £18 a metre, Clarke & Clarke

THE ENGLISH HOME 29

ABOVE Use tester pots when experimenting with different paint colours to see how the light in the room will affect each hue.

Lavender Garden No 30, £51 for 2.5l Marble Matt Emulsion, Mylands RIGHT A bedroom is the perfect setting in which to blend layers of tonal colour, pattern and texture to create a softly cossetting feel.

Willow double bed frame in Fossil, £895, Button & Sprung BELOW, FROM LEFT Create a moodboard with images of furniture alongside swatches of fabric, flooring materials and paint colours.

Berkeley armchair, £2,050, David Seyfried Wishbone nesting side tables, £199, Atkin and Thyme

30 THE ENGLISH HOME

Try to obtain the largest sample sizes possible to get an accurate feel for the appearance, scale and texture of the materials being considered and view these in situ to really get a feel for how they will work together in the room.

THIS PAGE, CLOCKWISE FROM TOP LEFT Vivaldi carpet, £59.40 a square metre, Elements London Helix chandelier, £350, John Lewis and Partners Victorian-style floor tiles from a range at Original Style Farrow & Ball’s colour card with 132 shades Tamara in Silver/ Gold, £89 a metre, Jane Churchill

are going to be included there. Some pieces will be functional whilst others may provide a show-stopping focal point for the room.

What materials will they be made from?

Antique or modern? Generously padded or sleekly minimal? If re-using existing pieces, how does their scale work within the room and with other furnishings, and do they need painting, reupholstering or altering in any other way?

With so many potential sources of information available to us, it can be difficult to make these initial decisions, says interior designer Naomi Cleaver.

“So much is available [the process] can be overwhelming,” she explains. “Arguably, design is about editing out the visual noise and reaching something that really suits you. It is about developing your taste.

Allow yourself to be inspired by sources of visual culture such as art, sculpture or the theatre. It could be that you love a particular painting, for example. Perhaps

the colours, textures and mood could provide the starting point from which to inspire a scheme. Don’t be fearful,” Cleaver continues. “Test colours on walls, look at fabric swatches and learn from your mistakes. Eventually, a pattern will emerge. Some of the best design is completely unintentional.”

Samples and visual references are essential to all professional designers; these help to avoid expensive mistakes and ensure coherence in a scheme. In some cases a photograph or image cut from a magazine may suffice, but where possible aim to touch as well as see the proposed fabrics, wallpapers and flooring.

Be persistent, professional and polite in asking for samples that are as large as possible so they can be placed in situ for realistic assessment in all lights. At this stage, choose widely in all areas and begin to work out core likes and dislikes; what works in the space and how different

samples work together. Buy tester pots of paint and cover A4 sheets of white card with paint colours and attach these temporarily on the walls. Observe them in different lights – what appears as an attractive purple in daylight, for example, can become black after sunset. In a sitting room or kitchen, the colours need to work in both daylight and artificial light, whereas in bedrooms and dining rooms it is more important that they look attractive at night-time.

After some initial decision-making, it can prove useful to collect these outline thoughts and ideas together on a ‘concept board’. This can – quite literally – be a piece of board with things pinned or stuck to it, or a digital version to store on a phone or tablet and amend when out and about. This conceptual collection of images, samples, colours, textures – and perhaps written notes (include anything that helps) – will set a general feeling  THE ENGLISH HOME 31

32 THE ENGLISH HOME

different elements in proportion, so that flooring and walls – usually the largest elements in a room – are the biggest samples on the board. It also helps to place the samples roughly in accordance with where they will be in the room – flooring at the bottom, pendant lights near the top and furniture in the middle, for example.

“Use the real paint colours and swatches if you can,” suggests Hughes. “Overlap the elements you use on the board; you don’t usually see a colour or texture with a white border around it. A chair is always backed by the flooring, the wall colour or the drapery in a window, for example.”

Once all the ingredients are assembled in this way, it should offer an effective overview of how the chosen colours, patterns, shapes and textures work together. And if they don’t? It is easy enough, at this stage, to move things around, take them away or add to them.

A perfectly planned sample board is the backbone of a new room design, and will be invaluable in bringing the project to a successful conclusion. n

TOP The period character and interior architecture of a room will influence the choice of colour scheme and furniture.

English oak dresser base, £2,195; English oak coffee table, £1,540; mahogany-and-gilt mirror, £1,265, all Titchmarsh & Goodwin ABOVE Consider practicalities such as surfaces on which to place items – whether a tray of tea, a book or a glass of wine.

Dauntsey footstool in Lauren linen, from £405; Elmley two-seater sofa bed, from £1,245, both Willow & Hall

FEATURE KATHERINE SORRELL

for the space, and make a highly useful touchstone for future planning.

“Start with key choices for larger, more dominant areas.” says Hughes.

“Nothing is isolated, so consider fabric choices against wall colouring and flooring.

Strike a balance between pattern and plain, making sure that you have areas that the eye would find restful and others that stimulate and interest. Think about a lead colour, a second colour to ‘assist’ the lead, and an accent colour to pick up a further element. If a fabric swatch is your starting point, you might choose to take a secondary colour from this as your wall colour. Introduce alternative elements in accessories so that the look does not become too bland or too matched.”

Keep experimenting, gathering, deciding, discarding and distilling and eventually you will be ready to assemble a ‘sample board’, which is related to your concept board but is, by now, a representation of the specific paint colours, fabrics, papers, flooring, furnishing and lighting chosen. The professional way to do this is to keep the

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COLOUR CONFIDENCE

WITH

BLUE

Embrace the myriad shades of this cool, calming colour – from soft powder blue to striking deep indigo

Fabrics from William Yeoward. See page 46 for Yeoward’s personal advice on using blue.

FOR WHERE TO BUY SEE ADDRESS BOOK

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Beguiling blue From the palest powder blue through to deep inky tones of navy, blue is a colour with wide appeal for use in every room of the house. Its natural association with the sky and sea make it a comfortable choice for bathrooms as well as coastal-style living spaces. Dark blue kitchens paired with wooden finishes or cool marble are increasingly popular as a sophisticated choice for town and country. Depending on its shade, blue can look sleek and contemporary, have a lively energy in electric or jewel shades of cobalt and sapphire, or a classic appeal in period properties in both dark and paler tones of the spectrum, such as navy or Wedgwood blue. Cornflower blue, whilst often associated with ‘blue for boys’, has a gentle prettiness and is a subtler way to bring a feminine air to romantic schemes than other pastel hues.

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FEATURE KATY MCLEAN PHOTOGRAPHS (9) © JON DAY

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CLASSIC COMBINATIONS There is no rule when matching shades of blue as each will usually work in harmony to bring subtle or striking variation. This allows for playful mixing of different patterns in various hues of blue, without a room feeling overwhelming. However, blue can be a great partner to other colours, too.

The timeless combination of blue and white has an eternal allure and is incredibly versatile. Florals or toiles are a traditional choice, but this combination can have a contemporary impact used in bold geometrics, such as chevrons, Greek key designs and stripes. The crisp contrast provides both dynamism and pretty freshness, depending on its application. For a softer contrast to white, oatmeals, sandy tones and other beiges can set a warmer note in coastal decor. A predominantly blue scheme can often benefit from a single accent colour on just one or two objects – a hot pink against dark blue is powerful and a splash of red can add a bold nautical twist.

The key is to pick colours of equal tonal weight – for instance, a strong mid-blue will need an equally saturated accent in a contrasting colour. Blue often works well with its secondary colours of green and purple, whilst lilacs add further beauty to a powder or sky blue scheme and lime can provide a zingy vitality in bright blue schemes.

Though there can be a cool feeling to blues, they can produce a welcoming air, perhaps akin to the delight of a cloud-free summer sky. Whether calm, soothing, pretty, cosseting or energising and vibrant, there is a blue to suit most tastes. The following pages look at different ways to combine various shades of this appealing colour throughout the home.  1 Wallpaper, Camille, £69 a roll; curtain, Marguerite, £69 a metre; chair, Claribel, £73 a metre, all Nina Campbell at Osborne & Little 2 Bali Ha’i Outdoor collection, from £120 a metre, Jim Thompson 3 Botanical Garden, Blue, 40-tile panel, £1,150, Fired Earth 4 Blue paints, £45 for 2.5l emulsion, Sanderson 5 Maxine, mid-blue, £52 a metre, Jacqueline Milton 6 Coast

collection, including headboard in Chevron Stripe, Cobalt, £49.50 a metre, all Ian Mankin 7 Wallpaper, St James Park, Cobalt Fade, £202 a roll, Little Greene 8 Mr Blue Sky, rug, £525, Alternative Flooring 9 Stairs in a selection of Crown Paints, from £14 for 2.5l Emulsion 10 Kitchen cabinetry in Province Blue, £21.50 for 0.94l, Regal Select Flat range, Benjamin Moore

THE ENGLISH HOME 37

Pale blue

Delicate silver-blues are cool, calm and collected and create restful, soothing spaces

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he lightest of blues can be used to create a tranquil calm in any room of the house. “Soothing colours, like our Pale Powder, Light Blue and Parma Gray, are perfect for creating a relaxed and calming environment, as many people associate these tones with the great outdoors,” says Charlotte Crosby, head of creative at Farrow & Ball.

When considering the use of pale blues, it is worth looking at how the natural light will affect the way that the colour renders at different times of the day. “Always consider the cardinal direction and amount of daylight coming into the property before deciding on the best colours to use within a space,” say the designers at Gunter & Co Interiors, who also caution against pale blues in north-facing rooms. “These areas have a much cooler and harsher light; warm and dark colours will feel cosier,” they explain.

Paired with white, pale blues can have a sun-bleached coastal feel, but to create an alternative look, consider playing with the contrast between their coolness and other, warmer colours, such as terracotta and brick red, which will provide a richness. Pairing pale blue with soft browns and warm neutrals is a good choice in rooms where a look of relaxed, easy living is sought.

A study of calm Gunter & Co Interiors, who created this study (right), explains that, “as this room is east-facing – meaning that the light has a blue undertone – pale blues look particularly good”. To create impact in this small space, they cleverly chose “a suitably scaled wallpaper on the walls to make the room feel bigger and to infuse it with real character”.

It is important to create areas of calm where the eye can rest in a patterned room – in this case, the painted desk does just this, whilst its glass top subtly reflects the wallpaper. For variety, neutrals or dark shades of blue and green will add depth to a pale scheme – similarly, natural, muted, earthy colours, such as rich orange and deep yellow, can create a gorgeous contrast against the coolness of soft blues.

Accessories in brass or copper and warm mid-toned woods can add further layers of visual warmth.

Another way to approach the use of this palette would be to paint a neutral shade on the walls – such as Feather Pillow by Earthborn – and to introduce these lovely blue tones through the upholstery of a piece of furniture or even a screen.

38 THE ENGLISH HOME

Light serenity Pale blue is a popular colour for bedrooms and for good reason: these soothing blue hues recede rather than command our attention and when used on the walls can create the softest hint of colour that will feel restful to the eye. “Soft blue tones are very calming, and therefore work well in bedrooms,” says Claire Greenfield, Harlequin’s lead designer, adding that, “colours such as crisp whites and soft neutrals can create the perfect partnership with pale blues.” Amber, ochre and sand look beautiful with blue and create a nice level of contrast.

Horizontal stripes, like the ones used on the walls of this bedroom (above), are a good decorating device that can be used to fool the eye into believing a space is wider than it is. This striped wallpaper has provided a ready-made palette that has been carried through the rest of the decoration in the room. Despite the use of contrasting patterns across the walls, curtain fabric and bedding, the scheme still feels cohesive and balanced due to the gentle and harmonious palette of colours. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Lulworth Blue, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Bluebird, £49.50 for 2.5l Pure Flat Emulsion, Paint & Paper Library • Cloudless, £48 for 2.5l Perfect Matt Emulsion, Designers Guild OPPOSITE, FROM TOP • Arboreal box files, £50 for a set of three, Oka • Fitzroy Convex mirror, Grey, £215, India Jane • Study designed by Gunter & Co Interiors • Tana stonewashed throw, Mais, £74, Abode Living • Eyre rug, Silver, £265, Lombok • Antique brass desk lamp, £195, Cox & Cox

ABOVE, CLOCKWISE FROM TOP LEFT • Wallpaper, Drift, Storm/Linen/ Stone, £56 a roll; curtains, Floria, Powder Blue/Linen, £47 a metre; bed throw, Papier, Haze, £43 a metre, and cushion fabrics, all Harlequin • Bubbles & Bottles Chic Mix set of four glass bottles, £226, Pols Potten at Hurn & Hurn • Seaweed framed prints, £325 for a set of four, Oka • Pembroke side table, £325, La Residence Interiors • Cushion, Rassia in Tradewinds, £58.75, The Taylor

THE ENGLISH HOME 39

Sky blue

Fresh, pretty and full of vitality, sky blues are an appealing choice for modern and classic looks

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resh blues can add a feeling of exuberance and positivity to a space. These pretty blues can be used throughout the house and are hugely versatile in the way that they can be paired with different colours to create quite distinctive looks.

For example, alongside white, these blues will appear punchy and confident, whereas soft neutrals such as stone or oatmeal will help to anchor them. Pinks and soft purple shades can also look beautiful as accent colours. Walls painted in these shades of blue help bring a freshness to a space and can look striking when paired with white or even darker, inky blues for greater depth.

Sky blues can be a great choice for any room in the house, from a bathroom to a sitting room. Whilst these blues can have a lively feel, the team at Farrow & Ball suggests that, despite the brightness of colours such as its Lulworth Blue paint, “these fresh blues can in fact promote deep and peaceful sleep when used in low-lit rooms, especially when used on both walls and woodwork”.

Bold & beautiful Unashamedly bold, this scheme (above left) features three contrasting patterns which come together beautifully to create a stylish dining area. Whilst blue and white are the dominant colours in this scheme, the earthy oatmeal tones add a further layer of visual interest and ground the palette. This simple use of colour allows different patterns to work so well, whereas the same combination in different colours could look visually confusing.

The pale grey flooring and white walls provide a foil to this strong colour and pattern. To continue the feeling of lightness, white plantation shutters could be used at the window or, alternatively, semi-sheer drapes could create a soft, diffused light that would suit this space. A simple, pared-back glass or chrome pendant could hang over the table to provide an additional light source whilst creating another layer of interest in the scheme. To ensure that the focus stays around the table and the patterning remains the hero, the wall decoration should be kept to a minimum – a simple mirror or a pair of pictures would suffice.

If this dining area were part of an open-plan living space, it would be important to create a sense of flow through the considered use of colour and pattern. For example, a sofa could be upholstered in a navy blue linen and an occasional chair covered in a fabric such as the spotty blue fabric (far left).

Pretty notes Fresh blues form a perfect partnership with white for bright and welcoming rooms, such as the dreamy sitting room seen here (left). From delicate spriggy prints to bolder floral designs, a backdrop of white will show them off beautifully. To achieve this, the walls could be simply painted in white, or for a more textural feel, white tongue-and-groove panelling could be used.

By using a pared-back palette, it is possible to layer a number of fabrics whilst maintaining a serene feel befitting a sitting room or bedroom. Stripes and florals work well together, so a scheme could feature a sofa in a graphic stripe with cushions in floral patterns, or even the juxtaposition of boldly patterned curtains with a Roman blind made from a ditsy print. Whilst the design of any space could feature just blue and white, the addition of natural tones, such as sand, can create further layers of interest.

Sitting to either side of blue on the colour wheel, pale greens and gentle purple hues, such as heather or lavender, would work harmoniously with the blue – some flowers or a pretty vase in these colours will add a final flourish.  PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Sailor’s Sea Blue, £79.50 for 3.79l Aura Matte, Benjamin Moore • Sea Blue, from £16 for 2.5l Matt Emulsion, Dulux • Boat House, £51 for 2.5l Marble Matt Emulsion, Mylands OPPOSITE, FROM TOP • Chairs, Bansuri, Indigo, £79 a metre; sofa, Latika, Indigo/ Cashew, £79 a metre, both Baker Lifestyle • Denby Studio cereal bowls, Chalk/Blue, £52 for a set of four, John Lewis • Blue Mosaic ceramic vase, £30, Gisela Graham • Fabric swatches (from left): Dotkat, Indigo £49 a metre; Sarala, Oatmeal/Indigo, £39 a metre; Bansuri, Stone/Cashew, £79 a metre, all Baker Lifestyle • Grey mirror, £160, The French Bedroom Company

ABOVE, CLOCKWISE FROM TOP LEFT • Faux Sweet Pea flowers, £7 a stem, Fox Flowers • The Belvedere Table in Xanthous Gold Gilt with Carrara Marble Top, from £5,400, Soane Britain • Large Heather vase, £45, Dartington Crystal • Super soft reversible throw in Peacock Blue, £132, Tolly McRae • Fabric swatches (from top): Fairhaven, £64 a metre; Larkin, £95 a metre, both Jane Churchill at Colefax and Fowler • Marguerite square vase in Ink Blue, £45, Dartington Crystal • Etien hand-painted sideboard, £6,912, Leporello • Sofa, Brixham Stripe, £50 a metre, Jane Churchill at Colefax and Fowler. (For similar floral fabrics to those of curtains and cushions, see the fabric swatches above.)

THE ENGLISH HOME 41

Deep blue

Add impact and richness with highly pigmented tones of cobalt, indigo and navy

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rom vibrant cobalt to the deepest shade of indigo, these blues can be used to add drama and impact within a room. “Deep blue is the most sumptuous of colours and historically the most expensive to produce,” says David Mottershead, Little Greene’s managing director. “In art, blue paint was reserved for depicting royalty, dignitaries and religious figures and to this day it holds the same luxurious appeal and hypnotic allure.” He advises a bold approach to using blue paint or wallpaper in a room, irrespective of its use, size or aspect: “it is the perfect colour for creating atmosphere, and it can be used not just on walls but on woodwork too for a very contemporary look.”

Deep blues such as cobalt and marine blue can look striking when paired with white as they create a high-contrast look, whilst touches of pink or chartreuse will add a gorgeous pop of colour.

For a softer feel, blues can sit well with natural mid-toned woods and warm metallics, such as brass.

Dramatic impact When considering the use of deep blue as a wall colour, cobalt can be a good option as it can add drama without appearing too dark. In this bathroom (above right) the blue paint combines with white to create a Grecian-inspired look that feels exciting to the eye. The floral wallpaper, with the same blue as its background colour, provides a pleasing flow between the two areas.

The white flooring adds a clean, crisp finish and bounces light around. Note how the window frames of the sash windows are also painted in white – this breaks up the expanse of blue across the walls and draws attention to these attractive architectural features. Similarly, the marble surround of the bath adds a further band of contrast – a large, ornate mirror and chrome fixtures and fittings would also achieve the same effect.

Whilst hot colours, such as crimson, strong pinks or coral could be successfully paired with this shade of blue, to maintain a more relaxing feel, accents of aqua – a shade that sits next to blue on the colour wheel – ensures a smooth transition between the colours in the space, resulting in a look that is bold yet still feels calm.  See overleaf for caption information.

42 THE ENGLISH HOME

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The Nickel Bateau - Charcoal Exterior

In recent years, blue has gained popularity in kitchen design, with deep blue cabinetry being used to create dynamic spaces with a strong identity. From rustic farmhouses and cosy country cottages to smart townhouses, blue can be a good choice for kitchens. In this kitchen (above), this shade of blue could be used across all cabinetry, but we can see how fabulous it looks when combined with pale stone flooring, natural wood units and exposed beams.

Wall tiles featuring blue patterning can be an effective way of picking up on the blue used on any kitchen units and can also provide a block of pattern around a sink or above an oven.

In a more contemporary space, decorative floor tiles could be used as an alternative way of introducing some pattern.

In this kitchen, adding rustic stoneware vessels and the woven rattan barstools could complement the natural feel of the space.

Introducing one or two elements in a polished finish, such as the copper rise-and-fall light shown above, would bring a pleasing contrast to the matt finish throughout the rest of the kitchen.

Accessories in paler greyish blues would complete the scheme. 

44 THE ENGLISH HOME

• Chevron Blue Towel, from a selection, Portfolio Home ABOVE, CLOCKWISE FROM TOP LEFT • Bespoke kitchen cabinetry, from £15,000, Woodwork Traditional Handmade Furniture • Rise & Fall School Light in Polished Copper with White Interior, £525, Davey Lighting at Original BTC • Alderman glazed single oak dresser, from £1,739, Indigo Furniture • Svend Bayer lidded store jar, £169, David Mellor Design • Classic pepper mill in Coastal Blue, £32, Le Creuset • Indoor Bembridge rattan bar stool, £195, Garden Trading • Tiles (from left): Plain Lake Blue, £75 a square metre; Blue Majadas, £150 a square metre, both Bert & May

FEATURE MIRANDA WATCHORN PHOTOGRAPHS P38 (OKA) © DIANA STAINTON; (INDIA JANE) © ADAMOWICZ ADAMSKI; P39 (POLS POTTEN) © HANNELORE VANDENBUSSCHE; P41 (FOX FLOWERS) © SAMUEL DOCKER

Strong contrast

PREVIOUS PAGE, PAINT SWATCHES FROM LEFT • Pitch Blue, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Downpour Blue, £79.50 for 3.79l Aura Matte, Benjamin Moore • Blue Pearl, £49.50 for 2.5l Pure Flat Emulsion, Paint & Paper Library PREVIOUS PAGE, FROM TOP • Fanya fine-weave basket, £17, The Basket Room • Bathroom wall, Smalt, £50 for 2.5l of Intelligent Matt Emulsion; wallpaper, Camelia Smalt, £73 a roll; blue woodwork, Smalt, £64 for 2.5l of Intelligent Eggshell, all Little Greene • Alma ceramic bathroom spotlight, £35, Garden Trading • Edinburgh large undermount washstand, £2,565, Neptune • Lundi 22/02 vase in Aqua Green, from £62, Ligne Roset

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USING BLUE SUCCESSFULLY A WELCOME COLOUR • I think it is an absolute myth that blue is a cold colour. The only exception might be in a gloomy, north-facing, poky little room where a lot of blue might be difficult.

• Blue seems to be continually the most popular colour in our collections. Every year it is the colour that our clients make for and it is easy to see why. It has a global appeal and works well both geometrically and in florals. Its versatility goes right across the board and it doesn’t seem to date.

on blue

In memoriam* The late style maker and designer on the merits of his favourite colour and how to use blue with white to best effect

“

There is no reason to be frightened when using blue and white together as it is going to be quite hard to make a mistake.

Blue is very calming and it’s a colour everyone can relate to. It surrounds us in the sky and the oceans. I don’t think there is anyone who doesn’t own a piece of blue clothing – it’s a colour that makes people feel safe. The whole point of why I love blue is that you can layer and mix it like no other colour. There are so many variations.

A CASE IN POINT This is my bedroom (above), in which I’ve used indigo and denim, my favourite shades of blue. I love texture and pattern, so I’ve used woven fabrics, embroideries and prints and mixed them all up together. It looks completely natural.

46 THE ENGLISH HOME

To balance such a mix of patterns, I’ve been quite restrained with the walling. However, it is not simply painted; it is a very well-matched linen that I’ve had paper-backed, so even here there is something going on – there is a depth and fantastic texture.

I wasn’t afraid to use a bold geometric carpet either. You might have thought with all this pattern going on it would be the last straw, but it stops it all becoming fuddy-duddy.” *We were honoured that William Yeoward was able to contribute to this series before he sadly passed away in June 2019. There was no-one in the industry more closely associated with the colour blue, so he was always going to be our authority on this most versatile shade. The English Home team always enjoyed his wit and wisdom and he will be greatly missed by all.

QUICK UPDATES • I’ve recently added a nineteenth-century red quilt to my bed as I needed something to make the bedroom pop.

Often something red is needed in a room to make it sing and red is my favourite accent to blue and white.

• I am currently adding lots

of turquoise, aqua and sea colours to blue and white to create a different look. It all falls together nicely and doesn’t feel forced.

FURTHER INSPIRATION • I share pictures in my book, Blue & White and Other Stories, that inspire my colour combinations. It might be a logo on a fish-and-chip shop, the colour of my socks against my jeans... The colours are put together in inspiring ways and are very relevant to how we decorate in our homes. n

FEATURE KATY MCLEAN

WILLIAM YEOWARD

CLEAN CONTRAST • Blue and white work best together when the white is very clean. Creamy tones can start to look a bit miscoloured.

As you can see in the fabrics used in my bedroom (left), the whites are crisp and bright.

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COLOUR CONFIDENCE

WITH

GREEN

Find harmony and balance with the colour of life, renewal and nature

Walls, Sage & Onions; dado rails, Tea with Florence, both £45 for 2.5l Absolute Matt Emulsion, Little Greene

THE ENGLISH HOME 49

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Glorious green

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Green is arguably the most natural of colours. It is integral to ‘life’ and a sign of rejuvenation – the unfurling of spring leaves signalling hope and promise; the deep evergreens of conifers showing resilience through the winter months.

Its appeal in interiors is its familiarity, since it surrounds us outdoors. It is a way to bring optimism and freshness inside, and in deeper hues it provides a cocooning comfort.

As green is a secondary colour, its shades can vary greatly depending on the levels of blue and yellow present. From the zesty limes and bright chartreuse of heavily yellow-based greens and the fresh zingy apple green of perfectly pitched mid-tones that balance both base colours, through to the vibrant emeralds, luscious forest hues and soft sages of bluer colour casts, there are myriad greens to choose from. Some work in harmony, whilst others are better paired with a crisp white or a contrasting accent in orange, pink, blue or even red.

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FEATURE KATY MCLEAN PHOTOGRAPHS (1) © JAMES MERRELL, (3) © ANDY GORE

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STYLE CHOICES The soothing and pleasing tones of green lend it to being applied in many different ways. Naturally, there is a synergy with botanical patterns and leafy motifs work very well in green hues, from classic designs to larger scale, contemporary and graphic motifs. It can work well for modern geometric papers, too, the relatively easy appeal of green allowing for bolder expression of scale and dramatic pattern. For a country look it can also be softened, used on ginghams, florals, stripes and spots in a gentle, charming fashion.

Greens provide a good backdrop for art when used as a block colour on painted walls, too. Darker colours work well in dining rooms, whilst soft sages are restful for a bedroom. Any room of the house can benefit from a green palette – it brings a clean, fresh note to kitchens or can offer a handsome Georgian aesthetic when deliciously dark greens are combined with copper handles and wood counters.

Living rooms can be uplifted by a crisp green-and-white scheme, whilst hallways, boot rooms and other rooms that lead outdoors work well in green as it is a way to bring the outdoors in. Even a bathroom in the right tone can use a green hue to set a relaxing atmosphere. Different textures will, of course, give a different impact to the colour. Opulent velvets and silks give it lustre and luxury, whilst cottons and linens offer a more wholesome, natural feel.

Over the following pages, we consider three different shades of green, offering inspiration for interesting ways to deploy green within different rooms and the colours and accessories that complement, contrast and harmonise.  1 Brahmi Leaf wallpaper, £65 a roll, Designers Guild 2 Churchill bed in Dana

by Manuel Canovas, from £7,930, And So To Bed 3 Cushions in a selection of fabrics from The Spring Garden collection, from £60 a metre, The Design Archives 4 Walls in Card Room Green in Modern Emulsion, £46.50 for 2.5l,

Farrow & Ball 5 Paisley Midi sofa in Oscar Velvet, Vintage Green, £1,720, Darlings of Chelsea 6 Botanical Botanica Topiary 115/2005 wallpaper, £95 a roll, Cole & Son 7 Stowe kitchen in Fjord Green, from £12,000, Burbidge 8 Metro Deco Penn Station wall tiles, £44 a square metre, Claybrook

THE ENGLISH HOME 51

Apple green

An uplifting colour whose yellow undertones signify nature, renewed life and vitality

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his fresh, zingy shade of green has a lively, exuberant feel when used in the home, and as such can be a good choice for hallways, kitchens, sitting rooms and even children’s playrooms; for bedrooms, a soothing grey-based green, such as sage (see page 54), might be a better choice. Apple green can be quite beautiful in a conservatory as it will give a sense that the room continues beyond the windows by creating a seamless flow of colour from indoors to outdoors. However, whilst it is the perfect hue to create continuity between home and garden, when designing a scheme for outdoor living, careful thought should be given to its use: colours such as reds, pinks and blues will provide a more dynamic contrast against any leafy greenness.

Combining apple green with other colours can transform the look of a space, making it feel calm and serene, richly classical or wonderfully glamorous depending on the intensity of the shade chosen and the elements used in combination with it. For instance, the two sitting rooms shown here are quite contrasting despite both featuring apple green as the dominant colour. Each has different colour accents and styles of furniture used within to create rooms that are characterful and distinctive, as explained below.

Harmonious aesthetic This sitting room perfectly illustrates how colours that sit next to each other on the colour wheel – in this case green and aqua – can create harmonious schemes.

This fresh but formal sitting room has an ocean-inspired aesthetic that feels exciting to the eye, and as both the apple green and the aqua have equal strength, neither dominates nor distracts from the overall scheme.

The simplicity of this colour palette has allowed design house Thibaut to layer contrasting patterns across the walls and soft furnishings in a way that, whilst bold, feels controlled, rather than chaotic. They have further provided a sense of order through the symmetrical placement of furniture and accessories. The use of both large-scale prints and those featuring smaller motifs shows that proportion and scale have been carefully considered. White plays a hugely important role in this scheme by grounding it, so that it looks crisp rather than muddled.

52 THE ENGLISH HOME

Energetic pairing To maximise the feeling of light and space, the designers of this sitting room (above right) have chosen to coat the walls in a delicate yellow-based green paint and use a bright white on the ceiling and woodwork. This shade of green (French Green by Mylands) is “one of the ones we most associate with nature, thanks to its calmness and tranquillity,” says Dominic Myland, CEO of Mylands. “As well as being hugely versatile, when used in a sitting room these fresh shades create a calming environment where wooden and brass accessories sit perfectly,” he continues.

Red and green, when used well, is a pairing that can look quite beautiful. In fact, sitting directly opposite each other on the colour wheel, they are examples of complementary colours which, when used together can create maximum contrast and a sense of energy. In this instance, neither colour is at its full saturation: the red of the kilim has an antiqued, slightly faded quality, whilst the green of the walls is soft and gentle – but the effect is still the same.

Pattern could be added in the form of a delicate floral fabric echoing the colours used elsewhere in the room. Whilst sometimes small in scale, decorative accessories can actually have a big impact within a scheme. Here, the glassware in vibrant green on the bookshelves adds a final flourish. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT TO RIGHT) • Boxington, £45 for 2.5l Absolute Matt Emulsion, Little Greene • Mimosa Leaf, £48 for 2.5l Perfect Matt Emulsion, Designers Guild • Cooking Apple Green, £46.50 for 2.5l Estate Emulsion, Farrow & Ball OPPOSITE, FROM TOP TO BOTTOM • Knitted beaded fringe (T706-04), £44 a metre, Osborne & Little • Hand-Painted Bamboo Song Birds Large Round Tea Caddy lamp, £906, Besselink & Jones • Bernini Plank Strada engineered flooring, £98.34 a square metre, Ted Todd • Savoie Azure rug, from £1,095, Designers Guild • Bastiano Iron lantern, £145, India Jane

• Sitting room: Wallpaper, Mirador, Green, £78 for an 8.23 metre roll; Curtains, Pagoda Garden, Green, £63 a metre; Cushions: Trelawny Damask, Green, £78 a metre; Ogden Embroidery, Turquoise, £66 a metre; Ottoman, Pongo, Turquoise/ White, £132 a metre, all Thibaut ABOVE, CLOCKWISE FROM TOP LEFT • Walls, Pea Green, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Sitting room: Walls, French Green, £51 for 2.5l of Marble Matt Emulsion, Mylands • Chrysta mirror in Distressed Gold, £325, Oka • Assorted seven-piece candle holder and vase set with wood tray, £39, Cult Furniture • Kilim, £1,580, from a selection at The Rug Company

THE ENGLISH HOME 53

Sage green

Include this versatile colour to create a gentle mood, whether as a feature or an accent tone

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erhaps one of the mellowest shades of green, sage can be warm and earthy or cool and silvery, and can slip into a range of different styles of room with ease. With its ability to work as a backdrop to a whole spectrum of other colours, it is no wonder that sage is sometimes referred to as a ‘new neutral’.

Whilst sage has always been a popular choice for bathrooms, it has recently become one of the most desirable colours in kitchen design: it works well on Shaker-style cabinetry and on the walls of country cottage kitchens alike. “This is, in part, due to its ability to brighten up a space and add a touch of crispness, whilst remaining unassuming and abundantly fresh,” says Amy Conn from Neptune’s Product Design Team. “It can be used successfully as a feature in a room or as a quiet accent,” she adds.

For a supremely soothing feel that would befit a bedroom or sitting room, try limiting the palette of colours to sage and off-white, and then add layers of interest with pale, earthy woods, natural stone and textural fabrics, such as wool and velvet. If wishing to create more of a focal point, sage also combines well with a range of other colours, such as dark moss greens, charcoal and spicy golds, ochre and rust.

Calm & inviting As an easy colour to decorate with, sage looks wonderful across all walls in a room, as seen in this sitting room (above right) where it provides a calming backdrop to other colours. In the alcove, Sanderson’s delicate floral wallpaper, with its silvery sage ground colour, provides a look of refined elegance and yet still manages to make the space feel inviting.

To create a nice flow throughout the room, the designer has chosen pieces that are of the same tonal weight so that, rather than feeling jarring to the eye, the palette works harmoniously.

Just the right level of contrast is created through the antique blue sideboard and the blue frame of the coffee table, which both echo the detailing on the cushions; as an alternative accent, earthy terracotta or golden yellow could be used.

It is worth noting that, instead of using myriad colours to create interest, the sisal rug, stone fireplace, stripped-back wooden finishes and accessories introduce important textural elements that fulfil this role.

54 THE ENGLISH HOME

Contrast & warmth A warm, highly pigmented sage colour has been used in this attic bedroom (above) in a Georgian rectory to create a cosseting feel. Far from being an afterthought, this room has been given a strong identity and would be a beautiful space to use as a guest bedroom. K&H Design, the creator of this scheme, chose to use Farrow & Ball’s French Gray, a colour that it says, “sits as a quiet neutral base, whilst rendering more green in this north-facing room”. It cautions against using this particular shade in small spaces with little or no natural daylight and recommends considering how external elements, such as foliage cover, will affect the perceived hue.

In complementary colours to the green – that is, hues that sit opposite each other on the colour wheel – the accessories in gold, amber and russet combine beautifully to create just the right amount of contrast. Whilst this room has a lovely richness about it, the white ceiling and pale carpet both play an important role in adding a layer of light, fresh colour to the space so that it retains a well-balanced feel.

This space also illustrates how a quietly understated colour like sage can provide a great backdrop for different fabrics and styles: the contemporary graphite-striped fabric sits well with the opulent velvets and highly decorative embroidered fabrics.

Darker, mossy greens could also be introduced to add further depth without taking away the sense of calm. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT TO RIGHT) • Sage, £38 for 2.5l Matt Emulsion, Neptune • Cedar Grove, £25 for 0.94l Aura Matte, Benjamin Moore • Mellow Sage, £18 for 2.5l Coloured Emulsion, Crown OPPOSITE FROM TOP: • Edinburgh round mirror, 96cm diameter, £685, Neptune • Sitting room wallpaper, Chestnut Tree, £75 a roll; patterned cushions on sofa (from left to right): Chestnut Tree, £59 a metre; Fern Embroidery, £76 a metre, all Sanderson at Style Library • Concrete table lamp, £125, Cox & Cox

• Aulnay sideboard, £1,495, Oka • Jadis Verdigris octagonal decorative jug, £110, Oka • Detail of Chestnut Tree wallpaper, as before, £75 a roll, Sanderson at Style Library ABOVE, CLOCKWISE FROM LEFT • Bedroom designed by K&H Design • Anvard chest of drawers in Nordic Grey, £595, Oka • Mississippi WS108 wool carpet, £104 a square metre, Crucial Trading • Vintage flora set of framed pictures, £55, Perch & Perrow • Slipper chair UCH07 in Pine Velvet, £3,984, Porta Romana • Gathered Bedwyn lampshade in Green Marden, £85, Fermoie THE ENGLISH HOME 55

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Forest green

Achieve striking results by introducing this rich colour to add depth and drama to the home

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ith its roots in nature, forest green derives its name from the colour seen in wooded areas sheltered by a canopy of thick leaves.

As with any dark colour, choosing dark green often reaps rewards for the adventurous decorator: this moody hue can imbue a room with a sense of drama and sophistication, which pale colours cannot easily do. Edward Bulmer of Edward Bulmer Paint recommends using such a colour in rooms that have little daylight.

“You can make up for the lack of natural daylight by creating a sense of drama and warmth,” he says.

Often debated is whether dark colours should be confined to large rooms, however, darker colours can bring a strong sense of character to a smaller space. “In a narrow passage, a dark colour, strong lighting and interesting pictures might add impact to an otherwise dull area,” Bulmer says.

We need only to look at art galleries, where rich, dark walls are frequently used to provide the perfect backdrop for art, to see how decorative pieces can look striking against deep colours; in the home, these moody hues provide the perfect opportunity to use art, lighting and mirrors in an interesting and impactful way.

Impactful & bold

By painting this bathroom (above left) in a dark green (Hunter Dunn), Paint & Paper Library has created a dynamic contrast between this space and the adjoining room. The bathroom feels impactful and bold, and the moody colour on the walls certainly commands attention. Note how the designer has chosen to paint the skirting board in the same shade of green, rather than using white which would create a harsh contrast; when a single colour is used from the floor up to the ceiling, there is no interruption to what the eye takes in and the room feels loftier. As a contrast to this rich colour, the pale Carrara marble floor adds lightness and a wonderful feel of luxury which befits this style of room.

Whilst beautiful with painted walls, a further layer of interest could be created through the use of a decorative wallpaper along a section of wall. Nina Campbell’s Jacobean-style Coromandel wallpaper would work particularly well as it echoes the paint colour whilst introducing some soft shades of pale green and various accents of warm neutrals and subtle metallics.

As an alternative look, which might appeal to those wary of using strong colour throughout, the bathroom by Drummonds (left) shows how dark green marble can be used as an accent colour in an otherwise light space.  See overleaf for caption information.

THE ENGLISH HOME 57

Intimacy & drama

PREVIOUS PAGE, PAINT SWATCHES FROM LEFT • Dark Brunswick Green, £45 for 2.5l Absolute Matt Emulsion, Little Greene • Studio Green, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Forest Green, £25 for 0.94l Aura Matte, Benjamin Moore PREVIOUS PAGE, FROM TOP LEFT TO BOTTOM • Greenwich pendant light, £198, Jim Lawrence • Soap dispenser in Grey, £17, Bloomingville at Hurn & Hurn • Forest Green Bathroom: Walls, Hunter Dunn, £68 for 2.5l Architects’ Eggshell; door and door frame, Stone II, £72 for 2.5l Oil Eggshell; wall in adjoining room, Stone IV, £49.50 for 2.5l Pure Flat Emulsion, all Paint & Paper Library • Forest Green Egyptian Cotton towels, from £2 for a facecloth, John Lewis • Coromandel wallpaper NCW4270-06, £104 a roll, Nina Campbell at Osborne & Little

58 THE ENGLISH HOME

• Pale Green Bathroom: The Baby Ness Undermounted cast-iron bath, from £3,390; The Double Lowther vanity basin, from £5,950, both Drummonds.

Architecture & interior design of the bathroom by Icon Architects LEFT, FROM TOP TO BOTTOM • Walls, Brunswick Green Deep, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Washakie Chair in Stonewashed Eau de Nil linen, £320, Oka • Full Field linen napkin handpainted in Avocado Green, £30 each, Summerill & Bishop • Sofa, Montreal Velvet, Forest/ Teal, £120 a metre; cushions (from left to right): Bellflower Wheat, £69 a metre; Montreal Forest/Teal, £120 a metre; Dearle Russet, £130 a metre, all Morris & Co at Style Library • Wallpaper, Orchard in Bayleaf/ Rose, £65 a metre, Morris & Co at Style Library • Large Empire gilt and bevelled mirror, £1,214, Besselink & Jones

FEATURE MIRANDA WATCHORN PHOTOGRAPHS P52 (THIBAUT) © KIP DAWKINS; P55 (K&H DESIGN) © SIMON BROWN; (FERMOIE) © MARK LAWRENCE; P57 (PAINT & PAPER LIBRARY) © PAUL RAESIDE; P58 (MORRIS & CO) © ANDY GORE

When planning the design and decoration of a formal dining or sitting room, a rich colour such as forest green will bring intimacy and drama to a space that may not be used every day and often in the evening, when natural light is limited. Take this dining room (left), where the dark green walls provide an elegant and slightly regal feel – it will come alive with the warm glow of gentle electric lighting and candlelight.

As is the case with all dark-coloured rooms, creating contrasting areas is important to keep the overall look feeling lively and well balanced, rather than gloomy and dull. Here, the black and white Victorian flooring does just this, and the addition of the patterned curtain fabric and white tableware, brings further contrast. Due to their ability to increase the flow of light in a space, mirrors are a useful decorating tool and can be important additions to rooms painted in darker colours – this decorative antique mirror (below) would look wonderful within this scheme.

When it comes to introducing other colours, choose those from the warm side of the spectrum, such as amber and rust, which will provide a high level of contrast and look stunning alongside the dark green. Linen, sumptuous velvets and rich woods complete the look nicely.

Those preferring to use colour more conservatively should try pairing warm-neutral walls with a deep forest green velvet sofa and cushions in rust or golden tones. 

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on green JOANNA WOOD

The renowned interior designer enthuses about one of her favourite colours and provides advice on using it successfully

“

I absolutely love green. My whole house in Gloucestershire is green. It is such an incredibly fresh colour that cuts so well with other colours for contrast. I particularly like it with whites and ivory, but it works very well with greys, creams, beiges and aqua, even through to mustard. You can pair it with red for a more classic British look or make it more contemporary with fresher tones. It’s so versatile.

A CASE IN POINT In this bedroom (above right), the walls are in one of my absolute favourite colours, a special blend (made on request) by Paint & Paper Library called Quench the Gloom. It’s a perfect aqua – not

green, but it’s not blue. It’s so pretty. I chose a green-based scheme to go with it as I wanted something that was neither feminine nor masculine, that everybody would feel comfortable in as it’s a guest room. I’ve used a silk plaid in green and ivory from Colefax and Fowler, and one of Colefax’s classic chintz prints, Bowood, which I have always loved. It has a touch of aqua blue that I’ve highlighted with a touch of blue paint on the antique American beds.” n

USING GREEN SUCCESSFULLY

PERFECT PARTNERS • I would always choose a crisp white or ivory to use for woodwork with green for that sharp contrast.

• Green always looks fabulous in any daylight and obviously works well with any greenery – foliage or flowers.

FAVOURITE SHADES • Grass green is very ‘now’. I think it makes a lovely bright accent colour. If you look on the catwalks, a lot of accessories are grass green – an example of fashion following us [interiors].

60 THE ENGLISH HOME

• Seine from Paint & Paper Library is a lovely very pale soft green, and Farrow & Ball’s Breakfast Room Green is great on kitchen cabinets.

PALETTE COMBINATIONS • I never take any notice of the adage ‘blue and green should never be seen’. I think they look fantastic together.

• I’m a great colour girl so wouldn’t be too nervous of combining any colour with green. However, I would be careful with purple as it can end up looking quite down.

IN A KITCHEN • My kitchen in the country is green and I love it. Green works very well in kitchens and dining rooms as you can find lots of china and accessories that work well with it.

I’ve got a darker green kitchen and you cut it with white and it looks clean and very crisp.

FEATURE KATY MCLEAN

THE RIGHT BASE • I find that green works better if it doesn’t have too much yellow undertone. I usually select a grey-blue base rather than a mustard tone. It’s easier to co-ordinate, it is quieter and works with British light.

Truly British. Truly Bespoke. nakedkitchens.com | 01328 838 854

PROMOTION

What you need to know when

RENOVATING SASH WINDOWS The experts at Ventrolla, the sash window specialist, offer six top tips for those considering a timber window renovation project

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eautiful windows are a pivotal element in the aesthetic allure of a home, but they need to be practical too. The wise consumer will work with experts when renovating and maintaining timber sash and casement windows to keep a home insulated year round and enhance property value.

Be prepared Timber sash windows come with many problems if not maintained properly. If existing windows are rotten, then renovation works or complete replacement will be the best option.

For windows that are draughty, rattle and leak, a simple draughtproofing system could suffice. Perhaps double-glazing may be the preference, for further energy improvements. Consider needs and budget at the start of any research, and be sure to talk these through with any suppliers contacted.

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Ask the experts Window renovation companies should be happy to come out for free to inspect windows and provide a detailed window by window quotation, talking through the various options available, dependent on preference, budget and the state of the existing windows. Ventrolla offers a free, no-obligation survey to all.

3

Compare quotes Get multiple quotes to compare, but be sure to compare like for like – what one company may include as standard, another may not. Unique products or services could be a deal breaker: does one company provide something others cannot?

Get references Recommendations give peace of mind. Ask for references from chosen suppliers – they should be able to provide details of previous customers who can share their experiences. A reputable company will invite customers to rate them on independent review sites. You can find Ventrolla’s five-star reviews on Trustpilot.

Check the guarantee Ventrolla provides a five-year customer guarantee on all renovation work, to give customers peace of mind. Choosing a supplier that guarantees its work means knowing who to contact should anything go wrong with the windows in the future.

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Maintain the windows Regular care and attention will pay dividends with timber windows. The timber used to make an original sash window has lasted hundreds of years, and will do the same again with some regular maintenance. Cleaning and painting or varnishing the external sills each year to make sure they are weather-tight will preserve the timber for years to come.

With teams up and down the country, Ventrolla is on hand to advise on window renovation projects. By quoting code ‘STYLE20’, all The English Home readers receive 5% off plus free hardware for every window renovated. n Search ‘Ventrolla’ to find out more, or call 0808 301 9661 to speak to its friendly experts.

COLOUR CONFIDENCE

WITH

AQUA

Inspiration for using this enticing not quite blue, not quite green shade

Headboard and Roman blind, Lapland Stripe, Smoke/Duck Egg/Hay (LAP-30-8-34), £60 a metre; bedspread, Gypsy, Smoke (GYPSY-30), £54 a metre and Plain Linen, Smoke (PLAIN-30), £52 a metre; wallpaper, Spotty Stripe, Smoke (WSPOT-30), £56 a roll, all Vanessa Arbuthnott THE ENGLISH HOME 63

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Tantalising aqua

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FEATURE KATY MCLEAN PHOTOGRAPHS (2) © PAUL RAESIDE; (5) © KIP DAWKINS; (6) © JON DAY; (9) © STEVE PICKERING

Whether pale duck egg, deepest teal or dazzling turquoise, colours that sit on the cusp of blue and green are versatile, attractive and incredibly popular.

Often named after a counterpart found in the natural world, these hues can include the jewel-like tones of a peacock’s feather, the shimmering waters of a Caribbean sea, the flash of colour on a drake’s plumage, the matt yet vibrant finish of a precious turquoise stone or the subtle hue of an eggshell.

Neither decisively blue nor green, the various incarnations of aqua can sit squarely in between the two or veer towards more azure or verdant ends of the scale, causing much discussion along the way as different eyes interpret the undertones in their own ways. For instance, duck egg may be interpreted by some as a green-grey robin’s-egg hue, whilst others may consider it a powdery blue. Teal can be seen to be either bright and gem-like or densely saturated and enveloping. Turquoise aquas can be thought of as lively greens or bright yet calming blues. Rather than making these shades difficult to work with, this versatility makes them adaptable and multi-faceted, allowing a playful and layered approach to decorating.

EXCITING PALETTES As we have seen on previous pages, pure blues and greens can be layered together in a scheme in different tones, and the various aqua tones work well in the same way. Not only that, they are naturally at home with either blues or greens as accents, and using these will strengthen the presence of blue or green in the aqua shade.

Colours that sit opposite aqua on the colour wheel provide a strong contrast. Look to shades with a red base – coral or rusty oranges can add depth to both pale duck egg and rich teal schemes. Pinks in all shades are an excellent partner to these blue-green shades. A pretty pastel scheme of pale pinks and duck egg is utterly charming; a mid-pink looks delightful with more saturated aqua tones; and for a striking, contemporary pairing, try fuschia and teal. A zing of yellow can also work well, as can an eclectic, colourful scheme that plays with all these colours, with an aqua as a backdrop.

Easy on the eye, these aquatic hues can bring a soft infusion of colour to natural or grey schemes too. The following pages look at different combinations for various settings and styles. 1 Wallpaper, Brodsworth, Empress, £97.50 a roll; skirting, Marine Blue, £64 for 2.5l Intelligent Eggshell, both Little Greene 2 Wall, Deep Water Green, £55 for 2.5l Architects Matt, Paint & Paper Library 3 Cushions in Cevennes collection fabrics, from £89 a metre; wallpaper, Cevennes, Aloe, £185 a roll, all Brunschwig & Fils 4 Wallpaper, Vyne Silk in Oolong (background) and French Grey (foreground), both £90 a metre; curtains and chair pad, Java, Verdigris,

£55 a metre, all James Hare 5 Wallpaper, Basketry, Aqua, £66 a roll; headboard, Demetrius Applique, Aqua, £117 a metre, and all other fabrics, Thibaut 6 Calvin armchair, £399, Atkin & Thyme 7 Hydrangea soft duck egg fabric, £52 a metre, Jacqueline Milton 8 Signature wallpaper collection, from £89 a roll, GP & J Baker 9 Plushious velvet duck egg blue cushion, £45, The French Bedroom Company 10 Vernon Teal rug (2.8m x 3.5m), £2,377, Roger Oates THE ENGLISH HOME 65

Duck egg

Imbue a sense of calm and understated prettiness with this appealing, delicate shade

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his popular shade can vary greatly from a more green-based hue to a pale blue, however, the saturation always remains light, clear and ethereal. Creative director of Fired Earth Colin Roby-Welford says of its Duck Egg shade (centre swatch above), “This delicate blue-green has more depth and complexity than a powder blue or a pale green, yet it retains a wonderful freshness and vitality. Duck egg hues have a reassuring sense of familiarity and evoke a touch of nostalgia, making them perfect for traditional schemes and an easy, relaxing colour to live with.”

This versatile colour can work well in many pairings.

Surprisingly, it can be a great friend to terrracotta hues and rich browns, providing a light contrast to the warm tones. Calming duck egg tones – neither warm nor cool – can work almost like a neutral since they are so easy and restful on the eye. Adding a little more character to a natural palette of creams and beiges, they can look smart. For a pretty scheme, duck egg finds a great partner in pale pinks. Other shades of blue-green – brighter aquas or deep teals – also work well as an accent against the paler duck egg, as do purer shades of either blue and green.

Pretty pairing Clean, bright and uplifting, duck egg is ideal for enhancing the sense of light and space in an open-plan area, such as a kitchen with a dining area, whilst still having warmth and character. This space (above right) is charming but could be elevated by increasing the blush-pink accents. The two pastel tones work in harmony to create a feminine scheme that, though sweet, feels fresh and crisp.

A pattern combining duck egg with pink could be used for the blind or on table linen. Sarah Hardaker’s Zia (swatches right) does this beautifully in two colourways – one with more pink, the other more duck egg. Balance out dainty elements with some chic choices such as glass pendant lighting – consider blush-toned glass to add another layer of pink.

The Gustavian-style dining furniture shown works well for this look, but if seeking a more contemporary feel whilst still remaining true to the country mood, straight-backed Lloyd Loom chairs are a nice option.

These (right) from Neptune can be painted in a range of colours. An assortment of chairs in pale pink and blue-green shades could be used for a playful character or stick to one colour choice for a more tailored look.

66 THE ENGLISH HOME

Calm yet colourful Here (above), duck egg takes on a sophisticated character in a scheme that is serene yet full of depth and pattern. With a somewhat neutral backdrop, duck egg is used in a plain fabric on the largest piece of furniture – the sofa. Vibrant tones are added in the stronger hued geometric pattern of the curtains and the lively turquoise and cobalt blue print used on the chair. This perfectly showcases how the subtle mix of blue and green in duck egg allows stronger tones of each to be brought out in the use of accents and layering in swathes of tonally harmonious colour.

With this in mind, more of the blue could be highlighted, perhaps with a bold-hued glass lamp and shade. The flooring could be replaced with wood and topped with a sumptuous rug to add more texture and another layer of duck egg tones. Adding details in the form of trims provides further interest in this gentle colour palette. Golden accents in furniture and picture frames provide a refined finish. Silver would add a more cooler, fresher feel where golden tones bring a warmer aesthetic.

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Duck Egg, £18 for 2.5l Breatheasy Coloured Emulsion Matt, Crown • Duck Egg, £42 for 2.5l Matt Emulsion, Fired Earth • Hawkesmoor, £51 for 2.5l Marble Matt Emulsion, Mylands OPPOSITE, FROM TOP • Fulbourn Dusky Pink Pendant in Polished, £138, Jim Lawrence • Slim Daisy Flower jug, Teal, £30, Dartington • Walls in Pale Duck Egg, £35 for 2.5l Emulsion; Provencale Ivory furniture, from £600 for a pair of dining chairs, all Laura Ashley • Montague Lloyd Loom chairs in Pink Peppercorn and Powder Blue, £280 each, Neptune • Zia fabric in Shell and Faded Duck Egg, £59 a metre, Sarah Hardaker

• Hotchpotch Vintage Three-Tier Cake Stand with Butterflies, £39.50, Bombay Duck ABOVE, CLOCKWISE FROM TOP LEFT • Curtain, Garden Trellis, £133 a metre; sofa, Sagamore, £94 a metre; chair, Odisha Jungle, £113 a metre, Travers at Zimmer + Rohde • Perfume Bottle lamp, Azure, £1,296; Teal Satin slim straight oval shade, £146, Porta Romana • Directoire Tape, Teal, £92 a metre, Schumacher • Modena Blue Colour Block Photo Frame, £20, Oliver Bonas • Engineered Parquet Flooring, £110 a sq m, The Main Company • Blossom Mist rug, £778 a square metre, Riviere Rugs • Caspian Coffee Table, £1,450, Andrew Martin THE ENGLISH HOME 67

Turquoise

Vibrant, bright and clean, these dazzling aqua tones bring fresh, crisp colour to a scheme

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ull of vitality, bright aqua hues evoking gemstones such as turquoise, jade and aquamarine have a vibrancy without feeling brash. Echoing crystal-clear seas on a sunny day, these clean colours are inviting yet somehow also tranquil and calming. This mood can be heightened in a pairing with crisp whites or greys for a fresh, modern scheme.They also work well with a warmer palette of colours. Pinks work supremely well as a contrast, but blues, limes, yellows could also be combined to create a bright, zesty palette that is fun and invigorating.

Some turquoises can be more blue – such as Lakeland Paint’s Gualala (right-hand swatch above). Others are more jade-like and green in tone such as Devanandha’s Aqua (middle swatch above), from Francesca’s Paints, whose founder Francesca Wezel explains that the vibrant shade is made from Phthalo Green pigment only.

“That’s the reason it is so fresh and tangy. It is deeply pigmented and it is a clean colour, contrary to duck egg.”

Bright & playful This rather vivid and lively turquoise (left) might seem an energetic choice to use as a block colour on walls, however, here, it provides a clean backdrop to the playful assortment of bright pastel and eclectic pattern ensemble. It is surprising how adding more colours, creating a seemingly mismatched palette, actually mellows its vigour and creates an uplifting and beautifully considered sitting room. The dark and light blues add a subtle richness, bringing forth the blue undertones of the turquoise. The zesty lime greens could seem incongrous in theory (the yellow-green seeming out of balance with the blue-green) yet here add punctuation in block colours on upholstery, cushions and the rug.

Accents of pink bring the whole scheme together, providing a contrast to all the other colours. Recurring in all the patterned fabric choices, they create a visual cohesion that calms the eye. More of each colour could be added, with painted furniture in pinks or blues, some more lime green in a footstool and a touch more teal in a lampshade, perhaps. For a similar paint colour try Edward Bulmer Natural Paint’s Turquoise (left swatch above).

68 THE ENGLISH HOME

Ethereal beauty Shades of aqua offer a soothing quality in this light, bright sitting room (above). Echoing a Caribbean beach house with its light, breezy ambience, there is a a welcoming, relaxing quality to this palette designed by Tricia Guild, founder of Designers Guild. “In my view there are few more relaxing colours to live with than the glassy, delicate aqua tones that blur the fringes of blue and green,” Guild says. “Although apparently cool, in reality these colours are anything but. Used with soft neutrals, like parchment and linen, they feel more gentle and warm than their perceived glassy coolness. Put them with clear white, and even tones of grey, and the mood can change again to a modern feel.”

Using a range of textures helps to soften the look – velvets and silks maximise the jewel-like qualities of these gemstone tones.

Shapely furniture brings a softer, classic feel and could be accentuated by adding other pieces such as the curved console table (above right), or streamlined and angular pieces can be used for a modern look.

Finally, some small accents of apple green are peppered about for a little contrast and dynamism but do keep these limited to retain the sense of serenity in the scheme. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Turquoise, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Devanandha’s Aqua, £47.29 for 2.5l Matt Emulsion, Francesca’s Paints • Gualala, from £61.75 for 5l Matt Paint, Lakeland Paints OPPOSITE, FROM TOP • Gathered Bedwyn empire lampshade in Plain Teal light linen, from £85, Fermoie • Asta Rose coffee tables, £125 for two, Bloomingville at Amara • Curtains, Palmette, £69.90 a metre, and all fabrics, Linwood • Anderson footstool, green with walnut legs, £199, Cult Furniture • Cushion in Camellia Trellis Green, £55, Susie Hetherington • Budapest rug, from £160 (180cm x 120cm), John Lewis & Partners

ABOVE, CLOCKWISE FROM TOP LEFT • Plain Velvet cushion cover in Mustique Turquoise, £54, Oka • Villa Nova Starstruck cushion, Aqua, £70, Sweetpea & Willow • Glass Bottle Vase, Green, £10, National Trust Shop • Round layered mirror in Smoke £379, Heal’s • Salamander table lamp in Eau de Nil clear blown glass with 45cm straight empire lampshade in Natural Linen, £305, Pooky • Archer Dining Chair, £395, India Jane • Palladio console table, £2,800 Paolo Moschino for Nicholas Haslam • Sofa, Iridato,Pale Aqua, £105 a metre; wallpaper, Berettino Celadon, £65 a roll, and all other fabrics, the Murrine collection, Designers Guild

THE ENGLISH HOME 69

Teal

Deliciously deep, teal tones add richness and complexity to colour palettes

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amed after the duck of the same name which features a flash of gorgeous green-blue on its crown, this particular deep colour has been enjoying a wave of popularity over the last couple of years. Though it can be dark, it still retains an intriguing vibrancy, which makes it more stimulating than a deep navy or moody green, and a bit lighter in its overall effect.

It provides a fabulous backdrop to brighter aqua tones – the two tones boosting each other and enticing the eye with an indefinite assortment of blue and green. Though brighter blues and greens could work with teal – think of the beauty of a peacock’s feather which combines all three – teal often looks better with a stronger contrast. Sitting opposite teal on the colour wheel are deep oranges. Whilst complementary, this strong contrast can be quite powerful; rich yellows might be a more appealing choice. Though yellows can work with other aqua shades, teal works especially well with golden highlights. Pinks, both in pale and deeper shades, are a beautiful foil to teal and look particularly lovely in a bedroom. Purples, too, can add further rich colour for an interesting combination.

Deeply enticing Dark kitchen cabintery looks smart and refined, and whilst navy or hunter green hint at a classic style, teal strikes a more contemporary note. The ambiguity between green and blue is softer in its impact than purer tones.

In this kitchen (above right), some lighter accents in a pale aqua, almost a duck egg, further enhance this gentler approach. Adding tiles in this colour would work well and brighten the space. Here, we suggest the addition of another layer of colour in the form of a statement range cooker in deep aubergine (right). The daring might look to a mustard yellow option, but for a more understated yet still colourful look, the use of purple is playful but well considered. Putting another feature colour in the mix means limiting other accents to shades of blue-green, whether teal or duck egg. A teal flatweave rug would add a little comfort underfoot.

Warm metals in brass or copper maintain a slightly more heritage feel whereas silver and nickel finishes offer a cooler, contemporary look. Adding knobs, handles, even pots and pans, in rich coppers will add a classic warmth.  See overleaf for caption information.

70 THE ENGLISH HOME

FEATURE KATY MCLEAN PHOTOGRAPHS P67 (TRAVERS) © KIP DAWKINS; (ANDREW MARTIN) © LA PHUC PHOTOGRAPHY; P68 (FERMOIE) © DEBORAH HUSK; P69 (NATIONAL TRUST SHOP) © NIELS VAN GIJN; (INDIA JANE) © JOHN LOWTON; (DESIGNERS GUILD) © JAMES MERRELL; P72 (SOPHIE CONRAN) © DOUWE HOOGSTINS

Luxurious setting The hand-painted wallpaper (above right) by de Gournay provides an elegant backdrop in this dining room with its dramatic design on a sumptuous teal background. The colourful birds and citrus trees intermingling with flowering tulip and peony trees in the design provide a range of rich colours to pick out for use in accent details. Furniture in teal and turquoise might add an intense hit of vibrancy, as might a golden yellow fabric at the window, plain or semi-plain so as not to detract from the wallpaper. An opulent silk would be an ideal pairing, particularly with a sparkling crystal chandelier or flickering candles in the evening.

Though this is a sophisticated room, playful notes could be added with accents of colour in glassware or tableware, or in floral centrepieces that pick out the hints of pink, orange, lime and bright aquas in the paper. For a more affordable option, a chinoiserie-style wallpaper could be used, but look for one that still has plenty of detail and colour to provide the eye-catching central feature of the scheme.  72 THE ENGLISH HOME

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Maritime Teal, £42.84 for 2.5l Diamond Matt, Dulux Heritage • Vardo, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Serpentine, £49 for 2.5l Elite Emulsion, Zoffany PREVIOUS PAGE, FROM TOP • Gisela Graham Circular Green Marble coaster, £11 for two, Hurn & Hurn • Potters Glaze tiles, Gadsby, £64.42 a square metre, Claybrook • Arbor kitchen, from £20,000, Harvey Jones • Everhot 100+ range cooker, Aubergine, £7,925, Everhot • Aged Satin Copper cup handle, £54.70, G Johns & Sons • Upani cotton rug, Teal & Natural, from £99, Urbanara

• Newey & Bloomer Kensington copper kettle, £220, Borough Kitchen ABOVE, CLOCKWISE FROM TOP LEFT • Saisons tassel tieback, Capri, £280, Samuel & Sons • Hummingbirds wallpaper, £115 a roll, Cole & Son • Jardinières Citrus Trees handpainted wallpaper on Blue Green Williamsburg, from £977 a panel (W91.5cm), de Gournay • Deneuve cabinet in Teal Vellum, £6,429, Julian Chichester • Atelier dining armchair, from £3,036, Baker Interiors Group • Fabric, Quartzite, Yellow, £60 a metre, James Hare • Jewel Tone glass candlesticks, £22 each, Sophie Conran

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NINA CAMPBELL

on aqua

“

Aqua hues – from teal to duck egg – are some of our most popular colours for fabrics and accessories. I think they can be very versatile colours that can work well with many different palettes. You can also use them in a subtle, soft way or push them to brighter or deeper saturations, so they have a very different impact.

A CASE IN POINT For this bedroom (above right), as with many couples, the wife wanted something feminine and the husband didn’t want to be in a pink room. I presented several options and this colour appealed to them both. I like to call this shade duck egg, though I am not sure a duck’s egg ever is this colour, but it’s a good term. It is an easy, calming colour, not blue, so it is not cold, and not green either, which I find is not a very flattering choice in a bedroom. It reflects on the skin in a poor way.

This is a lovely, light room, so combining the aqua with chocolate brown [in the bedlinen] was easy and made it even more welcoming. The only really strong use of duck egg, or aqua, is on the headboard and stool at the foot of the bed. Otherwise there is lots of broken white, ecru linen on the walls and some smaller touches of aqua coming in, such as the beautiful blue glass lamps and the braid trim around the wall. It is very detailed and tailored.” n

74 THE ENGLISH HOME

USING AQUA SUCCESSFULLY KEEP IT CLEAN • Whatever tone of aqua, the colour needs to be bright and clean, don’t muddy it. Then it can become very dull.

in some yellow or warm it up with coral or orange. In a New York apartment, I paired it with greys and a strong blue.

It’s very versatile.

USE SPARINGLY • One potential pitfall in using aqua is it can start to look as though you are in a swimming pool. That’s not to say you can’t use it on the walls, but balance it with some other colour or broken white. Or, as I did in the bedroom above, use it boldly on a few pieces.

BEING BOLD • In my own hallway, I’ve used a much stronger turquoise in a lacquer finish. One place I feel you can go really bold with a strong colour is the hallway.

Mine goes straight into my sitting room, which is in a plainer linen hue, so I wanted a strong colour to create a joyous sense of arrival. The lacquering makes it shiny, strong and so uplifting when I come home.

Though the turquoise is a bold colour, it almost behaves as a neutral since I have all sorts of other colours thrown in with it. It surrounds a bookcase in which the spines are in every possible colour. I think you can throw colours together with it to great success.

BEST PAINTS • Argile is a French company that uses a lot of pigment so the colours are beautiful. In this colour palette, I’d recommend Eucalyptus, Lichen Bleu and Terre d’Orient. Benjamin Moore also has a very good paint range.

STRONG COMBINATIONS • Teal goes beautifully with greens. You can also throw

FEATURE KATY MCLEAN PORTRAIT © SYLVIE COGRANNE PHOTOGRAPH © PAUL RAESIDE

The illustrious interior designer on the calming and uplifting properties of these tones

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COLOUR CONFIDENCE

WITH

PINK

Style ideas and expert guidance for using different shades of this pretty colour to create sophisticated settings

Wall in Rose Pink, £49.50 for 2.5l Emulsion, Edward Natural Bulmer Paint

THE ENGLISH HOME 77

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Versatile pink Ranging from an almost neutral plaster pink to mid-tones of rose and peony to lively corals and vibrant fuchsias, pink has many characters. The colour seemed to be having a ‘moment’ a couple of years ago and its popularity has not waned, with tones of blush sweeping into interiors in beguiling combinations and myriad styles.

Feminine, floral schemes naturally suit the delicate romance of rose pinks, but pink can also be smart, sophisticated and punchy. It provides a graceful counterbalance to grey decor; adds dynamic contrast to greens and blues; and produces classical echoes with yellow, also suited to fresh, uplifting rooms.

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FEATURE KATY MCLEAN PHOTOGRAPHS (4 & 6) © KIP DAWKINS, (8) © ADAM CARTER

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WHICH HUE? The choice of pink will tend to set the mood and energy for the room.

Shades differ so vastly, each creating its own ambience and tone. To avoid a saccharine look, steer away from pinks that tend to have a blue base note and evoke the feel of a young girl’s bedroom. Pinks with a yellow or muted brown undertone have a far more grown-up effect.

Earthy plaster tones are barely pink but an almost nude colour that can provide a soft introduction to using pink and, alongside cosseting hues of beige and brown, result in a warming, neutral look. Or they can be prettied up with accents in deeper pinks or smudgy blues which, being soft, gentle and slightly dirty tones, suit quiet, restful spaces. Edward Bulmer Natural Paint’s Cuisse de Nymphe Emue is popular for this look. For a deeper shade, Farrow & Ball’s Sulking Room Pink has a moodier appeal.

Petal pinks instantly feel more feminine and bring a brighter approach.

If desired, they are perfect for a more romantic country look full of charm: think ditsy patterns, faded antique linens and rose prints. Alternatively, used in a more graphic way, for instance contrasted against whites and greys, they can look modern and crisp.

Teaming green with mid-pink tones creates a striking combination. Bold botanical motifs in a deep evergreen hue can be exquisite against a rose backdrop. Blues, from deep navy to powder blue, work well with most tones of pink; particularly interesting is contrasting sky blue with a deep coral pink.

A ‘hot palette’ – including pinks, reds, oranges or yellows – whilst usually avoided due to the thought that these colours clash, can produce bright and dynamic, or rich and comforting results when the right balance is used.

Pink can provide a classic backdrop to traditional furniture whose warm wood, antique brass and gold tones sit comfortably with most shades. For a contemporary lift, try cooler nickel and silver finishes and geometric patterns.

And for the eternal romantic, pink will always look perfect on florals.  1 Wallpaper, Batali, Pink, £79 a roll, and all fabrics, Jane Churchill 2 Wallpaper, Trellis, Pink Sand, £356 a roll, No9 Thompson 3 (From top): Espinillo Hot Pink Patchwork cushion, £45; Espinillo Hot Pink Oxford pillowcase, £15; Espinillo Pink throw, £75, all Clarissa Hulse 4 Manor collection, Pale Pink Series, Anna French 5 Blind, Margot, Pink, £78 a metre, Kate Forman

6 Chair and curtains, Merabu, £140 a metre, and all other fabrics, Travers 7 Wall, Josephine, £25 for 1l Chalky Interior Matt, M&L Paints 8 Bespokeupholstered full bed in Embroidered Pink Rosebud Linen, from £1,995, and all other fabrics and furniture, Susie Watson Designs 9 Chair upholstered in Rivoli, Rose Ancien, £78 a metre, and cushion fabrics, all Manuel Canovas

THE ENGLISH HOME 79

Pale pink

A dusky, pale tone with warmth and softness, this is a calming and gentle way to add pink

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rom whispery pale seashell shades to the gentle hues of cherry blossom, pale pink imbues a room with a soft, almost ethereal feel. “The right shade of a dusky, quiet pink makes any room feel warm and soft, which is why we are so attracted to it,”says Cassandra Ellis, owner of Atelier Ellis and creator of a beautiful range of paints. This is a hue that can be used in almost every room in the house, although its soothing nature makes it a particularly good choice for bedrooms and sitting rooms.

When pale pink is used as the dominant colour in a room and combined with touches of soft blues and greens, the resulting feel will be lively yet well-balanced. However, to ground pale pink, pair it with neutrals such as charcoal, whites and off-whites to provide the basis of an elegant scheme that sits with ease in many property styles. Ellis enjoys pairing soft pink with greens, darker reds, plums and browns. “They enhance pink beautifully, especially when they have a matt finish that will imbue a room with a chalky softness,” she says. Her advice is to avoid cool pale pinks in north-facing or top-lit rooms, as they can feel cold and a little sickly, rather than soft and sophisticated.

Gentle & warm Some designers, such as Henriette von Stockhausen of VSP Interiors, regard pale, desaturated pinks, such as the one used on the walls in this study (above right), almost as a neutral – an easy-to-use colour which provides a mellow backdrop to the other colours in a space. Combined with soft blues and greys, this type of pink feels sophisticated, elegant and quietly makes a statement. “Peachy pinks can actually look masculine and add warmth and comfort to a room,” von Stockhausen says.

Using other shades in the same tonal weight to the pink across the walls stops this scheme feeling discordant or jarring to the eye. Swedish or French antique painted furniture in a palette of soft neutrals look particularly lovely alongside pale pink. This type of wall colour provides a pleasing backdrop for displaying pieces of art that will add originality and life to a room and, similarly, sets off these beautiful curtains in a Nina Campbell fabric.

80 THE ENGLISH HOME

Delicately balanced With its distressed finishes and faded textures, this sitting room (above) has a lovely feel. The pink sections of recessed wall perfectly complement the stone fireplace and the pale-toned French decorative antique pieces in the room. A beautiful choice for a sitting room, this palette could also provide a soothing scheme for a bedroom, or a warm and welcoming look for an entrance hall.

This room is a good example of how those who might feel apprehensive about incorporating pink can use it sparingly in sections of a room. The designer of this space has chosen to wallpaper the chimney breast in a delicate geometric design which works well with the pink recessed walls – it provides contrast whilst allowing the room to feel calming. Neutrals, such as stone, driftwood, indigo blue and grey, will always work fabulously with dusky pinks. Whitewashed woods, stoneware and patinated finishes work well too. Choose fabrics with a softly geometric pattern, or for something prettier, look to Jean Monro’s Lustmore in cream, which picks out the dusky pink, but also has a hint of deeper raspberry and delicate blues. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Threadneedle, £51 for 2.5l Marble Matt Emulsion, Mylands • Tea Rose, £51 for 2.5l Matt Emulsion, Atelier Ellis • Antoinette, £39.95 for 2.5l Wall Paint, Annie Sloan OPPOSITE, FROM TOP • Winchelsea wooden chandelier, £1,950, Oka • Florabundance tulip vase, £49, Dartington Crystal • Curtains, Nemours, £135 a metre; chairs, Fouquet, £85 a metre, both Nina Campbell at Osborne & Little • Alnwick Bureau, Washed Acacia £8,970, William Yeoward • Pink & Orange Stone Lattice waste paper bin, £85, Pentreath & Hall • Cirrus rug in Grey & Blue, £595, Cox & Cox

ABOVE, CLOCKWISE FROM TOP LEFT • Wallpaper on chimney breast, Mawton, Chalk/Ivory, £58 a roll; recessed wall, Light Rose, £45 for 2.5l Active Emulsion, and all fabrics, Sanderson • Hand-carved and hand-painted Acanthus pedestal table (available in a choice of colours and finishes), £1,047, Chelsea Textiles • Pampas Nordic Stripe carpet in Sweden, from £28.50 a square metre, Kersaint Cobb • Lene Bjerre Macy flower pot, £35, Sweetpea & Willow • Ceramic Colne Pitcher in Grey, £40, A by Amara • Tor in Peony (left) and Mist (right), £39.90 a metre, Linwood

THE ENGLISH HOME 81

Peony pink

A bolder yet still pretty hue of pink that creates a feminine look as a strong statement colour

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nashamedly feminine in feel, this deeper shade of pink will feel lively and exuberant in any room.

Whilst they can be divisive colours, sometimes with the reputation of being saccharine, these shades should not be ignored when planning a room scheme – they can look quite beautiful when used well.

This strong and saturated mid-pink can be tempered by being combined with slate greys, mid-blues or soft browns. Alternatively, for a fresh, summery feel, pair it with whites and silvery greys – natural bedfellows to pink. Henriette von Stockhausen advises staying away from strong pink on walls. “But you could try using it in small rooms such as cloakrooms where it will make a strong statement,” she says. Von Stockhausen sometimes looks to Edward Bulmer Natural Paint when choosing certain colours. “It offers varying saturations – 60 per cent, 40 per cent, 20 per cent – which can be helpful when you want a slightly more muted version of a particular colour,” she explains.

Consider using a strong pink tone as an accent colour on cushions, lampshades or vases – a little goes a long way.

“Upholster a special piece of furniture, like a sofa or a chair which can take a strong colour. This can be used as a stand-alone piece, or add a piece of art or an eye-catching showstopper,” von Stockhausen suggests.

Harmonious combination With its lovely palette and vibrant soft furnishings, this bathroom (above left) feels quite decadent. A clue as to why this scheme works so well is that blue and pink are analogous colours, meaning they sit next to each other on the colour wheel and, when used together, look harmonious and easy on the eye. The adherence of a predominantly two-toned scheme of blue and pink makes this room feel cohesive: the addition of other colours would perhaps result in it feeling less restful and could overpower any relatively small, low-ceilinged room. The soft pink herringbone floor tiles add a beautiful layer of texture, creating just the right amount of contrast with the wall colour.

The Lloyd Loom chair and the touches of gilt on the picture frame and the overmantel mirror add a final flourish to this pretty scheme and imbue the room with character and charm. Sanderson’s pretty hollyhocks fabric (far left) also demonstrates how well these colours work together, with the pink flowers being perfectly set off by the blue base colour.

Joyful & confident This bright and airy sitting room (left), with its abundance of natural light, lofty ceiling and architectural detailing, is the perfect backdrop for these beautiful pink-hued fabrics. Whilst the pinks used here are fairly strong in colour, tranquillity is provided in the pale-grey and white elements, which are just as important. When combined with the muted wooden flooring and white rug, these neutral tones provide calm areas where the eye can rest.

Through the joyful and confident mix of pattern and the informal placement of the furniture, this room has a certain look of insouciant easy living, despite the grandeur of the architecture. Note how the armchair has been upholstered using a solid pink fabric on the front, providing an injection of colour, contrasted with a simpler, striped fabric across its back. The pairing of this vibrant, patterned seating with an elegant white sofa looks chic and balanced.

Whilst refined and classical in feel, the simplicity of the tables in the room means that they do not dominate the space, allowing the saturated pink colours and patterns to come to the fore. As well as looking magnificent in this type of room, this scheme could also be slightly pared back to suit a smaller space. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Genuine Pink 2005-40, £25 for 0.94l Aura Matte, Benjamin Moore • Rangwali, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Rhodera, £45 for 2.5l Active Emulsion, Sanderson OPPOSITE, FROM TOP • Dusky Cranesbill cushion C734, £165, Chelsea Textiles • Cherry Red Herringbone tiles, £2.50 each (minimum order one square metre), Bert & May • Burghley chair with flat seat, £299, Lloyd Loom • Hollyhocks fabric, Petrol Blue/ Multi, £64 a metre, Sanderson • Bletchley soap basket, £45, Jim Lawrence

LEFT, FROM TOP • Curtains, Shanghai Garden, Peony, £85 a metre; armchair, (front) Torlonia, Peony, £87 a metre, (back) Brera Nastro, Peony, £69 a metre; small sofa, (front) Jichang, Peony, £218 a metre, (back) Brera Nastro (as before), all Designers Guild • Hulu lamp in Dusty Pink with pleated shade, £285, Oka • Berlin Armchair in Blushed Pink Vintage Velvet, £1,075, Loaf • Favorita vase in Fuchsia, £314, William Yeoward • Console with Two Drawers GUS090, £1,009, Chelsea Textiles • Cerise Pink Beehive throw, £59, The British Blanket Company

THE ENGLISH HOME 83

Coral pink

Versatile and eye-catching, this popular shade of pink can be lively and punchy or elegantly soft

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his is a gloriously uplifting pink with an orange undertone that adds warmth and vibrancy to a scheme. It has gained in popularity over the past year since Pantone named ‘Living Coral’ – a golden-toned colour that feels nurturing and soothing – as its 2019 Colour of the Year.

A surprisingly versatile colour, coral can look wonderful with both warm and cool partners. Paint expert Annie Sloan – a lover of the colour coral herself – suggests pairing it with grey. “It will look fabulous and temper the feistiness of a vivid pink-toned coral,” she says. Sloan recommends using a blue-toned grey, such as her Chicago Grey, to enhance the warmth of coral. Teal also works well with coral, providing a lively and fresh look. For a reinvigorating scheme, try combining coral with white, particularly in garden rooms and outdoor entertaining areas where this palette will form a striking contrast with the surrounding greenery.

Sloan feels that well-lit spaces showcase coral’s bright and bold pigments best but, given that it is a bright and projecting colour, she advises against using it in a small space, unless in very small amounts, as “high-energy colours like coral can make a room feel smaller”. In less spacious rooms, consider adding bursts of this pretty colour in cushions, throws or ornamental pieces.

Deep & dynamic This scheme (above right) features jewel-like coral pinks and teal – high-contrast colour opposites which look dynamic and exciting together in areas such as formal sitting rooms and dining rooms.

This pairing would be best avoided in rooms where a relaxing and tranquil look is desired.

Coral can be a good accent colour for the upholstery of a sofa, a pair of armchairs or an ottoman. Here we can see how this punchy colour adds a refreshing twist to this traditional Bergère sofa. Whilst coral is a powerful colour, its strength is balanced here by the densely patterned curtains, which with their deep teal ground look quite magnificent in this space. Note how this fabric has also been used to make a cushion that sits on the sofa, providing further balance to the scheme. All this colour and pattern needs to be foiled by a simple backdrop of pale grey or warm neutrals and elegant flooring, such as this exquisite parquet.

84 THE ENGLISH HOME

FEATURE MIRANDA WATCHORN PHOTOGRAPHS P79 (CHELSEA TEXTILES) © DOMINIC BLACKMORE; (LENE BJERRE) © CHRISTIAN B/YELLOW; P81 (BERT & MAY) © SUZY PARKER; (CHELSEA TEXTILES) © DOMINIC BLACKMORE; (LLOYD LOOM) © HENNING RAS; (SANDERSON) © MEL YATES; P82 (OKA) © GARETH HACKER

Pretty & sophisticated As coral can be an invigorating colour, rather than using it on walls, try creating a gentle backdrop of pale grey or pretty beige tones, against which coral-coloured accessories can be added.

Neutrals have the ability to anchor strong colours to create room schemes that still feel tranquil, such as in the room above (top left) whose coral rug is toned down by the furniture in a palette of ecru and linen creating a feeling of calm. Adding small touches of aqua would create a lively play of colours which would work well in a sitting room or hallway.

Although coral can sometimes appear highly saturated as a colour, in its softest form it can be layered without appearing overwhelming to the eye. In the bedroom scheme (above right), the bedlinen, with its pretty scalloped coral detailing, subtly echoes the coral hues in the patterned drapes on the four-poster bed, whilst adding a contrasting detail; similarly, such coralcoloured trimming could add a decorative flourish to a pair of off-white linen curtains. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Chalk Paint mixed using three parts Tilton to one part Emperor’s Silk Portrait, £19.95 for 1l Chalk Paint for each colour, Annie Sloan • Fan Coral 013, £25 for 0.94l Aura Matte, Benjamin Moore

• Coral Flair Feature Wall Paint, £15 for 1.25l Matt Paint, Dulux OPPOSITE, FROM TOP • Jadis Olpe Verdigris, £80, Oka • Curtains, Peony Scroll (F712701), £140 a metre; sofa, Contour, Coral (F7126-07), £62 a metre, and all other fabrics, Matthew Williamson at Osborne & Little • Paddy velvet cushion in Fuchsia, £79, William Yeoward • Handwoven Bayat rug, £3,895, Handmade Rug Company

• Spring Resin Blue Green lamp base with RAF blue/green lampshade, £545, Marianna Kennedy at Pentreath & Hall • Balintore Zinnia throw, £85, Designers Guild ABOVE, CLOCKWISE FROM TOP LEFT • Coral Iris indoor/outdoor rug, from £138, Weaver Green • Coral Scalloped bedlinen, from £22.50 for an Oxford pillowcase, Sophie Conran • 30cm straight empire lampshade in Coral Squiggles, £45, Pooky • Flower tealight holder in Pink, £14, Brissi • Bertie armchair in Coral brushed linen, £790, Sofa.com • Anton four-drawer chest hand-painted in Antique Light Grey, from £2,915, Leporello

THE ENGLISH HOME 85

USING PINK SUCCESSFULLY PERFECT PAINTS • In our soft English light, I would tend to work with the softer end of the pink spectrum. Hot, racy pinks, whilst gorgeous, I think work better in hotter climates where the sun can really make them pop.

• Farrow & Ball’s Setting Plaster is my latest and favourite ‘go-to’ colour for kitchen cabinets. It emulates perfectly the wonderful colour of a freshly skimmed/plastered wall.

• Edward Bulmer Natural Paint’s pinks, such as Cuisse de Nymphe Emue and Jonquil, are particularly lovely also. And Benjamin Moore’s Pink Swirl is a delicious pale pink.

on pink

The admired interior designer explains how to use this appealing colour, whether as a background or in a mixture of shades

“

I am instantly drawn to pink – whether furniture, fabric, rooms or clothes – and it is a wonderful base from which to start a room.

It looks just gorgeous with so many colours – yellow, aqua, blue, orange, red, brown – the options are endless.

A CASE IN POINT This drawing room (above) was in need of a total refresh and, happily, my client loves colour so was instantly on board with the use of Phillip Jeffries’ divine watermelon-pink grasscloth wallpaper. The texture of the grasscloth adds

86 THE ENGLISH HOME

instant depth to a wall and softens the backdrop when a bold colour can be a bit overwhelming.

It also creates a beautiful backdrop to the antique and contemporary elements in the room.

I used several shades of pink together in the scheme. The curtains are in a softer, dirtier pink silk, whilst the armchairs are in a vibrant watermelon velvet and the rug has a bespoke raspberry pink design.

Pink is a lovely colour to play with in terms of shades and works especially well with the fresh minty greens and blues on the sofa, as well as the teal velvet cocktail stools by the fire.” n

• I was once told by a friend in fashion that you should never mix a bold colour with black – well, I think in interiors it is the complete opposite and rooms always benefit from a dose of black, whatever colour the walls. So imagine a soft pink wall with a black skirting – extremely chic I think.

VERSATILE CHOICE • Pink is a wonderful colour and works so well in a contemporary or traditional context, whether paired with bold, edgy graphic prints or soft traditional chintz. It works equally well in a bedroom, drawing room or bathroom.

FEATURE KATY MCLEAN

SAMANTHA TODHUNTER

KEEP IT SIMPLE • I think pink works best when left to its own devices and not overcrowded with too many other colours. It looks divine against fresh white woodwork, but equally don’t be afraid to pair it with like-minded colours – pink and yellow make a divine combination.

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COLOUR CONFIDENCE

WITH

RED

Guidance on reaping the rewards of this most dynamic and attention-seeking of colours

Terracotta Warrior, £42 for 2.5l Matt Emulsion, Fired Earth

FOR WHERE TO BUY SEE ADDRESS BOOK

THE ENGLISH HOME 89

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Expressive red Red is a colour full of vitality, energy and warmth. It draws the eye and creates impact whether used as a dominant colour or a small accent. Many designers believe in adding something red to a scheme to complete it – much in the same way that a small flash of red in an old master enhances the composition.

Look to the work of Charlotte Crosland and Carlos Garcia, for example, for beautifully bold examples of accenting with red.

Though red can come in many guises, from perky poppy to orangey brick and from juicy berry to sumptuous burgundy, it is a colour that can be deepened but not lightened, because unlike other colours which simply become a lighter version of themselves, the addition of white makes red turn pink which, of course, offers a very different decorative character.

That said, red is a wonderfully versatile colour that can work well in partnership with a surprisingly broad range of partners, as well as being a dramatic and energising choice with only neutrals for accompaniment.

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FEATURE KATY MCLEAN PHOTOGRAPHS (9) © JAKE FITZJONES; (10) © ANDY GORE

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SUMPTUOUS FOCUS As an energising colour, red tends to be best suited to living spaces, dining rooms and kitchens. Deep burgundies, clarets and other plum tones of red work especially well for dining rooms, taking on a sumptuous look in the evening under atmospheric lighting.

For smart, modern looks, reds look clean and crisp teamed with greys and off-whites. Earthier orange-based hues work well for more natural, rustic schemes. Blue-toned reds such as raspberry can look incredibly pretty. As the next few pages prove, the key is to let any red be the hero of the scheme and keep everything else relatively low-key and simple, unless trying to create a layered, eclectic look with the use of lots of differing but complementary patterns. Red accents act like beautiful punctation marks in a scheme or lipstick on an otherwise pared-back face. A glossy red lamp, for example, will immediately draw the eye and create excitement within a room. So it is vital to bear in mind that because attention-seeking red will attract the eye, whatever is highlighted in red must be worthy of such focus.

The following pages offer ideas on combining red with other colours, and ways to use various shades in different rooms.

1 Curtains, Acantha, Tomato/Blue, £139 a metre; sofa, Amadore Velvet, Tomato, £110 a metre, and all other fabrics, Colefax and Fowler 2 Walls, Vixen, £38 for 2.5l Matt Emulsion, Graham & Brown 3 Curtains and chair, Amadour, Ruby Velvet, £114 a metre, The Design Archives 4 Rug, Farrah Ruby by Nicole Fuller, from £2,902 (1.83m x 1.22m), The Rug Company 5 Selection of trims from the Trianon collection, from £15 to £60 a

metre, Nina Campbell at Osborne & Little 6 Sofa, Regency Stripe, Peony, £74.50 a metre, and all other fabrics, Ian Mankin 7 Rug, Brooklyn, Crimson, £339, Roger Oates 8 Bath painted in Atomic Red, £50 for 2.5l Intelligent Matt Emulsion, Little Greene 9 Parquet Red Oxide luxury vinyl tiles, £46.80 a square metre, Neisha Crosland Collection at Harvey Maria 10 Curtains, Verdi Applique, Venetian, £139 a metre, Zoffany THE ENGLISH HOME 91

Berry red

Embrace warm hues of cherry and berry with these vibrant yet deeply delicious reds

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hilst the purest primary shade of red can look striking, red as a colour is generally more palatable, particularly on a larger scale, in a softer variant with a little more depth. Blue and pink undertones keep reds looking clean and cheerful, and remove any brashness. Juicy cherry and raspberry tones are tempting, whilst still retaining the appealing drama that red offers. “Red is a huge standout colour and can take over,” says paint and colour expert Annie Sloan. “I recommend using a purer red such as my Emperor’s Silk (above far left) balanced with its complementary colour, which would be a soft, quiet, muted green.”

Though red is a strong colour, it works surprisingly well in a small space. “It gives life and interest,” says Sloan. “It’s also a colour that makes you excited and spreads energy, so the kitchen is a good candidate for some delicious cherry accents.”

By dint of featuring base notes of blue or pink, berry reds naturally work well with both these hues, as long as the pinks also share a blue rather than a yellow undertone. Denim blues, both light and dark, look sophisticated with berry reds.

Avoid an overtly ‘red, white and blue’ theme (unless desired for a nautical style) by adding off-whites with a grey undertone and gilt or brass details for a more nuanced effect.

Energising design This small nook (right, main image) has been transformed into a stylish office space by interior designer Nina Campbell. The confident use of both large-scale and intricately detailed pattern in a bold colour makes the area feel bigger and gives it a clear identity. This decorative choice would also work well in a hall or a dining room. This shade of red has a blue base, giving depth and softening its intensity, making it stimulating yet also easy to spend time in – an ideal choice for a productive and welcoming workspace.

It also makes a perfect partner to blue tones, picked out from the gorgeous pattern.

Opting for powder blues and pale aquas creates a sophisticated partnership that looks lovely with brass accents. The reverse colourway in the fabric (top right) could be used for a blind, with a cheerful pom pom trim, though a plain in a co-ordinating blue would also look smart. Bring comfort underfoot with a sumptuous rug that further echoes the blue from the wallpaper.

92 THE ENGLISH HOME

Modern country This sitting room (above) deftly combines elements of pretty country style with a more elegant townhouse aesthetic. A pared-back scheme of taupe-grey walls and natural flooring allows the flashes of red and pink in the patterns to catch the eye but not in an overwhelming or dominant way.

Whilst some might avoid using red and pink together, the two tones can work very well in tandem as pink is simply a paler diffusion of red. Here, cheerful raspberry reds combine well with rose pinks on the floral fabric, allowing for the addition of highlights in brighter pinks and deeper reds in other accessories.

A footstool in a rich red would increase the presence of red for those seeking a bolder look, whilst a few hot-pink accents could add a more contemporary edge.

The simple yet effective ticking stripe used for the curtains magnifies the full height of the sash windows. Dark wood finishes add weight and definition, as well as maintaining a more classical look. An eglomisé mirror would add glamour without glitz. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Emperor’s Silk, £39.95 for 2.5l Wall Paint, Annie Sloan • Rectory Red, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Watermelon, from £21.50 for 0.94l Regal Select Flat, Benjamin Moore OPPOSITE, FROM TOP • Townhouse wall clock in Denim, from £48, Thomas Kent at Hurn & Hurn • Les Indiennes fabric (NCF433001), £64 a metre, Nina Campbell at Osborne & Little • Cirque Pom Pom Fringe, Cherry, £56 a metre, Samuel & Sons • Mara desk lamp, £225, Cox & Cox • Wallpaper, Les Indiennes (NCW4350-01), £76 a roll, Nina Campbell at Osborne & Little; Easton desk, £6,788, Oomph at Nina Campbell; room design

by Nina Campbell

• Large Planter in Ox Blood, £115, Pentreath & Hall • Blue Sari Silk Klimt rug, from £1,982, Luke Irwin • Portman Mirrored Étagère, £1,449, Vaughan ABOVE, CLOCKWISE FROM MAIN • Sofa, Roses; curtains, Red Ticking, both £78 a metre, Kate Forman • Contour wall light (with shade), £168, David Hunt Lighting • Mondrian mirror, from £2,400, Clare Mosley Gilding • Venini 1980s vase in milky glass, £1,500, The Kairos Collective • Plymouth ottoman, Rouge deep velvet, from £299, Swoon • Herringbone throw, Cerise Pink, £64.95, Annabel James • Woven Hyacinth storage basket, £42, The Farthing • Artichoke Ornament, £80, Day Birger et Mikkelsen, Amara THE ENGLISH HOME 93

Brick red

Look to the earthiness of red with brown or orange undertones for grounded schemes

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or a softer approach to red hues, orange-based or brownish-reds have an alluring earthy quality. Mellow, but still rich and bold, brick, terracotta and rusty reds create impact, yet feel easy to live with and work particularly well with palettes of natural tones. Other colours could be brought in, such as darker, dirty tones of olive green or mustard yellow. Navy blue or charcoal along with white in clean, graphic or geometric designs provide a crisper contrast for a modern aesthetic. However, the look can also have a traditional appeal – think of antique rugs which often combine deep tones of blue, orange and red.

Whilst brick red might prove a trickier choice for a bedroom as it lacks the prettiness of other reds, it is a lovely option for sitting or dining rooms and kitchens. Rooms where natural finishes in flooring and furniture can be used are well suited to pairing with brick reds. Linen, cotton and wool all enhance the natural mood.

Naturally eclectic The rich brown-red backdrop shown here (left) works well for a natural, earthy scheme. Pairing it with natural finishes such as pale wood, stone, jute or sisal flooring and linens, provides a relaxed, soothing and grounded overall feel. The richness of the terracotta red could be softened with a lighter approach in cushions, perhaps in a slightly coral tone.

Alternatively for a touch of dynamism and contrast, navy blue could be introduced for a richly layered scheme, with an eclectic appeal. A feature pattern including orangey-reds and dark blues could be used on a smaller piece of furniture, such as an ottoman, with blue tones picked out in some cushions. Robert Kime offers fabrics that combine these deep reds with blues: an excellent starting point for creating a more offbeat yet classic combination of colour and pattern. For a heavier hit of colour, an armchair in a navy velvet would create a purposeful contrast to the pared-back natural elements. A striped rug or carpet would further tie the look together, combining the neutral colours with the red and blue.

Other finishes should be natural, with metallic touches either in mercury silver or antique brass.

Rustic & enveloping Reds are a strong choice for a kitchen and are synonymous with fresh, delicious food, so there is a natural affinity. Brighter reds suit a bold, sleek contemporary mood, whereas – for those seeking a softer, period look – brick reds with an orange tone are much easier on the eye. Navy and green have been increasingly popular for adding deeper colour to kitchens, but the warmth and comfort of this soft red should see this orangey-brown hue in favour, too.

The earthy tones suit rustic finishes for a country kitchen.

Here (above) the kitchen cabinetry is painted in Rusty Nail by Plain English – note the very effective use of the same colour on the window frames and open shelving to create a cohesive look.

A freestanding dresser in a creamy stone colour provides contrast and lightness, whilst all other finishes are kept natural, with wood work surfaces, flooring and a charming untreated farmhouse table.

Quaker-style chairs or even an assorted mix of wooden dining chairs and stools would add further character, along with a display of artisanal stoneware or ceramics. Other natural colours in shades of amber, olive, grey and brown could be introduced through accessories or lighting.

PAINT SWATCHES OPPOSITE TOP RIGHT (FROM LEFT) • Brick, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Indian Lake, £51 for 2.5l Marble Matt Emulsion, Mylands • Riding Hood, £43 for 2.5l Claypaint, Earthborn OPPOSITE, FROM TOP LEFT • Small Temple Jar table lamp (T3-026), £566; 12” Empire lampshade, £266, both Besselink & Jones • Berber ZigZag cushion in Terracotta, £530, Vanderhurd • Maison Bagues magazine rack c1960, £475, Artisanna • Room painted in Bengal Red, £45 for 2.5l Active Emulsion, and all fabrics, Sanderson • Orson wingback chair in blue velvet, £327.99, Julian Joseph

• Bespoke Octagonal ottoman, £POA, Robert Kime • Carpet, Twickenham, from £46 a square metre, Brockway ABOVE, CLOCKWISE FROM TOP LEFT • Kitchen from £25,000, Plain English • Encalmo pendant light in Amber & Olive, from £1,195.20, Best & Lloyd • Butcher’s Block, £349, Scumble Goosie • Green stoneware flowerpot, £14.50, Beaumonde • Raw-brass mixer tap with cross handles, £420, The French House • Karine Stoneware teapot, Grey, £21, Bloomingville at Hurn & Hurn • Windsor Quaker dining chair, £435, Ercol THE ENGLISH HOME 95

Burgundy red

Rich purple-based hues of red are decadent and deeply alluring for more dramatic settings

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ike fine red wines these deep reds have gorgeous plummy notes and a complex depth. Full of warmth, they make an ideal choice for a dining room or library.

Vanessa Konig, director of Konig Colours, says plum reds such as Sitwell Red (above right) “have an underlying depth of deep magenta at its base. It works really well in gloss, being perfect for joinery.

The gloss really brings out the deep hues of the colour and seems to be having a renaissance.”

Konig adds that this hue can be contrasted with a vibrant green to create a stylish, cosy bedroom, accented with coral in a modern study or used for cabinetry in a kitchen against mineral-white walls and slate floors.

Lending itself perfectly to classical schemes, wine red works well in grander settings to add gravitas. For an opulent look it pairs well with gold and is decadent when used for silk damask curtaining or fabric-lined walls.

Chic & crisp Purple-based reds look wonderful in evening lighting, making them a perfect choice for dining rooms.

Choosing a bold colour shows confidence and sets a cosseting mood for dinner guests. In addition, Crown Paint’s colour consultant Judy Smith adds that “colour psychologists believe red induces appetite; they believe this is directly related to the physical effect red has on our bodies... it is thought to stimulate the senses, promote activity and raise the blood pressure.”

Here (above right), the colour (Scarlet Ribbon

by Crown Paints) has been used on the walls, enveloping the room with richness. Clean-lined contemporary furniture and crisply contrasting white and black hues keep the room modern and bold. To soften the look, a patterned fabric could be used for window treatments – Roman blinds rather than curtains might work best.

Gold finishes and detailing on furniture would add a feeling of opulence.

96 THE ENGLISH HOME

FEATURE KATY MCLEAN PHOTOGRAPHS P90 (VAUGHAN) © ANDREW SMART. P93 (ERCOL) © UNIQUCAPTURE; (BLOOMINGVILLE) © FOTOGRAF CHRISTIAN B. P94 (ZOFFANY) © GARY O’KANE, ELLE DUNN. P95 (JUSTIN VAN BREDA) © JASON FORSTER; (INDIA JANE) © NATALIA SLEPOKUR

Classic accent This room (above) by the highly respected interior designer Alidad features a limited use of red, but shows how powerful the colour is, immediately drawing the eye in this hallway. “Red is one of those colours which brings with it a richness and warmth,” he explains. “There wasn’t much furniture in this entrance hall, so I used the red to balance the tapestry with the space and to bring some welcoming warmth.”

A classic silk damask in a rich claret red has been used for the upholstery, whereas the side table (by Thomas Messel for Alidad) has a slightly more contemporary feel, upholstered in red velvet with stud detailing. A tapestry introduces another layer of colour with blues and greens, however, everything else is designed to let the warmth of the red radiate. Stone or marble floors are the perfect choice. Gilt frames and finishes on lighting and other fixtures is also a must. Any other furniture additions, if space allows, should also have a classical feel in keeping with the period of the property.

In such a scheme additional colour should be limited, but another small hint of red could take the form of antique books or, as seen here, with a large display of red roses. Alidad’s use of red is concentrated to a small vignette within the large entrance, creating a focal point and proving that when using red accents, it is important the items used deserve attention, as they will always command it. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Pomegranate Seeds, from £23 for 2.5l v500 Emulsion, Valspar • Red Velvet, £48 for 2.5l Perfect Matt Emulsion, Designers Guild • Sitwell Red, £48.50 for 2.5l Low Sheen Emulsion, Konig Colours OPPOSITE, FROM TOP • Circular Wave mirror in Antiqued Parchment, £POA, Simon Orrell Designs • Handmade Manhattan drinks cabinet, £21,000, Amy Somerville • Walls, Scarlet Ribbon; woodwork, May Queen, both £21.50 for 2.5l Period Collection Matt, Crown Paints • Wonkiware 20-piece Organic Sand dinner party set, £320, The Conran Shop • Le Buffet cupboard, £6,500, Victoria Stainow • Kashgar velvet fabric, Red/Gold, £98 a metre, Zoffany

• Tripod Walnut wooden floor lamp with red velvet lampshade, £220, Habitat ABOVE, CLOCKWISE FROM TOP LEFT • Interior design by Alidad • Eighteenth-century Aubusson Verdure tapestry with a wading bird, a river with a bridge overhead and a chateau (267cm x 184cm), £18,000, Julia Boston • Edwardian umbrella, hat and cane stand in brass and faux bamboo, £399, Lorfords • Brodie Console in high-gloss lacquer walnut, £3,998, Justin Van Breda • Jefferson red leather box, £99, India Jane • Baroque wall light £1,395, Beaumont & Fletcher • Eléonore chaise longue, £2,532, Oficina Inglesa

THE ENGLISH HOME 97

EMILY TODHUNTER

on red

The eminent interior designer on the comforting, warming impact of red and secrets to choosing the right shade

“

I’m not a bit worried about using red. It is one of my favourite colours and I always try and have a red room in a house if I can. It’s a warm, cosy colour and it works really well for dining rooms and bathrooms. I’ve also done some amazing small dressing rooms which I think are some of the all time great successes.

A CASE IN POINT To set a more relaxed and calm mood in the guest bedroom (right) we have used red in a soft way. By using it in such a pretty pattern on the walls it has a gentle effect (for similar, try Bird And Thistle, Brunschwig & Fils). We kept everything else – the fabrics and furniture

– very simple. With such a complicated pattern, especially in red, you wouldn’t want to hurl too much else at it. Though there is a trend for layering different fabrics, colours and patterns that don’t necessarily ‘go’ together (and that can be a good thing), for a calmer mood you want things less complicated. The headboard and curtains are in a plain creamy white, trimmed with a dash of red to pick up the deepest red tones of the paper. This adds a lovely clean, smart balance to the romantic pattern. This was already a lovely room but we felt it needed something special to give it some character and set the right atmosphere and I think red is the perfect choice.” n

THE RIGHT TONE • Choosing the right red is crucial. I think you need a deep, dark red. Not a pillar-box red. Don’t think that by choosing something bright you will make the room lighter – it will be more scary and bitter. So be brave and find a red with a lot of blue or brown in it to give depth. It should be a bit like dried blood, which doesn’t sound very lovely, but it has the right depth and character.

• Edward Bulmer’s Sang de Boeuf and Red Ochre are good examples, and Farrow & Ball’s Reading Room Red VERSATILE COMPANION • It’s not for nothing that antique rugs are generally red based; it’s a colour that seems to go with everything. You could start

98 THE ENGLISH HOME

with a rug and pull out the red in it to build your room. It’s just so successful with everything, whether as the dominant or accent colour. You might think it’s going to be hard to live with, but it’s very easy on the eye.

BEST USES • Red works especially well in a north-facing room as it’s so cosy.

It’s also great for rooms that need a little help, for example with awkward angles or proportions, as it’s so full of character.

There’s just something about it.

• Red ceramics are fantastic and it’s very easy to find good red lamps, which are very useful – especially if you just want to introduce a small amount of red to a room.

FEATURE KATY MCLEAN PHOTOGRAPHS OF BEDROOM © RAY MAIN

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WITH

YELLOW Advice on using the positive glow of different shades of this energising, joyful colour

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THE ENGLISH HOME 101

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FEATURE KATY MCLEAN PHOTOGRAPHS (4) © ELVIS JONES; (5) © CORA BÜTTENBENDER; (6) © JON DAY; (8) © ALEXIS HAMILTON

Yellow is a colour that cannot fail to cheer the spirits – naturally sunny, it brings a joyous burst of light and optimism, whether in citrus lemon, golden honey or warming mustard tones. In China, yellow is traditionally seen as being symbolic of power, royalty and prosperity, so it is also a colour with deep resonance.

There are a wealth of subtle tones to choose from. Green undertones can give yellow a zesty feel, whereas creamier, knocked-back, primrose yellows still bring cheer but are less lively. Golden, honeyed tones offer elegance and work particularly well in luxurious textures of velvets, silks and comforting wools.

Mid-tones of egg yolk are a good choice for a brighter yellow which, tempered as they are with a little orange, make a palatable, welcoming backdrop, and an ideal choice for an inviting hallway or sunny sitting room. Deep mustard hues and spicier notes of saffron and turmeric add warmth whilst still retaining the optimism that yellows bring to the home.

EXCITING PALETTES Contrasted with white, yellows create a bright, light and cheering space.

Be careful, though, to choose whites or creams with the right base notes to complement the yellow hue. An off-white with a grey cast will work especially well with any shade of yellow. Mix in patterns and textures for variation, sticking to one tone of yellow with white to set a clean, fresh mood.

Yellow and grey are a particularly strong partnership. The two opposing colours come together in chic harmony, the calm grey moderating the energy of sprightly yellow. Charcoal and chocolate brown provide a similar effect.

Other colours work surprisingly well with yellow, too. For instance, yellow and pale pink can look incredibly chic, whilst yellow and green are a harmonious and natural marriage. Hot palettes of brighter yellow, orange and fuchsia in bold patterns set an upbeat, summer feeling, year round.

As with most colour pairings, choosing hues of the same weight and saturation is key to creating balance. A soft rose pink, for example, needs a creamy yellow that has the right level of white to tone it down to the same strength of colour. The following pages provide further inspiration on how to make best use of glorious yellow.

1 Wallpaper, Pacaya, Fenugreek, £105 a roll, Romo 2 Wall, Humpty Dumpty, £43 for 2.5l Claypaint, Earthborn 3 Wallpaper, Poppy Damask, £68 a roll; bed cover, Ottoman Flowers, £57 a metre, and all other fabrics, Sanderson 4 Selection of fabrics from The Manor House collection, from £27 a metre, Clarke & Clarke 5 Curtains, Chanter, £137 a metre, Etamine 6 Folded fabric, Verona, Summer Sun, £270 a metre;

bespoke cusions, all de Le Cuona 7 Sofa, Harley in Alder Turmeric velvet, from £1,329, Content by Terence Conran 8 Kitchen cabinetry painted in India Yellow, £46.50 for 2.5l Estate Emulsion, Farrow & Ball. Kitchen from £8,000, British Standard by Plain English 9 Runner, El Jadida, from £68 a metre, Kersaint Cobb; walls, for a similar paint colour try Goldfinch, £42 for 2.5l Matt Emulsion, Fired Earth THE ENGLISH HOME 103

Pale yellow

Bring light and warmth into the home with mellow yellow tones

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rom buttery to sandy yellows and creams with a subtle hint of lemon, mellow hues of yellow add visual warmth to interiors.

Using pale yellow across the walls of a small room will create an added sense of space. “In north-facing rooms, creamy neutral and yellow colours can be a wonderful way of bouncing light around,” suggests Dominic Mylands, CEO and owner of Mylands. “In these types of rooms, don’t use yellows with a green base, as the cooler northern light can make yellow paint appear darker and greener.”

In their palest forms, these gentle hues can be treated almost as neutrals, providing a base colour to which other colours can be added. Creamy yellows will imbue a room with a softer and warmer feel than white. Paired with other pastel shades, pale yellow will feel well balanced and can contribute to a feeling of calm, whereby no one colour vies for attention.

To balance the warmth of the yellow, try adding cooler colours, such as pale sage green. When combined with white, pale yellow will look delicate and fresh and the addition of pink will create a wonderfully feminine feel, which will work well in drawing rooms, bedrooms and even hallways. Lovers of strong colours should not be reluctant to use these soft tones – a room awash with pale yellow will allow more intense colours and patterns to take centre stage in a scheme.

Feminine charm Pretty and elegant, this sitting room (above right) illustrates how pale yellows can add a warm, sunny feel. By upholstering the sofa in a matching fabric to the wallpaper it recedes into the room, allowing the eye to flow seamlessly without interruption.

This can be a clever device to add impact in a small room and help it to feel more spacious.

If we look to nature, we can see that yellow is versatile and can be paired with many other colours, including pink. In this space, both colours are of the same saturation and so sit harmoniously together. With the addition of touches of green, the three main colours in this scheme form a grouping that is considered and evenly balanced. A pair of green linen armchairs facing the floral sofa would create a nice sense of symmetry, and to echo the pink in the pattern, a few raspberry-coloured accessories would work beautifully. The richly toned brown wood furniture adds just the right amount of depth and contrast, whilst pieces such as the gilt frames add to this warm and feminine look.

104 THE ENGLISH HOME

Classical balance The use of pale yellow in this grand entrance hall (above) in a Grade II listed eighteenth-century country house is a soft, warming choice that enhances the light and openness in the space. Interior designer Mark Gillette explains this particular colour was created by mixing a selection of paints from Edward Bulmer Natural Paint’s collection. He adds that the walls were hand-painted with a cloudy stipple effect for a richer dimension.

Though this is a very classic scheme, with gilt frames, an antique brass lantern and dark wood all working in harmony with the period and style of property, some more contemporary details could be introduced if desired. An upholstered bench could add some softness and introduce a modern fabric choice, whilst still maintaining sympathy to the period. A dark wood marquetry table with a contemporay finish and shape would create a chic statement and contrast against limestone floors. Finally, dark green (as seen used for the curtains) in a rich velvet or silk damask adds gravitas and provides a sumptuous counterpoint to the pale yellow. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Moonlit Green Night, £45 for 2.5l Active Emulsion, Sanderson • Dayroom Yellow, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Lemon No. 43, Salts, £51 for 2.5l Marble Matt Emulsion, Mylands OPPOSITE, FROM TOP • Antique English gilt composition mirror, from £1,650, Overmantels • Double Pom Pom tassel, Gold/ Claret, £8, John Lewis & Partners • Piazzetta cushion in Radish with Pelham Chocolate piping, £69, Andrew Martin • Wallpaper, Shrewsbury, yellow, £141 a roll; matching fabric, £90 a metre, both Thibaut • Marble Corinthian Column lamp, £839; 14-inch knife-

pleated shade in cream silk, £189, both Besselink & Jones • Petersham dining chair, from £750 plus fabric, I&JL Brown ABOVE, CLOCKWISE FROM MAIN • Interior design, Mark Gillette Interior Architecture & Design • Hanging Charlotte lantern, £7,176, Charles Edwards • Cut-out orange finial, £392.40 a pair; reeded pole, £136.80 a metre, McKinney & Co • Velours Chambord fabric, £149 a metre, Nobilis • Flooring, Aged Muscat, from £55 a square metre; Aged Bourne, from £74 a square metre, both Martin Moore Stone • Ebury bench, £1,310 plus fabric, David Seyfried • Aylesbury table, £7,062, Davidson THE ENGLISH HOME 105

Sunny yellow

Introduce cheer and vibrancy with brighter and bolder yellow tones

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uttercup, saffron and egg-yolk yellows will provide a perennially summery look that will make the most of daylight streaming into a room. These luminous shades would be fabulous in a kitchen as a wall colour or painted on cabinetry, and – as a colour that is said to be associated with intellect – would be a dynamic choice for a home office. Farrow & Ball suggests that warm Mediterranean-inspired yellows, such as its Citron, have “a bright intensity in small spaces and can be wonderfully inviting in hallways”.

Paired with aqua, turquoise, smoky grey or even black-lacquered pieces, these yellows will look magnificent. For a more delicate look, they can be paired with white and grey – a classic combination that will result in a relaxed and soothing feel.

Paired with greens and pale blues, these yellows will create a look that connects with nature – a great choice for garden rooms, sun-filled kitchens and tranquil bathrooms.

Well balanced With a delicacy and freshness befitting almost any room of the house, this scheme (above left) showcases just how well this shade of yellow works with pale greys and soft neutrals, such as dove grey, pebble and straw. Vanessa Arbuthnott, the designer of the fabrics used here, says, “This shade of saffron yellow is fresh enough to sit beautifully with the darker shades of grey, and is also strong enough in tone to add gravitas to a contemporary sitting room.” She adds that in this scheme, “The counterbalance between the warmth of yellow and the cool grey is perfect.”

The simplicity of this palette enables a bold mix of patterned fabrics in a way that feels cohesive and well considered. As a backdrop to this, the walls have been painted in Little Greene’s Linen Wash, a pared-back natural linen colour which Little Greene advises can be used as a softer alternative to white.

For spaces that are relaxing to the eye, keep contrasting elements to a minimum – a few cushions in ochre or a piece of furniture in a slightly darker grey would draw the eye and create just the right amount of depth. “I enjoy the way yellow creates a sense of happiness and warmth in the evening when the sun is going down and the fire is lit,” Arbuthnott says.

Vibrant contrast Sunny shades of yellow can make excellent accent colours as they have enough strength to add impact to a scheme without overwhelming the space. In this elegant dining room (above), the designer has cleverly chosen to draw attention to a distinctive architectural feature by painting the alcove wall yellow. The delicate colour of the woodwork creates a frame out of this arch, and by painting the doors and architrave in this same colour, the area feels cohesive. In large spaces, adding a block of contrasting colour can help to break up a large expanse of wall in a way that feels quite exciting to the eye.

This shade of yellow works very well with green – green and yellow sit alongside each other on the colour wheel and therefore look comfortable together, creating a sense of freshness and vitality when paired in a room. Whilst elegant stripes or florals could be used, botanical leafy fabrics are effective in bringing a touch of the outdoors in. As a more high-contrast and dramatic alternative to using green, purple – the complementary colour of yellow – could be used as an accent to provide a bold and lively feel.

Most neutral colours take some intensity from a bright yellow used in a room; however, adding white would actually make the yellow hues appear more vibrant.

PAINT SWATCHES OPPOSITE TOP RIGHT (FROM LEFT) • Chinese Emperor, £49.50 for 2.5l Pure Flat Emulsion, Paint & Paper Library • English Yellow, £39.95 for 2.5l Wall Paint, Annie Sloan • Carys, £50 for 2.5l Intelligent Matt Emulsion, Little Greene OPPOSITE, FROM TOP LEFT • Curtains, Shibori Light Pigeon, Saffron, £54 a metre; cushions, Origami Pigeon/Saffron, £54 a metre, and all other fabrics, Vanessa Arbuthnott. Walls, Linen Wash, £45 for 2.5l Absolute Matt Emulsion, Little Greene • Pembridge pendant in size 2, £989, Original BTC • Lute table lamp, Smoky Grey/ Gold, £455.42; Fern Leaves Graphic 35cm lampshade, Ochre, £263.14; both Ebb & Flow at Moonbeam Lighting • Upholstered Petit Royal Ottoman in Dove Grey linen, £495, La Residence Interiors

• Ravenna fabric in Lemon, £120 a metre, Michael Szell by Christopher Farr Cloth • Eichholtz framed Agate abstract prints, £674 for a set of two, Harrogate Interiors • Massenet centre and lamp table, £1,440, Nina Campbell ABOVE, CLOCKWISE FROM TOP LEFT • Alcove wall, Marblehead Gold, from £21.50 for 0.94l of Regal Select Flat, Benjamin Moore • Alhambra fabric, £100.18 a metre, Lewis & Wood • Versailles wall light in Antiqued Brass, £171, Jim Lawrence • Bistro candles in Mustard, £6.95 for 12, Nordic House • Tea Garden Lemon & Ginger, £85 for a three-piece set, Wedgwood • The Spoonbill Chair, shown here in Ivory Painted Beech and upholstered in Soane Britain’s Scrolling Fern Frond – Emerald, from £4,500, Soane Britain

THE ENGLISH HOME 107

Deep yellow

Deeper tones have a lovely richness for both fresh and dramatic schemes

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hese darker variations of yellow bridge the gap between muted earthy browns and vibrant yellows. Varying in tone, from subdued saffron through to deep Indian yellows and shades reminiscent of French mustard, these hues have some of the liveliness of their brighter cousins, but will look especially cosy and comforting in the cooler months of the year. For the adventurous decorator with a passion for strong colour, they can look fabulous when used across all the walls in a room.

Deep yellows can also work well as accent colours in a scheme, for instance when used on an upholstered statement chair or as the colour palette for a collection of beautiful glassware to add a touch of understated glamour.

In recent years, these rich shades of yellow have gained popularity, with decorators sometimes choosing to play on their underlying warmth by pairing them with cooler greys, taupe and crisp whites. A popular combination sees mustard used alongside smoky greys to emphasise the natural luminescence of the yellow and create rooms that ooze elegance and sophistication. “Alongside black, grey and deep sludgy greens, these hues of yellow can look fabulous paired with colours from the warm side of the spectrum, such as rich reds, terracotta and orange,� says interior designer Helen Bainbridge.

Playful contrast The natural warmth of these rich yellow walls (above right) provides a lively contrast against the cool blues of the soft furnishings – these complementary colours are stimulating to the eye because there is a play between warm and cool colours. Whilst both shades derive from two of the primary colours, the yellow walls have an earthy undertone which allows this scheme to feel sophisticated rather than childlike.

When using a simple palette, it is important to introduce varying tones of each colour to create interest and areas of depth. In this scheme we can see darker blues, browns, and rich mustard yellows. The designer has also chosen to include curtains in duck egg blue, which is warmer in tone than the other blues in this scheme and therefore adds an unexpected layer of interest.

Earthy woods and contrasting fabrics, such as sleek leather, textural linen and plush velvets, add to the sophisticated feel in this room.

108 THE ENGLISH HOME

FEATURE MIRANDA WATCHORN PHOTOGRAPHS P102 (ANDREW MARTIN) © DOMINIC BLACKMOR. P103 (CHARLES EDWARDS) © DAVID MALLOWS; (MCKINNEY & CO) © SIMON WEST. P104 (MICHAEL SZELL) © HELENA TEPLI. P106 (FERMOIE) © DEBORAH HUSK. P107 (BROSTE) © HENRIK BECKER NIELSEN

Drama & depth Intense and sultry, the deep mustard yellow walls of this room (above) have been used to create drama and impact. Whereas such a strong colour could overwhelm a small space, it is a wonderful option in larger rooms with a good flow of natural light.

The wallpaper provides a subtle hint of pattern across the walls and the period detailing is emphasised by the choice of paint in a deep tone of yellow. Deep browns, such as Farrow & Ball’s Tanner’s Brown, or a soft sooty black, such as Zoffany’s Vine Black (shown on the wall beyond), form a magnificent partnership with mustard yellows and deep ochre. These dark shades can anchor intense yellows and provide a dynamic contrast.

This scheme shows a particularly successful flow of colour between the adjoining rooms: the artwork has a flash of deep yellow which provides a nice link with the wallpaper, whilst richly-toned dark woods have been used in both areas to provide further cohesion. The touches of blue work especially well – these grey-based hues add a dash of contrast with the yellow, whilst still working sympathetically with the colours used throughout.

The strict adherence to a palette of mustard, brown, black, slate blues and greys enables a variety of styles of furniture and accessories – from mid-century designs to classical antiques – to sit alongside each other. This scheme would look fabulous at night, with a warming glow cast from the statement chandelier, lamps, and plenty of candlelight. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Tigers Eye, £49 for 2.5l Elite Emulsion, Zoffany • India Yellow, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Muga, £49.50 for 2.5l Pure Flat Emulsion, Paint & Paper Library OPPOSITE, FROM TOP • Blue Fluted Full Lace Plate, 25cm, £168, Royal Design • Sofa, Bellona, Blue, £89 a metre; curtain, Bute Aqua, £102 a metre, both Colefax and Fowler • Small contrast piped cushion in Plain Linen Euphorbia with a duck feather pad, £95, Fermoie • Draxon Indigo rug, 250cm x 350cm, £2,195, William Yeoward • Sergio Studded Salon chair in Blue, £794, Turnbull & Thomas • Pevensie mirror, £350, Oka

ABOVE, CLOCKWISE FROM TOP LEFT • Wallpaper, Pomegranate, Tigers Eye, £92 a roll; architrave, Tigers Eye, £47 for 2.5l Acrylic Eggshell; wall in background, Vine Black, £47 for 2.5l Flat Emulsion; chair in foreground in Broxwood, £86 a metre; chair in background in Birodo, £86 a metre, all Zoffany • Reuben Walnut frame armchair in Stirling-Onyx, £415, Arlo & Jacob • Almond Blue hand-knotted Tibetan wool rug, from £1,000 a square metre, Allegra Hicks for The Rug Company • Tripod lamp table, £1,290, Brights of Nettlebed • Atle vase, Tawny Olive, £79.50, Broste Copenhagen • Orion Steel lamp with a 14-inch drum shade in Sandstone Glaze Linen, £558.50, Heathfield & Co THE ENGLISH HOME 109

USING YELLOW SUCCESSFULLY BEST COMBINATIONS • When I worked with Mary Fox Linton in the 1980s, I learnt that there is not really a single colour that doesn’t work with yellow. It is actually a wonderful neutral. Green, pink, brown, off-whites, greys.

All look fantastic with it.

• Personally, I would avoid blue with yellow. Simply because it was so popular in the 1980s and so I find it dates yellow enormously. Although it works, it looks dated.

• Pink and yellow is divine, my most favourite thing. We’ve just done a drawing room in London with pale pink walls and yellow quilted chairs which looks unbelievable.

on yellow The revered interior designer on the spirit-raising qualities of yellow and how well it works as a neutral

“

I find yellow an incredibly uplifting colour.

It hits the solar plexus and cannot fail to bring a happy feeling to a room. It was very fashionable in the 1980s, then fell out of favour for a long time, but now it’s regaining popularity. I love using yellow with off-white and a touch of brown – my idea of heaven.

A CASE IN POINT This guest room (above) in a country house is north facing and very dark, so we used a lovely yellow wallpaper and yellow curtain fabric, then continued on a theme and it’s been a great

110 THE ENGLISH HOME

success. I would defy anyone to wake up in this room and not feel optimistic. Even people who don’t like yellow find they love this room.

Yellow is an acquired taste and I think just the word is a turn-off for some, but when you say ‘straw’ people are much happier. The wallpaper here is called Belvedere Straw, and the curtains Verandah Straw (from my own collections).

In a yellow scheme, the accents matter. For instance, in theory, this room is brown and yellow. There is warmth here in the oak furniture, as well as lots of off-white, and some brown in the armchair fabric and other textiles.” n

• The white cannot be a pure white – it would be hideous.

It must be a grey-white – grey is the colour that goes with yellow. We always use Paint & Paper Library’s Slate in either I, II or III. It looks divine with yellow, it is the best off-white there is.

HAPPY CHOICE • Though I love yellow for a bedroom, having an all-yellow scheme, like the one shown, full-time in a master suite could be a bit too much. If you were a guest in this room, though, on a cold winter’s day or hot summer night, wouldn’t you feel happy? How could you feel anything else?

FEATURE KATY MCLEAN PHOTOGRAPHS © DAVID OLIVER

VEERE GRENNEY

PERFECT WHITE • Yellow is wonderful with off-white – it is so sharp and clean. My bedroom in London is all white trimmed with saffron, with a chocolatebrown chair. The combination can only ever look chic.

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COLOUR CONFIDENCE

WITH

SPICE

Warm up interiors with enriching tones of cinnamon, paprika, nutmeg and curry

Curtains, Pembury, Henna, from £30 a metre; sofa, Savoy, Orange, from £22 a metre; cushions (from left): Savoy in Bordeaux, Ivory and Orange, from £22 a metre, all Pembury Collection, Iliv THE ENGLISH HOME 113

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Warming spices Encompassing rich, burnt oranges, cosseting browns and deep yellows, spice colours can be used much like their culinary counterparts – either allowing a single hue (or spice) to take centre stage, or blended together for an indulgent, warming and delicious scheme.

Many fabric collections take inspiration from spices when naming their colourways, and indeed the qualities of the spices’ flavours seem to resonate with the impact they have in the interior. Brighter, fiery notes of chilli and paprika have strong red and orange tones and can be used for a fresher or more dramatic look, adding piquancy when used as a daring accent. More burnished brown-orange tones, such as cinnamon, offer a more subtle effect whilst retaining a note of brightness and impact. Warming nutmeg browns bring a comforting, soothing richness that envelops a room when used predominantly, and adds a touch of depth when lightly sprinkled in the form of accessories in a more neutral scheme. Deep turmeric and saffron yellows are inviting on their own, yet also act as a great base for mellow browns and cinnamon oranges.

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FEATURE KATY MCLEAN PHOTOGRAPHS (2) © KARL ANDERSON; (5) © PHOTOPIA; (10) © ANDY GORE

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TANTALISING TONES Though we have looked at reds and yellows before in this series, the spicier tones have a more burnished, almost earthy, deeper richness. Purer browns, which are seeing a rise in popularity, add to the sophisticated palette. The cocooning effect of rich brown walls – perhaps in a velvet for extra indulgence – contrasted with white is a chic choice for bedrooms and cosy sitting rooms.

Whilst pure and fruity oranges might seem a bit brash for elegant rooms, burnt orange hues are an excellent foil to greys, bring a soft richness to cooler, more contemporary looks, and work well, too, in more classic environments.

Blues, meanwhile, provide a freshness to spice colours that can look both sharp and modern or timeless – much like an antique rug.

These warm colours work well in creating a rich, dark and enveloping scheme, but if looking to keep a scheme lighter and brighter, choose designs on ivory grounds or pair them with whites.

For true indulgence, a spicy blend of colours in their deepest, most intense, full-flavoured guises creates a truly impactful room. We hope the following pages will provide inspiration for using these flavours in different rooms. 1 Chimneybreast, wallpaper, New Bond Street, Hide, £91 a roll; wall, Chocolate Taupe, £45 for 2.5l Absolute Matt Emulsion; fire surround, True Taupe, £45 for 2.5l Absolute Matt Emulsion, all Little Greene 2 Wallpaper, Beata, Yellow/Orange, £79 a roll, Sandberg 3 Sofa, Orton, Henna, £80 a metre; curtains, Burford, Henna, £70 a metre, and all other fabrics, Romo 4 Fabrics (from left): Lua, Sienna, £135 a metre; Bardi, Sienna, £145 a metre; Moderna, Sienna, £95 a metre, all Mark Alexander 5 Wall, Dutch Orange, £49.50 for 2.5l

Emulsion, Edward Bulmer Natural Paint 6 Charlie king-size headboard in Isla Grouse, £1,180; Wall, Chestnut, £38 for 2.5l Matt Emulsion, all Neptune 7 Top cushion, Melograno Piccolo; other cushions, Melograno Grande, all £104.10 a metre; wallpaper, Melograno Piccolo, £157.20 a roll, all in Terracotta & Biscuit, George Spencer 8 Wall, Ladybug, £43 for 2.5l Claypaint, Earthborn Paints 9 Terrazzo II, Piave, £146.66 a square metre, Balineum 10 Wallpaper, Apple, Rust Gold, £59 a roll, Melsetter collection, Morris & Co THE ENGLISH HOME 115

Paprika

Add some heat with burnished oranges that bring a vibrant yet chic character to rooms

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ften overlooked as a colour choice, orange can be the basis of a smart, warm palette. Avoiding citrus colours in favour of burnt, reddish-brown hues of paprika helps to set a sophisticated note. These warm colours have a fiery heat, yet are not bright or overwhelming to live with, and are a softer option than pure reds.

Paprika colours can work well with other hot tones of reds, pinks and yellows, but can also be tempered with a cool palette of whites, silvers and soft neutrals. They can also contrast well with blue or even green; look to antique carpets – which usually contain these colours – for inspiration, echoing hues taken from them in accent pieces dotted around the room.

Burnished oranges are a lovely choice for a dining room or a welcoming sitting room or snug. Hallways could also benefit from the brightness they imbue, and, as seen here (opposite page), they also work well for a smart bathroom.

Contemporary flair In this dining space (right), oranges are allowed to glow like flames against a backdrop of dark wood finishes. Although there is a strong modern aesthetic, the space still feels comforting because of the patterned fabrics and tactile velvet upholstery. Light walls keep a fresh feel, balancing the strong ebonized finishes on the wood floor and bookcase. A contemporary style of table in a polished wood finish blends notes of classicism and modernity. The geometric patterns in the fabrics could be echoed in accessories, giving the room an art deco feel.

Golden accents magnify the warmth of the paprika colours and inject extra glamour. A drinks trolley or tray and candle holders are perfect additions for setting an inviting ambience for dinner parties. Lacquer and mirror finishes would enhance the more contemporary feel if desired, as would a statement light fitting in black. For a more traditional look, an elegant crystal chandelier or a simple gold or brass pendant light would also work. The patterned fabric on the back of two of the chairs features zigzags in pink and yellow, which could be highlighted in glass vases or floral arrangements.

116 THE ENGLISH HOME

Cool accents Cooler colours of blue and green are more often the natural choice for bathrooms, but this orange and pink combination (above) creates an enticing and soothing sanctuary. These warm-toned walls would be beautiful by candlelight. The richness of the wall colours is offset with a highly polished metal finish on the bath. Using the deeper colour (Farrow & Ball’s Red Earth) up to the dado rail grounds the room, whilst the paler buff-pink (Farrow & Ball’s Middleton Pink) extending to the ceiling enhances the sense of height and space.

The assortment of prints and frames creates a lovely decorative feature, so other accessories should be kept simple and chic. Keep to cool metal finishes for brassware, adding more warmth in the form of a dark wood chair, for instance. Use flooring to add pattern; a tile that features some neutral tones as well as a hint of brown would suit well.

Crisp white woodwork and towels provide contrast, though orange-hued towels would also be lovely for extra richness.

Finally, add a little freshness with greenery from a house plant or two, hanging from the ceiling or on a shelf or plant stand. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Marigold, £45 for 2.5l Absolute Matt Emulsion, Little Greene • Charlotte’s Locks, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Koi Carp, £49 for 2.5l Elite Emulsion, Zoffany

ABOVE, CLOCKWISE FROM TOP LEFT • Avon cast-iron bath with polished exterior, from OPPOSITE, FROM TOP £5,820, Drummonds • Lightyears Orient Black Pendant • Fern artificial hanging plant, Light, from £240, Cloudberry Living £79.99, Dowsing & Reynolds • Maxim 16-piece brushed gold • Brixton towels, Cinnabar, from cutlery, £49.50, Marks & Spencer £12 for a hand towel, Christy • Umi, Rowan, £64 a metre, • Ribbed Ledbury pendant light, Ian Sanderson from £225, Fritz Fryer • All fabrics from the Manhattan • Grosvenor tile, Beige/Blue, collection, from £43 a metre, £54.73 a sq metre, Topps Tiles Clarke & Clarke • Concept dining chair, Walnut/ • Eichholtz Lindon Trolley, £1,290, Black, £109, Cult Furniture Sweetpea & Willow • Highline towel ring, from £354, • Nkuku Mohani lantern, £49.95, The Watermark Collection Sue Parkinson • Salzburg Victorian Chrome • Jazz Age Inspired Black and Gold and White towel rail/radiator, Tray, £34, Audenza £159.97, Bathroom Takeaway THE ENGLISH HOME 117

Turmeric

Ochre shades of ginger, turmeric and curry are a lighter but comforting take on spice hues

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ather than brighter counterparts of the yellow spectrum, spicy yellows, such as ginger or turmeric, have a softer, browner undertone, giving them an earthier character.

These shades work well to lift a mixed-spice scheme, providing some lighter relief to richer browns and reds. As a hero colour, deeper ginger shades are a good alternative to traditional ‘dark’ colours for an enveloping study or dining room. Not as heavy as brown, the golden hues add more vibrancy, however, stick to earthy yellows to keep it feeling suitably rich and warming.

The textures can impact on the way the colours read – velvets and silks will lend more lustre, cottons and linens an intense strength. Contrast with whites to keep things light, or with greys for a moodier look. Accents in blue, teal and pink add variety.

Balanced blend Combining some elegant touches with eclectic and rustic finishes, this sitting room (left) is richly inviting. The ochre armchairs look sumptuous in velvet and the paper-backed silk on the walls adds to the cocooning effect.

Although a room such as this would look wonderfully cosy at night, during the day it is kept light and fresh with the use of off-white woodwork and a soft-grey carpet. Further blue elements could be brought in with a more colourful classic rug.

Elsewhere, there are eclectic influences, for instance in the richly embroidered fabric used for the curtains and matching cushion on the armchair.

This wonderful pattern also introduces a soft hint of deep pink which softens the intensty of the burnished yellows and the turquoise ceramic stool adds a zing of fresh colour.

A rattan footstool and distressed finish on the chest of drawers offer patina, texture and character, stopping the room feeling too polished. Other pieces in distressed or untreated wood would be good additions. Balance these with some refined pieces, such as blue-and-white china which would also further enhance some of the blue accents.

Comforting colour This bedroom (above), designed by Kit Kemp, combines a number of spicy hues, but makes a brighter turmeric yellow the centrepiece in the feature headboard. “The headboard is wrapped in a vivacious floral by William Yeoward called Astasia,” Kemp explains. “The earthy ochre ground makes for a vibrant print with an eastern flavour. The paprika has been picked out and wraps the padded walls giving a cosy and luxurious feel. With elements of the masculine and feminine, this is a scheme that invites you in.”

Green cushions provide contrast to the spicy colours without feeling out of place, owing to the softness of the colour. These are

by Caroline Irving, but for alternatives look for other linens with hand-blocked and interesting patterns, such as those from Wicklewood or Molly Mahon. The white bedlinen keeps the room fresh, and light furniture also helps brighten this darker scheme.

Here, the curtains are in a lovely stripe, but the stripe could be used instead for flooring in a carpet that picks out the ochre tones, along with a touch of the blue from the headboard pattern.

An upholstered chair in a turmeric colour would be a strong addition, but limit other hits of colour, keeping other larger elements white or pale grey. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Mustard Jar, £18 for 2.5l Breatheasy Emulsion, Crown • Golden Honey, £45 for 2.5l Active Emulsion, Sanderson • Muga, £49.50 for 2.5l Pure Flat Emulsion, Paint & Paper Library OPPOSITE, FROM TOP • Blue carved wooden mirror, £265, Ian Snow • Ceramic lamp base, £125; white tapered box pleat shade, from £90, Soho Home • Chairs, Beauchamp Velvet, Ochre, £50 a metre; seat cushions in Tamarind, Natural/ Ochre, £61 a metre; curtains, Fuji, Natural/Dusky Rose, £100 a metre; cushion on left chair, Kasuri, Natural/Ochre, £68 a metre, all James Hare • Fabric magazine holder, £75, WA Green • Hogla floor seat, £140, Oggetto • Narli Persian Nain rug, £POA, Lila Rugs

• Kurva console, Weathered Acacia, £495, Oka ABOVE, CLOCKWISE FROM TOP LEFT • Osborne oblong cushion, Green, £85, Wicklewood • Parlane Fes white and terracotta ceramic flower vase, £33.95, Hurn & Hurn • Margo Selby Stripe Surf Viking Carpet, £73 a square metre, Alternative Flooring • Large round silver wall mirror, £80.95, Melody Maison • Gustavian wardrobe, £2,840, Chelsea Textiles • Alfie chair, Alder Turmeric, £795, Content by Terence Conran • Bedroom in Apartment 21, One Denman Place, London,

by Kit Kemp, Firmdale Hotels THE ENGLISH HOME 119

Nutmeg

Delicious deep browns envelop a room to create a temptingly intimate and handsome setting

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rowns in their deepest, most decadent form are seeing a return to fashion. Rather than forming part of a neutral scheme full of beiges and cream, dark nutmeg browns are being used as the hero colour, contrasted with a crisp white for chic effect. Used sumptuously, these hues create a cocooning effect, wrapping walls in comforting colour. Seek warm browns that are not too grey or muddy looking – some may even have a reddish-purple undertone which is rather lovely.

Textures elevate browns and enliven them. Think velvets and silks, which naturally maximise the seductive qualities of brown hues, whilst glossy lacquer and highly polished finishes inject a modern flavour.

Dark wood furniture will obviously work well in a brown scheme, however, pale-painted pieces and bold upholstery will also shine against such a backdrop.

Dramatic impact A bright, light colour seems the natural choice for an entrance hall or staircase as they are spaces that are often lacking in plentiful natural light.

However, this deep brown paint, covering the walls, woodwork and stairs (above right) shows how a dark colour can work surprisingly well in such a space. Here, the abundant, confident use of brown by Annie Sloan looks smart, and the daring scarlet red creates drama and intrigue, drawing the eye up the stairs and into the house.

This ‘runner’ has been painted, but a flatweave runner would create a similar impact. In the entrance, using tiles that pick out both the spicy red and the brown would be a practical and pretty choice.

Though this palette limited to red and brown works wonderfully, another dash of colour could be added in the form of a statement piece – perhaps a chair in a turmeric yellow – to keep the spicy look coherent. Other additions, such as coat hooks and wall lights, would work well in antique bronze finishes.

120 THE ENGLISH HOME

FEATURE KATY MCLEAN PHOTOGRAPHS P116 (CLOUDBERRY) © CHRISTIAN-B; (CLARKE & CLARKE) © DOMINIC BLACKMORE; ((TROLLEY) © KAMBIZ RAJABZADA; (LANTERN) © PHILIP CONRAD; P121 (BEDROOM) © TIM BEDDOW

Chic contrast This bedroom (above) by Paolo Moschino for Nicholas Haslam showcases the smart combination of rich brown with crisp white.

An ivory or cream here would just create too much softness – the high contrast gives a polished look, yet is also immensely inviting.

The textured grasscloth wallcovering helps to give the colour some character and not look too flat when used as a block colour over a large surface area.

Though much of the room is simply brown and white – even down to the furniture which is either antique or painted – there are a few blue accents which add a subtle layer of colour and draw the eye, but do not steal focus from the brown and white. Just two or three pieces in blue is enough; the lamps, rug and dressing table stool provide this relief here. For a different look, rebalance with white lamps and a blue bench or stool at the foot of the bed.

The furniture here is classically elegant, but a contemporary air could be added, if desired, with more streamlined pieces albeit still in a dark black-brown finish.

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Chocolate, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Warm Mud Brown, £51 for 2.5l Matt Emulsion, Atelier Ellis • Cocoa Bean, £48 for 2.5l Perfect Matt Emulsion, Designers Guild OPPOSITE, FROM TOP • Bronze Oyster Lattice wall light, £1,646.40, Tigermoth • Neisha Crosland Atlas tile, Pine Flower Paprika, £24.95 each, Fired Earth • Hampstead coathook, antiqued brass, £55, Jim Lawrence • Walls, Honfleur; stairs, Emperor’s Silk, both £19.95 for 1l Chalk Paint, Annie Sloan • Avon Berry runner, £129 a linear metre, Roger Oates • Pascal small console table, £340, Sweetpea & Willow

• Distressed gold umbrella stand, £54.95, The Farthing • Berkeley dining chair, £680, David Seyfried ABOVE, CLOCKWISE FROM TOP LEFT • Velvet quilt, Midnight Blue, £229, Heal’s • Curtains and bed, Leaf Trellis, in custom colour, £100 a metre for existing colours, Paolo Moschino for Nicholas Haslam • Nushrah table lamp, £106 (base only), Dar Lighting Group • Signature Stool in Mohair Velvet, Baltic Blue, from £1,127 plus fabric, George Smith • Savoy Oxford pillowcase, Navy/ Silver, £25, The White Company • Hatfield chest, tinted sycamore with polished nickel handles, £5,966, Davidson London • Belvedere Octavia mirror, £2,760, Simpsons THE ENGLISH HOME 121

GUY GOODFELLOW

on spice

The esteemed interior and fabric designer on the deeply warming characters of the spice tones in reds, oranges and browns

A CASE IN POINT This library/sitting room (above right) is in a huge house on Dartmoor and it very much needed to feel warm and cosseting. Hence the use of rich colours that work well in firelight and candlelight. It is a room that feels warm through very cold winters.

The starting point for the scheme in this room was the carpet, which has lots of rich reds and oranges that are reflected in the fabrics. The grey walls (Flaxen Grey, Edward Bulmer Natural Paint) add a nice balance and the blue-and-white china provides a sharpener – a shot of freshness. Blue-andwhite works well with almost any colour and is timeless.

The simple off-white linen used to cover the stool balances the richer fabrics, and finishing it with a red braid ties it to the scheme.

The furniture is from all over the world – a Moroccan side table, a console from Portugal, the stool is English... though it could be French. It feels like items collected from a grand tour, and so somehow very British.” n

USING SPICE SUCCESSFULLY

LIGHTEN UP • If you have other rooms that are lighter, brighter and perfect for sunny daytimes, it enables a room like this to be rather dark. If it were your only sitting room, you may want to go a bit lighter. Paler, ivory walls would be similarly fabulous.

I might also be tempted to take another colour from the carpet – such as the pale blue – for the walls. It would look amazing with all the rich red-based colours.

• These spice-toned colours tend to work best in an old house where it is lovely to go darker, richer and more faded, but for something more contemporary I think mixing in blue-andwhite fabrics works well. A blue-and-white stripe, for example, would really brighten the scene for a more modern look.

122 THE ENGLISH HOME

CLOCKWISE FROM TOP LEFT Indus Weave, Copper; Fez Weave, Cognac; Rousillon, Paprika; Fez Weave Persimmon; all Guy Goodfellow Collection

WARM PALETTES

• The warmth of spice colours – be they brown, orange, red or yellow – naturally makes them good partners to warm wood and metal finishes. Brown furniture, antique pieces in particular, will always work well and I’d usually use gold or brass finishes on frames and other metalwork rather than cool silvers or nickels. I like to enhance the richness and warmth.

GOOD WOODWORK • I would choose an off-white for woodwork. It has some warmth to it, so it is not too fresh against these lovely colours. Farrow & Ball’s Slipper Satin is one I find works with just about anything. I certainly wouldn’t go any brighter than that on woodwork.

FEATURE KATY MCLEAN PHOTOGRAPHS © ROBERT BARBER

“

I love the richness and warmth of shades of spice colours. One of our biggest selling fabrics is the Fez Weave in Cognac (swatches, top right), which could equally have been called something spicy like cinnamon, too.

It is a colour that didn’t seem to feature much in decorating, so I added it to my fabrics as I like to use these deep reds, oranges and browns in some of my schemes.

Melodi Horne Notting Hill, London

Beautifully designed bespoke lampshades, cushions and home accessories lovingly handmade in England www.melodihorne.com

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COLOUR CONFIDENCE

WITH

NEUTRALS Use calm colours of ivory, sand, grey, cream and black with flair to create rooms with a soft, beautiful impact

Ceiling, Thames Mud; walls, Capuchin; window frame, Charbone, all £68 for 2.5l Architects’ Eggshell, Paint & Paper Library

THE ENGLISH HOME 125

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Calming neutrals From fresh white to charcoal black, and the nuances of creams, taupes, beiges and greys in between, neutral interiors are a staple of a beautiful, calm and elegant home. The key to keeping a neutral scheme interesting is to layer textures and details to create a well-considered, carefully curated room that is full of character, if not colour.

Though the rest of this colour series has looked at being confident with bolder hues, using neutrals successfully requires a confidence of its own, for instance knowing how to balance dark and light, rich and pale, finding the right base tones and perhaps introducing small accents of more powerful colours. Neutrals are versatile and work well in any room of the house.

They can be sleek and chic for a townhouse, pared-back and rustic for a modern country home and pretty and comforting in a period cottage, making them one of the most loved ‘colour’ choices.

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FEATURE KATY MCLEAN PHOTOGRAPHS P91 © PAUL RAESIDE. P92–93 (3) © ANDY GORE

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DEFINING TERMS A popular way to describe neutrals is as cool or warm, which can work to a certain extent. Kelly Hoppen, who advocates a neutral palette in her design aesthetic, prefers to break the palette into “sands and taupes”. In her book Design Masterclass, Hoppen explains the differences between these two colour families. “Sand has an undertone of yellow. Taupe has an undertone of grey and purple. They do not mix and are rarely comfortable together,” she says.

However, she notes that whilst sand and cream colours are always warm, taupe, white and grey “are not so easy to categorise”.

Here, we have divided the palettes into light, pale tones which are fresh, but not necessarily cool; creamy shades that are warm and rich; and darker tones of grey and black in elegant settings.

Some neutrals can have a pinker undertone, others more green, some a creamy yellow, and grey and black can err to inkier blue or purple undercurrents, too. Generally keeping to the same base notes will strike the right harmony when layering neutrals together, or introduce another colour as an accent. When sticking to a pure palette of neutrals, the devil is in the detail – adding decorative touches and tactile textures in sublime fabrics along with metals, woods and glass will elevate a neutral scheme and create as much impact as a bold colour.

The following pages offer inspiration for different neutral styles around the home, from soothing bedrooms to smart sitting rooms.  1 Two-seater sofa, £1,495; footstool, £450, both Allegra in Pebble Grey, Nordic House 2 Wall, Balboa Mist, from £23 for 0.94l, Benjamin Moore 3 Mapperton rug, Graphite, from £469, Sanderson 4 Ultra Striped Carpet in Northern, £19.99 a square metre, CarpetRight 5 Dove Grey velvet and linen cushions: rectangular, £20; square, £30, both Cox & Cox 6 Bertie armchair in Clay House basket weave, £740; Fez rug in Orion, both sofa.com

7 Bray linen, £70 a metre, Zoffany 8 Ballata desk, £680, Ercol 9 Selection of fabrics from Larsen at Colefax and Fowler 10 Curtains, Stellar, grey, £85 a metre; Sheer curtains, Moonbeam, Ivory, £88 a metre; headboard, Monty, Silver, £67 a metre; bedcover, Enigma, Steel, £68 a metre; valance, Monty, Silver, £67 a metre; stool, Hoxton, Charcoal, £107 a metre, all Jane Churchill at Colefax and Fowler THE ENGLISH HOME 127

Pale & fresh

Lighter and cooler tones of white and grey set a serene, chic, elegance

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oft palettes of light neutrals, including crisp white, softer off-whites and powder or silvery grey will set a cooler tone, to which richness can be added using deeper accents of taupe and smokier tones of grey, such as dove, to avoid a completely pale look.

Textures and darker tones add definition and are crucial for making a pale room interesting. Whilst it might be tempting to only use light colours to brighten a room with little natural light, these fresh, delicate colours also thrive in a brighter environment.

Without natural light, pale greys and off-whites become dulled and dirty looking – richer greys and blacks are a better choice to create a cosy, moody atmosphere (see page 133). So use these cooler neutrals to maximise a light, open space. Shimmering textures adding hints of silver and pearl work well, as do harder textures such as smooth marble and tactile bleached or limed woods.

Sumptuous silks, velvets and wools will add a cosy note without diluting the overall coolness of this style.

Layered simplicity This kitchen (left) in a Georgian rectory is part of a project

by Sims Hilditch, who used a natural palette throughout the property. “A neutral paint colour on the walls and cabinetry is a wonderful starting point for a room scheme,” Emma Sims-Hilditch explains. “It provides a base onto which materials in similar shades can be added to create a layered, textured effect.”

Marble with delicate grey veining is a perfect choice for the counter tops, and could be used as a splashback as well if more grey than white is desired. When using white in a pale scheme with greys, ensure it is either very pure or has a grey undertone, rather than edging towards a creamier, more yellow tone.

Here, the taupe fabric on the bar stools adds an extra layer of texture, definition and balance. The wood flooring also has a deeper tone, adding weight and authenticity to the kitchen.

Calming space Light and airy bedrooms feel graceful, calm and soothing. The soft grey used for the wall (above) has an almost green tinge lending it softness and warmth – try Farrow & Ball’s French Gray for a similar colour. Crisp white bedlinen is a must for a clean, fresh feel, but cushions can add some muted colour – the lightest of blush pinks will bring a feminine air without overpowering.

Choose a decadent velvet or silk fabric which could also be echoed in a footstool or bench at the foot of the bed. Extra depth could be added with a darker, smokey grey for the bedside tables, however, these in a faux shagreen (above) add a tactile note.

In such a pared-back and subtle palette, texture is important on all the surfaces. The dramatic headboard features a fabric with quite a busy pattern on close inspection, as well as exquisite piping in soft pink. The lamps lend interest with their oversized bobbles, though a dimpled effect would also be a nice touch. Note also that though the palette is quite ‘cool’, metals are in a warm gold – from the handles to the stud detail on the chairs – adding a layer of richness. Look for beautiful embroidery, hammered metals, deep-pile rugs and carpets to add extra detail and elevate the simplicity of the colour scheme. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Belgravia, £51 for 2.5l Marble Matt Emulsion, Mylands • Dawn Mist, £48 for 2.5l Perfect Matt Emulsion, Designers Guild • Snowfall, £18 for 2.5l Breatheasy Emulsion, Crown OPPOSITE, FROM TOP • Ellington Bespoke Three-light pendant, £294, David Hunt • Haven Mosaics Lake, £16.39 a sheet or £199.96 a square metre, Claybrook • Kitchen: wall paint, Slate II, £55 for 2.5l Architects’ Matt, Paint & Paper Library; cabinetry paint, Salt, £38 for 2.5l Matt Emulsion, Neptune; Elcot Tiles, Snow, from £65 for a box, Neptune; Oak Leaf chandelier, Richard Taylor, £POA; Shoreditch high-back bar stools, £355 each, Neptune • Classic white jug set, £28, Hudson Home

• Calvert upholstered dining chair, £538 for a pair, Modish Living • Taupe two-drawer console table, Hornsea Range, £166.95, Flora Furniture • The Butler Kitchen Sink, £555, Shaws of Darwen ABOVE, CLOCKWISE FROM TOP LEFT • Large Snowball Lamp, £2,162, Best & Lloyd • Portia footstool in Capri silk velvet in Blush, £1,280, Beaumont & Fletcher • Florian damask rug, £840 a square metre, Loomah • Amberley bedside table, £1,152, Vaughan • Hug Rug Herringbone recycled cushion, Rose, £25, Amara • Ostuni Celadon headboard, from £1,635; Americana dining chair in Fasano Storm, £595; Amanda bedside table, £1,150; Linden lamp, £775, all Andrew Martin THE ENGLISH HOME 129

Rich & creamy

Relax with comforting shades of cream, ivory, beige and sand for indulgent rooms

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ith a soft buttery undertone of yellow ‘sand’, these hues have a gentle warmth and richness.

Cosier neutrals often have names that allude to comforting indulgences – cream, latte, caramel and honey – or tap into wholesome, earthy qualities such as sand, stone or mushroom. Ivory whites provide freshness against a creamy palette and soft tones of deeper browns and muted greens can add depth.

Chunky and soft textures such as chenille, bouclé and suede are well suited to the relaxed yet chic mood this colour palette provides. Cool metals such as nickel and silver can add contrast to balance out the richness of a creamy room, though flashes of gold would work well too. This colour palette can be used for classic townhouses with an elegant flair, yet also has an earthy feel for more rustic properties.

Contemporary indulgence This bedroom (right) features a perfect harmony of warming neutrals, with dark and light tones in a careful balance. Though muted, the colour scheme is enriched with a range of textures to create a luxurious feel. Kate Earle of Todhunter Earle reveals, “We created the look of this very restful guest bedroom in a London house by combining warm neutrals with a subtle geometric carpet, silk and cashmere cushions, bronze curtain poles and simple curtains with inverted pleats.”

The range of textures and subtle patterns brings character to the scheme and any other additions to the room should either impart a subtle hint of colour – whether café au lait, mocha or cream – or add an intriguing texture via textiles and harder surfaces – embossed leathers, sculptural vases and velvety wools will entice and add yet more opulence for a dreamy bedroom. Some pure white on bedlinen or glazed lamp bases adds a fresh note to cut through the richness. Similarly, some darker tones are needed to draw the eye to certain features – such as the striking leading edge on the curtains and pelmet.

130 THE ENGLISH HOME

Rustic charm In this kitchen (above), a creamy palette has a much more earthy quality, supported by mushroom tones and an accent of a sage green. A suitable choice to create a light, inviting country kitchen, it is restful and clean. Natural wood finishes or distressed woods maximise the rustic feel. The unrefined texture of the painted stone walls is also a feature here, but a tumbled stone tile would work just as well for a touch of texture and warm honeyed tones.

Simple earthenware and ceramics with a cream glaze are an ideal choice. Prettier touches could be introduced in the form of decorative knobs on the cabinets, a blind at the window or a table cloth in mushroom, beige or sage.

The muted green used for the piece of freestanding cabinetry (far left in the kitchen) does not overpower the neutrality of the room, it supports it, adding a small touch of colour. One or two more accents could be added, but do not go overboard, as then the scheme would become more green than cream. 

PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Buff, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Little Rascal, £43 for 2.5l Clay Paint, Earthborn • String, £46.50 for 2.5l Estate Emulsion, Farrow & Ball OPPOSITE, FROM TOP • Strata Lamp, £426, Arteriors • Manhattan Latte extra-long length (270 cm) lambswool throw, £240, The Fine Cotton Company • Classic Croc leather photo frame, Fawn, £475, Aerin, Amara • Bedroom designed by Todhunter Earle • Dustin bedside table, £1,308, Oficina Inglesa • Kariss chair, Latte, £199.99, My Furniture • White tall geometric vase, £19, Kelly Hoppen

ABOVE, CLOCKWISE FROM TOP LEFT • Ilana side plate, £40 for a set of four, Anthropologie • The Real Shaker Kitchen in Mushroom, prices start from £12,000, deVOL • Ecru tumbled marble mosaic, £8.34 a sheet, Mandarin Stone • Pride of Place Bread Crock Old Green, £79.99, T&G Woodware • Oak chopping board with leather loop, £40, National Trust • Etched flora knob, £1.79 each, Knobbles & Bobbles • Fabrics (left to right): Up the Garden Path, Mushroom, £54 a metre; Cow parsley, Pigeon/Teal, £52 a metre; Acorn & Leaf, Mushroom, £52 a metre, all Vanessa Arbuthnott • Oak farmhouse stool, £175, Graham & Green

THE ENGLISH HOME 131

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Dark & moody

Add drama and make a statement with deep grey tones and fully-saturated black

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hese bold, moody storm-cloud hues are perfect for making a sensational, dramatic and uncompromising statement in any setting, but they are also surprisingly beguiling. Like a little black dress, such darkly handsome neutrals feel instantly sophisticated and set a mood of luxury when teamed with beautiful jewel-like accessories and glistening metal details.

A clean, chic monochrome palette is a smart and glamorous choice for a period townhouse. Charcoal tones provide clean definition, whilst crisp whites can be used to highlight architectural features. Shades of grey could also be introduced for a softer approach, but keep other accents to a minimum.

With such a limited palette, nothing jars the eye. The key is to add interest with texture and avoid heavy use of pattern which can create an optical challenge.

Refined depth “Ever-popular Down Pipe makes any room feel sophisticated, and it is both dramatic and elegant in this dining room (above),” says Joa Studholme, Farrow & Ball’s colour curator. “This space feels both chic and tranquil, and sits harmoniously with the much lighter tones that make up our Architectural Neutral group in the rest of the house.”

Conker brown is a wonderful foil for such deep shades of graphite and charcoal grey, adding richness and warmth as well as a sense of luxury. Cognac or conker-coloured leather and walnut or mahogany furniture or detailing are subtle ways to imbue this effect. Here, a lighter, smoked wooden table top and an oak chest of drawers add gentle relief. The antiqued and faded multi-hues of the rug gently echo the reds, pinks and blues in the artwork for clever cohesion, whilst a bronze chandelier (which would also work in slim-lined wrought-iron) adds a sculptural note to the setting.  See overleaf for caption information.

THE ENGLISH HOME 133

Just like the timeless appeal of black-and-white photography, a black-and-white room scheme has an elegantly classic mood, heightened here with the tactile allure of boiled-wool upholstery on the sofa and opulent velvet armchairs. The brass coffee table, floor lamp and table lamp add glimmering highlights and echo the trim on the antique chandelier. These golden hues can be picked up in other accents such as cushions to bring a touch of warmth.

Add interest through decorative pieces with sculptural lines, adding curves and texture in marbles, coral and metal artworks.

There is a careful blend of contemporary elements and more traditional styles – the brass Anglepoise-style lamps add a classic charm that softens the high contrast of the monochrome palette, and an antiqued mirror feels more gentle on the eye, too.

Black might appear a dense, plain colour, but there can be nuances in tones – some have a slightly inky blue cast; others can be warmer with a pink, red or purple tone. Paint & Paper Library’s new Mono Chrome collection features a paint with a green base and another that has a soft kohl effect with a hint of brown. Ensure the white used is pure, or has a suitable base note to harmonise with black undertones for a perfectly tuned finish. 134 THE ENGLISH HOME

PREVIOUS PAGE, PAINT SWATCHES, FROM LEFT • Natura, £51 for 2.5l Matt Emulsion, Atelier Ellis • Jack Black, £45 for 2.5l Absolute Matt Emulsion, Little Greene • Mercury, £42, 2.5l Matt Emulsion, Fired Earth PREVIOUS PAGE, FROM TOP • Bronze Mask chandelier, from £12,540, Cox London • Room painted in Down Pipe, Farrow & Ball. Image taken from Farrow & Ball: Recipes for Decorating by Joa Studholme, £30, published by Octopus • Mbata brass candelabra, £39.95, Nkuku • Orb mirror, Ebony finish, Antiqued flat glass, £700, Reid & Wright • Green ceramic jug, £45, Shimu

• Handmade-one-of-a-kind Persian Moud Rug, £3,195, The Handmade Rug Company ABOVE, CLOCKWISE FROM TOP LEFT • Eichholtz Ivan Melotti Prints, set of two, £775, Sweetpea & Willow • Twisted or Smooth Ring Disc on Stand, Light Grey £265, Katharine Pooley • Large Double Drum chandelier, £5,850 as shown, Bella Figura • Ellen set of three brass mesh metal nesting side tables, £105, Rose & Grey • Chirripo Tamarind cushion, £99, Romo • George sofa in Harris Tweed Bilbury, £2,760; Amelia armchair in Isla Swallow, £735; Keswick coffee table, £785; Keswick console, £950, all Neptune

FEATURE KATY MCLEAN PHOTOGRAPHS P128 (DAVID HUNT) © SEBASTIAN DEVENISH; (KITCHEN) © BRENT DARBY; (FLORA FURNITURE) © PHILL ANDREW. P129 (VAUGHAN) © AC COOPER. P96 (AERIN) © PETER ROSA; (BEDROOM) © RAY MAIN. P131 (NATIONAL TRUST) © NIELS VAN GIJN; (T&G WOODWARE) © MARTIN HASWELL. P133 (DINING ROOM) © JAMES MERRELL; (JUG) © DAVID EMPSON. P100 (DISCS) © RICHARD GREEN; (CHANDELIER) © MARK COLLITON

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USING NEUTRALS SUCCESSFULLY CREATE BALANCE • Balance in a neutral scheme is not the absence of colour or detail. Nor is it a case of matching everything together, which can look overdesigned.

Try to create links between different depths of tones around the room to ensure all the elements come together in a harmonious way.

AVOID BLANDNESS • Mixing neutrals results in some beautiful schemes, but what you lose in colour contrast you must make up in texture or pattern. If not, the result will be a dull and one-dimensional interior.

• Detail is everything. In neutral

on neutrals The acclaimed interior designer on creating balanced and interesting neutral schemes

“

In bedrooms, I definitely favour a neutral scheme, with soft accents of colour. Gentle hues and tonal schemes give a peaceful and serene ambience ideal for a bedroom. They create calming and timeless spaces that are easy to relax in, and in which the subtle design detail rather than overbearing pops of colour add interest.

A CASE IN POINT In this bedroom (above), I started with some key details – such as the fun elephant wallpaper (India by Sanderson) and the intricate leading-edge trim to the curtains – and then built the rest of

136 THE ENGLISH HOME

the scheme around these. I find dove grey has a gentle warmth which works well when layered with textured ivories and celadon blue – especially on these beautiful tactile linens, cottons and silk trims.

Getting the right balance of colour tones is often achieved through small thoughtful touches, like the contrast blue trim to the lamp shades.

To achieve balance I also like to mix pattern styles and scales – so, for example, the large graphic elephant wallpaper motif is counterbalanced with a small-scale abstract flowing pattern on the linen lampshades.” n

ADDING COLOUR • Introducing a stronger colour works fabulously well in a neutral scheme – especially in artwork or accent accessories.

I have just hung a large contemporary bright pink and cobalt canvas by Nancy Cadogan in my soft grey and light blue toned sitting room – but I also added a few cerise and ivory ikat scatter cushions to link the art to the rest of the design.

PAINTED HUES • Farrow & Ball is a go-to for me for neutrals: Ammonite is a lovely light tone; Blackened can look fantastic for a more contemporary chic feel.

FEATURE KATY MCLEAN PHOTOGRAPH (BEDROOM) © RAY MAIN

KATHARINE POOLEY

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Key n = Experts who have contributed to this publication Design by Beata Heuman

Design by Louise Jones

DIRECTORY

OF INTERIOR DESIGNERS Our selection of designers whose work we have seen first-hand or featured in The English Home. Most of the designers listed work nationally and internationally

Design by Guy Goodfellow

Design by Gavin Houghton

Design by Hugh Leslie THE ENGLISH HOME 139

Design by Sims Hilditch

ALEXANDER JAMES INTERIORS Elegant interior and architectural design.

Tel 0118 932 0828 aji.co.uk

CAVE INTERIORS

EMMA BENYON DESIGNS

Personalised schemes blending bespoke, old and new.

Tel 020 7722 9222 caveinteriors.com

Elegant interiors with a timeless and classical allure.

Tel: 07768 311500 emma.benyon@btinternet.com

CHARLOTTE CROSLAND

FRANCESCA ROWANPLOWDEN

Bold, brave use of colour and pattern for atmospheric schemes.

Tel 020 8960 9442 charlottecrosland.com

Full renovation and redecoration from stately to private homes. rowanplowden.com

DIANA BLANCHARD

FRENCH-BROOKS

Elegantly refined interiors to set a restful backdrop to home life.

Tel 020 7722 1242 blanchard.uk.com

Considered, thoughtful approach to elegant, comfortable interiors.

Tel 020 7591 0165 french-brooks.com

DOUGLAS MACKIE

GAVIN HOUGHTON

Artful balance of classic and contemporary with rich textures.

Tel 020 7487 3295 douglasmackie.com

Playful use of colour and pattern, for a look of British eclecticism.

Tel 07939 150776 gavinhoughton.co.uk

DUNNING & EVERARD

GRAMLICK DESIGNS

Timeless charm and elegance for town, country and coastal homes.

Tel 01722 710608 dunningandeverard.com

Inviting English interiors with a sense of refined comfort.

Tel 01608 664573 gramlickdesigns.co.uk

n EDWARD BULMER Architectural historian specialising in restoration.

Tel 01544 388535 edward bulmerinteriordesign.co.uk

GRANT WHITE DESIGN

BEN PENTREATH Creating distinctive, playful settings with a classicist’s eye.

Tel 020 7430 2424 benpentreath.com

BEATA HEUMAN n ALIDAD Sumptuous interiors for grand properties (plus Studio Alidad for more contemporary tastes).

Tel 020 7384 0121 alidad.com

ANNA HAINES Pretty and classic English design that sets an inviting tone.

Tel 07956 236326 annahaines.co.uk

ANNA WILSON INTERIORS Smart, calm aesthetic from this Surrey-based designer.

Tel 07870 828550 annawilsoninteriors.com

ANTONIA STEWART Specialises in high-end private residential projects.

Tel 020 7622 9539 antoniastewart.com

APRIL RUSSELL Skilled in art and sculpture collections for chic interiors.

Tel 020 7720 0046 aprilrussell.com

BARLOW & BARLOW Lucy creates engaging rooms with a youthful appeal, whilst brother Max provides lighting design.

Tel 020 3645 1427 barlowandbarlow.com 140 THE ENGLISH HOME

Characterful, eclectic interiors with a contemporary edge.

Tel 020 8741 0102 beataheuman.com n CARLOS GARCIA Celebrates textiles and antiques in a smart, country-house style.

Studios in Norfolk and London.

Tel 07967 659115 carlosgarciainteriors.com Design by Joanna Wood

Interiors with character tailored to the property and client.

Tel 020 7736 5858 grantwhitedesign.com

Design by Mark Gillette

Design by Paolo Moschino for Nicholas Haslam

n GUNTER & CO Understated interiors with a softly contemporary twist.

Tel 020 7993 8583 gunterandco.com

n HELEN BAINBRIDGE Soulful sustainable style is the core ethos of this practice.

Tel 01386 258007 helenbainbridge.co.uk

HUGH LESLIE

JESS LAVERS

Eclectic, structured style with an eye for colour and textures.

Tel 020 7584 7185 hughleslie.com

Modern room schemes with judicious use of colour.

Tel 07765 251969 jesslaversdesign.com

n GUY GOODFELLOW Accomplished interpretations of English country-house style.

Tel 020 7349 0728 guygoodfellow.com

HELEN GREEN DESIGN

IMRAN ISMAEL

JESSICA BUCKLEY

High-profile practice creating ‘luxurious yet liveable’ interiors.

Tel 020 7352 3344 helengreendesign.com

Liveable, beautiful spaces with chic, multi-cultural details.

Tel 07515 966235 iiinteriors.co.uk

A fresh aesthetic with a love of colour and pattern.

Tel 0131 566 8918 jessicabuckley.com

HAM INTERIORS

HENRIETTA SPENCER-CHURCHILL

JANE CHURCHILL

n JOANNA WOOD Globally respected for modern elegance and classic grandeur.

Tel 020 7730 0693 joannawood.com

Timeless design and a softly modern country allure.

Tel 01491 579371 haminteriors.com

An encyclopaedic knowledge of Georgian design & architecture.

Tel 01993 811887 spencerchurchilldesigns.com

Internationally respected for quintessentially English interiors and contemporary elan.

Tel 020 7730 8564 janechurchillinteriors.co.uk

HARRIET ANSTRUTHER

HENRY PRIDEAUX

JENNY BLANC

Stylish and witty interiors for town and country.

Tel 020 7584 4776 harrietanstruther.com

Elegant interiors with a contemporary twist.

Tel 07710 115094 henryprideaux.com

Beautifully detailed interiors for town and country homes.

Tel 020 8943 4144 jennyblanc.com

JOHN MCCALL Experienced designer with a flair for grand country homes.

Tel 01635 578007 mccalldesign.co.uk



THE ENGLISH HOME 141

JOJO BRADLEY INTERIORS Timeless interiors also offering bespoke furniture design.

Tel 07432 419540 jojobradleyinteriors.co.uk

LOUISE JONES Comfortable, ‘grown-up’ interiors with careful attention to detail.

Tel 020 7351 6858 louisejonesinteriors.com

LUCINDA SANFORD JUSTIN VAN BREDA Considered and engaging furniture and interiors.

Tel 020 7078 7996 j-v-b.com

Offers a full build, design and project-management service.

Tel 020 7237 9098 lucindasanford.com

LUCY CUNNINGHAM n K&H DESIGN Architecture/design studio with an overarching attention to detail.

Tel 0207 736 3610 kandhdesign.co.uk

Skilled layering of colour and pattern for fresh English looks.

Tel 07740 463306 lucycunninghaminteriors.com

MARION LICHTIG KATE GUINNESS Confident use of colour and character for inviting homes.

Tel 020 3393 5919 kateguinness.co.uk n KATHARINE POOLEY Bespoke and luxury finishes for homes from Mayfair to Kuwait.

Tel 020 7584 3223 katharinepooley.com

Pared back, relaxed living with a gentle, evolved look.

Tel 07931 993110 marionlichtig.com n MARK GILLETTE Sumptuous interiors, particularly for large country houses.

Tel 01244 851897 markgillette.com

MARY BARBER FRAY KELLING DESIGNS This studio celebrates colour and texture.

Tel 01328 830449/020 3866 9430 kellingdesigns.com

KELLY HOPPEN INTERIORS Distinctive, chic and modern east meets west aesthetic.

Tel 020 7471 3350 kellyhoppeninteriors.com n KITESGROVE Tailored and considered details for updating period properties.

Tel 020 3588 0400 kitesgrove.com

LISA SANSOM Colour and comfort with a warm country-house feel.

Tel 01264 359744 squirrelsinteriors.co.uk

LOUISE BRADLEY Specialising in sleek, luxurious but supremely functional homes.

Tel 020 7589 1442 louisebradley.co.uk 142 THE ENGLISH HOME

Inviting interiors and a thoughtful, collaborative approach.

Tel 0121 445 6500 marybarberfray.co.uk Design by Gunter & Co

Design by Kate Guinness

NATALIA MIYAR Glamorously modern interiors based on texture and ambience.

Tel 020 8629 5510 nataliamiyar.com

NICKY HASLAM Acclaimed for creating glamorous, witty interiors.

Tel 020 7370 3100 nh-design.co.uk n NINA CAMPBELL World-renowned for her quintessentially English style.

Tel 020 7225 1011 ninacampbellinteriors.com n PAOLO MOSCHINO FOR NICHOLAS HASLAM

Design by VSP Interiors Design by Todhunter Earle

English style with continental flair by Paolo Moschino and Philip Vergeylen.

Tel 020 7730 8623 nicholashaslam.com

MAURIZIO PELLIZZONI Blending European polish with timeless light and airy looks.

Tel 020 7352 3887 mauriziopellizzoni.co.uk

PATTI MONEY-COUTTS Beautifully considered interiors with imaginative use of details.

Tel: 01420 590219 overburyinteriors.co.uk

MAX ROLLITT Distinctively smart interiors and a classical aesthetic.

Tel 01962 791124 maxrollitt.com

PENNY MORRISON Celebrated fabric designer who creates rich, eclectic homes.

Tel 020 7384 2975 pennymorrison.com

MEG TREHERNE Harrogate and London, specialising in country charm.

Tel 01969 650587 megtreherne.co.uk

PHILIPPA DEVAS Combining practicality with a chic, muted style for modern life.

Tel 020 7584 9966 devasdesigns.co.uk

MELISSA WYNDHAM Calm yet detailed and layered rooms with pattern and texture.

Tel 020 7352 2874 melissawyndham.com

PHILIPPA THORP Beautiful, functional interiors with architectural empathy.

Tel 020 7235 7808 thorp.co.uk

MICHAEL NICHOLAS Design with meticulous attention to detail.

Tel 020 7498 7755 michaelnicholasdesign.com

ROBERT KIME Masterful use of antiques and textiles for an illustrious clientele.

Tel 020 7229 0886 robertkime.com

MOORE DESIGN Architecturally-inspired design with a classically elegant feel.

Tel 020 7582 7327 mooreinteriordesign.com

ROCOCO INTERIORS Classic English with a twist for town and country homes. rococolondoninteriors.com



THE ENGLISH HOME 143

ROSE UNIACKE

SOPHIE PATERSON

The height of elegance for sophisticated yet relaxed living.

Tel 020 7730 7050 roseuniacke.com

Interiors imbued with a distinctively contemporary calm.

Tel 01372 462529 sophiepatersoninteriors.com

SALVESEN GRAHAM

SERENA WILLIAMS-ELLIS

Classic interiors with a modern twist.

Tel 020 7967 7777 salvesengraham.com

An in-depth knowledge of fine art and antiques.

Tel 01768 898073 serenawilliamsellisltd.co.uk

SAMANTHA JOHNSON

STAFFAN TOLLGÅRD

An effortless fusion of the classic and the contemporary.

Tel 01494 882219 samanthajohnsondesign.com

Contemporary interiors suited to the period of the property.

Tel 020 7952 6066 tollgard.co.uk

n SAMANTHA TODHUNTER

SUSAN DELISS

Smart, modern interiors.

Tel 0207 7349 7155 samanthatodhunter.com

Using antique and new textiles and globally-sourced furniture.

Tel 07768 805850 susandeliss.com

n SIMS HILDITCH Softly modern elegance for tranquil, understated schemes.

Tel 01249 783087 simshilditch.com

Sleek, chic interiors from this international luxury studio.

Tel 020 7349 9017 taylorhowes.co.uk

TAYLOR HOWES

n TODHUNTER EARLE Refined schemes from contemporary to heritage.

Tel 020 7349 9999 todhunterearle.com

n VEERE GRENNEY ASSOCIATES Perfectly chic settings for a discerning global clientele.

Tel 020 7351 7170 veeregrenney.com

TOR INTERIORS Engaging use of colour for city and country interiors.

Tel 020 7043 2410 torinteriors.com

TURNER POCOCK Panache with colour and pattern and a contemporary aesthetic.

Tel 020 3463 2390 turnerpocock.co.uk

VANRENEN GW DESIGNS

Design by Robert Kime

144 THE ENGLISH HOME

Comfortable, appealing design using colour with confidence.

Tel 01488 500206 vanrenengwdesigns.com

VICTORIA MEALE Serene interiors which champion craftsmanship and sustainability.

Tel 020 7349 7021 victoriamealedesign.com

VIOLET & GEORGE Passionate about textiles and designing homes with character.

Tel 020 8969 0654 violetandgeorge.com n VSP INTERIORS Timeless, luxurious designs by Henriette von Stockhausen.

Tel 07787 574192

PHOTOGRAPHS P139 (LOUISE JONES) © ANDREAS VON EINSIEDEL, (BEATA HEUMAN) © SIMON BROWN, (GUY GOODFELLOW) © ROBERT BARBER; P141 (PAOLO MOSCHINO) © SIMON UPTON, (MARK GILLETTE) © BRIAN HARRISON; P142 (KATE GUINNESS) © SEBASTIAN BOETTCHER; P143 (TODHUNTER EARLE) © RAY MAIN

Design by Salvesen Graham

Hingstons Of Wilton Purveyors of Antiques and decorative items (est.1976)

Modern timeless styles in cashmere, merino and yak.

Tel: 01273 401827

www.mistycashmere.co.uk

T: 01722 742263 E: nick@hingstons-antiques.co.uk The Old Bell House, 2 Shaftesbury Road, Wilton, Salisbury, SP20DR

www.hingstons-antiques.co.uk

Call or email us today with your dimensions for an estimate:

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THE COLOUR WHEEL Understanding how to use this key interior design tool will help to select fail-safe colour combinations for the most polished room schemes

T

he colour wheel demonstrates how colours relate to one another. It is divided into segments showing the primary colours (red, blue, yellow), secondary colours (violet, green, orange) and tertiary colours (a mix of a secondary colour with one of its primary parents), which are arrranged into a wheel-shaped rainbow.

Colours opposite each other on the colour wheel are considered complementary and highly contrasting, for instance green and pink or blue and orange. Triadic colours are located at three equidistant points on the wheel forming a triangle, for example violet, orange and green and create a vibrant harmony. In this instance it is best to let one colour dominate and use the other two colours as accents.

Analogous colour schemes use colours that sit next to each other and are pleasing to the eye. Darker shades and lighter tints of the same colour always work well 146 THE ENGLISH HOME

together, so, for instance, it is possible to use a range of greens, say, from celadon to emerald.

Paint charts work in a similar way, working either across or down the rows to combine colours.

Colour consultant Frances Tobin provides useful advice on how to choose a paint colour: “Ideally, start with a blank canvas. If you have inherited a previous owner’s colour selection, just paint the whole room white so that you can start again. Get tester pots and paint large squares of colour onto lining paper and stick these colour tests on to each wall with masking tape.

This way you can see how a selected colour will look in different areas of your home. If you don’t know where to start with colour, look at your neighbours’ homes and see what colours you feel have worked with the local light.” Testing in situ is imperative to avoid mistakes. n

FEATURE KATHERINE SORRELL

Hand-painted paint charts are a good first guide, but it is absolutely imperative to try out a painted swatch in the space it is destined for in all lights before committing to a colour.

We advise using an A3-size swatch ideally, with A5 as a minimum.

Sanderson 125ml tester pots, £5 each

30

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+44 (0)20 7352 5594

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