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A different perspective.

For us, contrast doesn’t always have to be so black and white.

Arrange your free kitchen design consultation at your closest Neptune store.

CONSIDERED & CHIC Designer homes in London, the Cotswolds, New England and the Hamptons

THE NEW SEASON Our edit of the latest fabrics and wallpapers Beautiful window treatment ideas Expert advice for kitchens and bathrooms APR IL 2 019

CATCHPOLE & RYE KENT ENGLAND

EXCLUSIVE

LUXURY

BATHROOMS

L O N D O N • T U N B R I D G E W ELL S • A S H F O R D

T. 020 7351 0940

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The Saracen - Painted White

APRIL 2019

45

32

NEWS

17 21

THE EDIT Events, news, places to visit THE NATURAL HOME The House of

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Grey founder talks interiors and wellbeing PASSION FOR PATTERN Go wild for modern animal prints

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32 42 45

SHOPPING OBJECTS OF DESIRE New design must-haves for you and your home FLORAL OVERTONES Muted flower motifs are springing up everywhere IN THE ROUND Circular side tables BOXING CLEVER Blanket boxes for beautiful bedrooms SERVE UP Bring artwork to the table with painterly plates IN THE FOLD Elegant napkins to add polish to your dinner setting TAKE COVER Gardening aprons UPHOLSTERED BAR STOOLS Sophisticated seating MONOCHROME TILES Dramatic designs for the bathroom

96 107 115 123 133

INSPIRATION OPEN HOUSE A reconfigured floor plan and transatlantic touches have brought character to this modern Hamptons home DESIGN DETAILS Take home the look of our contemporary Hamptons house NEW COLLECTIONS Our pick of the latest fabrics and wallpapers FINDING SANCTUARY How a London townhouse has been turned into an oasis of calm that offers an escape from the city PRINTS CHARMING Artisan pieces and vibrant patterns bring the sunshine of South Africa to a New England abode NATURAL BEAUTY This Cotswold cottage is abundant in honest materials that reflect its surroundings ENGLISH ECCENTRIC Grandeur with a twist in a Notting Hill apartment NEW GENERATION The storybook castle and garden of the 300-acre Megginch estate near Perth is the quintessential family heirloom ¤

COVER PHOTOGRAPH ERIC PIASECKI

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DESIGN

140 TOP PRIZE Take a walk through winning 147

green spaces chosen by the Society of Garden Designers COLOUR OF THE MONTH Soothing Quiet Grey by Atelier Ellis

149 DRESSED TO IMPRESS Window 158 163 166 169 175 179 194

treatments to add impact to your rooms HARD LINES Give garden paths and patios the edge with these ideas MR MERRIDEW Home help from our resident under butler DREAM ROOM Interior designer Steven Gambrel shares his tips for a classic scheme DREAM KITCHEN A clever layout makes this cook space ideal for entertaining SINGLE-SLAB SPLASHBACKS This kitchen essential has gone sleek DREAM BATHROOM Copper and pink tones bring glamour to a guest bathroom DESIGN MOMENT Celia Rufey explores the history of Colefax and Fowler

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94 161 185

LIFESTYLE ONE TO WATCH Meet woodworker Rory Stride of Stride & Co OUT & ABOUT This month’s pick of places to go and people to see WE LOVE Italian retreat Castello di Ugento is pure luxury MY GARDEN LIFE Sarah Raven talks tulips and a love of growing things OFF THE SHELF New garden books MOVERS & SHAKERS Introducing wallpaper designer Anna Glover TABLE TALK Florists Kitten Grayson and Harriette Tebbutt discuss Easter blooms VEGETABLE DELIGHTS Side dishes that will be the stars of your Easter feast

REGULARS SUBSCRIBE TO H&G Your favourite magazine delivered to your door H&G OFFER Award-winning luxury European river cruises SOURCEBOOK Find all the stockists mentioned in this issue here

TO SUBSCRIBE Subscribe today and save 47% on the perfect gift, visit homesandgardenssubs.com/24AI or call 0330 333 1113.

DIGITAL EDITIONS AND PAST ISSUES These can be downloaded at bit.ly/homesandgardens2019 or order print editions at mags-uk.com.

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L O N D O N

- N EW BROCH U R E OU T NOW 0333 011 3333 |

It is a pleasure to unveil this April issue of Homes & Gardens.

It includes our biannual edit of the latest fabrics and wallpapers, which this season is themed around the creative industries (page 45). The inspiration behind each image is a craft, from woodwork to writing, in order to emphasise the trend of the maker. Texture is another key theme for SS19, with raw finishes and unusual materials playing a role. There has been a shift in colour confidence, too, evidenced by the strong hues that have come to the fore. I hope you enjoy our whimsical story; it has an optimistic, bold F OL L OW US ON Instagram @homesandgardensuk Twitter @homesandgardens Facebook @homesandgardens Pinterest @homesgardensuk

spirit – and proves that there is room for a little fun.

With the advent of spring it is also time to look outside.

So, together with our regular garden features, we are showcasing the winners of the Society of Garden Designers Awards (page 140). The projects are brimming with ideas, from unusual planting to statement landscaping.

I’m planning on celebrating the new season with a visit to Somerset’s Hestercombe Gardens. It was spotlighted during our recent archive deep-dive as somewhere we once featured that is now open to the public. It has been worked on both by one-time H&G garden editor Gertrude Jekyll and Sir Edwin Lutyens. Fifty acres of terraces, temples and lakes... I cannot wait to explore.

SARAH SPITERI, EDITORIAL DIRECTOR

9

& EDITORIAL ENQUIRIES 161 Marsh Wall, London E14 9AP, hgcontactus@ti-media.com

Editorial Director Sarah Spiteri

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BACK ISSUES Safeship Fulfilment, support@mags uk.com, 01795 662976 EDITORIAL COMPLAINTS We work hard to achieve the highest standards of editorial content, and we are committed to complying with the Editors’ Code of Practice (ipso.co.uk/IPSO/cop.html) as enforced by IPSO. If you have a complaint about our editorial content, you can email us at complaints@ti media.com or write to Complaints Manager, TI Media Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please provide details of the material you are complaining about and explain your complaint by reference to the Editors’ Code. We will endeavour to acknowledge your complaint within five working days and we aim to correct substantial errors as soon as possible.

Q Please note that paint and fabric colours may vary slightly, owing to the printing process. We recommend using tester pots and swatches to check all colours in situ.

All prices are correct at time of going to press.

HOMES & GARDENS, ISSN 0018 4233, is published monthly, 12 times a year. This issue is published on 28 February 2019 by TI Media Limited, 161 Marsh Wall, London E14 9AP. Homes & Gardens® is a registered trademark ©TI Media Limited 2019. The contents of the magazine are fully protected by copyright and nothing may be reprinted without permission. All prices are approximate. Repro by Rhapsody Media Limited, 109/123 Clifton Street, London EC2A 4LD. Printed by Walstead UK Limited. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14 5HU, 020 3787 9001. Homes & Gardens® is sold subject to these conditions: that it shall not, without the written consent of the publishers first given, be lent, re sold, hired out or otherwise disposed of by way of trade at more than the recommended selling price shown on the cover (selling price in Eire subject to VAT), and that it shall not be lent, re sold, hired out or disposed of in a mutilated condition or in any unauthorised cover by way of trade or annexed to or as part of any publication or advertising, literary or pictorial matter whatsoever. Homes & Gardens® magazine one year full subscription rate (12 issues) UK, £61.65; Europe, ¤157.60; USA $157.60; Rest of World, £157.95. For subscription enquiries from the UK call 0330 333 1113 and for enquiries from overseas call +44 (0) 330 333 1113 or email help@magazinesdirect.com. is a partnership between TI Media Ltd and Seen in Print Limited.

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Curtains: Kalamkari. Cushions: Montecito, La Provence, Tarascon Trellis Applique, Mila, Jules, Palampore. Brighton Settee from Thibaut in Tansman.

A SOFA TODAY, A SPACESHIP TOMORROW

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SHOPPING

OBJECTS OF DESIRE

Laura Vinden pick s her favour ite desig ns for this month (Clockwise, from top left) Palm Court panel in Mineral, H680xW70cm, £396 for two panel set, No.9 Thompson at Fox Linton.

Chopping board in Black Oak, 40x25cm, £55, Edward Collinson.

Illapa table lamp in Blue, H32xDia26cm, £325; pleated linen lampshade in Off White, Dia40cm, £70, both Oka. Capri Carver chair, H81xW60xD54.5cm, £180, French Connection.

Antigua square pillowcase, 65cm sq, £25, Wallace Cotton.

Constance vase, H27xW63xD17cm, £272, Julian Chichester. ¤

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(Clockwise, from top left) Step cushion cover in Forest/Firecracker, 45cm sq, £75, The Conran Shop.

Arbor bench, H60xW150xD35cm, £580, Lombok.

Snowdrop Rise and Fall pendant, H220xDia55cm, £1,620, Beata Heuman.

Plus tiles, 20x20cm, from £237.60sq m, Popham Design at Day True.

Side stool, H45xDia40cm, £500, EJR Barnes at Alex Eagle.

Capri vanity in Fireworks with marble top and taps, H85xW70xD58, from £6,000, Oomph Home at Nina Campbell.

Linen coasters in Multi, Dia10cm, £132 for four, Los Encajeros at Moda Operandi.

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NE WS BRIGHT IDEA Nothing creates an atmospheric glow like lamplight and this new design by Alexander Joseph is cordless, so it can be moved around to create an inviting scene. We love the idea of illuminating a garden table while eating outside. Lamps are British-made with ceramic or glass bases in a choice of jewel hues; you can use them for 52 hours before recharging.

Prices from £1,380.

SHOP TALK

FEATURE LAURA VINDEN

DREAM WEAVER Luxury rug designer Luke Irwin has launched an exclusive diffusion range in collaboration with John Lewis & Partners. Priced from £1,800, the 11 rugs are hand-knotted using his signature traditional technique and made with a unique dyeing process that leaves a small proportion of the sari silk undyed to give each rug a brilliant, unexpected shot of colour.

Creating harmonious spaces through seemingly clashing colour and pattern combinations is renowned interior designer Penny Morrison’s calling card. Now Penny and her fabric showroom The Fabric Collective have moved into an expanded space across three floors at 9 Langton Street, Chelsea. As well as browsing fabrics and wallpapers from Penny and other leading designers, you can explore the basement full of colourful treasures and two floors of room designs displaying bespoke and one-off items picked up by Penny on her travels.

TWO’S COMPANY For the first time since its founding in 1851, heritage potter Burleigh is featuring another designer’s work. The exquisite patterns of Ralph Lauren, with his peony, vine and star motifs (available in indigo blue or faded black), appear on plates, bowls and serving pieces.

Shown is the Garden Vine bowl in Black, £150, and Garden Vine salad plate in Indigo, £34.

17

NEWS

GET AHEAD Turn over a new leaf and give your bedroom an infusion of tropical style with Oka’s new Palmette headboard, H185xW184cm, £1,150. Its striking palm leaf design has been handcrafted from mango wood and is hand-painted in a soft grey-green finish.

Instag ram inspiration Don’t be fooled by the name, @gustthepoodle is Marian McEvoy, doyenne of the publishing world with a host of bylines to her name. As for Gust, he is a splendid standard poodle belonging to her neighbours.

How would you describe your Instagram account?

It shows seasonal views of my home on the banks of New York’s Hudson River, in a small town called Wappingers Falls. I show no people, nor myself, but, rather, table settings, decorative vignettes and some of the plants and flowers I have tried to shepherd. I use Instagram as a kind of sounding board/focus group!

Who would you recommend we follow and why?

The fine photography of @miguelfloresvianna; the English landscapes of @paper.maker; the eccentric artistic visions of @antoniomonfreda; and the charming compositions of vintage items by @cpgoodrich.

LIGHT FANTASTIC Marrying Art Deco references with an industrial-inspired aesthetic, the new collection from luxury lighting brand Bert Frank features five designs.

Our favourite is Trave (shown), H130xW42xD42cm, £740, which has a fluted brass stem, opal glass and marble detailing.

It’s also available as a wall light and table lamp.

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NO STRINGS Striking the perfect balance between form and function, it’s no wonder that String, the design-led shelving system has been around since 1949. Its clever modular arrangements come in a choice of materials and colours, so you can mix and match to find the right combination to suit your space. To celebrate 70 years, a delicate new colour – Blush – is making its debut.

String Pocket shelving in Blush, from £122.

A different perspective.

Twenty-eight. That’s the number of paint shades in our collection and the only colours you’ll ever need. Each one as timeless as the next. Each one blended using our water-based formulas that are loved by decorators. Each one better for you and the environment.

Paint, made easy.

F O R TH E F INE ST CONS ERV AT ORIES, ORAN GERIES A N D R O O F L IG H TS

R E Q U E ST A B R O C H U R E

+4 4(0 )1 4 7 6 5 6 4 4 3 3 www.valegardenhouses.com

NE WS

THE NATURAL HOME Desig ner L ouisa Grey on the wellness trend and how to create serene and harmonious spaces WE THINK OF WELLNESS AS BEING FOCUSED ON MIND, BODY AND SPIRIT. WHAT IS YOUR APPROACH? At House of Grey we tie all that together with the surrounding environment – the space that encompasses us and how it affects our personal wellbeing. We live in a world of constant overstimulation – with pressures from social media, the demands of consumerism and a restricted work-life balance all contributing to less downtime for everyone. To help rectify this, House of Grey has revisited the concept of the home and work environment in order to create spaces that are dedicated to replenishing your energy levels by engaging all five senses. This means a home, while still an active, functioning space, is also a restorative haven. Similarly, we believe a productive workplace can also provide a calming and inspiring zone for everyone who experiences it.

WHY DOES DESIGN MATTER IN THE WORKPLACE? Creating an environment that enhances employee wellbeing shows that an employer cares. Work satisfaction and staff motivation can begin with a space where teams look forward to being together and collectively enjoy the environment, and where the facilities encourage creative conversations.

HOW DOES THAT WORK IN PRACTICE?

“WE BALANCE EARTHINESS WITH THE UNDERSTATED LUXURY OF ORGANIC TEXTILES AND SURFACES”

Our studio designs positive, creative interiors that are a pleasure to inhabit. A thought-out design that’s mindful of the environment can help recalibrate the mind, nurture the senses and improve everyone’s sense of wellbeing. It’s all about choices. With every material used, we look at its impact on personal wellbeing in order to drive spaces that are as emotionally nourishing as they are aesthetically pleasing.

WHAT ARE YOUR DESIGN PRINCIPLES? 1. Focus on nature. Organic fibres, textures and materials were once abundant in our lives, but have been replaced by the man-made and chemically produced. Wood, stone, wax- and plant-derived fabrics connect us to the earth and ground us to →

21

N EWS

relies on minds and bodies that are calm and focused, with reduced sensory distractions.

4. Future-proof. Alongside creating a unique spatial experience, our design studio considers how a home or workspace will be used over time. We build spaces that will evolve without gathering the kind of clutter that would dilute its ability to energise.

5. Ensure an immersive experience. Good design feeds the senses. As organic foods nourish you from within, organic scents, sounds and materials feed all five senses and enhance wellbeing.

6. Embrace imperfection. There is something inherently satisfying about things that are a little ‘off ’. With this in mind, we tend to fuse simplicity with the natural imperfection you get with materials and objects that have weathered in time.

DO YOU HAVE A FAVOURITE MAKER YOU WORK WITH? Our creative tribe is forever growing. We organised an ‘In the Neighbourhood’ pop-up for last year’s

DEDICATED TO REPLENISHING YOUR ENERGY LEVELS BY ENGAGING ALL FIVE SENSES”

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IS THERE ONE PARTICULAR SPACE YOU REALLY ADMIRE? I am originally from Cambridge and Kettle’s Yard has always been a space I’ve loved. I spent a lot of my Art Foundation time there drawing. It is important to be

the natural environment. At our studio, we are all about balancing earthiness with the understated luxury offered by organic textiles and surfaces.

2. Make a positive impact. We source all the products and materials used in our projects close to home.

able to find a stillness in a space, so you can make a proper connection with it.

Collaborating with local artisans and makers avoids long-haul logistics and reduces our carbon footprint.

Using non-toxic paints, recycled materials and biodegradable packaging are all key to our approach.

3. Create living, breathing spaces. We design with people in mind – focusing on how they will

of materials in his architecture brings a modern sensitivity to his projects, which embody an energising and motivating sense of simplicity and warmth that I’m drawn to. His use of light and texture ensures a sensory connection, which is something I can very much relate to.

interact with the space and making it as user-friendly and practical as possible. Optimum productivity

Q

WHO INSPIRES YOU CREATIVELY? Vincent Van Duysen is an inspiration. His choice

houseofgrey.co.uk

FEATURE LAURA VINDEN PHOTOGRAPHS RORY GARDINER

“WE CREATE SPACES THAT ARE

London Design Festival, which showcased work by local artisans and international designers, including Massproductions, Frama, Nest Design and Stitch by Stitch. Artist Tycjan Knut was also there and now one of his works has pride of place in our new showroom.

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*Available on any And So To Bed collection purchased between 1st – 31st March 2019. Terms & Conditions apply. Subject to stock & availability.

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PA S S IO N F OR PA T T E R N Ta k e a w a l k o n t h e w i l d s i d e w i t h t h e s e

FEATURE LAURA VINDEN

modern takes on animal print Swatches (left to right, from top): Ocelot, £101 a roll, Farrow & Ball; Safari in Blue, linen, £100m, Paolo Moschino for Nicholas Haslam; Fauna in Blush, linen, £79m, Kate Spade for Kravet at GP&J Baker; Shambala in Peony, sunbrella acrylic, £156m, Thibaut; Kasuri in Natural/Indigo, viscose mix, £67.50m, James Hare; Leopardo in Wedgewood, linen, £196m, Peter Fasano at Tissus d’ Hélène; Leopard in Ice Navy, oatmeal linen, £89m, Parker and Jules; Cheetah, viscose mix, £83, Matthew Williamson at Osborne & Little; Senzo Spot, £85 a roll, Cole & Son.

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01245 326500 WESTBURYGARDENROOMS.COM

SHOWROOMS IN LONDON & ESSEX

SHOPPING

FLOR A L OV ERTONES

FEATURE LAURA VINDEN

Blooms in subtle shades are cropping up ever y where (Clockwise, from top left) Globe light in Smoke with leaf garland in White, H38xDia20cm, £590, Rapture & Wright.

Hand-painted bespoke botanical print, from £40, Gail Jones of Starkeys Lane.

Hindi Rose fabric in Persian, linen, £100m, Lewis & Wood.

Papaver nudicaule (Icelandic poppy) sculpture, H38xDia21cm, £465, The Shop Floor Project.

Arboretum cushion in Abelia, 50x30cm, £65, Romo.

Carolina Star Flower soup plate, Dia22cm, €88, John Derian for Astier de Villatte.

Bayswater armchair, £3,420, Lorfords. Upholstered in Caldbeck fabric in Indigo, linen, £79m, GP&J Baker.

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(Clockwise, from this picture) The English Windsor chair and Forged Martini table; Rory is skilled in mixing materials; Rory Stride; Furrowed wardrobe; Cruck-frame Farmhouse table and Forge candelabra, all Stride & Co.

O N E T O WA T C H From mak ing speakers a s a hobby to o w n i n g a w o r k s h o p i n We s t S u s s e x , R or y St r ide of ST R IDE & CO ha s made honing top-cla ss woodwork ing s k i l l s h i s l i f e ’s w o r k

Q

Have you always been a creative person?

My interest in woodworking came in my mid-teens when I began designing and making speakers. I loved it and took it very seriously, but as a business it was a definite loss-leader. My parents are both laid-back and were very good at letting my sister Ottalie and I follow our passions rather than pushing us in any direction. →

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LIFE STY LE

Q

Was furniture design always something that

you were interested in?

My dad has a small antiques auction house, which I started going to when I was young. I loved the buzz of auction days and it was there that I started to appreciate the beauty of certain pieces. After leaving school,

Rory’s studio is in an idyllic barn in West Sussex that gives inspiration for his designs.

I did an apprenticeship with a family friend who makes furniture. He was a great teacher and got me excited about the idea of woodworking as a career. I then worked in construction and later for a kitchen company, but it wasn’t until I hit my twenties that I knew that I wanted to start making furniture professionally.

Q

In the past, you worked for some respected furniture designers – what was that like?

Ottalie, my sister, was working for interior designer Veere Grenney

and has an encyclopedic knowledge.

I started with a handful of skills and left as a furniture maker, so remain eternally grateful for the schooling I received under his watchful eye.

CREATIVE PROCESS IS THE INFINITE LIST OF SOLUTIONS TO ANY ONE PROBLEM”

studio. The 19th-century flint barn was in need of some TLC to give it a new lease of life. The barn has such

Q

What is the ethos behind your designs and what inspires you?

I’m fortunate to live on a small farm

an integral beauty it was imperative to restore it in a sympathetic way and I’m thrilled with the result. I feel inspired by the building, and the studio is very peaceful and light, aiding my creative process. I hope the

My aim isn’t to follow current trends but to create furniture that will remain with its owner for years to come. My designs tend to be simple of form and material led. I hope to make pieces that age with grace. Max Rollitt, Rose

in Chichester that has plenty of outbuildings, perfect for housing a

furniture I make there will last as long and age as gracefully as the barn has.

Uniacke and Christopher Howe are also an inspiration. strideandco.co.uk. &

Q 30

“THE WONDERFUL THING ABOUT ANY

Can you tell us about your workshop?

FEATURE LAURA VINDEN WORDS CLAUDIA BAILLIE PHOTOGRAPHS BROTHERTON-LOCK

when she was introduced to Mathew Bray and Matthew Collins who make beautiful furniture and surfaces for some of the top designers. Knowing I wanted to move on from kitchens, Ottalie introduced me to Mathew and a year later he took me on as a junior maker in his Peckham studio.

The standard of work was like nothing I had ever seen. Mathew is a really inspiring person to work for

Fabric | Wallpaper | Paint stylelibrary.com/sanderson 01895 221099

OPEN HOUSE ReconďŹ gured spaces and imaginative furnishings have enabled this Hamptons home to host large numbers in great comfort WORDS JULIET BENNING PHOTOGRAPHS MATTHEW WILLIAMS STYLING HILARY ROBERTSON

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INS P IR ATI ON

LIVING AREA Thick smoked oak shelves display ornaments bought on the owner’s travels.

Sliding pocket doors (left) connect the dining area with the family room.

Aqua dining table (left) by Roche Bobois. Tesa chairs from Stillfried Wien.

33

LIVING AREA The chimney breast was widened and modernised with a custom pouredconcrete surround.

Walls painted in James White by Farrow & Ball.

Otto double pendant light

by David Weeks Studio.

Sofas by McGuire at Baker.

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INS P IR ATION

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INS PIR AT IO N

W

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hen they first viewed the property that was to become their much-loved Hamptons holiday home, Ian Ferguson and Ryan Brandau weren’t overly impressed. ‘It wasn’t love at first sight, but our broker

dining area next door relatively constricted and a sprawling main room that hadn’t been put to good use,’ says Ian. Sight lines became important so that anyone cooking would be able to see out onto the porch and tennis court beyond. Upstairs, the landing ‘catwalk’ was widened, while bedrooms were made

was convinced that the house was right for us and she could envisage something beyond what we were seeing,’ recalls Ian. The couple had been in a long-distance relationship between New York and California for several years before settling on an apartment in Manhattan, and wanted to complement their city lifestyle with a retreat in the Hamptons to be shared with Ian’s parents. ‘We love tennis and one

bigger and en-suite bathrooms added.

In terms of decor, the couple aimed for a relaxed look that would appeal across the generational divide. ‘We wanted the interior to have a sense of fun and although we felt it should be beautifully designed we didn’t want it to feel stuffy or intimidating,’ says Ian. Across the ground floor indoor/outdoor rugs have been used while much of the upholstery is from

of our criteria was for a court and a pool,’ adds Ryan.

Clad in shingle and featuring multiple gables as is

Holly Hunt’s outdoor range, making it impervious to the scratches of Tux, Ian and Ryan’s dog.

the New England style, the house was repainted to refine its architectural qualities. ‘It was originally pale, which exaggerated some of its weird shapes – as if it were all roof and no walls. By painting it a darker

An emphasis on craftsmanship and natural materials has also reduced the formality of the highly designed spaces, as Sarah explains, ‘The marble of the dining table is a feature, while all the built-in

colour, closer to the roof, we toned it down and made it look a bit more thoughtful,’ says Ian. The house had been built in the early Noughties, but lacked the architectural detailing the couple craved. A year after they bought it, an overhaul of the basement triggered the extended project. Sarah Zames, of the interior design firm General Assembly, was recommended and became the linchpin of the redesign.

‘One of the priorities was to create more architectural interest internally,’ says Sarah. ‘We wanted to add texture and colour, giving each room an individual

furniture is made of smoked oak, with the floors of a lighter bleached oak.’ White walls delineate the crisp planes of the slanted ceiling in the main living area with a host of Farrow & Ball colours giving bedrooms individual character. The paint is not the only British touch, with new London projects by General Assembly bringing a transatlantic influence. ‘We discovered several furniture designers at London Design Festival and the wallpaper in the cloakroom is from House of Hackney,’ says Sarah.

Many months after its completion, Ian and Ryan

character.’ The property was stripped back and given a new floor plan with fewer walls, instilling in the house a more sociable, loose character. ‘We tried to expand and connect the spaces as much as possible,’ she says. ‘Previously, the kitchen was small with the

continue to be enthralled with their retreat. ‘We love the fact that even if there are 20 guests staying, we’ve used the idiosyncrasies of the architecture to create a private nook for everyone,’ says Ian. ‘It’s great seeing the house unfold and be used as we planned.’ &

HALL Black steel bannisters provide a strong focal point.

Stairs designed by General Assembly. Floor in Bare Oak

by The Hudson Company.

Marble table from Studio Raw Material.

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INS PIR AT IO N

38

KITCHEN A recessed ceiling with large panels adds architectural interest to the interior.

Dome pendant lights from Allied Maker. Radice counter stool from Mattiazzi. Similar to the large bowl (opposite) is Strom by Raawii at Heal’s.

39

BATHROOM The traditional wooden shutters were painted in the same shade as the walls to give them a more contemporary look.

The fluted glass panel acts as a chic divider in this large space.

Empire bath from Waterworks. Traditional schoolhouse shade ceiling light from Schoolhouse.

EN SUITE ‘We all fell in love with this stone,’ says Sarah Zames, of interior design firm General Assembly, of the marble in the shower. Its high-contrast monochrome is set off by the natural, calming tones of the wood.

Can Barro Negro pendant lamp by David Pompa.

Arden washstand by Waterworks. Foster washbowl by Duravit.

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LANDING The mezzanine level was expanded to make it a focal point and create this area for reading and relaxing.

Prince chair by Minotti.

Pasteur straight floor lamp

by Roche Bobois. Door painted in Hardwick White

by Farrow & Ball.

INS P IR ATI ON

GUEST BEDROOM Blue wood cladding recalls traditional Hamptons-style architecture. ‘This bedroom gets more light than the others so it can absorb the dark tone,’ says Sarah Zames of interior design firm General Assembly.

Woodwork painted in Down Pipe by Farrow & Ball. Coral pendant light by David Trubridge.

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DESIGN DETAILS S t y l e i n s p i r a t i o n f r o m I a n a n d R y a n ’s H a m p t o n s h o l i d a y h o m e

42

VERDANT WALLCOVERING

TIMBER CLADDING

In the downstairs powder room the influence of London designers can be seen in the choice of wallpaper – House of Hackney’s Limerence in Ink, £185 a roll. For a good selection of green paints try Little Greene, who have collaborated with the National Trust on a new colourcard featuring 31 leafy shades.

In Ryan and Ian’s room, Sarah took advantage of the window recess to create a cosy yet functional nook clad in oak. Mixing varying widths of cladding adds an extra layer of interest, while the woodwork creates a solution for both window dressing and storage, as well as visually recalling the beams of a boat.

WHERE TO SOURCE WALLPAPER A burst of pattern in a calm interior, especially in smaller rooms, like Ian and Ryan’s powder room, gives a sense of fun.

WHERE TO SOURCE CLADDING Timber cladding is not only eye-catching but durable and economical too, plus it has excellent insulation properties.

Feuillage in Pervenche, £182m, Edmond Petit at Turnell & Gigon.

Reclaimed Java Teak boards, £234sq m, Lassco.

Jungle Mood in Green, £60 a roll, Graham & Brown.

Yarn cladding, £190.74sq m, Woodworks by Ted Todd.

DE S IGN

KEY PIECES

INSIDER INSIGHT Designer Sarah Zames shares her expert styling tips, design advice and go-to colours.

SECRET ADDRESS For small tabletop items, I love Brooklyn-based The Primary Essentials. They carry a lot of local artists – I get all of my gifts there!

I will always be a devotee of The Future Perfect. The selection of furniture and objects is impeccable.

BIGGEST SUCCESS Being able to find a good balance between cosy and formal in the design was a big accomplishment. It’s a space where you can both relax in front of the fire in your PJs, and also entertain guests by the piano.

BIGGEST INDULGENCE We were lucky enough to put a good portion of the design budget into lighting.

I was excited to bring in some lighting by young, local designers.

FEATURE LAURA VINDEN

GO-TO COLOUR I have been using a lot of creams and off-whites as a base and then using pops of deep, rich colours to accent the space. For the pops of bold colours, I love Farrow & Ball’s Studio Green and India Yellow.

(Clockwise, from top left) Aqua table in Carrara marble, H75xDia158cm, £6,560, Fabrice Berrux for Roche Bobois.

Helios Orbit table lamp, H45.7xDia30.5cm, £1,395, Workstead at Holloways of Ludlow.

Curve bench in Cedar Vulcano, H45xW120xD36.7cm, €2,520, Brodie Neill for Riva 1920.

Strøm bowl in Green, H10xW15cm, £45, Nicholai Wiig Hansen for Raawii at The Conran Shop.

Matera super king bed in Daino Leather Treacle, H90xW196xD215cm, £3,999, Heal’s.

T bar stool, H105.5xW47xD48cm, £799, Jasper Morrison for Maruni at Twentytwentyone.

SMALL CHANGE, BIG IMPACT? We replaced the old white windows with ones that are darker framed. This brought a nice contrast to the walls and helped modernise the space.

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Green A new collection of authentic National Trust colours including original shades from the homes of Winston Churchill, George Bernard Shaw and Beatrix Potter. Available now. littlegreene.com 0161 230 0880

INS P IR ATI ON

New collections Ta k i n g i n s p i r a t i o n f r o m a r t i s t i c a n d c r e a t i v e disciplines, f rom the pot ter and car penter to the musician and botanist , we celebrate the standout SS19 fabric and wallpapers STYLING HANNAH FRANKLIN PHOTOGRAPHS SIMON BEVAN

The writer Enveloped by a serene landscape wallcovering, this room with a view is the perfect place for quiet contemplation.

Panoramic Aurore wallpaper panel, 280x 212cm, £350.90, Casadeco. Graham chair, £1,730, plus 5m fabric, David Seyfried. Covered in Berberian in Chalk, £518m, Kohro at Altfield.

Curtain in Nimbus in Gold, £25m, Ashley Wilde.

Hebden table, £1,050, Neptune. Salvesen lamp, £845, Stride & Co. Mogo stool, £95, Lombok. Sherlock Holmes pages, £2 a sheet, Retrouvius. Bed warmer, £19, Pickler’s Vintage at Pedlars. Teapot, £16, Objects of Use. ¤

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The car penter

Many of the new SS19 fabrics and wallpapers laud the natural and textural beauty of wood.

Luzon wallpaper, £134m, Zimmer + Rohde. Brick 10790 fabric (on table), cotton mix, £125m, Nobilis. Pouffes, £65 each, Rockett St George.

Covered in Levante in Ivory (right), cotton mix, £39m, Clarke & Clarke and Canyon in Silver (left), polyester, £25m, Ashley Wilde. Cox console, £11,240, Sebastian Cox. Matchstick stool (on console),

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£495; Pippy chair (just seen), £595; Yorkshire oak slab (in background), all Edward Collinson. Tree trunk side table, £299, Nina’s House.

Super Fake standard rug, £9,110, Bethan Laura Wood for cc-tapis at Silvera. Toolbox, £5,995, The Conran Shop.

Paintbrush (on side table), £225 for seven, Merchant & Found at Pedlars.

INS P IR ATI ON

The architect

As Bauhaus celebrates its centenary, the design world is inspired to celebrate the aesthetics of the movement and its love for clean lines and architectural curves.

Screen fabrics (from left), Tashmoo, in Prussian & Teal, linen, £296m, Schumacher at Turnell & Gigon.

Abstract 1923 in Mineral, linen, £119m, Zoffany. Opio in Or, £115m, Manuel Canovas at Colefax and Fowler.

Panoramic Perspective wallpaper panel (on table), 280x212cm (four dropsx53cm), £179.35, Casadeco.

Clay table, £5,845, Desalto at Heal’s.

Orbit armchair, £2,757, Bohinc Studio at Matter of Stuff. Bliss rug, £9,000,

Mae Engelgeer for cc-tapis at Silvera.

Bespoke architectural structures, from £1,500 each, Chisel & Mouse.

Shapes painted in (clockwise, from top) Teal, Wedgwood Blue and Tiger’s Eye emulsion, £46 for 2.5L, Zoffany. ¤

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Riviera Collection www.prestigious.co.uk

INS P IR ATI ON

The ar tist

A painter’s studio sets the scene for a private viewing of vivid designs with a soft impressionistic feel and painterly marks.

Fabrics and wallpapers (from left), Farentino in Cerulean, £750 for a 9m roll, Zinc Textile. Katsura in Peacock, linen, £103m, Black Edition. Fiore in Midnight/Spice, £39m, Clarke & Clarke. Pipe Dream in Teal, £124m, No9 Jim Thompson at Fox Linton.

Exuberance in Teal/Fuchsia/Mandarin, £49m, Harlequin. Fever in Turquoise, £240m, Boussac at Pierre Frey. Sweet Lips rug, £1,620sq m, Deirdre Dyson. Bistro bar trolley, £349, Atkin and Thyme.

Jam jars, £6.99 for four, Lakeland. ¤

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The seamstress

Using a play on fabric templates, we delight in designs that have their eye firmly on stitching, embroidery, weaves and tailoring.

Fabrics (clockwise, from top left) Cascade in Tide, linen mix, £185m, de Le Cuona. Babylon Denim, oatmeal linen, £184.80m, Walter G at The Fabric Collective. Morandi in Birch, linen mix, £120m, Larsen at Colefax and Fowler. Raval in Dapple, viscose mix, £80m, Villa Nova.

Tangle in Olive, linen mix, £160m, And Objects by Martin Brudnizki at Christopher Farr Cloth. Luna in Blossom, linen mix; Luna in Mink, linen mix, both £67.90m, Linwood.

Ellonby in Spice, linen mix, £129m, GP&J Baker. Wales in Camel, wool mix, £75m, Andrew Martin.

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INS P IR ATI ON

The illustrator Hand-drawn lines are everywhere this season and they will bring an easy-to-live-with artistic style to any space.

AYO wallpaper in Bronze (in background), £216 a roll, Pierre Frey. Bespoke table in Zen, £76 a roll, Sandberg. Bespoke drawing board in Epsilon in Mist, £39 roll, Scion. Chair sculpture, £4,000; writing set sculpture pieces, £270, both Katharine Morling. ¤

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INS P IR ATI ON

The botanist

Plant motifs continue to grow in popularity.

This season’s crop are beautifully bold.

Fabrics (from left), Canna in Vert Mousse/ Jaune, viscose mix, £104.70m,Casamance.

Palm House in Ink/Teal, cotton, £39m, Sanderson. Tendril Vine in Emerald, linen, £360m, Soane Britain. Parlour Palm in Citrus, cotton, £29m, Scion. Guyane in Vert, viscose mix, £69.50m, Camengo. Bespoke screen, from £210, The Dormy House. Clustered Cacti side table, £798, Anthropologie.

Recherche occasional bench, £2,195, plus 1.5m fabric, Stride & Co. ¤

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The ceramicist

With all things handcrafted popular in interiors, a pottery studio filled with sculptural ceramic pieces is the ideal setting to explore the beauty of crackle-glaze effect wallpapers and fabrics with painterly lines.

Faenza Tile wallpaper in 03 (foreground) and 01 (background), £76 roll, Osborne & Little. Somerville sofa with loose cover, from £4,582, George Smith. Covered in Ficheto in Taupe, linen, £89m, Threads at GP&J Baker. Ink Stripe rug, £16,344, Collett-Zarzycki at Christopher Farr.

Unbuttoned cushion in Laine et Chanvre in White/Cream, cotton mix, £110m, Rubelli. #0777 cast-iron shelving system, £1,500, Retrouvius. Pottery wheel, supplied with thanks to Turning Earth studio.

Ceramics, all Daniel Reynolds Studio. Pallas Athene Blue Oval with Line Cubes - 2019 #1 mobile, from £8,000, Daniel Reynolds Studio at The New Craftsmen. ¤

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INS P IR ATI ON

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The musician

A decadent feel with wallpapers evoking the faded grandeur and textural surfaces of classical interiors is reminiscent of backstage music rooms at a concert hall.

Foscari Fresco Scene 1 and Scene 2 wallpaper panels (on bottom part of wall), £195 for a roll comprising two 70cmx3m drops, Designers Guild. Shiver 34543 wallpaper (on top part of wall), £125 for a 70cmx8.5m roll, Arte. The Barcello sofa, £2,247, Artisanti, is similar.

Covered in Silhouette in Marl, wool mix, £130m, Zinc Textile.

Desert rug in Platinum, £9,173, Tufenkian. Fifties West German vintage folding music stand, £34, Smith & Crabbe at Pedlars. Other stands and lute, stylist’s own.

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INS P IR ATI ON

The poet

This lyrical and dream-like space is an ode to designs inspired by land, sea and sky.

STYLE ASSISTANTS AREESHA RICHARDS, PAULA MAY EVANS, SIMON FOXALL, JESSICA JUNG

Mizumi wallpaper panels in Viridian, 68cmx10.05m each, £370 for two, Black Edition. Long cushion and top sheet made in Minako in Paprika/Plum, polyester, £59m Harlequin. Bedcover made in Body 06, cotton mix, £203.90m, Holistic collection, Lizzo. Linen frayed-edge king-size duvet set in Soft Grey (just seen), £235.

Lombok. Eden king-size bed, £1,499, Heal’s. Marcel rug in Light Taupe, £6,231, Tufenkian. White Starburst Leodora paper pendant (embellished by stylist), £84, Rockett St George. Vintage fishing net, No 3. £38, Jonas Vintage at Pedlars. Fibreglass Seventies Italian rock lamp, £425, Béton Brut. &

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- Awa r d w i n n i n g o r a n g e r i e s & G a r d e n r o o m s -

ORANGERIES

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GARDEN ROOMS

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CONSERVATORIES

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OAK BUILDINGS

Call for our new brochure or book a home design consultation 01278 764444 davidsalisbury.com

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FEATURE JESSE HARRIS AND LAURA VINDEN

IN THE ROUND Cur v y side tables to suit all ta stes 1. Bobbin, H48xDia44cm, £220, Debenhams.

2. Cube, H56xDia39cm, £199, West Elm. 3. Duckbilled, H60xW43xD30cm, £1,243, Julian Chichester.

4. Gilmore, H51xDia40cm (smaller table H46xDia31cm), £150 set, Andrew Martin.

5. Dutchbone Gunnar in green marble, H65xDia37.5cm, £219, Houseology.

6. Berlin, H50xDia50cm, £590, Lombok.

7. Splinter, H45xDia35cm, £475, Nendo for Conde House at The Conran Shop.

8. Free-Range in marble, H57xDia51.5cm, £499, Blu Dot at Heal’s.

9. Rhea, H53xDia35cm, £199, Swoon.

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BOX I NG CL E V ER 1. Kahlo in Soft Grey, H45xW90xD45cm, £249, Swoon.

2. Harcourt, H62xW98xD48cm, £1,666 plus 6m of fabric, Nina Campbell.

3. The Badbury in Blossom, H50xW120xD50cm, £441, Willow & Hall.

4. Lockley in Eggshell luxurious velvet, H45xW145xD54cm, £1,165, Sweetpea & Willow.

5. Nadia, H43xW110xD40cm, £195, Habitat.

6. Valentin in Loch brushed linen cotton, H49xW129xD44cm, £470, Sofa.com.

7. Rossini, H48xW150xD45cm, £1,825.80 plus 4.5m of fabric, The Sofa & Chair Company.

8. Skye in Grey, H45xW131xD46cm, £350, John Lewis & Partners.

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FEATURE LAURA VINDEN

Bed room storage that is elegant and usef u l

REQUEST A NEW FREE BROCHURE

Individually Crafted Kitchens HANDMADE IN THE UK 32 SHOWROOMS NATIONWIDE harveyjones.com

0800 389 6938

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SERV E UP 1. Fighting Dogs, Dia21cm, £28, Laura Carlin for John Julian Design at The New Craftsmen.

2. The Flower, Dia28cm, £70, Patch NYC for Les Ottomans at Artemest.

3. Sailor’s Farewell, Dia31cm, £85, Kit Kemp for Wedgwood.

4. Rose Hip, Dia26cm, £24, Alice Peto.

5. Oppio soup (top) and dinner plate (bottom), Dia23.5cm, Dia28cm, £80 for set of two, La DoubleJ. 6. Orchard, Dia25cm, £16.95, Sam Wilson for Highgrove Shop.

7. Rainforest Sunbird, Dia27.5cm, £96, Mia Sarosi for Heal’s.

8. Pomegranate, Dia27cm, £19, Nicola Fasano for The Conran Shop.

9. Sultan’s Garden, Dia16.5cm, £16, William Edwards Home.

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FEATURE LAURA VINDEN

Add to the ambience w ith these pret t y plates

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IN THE FOLD

FEATURE LAURA VINDEN

Beautiful napkins for well-dressed tables 1. Cotton, 40cm sq, £6.50 each, Indigo & Wills.

2. Pratham Scallop in Pink, 50cm sq, £11.95 each, Birdie Fortescue.

3. Bernadette’s Framed Flower in Grape Purple, 50cm sq, £30 each, Summerill & Bishop.

4. Lani in Blue, 45cm sq, £4 each, Molly Mahon.

5. Bundle Xl, 40cm sq, £32 for six, Zojora.

6. Blue and white block printed, 45cm sq, £8.50 each, Home Address.

7. Paisley print in Blue, 45cm sq, £19.99 for four, Zara Home.

8. Charcoal, 41cm sq, £45 for six, The Block Hut. 9. Scallop Pique, 50cm sq, £17.50 each, The Edition 94.

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TA K E COV ER

1. Canvas and leather apron, L98xW69cm, £79, Eva Solo.

2. Picking cotton apron, L43xW37cm, £50, Manufactum.

3. Artisan canvas apron, L70xW64cm, £59.95, Nkuku.

4. Garden cross back cotton and canvas apron, L60xW80cm, £30, Daylesford.

5. No.547 waxed canvas apron in Bleu Canard, L85xW69cm, €84, Alaskan Maker.

6. Leather apron, L91xW61cm, £100, Connell of Sheffield at National Trust Shop.

7. Mercantile cotton apron in Hickory Stripe, L99xW78cm, £110, Dawson Denim.

8. Vintage black leather apron, L85xW60cm, £139.75, Witloft at Borough Kitchen.

9. Short jute apron, L70xW70cm, £45, Carrier Company.

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FEATURE LAURA VINDEN

Gardening garments to keep things neat and tidy

THE A-Z OF DECORATING FROM

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DECORATING HOMES since 1904 Visit brewers.co.uk to find your local store

LI F EST Y L E

OUT

&

ABOUT

P a t r i c k H a m i l t o n C o u r t n e y r e v e a l s w h a t ’s on his cult ural radar this month

STAY: THE FIFE ARMS

DINE: OLIVE TREE

The Hepworth gallery is always

After much anticipation, The Fife Arms in Braemar, Aberdeenshire,

Smart Georgian townhouse hotel The Queensberry is a

worth a visit, but this spring it has something particularly special on. Magdalene Odundo, the internationally celebrated Kenyanborn British studio potter, is the subject of The Journey of Things, a major exhibition examining her work. Alongside more than 50 of her exquisite vessels, Odundo has curated an assortment of objects that have inspired her, including

has finally thrown open its doors to the public. The hotel, a muchloved local landmark that has a pub and restaurant, was bought several years ago by Iwan and Manuela Wirth, an art-world power couple and co-founders of the illustrious Hauser & Wirth galleries. Thanks to the Wirths and fashion-turned-interiors whizz Russell Sage, the former

Bath stalwart known for its contemporary styling and jaunty vibe. Head chef Chris Cleghorn’s in-house restaurant, Olive Tree, has recently been awarded the city’s only Michelin star in recognition of his clever use of local West Country produce. Those with both discerning palates and dietary restrictions will warm to the gourmet tasting menus that

pots from ancient Greece and Egypt, ritual objects from the African continent, and sculptures by luminaries such as Auguste Rodin and Barbara Hepworth

coaching inn has been reborn as an eclectic tartan fantasia dotted with contemporary art – promising something a bit different for your next Highlands adventure,

cater to vegetarian, vegan and even dairy free-requirements – unusual in fine dining restaurants.

There’s also an award-winning selection of wines to enjoy with

herself, hepworthwakefield.org.

thefifearms.com.

your meal. olivetreebath.co.uk

PHOTOGRAPH (MAGDALENE ODUNDO/TOP) IWAN BAAN

DISCOVER: MAGDALENE ODUNDO

DON’T MISS: Le Cordon Bleu’s Easter Chocolate masterclass on 30 March. The London outpost of France’s most renowned culinary school is hosting a workshop on the art of tempering chocolate and Easter egg making. cordonbleu.edu 71

LIF EST YLE

W E LOV E C a s t e l l o d i U g e n t o ’s s t a n d o u t c u i s i n e a n d a n c i e n t architecture are the P uglian dream YOU’LL find the Italy of yesteryear in Ugento, a sleepy spot on the country’s southernmost coast.

As yet unspoilt by tourist crowds, this honey-toned castle town lies comfortably away from Puglia’s more well-trodden paths. Crowning the settlement’s centre is family-owned Castello di Ugento, a commanding 17th-century fortress that has recently emerged from a meticulous six-year renovation project as a luxury retreat. The castello’s careful redesign hits all the high notes.

Old stone walls stripped back to their original glory make a striking backdrop for works from the family’s modern art collection, while an assemblage of Italian furniture by brands such as Cassina

feminine palette. Outside, guests will find the hotel’s walled gardens encourage relaxing with a bottle of wine before a balmy courtyard dinner prepared by the hotel’s superb Il Tempo Nuovo restaurant.

The Puglian fare is a real treat.

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NEED TO KNOW Q Deluxe rooms start from around £375 per night, and include bed,

INSIDER’S GUIDE: GET OUT AND EXPLORE…

breakfast and dinner.

Q The castello provides access to bicycles, but we also recommend hiring a car to explore the Salento region’s many points of interest.

Q Castello di Ugento, Via Castello 13, 73059 Ugento (LE), Italy, castellodiugento.com

UGENTO

BEACHES

COOKERY SCHOOL

This quintessentially Puglian town is well worth leaving the hotel to explore.

Alongside sun-drenched piazzas, there are a number of tempting pizzerias and a converted Franciscan monastery that now serves as a museum of local archaeology.

The hotel is only a couple of kilometres from the coast, so a dose of sea and sand isn’t far away. Torre Mozza and Torre San Giovanni boast white sand and azure water, and a number of buzzy beach clubs are on hand to provide wine-fuelled lunches.

Don’t leave without taking a class at the Puglia Culinary Centre, a part of the Castello complex. A professional cookery academy for full-time students, the centre also welcomes guests of the hotel to learn the secrets of the region’s gastronomy.

FEATURE PATRICK HAMILTON COURTNEY PHOTOGRAPH (TOP) ROBERTO CORVAGLIA

only adds to the sophisticated air.

Nine individually styled bedrooms continue the medieval fairy tale, with vaulted ceilings and a soft,

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LI F EST Y L E

(Clockwise, from this picture) Tulipa ‘Brownie’; Sarah Raven; her garden at Perch Hill; T. ‘Apricot Beauty’ and ‘Graceland’; T. ‘Vovos’, ‘Victoria’s Secret’, ‘Apricot Foxx’ and ‘La Belle Epoque’.

MY GARDEN LIFE Celebrated for her famous cut-f lower ga rden at Perch H i l l i n E a s t Su s sex, f lorist, broadca ster and author Sarah Raven talk s t u lips and the secrets of her success

Q

Where does your passion for plants come from?

A love of growing things is rooted in my DNA. My father was a botanist and plant collector, and I spent my childhood travelling with him around the UK and the rest of Europe, looking at wild flowers. The Latin names of plants were so instilled in me from a young age that now it’s almost like being bilingual. ¤

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L IFE STY LE

In my late teens and early twenties, I wasn’t really interested in pursuing a career in the plant business – I have a degree in history and went on to

Q

Q

The dark tulips that have been very popular in recent years are

I’m currently growing a lot of double-headed tulips that last twice as long in a vase as single varieties.

My favourites include ‘La Belle

You’re famous for your tulip collections. What are your new favourite colour combinations for this year?

study medicine. While studying, I lived in a little terraced house with a small garden, which reignited my passion for growing things. By the time I had finished my medical training, I was in my early thirties and married with two children – the long hours working in a hospital meant that I hardly saw my

now giving way to a soft palette of apricots, corals and mocha shades, such as the milky, coffee-coloured double tulip ‘La Belle Epoque’, pastel triumph-type ‘Apricot Foxx’ and fully double, coppery-toned ‘Brownie’. These colour fashions in plants are driven by up-and-

babies, so I gave it up and started a contract floristry business from home.

coming florists who are able to be braver because their work is more of the moment. I still love to keep the old favourites in the mix, though, especially in a flower border that may take a few years to look its best.

Q

Why did you start growing your own flowers?

Which tulips would you most recommend?

Epoque’; the compact ‘Pink Star’, which looks like a peony; and the elegant white ‘Exotic Emperor’.

Q

What are you working on at the moment?

I’m working on a new book that shows how to produce beautiful planting colour palettes. I’ve been planning it for about 10 years, so it’s exciting to see it finally come together.

Q

sarahraven.com

&

I realised that the range I could buy at the market was very limited and there were more interesting types available as seeds and bulbs. As I already having a wide knowledge of plants and flowers, it was a logical step to grow my own.

Q

“THE ENVIRONMENT IS A TOP PRIORITY, SO WE’RE GROWING AS MANY BEE-FRIENDLY PLANTS AS WE CAN AND TRIALLING PLASTIC-FREE PACKAGING”

Who or what inspires your work?

The flowers themselves inspire me more than anything. The most exciting times for me are in the spring and autumn when I visit plant trials, where the breeders and gardening organisations showcase the latest flowers. I then bring back the varieties I like to Perch Hill and test them out here to see if they live up to their promises.

I find it a real thrill when they grow well because it means I am then able to introduce fantastic new plants to my customers.

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Tulip display in the oast garden at Perch Hill.

FEATURE ZIA ALLAWAY PHOTOGRAPHS JONATHAN BUCKLEY

Q

How did your floristry career take off?

I N S TA N T C L A S S I C Instant hot water from a classically-styled Perrin & Rowe tap r;u=;1| 0ัด;m7 o= |;1_moัดo] -m7 1u-[vl-mv_brฤท ;uubm ล !o ;ฤฝv bmv|-m| _o| -|;u |-rv v;| |_; v|-m7-u7 =ou t -ัดb| bm7 o u m;-u;v| u;|-bัด;u om o u ;0vb|;ฤท ou bvb| o u m; v_o uool -| |_; ;vb]m ;m|u;ฤท _;ัดv;- -u0o uฤท |o v;; ouhbm] 7bvrัด- v -m7 |o = ัดัด ; rัดou; |_; ouัด7ฤฝv C m;v| 1oัดัด;1เฆ om o= hb|1_;m -m7 0-|_uool C เฆฎ m]v perrinandrowe.co.uk

PERRIN & ROWE SHOWROOM DESIGN CENTRE CHELSEA HARBOUR LONDON, SW10 0XE

Kitchens & Living Spaces HANDCRAFTED IN ENGLAND

© Copyright & Design Right Charles Yorke Ltd

For further information please contact Phone +44 (0)1623 688 337 | Email enquiries@charlesyorke.com www.charlesyorke.com

Inframe Lyon Kitchen

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OFF THE SHELF

FEATURE LAURA VINDEN PHOTOGRAPHS (KIFTSGATE) SABINA RÜBER; (GLASSHOUSE GREENHOUSE) HAARKON; (THE GARDEN CHEF) MATTHEW AND IAIN PENNINGTON, THE ETHICUREAN, SOMERSET/PHOTO BY JASON INGRAM AND THE ETHICUREAN

The latest hor ticult ural reads of fer a look at botanical str uct ures, chefs’ gardens and a centenar y celebration

KIFTSGATE COURT GARDENS: THREE GENERATIONS OF WOMEN GARDENERS by Vanessa Berridge, £40 (Merrell)

GLASSHOUSE GREENHOUSE

by India Hobson and Magnus Edmondson of Haarkon, £22 (Pavilion)

THE GARDEN CHEF: RECIPES AND STORIES FROM PLANT TO PLATE, £29.95 (Phaidon) For many chefs, their garden is an

Created in 1919, Kiftsgate Court Gardens in Gloucestershire has been nurtured by three generations of the same family: grandmother, mother and daughter. This new book, which marks the garden’s centenary, explores its history and the vigorous rose, Rosa filipes ‘Kiftsgate’, for which it is famous.

An accompanying exhibition will be held at the Garden Museum,

Sheffield-based photographers India Hobson and Magnus Edmondson of Haarkon have a particular fascination with natural spaces. Their debut book delves into this theme, taking readers on a journey to botanical gardens in the UK, Europe, America and Asia, capturing lush palm houses, tropical hothouses and private potting sheds. There is also advice

extension of their kitchen. This book offers a fascinating glimpse into the gardens of some of the world’s best cooks, both established and emerging, and is packed with interesting stories and beautiful images. From small city rooftops to Brazilian hillsides and fertile spots abundant with fruit trees and vegetables, these outdoor spaces provide the ingredients and

Lambeth Palace Road, London, from 12 April to 9 June 2019.

on bringing the greenhouse aesthetic to your home.

inspiration for countless recipes, 100 of which are featured here.

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MOV ERS

&

SHAKERS

L u x u r y w a l l p a p e r d e s i g n e r, A n n a G l o v e r WORDS EMMA J PAGE PHOTOGRAPHS DAMIAN RUSSELL

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I

owe my imagination and curiosity to my family. My mother read us the most amazing magical stories from all round the globe and my father is an inventor, so we were exposed to a great combination of creativity and science. I started out

working in fashion and creative consultancy, before changing direction and setting up my own studio, which I share with my illustrator and animator twin brother Jonny, in 2014.

Although I’m all about blending contemporary design with a sense of nostalgia, our wallpapers always start with a strong concept. Once that idea is in place, we hand paint all the motifs in gouache on

A colour recipe chart for reference when mixing paints.

Paint brushes are stored in chopped tomato tins.

paper. These are scanned and worked into designs on the computer, then tweaked endlessly before finally being digitally printed onto our textile wallcovering.

I love to merge traditional and contemporary methods. The hand-painting element is important because it is such a timeless, treasured technique – soft brush marks add movement, atmosphere and texture, while the depth and complexity of colour comes from the flexibility that digital printing offers.

The papers I create are all about beautiful art, craftsmanship and storytelling. Whether botanical or abstract, my style is painterly, sophisticated and often surreal. Books, museums, films and music are all influences. Travel is so important too; our recent collection is inspired by the melting pot of art and culture along the ancient silk route trade network.

I spend more time in the studio than at home so the feel of the space is very important. A huge table has become a natural focal point; it has a big impact on how we work as a team. Over the past few years, the business has gradually expanded, and now there are five of us working collaboratively when the studio is busy. One day, I might be on a site visit, another might involve painting in the studio. There is no uniformity, which means things are never boring.

I’m inspired by so many different people. My dream dinner guestlist includes fashion designer Dries Van Noten, author Jon Ronson, painter Hieronymus Bosch and dancer Josephine Baker. All of them have brave, curious, weird and wonderful minds.

Anna Glover, 020 8050 9317, annaglover.co.uk.

Visit the London studio by appointment only.

■

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Anna at the generous work table that anchors her studio space. On the table sits Khepera the Egyptian beetle god, the inspiration behind her new range, as well as samples from her Silk Route collection.

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TABLE TALK Tips on st yling your Ea ster celebrat ion w ith blooms

FEATURE ZIA ALLAWAY PHOTOGRAPH MORGANE LAY AND JONNY COCHRANE

f r o m f l o r i s t s K i t t e n G r a y s o n a n d H a r r i e t t e Te b b u t t

1 CHOOSE a few hero flowers, such as mimosa,

3 CREATE height using the lighter, airier

white narcissi, sweet peas and translucent Icelandic poppies, and use these in abundance, rather than including lots of different varieties. We tend to use

blooms, such as mimosa, then add a lower tier of thinner narcissi stems, with the big blowsy heads of the sweet peas and poppies dancing at the bottom.

just a few types en masse because we want to put each flower, leaf or grass in the spotlight.

We’re inspired by beautiful, natural gardens, looking at what grows side by side.

2 ARRANGE the flowers in bud vases, with

4 SURROUND vases with elegant taper

one per table setting. Or why not grow herbs from seed in little terracotta pots? After two months, they’re big enough to line up along a table.

candles and even tea lights in the same tones as the flowers to create a beautiful colour palette. This table uses greens and whites to create its romantic mood.

85

Melt into a moment of

bliss

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Lindt Master Chocolatier since

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VEGETABLE DELIGHTS WE’VE GATHERED IRRESISTIBLE ITALIAN-INSPIRED DISHES THAT WILL BE THE STARS OF A LIGHT AND FRESH EASTER FEAST RECIPES ANNA DEL CONTE PHOTOGRAPHS LAURA EDWARDS

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L I FES TY LE

POTATOES AND GREEN BEANS WITH PESTO SERVES 6 500g new potatoes 1 tbsp salt, for boiling 500g green beans 1 tbsp extra virgin olive oil 3 tbsp pine nuts FOR THE PESTO 25g basil leaves 1 garlic clove 3 tbsp extra virgin olive oil 1 tbsp lemon juice

Scrub the potatoes, put them in a saucepan and cover with water. Bring to the boil. Add the salt and cook until the potatoes are tender when Q

pierced with the point of a knife.

Drain and set aside. Remove the skins as soon as the potatoes are cool enough to handle if you like.

Q Bring a saucepan of salted water to the boil. Top, tail and wash the beans.

COOK’S TIP If you don’t feel like making pesto from scratch, use a good ready-made brand and add a bit of extra garlic and 1 tbsp of your best olive oil.

Halve and then add them to the saucepan. Cook the beans until just firm, or to your liking. Drain them well, then transfer to a bowl.

Q Cut any large potatoes into halves or quarters and add to the beans.

Toss with the olive oil and set aside.

Q Dry-fry the pine nuts in a non-stick frying pan. Be careful not to burn them, which is quite easy. Once they are a golden colour, add them to the potatoes and beans.

Q To make the pesto, finely chop the basil leaves with the garlic, then gradually add the oil while beating with a fork. Mix in the lemon juice.

Spoon the dressing over the potatoes and beans, mixing very thoroughly.

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GRILLED RADICCHIO AND CHICORY SERVES 6 2 bunches of radicchio, washed, dried and cut into quarters lengthwise 4 chicory heads, washed, dried and cut into halves lengthwise 6 tbsp extra virgin olive oil Salt and a generous pinch of pepper 1 garlic clove, chopped 8 anchovy fillets, drained and chopped 1 tbsp capers, rinsed 2 tbsp balsamic vinegar

Preheat the grill to a medium heat and place the radicchio and chicory cut sides up in a deep baking dish, then spoon 4 tbsp of the olive oil over Q

them. Season with salt and pepper and cook under the hot grill for around 8 minutes, taking care to turn the heat down if the vegetables start to become burnt.

Q Turn the pieces over halfway during

COOK’S TIP For a vegetarian dish, omit the anchovy fillets and increase the capers to 2 tbsp.

the grilling. They are cooked when the core can easily be pierced with the point of a knife. Transfer the grilled pieces to a serving dish.

Q Heat the remaining olive oil in a small frying pan and add the garlic, anchovies and capers. Sauté gently for 1-2 minutes, then add the vinegar and cook for another minute. Season with salt and pepper and pour over the radicchio and chicory. ¤

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BAKED COURGETTES WITH MINT AND GARLIC SERVES 6 6 courgettes, washed and dried Salt and a generous pinch of pepper 4 tbsp flat-leaf parsley, chopped 8 tbsp mint leaves, chopped 3-4 garlic cloves, chopped 8 tbsp dried breadcrumbs 7 tbsp extra virgin olive oil

Top and tail the courgettes and cut them lengthwise. Sprinkle the cut sides lightly with salt, then place them on a wooden board, cut sides down, and leave them to drain for at least 30 minutes. Preheat the oven to 180°C/Fan 160°C/Gas 4.

Q Put the chopped herbs, garlic and Q

breadcrumbs in a bowl and gradually add half the olive oil while beating the mixture with a fork. Season with salt and pepper and set aside.

Q Lightly brush a baking sheet large enough to hold the courgette halves in a single layer with a bit of the oil.

Q Wipe the courgette halves with paper towels and lay them on the sheet, cut side up. Brush them with a little of the oil, then pile some of the herb mixture over each half.

Drizzle with half of the remaining oil and place the sheet in the oven.

Bake for 20-25 minutes, until the courgettes are tender.

Q Remove from the oven and place two courgette halves on each plate.

Drizzle the remaining oil over them and serve warm.

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AUBERGINES STUFFED WITH TOMATOES SERVES 4 4 aubergines Vegetable oil 2 shallots, finely chopped 4 tbsp extra virgin olive oil 225g can plum tomatoes 1 slice of white sourdough bread 1-2 garlic cloves, chopped 1 tbsp flat-leaf parsley, chopped Small pinch of chilli flakes 1 tbsp dried breadcrumbs

Halve the aubergines lengthwise, season the cut sides with salt and leave to drain, cut sides down, on a wooden board for an hour. Then Q

dry them with a paper towel.

Q In a frying pan, pour vegetable oil to a depth of 2cm and heat. Add the aubergines, skin sides down, and fry for 5 minutes, then turn over and fry for 2-3 minutes. Place on to a paper towel, cut sides down. Preheat the oven to 200°C/Fan 180°C/Gas 6.

Q Gently sauté the shallots in 1½ tbsp of the olive oil with a pinch of salt for 5 minutes. Meanwhile, scoop out flesh from the aubergines, leaving a 1.5cm rim. Chop the flesh and sauté for 5 minutes. Chop the tomatoes and cook in the pan for 10 minutes.

Q Break the bread into small pieces, place in a bowl and add the tomato juice. Leave for 5 minutes, then mix in the garlic, parsley, chilli and 1½ tbsp of the oil. Stir in the sautéed mixture.

Q Brush a baking tray with some olive oil and lay out the aubergine halves.

Fill them with mixture, sprinkle with the breadcrumbs and drizzle with the remaining oil. Bake for 30 minutes. ¤

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LIFE STY LE

FENNEL, MUSHROOM AND PECORINO SALAD SERVES 4 1 fennel bulb 225g chestnut mushrooms Juice of 1 unwaxed lemon 6 tbsp extra virgin olive oil Salt and pepper 100g pecorino

Trim the fennel bulb at the base, remove the stalks and, if necessary, pare off any brown bits or tough outer leaves. Halve the bulb vertically, then thinly slice it. Place the slices in a colander and wash under cold water.

Roughly dry with a paper towel, then Q

transfer to a salad bowl.

Q Detach the mushroom stems from the caps and set the stems aside.

(You can use them for another dish, such as a soup or stew.) Wipe the caps clean with a paper towel and slice them finely. Add to the fennel and drizzle with the lemon juice and 3 tbsp of the olive oil. Season with a little salt and a lot of pepper.

Mix thoroughly.

Q Remove the crust from the pecorino and shave the cheese into the salad.

Drizzle with the rest of the oil and set the salad aside for about 30 minutes, so the dressing is absorbed. Taste to adjust the seasoning and serve. &

VEGETABLES ALL’ITALIANA

by Anna Del Conte, photographs by Laura Edwards (£20, Pavilion Books).

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ROMANA

Furniture for Dining, Living, Bedroom & Home OfďŹ ce

For our new 2019 catalogue visit ercol.com or call 01844 271800 Ercol Furniture Ltd, Summerleys Road, Princes Risborough, Bucks. HP27 9PX

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FINDING SANCTUARY Starting from scratch, interior designer Louise Bradley turned her London townhouse into a peaceful urban retreat WORDS SERENA FOKSCHANER PHOTOGRAPHS PAUL RAESIDE

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DRAWING ROOM On the ground floor, Louise opened up two separate rooms to create a flowing space with a new balcony at the back and a small table for cosy suppers.

Sofa and table, Louise Bradley.

Artworks, Deborah Tarr at Cadogan Contemporary.

Sculpture, Dorothy Brook at Sheridan Russell.

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EXTERIOR The house was rebuilt from a shell to include a new, light extension, designed to make the most of views of surrounding greenery.

98

A

fter almost 30 years of designing interiors for other people, Louise Bradley knew exactly how she wanted her new London home to look – and feel. For Louise, who shares her home with her two miniature dachshunds, Bebe and Ellie, it had to be a place ‘that reflected

back, which is built over a chunk of the garden.

‘I wanted an indoor-outdoor space that I could enjoy all year round,’ says Louise. A new plant-filled lightwell illuminates the basement, where she dug down to raise the ceiling heights of the new kitchen, dining area and cosy den.

Upstairs, Louise turned the first-floor sitting

the way I want to live’, where she could close the front door and be ‘transported away from city life’.

Despite her clear brief, Louise admits that she would make a demanding client, as it took her almost three years to find the right property. ‘There was something wrong with every place I looked at,’ says Louise, who grew up in the capital. ‘It might be that the back of the house was overlooked by other

room into her large, master bedroom, where bronze-framed mirrors open to reveal the en-suite bathroom. The bed overlooks ‘the screen of greenery’ of the terrace. There are more views from the landing – once a guest bathroom – where the new window looks onto the roof garden covered with artificial grass. On the same floor, the original master bedroom has been turned into a guest suite.

properties. In others, the drawing room was on the left-hand side whereas I am a right-handed

The top floor, formerly two cramped bedrooms, is now a guest suite, for which Louise designed a

person.’ In short, they were not the perfect blank canvases every designer craves.

Eventually, Louise walked into this four-storey stucco-fronted townhouse. ‘When I saw this house,

slimline bronze four-poster and a ‘secret’ wardrobe for ‘overspill clothes’. Next door, the yoga room is where Louise practises her daily routine.

Throughout the house, silvered mirrors amplify

I appreciated the fact that it sits at the end of two parallel terraced streets, but instead of being back-to-back with another property, it looks out onto neighbouring gardens, and all the windows at the back have fabulous views of tall trees and plants.

So although I’m in the middle of town, this place has a tranquil feel, almost like being in the countryside.’

There was work to be done before the house could become the haven Louise envisaged. Starting from a shell (‘only the façade and party walls were left’) it took almost two years to reconfigure the space.

the sense of space and a muted, cohesive palette adds to the restful feel. ‘I’m 10 minutes away from my studio, but as soon as I put my key in the front door and step inside, I feel instantly peaceful and connected to nature,’ says Louise. It’s also a home designed for entertaining in different seasons.

During the summer, a clever console in the garden room extends into a dining table. On dark winter nights, the basement sparkles with light reflected in the mirrored walls and metal surfaces of the bespoke cabinetry. ‘It’s wonderful to curl up on the sofa on

On the ground floor, where walls were removed to achieve the deep, elegant, drawing room, your gaze is drawn towards the glazed garden room at the

my own and gaze out at the canopy of greenery… but I also love seeing the house filled with friends,’ says Louise. ‘It’s the way I like to live.’ &

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DEN Works by Louise Bradley’s favourite artist, Gino Hollander, ďŹ ll the house, bringing life to the neutral walls.

Artwork, Gino Hollander.

GARDEN ROOM Louise designed her house as a place to entertain friends so added space with this extension at the back.

A light well illuminates the basement below.

Fabric on bespoke chairs, Botanic Gardens linen, De Le Cuona.

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INSIDER INSIGHT FROM DESIGNER AND OWNER LOUISE BRADLEY SECRET ADDRESS 1stdibs for sourcing antiques and unique furniture, decorative objects and art.

MOST SUCCESSFUL PART OF THE PROJECT Reconfiguring the space to let in light and connect the outside to the inside.

GO-TO COLOUR I veer towards neutrals – Little Greene’s Slaked Lime gives a soft and warm feeling to any room.

BIGGEST INDULGENCE Definitely travel – it’s how I recharge and find inspiration for my furniture and accessories collections, while connecting to other cultures and traditions.

SMALL CHANGE – BIG IMPACT Greenery and plants have brought a feeling of life to the house.

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KITCHEN-DINER Louise designed this area in the basement as a relaxed sociable place, featuring a long table made of reclaimed oak.

Kitchen, Mowlem & Co. Dining chairs, Louise Bradley.

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GUEST BATHROOM A clever pivoting mirror allows guests to take advantage of the views to the rear.

Honed stone surface, try Silk Georgette by Salvatori for similar.

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I NSP I RATION

GUEST BEDROOM Louise chose the bronze four-poster bed to echo the elegant, linear feel of the interior.

Bed, stools, cashmere throws, all Louise Bradley.

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BEDS, SOFAS AND FURNITURE FOR LOAFERS LOAF.COM

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PRINTS CHARMING The New England home of designer Mally Skok has been influenced by the colours and crafts of her native South Africa WORDS SERENA FOKSCHANER PHOTOGRAPHS SARAH WINCHESTER

FAMILY ROOM With its mix of playful patterns and vibrant hues, this space is filled with joie de vivre.

Curtains in Julia Double

by Mally Skok Design.

Similar sofa, Sofa.com.

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FAMILY ROOM The zingy green on the walls ensures this space is bright year round.

It also marries beautifully with the furniture and art collected over years of travel.

Walls in Green Ground, Farrow & Ball.

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D

esigner Mally Skok knew exactly what she didn’t want when she sat down to sketch the plans for her new-build

the view.’ Their home, which was built 20 years ago, replaced a dismal Seventies building. ‘Like all South Africans with their can-do attitude I thought we could transform it – I was wrong.’ So the couple spent

home in Massachusetts. ‘There was to be nothing too fancy or fashionable,’ this straight-talking creative says. For Mally, who grew up in South Africa, this was to be a comfortable family home that reflected its owners – and its setting. The

a week ‘staring at local houses’ and scribbling down vernacular details before enlisting like-minded architect Chris Hart to design the L-shaped building.

‘I wanted it to have the feel of a welcoming country house,’ says Mally. ‘Details like the deep porch

result? A property with charisma, where the neoclassicism of New England architecture meets the vibrancy of South African design.

Framed by tall trees, the house feels rooted in its six-acre grounds, where lawns slope towards the sparkling pond. ‘My husband David is a Libran so water drew us to this spot,’ says Mally. ‘He made sure the house was positioned to take advantage of

and dormer windows give the house its friendly presence.’ A cluster of outbuildings adds to the authenticity. ‘We also designed the kitchen to look as if it’s part of an extension; it makes the house feel as if it has evolved over time.’

Stepping into the hallway, a resolutely straight staircase marches upstairs, while French doors draw your eye to the garden. ‘The front-to-back views ¤

109

EXTERIOR When working with architect Chris Hart to design the house, Mally asked for the windows to stretch to the skirting boards. Her attention to detail continued with the geometric patio ooring.

Furniture, Janus et Cie.

KITCHEN The handmade cabinetry painted in a sunny buttermilk yellow was designed to feel like furniture and has a timeless look.

Pendant lights, Vaughan Designs.

INS P IR ATI ON

remind me of the old Cape farmhouses I visited as a child.’ Double doors lead to the formal sitting room and dining room, but the focal point is the family room; once a toy-strewn playroom for the couple’s

phone wasn’t always ringing. Every time I got an order I celebrated.’ Fabric house Brunschwig & Fils was swift to snap up her designs; Justin Van Breda is her UK stockist, and this spring she launches a range

now grown-up son and two daughters. It’s a biographical space. ‘It looks like the inside of my brain!’ says Mally, pointing out a colourful, Grayson Perry-esque painting by South African Val de Klerk.

‘It’s full of messages about my country.’ Mally’s

of pottery and furniture inspired by favourite pieces.

Gradually, the house has become a laboratory for Mally’s designs. Heirloom furniture has been revived with new fabrics; instead of plain walls, wallpaper clambers over the walls and ceilings of

English heritage surfaces in the ornamental Staffordshire china bunnies and the step-through sash windows that stretch to the skirting boards.

‘I love it when the sun spills across the floor.’

Sunshine slants across the breakfast table, where her business began. ‘In the teeth of the financial crisis of 2008 I decided to have a fabric line. It was a good time because you had mind space – the

the many guest bedrooms tucked under the eaves.

And then there are Mally’s South African souvenirs that bring verve to every room and inspire her designs – ‘real, serviceable’ Zulu baskets and ceremonial hats, an intricate mirror by Michael Chandler (‘we met on the beach’) and weavings.

‘The house is a composite of everything I like. If design comes from a place of affection, it works.’ &

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SON’S BEDROOM The wallpaper, which even covers the sloping eaves for a cocooning effect, is inspired by Africa.

Botswana Trees wallpaper, Mally Skok Design.

DAUGHTER’S BATHROOM A window seat was added and provides storage as well as a place to watch the world go by.

Blind and pillows in Rohet Flora, Mally Skok Design.

GUEST BATHROOM Mally’s mix-and-match style of decorating adds plenty of character.

Similar bath, Waterworks.

GUEST BEDROOM The chaise longue is the ideal reading spot.

Brimfield wallpaper, Mally Skok Design.

MASTER BEDROOM ‘I have always loved country-house decorating with a twist,’ says Mally of this space, where fabrics have been tweaked over the years.

Coronet in Thames Blue, Jane Shelton.

Maldives Collection www.i-liv.co.uk

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NATURAL BEAUTY This cottage was brought to life using materials inspired by its idyllic Cotswold location WORDS ALIX BATEMAN PHOTOGRAPHS RACHAEL SMITH

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H

aving spent many years

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doubled in size and transformed into a four-bedroom

visiting a friend living in a quintessentially beautiful Cotswold village, Annabel and Guy Passey had begun to hanker after a country bolthole of their own. ‘We lived in London, and Guy had never lived anywhere else,’ says Annabel. ‘I was hoping a place in the countryside to escape to now and then would introduce him slowly to the idea of

family home. After taking the entire building back to its bare bones, Guy and Annabel installed new bay windows, a new heating system, a new front door and porch, and rewired and extended up above the Seventies extension to create a master bedroom with floor-to-ceiling windows. Out to the side, they built a stunning contemporary glass cube garden room, flooding the formerly dark Cotswold cottage with

actually moving out full time.’ Her plan worked a treat as the couple and their three young children Darcey, five, Finley, three, and baby Rafe now live in the very village they had visited for so many years.

Unwilling to settle for anywhere other than this idyllic spot, the family kept a keen eye out for any properties coming onto the market. ‘It was rare that any of the homes in the area became available, so

light. ‘We decided to install frameless glass to maximise the light and avoid obstructing the views of the garden,’ Annabel explains.

Inspired by the surroundings – an Area of Outstanding Natural Beauty – Annabel made good use of natural materials wherever possible, such as timber cladding and the natural stone that characterises the region. ‘I’d describe the style as

when we heard that one was for sale, we made an offer immediately,’ recalls Annabel.

modern country or rough luxe,’ she states of her love of utilising rough hewn wood and stone in

The house had much of the vernacular of the Cotswolds about it – bay windows and honeycoloured stone walls, but with uPVC window frames and a Seventies extension, Annabel could see it

combination with contemporary design pieces and vintage finds.

In the new kitchen, Annabel designed the bespoke units and a one-of-a-kind lighting feature. Her eye

would need work to transform it. ‘I run my own interior design practice, Guy is a property consultant and his father an architect, so we certainly weren’t phased by a project!’ she says.

Annabel established her company, Untold Interiors, with Samantha Liu after the pair worked together for five years at Candy & Candy. Meanwhile, Guy advises on mixed-use and residential development projects.

‘We were the dream team,’ jokes Annabel, as she recalls how her father-in-law took her vision and drew up the architectural plans, suggesting additions

for collecting and displaying a pleasing array of objets came to the fore in the sitting room on a shelving system built for the purpose. The Affordable Art Fair proved to be a fruitful hunting ground for dramatic works that add impact to the scheme, while family heirlooms such as Grandma’s Singer sewing machine table, add character and authenticity.

To complement the wood and stone, Annabel has used restful tones in a neutral palette to create a sense of serenity, paired with deep ochres to add warmth. Patterned prints by Romo sit with textured

such as infilling an unused space at the rear that now houses a fourth bedroom, a bathroom and a new stairwell to replace the impractical rickety spiral staircase that sat at the centre of the sitting room.

Today, the property is virtually unrecognisable as the original one-and-a-half bedroom space was

fabrics by Pierre Frey – the choice of materials leaning towards the natural and the rustic - while an abundance of cushions and throws puts the emphasis firmly on comfort. The result of the couple’s efforts is a relaxed, understated family home that’s big on style, texture and warmth. &

I NSP I RATION

DINING AREA The traditional window seat adds classic cottage style and maximises the seating space.

Brooklyn dining table, Eccotrading Design London. Similar wicker pendant light, Nkuku.

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“WE INSTALLED FRAMELESS GLASS TO MAXIMISE THE LIGHT AND AVOID OBSTRUCTING THE VIEWS OF THE GARDEN”

GARDEN ROOM Cushions in varying patterns and colours enliven the plain velvet sofa and neutral wall.

Oscar corner sofa, Loaf.

Marina throw, Soho Home.

EXTERIOR The clean, modern lines of the glazed extension add dramatic contrast to the period property.

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INSPIR AT IO N

MASTER BEDROOM Annabel has adapted pendant lights to create more suitable wall-mounted bedside lighting.

Headboard, Sofa.com.

Pendants, Rowen & Wren.

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ENGLISH ECCENTRIC Brave pops of colour and pattern lend a contemporary twist to the classic architecture of this London apartment WORDS RACHEL LEEDHAM PHOTOGRAPHS JONATHAN BOND

HALLWAY Panelling enhances the sense of grandeur in this property and helps to disguise the jib door to the study. Contemporary japanning effect in chocolate brown, Henry van der Vijver.

Console, Ebury Trading. ¤

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SITTING ROOM Interior designer Lucy Barlow introduced small touches of pattern such as on the upholstered fender. Interior design, Barlow & Barlow.

Mid-century Maison Jansen mirror, 1st dibs.

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DINING AREA A sumptuous tapestrylike velvet was used on the backs of the dining chairs and works beautifully with the high-gloss cabinets.

Sydney dining chairs, The Dining Chair Company; upholstered on back in Marly in Turchese fabric, Colony. Large double drum chandelier, Bella Figura.

T

here is something quintessentially

British about the design of this Notting Hill apartment: brave but not brash, comfortable yet sophisticated.

It is a home that is at once contemporary and timeless.

The owners of the three-bedroom flat had been searching for almost two years before they found this gem, on the first floor of a Grade II-listed, Italianate-style Victorian house. The apartment’s high ceilings offered the grandeur that they had been hankering after, while the generous reception room, with double aspect views was perfect for a pair who love to entertain.

The owners soon appointed interior designer Lucy Barlow, having seen her work in the course of their

property search. ‘They had viewed a show apartment I’d worked on and it had really struck a chord,’ Lucy recalls.

First, though, came the redesign of the layout, a collaborative effort between Lucy and MMM Architects.

The wall between the kitchen and the dining room was removed, while the sleeping areas were tweaked to gain a walk-through dressing area for the master bedroom and a larger guest bathroom. ‘It really was a case of pinching space wherever we could,’ Lucy remembers.

The room facing the front door to the apartment is the study-cum-third bedroom, and this has been given a jib door to preserve the integrity of the hallway. ‘This space has no natural light and so we thought it would be wonderful to milk the drama and walk into a jewel-like ¤

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KITCHEN The fluted column detail of the cabinetry fits well with the apartment’s elegant period features.

Ludlow kitchen units, Kitchens by Holloways, painted in Hague Blue, Farrow & Ball. Marble stone pendants, Tom Dixon.

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box,’ explains Lucy of the decision to lacquer the walls a deep chocolate brown. Lucy’s brother, Max, co-founder of their interior design studio, devised an equally dramatic lighting scheme, using picture lights and alabaster pendants. ‘We added antiqued mirror around the door and when the light bounces off the mirror

a little nervous about pattern so I’ve mostly used it in small ways, such as the curtain trim,’ she explains.

She managed to push the pattern envelope in the dining space, however, backing the chairs with a sumptuous tapestry-like velvet. Lucy also suggested the exquisite large-scale floral for the drapes of the owners’

and the lacquer, it looks phenomenal,’ Lucy adds.

Max’s lighting schemes also illuminate handsome pale oak bookcases in the sitting area as well as brass and glass shelves and a brass-backed vitrine in the dining space. ‘We knew that polished brass and bronze would be the key metal accents,’ says Lucy, who

19th-century four-poster bed. ‘This is an inherited antique and my clients were unsure about using this fabric but I encouraged them to do so,’ Lucy recalls. ‘It is a bit of a house mantra of mine to encourage clients to be braver than they normally would, otherwise my role would be more that of a facilitator than a designer,’

complemented these warm tones with buttercup yellow curtains that sing against the grey walls. ‘My clients were

she says, adding, ‘I’ve never known anyone to regret taking the plunge.’ &

DINING AREA Fitted cabinetry that matches the kitchen units provides a drinks area incorporating a wine fridge.

Bond dining table, Jonathan Adler.

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GUEST BATHROOM A decorative feel was chosen for this reworked space and includes Chinoiserie wallpaper and brass detailing.

Delft beige wallpaper, BP305001, Pierre Frey.

Single Lowther vanity basin suite in white Arabescato marble; Chessleton wall light, both Drummonds.

MASTER BEDROOM The blue-green tones of the bed drapes were carried through to this curved sofa, which ďŹ ts neatly into the large bay window.

Bed drapes in Pondicherry linen in Delft 16556-001, ScalamandrĂŠ.

Demi lune sofa, Fox Linton.

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TAILORED TO PERFECTION SKILLED DESIGN, ELEGANT PROPORTIONS AND EXCEPTIONAL QUALITY COME TOGETHER TO CREATE SOFAS AND ARMCHAIRS YOUR HOME WILL LOVE

Hoxton Grand sofa, col Bracklyn Teal, from £1,826, from the new Parker Knoll Collection 150.

H & G P RO MOTI ONA L F EATU R E

Timeless designs keep the focus on luxury and quality.

Craftsmanship has been at the heart of the company since Frederick Parker (below) set it up 150 years ago.

WHEN beautifully upholstered furniture takes centre stage, everything else in a room simply falls into place. The benchmark is smartly tailored designs that invite you to relax and unwind; you’ll live with your choice for a long time, so it makes sense to choose a trusted brand with a proud heritage.

Parker Knoll has been expertly handcrafting the finest sofas and chairs since 1869 and this year the company is celebrating its 150th birthday.

WORDS CAROLINE RODRIGUES

It’s a huge milestone and a birthday that coincides with Homes & Gardens’ 100th anniversary in June.

It was Frederick Parker who set up the business, using skills learnt from his cabinetmaker father, and it flourished. Then in the 1920s Parker’s sons met and collaborated with Willi Knoll, whose coiled steel wire spring maximised comfort and is still used in Parker Knoll’s occasional chairs today. In 1932, Parker Knoll chairs were chosen to furnish most of the rooms and studios at the new BBC headquarters – Broadcasting House in London. Over the years, the range expanded to include fully upholstered suites, individual armchairs and the 1970s Maxi sofa. Still today, at the factory in

Nottinghamshire, frames are handcrafted from timber; springs and fillings are chosen to provide the perfect ‘sit’; and fine fabrics and leathers are selected. Rigorous testing ensures all furniture will stand the test of time.

Look out for the launch of Parker Knoll’s new Collection 150 next month. Inspired by the recently restored Frederick Parker archive, it takes its influences from the 1920s and 1930s, when Parker Knoll was commissioned by Cunard to furnish its ocean-going liners. The luxurious range of sofas and chairs reinvents the glamour of Art Deco design for the way we live now, teaming elegant design with supreme comfort. See it in stores and online.

FIND OUT MORE At parkerknoll.co.uk you can view all the ranges, try out various fabrics on the furniture, then save or share the results. Follow @parkerknoll on Instagram for inspiration and call 01773 604121 to find stockists.

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A pretty avenue of mature trees, including sycamores, lines one of the garden’s old tracks.

NEW GENERATION Heritage daffodils, budding apple blossom and a tea garden feature in the latest chapter in the story of the Megginch estate, owned by the Drummonds since 1664 WORDS JODIE JONES PHOTOGRAPHS ANDREA JONES

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Variegated holly is the Drummond family emblem and is repeated in many areas, including this avenue in the formal garden.

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“MY FAVOURITE PLANTS ARE THE HERITAGE DAFFODILS, INCLUDING NARCISSUS ‘MEGGINCH’, PLANTED BY SUCCESSIVE GENERATIONS OF MY FAMILY” Catherine Drummond-Herdman

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At the heart of the formal garden, a pond and octagonal fountain create a timeless centrepiece.

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T

he 300-acre estate of Megginch sits on the poetically named Carse of Gowrie, eight miles east of Perth. At its heart lies the castle, looking like a picture from a storybook, complete with fairytale turrets. The surrounding grounds have evolved slowly, starting with a number of ancient yews,

apples in Herefordshire was selling up and she was able to take 700 cuttings, all of which were grafted onto rootstock. ‘I grew them all as cordons, which are more compact.’ Fortunately, almost every graft succeeded and Megginch is now home to two National Heritage Collections of its own, one of 40 Scottish apples and pears, the other of 380 cider apples.

which were reputedly planted over 1,000 years ago by monks who once lived in a monastery on the site.

‘It is one of the magical things about Megginch,’ says Catherine Drummond-Herdman, ‘that people have resided here for such an incredibly long time.’

Catherine was living in London with her husband Giles and their four children when she inherited the estate from her mother Cherry Drummond, 16th

Catherine was starting to consider her next project when she was diagnosed with cancer. ‘I was ill for five years and during that time I discovered the health benefits of green tea. That got me thinking about a red and white camellia that has grown in the grounds ever since Robert Drummond brought it here from Japan at the end of the 18th century. Since the tea bush is actually a form of camellia, I wondered

Baroness Strange. ‘My mother wanted, above all, for Megginch to continue as a vibrant family home

whether I could grow my own tea here at Megginch.’

With serendipitous good timing, Catherine was

and she decided that we were the ones to do it. It is simply the home I have always loved.’

The original paths and avenues were laid out soon after the first Drummonds moved in, and their

contacted by Susie Walker-Munro. ‘Susie had been growing tea in polytunnels and was looking for walled gardens that might have a favourable enough microclimate for the bushes to grow outside. Under

successors continued to plant beech, oak and lime trees. In 1707, John, the third Drummond of Megginch planted the first daffodils and his grandson, Admiral Sir Adam Drummond later added to the collection, which now fills the grounds in spring.

Admiral Drummond’s wife Lady Charlotte created a formal parterre in 1835 with a design based on waves and anchors, and 40 years later the first Cherry Drummond put in the striking topiary. The magnificent walled kitchen garden was built in the 17th century and there is a 19th-century rose garden.

the banner Tea Gardens of Scotland, in 2016 we got hold of seed from Nepal and Georgia.’ An astonishing 40,000 seedlings germinated and were grown on in greenhouses and Catherine is looking forward to harvesting her first cup of tea later this year. &

Catherine was keen to build on her family’s legacy.

‘I decided to revive the tradition of apple growing at Megginch and set out to find interesting old varieties.’

She heard that the owner of a National Collection of

GARDEN GUIDE ORIENTATION 300-acre estate in Perthshire.

SOIL TYPE Alluvial clay, improved over hundreds of years.

SPECIAL FEATURES Double walled kitchen garden, National Collections of apples and pears, and a young tea plantation.

GARDEN DESIGN by successive generations of Drummonds.

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A small Japanese maple tree (Acer palmatum dissectum) has a graceful, sculptural quality.

This laburnum walkway was planted by Catherine’s parents to celebrate their golden wedding anniversary.

Catherine with her pet whippets Berry and Inca at a gateway leading to the walled garden.

The fan-trained fruit trees in the walled garden are subject to a meticulous pruning regime.

nothing similar is quite the same

Our new brochure is out now, for a free copy please call 01473 826935 or visit www.jim-lawrence.co.uk

TOP PRIZE

Be inspired by a selection of winners at the Society of Garden Designers Awards, from a city roof terrace to a Japanese water garden

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“THE GARDEN MIGHT LOOK SIMPLE BUT IT HAS ECOLOGY, ART, BEAUTIFUL TREES. THROUGH ALL OF THIS YOU CAN RECOGNISE THE JAPANESE CONCEPT” NOËL VAN MIERLO

WINNER Noël Van Mierlo CATEGORY International Award & People’s Choice Award sponsored by Homes & Gardens This garden in the Netherlands, which the judges called ‘brave, accomplished and atmospheric’, was inspired by the clients’ love of Asia. They asked for a tranquil retreat with a modern feel and Van Mierlo created a contemporary interpretation of a Japanese water garden, choosing materials, such as reclaimed wood, on the principles of wabi sabi. The trees are the real stars of the planting and include those chosen for vibrant autumn colours, such as Ginkgo biloba, Acer palmatum and Nyssa sylvatica. →

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This terrace on the roof of the converted Hartley’s Jam Factory in London enjoys amazing panoramas.

The client asked for decking, feature planting and lighting, and structural weight-loading calculations were required before work could begin. The designer used the entryway to divide the space in two, with a dining area that takes advantage of the urban vistas, and a smaller lounging area with outdoor kitchen and barbecue. He also provided extra seating and perching possibilities for when the client entertains.

The judges declared it an outright winner, saying it is ‘well proportioned with a lovely warm palette and wonderful texture in the paving, furniture and planting. The garden is perfectly designed to take in the London skyline without overwhelming the space’.

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“PLANTING THE TREES WAS THE DEFINING MOMENT OF THE PROJECT. THEY INSTANTLY GAVE THE LANDSCAPING A COMPLETELY DIFFERENT FEEL AND PERSONALITY” TONY WOODS

PHOTOGRAPHS (PREVIOUS PAGE) CAROLINE PIET. (THIS PAGE) MARIANNE MAJERUS

WINNER Tony Woods MSGD CATEGORY Roof Garden Award

“OFFERING AREAS OF SECLUSION ALONGSIDE SWEEPING SPACES, THE STRENGTH OF THIS DESIGN IS IN THE RECYCLING OF EXISTING MATERIALS INTO A REINVIGORATED LANDSCAPE”

PHOTOGRAPH ALEX RAMSAY

JUDGING PANEL

WINNER Robert Myers MSGD CATEGORY Joint winner of Large Residential Garden Award This walled garden is part of the grounds of a Grade I-listed country house. The designer worked with the head gardener to reinvigorate the space, producing a detailed hard landscape plan that included axial footpaths and the creation of a new approach as well as new vistas, borders and areas such as the large terrace around the infinity-edge swimming pool. Changes of level were introduced and new brick paths were laid in a herringbone pattern, complementing the historic site and its rejuvenated water tower. →

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MAGNIFICENT VIEWS, THE DESIGNER HAS TRANSFORMED A DIFFICULT SITE WITH MATURITY AND SKILL” JUDGING PANEL

WINNER Sam Westcott CATEGORY Joint winner of Fresh Designer Award For this complex, challenging project, where access was severely restricted, the designer was asked to transform a garden of steeply sloping terraces with wonderful views of the River Dart, set between the clients’ house and artist’s studio. They wanted to be better screened from neighbours and have an outdoor space like a show garden that was safe for their two dogs, with lots of bold colour. ‘Everything within the design is bespoke,’ explains Sam, ‘such as the swinging Corten screens, the water table, artisan metalwork moon gates, fire bowl, outdoor kitchen, and a pergola with ribbed swing seat that turns into a day bed with the pull of a lever.’

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PHOTOGRAPH JASON INGRAM

“WITHOUT UPSTAGING THE

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“THE GARDEN IS A MANNERED MICROCOSM OF THE LAND AROUND IT… A STUDY OF THE FIELDS BEYOND” WORDS STEPHANIE MAHON PHOTOGRAPH JASON INGRAM

MARIAN BOSWALL

9

Want to create a new garden or an inspiring planting plan?

The Society of Garden Designers is the place to find leading and accredited names in the industry with experience in wide-ranging projects, from small courtyards and roof gardens to country estates and urban parks. Contact sgd.org.uk.

WINNER Marian Boswall MSGD CATEGORIES Grand Award and joint winner of Large Residential Garden This recently extended and refocused house needed to be grounded in the surrounding landscape, so designer Marian Boswall created a design for the two-acre garden based on a series of allées and avenues with trees and oak arbours, to define areas and direct views. The owner, who trained as a botanist, wanted pollinator-friendly planting, and the design includes densely planted borders, wildflower meadows and a pond with boardwalk, as well as a potager, orchard and nuttery. The judges said there is ‘a great synergy of materials and wonderful links between the different areas, which give the garden an elegant and calm pace. It fits perfectly into the setting and shows a great attention to detail’.

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PHOTOGRAPHS (CLOCKWISE FROM TOP LEFT) ANDREA JONES/GARDEN EXPOSURES PHOTO LIBRARY; EMMA LEWIS; ALEXANDER JAMES; PHILIP VILE

100 Y E ARS CELEBRATING

OF ST YLE

THE NEW SEASON

ON SALE 4 APRIL 2019

DE S IGN

COLOUR OF THE MONTH EMMA THOMAS SELECTS QUIET GREY FROM ATELIER ELLIS

This beautiful grey is the answer when white is too white. Deeply pigmented, it’s warm and welcoming and changes subtly with the direction of light. For a nuanced scheme, team it with other muted hues from Atelier Ellis’Shadow collection.

The new range features 10 ‘shadows’ – each one either an intensified or downplayed

version of seven of the brand’s favoured neutrals.

Rooms can be layered, deepened or calmed by using the different strengths of these colours on walls, woodwork and floors.

Walls, Quiet Grey matt emulsion; objects, various hues from the Shadow collection, all £46 for 2.5L, Atelier Ellis.

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PHOTOGRAPH (DARK MAGIC) TI-MEDIACONTENT.COM/DAMIAN RUSSELL

DRESSED TO IMPRESS THE RIGHT WINDOW DRESSING HAS A LASTING IMPACT ON A ROOM. TAKE YOUR PICK FROM SLEEK SHUTTERS, TAILORED BLINDS AND ELEGANT CURTAINS

DARK MAGIC Move away from the traditional white-painted look and take a bolder step by framing windows with solid dark-painted shutters instead. They will add an instant focal point to the room, making a feature out of the period details (and are also a good way of detracting attention from an otherwise dreary view). The dark colour can then be echoed through accents in the room’s furniture. Pairing the dark colour with white window woodwork will emphasise large windows – a particularly effective technique when there is only one window in the room as it helps draw the eye to the light.

When choosing solid-wood shutters, always consider what they will look like when closed too. ¤

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“BLINDS USE FAR LESS FABRIC, SO ARE A GREAT WAY OF GETTING THE FABRIC YOU REALLY WANT INTO A ROOM WHEN THE QUANTITIES REQUIRED FOR CURTAINS OVERSTRETCH A BUDGET” NICOLE SALVESEN, co-founder, Salvesen Graham, salvesengraham.com

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HIGH NOTE

RIGHT ON TRACK

CAFÉ CULTURE

With a small window, shutters are a good alternative where the fabric from a blind or curtain might get in the way. Interior designer Emma Sims-Hilditch sourced these (top) from The New England Shutter Company, from £192sq m. The wallpaper is Mulberry Flying Ducks from GP&J Baker, £95 a roll.

The trend for minimally framed glazed doors presents a dressing challenge. One solution is to commission solid-wood shutters that concertina back on a rail to make the most of views while also giving privacy. Shown, above left, are Hillarys’ tracked shutters, available in different wood stains, from £399m.

For a smart, masculine look, try layering a blind with a shutter, as above. The louvred lower half allows for maximum flexibility over light and privacy, while a Roman blind brings an additional element of warmth. Ideal for a more formal space, such as a study or a library, the finish is clean and tailored.

PHOTOGRAPHS (HIGH NOTE) BRENT DARBY, (CAFÉ CULTURE) TI-MEDIACONTENT.COM/DAVIDE LOVATTI

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SOFT SPOT A relaxed Roman blind is a good option where curtains won’t work, either because of furniture placement, the look of the room or budget restraints. They give a softer, fuller and more impactful look than standard Roman blinds. Interior designer Nicole Salvesen decided to inject a youthful feel into this traditional London sitting room by choosing a bright fabric with a lively pattern – this is Palma Large by Bernard Thorp, £105m. Bring the outside into the room by painting the woodwork around the bay window in green, echoing the foliage beyond. For privacy, half panels of voile simply gathered on café rods are an informal solution that lets in plenty of light. ¤

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have you seen the light? decorative lighting from pooky.com

DE S IGN “CHOOSING A SUBTLE FABRIC IN A MIX OF SOFT COLOURS IS A GOOD WAY TO EMBRACE THE MAXIMALIST TREND IN YOUR HOME IN A WAY THAT IS A LITTLE LESS OVERWHELMING” IRENE GUNTER, director, Gunter & Co Interiors, gunterandco.com

NO FRILLS

BATHED IN LIGHT

BARELY THERE

Ruched blinds have had a modern makeover and can bring a relaxed softness to a room without undue fussiness. In this peaceful study (top) interior designer Irene Gunter of Gunter & Co Interiors used Camouflage by Juliet Travers for both the walls and the main blind, £180 a roll and £114m.

Embroidered cotton with a subtle pattern works particularly well in bathrooms. Interior designer Beata Heuman created a Thirties-inspired scheme, above left, with curtains in Celia Birtwell’s Beasties from Blendworth, £52.50m. ‘Off-white sheers illuminate beautifully when hit by sunlight,’ says Beata.

If you are undecided about the length of curtains but nevertheless want a contemporary look, try the length that just breaks on the floor and go for a simple single-pleat heading, above. Remember that sheers don’t have to be white – a warm taupe will help draw out the natural elements in a room.

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Serious Cookers for Serious Cooks TM

01202 733011 | www.lacanche.co.uk | info@fdef.co.uk LACANCHE, BURGUNDY, FRANCE SINCE 1796 Kitchen by Sculleries of Stockbridge

PHOTOGRAPHS (BATHED IN LIGHT) SIMON BROWN, (BARELY THERE) NATHALIE KRAG/HOUSE OF PICTURES, (BAY DISPLAY) JAMES BALSTON STYLING (BARELY THERE) TAMI CHRISTIANSEN/HOUSE OF PICTURES

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BAY DISPLAY Pelmets are making their way back into interiors and this simple box design by interior designer Jess Lavers cleverly mirrors the shape of the bay window and underlines the architectural features of the room. She has used Riad in Sand by Clarke & Clarke, £41m, for both the pelmet and the curtains, which are hung in neat and regular pleats to make the most of the fabric’s geometric trellis pattern. ‘To create a generous look, be sure that the depth of pelmet is in proportion to the ceiling height,’ she recommends. ‘This treatment works best in rooms with high ceilings, but you can always include a pelmet above a Roman blind on a smaller window if you love the effect.’ ¤

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“WINDOW TREATMENT IS ONE AREA WHERE I TRY TO EXERCISE A LITTLE RESTRAINT. I GO FOR PLAIN OFF-WHITE LINENS TO ADD AN ELEGANT TOUCH AND HELP LINK SCHEMES IN A HOUSE”

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HANG LOOSE

FINISHING TOUCH

ALL TIED UP

An alternative way to dress a wall of glazed sliding doors is to use a simple linen curtain hung loosely from a narrow pole, as shown top. A generous drop cloth design paired with barely-there pleats creates a relaxed yet stylish look that would work well in an informal living room.

Curtain trimmings are an easy way to refresh existing curtains or to create a bespoke look.A ball fringe in a contrasting colour will add prettiness and definition.

Either choose a pared-back look, as above left, or a create a more complex design with fringing on both a hem and a pelmet.

Instead of using pattern and colour in the curtains, maximise the decorative elements in the details and trims. Stencilled screens and sheers at the windows allow light to flood into this room, above, while the green gingham ties echo the chair upholstery and inject a touch of fun.

FEATUREARABELLAYOUENSPHOTOGRAPHS(HANGLOOSE)IDA SCHMIDT/HOUSEOFPICTURES,(FINISHINGTOUCH)PAULRAESIDE/ OTTO,(ALLTIEDUP)TI-MEDIACONTENT.COM/ADRIANBRISCOE STYLING (HANG LOOSE) HANNEVIND/HOUSE OF PICTURES

BEATA HEUMAN, interior designer, beataheuman.com

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INSIDER INSIGHT EXPERT ADVICE ON HOW TO CHOOSE THE RIGHT WINDOW TREATMENT CURTAINS They have an important role to play – beyond just that of decorative – as they keep the warmth in and absorb sound. ‘This is important in all rooms of the house but becomes critical in the kitchen,’ says interior designer Henriette von Stockhausen. ‘Large kitchens can have very bad acoustics due to all the hard surfaces, so aim to introduce as many soft features as possible to absorb the echoing.’ In terms of design, curtains can bridge the gap between traditional and contemporary – it all pivots on factors such as the fabric chosen, the type of pleat, the way they are lined (or not) and how they hang. Curtains are an investment but worth the expense when planning for the long term, according to interior designer Susie Watson: ‘Beautiful handmade curtains, heavily interlined, will look wonderful for many years to come.’

BLINDS Useful for rooms that suffer from a lack of light or in situations where curtains would block out too much light even when drawn back, blinds are also the best option if there is furniture or a radiator below the window. When choosing fabric for blinds, the key thing to consider is that it drapes well and doesn’t crease too easily. It’s also a good idea to use blackout lining, even if the room doesn’t require total darkness at night. ‘This ensures the fabric doesn’t look overly yellow, which can happen when the light shines through,’ says interior designer Irene Gunter.

SHUTTERS Styles vary from solid wood, tier on

to reduce external noise, increase heat insulation (research from Glasgow Caledonian University suggests solid shutters reduce heat loss by up to 62 per cent) or provide additional privacy. A café-style half-height shutter offers privacy while still letting plenty of light in. Traditional solid shutters are great for noise and heat insulation, but be aware that they lack the flexibility of louvred or tier-on-tier designs.

TRIMMINGS This is the way to achieve a highly personal scheme. Historically, the traditional French style of window dressing often incorporated tassel fringing on the leading curtain edge, combined with a border and elaborate tassel tiebacks. Today, this approach is being utilised in both period and contemporary spaces. ‘We are seeing a real trend towards the use of fringing,’ says Michael Cohen of the passementerie firm Samuel & Sons. Adding a trimming or border to a leading edge is also a good way to economise. ‘If you are on a tight budget, we recommend using a border on curtains in something special with the curtains made up in an inexpensive fabric,’ says interior designer Pippa Paton. &

“WHILE WHITE SHUTTERS WILL ALWAYS APPEAL, WE’RE SEEING AN INCREASING TREND TOWARDS COLOURED AND STAINED WOOD”

tier, café style or tracked, and the right choice will hinge on whether they’re purely decorative, required

MARK LUCAS, designer, Hillarys, hillarys.co.uk

THE INSIDER’S SOURCEBOOK: WINDOW TREATMENTS JOHN LEWIS This stalwart offers a wide selection of made-tomeasure and ready-made blinds in its vast collection of fabrics, plus there is a free measuring service if required, johnlewis.com.

PICKWICK PAPERS A family-run firm that has been making made-tomeasure curtains and blinds since 1975. It can supply poles and tracks, as well as a fitting service, pickwickpapers.co.uk.

HILLARYS Specialist makers of blinds, curtains, shutters and awnings, all of which are manufactured in Britain. Also offers conservatory blinds, hillarys.co.uk.

DESIGN CENTRE, CHELSEA HARBOUR Find an extensive range of fabrics for blinds and curtains, with showrooms from some of the biggest names in design all under one roof, dcch.co.uk.

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1. WEATHERED PATH A simple paved walkway looks timeless and sophisticated when teamed with smart low hedging. This scheme was created by interior designer Fiona Crole and her mother, along with garden designer Rosie Abel Smith. You could recreate this with reclaimed York stone.

HARD LINES

PHOTOGRAPH TI-MEDIACONTENT.COM/ALICIA TAYLOR

WE LOOK AT MATERIALS, DESIGNS AND DETAILS TO GIVE YOUR PATHS AND PATIOS THE EDGE

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“I USE STONE IN A LOT OF MY DESIGNS, AS IT WILL LAST FOREVER. SOME MAY DEEM IT AN EXPENSIVE PURCHASE, BUT IT IS SOMETHING YOU WILL ONLY DO ONCE, THEREFORE IT’S WORTH THE OUTLAY” GARDEN DESIGNER Kate Gould

2. UNIFIED APPROACH

Using the same material for walls, edging, steps and paving, as in this garden by Kate Gould, means that the design has visual ease and flow.

Custom details, such as the strips of LED lighting set under the nosing of the steps, bring the garden to life.

3. IRREGULAR APPEAL

Landscapers Little Fones worked with the owners of this Dorset property to create a charming path through the hedges using materials salvaged from elsewhere in the garden.

The secret to this scheme is irregularity, while combining textures adds depth and interest. →

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If you love your lawn, but hate getting muddy feet when walking over it, inset steps are a solution.

The pavers used here by The Distinctive Gardener are vitrified paving from Stonemarket, printed to look like birchwood. If set just below the level of the grass, they won’t damage the lawnmower.

6. CIRCULAR DESIGN For this small family garden in London, Germinate Design had two custom hand-cut York stone circles made to create a centrepiece.

Smooth white pebbles add a textural contrast and infill the areas around the stone circles and the built-in hardwood bench.

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5. BOULDER SLICES

These stepping stones were used by Lawrence Roberts of Elements Garden Design for his 2018 RHS Hampton Court Palace Show Garden. ‘The stones were all cut from one large Caledonian boulder.

They needed to have rough edges and be irregularly shaped, but with a smooth surface,’ says Lawrence.

WORDS STEPHANIE MAHON PHOTOGRAPHS (2) NICOLA STOCKEN; (4) PAUL DEBOIS; (5) JS SIRA; (6) CLIVE NICHOLS, ALL GAP PHOTOS. (3) TI-MEDIACONTENT.COM/PAUL RAESIDE

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ABTA No. V4744

&A

Q

ASK MR MERRIDEW OUR RESIDENT UNDER BUTLER PROVIDES HOME HELP

Neisha Crosland’s Sun tiles in Burnt Sienna, £6.84 each, Ca’ Pietra, make this hall. Tiles (from top right), Ref 10143, from £55sq m, Mosaic del Sur; Old Havana Bauta, £2.80, Claybrook; Priam, £4.80, Otto Tiles & Design.

Q

I’d like to revamp the utility room and porch area by my back door. The space gets a lot of use, with dogs and muddy wellies, so it needs to be quite hard wearing.

Is there a more interesting choice

and come in some beautifully subtle colourways. Designer Neisha Crosland has recently collaborated with Ca’ Pietra on a range called Jigsaw, which has a traditionally authentic look. More affordable

than traditional flagstones?

Claybrook is the new kid on the block, with bold but pleasing palettes. For a more rustic look, Mosaic del Sur has a variety of exotic patterns that can be mix and matched to create your

Annabelle, Wiltshire

ILLUSTRATION RUTH PALMER

Just as the downstairs cloakroom is the ideal place to have fun with bold wallpaper, I see no reason why you shouldn’t give the tradesman’s entrance some love, too. Flagstones are timeless and durable, but what the young folk are going for these days are cement tiles. Also known as encaustics, they have the chalky finish of a sun-kissed courtyard

WHAT’S THE PROBLEM? If you would like Mr Merridew to advise on your decorating, styling, shopping or sourcing dilemma, send your enquiry to MrMerridew@ ti-media.com

own patterns (although I’d take care to keep the palette neutral to steer away from the Spanish tapas bar look). The best thing about encaustics? The top layer is ground, so the tiles won’t absorb stains or dirt – a quick wipe over with a wet mop should keep things looking swish. ¤

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Original Art & Limited Edition Prints w w w . r u n w a y - g a l l e r y. c o m / h o m e s a n d g a r d e n s in association with

Pictured: Rule Brittania by SYRETT, limited edition print, ÂŁ495

DE S IGN

Q

We’ve recently moved to the Kent coast and while our new build has great views, I’m struggling to bring character to the interior. I’d like to incorporate some local flavour

Q

I’m struggling to find a good statement chandelier for my stairwell. I like the vintage French style, but my husband says that would look too ‘ballroom’ for us.

without resorting to too much blue and white. Any thoughts?

Philippa, Dorset

Val, Whitstable

YOU don’t mention what style of

Q

I would love to treat my home to some new bedlinen. I’m not sure I want the crisp look, but how else do I get a superior thread count?

Anne, Shrewsbury

LISTEN up, Anne. A lot of

requires simplicity. A white base will bounce all that lovely filtered light around, but restricting yourself to

home you have, but if it can take a chandelier it sounds reasonably grand. Unfortunately, anything brand new with an abundance of crystal will have the whiff of Palais

baloney is spouted about thread count. The number of threads per square inch suggests the higher the count, the denser the weave.

However, some inferior brands twist poorer quality strands of

a nautical palette is a tad obvious. By all means take inspiration from your landscape – but be honest, what you see outside your Kent coast window isn’t cobalt blue is it? Try a more muted, soothing palette of sage, heather and lichen and you’ll have a scheme that’s cohesive and quite

de Versailles, so it’s a good idea to seek out something with more character. Before you head off and start trawling the brocantes of Provence (although feel free...), I suggest taking a look at The Vintage Chandelier Company, which should have just what you are

cotton together to create a multi-ply thread, then quote the ply rather than the threads. A lower thread count made with better-quality cotton can be just as luxe. Take a look at Tielle Love Luxury, which started out supplying linen to five-star hotels. It has single-ply,

lovely. FYI: lighthouses and anything with anchors on it will not do. If

looking for. Owner Sacha Berger sources vintage pieces from France

200-thread count duvet sets from £72 and you can filter by feel. Soft

you’re worried about character, I’ve recently discovered Neptune’s brilliant shiplap boards – easily installed spruce panelling that will

and Belgium and then customises them with multi-coloured drops, brass stags’ heads and the like.

Prices start from £750, but discuss

and silky or smooth and soft, madam?

At the luxury end of the market, Italian brand Society Limonta offers loose-weave linen with that

bring a bit more texture and interest to those perfect walls of yours.

your dimensions and she’ll come up with something to suit your space that will add that element of je ne sais quoi you’re looking for.

stonewashed, rustic look. Even better, ironing it would be a travesty.

Cranbrook shiplap (L350xW20cm), £175 for 3.3m sq, Neptune.

Marie Therese chandelier, £1,600, The Vintage Chandelier Company.

Linen sheets, from £255, Society Limonta.

ABOVE all else, coastal style

&

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DREAM ROOM NEW YORK-BASED INTERIOR DESIGNER STEVEN GAMBREL REVEALS FIVE SECRETS TO CREATING THIS HAMPTONS LIVING SPACE

Bespoke Steven Gambrel sofa, Dering Hall.

For a similar blind linen, try Artist Canvas, £160m, de Le Cuona. For a similar Venetian polished plaster, try Marmo Stucco. For a similar rug, try Morning Frost SD100, £111m sq, Crucial Trading. For a similar log basket, try the medium two-handle circular, £368.88, Waveney Rush.

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THIS IS A 19TH-CENTURY sea captain’s house in Sag Harbor, on the East End of Long Island, in which my goal was to add new wings while retaining everything of historic value. Sag Harbor is one of my favourite places and I’m fascinated by the architectural and social history of the village.

2.

I used a blue Venetian plaster as a way of creating depth and complexity and as a reference to pigments that would have been rare in the mid-19th century. Back then, strong pigments were imported from faraway places and would only have been used in the front parlour as a way of displaying the owner’s wealth.

3.

I PUT TOGETHER a collection of textiles that would pull in the colour of the walls, and went on a search for some European chairs because I love that hit of dark wood. Most of the pieces in the room are vintage, including the coffee table with travertine top from France, the quartz lamp by Carole Stupell and the paintings, which I bought in Paris. They all date from the Fifties. I designed the sofa and, as you can see by its legs, it has a lighter look and harks back to the design of early sofas, where the frame was more visible. The cushions are made from silk and linen vintage textiles bought on a trip to Japan.

4.

The fireplace isn’t original to the house, but original to the period. It’s made of imported Italian marble and only a few houses in the village would have had one.

FEATURE AMELIA THORPE PHOTOGRAPH ERIC PIASECKI

5.

I MIX ANTIQUE AND MODERN pieces and tend to use quite a few 20th-century pieces, edited very carefully. It’s my job to add a freshness to the mix, a dose of the unexpected, because that’s how you get a room to feel modern and relevant. The very last thing I’m trying to achieve is a recreation of a sea captain’s house from 1854. I want this room to be comfortable and useful, and I like the subtle references to the past.

Steven Gambrel: Perspective by Steven Gambrel (£50, Rizzoli) ■

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DREAM KITCHEN A CLEVER LAYOUT AND CHIC FINISHES ENSURE THIS COOK SPACE IS ALWAYS READY TO ENTERTAIN

A bespoke, walnut-lined larder unit keeps ingredients and small appliances out of sight.

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DESIGNER David Sant, Martin Moore, 0845 180 0015, martinmoore.com.

THE PROPERTY A six-bedroom Victorian detached house in north London.

DESIGN BRIEF Having struggled with a narrow galley kitchen, the owners of this kitchen wanted the new design to be functional – they had plans to entertain on a large scale – and look impressive.

DIMENSIONS 10x6m

LAYOUT ‘Building such a big extension was all about creating a party space, but we had to be mindful not to overfill it with cabinetry,’ says designer David Sant. ‘With the new room being glazed on two sides, a central layout made the most sense.’ Installing a new chimney breast helped to create a focal point and places the cook at the centre of the action. ‘Keeping the kitchen to one side of the room allowed plenty of space for a large table and seating,’ adds David.

CABINETRY Beautiful pale-grey, Shaker-style doors from Martin Moore’s New Classic range were chosen, and they strike the low-key yet sophisticated note the owners were seeking. In a generous space it can be tempting to install a large island but, says David, big is not always better. ‘There are two reasons to act with restraint.

with a larder between, to provide a one-stop gathering point for all ingredients. A boiling water tap was also added for efficiency. ‘They’re a bit like dishwashers: once you have one, you’ll never go back,’ says David.

SURFACES The splashback is made from a single slab of Bianca Eclipsia, which is a natural quartzite that is exceptionally tough. ‘It’s the same stone used, in powdered form, to make composite quartz but when a particularly striking piece is discovered in a quarry, they keep it whole,’ explains David. While quartzite also tops the island, plain white composite quartz was used beneath the splashback to boost its impact. ‘When using exotic materials, less is more. If used everywhere you can undo the effect you’re seeking,’ he adds.

STYLING ‘It’s not always true that large kitchens are a dream to plan,’ says David. ‘The bigger the room, the

Firstly, the longest solid stone or quartz worktop you can have without joints is 3.2m. And, secondly, a long island can become a barrier and you end up walking further than

more layout possibilities there are to consider. Our advice is to start with a focal point, create one if you need to, and work with any existing architectural elements.’ In this case,

necessary,’ he says. Here, the perfectly balanced island provides room for three to four bar stools.

the new windows at the front of the extension were installed too close to the wall to allow the cabinetry to stretch along the full wall. By installing a seating area in the corner, the owners can now enjoy the perfect spot for a coffee and the room is, arguably, more interesting overall. ¤

APPLIANCES Three pyrolytic ovens, a microwave and warming drawer were arranged in a neat cooking bank positioned at

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eye-level for easy access. ‘One of the owners is a chef, so the focus was on speed and performance – hence the induction hob, which is also easy to keep clean,’ adds David. The refrigeration is hidden behind doors,

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“INSTALLING A NEW CHIMNEY BREAST HELPED TO CREATE A FOCAL POINT” DAVID SANT, designer, Martin Moore

The porcelain flooring mimics grey-stained timber planks to give a natural feel, while providing a low-maintenance, party-friendly surface.

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A handy cook’s shelf at the back of the chimney breast enhances the sharp contrast between plain and patterned surfaces.

WHERE TO BUY CABINETRY New Classic collection painted in Steel Grey, from £35,000, Martin Moore.

Interior design by Charlotte Reiner Design.

APPLIANCES H6460BP pyrolytic single ovens, £2,199 each; ESW6114 warming drawer, £1,125; M6260TC microwave, £1,225; KM6669 induction hob, £2,849, all Miele. ICN3356 70/30 integrated fridge freezer, £1,171, Liebherr. Cache integrated extractor, from £750, Westin. SN678D10TG 60cm integrated dishwasher, £999, Siemens.

SINK & TAPS 4890 Callisto four-hole sink mixer tap with C spout and crosshead handles and rinse, £633.33, Perrin & Rowe. Bakersfield 5832-5U-0 large single bowl sink, £1,050, Kohler. Classic PRO3 boiling water tap, £940, Quooker.

SURFACES Bianca Eclipsia worktop and splashback, from £650sq m including installation; Quartz composite worktop in Unistone Bianco Assoluto, from £260sq m including installation, both Martin Moore. For similar flooring, try Martin Moore’s wood-effect porcelain floor tiles, from £50 sq m.

ACCESSORIES Thirsk glass rod ceiling lights, price on request, Vaughan Designs.

For similar bar stools, try Christopher Wray’s Domani, price on request. Bar stools upholstered in Pepito houndstooth fabric, £70m, Zimmer + Rohde.

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FEATURE LINDA CLAYTON PHOTOGRAPHS DARREN CHUNG

Lift-up storage under the cushions makes the window seat an extra practical feature.

FEATURE LINDA CLAYTON PHOTOGRAPHS (HUMPHREY MUNSON) PAUL CRAIG; (MOWLEM & CO) JAKE FITZJONES

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SINGLE-SL A B SPL A SHBACKS PICK A SOLO PROTECTIVE PANEL FOR A GROUT-FREE, EASY-CLEAN SURFACE 1. SHINY HAPPY

2. OLD VS NEW

3. PURE LUXE

Patinated brass has a rich patina that can be sealed for easy cleaning. Polished brass offers a shinier finish.

Rupert Bevan has patinated sheeting, from £400sq m.

Bespoke kitchen, from £16,000, Clayton Cabinets.

A mirrored splashback will provide a quick-clean surface, but the beauty of antique-effect glass is that it disguises marks. Antiqueeffect toughened mirrored glass, from £1,200sq m, Humphrey Munson.

When imbued with quartzite, a polished granite splashback is high impact and low fuss.

This is the Orinoco polished granite from Cosentino’s Sensa brand, from £500sq m. Bespoke kitchen, from £30,000, Mowlem & Co.

4. EFFORTLESS INDUSTRIAL Enjoy the look of concrete, free from cracks or staining, with this realistic alternative that emulates the texture of concrete. 4011 Cloudburst Concrete, from £550sq m, Caesarstone.

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UPHOLSTERED BAR STOOLS

FEATURE LINDA CLAYTON

CHIC SEATING FOR SOPHISTICATED KITCHENS 1. Persis in Smoke Grey faux leather, H106xW42xD42cm, £320 for two, Perch & Parrow.

2. Basil in Jungle smart linen, H106xW51xD57, £528, Sofa.com.

3. Orb in Blush linen weave, H92.7xW50.8xD48.2cm, £349, West Elm. 4. Shoreditch high back in Hugo Spelt linen, H99xW42xD50cm, £355, Neptune.

5. Cross Leg in Ginger linen, H100xW55xD56, £1,145, The Conran Shop.

6. Upholstered Avery leather, H93xW47.5xD46.5cm, £1,540, Pinch Design.

7. High End Italian designer in leather, H107xW53xD60cm, £2,791, Juliettes Interiors.

8. Nantes in Anafi in Indigo linen, H101xW46xD54cm, £1,460 (excluding fabric), William Yeoward.

9. Tanner in Charcoal velvet, H116xW61xD69cm, £450, Andrew Martin.

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DE SIGN E D A N D M A DE I N H A M P SH I R E , E NGL A N D

S WA DL I NGBR A S S WA R E .C O.U K

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The double-entry shower was made wide enough to keep the shower spray safely contained.

DREA M BATHROOM TOUCHES OF COPPER AND PEACHY PINK TONES GIVE THIS GUEST EN SUITE A SENSE OF GLAMOUR AND GRANDEUR

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DESIGNER Ruth Milne, Studio Milne, 07787 570349, studiomilne.co.uk.

THE PROPERTY A five-bedroom Georgian terraced house in east London.

DESIGN BRIEF A calm and timeless space was the goal for this guest bathroom, but the owners also wanted to inject a hint of the glamorous luxury embodied by old-school powder rooms.

The overall scheme was to be soft and comfortable, without being overly feminine.

DIMENSIONS 3.7x 3.2m.

Putting the shower on the chimney wall, with the bath in the middle of the room made far better use of the space.’ With the shower and bath established as the main focal point, Ruth selected a classically elegant pedestal basin to tuck in the corner.

SURFACES

Originally three small rooms on the first floor, several walls and one

Ruth took her clients to J&R Marble’s east London factory to seek out the perfect muted-pink marble to form a backdrop against which the copper bath would sing. ‘We found a lovely

window were removed to create a grand, well-proportioned space that could accommodate a large utility cupboard as well as serve as en suite to the guest bedroom. ‘We spent time exploring various positions for the sanitaryware,’ recalls Ruth. ‘At first we had a smaller shower to the right of

powdery pink Rosa Tea marble, but once it was installed and sealed it seemed very terracotta,’ recalls Ruth.

‘I was unsure the darker finish would go with the pale pink walls and woodwork. However, the marble seems to have mellowed and the colours really complement each other.’

the chimney breast, but the client wanted a more symmetrical look.

BRASSWARE

LAYOUT

Having chosen a polished copper bath, it may have been tempting to go for warm metal finishes on the brassware, too, but Ruth believes it is important not to overdo the materials palette. ‘I loved the nickel finish on the inside of the bath, so I picked out nickel fittings to make a subtler connection. We went for classically designed taps and shower fittings to

WHERE TO BUY FITTINGS Copper bateau bath with nickel interior, £6,600; La Fontaine bath-shower mixer with standpipes, £1,920; Empress basin on pedestal with La Fontaine three-hole mixer taps, £1,848; Le Thermo exposed shower, £2,160; Regency low-level cistern with Empress WC pan and round seat, £2,976, all Catchpole & Rye. Majestic Showers’ Oslo fixed frameless shower screen, £1,590, Ultimate Supplies. Bespoke utility cupboard, around £16,000, Splinterworks.

SURFACES East Hampton marble basketweave mosaic tiles (on floor), £149.99sq m, Fired Earth.

Rosa Tea marble shower tray and wallcovering, £6,500 installed, J&R Marble. Walls and skirting painted in Pink Ground modern emulsion, £45 for 2.5L; estate eggshell, £60 for 2.5L, Farrow & Ball.

ACCESSORIES Bailey Antique cream six-light pendant, £474, David Hunt Lighting. Large French folding mirror with shelf, £175, Cox & Cox. Empire towel ring, £120, Catchpole & Rye. Traditional ornate iron wall-shelf bracket with decorative birds design (above the WC), £15.95, Bowley & Jackson. Smoked oak shelf, £59, Ferm Living.

STYLING Selecting monochrome floor tiles was a deliberate move to help ground the

A simple mirror with integral shelf provides ample sink-side storage.

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room’s pink and copper tones. Painting the walls and skirting in the same shade of pink is another simplifying trick. ‘The surfaces blend together, so that the skirting appears as a subtle detail. Again, it comes back to paring the design down for the bath and shower wall to steal the show.’ &

WORDS LINDA CLAYTON PHOTOGRAPHS CARMEL KING

echo the room’s Georgian elements.’

H& G PART N E R S H I P

FEMALE FOCUS RUNWAY GALLERY ARTIST BELINDA FRIKH TELLS US ABOUT HER LIFELONG LOVE OF DRAWING, AND EXPLAINS HOW HER FRENCH ROOTS INFLUENCE HER WORK in Annecy, then the École d’Arts

in 1996, soon after finishing her studies, Belinda’s intention was to stay for three months. Instead, she stayed for 21 years. ‘I was instantly drawn to the city’s buzz, its cultural heritage and cosmopolitan feel,’ she says.

But despite her time in the capital, it is France, her home country, that has had the strongest influence on her drawing. ‘I’ve named most of my ladies after French heroines. I can’t pinpoint

Appliqués in Lyon,’ she says.

The focus of Belinda’s drawings is, invariably, womankind: glamorous, uncompromising and beautiful.

‘When I visualise the female form, I see a different code of beauty: a wit, a composure, a certain mannerism, a unique imperfection, a smouldering look, a trailblazing attitude. I find these attributes in female characters in literature, in strong cinematic female

the exact time when I started to draw, because, for as long I can remember, I was drawing, always drawing, to the exasperation of my parents. I would draw on everything: cereal boxes,

leads and in historical heroines.’

Her hand-drawn pieces are a fusion of the cultural references she has collected. She takes inspiration from the Twenties, as well as from Klimt, and

books, official documents, letters from school complaining about me always drawing… Then, much later on, I went to study at L’École Supérieure d’Art

she sites Biba’s Barbara Hulanicki as another major influence on her work. ‘My eyes are mainly drawn to the past,’ she confesses.

NEXT MONTH Look out for our May issue, where artist and founder of Runway Gallery SYRETT discusses his thinking behind the new online platform and tells us about his favourite artists and artworks.

Owning a piece of art is as easy as clicking a button with new online venture Runway Gallery. Showcasing contemporary fashion-focused works from celebrated artists, runway-gallery.com enables you to snap up original prints for your home.

182

ARTWORK MON TRUC EN PLUMES, £460, BELINDA FRIKH

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193

Design moment 1930 – 1939

C e l i a R u f e y o n t h e f o u n d i n g o f C o l e f a x a n d Fo w l e r

IN 1938 Lady Sibyl Colefax, a

convenient and always comfortable.

Imogen Taylor, who worked with Fowler for many years and became the company’s managing director, says: ‘He transcribed the finesse of historic detail in all its forms, whether in architectural detail,

decorator with exceptional social contacts, went into partnership with John Fowler, then chiefly known for decorative painting and restoring furniture. It was a pairing that went on to change the path of English interior decoration.

Their approaches to design did not make for an obvious alliance: Colefax’s interiors were comfortable but conventional, while Fowler’s were historically informed and instinctively receptive to a sense of place, be it rustic or grand.

After Lady Colefax retired, Nancy Lancaster acquired the company, and the country houses that she

curtain trimmings, the cut of a drapery, the rake of a chair back or the application and colour of paint.

and Fowler decorated brought the signature style to maturity. These interiors gave the appearance of having evolved over time, combining artwork and a variety of furniture

He was a perfectionist. Suitability, comfort and scale, as well as colour and pattern combinations, formed the basis of his work. That tradition informed the work carried out by the firm then and still today. It has never been about fashion – just a

set out in unstudied arrangements,

comfortable, attractive way to live.’

L A N DM A R K S F ROM T H E DECA DE

1930

194

1931 Finnish designer Alvar Aalto creates his iconic Paimio 41 chair, in laminated birch with a seat made from a thin sheet of form-pressed plywood, scrolled at each end.

Q

1931

1935 George Carwardine’s articulated desk lamp combines freedom of movement with perfect balance. The original 1227 Anglepoise is still produced and loved by many today.

Q

1935

1936 The Goblin Teasmade uses an alarm clock both as a wake-up call and to switch on an electric element that heats water, pushing it through a pipe into a pot ready for a brew.

Q

1936

1937 ‘Flowers in decoration remained at the heart of English domestic ideals,’ says Sanderson archivist Keren Protheroe.

‘Hollyhocks fabric would have felt very modern in the Thirties.’

Q

1937

PHOTOGRAPHS (MAIN PICTURE, COLEFAX AND FOWLER) JAMES MORTIMER. (ELTHAM PALACE) ENGLISH HERITAGE. (TEASMADE) SHERIDAN PARSONS ARCHIVE

1930s Art Deco style is celebrated in statement interiors, from private houses such as Eltham Palace (1933) to the Cunard ocean liner Queen Mary (1936), many with Marion Dorn rugs.

Q

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Simple living Calm & considered interiors

Welcome Simple beauty is about quiet, uncluttered spaces with natural materials and elegant forms at the heart. We’ve created this magazine to help bring this desirable style to your home, with galleries of ideas for every room, sources of furniture and accessories, and the crafters who are leading the way

INSPIRATION

THE MAKERS

3 Live Ideas for sitting room, halls and studies 14 Eat

12 The furniture designer Katie Walker on her exquisitely crafted pieces 22 The potter

Focus on kitchens, dining areas and utility rooms 24 Rest Bedrooms and bathrooms with an air of calm

Oriental-inspired tableware by Florian Gadsby 30 The textile designer Beatrice Larkin’s modern way with weaving

SHOP TALK

BOOK CORNER

32 Sources of simply beautiful homewares

35 Expert references on how to create the look

Editorial Director Sarah Spiteri Executive Editors Kate French and Neil McLennan Supplements Editor Rhoda Parry Group Creative Director Emma Williams Group Chief Sub-Editor Anne Esden Commercial Editorial Operations Director Jane Akers Art Editor Elizabeth Chung Sub-Editor Andrea Johnson Editorial Production Manager Nicola Tillman Homes Digital Director Ellie Naber Publisher and Head of Homes Joanne O’Hara Advertising Manager Kate Bragazzi APRIL 2019 Published by TI Media Ltd, 161 Marsh Wall, London E14 9AP. Printed by Walstead UK Ltd. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, Canary Wharf, London E14 5HU. ©TI Media Ltd 2019.

Live Itâ&#x20AC;&#x2122;s all about a serene ambience, where everything coexists in harmony

Jupiter Moon vase, ÂŁ35, Curious Egg, curiousegg.com.

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GALLERY CHIC For a simple, tranquil look take the curator approach â&#x20AC;&#x201C; display a few key pieces of modern art and decorative objects, keeping colour contrasts subdued, as seen here in artist Robert Kellyâ&#x20AC;&#x2122;s house.

An antique scrubbed cottonwood table and bench from New Mexico complete the modest feel.

Artwork, Robert Kelly, robertkellystudio.net. For a similar antique bench, try The French House, thefrenchhouse.co.uk.

INS P IR ATI ON

Curtains in Kanso in Jasper White, £130m, and Rain in Indigo, £125m; sofa in Barkcloth in Gunmetal, £135m, all Mark Alexander, markalexander.com.

SHEER MAGIC Dispense with curtain linings and take a lighter view on window treatments by pairing loose linens with tissue-thin sheers. To prevent the effect from feeling too flighty and insubstantial, create a sense of depth and richness with sturdier fabrics on upholstery.

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INS P IR AT IO N

Clare Cousins Architects, clarecousins.com.au.

For a similar white brick effect, try Tirreni tiles in Linen, £4.19 each, Claybrook, claybrookstudio.co.uk.

SLICK BRICK In lieu of a plastered or exposed brick chimney, architect Clare Cousins chose white glazed bricks for a softer yet subtly dramatic take on the industrial look. The ceiling clad in pale wood tongueand-groove adds warmth and interest – and a gentle counterpoint to the polished concrete floor.

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AU NATUREL In this largely colourless scheme, interior designer Fiona Crole has used textures, layers and details such as box pleats for essential variation. Don’t go overboard – just a few accents, easily introduced on accessories such as lampshades and cushions, will keep the effect restrained but characterful.

Fiona Crole Designs, fionacrole.com.

Handmade medium paper lampshades in Jazz in Mustard, £125 each, Rosi de Ruig, rosideruig.co.uk.

HIGH LIGHT For a transcendent and timeless feel, look to the versatility of white-painted walls and ďŹ&#x201A;oors.

Layered with dusty shades or contrasted against bold tones, a white background holds everything together while allowing architectural features and statement furniture to take centre stage.

Walls in Simply White; ďŹ&#x201A;oor in Ice Mist, both from ÂŁ27.50 for 0.94L, Benjamin Moore, benjaminmoore paint.co.uk.

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This room is by Flemish designer and craftsman Joris van Apers, vanapers.be, who is known for his specialist salvage workshop.

STUDY SKILLS Reclaimed wide-plank wood ďŹ&#x201A;oors, handcrafted shutters and joinery covered in layers of casein paint for a textured, weathered ďŹ nish work well together here. Clean, uncluttered lines combine with traditional materials to create an enticing escape for reading or studying.

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I NS PI RAT IO N

MINIMAL LINES Slender struts and slim wooden shelves form a sleek, unobtrusive backdrop from which a few select pieces of furniture can stand proud. For a uniform look, stack books with their tails rather than spines on show – the lack of colour and pattern will help to keep them in the background.

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FEATURE ARABELLA YOUENS PHOTOGRAPHS (GALLERY CHIC) MATTHEW WILLIAMS; (SLICK BRICK) ARMELLE HABIB; (AU NATUREL) ALICIA TAYLOR; (MINIMAL LINES) EMMA LEE, ALL TI-MEDIACONTENT.COM. (STUDY SKILLS) JO PAUWELS. (BOLDLY GO) PAUL MASSEY

Duo seat and lamp, from £4,259, Muller Van Severen at Viaduct, viaduct.co.uk.

BOLDLY GO The use of colour blocking on walls, floors or ceilings will create a scheme that packs a punch without being tied to a genre or trend. Here, Howe and Harding and Read joined creative forces, blending simple hues and solid furniture to make the most of the architectural features.

“ECLECTIC LAYERING OF COLOURS AND PIECES FROM DIFFERENT ERAS MEANS SPACES DON’T FEEL OVERLY DESIGNED” CHRISTOPHER HOWE, founder, Howe, howelondon.com

Gainsborough stool, Basset sofa and Princess & the Pea dog bed, all Howe, howelondon. com. Design practice Harding and Read, hardingandread.com.

The furniture designer

Where does your design inspiration come from?

I draw on visual references from fine art and sculpture, nurturing my desire to merge these disciplines with practical furniture design, architectural detailing and geometric patterns found in nature. I am constantly looking for a fresh approach to solving the problem of structure. My inspiration for the Ribbon rocking chair was the combined feel of the sculptural forms of the

Can you describe your design process?

I usually begin with words that relate to the form or the feel I’m looking for, then search for key visual references, sketching out my ideas. I have numerous art and reference books, and I often don’t know what I’m searching for until I find it – it might simply be part of a shape or a sense of something. When I have the initial idea, the hard work follows in coming up

Constructivist Naum Gabo and Japanese basketware.

with a concept. Next, I make a scale model to show to the client for approval, then move on to the drawing board for full-sized detailing and finally prototyping.

Where do you source your materials?

I work predominantly in European hardwoods – ash, oak and cherry – and American walnut, as European walnut is not so easy to source. Timber is a primary natural renewable resource and all my furniture is made from sustainably sourced timber, mostly from the UK. I am proud to support British forestry, knowing that it will provide a well-managed sustainable resource for the future. All materials are sourced as locally as possible and I firmly believe that the most ecologically sound solution is to design with longevity in mind.

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What is a typical day like for you?

My days vary enormously. I live to work so it’s allconsuming. I might be in the studio creating concepts or tackling business tasks, in my workshop building models or prototypes, visiting the workshops that make my pieces, seeing prospective customers – individuals, retailers or the galleries that represent me – or even out on the road delivering finished pieces. katiewalkerfurniture.com.

FEATURE SARAH WILSON PHOTOGRAPHS TI-MEDIACONTENT.COM/ALUN CALLENDER

Katie Walker creates simple, functional and graceful works of true craftsmanship in her West Sussex studio

TH E M AK E R S

Ribbon rocking chair in walnut (left); the Windsor rocker, side tables and mirrors in the display area of Katieâ&#x20AC;&#x2122;s studio.

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Eat Putting the focus on natural materials and beautiful forms

Pantry cupboard in beech, from ÂŁ3,200, Sebastian Cox at deVol, devolkitchens.co.uk.

Fine silver drinkware, from ÂŁ820 for a beaker, Grant McCaig at The New Craftsmen, thenewcraftsmen.com.

Bespoke table and chairs, Barnby Design, barnbydesign.co.uk.

Scheme featured in Made of Wood by Mark and Sally Bailey, ÂŁ19.99 (Ryland Peters & Small).

PITCH PERFECT To celebrate a buildingâ&#x20AC;&#x2122;s original intention, make a feature of structural elements rather than boxing them in, as has been done here by painting the steel beams in a striking fresh green. Tongue-andgroove panelling adds informal and textural interest in the absence of art or colour on the walls.

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BROCANTE BEAUTY For a light and calming Provenรงal mood, use plenty of French antiques and salvaged items paired with pale creams and whites on upholstery and at the windows. Fiona Crole put together this scheme for a new-build country house kitchen, giving it an instantly lived-in feel.

Fiona Crole Designs, ďŹ onacrole.com.

Chimney sourced by Wharton Antiques, whartonantiques.com.

Vintage pendants, Retrouvius, retrouvius. com. Antique table and benches, Maison Artefact, maisonartefact.com.

WORKSHOP CHIC The art of making the break from a perfectly co-ordinated kitchen is to include elements that anchor the space. For paint, choose complementary tonal hues and create cohesion by using the same material on worksurfaces, walls and floor. Here, leather cabinet pulls add notes of natural texture.

“SIMPLE BEAUTY IS CLEAN AND UNCLUTTERED – IT ALLOWS US TO APPRECIATE SHAPES AND MATERIALS Kitchens start at £45,000, Plain English, plainenglishdesign.co.uk.

MERLIN WRIGHT, design director, Plain English, plainenglishdesign.co.uk

I NSP I RATION

Silt jug, £155, Viewport Studio at Clippings, clippings.com.

Artwork, Kai SamuelsDavis at The Cold Press, thecoldpress.com.

FINE GRAIN Douglas fir has moved from floors to walls, with its irregular grain and delicate knots ideally suited to kitchens with a utility feel. The boards are affordable, durable and strong; also look out for veneered plywood panels for uninterrupted surfaces or making cabinetry and bookcases.

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STYLE & SUBSTANCE Even workaday utility rooms need to blend function and form. In lieu of colour, this scheme plays on dark and light, juxtaposing a glossy black Iroko worktop with a white marble butler’s sink.

Decorative accents are introduced by a porcelain pendant and aged-brass taps and drawer pulls.

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FEATURE ARABELLA YOUENS PHOTOGRAPHS (BROCANTE BEAUTY) ALICIA TAYLOR; (FINE GRAIN) EMMA LEE; (SOFT FOCUS) POLLY ELTES; ALL TI-MEDIACONTENT.COM. (PITCH PERFECT) DEBI TRELOAR

Classic English utility rooms start at £10,000, deVOL, devolkitchens.co.uk.

SOFT FOCUS Faux fur isnâ&#x20AC;&#x2122;t often seen in kitchens, but it is very useful for softening the hard edges of cabinetry and surfaces. Here, the white gloss streamlined countertops and breakfast bar provide a crisp contrast to rough-hewn wood stools and window frames, keeping the overall feel contemporary.

Kitchens from ÂŁ40,000, Chamber Furniture, chamberfurniture.co.uk.

The potter A passion for ancient and contemporary Eastern ceramics informs Florian Gadsby’s exquisite tableware

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What is it about ceramics that you love?

It’s an infinitely diverse craft and the range of what can be created never ceases to astound me. From the actual making process to the glazing and firing, no two people approach things in the same way. I love being able to see handmade qualities in the finished works.

Thrown pots are especially personal as the grooves left by the fingers of the maker can be felt as you use and

established shapes, as well as how to glaze in both the Oribe and shino styles, and how to fire them.

handle the piece. It’s truly gratifying to create objects that people will take pleasure in using in daily life, be it for drinking a cup of tea or eating dinner on.

engaged and cares about what I do – it’s incredible.

Where do you seek inspiration?

How do you intend for your pieces to be used?

Most of the work I make is tableware – bowls, mugs, pouring vessels, storage containers and vases. I also

I find myself going back to ancient Chinese Song Dynasty pottery and more contemporary Japanese tableware time and time again. I’ve always loved the colours of Longquan celadon glazes – the more natural soft hues of blues, greens and whites. Last year, I spent six months as Ken Matsuzaki’s visiting apprentice in Mashiko, Japan. I learnt how to use the traditional Japanese kick wheel to make his

make pieces for use in painting and drawing, such as watercolour palette sets, ink-dip pens and inkwells.

I’ve always drawn in conjunction with making pottery, so developing pieces that aid that process seemed natural. I like quiet pots that aren’t too decorative or extravagantly finished and glazed. They are objects I could see myself living with and using. floriangadsby.com.

FEATURE MAUDIE MANTON

Why do you use Instagram to document your work?

The ceramics community is global and remarkably friendly. It’s allowed me to sell my work mostly through my own website without relying on galleries and shops.

From my London base, I have an audience that is

TH E M AK E R S

Soft hues and simple lines of Oriental pottery are defining features of Florian’s pieces, from £28 for a beaker.

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Rest Calming sanctuaries for starting up or switching down

Similar bedding, Stone washed linen ďŹ&#x201A;at sheet in Natural, from ÂŁ89.99, LinenMe, linenme.com.

Eden Hall Cottage (holiday lettings), edenhallnorfolk. co.uk; designed

by Plum & Ashby, plumandashby.co.uk.

Panels in Plummet, ÂŁ46.50 for 2.5L, Farrow & Ball, farrow-ball.com.

PANEL SHOW For a cocooning feel in a bathroom, consider cladding the walls in panelling rather than tiles, in a square format for an updated feel. Mounting the bath taps into the panelling further underlines the more contemporary mood of this bathroom at Eden Hall Cottage in Norfolk.

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“TRADITIONAL LIME PLASTER MIXED WITH A NATURAL GREEN PIGMENT CREATES A SOFT, TACTILE FEEL” MERLIN EAYRS AND ZOE CHAN EAYRS, founders, Chan + Eayrs, chanandeayrs.com.

Bathroom and bedroom scheme by Chan + Eayrs, chanandeayrs.com.

SINKING IN Erasing dividing lines between sleeping and bathing areas is as convenient as it is stylish. The key to success is creating a seamless flow by continuing the flooring and paint colours through the spaces. Here, fitting taps to the side of the cross-sawn limed timber cabinetry is another neat idea.

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LAYERED LINEN In a sparsely decorated bedroom with plain white boarded walls, introduce colour and comfortable textures with layers of relaxed washed linens in rich seasonal hues. In this scheme, accents of stripes mirror the beams and the grooves in the exposed ceiling planks.

Linen bedding, from ÂŁ40 for a pillowcase, Larusi, larusi .com. Imo folding stool, from ÂŁ355, Pinch, pinchdesign.com.

LIGHT TOUCH For a guest bedroom with a nod to nostalgia, a symmetrical layout with twin iron bedsteads and a muted colour palette is timeless and refreshing. Opt for simple lengths of sheers as window dressings and be generous with throws and blankets to ensure the space is invitingly cosy.

Similar bed, Edward single iron bedstead in Ivory, ÂŁ595, Wrought Iron & Brass Bed Co, wroughtironand brassbed.co.uk.

FEATURE ARABELLA YOUENS PHOTOGRAPHS (PANEL SHOW) SARAH GRIGGS @peas. n.my.pod.

(SINKING IN) TOBY LEWIS THOMAS; (LAYERED LINEN) SIMON BEVAN; (LIGHT TOUCH) JON DAY, ALL TI-MEDIACONTENT.COM

INS P IR ATI ON

Featured in Dom Stay & Live, domstayandlive. com, a portfolio of architecturally stunning homes to stay in.

CLEAR VISION Nordic design is light and airy and blurs the boundaries between indoors and out. This bathroom in a Danish house, with ï¬&#x201A;oor to double-height ceiling windows, pairs battleship-grey tiles with a modern freestanding bath to create a soothing scheme that maximises the views.

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The textile designer Based in east London, Beatrice Larkin works closely with Lancashire mills to create strikingly patterned weaves in the finest merino wool

Do you come from a creative background?

My father is an interior designer and my mother is a freelance textile designer, so I grew up surrounded by fabric. Studying woven textiles at the Royal College of Art allowed me to find my own direction and aesthetic. After finishing my MA in 2013, I joined the Craft Council’s Hothouse scheme for emerging makers and began to build my business.

Where do you find inspiration?

When I’m in need of ideas, I wander around the Barbican soaking up the Brutalist aesthetic. Alongside

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these harsher lines I love geometrics with a human touch, such as the hand-painted buildings in Tiébélé, West Africa. The tradition of weaving is a constant influence. There is a bible of structures to manipulate and inspire, which I will never tire of.

What is special about the wool you use?

The Italian spun merino wool is commonly used in fashion for high-end knitwear. It’s called the ‘RollsRoyce of merino’, as the fine, soft fibres of the merino sheep give a beautifully soft and luxurious handle.

Can you tell us about your design process?

I start designing a new collection by drawing and mark making. I’ll then refine and develop these into a series of patterns. I work closely with my jacquard mill in Lancashire to sample fabrics, working on scale, repeat and weave structures. Once the fabric is woven, it is sent for washing and finishing in Yorkshire, then on to London to be hemmed, labelled and packaged. beatricelarkin.com.

FEATURE MAUDIE MANTON PHOTOGRAPHS ALUN CALLENDER

How would you describe your style?

There is a definite mid-century look to my fabrics but with softened, organic elements for a contemporary, liveable feel. Every aspect, from yarn and structure to colour, is considered. For my most recent collections, I’ve used a pared-down monochrome palette to complement the bold graphic patterns. In my cushions and throws, achieving a depth and balance is key.

TH E M AK E R S

Monochrome jacquard throws (also above left) in merino lambswool and cotton, 140x195cm, ÂŁ260 each.

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Shop talk Three of our favourite stores for interiors inspiration and design expertise

MAUD & MABEL This tranquil shop and gallery in Hampstead offers contemporary craft with subtle, meaningful design.

Founder Karen Whiteley tells us more How did you come to open a shop?

Maud & Mabel was born out of my passion for the handcrafted and I was inspired by my time working for Pan Henry at Casson Gallery. The shop began in a small, shared space, but is now perfectly located in a peaceful pedestrian lane.

What is the design aesthetic?

The focus is on thoughtfully made everyday objects and collectables with clean lines in a muted palette, with the occasional splash of a washed tone. There are also some textured pieces that bring an element of surprise. We celebrate elegant design with contemporary craft and believe that aesthetics and functionality should go hand in hand.

Where do you find pieces to sell?

From a variety of places – graduate shows, recommendations and sourcing trips around the world. I work closely with artists and often collaborate.

What do you love about the business?

Working in a tranquil space and offering a personal service bring me pleasure. I also enjoy conveying the talent and passion of the artist to customers and interacting with the creative community.

Carefully curated pieces include handmade ceramics and wooden boards.

Maud & Mabel, 10 Perrin’s Court, London NW3 1QS, maudandmabel.com.

KENT & LONDON From Whitstable to the Shoreditch showroom, Luke Ellis’s furniture business champions simple, hard-wearing, custom-made design.

We ask him what visitors can expect How did the business begin?

I started Kent & London in 2009 because I love creating furniture that becomes part of the family. I wanted a more democratic approach to custom-made pieces so I literally opened the doors of my workshop, The Boatshed, on Whitstable beach, allowing people to see the furniture being made and to engage with me on the development of their own ideas.

Why did you move from Whitstable?

We found that more and more of our customers were travelling down from London. I always asked them why and the answer was often because they were finding it impossible to easily commission furniture that perfectly suited their home. Bringing a new shop to them seemed an obvious next step.

Homewares and lighting are offered alongside furniture.

Where do you source materials?

For our kitchens we use wood from sustainable sources. All our character pieces come from local Kentish woodlands and we focus on English sustainable timber and reclaimed wood.

Our stonemason is based on the same farm where we make our furniture, just outside Whitstable.

What can people expect at the shop?

A light-filled space where they can see the quality and finish of our range. We also have a materials library where we show woods, stones, paint colours, fittings and finishes, so people can be involved in customising their design.

Kent & London, 5 Hackney Road, London E2 7NX, kentandlondon.co.uk.

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SHO P TA LK NKUKU Pick up characterful homewares, reclaimed pieces and artisan coffee in this Devon-based lifestyle store, owned by Alex and Ali Cooke What is Nkuku style?

It’s all about distressed, pared-back industrial, rustic finishes and materials.

We love imperfections and simple style, so we allow the natural character and texture of the materials to speak.

Savannah leather bags, from £140 each.

How is your shop unique?

There’s the building itself. We wanted to restore rather than rebuild and kept as many original features as possible, including several stone walls. The store is in two main buildings: one a contemporary barn with our collections of Indian antiques, and the other made up of several barns around a courtyard – these house sofas, soft furnishings and room sets. On the ground floor is our café, which serves artisan roasted coffee, cakes and light lunches.

Baba glass lamp bases, £120 each.

Mali pottery, from £9.95 for a coffee mug.

How do you source your products?

We design a lot of collections ourselves and also work with suppliers who have been with us since the beginning. We love being able to collaborate with artisans from countries such as India and Vietnam and discovering their traditional techniques and skills.

What’s planned for 2019?

An exciting new spring collection for the home, including Bao ceramics in a playful colour palette, stylish hanging planters, eye-catching wall art and

Nkuku Lifestyle Store and Café, Brockhills Barns, Harbertonford, Totnes, Devon TQ9 7PS, nkuku.com.

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FEATURE TARA KING

striking furniture. We’ve also sourced more Indian antiques and reclaimed one-offs, so our dedicated antiques barn will be bursting with discoveries.

Book corner

FEATURE ARABELLA YOUENS

Inspiring pages filled with new ways to bring simple beauty to your living spaces

THIS IS HOME

by Natalie Walton, photographs by Chris Warnes (£30, Hardie Grant) Through 16 picture essays on homes from Los Angeles to Sydney, and interviews with the owners, Australian journalist-turned-designer Natalie Walton illustrates her premise that for a house to feel warm and welcoming,

MADE OF WOOD

by Mark and Sally Bailey, photographs by Debi Treloar (£19.99, Ryland Peters & Small) Leading lights of the modern craft movement and maker culture, the owners of Baileys homeware store explore how wood in all its forms – smoothly planed, painted, recycled and roughly sawn – can transform

it has to genuinely reflect the people who live there.

interiors with its natural character and warmth.

NATURAL LIVING STYLE

by Selina Lake, photographs by Rachel Whiting (£19.99, Ryland Peters & Small) Responding to the dilemma of how to make homes more in harmony with the environment, the author celebrates natural fibres and sustainable woods, and shares sources for everything, in this inspirational guide to making a minimal impact on the planet.

KITCHENS & DINING ROOMS (€59.50, Beta-Plus) Brussels-based Beta-Plus is a specialist publisher of books on interiors and architecture with a leaning towards European and Flemish design. This new title showcases 20 kitchens and dining rooms all channelling a contemporary and timeless style that allows great form to take the upper hand.

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