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ENGLISH HOME The

Celebrating the essence of English style June 2020 | Issue 184 | £4.75 | UK Edition

LIVING BEAUTIFULLY Create the perfect sanctuary at home

INTERIOR DESIGNERS Reveal the buys that make their hearts soar

BLISSFUL BATHROOMS Stylish & practical schemes

NEW

BBC’s Matthew Fort

shares seasonal ideas from his edible garden

YOUR ROOM OUTDOORS

Design & styling inspiration to make your garden a glorious escape

FROM COAST TO COUNTRYSIDE

Inside four houses brimming with summer decorating ideas

Handmade Home Collection

0344 980 8185 www.susiewatsondesigns.co.uk

CONTENTS JUNE 2020

84

64

76 Beautiful Buys

Style Inspiration

14 HOME COMFORTS Our round-up of buys with

75 CURATED ENSEMBLE Accessories by de Le Cuona.

a global flavour to give a sunshine feel at home.

20 CLASSICAL INFLUENCE Grand Tour-inspired pieces.

22 FEAST FOR THE EYES Fruit and vegetable motifs.

English Homes 36 PERFECT TEAMING A rural Cheshire home is

revitalised to reflect its owners’ classic style.

46 COLOUR & VISION Colours, pattern and light

combine in this historic Suffolk farmhouse.

56 NATURAL INSTINCT Sustainable living and chic style

in a restored Georgian property.

22

64 CALL OF THE SEA A 1930s home in West Sussex is

6 THE ENGLISH HOME

transformed to echo its coastal surroundings.

76 WHAT INTERIOR DESIGNERS DESIRE The pieces

designers love and makers they turn to when seeking something special for a scheme.

84 CREATE AN OUTDOOR SANCTUARY Make spending

days outdoors deliciously decadent with stylish furniture and accessories.

95 CONSIDERED APPROACH Inspiration for finessing

home exteriors, from windows to doors and more.

102 IN THE FRAME The story behind innovative window

and door company Timber Windows.

104 BLISSFUL BATHROOMS Interior and bathroom

designers reveal practical and decorative considerations when planning a dream bathroom.

112 BATHROOM DIRECTORY Our recommendations on

sourcing entire bathrooms, fixtures and fittings.

36 Quintessentially 115 NATURAL PERFECTION In praise of the pea.

116 FROM PATCH TO PLATE – MATTHEW FORT Our new

food columnist divulges this month’s edible delights.

118 THE SEASONAL HOME: SUMMER How to bring the

joy of flowers into the home for summer and beyond.

130 MY DESIGN HERO Designer Kit Kemp on

Bloomsbury Group artist Vanessa Bell.

Regulars 8

A LETTER FROM HOME A welcome from our Editor.

25 NOTEBOOK This month’s digest of notable people,

books and places.

34 THE LONDON EDIT Interiors news from the capital.

35 SUBSCRIBE Treat yourself or a loved one to a

subscription to The English Home.

126 COMING NEXT MONTH A taste of our July edition.

95

56 WHY NOT SUBSCRIBE?

Receive every issue of The English Home delivered direct to your home. You will save on the shop price and we will send you a free welcome gift.

For further details, turn to page 35.

THE ENGLISH HOME 7

A letter from home

H

BEHIND THE SCENES...

Introducing our new columnist You may remember peeking inside the Cotswolds home of Matthew Fort in our February edition of My English Home.

It was enormous fun to meet the food writer and judge from BBC2’s The Great British Menu, whose passion for food, growing his own produce and hosting guests lit up our pages. Entertaining and insightful, Fort will be sharing his mouth-watering thoughts on growing, buying and cooking the seasons each month (page 116).

Creating this issue I’d like to thank The English Home team, who have worked incredibly hard from their own homes to produce this issue. Whilst this is my first letter to you as Editor, the team and I have been working together for several years and our plan is to bring you more of what you love, to inspire, and to offer advice and an indulgent read in these uncertain times.

8 THE ENGLISH HOME

Samantha Scott-Jeffries, Editor

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

PORTRAIT GRANT SCOTT

Discover how to set the scene for elegant dining outdoors on page 84.

ome has never felt quite as important as it does now, providing not only a sanctuary, a place to keep us safe and comfortable, but also the environment from which many of us currently seek inspiration each and every day. With this in mind, we have devoted the June issue to making home a beautiful place to enjoy, both inside and out.

For those wanting a project, now could be just the time to refresh the exterior of your home, and our guide, Considered Approach (page 95) inspires positive changes to transform first impressions. If seeking to upgrade your bathroom, we hope you’ll find the practical and stylish solutions four interior designers showcase (on page 104) useful in designing your own blissful retreat. Within the homes in this issue, you’ll discover ideas for adding charm and colour to rooms for both coastal and country interiors.

As our gardens take on a new significance for enjoying the warmer months, our feature on outdoor living (page 84) provides inspiration on how to make days spent in the garden (whatever the size) feel extra special. Whilst connecting us with nature in her new quarterly series The Seasonal Home (page 118), Decorating Editor Katy Mclean shows how to bring the best of summer indoors by exploring how to use cut flowers from the garden to create beautiful displays and scent interiors deliciously, as well as how to preserve them to extend that summer feeling.

Whether you find yourself with time to revitalise your home, delight in the idea of planning for the future, or are simply seeking some interiors escapism, I hope you’ll find this issue just the tonic.

FURNITURE

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EDITORIAL

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

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Reprographics Manager Neil Puttnam Printing William Gibbons Ltd

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E N H A N C E T H E VA LU E and beauty of your home with real timber

Whether your home is a country cottage, a Victorian semi, a modern townhouse or a converted barn, we have a range of traditional and contemporary timber windows and doors that will complement it perfectly.

Our collection has been carefully and sensitively tailored to complement the English home. Unlike timber windows of old, our products will not twist, will not rot and require very little maintenance. High levels of insulation and security ensure there is no need to sacrifice beauty for comfort.

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

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

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TAILORED INSURANCE COVER RIGHT DOWN TO THE FINEST DETAIL THE PLACE YOU CALL HOME IS UNLIKE ANY OTHER. But it’s the things that make it unique and the things that make it yours that mean standard cover may fall short.

For a more complete approach to insuring your property and contents, and protecting your lifestyle, there’s NFU Mutual Bespoke.

Speak to NFU Mutual Hungerford today on 020 3813 3784 or email hungerford@nfumutual.co.uk

Agent of The National Farmers Union Mutual Insurance Society Limited.

HOME Com

Bring a holiday feel to longer, light-filled days by adding globally inspired buys to the home

Divine decadence The botanical forms of this striking design are part of Cole & Son’s new Seville collection, capturing the heady mix of historic art, vibrant blooms and sun-drenched architecture.

Angel’s Trumpet, Chalk & Sage on Stone, £135 a roll, Cole & Son

CLOCKWISE FROM LEFT Table-top delight Opting for a calming blue and green colourscape from Birdie Fortescue’s new ceramics perfectly offsets the delicate embroidery of this Suzani throw, creating a fitting counterpoint to fresh floral arrangements. Cabbage bowl medium, Green, £16.50; Cabbage dinner plate, Green, £21; Mishran White Moroccan candlesticks, £29.50; Jute Wave placemat, Natural, £9.95; Sundar red wine glass, £9.50; Limited Edition Suzani throw 0/4, £255, all Birdie Fortescue Chic finish The new brushed-brass finish from Drummonds adds a smart note in the bathroom, as shown here on the classic Syre basin.

Syre vanity basin in brushed brass, £2,072.40, Drummonds New addition Woven from Merino lambswool in Lancashire, washed in the Yorkshire Dales and made in Nottingham, these bold, graphic fabrics by designer Tori Murphy are amongst the catalogue of her designs now available at The Fabric Collective.

Cushions (front to back), Little Cress, Sage; Scallop Stripe, Black, both £95 a metre, Tori Murphy at The Fabric Collective



THE ENGLISH HOME 15

CLOCKWISE FROM TOP LEFT Crafted with care This delightful hand-blockprinted table linen is sourced from Jaipur, and is shown here in one of four available designs.

Napkins, Bagru Vine, £24 (for a set of four); tablecloth, Cornflower Blue, from £55, both Ibbi New classic Available in a clear matt lacquer or a rich, darker finish, the pared-back, elegant oak frame of this accent chair can be teamed with upholstery from a selection of fabrics.

Marlia accent chair, from £795, Ercol Creative collaboration Born of a meeting of minds between designer Amy Kent and design house Parker and Jules, this newly launched rug (available in four colourways) is hand-knotted in Kathmandu using wool and art silk made of natural fibres.

Ziggy, Ice Navy, £635 a square metre, Amy Kent for Parker and Jules Serenity ensured Covering both the interior and exterior of the bath, the new 100 per cent matt finish from Victoria + Albert Baths creates a soft, contemporary look perfect for imbuing a spa-like ambience in a home bathroom.

Ios 100 per cent matt finish bath, from £2,885, Victoria + Albert Baths



16 THE ENGLISH HOME

FEATURE EVE MIDDLETON PHOTOGRAPHS P15 (TORI MURPHY) © CHARLOTTE BLAND

CLOCKWISE FROM ABOVE Artistic inclination Inspired by joyful memories of a trip to Sri Lanka, Sarah Hardaker’s new fabric collection’s deft brush strokes and warm colour palette are perfect for imparting a gentle, hand-crafted and heartening mood.

Fabric (top to bottom): Ashani, Indian Red; Jyoti, Indian Red; Dashi, Faded Red, all £64 a metre, Sarah Hardaker Repurposed beauty Handmade in Syria using recycled glass, this charming carafe set proves that sustainability is a beautiful entity in both form and function.

Hand-blown recycled glass carafe set, £52, Rowen & Wren Alternative linen It is hard to believe the new French Linen range by Weaver Green is made from recycled plastic bottles. It looks and feels as soft as its namesake, and is water- and stain-resistant too.

Jaipur Acorn Coral cushion, £45,; Antibes Grey throw, £45, both Weaver Green

18 THE ENGLISH HOME

100% Bespoke kitchen & household furniture, sympathetically designed to work with your home’s architecture and handmade to last a lifetime.

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Tel: 01364 653613 www.barnesofashburton.co.uk

Charade slipper chair, £2,500; Peking cocktail table, £1,550; Caine bench, £575; Ultra chandelier, £POA, all Jonathan Adler

Hero statue pendant lamp, £517, Minehart.com

Greek Key tumbler, £69 for a set of six, The Vintage List

CLASSICAL INFLUENCE

The classical architecture and design themes discovered on the Grand Tours of Europe so popular between the seventeenth and nineteenth centuries are having a renaissance in interiors. Whilst the mythology and motifs are as enchanting as ever, their depiction in classical monochrome is now in a vibrant colour palette too.

Queens Key Border 98/9041, £30 a roll, Historic Royal Palaces collection, Cole & Son

Appliqué handembroidered felt wool Virgo cushion, £110, Jan Constantine

Flora’s Folly 21cm plate, £30, Dog & Dome Traites des Couleurs wallpaper, £175 for three rolls (52cm x 300cm), Mind The Gap

Kalivia dining table, £2,495, Oka

20 THE ENGLISH HOME

Magnifico Greek style vase, £280 (H17cm), Richard Ginori 1735 at Amara

FEATURE CHARIS WHITE PHOTOGRAPHS (RICHARD GINORI) © ENRICO CONTI

Brick fragment of Michelangelo’s David ornament, £28, Rockett St George

Large overmantel pediment mirror, (140cm x 80cm), £1,750, Pentreath & Hall

Comfort, Luxury, Beauty.

Create special moments.

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Visit the Bridgman website for Fast & Free delivery of beautiful outdoor garden collections including dining and lounging sets crafted in collaboration with the National Trust.

ENFIELD

OLD AMERSHAM

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WINCHESTER

Strawberry cushion in linen, piped and backed with red velvet, £45, Cream Cornwall

Pomegranate Small Pink/Red wallpaper, £170 a roll, Anna Jeffries Capri Lemons wallpaper, Natural, £93 a roll, Barneby Gates

Orris table lamp, Antique Cream, £138, Dar Lighting Group

FEAST FOR THE EYES Fruit and vegetable motifs have long been popular in interiors, bringing a sense of indulgence to homes. A delicious and unexpected alternative to florals when used in repeat pattern on fabrics and wallpapers, fruit motifs are particularly useful in bringing a sunny, vibrant tone to a scheme, whilst vegetable-inspired pieces lend a playful note to accessories.

Hand-painted glass carafe and tumbler, £62, Petra Palumbo

Bel Paese Pear fruit plate, £28, Bitossi Home at Amara

Stoneware Cabbage salad bowl, 11 H cm x 26.6 cm dia, £17.50, Marks and Spencer

Tuscan Fruit prints, framed with mounts, £140 (set of four), John Lewis

Vegetable Gardens Lemons medium oval platter, £59.95, Emma Bridgewater 22 THE ENGLISH HOME

Pouffe in Fruit Velvet, Madder/Bayleaf, £115 a metre, Morris & Co

FEATURE CHARIS WHITE PHOTOGRAPH (BARNEBY GATES) © BEN PHILLIPS; (MORRIS & CO) © ANDY GORE

Stoneware Cabbage salad bowl, £17.50, Marks & Spencer

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THE ENGLISH HOME

NOTEBOOK

Our monthly digest of inside information on people, places and pursuits

by Managing Editor Sarah Feeley

PURSUITS

PHOTOGRAPH © STOCKFOOD/THORSTEN STÜRMER

Capturing summer flavours Opening a pot of jam unleashes fragrant memories of lazy sun-soaked summer days. Homemade jam is an especially meaningful gift, and enables the maker to not only deal with a glut in the garden, but to adapt the recipe to suit individual tastes, like popping a vanilla pod into bubbling strawberry jam.

Like so many things in life, jam went so far out of fashion it was adopted and adapted by a new school of artisans who pushed it in new unexpected directions. Raspberry & hibiscus flower, rhubarb & cardamom, pink gooseberry & elderflower and damson & black pepper are some of the seasonal jam flavours currently on offer from London Borough Of Jam’s online shop (londonboroughofjam.com).

Jam maker Kylee Newton of Newton & Pott in East London (newtonandpott. co.uk) and author of The Modern Preserver is another pioneer whose experiments have resulted in jam with less sugar and more intense flavour, for example soaking peaches in vermouth before making peach jam. She says jam is not just for toast – add a spoonful to vanilla ice cream or a curry.

Common pitfalls when making jam at home include using over-ripe fruit and cooking the jam for too long.

Find the perfect setting point using the wrinkle test. Taking the jam off the heat, place a small spoonful on a plate that has been in the freezer for 15 minutes and allow it to sit for a couple of seconds. If the jam wrinkles when you draw a finger through it, it is ready to be poured into sterilised jars. If not, keep cooking and retest every five minutes.  THE ENGLISH HOME 25

BOOKS

Joyful abundance

The charm of English country cottages lies just as much in their gardens as it does inside.

With their wild informality and colourful eclectic abundance, they often partially hide the cottage they surround, adding to their fairytale allure.

This beautifully illustrated book celebrates a beloved and quintessentially English garden style, showcasing National Trust cottage gardens, both famous and obscure, including Thomas Hardy’s Dorset cottage, Beatrix Potter’s home Hill Top in Cumbria, Cothele manor in Cornwall and Sissinghurst in Kent.

Whether hoping to create a cottage-style garden or simply keen to revel in the sumptuous photography, there is much to admire in the pages of this book.

PHOTOGRAPHS (CLOCLWISE FROM TOP RIGHT) © NATIONAL TRUST IMAGES/ANDREW BUTLER; © GAP PHOTOS/CLIVE NICHOLS; © CARLOTTA HOLT

Cottage Gardens by Claire Masset (National Trust Books, £14.99)

Design inspiration

Courageous, confident and fearless – that is the dictionary definition of ‘bold’. This book is full of visionaries creating interiors which are rich, original and creatively stimulating, reflecting the personality and wit of the occupants with a stylistic diversity proving that ‘bold’ is a spectrum far more broad than merely clashing colours.

In this book, interiors insiders invite the reader into their homes and creative spaces, explaining the history, inspiration, craftsmanship and key elements that resulted in these striking and beautiful rooms. They include furniture designers Sebastian Cox and Bethan Gray, Fromental co-founder Lizzie Deshayes, head of the Zoffany design studio Peter Gomez, sculptor Hal Messel, antiques dealer Guy Tobin and ceramic artist Hitomi Hosono.

Many of the spaces demonstrate how to skilfully blend the bold with the refined to amplify each other; some are an unapologetic rainbow. Much as with haute couture, there is an abundance of ideas, inspiration, insights – and fun. 26 THE ENGLISH HOME

PHOTOGRAPHS (BOLD BRITISH DESIGN) © SARAH HOGAN. P28 (SUSI BELLAMY) © PETER ATKINSON; (VANESSA KONIG) © GEORGINA VINEY PHOTOGRAPHY

Bold British Design by Emilio Pimentel-Reid & Sarah Hogan (Quadrille, £30)

PEOPLE

Susi Bellamy

Artistic homeware range Artist Susi Bellamy creates vibrant home collections based on her artwork. She lives in Northumberland and works from a studio in Newcastle, but the years she spent living and working in Florence inspired her newest collection, Cabinet of Curiosities.

Dating back to the seventeenth century, cabinets of curiosities would showcase the wonders and oddities of the natural world and owning one bestowed a sense of luxury and decadence.

Coral, rare seashells, birds and geodes are just a few of the motifs referenced in Susi’s new collection, which comprises fabric, wallpaper, cushions, lampshades and scarves.

“The Decorative Bird pillows are taken from collages onto marbled paper and add a playful feel,” she says.

Susi’s paintings, with their rich textures and subtle marks, are digitally transferred to luxurious velvet, silk cotton and mica.

Her background as an artist and fashion editor inspire her passion for and use of colour. Through her work, Susi loves to explore the intersection between the antique and the modern, the precious and the practical. susi-bellamy.com

Vanessa Konig

Konig Colours co-founder & designer As a child, Vanessa Konig longed to become a fashion designer. Today, as an interior designer, colour consultant and co-founder of paint company Konig Colours, she uses this natural artistic flair and sense of style, as well as considerable knowledge and experience, to produce sublime interiors.

After working for years creative directing and styling for brands such as Prada, Moët & Chandon and Thomas Pink, she was encouraged by a property developer to venture into interior design. “I learned on the job and made lots of mistakes,” she says, “but I really enjoyed the challenge – it was creative direction on a huge scale.”

She studied hard and expanded her skillset and repertoire, designing bespoke furniture and wallpapers with brands such as de Gournay, interiors in both town and country, working with an architect and producing beautiful interiors illustrations.

28 THE ENGLISH HOME

Unable to find her desired paint colours, she co-founded Konig Colours, eco-friendly, water-based paints with very low Volatile Organic Compounds (VOCs) and virtually no odour, made in the UK. Tiles, bedding and hand-painted baubles for her aunt Nina Campbell are just some of the projects in the pipeline. konigcolours.co.uk 

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

PLACES

Sculpture By The Lakes When the world’s equilibrium is finally restored, many of us will seek to make up for lost time by revelling in both nature and culture. Sculpture By The Lakes offers both – a gallery under the sky, set in 26 acres of glorious Dorset countryside.

This hidden gem showcases the sculpture of Simon Gudgeon, who created this artistic haven. He had an unusual career trajectory: after working as a solicitor, he only began painting in his 30s and did not attempt sculpture until the age of 40, when, on impulse, he bought some artist’s clay. His sculptures now feature in important private collections at home and abroad, including those of His Royal Highness The Duke of Edinburgh, and can be seen in public at sites such as Hyde Park and Kew Gardens.

His belief that sculpture can lift the spirit and stir the emotions was the driving force behind this extraordinary location. sculpturebythelakes.co.uk

Virtually vivid Modern technology is bringing us closer to priceless artworks and historic specimens from the comfort of our own homes via computer, tablet or smart phone whilst we are unable to visit them in person. Take a virtual tour of a museum or art gallery and explore its treasures, with fingertip access to the fascinating history behind thousands of precious objects.

Many top cultural institutions have been enriching the content on their websites to offer us fully immersive experiences from home, highlighting our favourite displays to visit in person one day.

The National Gallery is the home of so many treasures by important artists, and its website has 360-degree gallery tours which feel exactly like walking around inside this esteemed building, marvelling at incredible artworks. nationalgallery.org.uk  30 THE ENGLISH HOME

PHOTOGRAPHS (ABOVE RIGHT) BATHERS AT ASNIÈRES, 1884, BY GEORGES SEURAT © NATIONAL GALLERY, LONDON; (BELOW RIGHT) PLASTER CAST OF MICHELANGELO’S DAVID BY CLEMENTE PAPI © VICTORIA & ALBERT MUSEUM, LONDON.

The V&A has a wealth of digital content that befits the staggering breadth of its collections in real life, with virtual tours, behind-the-scenes insights, interviews and its own YouTube channel. vam.ac.uk

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PLACES

A newly restored and exceptionally rare dolls’ house is now back on permanent display at West Yorkshire treasure house Nostell, which inspired its creation. It is one of only 12 surviving eighteenth-century dolls’ houses and the only one that visitors can see in the home for which it was designed.

“Nostell’s miniature house is essentially a time capsule offering a window into the world of the eighteenth-century country house,” curator Simon McCormack explains. “Dolls’ houses were not playthings for children in the eighteenth century. Known as ‘baby houses’, they were part of women’s lives from early teens to adulthood as a key tool in education and self-expression, providing a space to explore design tastes, fashion, social rituals and household management. Later hands may have added new details, but this miniature world remains almost frozen in the 1730s when it was furnished by the lady of the house Susannah Winn and her sister Katherine.”

Painstaking conservation has revealed the intricate level of craftsmanship. Standing at two metres high and with a working servants’ bell, the house is adorned with elegant furniture, opulent wallpaper and hallmarked silverware. Its new, permanent display will enable visitors to see all the tiny details for the very first time.

Specialists from the National Trust, which cares for Nostell, discovered almost all the interior decoration is original, with dozens of miniature masterpieces made at great expense by specialist carvers, silversmiths, upholsterers and painters in the 1730s. Many materials in the dolls’ house were repurposed from the furnishings of Nostell itself.

The conservationists marvelled at the minute attention to detail, with three little petticoats under each of the dolls’ dresses, and beds with carved headboards and bedframes, exquisite lace trims, bolsters and valances. nationaltrust.org.uk/nostell 32 THE ENGLISH HOME

PHOTOGRAPHS (CHAIR & DOORWAY) © NATIONAL TRUST/PAUL HARRIS; (REST) © NATIONAL TRUST/DAVID BRUNETTI

A Miniature Masterpiece At Nostell

THE ENGLISH HOME

THE LONDON EDIT Felt rugs, sumptuous textiles and decorative lighting catch Editor-at-large Kate Freud’s eye this month FELT

CHELSEA TEXTILES

I

t is hard to believe that for more than 2,500 years the nomadic women of the remote Tien Shan mountains in Kyrgyzstan have been making beautiful wool felt rugs known as shyrdaks to line their people’s tents. Following a trip to Kyrgystan in 1996, Tim Moock brought a few back to London to sell. Their popularity was such that in 2007 he founded Felt and set up a fair trade arrangement with the rug makers.

What is so appealing about shyrdaks is that these wool rugs have a tough flattened felt base which is hand-sewn with geometric surface patterns in coloured felts. Motifs within the designs are chosen to bestow blessings, describe a scene or tell a story of life in the Mountains of Heaven (Tien Shan). Each design is like a work of art, which can be hung on a wall, or they are so resilient they easily withstand the wear and tear of being underfoot.

W

Each rug takes a master cutter and her team of makers between 10 and 20 days to complete. The collection comes in a range of patterns and colour combinations and bespoke options. feltrugs.co.uk

POOKY

D

espite being a relative newcomer to the lighting world, Pooky, founded in 2014, has established itself at the forefront of the industry, with interior designers and homeowners loving the brand’s collection

34 THE ENGLISH HOME

of decorative yet inexpensive designs.

The company was established by the founder of furniture brand Sofa.com, Rohan Blacker – a man who had already spent years successfully figuring out what customers wanted from their retail experience and decided to transfer this expertise to lighting.

With Pooky, Blacker has been able to offer a stylish and affordable collection of lamp bases – in everything from marble and glass to resin and wood – as well as lampshades, pendant, ceiling and wall lights. Each element is offered separately so customers can mix and match to create their own perfect lighting combinations.

At the brand’s showroom at Lots Road in London, the staff are famously helpful and it is possible to try all the lampshades with all the bases before buying.

New this year, Pooky has launched a collection of candles and mirrors and a range of lampshades made from raffia trees, banana pulp parchment and other naturally sourced plant-based materials. pooky.com

hen Mona Perlhagen founded Chelsea Textiles in 1990, she had no idea the family-owned business would establish itself a reputation across the globe for its faithful recreations of eighteenthcentury embroideries. And to this day, the company’s never-failing commitment to authentic design and the highest level of craftsmanship, stands it in good stead, with everything rendered by master artisans.

The company continues to evolve today with Jenny Simpson, Mona’s daughter, as design director, bringing her fresh perspective to the brand. Trained in art history and interior design in London and New York, she brought twentieth-century patterns into the line, working alongside her mother as well as craftsmen with knowledge acquired and passed on through generations.

To add to its range, Chelsea Textiles has just launched a collection of plains and textures in palettes that perfectly complement its hand-embroidered fabrics.

The collection includes hand-loomed silks, sumptuous mohair, tailored wools, alpaca velvet and damasks. chelseatextiles.co.uk

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36 THE ENGLISH HOME

This magnificent country house has been revitalised with thoughtful decorating choices to reflect its owners’ love of classic English style and passion for horses FEATURE & STYLING ANNABELLE GRUNDY PHOTOGRAPHY COLIN POOLE

The upper parts of the drawing room walls are painted in Farrow & Ball’s Lichen, whilst Zoffany’s Quarter Linen lightens and transforms the oak panelling below. The floral footstool and curtains were made by Jojo Bradley Interiors using a Ralph Lauren fabric.

V

ABOVE Morse the iewing her rural Cheshire home for the border terrier looks first time, Ellie Barlow was taken by its on in the kitchen, symmetrical frontage and elegant, which has remained landscaped gardens. The peaceful setting largely untouched as was idyllic, the surrounding agricultural land and Ellie was happy with the classic black outbuildings were ideal for her horses and dogs, Aga, granite work and the interior layout would suit family life with her surfaces and Martin husband Richard and their young children, Maisie, six Moore cabinetry. and Henry, three. “I made an offer before Richard had LEFT Ellie liked the even seen it, but I knew he’d love it too,” she says. “It idea of a traditional, looked quite imposing from the outside, but inside it symmetrical entrance hall. Jojo Bradley felt like a very liveable home.”

Interiors sourced the The seven-bedroom, Grade II listed house, which antique, mahogany has eighteenth-century origins, has been extended over table and supplied time and had undergone a complete renovation within bespoke occasional the last 10 years. However, the interior lacked the chairs, upholstered welcoming character and country appeal Ellie was after. in a fabric by “There were beige tones everywhere and a lot of natural Hodsoll McKenzie. oak. Although my taste is quite subdued, I wanted a more relaxed, inviting interior, that felt like a proper home with dogs and children around.”

Although the house did not need any major building work, Ellie had no doubt that she wanted to redecorate, 

38 THE ENGLISH HOME

The boot room’s Martin Moore furniture echoes that in the kitchen. Ellie bought the horse painting at a local auction. The blind fabric is Éperon d’Or by Hermès.

Polo sticks found at Burghley Horse Trials rest in an antique stand Ellie spotted online at Decorative Collective.

‘It was important to blend the outside and inside smoothly, and to introduce a real English country house feel’ ABOVE Ellie and Richard love to entertain on a generous scale.

Along with the upholstered dining chairs, Jojo Bradley Interiors sourced the spectacular antique dining table.

furnish and accessorise the interior almost from scratch. She approached interior designer Jojo Bradley, initially to discuss making some curtains but, as the pair started chatting and looking around the house, Ellie found herself inspired by Jojo’s suggestions. This was the start of a productive, two-year collaboration during which almost every room has been transformed, with Jojo’s involvement ranging from sourcing key items like the magnificent antique dining table, to advising on the fine details of fabrics and trims. Ellie had a clear vision of the effect she was aiming for.

“It was important to blend the outside and inside smoothly, and to introduce a real English country house feel,” she says, adding, “I’ve been horse-riding all my life and it’s my absolute passion, so I wanted my home to reflect that personal aspect too.”

40 THE ENGLISH HOME

Ellie’s love of horses is clear to see throughout the house, in the numerous equine paintings, drawings and sculptures, as well as in subtle decorative touches such as bridle-motif fabric designs and leather-trimmed lamps and mirrors. Unsurprisingly, one of her favourite rooms is the library, a cosy, intimate space created by sectioning off one end of the large entrance hall, and decorated in gentle green, blue and pink mid-tones against a neutral backdrop. The off-white walls feature hand-painted panels, each depicting a vintage horseracing scene that includes local landmarks and images of the three family dogs, Marple, Morse and Lewis.

The same palette has been carried through the whole house, bringing a sense of tranquillity and flow that had been lacking before. The property’s stiff lines have been softened by sumptuous curtains, 

ABOVE Ellie commissioned decorator Miles Negus-Fancey to paint the library’s charming racing scenes. The velvet sofas are from Robert Kime, and the footstool was inspired by an image Ellie spotted in The English Home.

LEFT A classic stone fireplace lends a formal air to the drawing room. The wall colour is picked up in the upholstered footstool and a hand-embroidered curtain fabric by Chelsea Textiles.

The painting above the fireplace is by Daniel Crane.

ABOVE LEFT The rich raspberry tone of Kate Forman fabric on the chairs brings a shot of colour to the landing. The hue is echoed in the lampshades. The equestrian scene above the console is

by Daniel Crane.

ABOVE RIGHT Jojo Bradley Interiors created upholstered walls with fabric from Fermoie to give this guest bedroom a cosy character.

RIGHT Ellie in the grounds of her home with poodle Marple.

upholstered seating, padded footstools and headboards, fabric-lined walls and generous scatterings of plump, patterned cushions.

Ellie is delighted with the difference in mood that has been achieved, especially given the architectural challenges of certain rooms. Several, including the dining room and master bedroom, have low, beamed ceilings, making them seem dark. “In an ideal world there would be more height and better natural light, but Jojo and I have worked with what we have and put in interesting table lamps and wall lights for colour and atmosphere,” she says.

The drawing room, one of the most difficult rooms, is long and has two distinct zones, so it demanded a cohesive approach to give it a unified feel. “We’ve repainted and rearranged this room more than once,” says Ellie. “Getting the right layout has been tricky, and the light varies enormously from one end to the other.

I’ve started adding antique wooden pieces as a foil for the soft colours and upholstery.” 

42 THE ENGLISH HOME

This guest bedroom was inspired by a London boutique hotel room and includes a mix of fabric designs on a blue and cream theme. The vaulted ceiling is balanced by the tall bespoke panelled headboard.

ABOVE Son Henry’s bedroom scheme is built around the bespoke upholstered headboard, which is covered in Kit Kemp’s Moondog print. The leather bedside lamps are from Ralph Lauren Home. The walls are painted in Aubusson by Zoffany.

RIGHT Old black-andwhite photographs of her Cheshire home inspired Ellie to reinstate colourful flower borders leading up to the front door.

One of the simplest yet most effective proposals put forward by Jojo was to paint the natural oak doors, wall-panels and staircases. Ellie was initially hesitant, as covering up so much high-quality timber seemed a radical step as well as a massive, labour-intensive task, but she now has no regrets as the painted woodwork has boosted light throughout and brought a fresher, more attractive ambience into the house. “There were points where Jojo counselled me to be a bit braver and I definitely grew more confident as the project progressed,” she says. “We inherited a classic, well-built, wooden kitchen, but it was all neutral and felt a bit dull. I’ve recently had the units painted dark navy blue, which has given it so much more impact.”

With Jojo’s input, Ellie has successfully managed a large, complex transformation and, as a bonus, the two have developed a firm friendship. Ellie has also overseen extensive work outdoors, improving the gardens and installing equestrian facilities for her dressage horses and the family ponies. “So much has been done in such a short space of time, I haven’t really stopped since we moved here,” she says. “This really feels like our home now and it’s time to relax and enjoy what we’ve created.”

44 THE ENGLISH HOME

PORTER

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The bespoke bookcase is painted in Sobek, with Squid Ink for the back, both by Paint Library London.

Curtains in gold silk by David Walters Fabrics complemented by walls in Angie by The Little Greene reflect the drawing room’s many moods.

l r& VISION Interior designer Sophie Grattan Bellew’s sensitive balance of colour, pattern and light reawaken a historic farmhouse hidden in the heart of Suffolk FEATURE CHRISTINE STOVELL PHOTOGRAPHY ANDREAS VON EINSIEDEL

THE ENGLISH HOME 47

ABOVE Elements inspired by travel, art and colour create a welcoming and individual drawing room. The chair is upholstered in fabric

by Allegra Hicks and the turquoise lamps and shades are by Porta Romana.

OPPOSITE PAGE The hallway provides a preview of what lies beyond. Find a similar chandelier at The Boule-in, Suffolk.

Floral arrangements

by Henny Lynne Flowers and the Grand Cordoba rug is

by Vanderhurd.

A

tale that begins with a handsome horseman catching a glimpse of an intriguing house almost hidden behind a thicket of overgrowth might have been conjured up from folklore, but for interior designer Sophie Grattan Bellew this sighting was the opening of a new chapter of her life.

Sophie, who co-founded the premium paint and wallpaper specialist Paint & Paper Library with David Oliver, had been living and working in London, but a change in her personal circumstances drew her back to Suffolk, a place she had loved since childhood.

“I grew up near Sudbury watching my mother run her own very successful interior design business, and there were practical reasons for returning to the area, like good schools for my sons, Edward and Cosmo – then aged six and eight – and being closer to my parents,” she explains.

In fact, it was Sophie’s father who, whilst exercising his horse, chanced upon the secluded property which was to become home to the family. Set amongst what Sophie describes as “a wilderness of cow parsley, brambles and nettles,” the farmhouse – essentially a timber-framed Tudor building with a later, Georgian

48 THE ENGLISH HOME

addition to the front elevation – was ideally located.

“It was isolated, wild and remote, yet within walking distance of a village pub and a good farm shop,” says Sophie. There were other attractions too; an orchard, a pond, surrounding fields and a cluster of useful outbuildings with enormous potential. “I loved that it hadn’t been manicured or tidied up,” Sophie continues. “The magical setting was tangled, overgrown and romantic and the building had such charm and atmosphere.”

Originally part of a large country estate, the six-bedroom Grade II listed building had served most recently as a place of healing and spiritual teaching, and for many years remained untouched and undisturbed behind its veil of greenery. “When I moved here, in 2005, part of the interior was open to the rafters and there was a huge amount of work to do, but basically the house was structurally sound,” Sophie recalls. Although she was keen to press on with what was an exciting project, she deliberately undertook the work in stages. “Some houses reveal themselves slowly and need to be understood,” she reflects. “Naturally this takes time and careful consideration.” 

‘I particularly love being in the drawing room, where I’m surrounded by layers of pattern, textiles and the play of light on glass and china’ ABOVE The dining chairs belonged to Sophie’s grandmother and have seat cushions in Large Ovals fabric

by Hugh St Clair.

RIGHT A bespoke kitchen by Orwells Furniture in Ipswich, combines the warmth of walnut wood with painted cabinetry.

FAR RIGHT Sophie, framed in the doorway of the converted barn housing her studio.

One of Sophie’s first steps towards transforming the house was to turn what had been a rather gloomy kitchen into a light, bright, welcoming room with an adjoining dining area. As well as adding bespoke kitchen cabinetry to fit the space perfectly, in a mix of pale-blue painted and natural wood, she drew on her expertise and understanding of colour, choosing Clean White by Paint & Paper Library for the walls in here as well as for other less light-suffused rooms.

“Half the house faces north, so there is a distinct dark and light side to it,” Sophie says. “I’ve used paint colours to balance and complement this. Where I might previously have been tempted to choose darker colours for intimacy and warmth in dark rooms, I’ve had to break even my own rules here. I quickly discovered that colour on the walls simply didn’t work for the very dark rooms, neither did the soft neutrals

50 THE ENGLISH HOME

I’d favoured when I lived in London.” This clever use of colour has enabled her to introduce different colours on doors and woodwork and through soft furnishings and artwork.

Despite the nature of the house, its construction, different floor levels and beams making it inherently busy with pattern and texture, Sophie has imbued it with a sense of calm. “The areas of Clean White allow the colours in other rooms to sing,” she says.

“The strong, sugary pastels I’ve chosen reflect the colours of traditional Suffolk houses. There are echoes, too, of the whitewashed walls and dark blue woodwork of Cape Dutch houses [found in South Africa], and of Venice in the pinks, ochres, teals and aquas. Travel, that insight into other people’s lives, their art, their clothes, seeing colours in different lights are all factors which influence my approach 

Natural materials and a classic ticking fabric by Ian Mankin in the pleasingly simple utility room. Sophie used Rita Says, an Archive Colour by Paint Library London for the walls.

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‘The strong, sugary pastels I’ve chosen reflect the colours of traditional Suffolk houses’ ABOVE & RIGHT In the master bedroom Sophie chose an Enid Marx textile design (no longer in print) for the headboard and armchair. The painted floor adds soft shimmer. The botanical prints on the mantelpiece are from Sophie Grattan Bellew Interiors.

to interiors. The yellow accent colour, for example, which is a leitmotif throughout the house, was inspired by a trip to Lisbon.”

In 2008, Sophie founded her own interior design and paint consultancy, Sophie Grattan Bellew Interiors, but maintains her close ties to the Paint & Paper Library brand through Paint Library London, the shop on Chelsea Green she owns with David Oliver. Working with a skilled team between Paint Library London and her interior design studio across the courtyard in a converted barn, she continues to develop her passion for colour. “I have never looked back,” she says. “Guiding and inspiring people to achieve their own creative ideas is of paramount importance and making the design process smooth and enjoyable is the secret to getting the best results.”

‘Some houses reveal themselves slowly and need to be understood’ ABOVE The deep magenta of the suzani wall hanging is echoed in the throw and cushion in this guest bedroom.

RIGHT Setting the freestanding bath at an angle makes the roof joists a feature rather than an impediment in the bathroom. The vanity unit is by Burlington.

There is no secret to Sophie’s success in waking up the hidden house her father discovered whilst out riding; hard work, patience and more than a dash of creative magic have added new life to an enchanting home which still retains a strong sense of continuity and timelessness. For Sophie, it is also an expression of the joy she finds in colour. “I particularly love being in the drawing room, where I’m surrounded by books, paintings, layers of pattern, textiles, and the play of light on glass and china,” she says. “The natural light here is wonderful and floods the pink wall colour; it’s a colour that works well in winter and summer. By day, it’s complemented by the green of the garden and at night it looks glamorous.”

54 THE ENGLISH HOME

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Natasha added the lavender parterre, planted in a warm and protected area alongside an ancient brick wall. A meal in the shade overlooking the lavender is a joy on a summer’s day. Poodle Ember looks on.

INSTINCT

A passion for sustainability has ensured a Georgian house is brought up to date in a charming and environmentally friendly way FEATURE & STYLING CHARLOTTE COLVILLE PHOTOGRAPHY BRENT DARBY

THE ENGLISH HOME 57

ABOVE The sitting room’s panelled walls and generous sash window give it great Georgian character.

Calm botanical colours add to the peaceful feel of the room. The rug and tables are from the Ginks’ time in Singapore and the sofa and chairs were family hand-ons.

N

atasha Ginks had long had an interest in how to live more sustainably, but it was not until she and her husband Richard discovered a wonderful Georgian house with Edwardian additions in need of attention that she was able to put her ideas into practice. That was back in 2013 and their home is now proof that even old houses can be reworked in an energy-efficient way.

The couple and their three children, William, Jake, and Flora – now 19, 17 and 14 respectively – moved back from a 10-year stint in Singapore seven years ago, and although Richard’s job had brought him back to London, he and Natasha decided they wanted to live in the countryside. They began their property search near Oxford, where there were good schools and a London commuter train. They rented a house for a year and, with the children settled into their schools, Natasha embarked on a Master’s degree in climate

58 THE ENGLISH HOME

change and sustainability. Not long after she had started her course, she and Richard discovered the, at the time, ramshackle house for sale in a rural village five miles from Oxford.

Having been been let for many years and not updated for several decades, the house was freezing throughout, with many drafty and rotten windows and little insulation. “It had character and the serene spirit of old houses, but was woefully energy-inefficient, with two ancient gas boilers failing miserably to heat the house,” recalls Natasha.

The move coincided with Natasha having to choose a dissertation topic. Whilst some might baulk at the extra workload, she decided to tackle the two challenges as one and chose ‘how to make old houses more energy efficient’ as her subject. What she learnt in her studies, she applied at every decision point throughout the house project.

It was to be a long journey. The kitchen, built in the early 1900s, was particularly tired. Tagged on to the back of the house, it was poky and dark. “I was itching to get my teeth into the kitchen,” recalls Natasha, “but I had to focus on the boring bits first.” She and Richard replaced or repaired all the rotten windows, which tended to be those on the rear Edwardian extension. Reroofing and then reinsulating the roof was the next task – removing ancient horse-hair insulation and adding, instead, a mixture of sheep’s wool and wood fibre, a combination which allows the whole structure to breathe. “Man-made insulation causes buildings to overheat,” says Natasha. “A big contributor to climate change.”

Equally important was finding an energy-efficient way to heat the house. The couple removed the two archaic gas boilers and, in a field beside the house, installed a ground-source energy system. 

ABOVE LEFT Much of the artwork in the house has come from Natasha’s mother.

Other artwork and artefacts have been collected from travels and antiques shops.

ABOVE RIGHT Natasha in the office in the Edwardian part of the house. The table is from Crispin and Gemma Furniture Design in Wiltshire.

RIGHT The beautiful Georgian facade was an irresistible draw for the Ginks family.

THE ENGLISH HOME 59

ABOVE The new extension floods the kitchen and dining area with light. The two areas are clearly defined but blend harmoniously. The kitchen units are painted in Basalt by Little Greene. The dining table is from Station Mill Antiques and the light above the table is bespoke

by Inscape Design via Etsy.

The couple then focussed on upstairs, redecorating the bedrooms and adding storage. At every turn, Natasha used local tradespeople, sustainable building materials and reclaimed timber, low-carbon paints and FSC-certified wallpapers, gradually bringing the house back to life whilst impacting very little on the environment. She also designed and planted a vegetable garden on one side of the kitchen and a parterre on the other to create the perfect vista from the kitchen.

All the while, Natasha and Richard were researching where to house the new kitchen. The outdated one they had inherited had several outbuildings attached to it, increasing the house’s footprint but offering little valuable floorspace and they hoped to be able to extend into this space in a modern and energy-efficient way. “It needed to be unostentatious externally and subordinate to the Georgian facade of the house,” says Natasha. “We were brimming with ideas, but spent months finding the best way to do it sustainably.”

60 THE ENGLISH HOME

Finally, they found the perfect match, architect Alex Towler, from Transition by Design, and a Bristol-based kitchen company, Sustainable Kitchens, which would come in at a later stage. Alex’s knowledge of ‘passive houses’ (a term to describe buildings which require very little energy for heating and cooling), convinced the Ginks that he shared their ecological ideals.

A meticulous plan was conceived: a subtly asymmetrical, timber-clad room, with floor-to-ceiling windows on two sides, would replace the former outbuildings. The finished space is breathtaking.

It is sleek and modern with a noticeably calm and comfortable atmosphere. The temperature is kept constant thanks to a huge mass of wood fibre – known as Pavatex – which insulates the roof, and the tripleglazed windows. “This room needs virtually no heating,” says Natasha. “Only in the iciest depths of winter do we use the underfloor heating.”

The next phase was figuring how to blend the new space with the ‘old space’ that would soon house the 

ABOVE The dining table overlooks the parterre. The beams are thin spruce slats and the temperature of the room is kept constant by the wood fibre insulation by Pavatex. All supporting beams are made from Glulam, a strong and sustainable alternative to rolled steel joists.

LEFT The wood half of the island was a school science laboratory worktop and still has some Bunsen burner marks from its previous life. The shelves are salvaged scaffold beams and the stainless-steel worktops are made from sustainable steel. The plants and holders are from Martin and the Magpie.

The round English oak table in the spacious entrance hall is by Benchmark The painting above the fireplace is by Lim Khim Katy and bought in Bangkok.

The spacious master bedroom is in the Edwardian part of the house but shares the benefits of space and light found in the Georgian part. The headboard fabric and wallpaper are both

by Blithfield and the bedside lamp is by Oka.

new kitchen. “Of course, we wanted to create a beautiful room, but paramount was to do it with minimum impact on the environment,” says Natasha.

Together with Sustainable Kitchens, the couple have created a handsome yet hard-wearing kitchen. What stands out above all else is the amount of wood in it that has come from sustainable sources – from the oak floorboards made using reclaimed beams, to drawers made from fallen wood, hand-picked by Natasha, to the refashioned school science laboratory worktop on the island. There is a story behind so many of Natasha’s finds and she has painstakingly created a beautiful kitchen, designed to stand the test of time.

Once the kitchen was complete, Natasha was able to improve and redecorate the rest of the downstairs rooms. These changes were mostly cosmetic and always respectful to the house’s history. She wanted to make use of all this generous house had to offer her family, leaving no dead spaces.

Since completing the house and her Master’s degree, Natasha has launched a business, Renovate Green, to help people improve their homes in an energy-efficient and low-environmental-impact way. Her own home proves this is possible. “There is always a way to achieve modern levels of comfort and beauty without causing harm to our planet,” she says.

ABOVE A guest bedroom nestles under the eaves with an organic bed by Naturalmat: the base is made from reclaimed wood and the mattress from sheep’s wool.

RIGHT Natasha and Richard repainted and replaced the handles on the existing cabinetry in their en-suite bathroom. The mirrors are from Shropshire Design, the lights above are

by Fritz Fryer and the walls are painted in Carbon Blue by Fired Earth.

THE ENGLISH HOME 63

l THE SEA A 1930s home in West Sussex is transformed with a lightness of touch and muted palette that echoes its coastal surroundings FEATURE & STYLING JANET MCMEEKIN

PHOTOGRAPHY ANDREAS VON EINSIEDEL

64 THE ENGLISH HOME

A distressed Edwardian dresser cleverly conceals the television in the sitting room.

The Matisse-inspired painting with the gilt frame, beside the dresser, is by Sue. The sofa is a recent purchase from Sofas & Stuff.

A Georgian-style mirror has featured in every home Sue has lived in during the last 30 years. She and Neville had the dining table shipped from France after discovering it at a market in Fayence. Sue bought the blue glassware in Prague.

A

ABOVE Glazed doors s artist Sue Green steps into the light-filled lead from the sitting studio inside her tranquil coastal home, room into the dining she recalls the remarkable, full-circle room. Seagrass flooring journey that has culminated in her living lends a natural look and just a stone’s throw from her previous beachside zones the living space.

An antique rattan house. “My husband Neville and I were enchanted armchair was sourced when we first discovered this beautiful area on the from Ardingly shores of unspoilt coastline in West Sussex,” Sue says.

International Antiques & “However, having lived in a property directly on the Collectors Fair. Neville beach for several years, we hankered after somewhere drew the detailed portrait of Samuel less remote and, since nearby Arundel is a bustling Beckett. The walls have market town with a lively art scene, we moved there.” been painted in Farrow Despite enjoying the time she and Neville spent & Ball’s Skimming Stone. in Arundel, Sue, whose semi-abstract oil paintings are RIGHT The couple’s predominantly influenced by the coast, began having collection of glassware misgivings. “I missed that clear, magical light, the smell and Waterford crystal is stored neatly away in a of the sea, hearing the waves crashing onto the pebbly dining room cupboard. shore, and being able to stroll to the water’s edge within seconds of shutting my front door,” she says.

Making a U-turn, the couple decided to relocate back to the coast, finding a roomy 1930s property adjacent to their former abode. “Back then, in 2004, it  THE ENGLISH HOME 67

‘The Gustavian style strikes a chord with me. I like the simplicity of its design’ ABOVE An intricate wooden hand-carving above the cooker was commissioned for the couple’s previous coastal house. Rustic Travertine tiles are laid in the kitchen and dining room.

LEFT Artist Sue’s paintings have been bought by several prestigious clients.

BELOW LEFT In 2017, the Greens replaced the original balcony with a more contemporary glass and stainless steel one. The house is painted in Farrow & Ball’s Elephant’s Breath.

68 THE ENGLISH HOME

was a mock-Tudor house,” Sue explains. “The interiors were a little dark and it wasn’t quite to our taste.”

Despite the negative points, Sue, who has a background in interior design, instantly recognised the house’s vast potential. “We realised this was a great opportunity to create a coastal retreat, tailored specifically to our needs,” she says. “Apart from my passion for interiors, I adore gardening and, because this house was further from the beach, and protected by a large hedge, there was scope to redesign the garden, and grow a wider variety of plants that weren’t so susceptible to the harsh coastal conditions.”

Having moved in, Sue and Neville, an artist, writer and former TV producer/director, set to renovating their home. One of the first jobs entailed building a spacious conservatory at one side and the downstairs layout was reconfigured to create a better flow, enabling Sue’s studio to be accessed from the new conservatory, rather than the living room.

Determined to enhance their home’s ambience by making it brighter and more aesthetically pleasing, Sue replaced the mock-Tudor fireplace in the sitting room with an antique limestone one, sourced from London’s Lillie Road. “In hindsight, the nineteenth-century 

Tongue-and-groove panelling adds extra charm and character to this sociable kitchen with its bespoke Shaker-style units, painted in Farrow & Ball’s Skylight. The pair of Gustavian benches, chairs and table are from Three Angels in Hove.

Adelaine floral cushions in Loire Blue on the benches are from Meg Morton.

‘The calm, soothing palette, inspired by our location, suits us’ fireplace was the starting point for the transformation, which involved paring everything back and injecting the house with more personality,” Sue says.

Over the years, Sue and Neville’s Gustavian-style and French furniture and antiques have informed the design in virtually every space. “I have always loved furniture and bought interesting pieces as far back as I can remember,” Sue says. “My first Gustavian purchase was a pretty chandelier, spotted in my friend’s antique shop called Troll, in Beauchamp Place, London.” This find has led to the couple buying several Gustavianstyle pieces. “The Gustavian style strikes a chord with me,” adds Sue. “I like the simplicity of its design.”

Following the major eight-month renovation, which involved replacing everything from the kitchen to four bathrooms, doors, windows, tiles and flooring, the walls were painted in a muted palette of Farrow & Ball’s pale greys and creams. The dark beams in the living and dining rooms were lightened with a fresh coat of Wimborne White. “The aim was to create a neutral backdrop, ideal for displaying our cherished pieces of furniture and our artwork,” Sue says. 

ABOVE The headboard was originally the back of a chiffonier, found at The Vinery in Arundel, where the couple also spotted the chest of drawers for the master bedroom. The bedspread is from The White Company, whilst the floral cushion in French Grey is from Meg Morton.

RIGHT In the master bedroom, a Gustavian dressing table has been teamed with a French armchair, upholstered in Kate Forman’s Oyster Roses fabric. The walls are in Farrow & Ball’s Lamp Room Gray.

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ABOVE One of Sue’s seascapes was the starting point for this welcoming guest bedroom. The striking pair of art deco lamps were sourced by Sue when she owned an antiques shop in Nottingham. The chandelier, bought from a French market, is a pretty centrepiece. Sue bought the Edwardian shaving mirror several years ago at an auction.

RIGHT A Moroccanstyle mirror, bought in France, adds a decorative touch in the master en-suite bathroom. The art deco-style bath was sourced from Miscellanea of Churt.

When considering the kitchen redesign, the couple opted for timeless Shaker-style units, painted in Farrow & Ball’s Skylight to blend seamlessly with the now muted tones of their home. “Living through the upheaval was interesting to say the least,” Sue recalls.

“I remember rigging up an electric plug-in cooker indoors to cobble together meals when the weather wasn’t great and, when the sun shone, having countless barbecues.”

All the hard work, devotion and carefully considered choices have resulted in a bright, uplifting home that is testament to the couple’s artistic talents and eye for detail, and Sue’s flair for interior design.

“I’ve thoroughly enjoyed transforming our home,” says Sue. “The calm, soothing palette, inspired by our location, suits us. It also complements my seascapes, which people often describe as having a ‘Turner-esque’ quality.”

Moving back to the coast has been a decision that the Greens have never regretted. “Over the years, anytime I have tried to move away from the coast, in terms of both house location and my artwork, somehow, the sea always lures me back. When I paint, those subtle, ever-changing colours are a constant source of inspiration, so to work in my coastal studio in a beautiful home is a real privilege and something I never take for granted.” n

72 THE ENGLISH HOME

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FEATURE KATY MCLEAN PHOTOGRAPH JON DAY

Accessories maketh the outfit… and indeed the room. An ethos encapsulated in the new collections of decorative accents by de Le Cuona. Expanding on the luxury craftsmanship delivered in its exisiting fine offering of textiles, the range includes vases and occasional furniture alongside throws and cushions with beautiful embellished details. The five curated collections imbue a strong sense of character through considered combinations of textures and colours.

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THE ENGLISH HOME 75

Attention to detail runs through this bedroom designed by K & H Design, from the hand-painted triptych behind the bed to the fabric covering the headboard, a bespoke design and colourway woven by Soie de Lune.

WHAT INTERIOR DESIGNERS DESIRE

Interior designers offer their isdom on Interior designers reveal the products they love and the makers they turn to for that special piece within a scheme

T

he relationship between interior designers and their clients is never a one-way affair, always a conversation.

Designers have the product knowledge and skill to deliver rooms that interpret each client’s vision without compromising their own, yet the to-and-fro of decision-making on colours, finishes and furniture sparks a fascinating interplay in the choices designers make with their clients. Here we discover some of the products, craftsmen and treasured pieces designers admire and have included in projects, and their own homes.

THE VIRTUOSO MAKERS Craftsmanship is a quality that designers mention often about the products they choose for their own homes and suggest for clients’ projects. The value found in well-made pieces does not go unnoticed either. Quality never dates says Henry Miller-Robinson co-founder of K & H Design in explaining his regard for the Crillon chair from Soane. “This is a perennial classic,” he says, “and one that will certainly be a collector’s piece of the future.

The craftsmanship is outstanding and the comfort, sublime.

Although I love the classic leather-wrapped finish, we have also specified chairs in a two-tone textured Claremont Cunard weave, giving the chair a totally different character.” 

ABOVE LEFT Basalt by Little Greene is a blue-black that designer Irene Gunter likes to use to introduce drama to a scheme, here to frame glazed doors and windows in a kitchen where walls are in a pale tint.

LEFT Historical relevance but also scale were in interior designer Georgina Cave’s mind when she went out to find a period fireplace for a client’s Grade II listed house. Her research led to this unusually tall Louis XVI fireplace, perfect fit for the sitting room with its high ceiling.

THE ENGLISH HOME 77

For Henriette von Stockhausen at VSP Interiors it is Max Rollitt’s Lyre chair, early nineteenth-century in style, that attracts her special praise. “The lines are perfect, and the craftsmanship and comfort are second to none. My clients always adore this chair,” she says. “That is true of all Max Rollitt’s pieces but this one is my own special favourite.” Similar enthusiasm for fine workmanship comes from Gavin Houghton at Gavin Houghton Interior Design.

“I value almost everything that Jamb produces, from lanterns to fireplaces, and as for its Pantry Collection of racks, table, stool and tray, it’s genius. I want all of it.” So it seems do his clients.

Contemporary pieces with character and craftsmanship are predicted a long life and ongoing esteem by Irene Gunter, director of Gunter & Co. “I adore the Man Ray glass leaf mirror by Cox London,” she says. “The fine workmanship and detailing are second to none and I dream of owning this piece one day.” As for the range of Lily pieces by Tom Faulkner, “the curves are so thoughtfully devised and beautifully executed, whether in side tables, mirrors or coffee tables,” she says, “they bring a smile to my face every time I see them at home or in a client’s sitting room.”

Working with a contemporary furniture maker of note can also give the opportunity to request bespoke sizing. Georgina Cave of Cave Interiors recently commissioned a Pyramid table from Matthew Cox for a client, a piece that blends early Egyptian elements with country vernacular. “We love it not only for its considered and simple design,” Cave says, “but for the integrity and expertise that has gone into perfecting the finish.”

AFFAIRS OF THE HEART When interior designers fall in love with an object for their own homes or have found exactly the investment piece their client jumps at the chance of acquiring, it will come with the implication that the attachment will be long term.

For antiques dealer and designer, Christopher Howe, it is condition and association that can give a piece forever appeal.

“Antiques don’t disappear,” he says. “They move around, are restored and placed in centrally heated rooms. I value the increasing rarity of pieces in a pure unrestored state such as the pine etagère in my living room. It is a simple country piece on turned legs dating from around 1880. It had belonged to Elizabeth David, whose books revolutionised British cooking, and I bought it at the auction of her effects. The auction label is still attached with her name on it.” Howe also puts his understanding of traditional craftsmanship into the Made by Howe furniture he produces to complement antiques, and one piece from this collection has provided Gavin Houghton with his most cherished buy. “I bought a Den sofa from Howe London,” he explains. “It has layers of traditional webbing, hand-fitted springs, horsehair stuffing and feather-filled cushions. It is so comfy that everyone exclaims with joy when they sit on it.”

History and previous ownership also surround the most treasured piece in Hugh Leslie’s sitting room. “I purchased an Edwin Lutyens sideboard made for the Viceroy’s palace in Delhi.

It is a stunning piece that together with its historical interest is something that gives me constant pleasure,” he says. 

78 THE ENGLISH HOME

CLOCKWISE FROM FAR LEFT K & H Design’s clever choice of Stiffkey Blue by Farrow & Ball for cupboards and shelves lets the colours and patterns supplied by the books stand out.

Nothing can compete with the comfort and dependability of a traditionally built sofa suggests Gavin Houghton when describing his love of the Den sofa by Howe London.

Furniture with a known history, such as the Edwin Lutyens sideboard in Hugh Leslie’s sitting room, will always hold attention, even in the context of surrounding pieces from different eras.

When Henriette von Stockausen purchased an antique painted chest and decided it would be star attraction in her kitchen, she protected the surface for everyday use by adding a marble top.

One of von Stockhausen’s most-loved pieces is an antique painted chest from Robert Kime she bought for her kitchen. “It always gets admiring glances and comments from friends and clients,” she says. “One never regrets buying pieces like this. Every morning when I walk into the kitchen it gives me joy.”

Designers can also retain strong feelings for pieces found for their clients. Cave is one who recalls the wrench of parting with several of them. “We sourced an Italian 1950s mirror with a beautiful integrated beaten brass console for the entrance hall of a client’s Grade II listed house and, for another project, it was a wonderful Louis XVI fireplace that happened to be particularly tall and therefore perfectly proportioned for the high-ceilinged space, but it was hard to see it go.”

Miller-Robinson is a huge fan of Danish mid-century furniture and relives a special purchase sourced for a client. “It was a fabulous set of Niels Møller model 62 rosewood dining chairs with wonderfully seductive lines and original paper cord seats,” he says.

ESSENTIAL ELEMENTS Certain colours, patterns and textiles prove their worth in a variety of contexts and designers revisit them for their own homes as well as their projects. Paint retains its status as provider of plain tints and bold colours but subtlety is always part of the comments made on a particular tint or shade. Louise Bradley points to Little Greene’s Slaked Lime as one of her signature paint colours. “It’s a warm off-white that can be a backdrop in any space, a soothing choice for a bedroom and versatile in both classic and contemporary interiors.” Little Greene is also chosen by Irene Gunter for its Basalt. “The best deep blue we’ve come across and we keep coming back to it,” she says.

Cave enjoys mixing colours herself but adds “we’re often using Edward Bulmer’s plastic-free paints and right now rather like Farrow & Ball’s Setting Plaster and Drop Cloth, with Light Blue having been a favourite for many years.” Miller-Robinson marks Farrow & Ball’s Pidgeon and Hardwick White as incredible hues and Stiffkey Blue as fabulous, but says, “most of the time we go first to Edward Bulmer’s paints. He is a master of historic colour knowledge and the paints have unique depth and tone. Currently I’m addicted to their softer, warmer tones such as Cinnamon, recently chosen for a dining room. But pink is my favourite colour above all others so there is always the ever-irresistible Cuisse de Nymphe Emue.” Applause for Edward Bulmer’s colours continues with von Stockhausen identifying another pink. “Among these superb paints my personal favourite is Jonquil, a peachy old-fashioned soft pink which is otherwise almost impossible to find,” she says. FAR LEFT Bespoke possibilities are one of the joys of working with a furniture maker such as Matthew Cox. Cave Interiors was able to order his Pyramid table in a size that is perfect fit for a specific location.

ABOVE LEFT Flora Soames has brought fresh recognition to period floral wallpapers with brilliant colourings that demonstrate their exceptional quality, now lauded by a number of designers including Georgina Cave.

LEFT The appeal of wallpapers that reflect nature and its theme of growth is noted by Gavin Houghton who has hung Espalier by Pierre Frey in his own home and found it often requested by his clients.

THE ENGLISH HOME 81

ABOVE RIGHT Every piece made by Cox London promises an exceptional level of handwork, including the Man Ray glass mirror, a favourite of designer Irene Gunter.

RIGHT Finding mid-century Danish furniture is always an exciting prospect for Henry Miller-Robinson of K & H Design, whether Grete Jalk chairs for his own home or these Niels Møller dining chairs he sourced for a client.

82 THE ENGLISH HOME

FEATURE CELIA RUFEY PHOTOGRAPHS P76, P78 & P82 (K&H DESIGN) © SIMON BROWN; P79 (HUGH LESLIE) © KAL PHOTOGRAPHY; P81 (GAVIN HOUGHTON) © BOZ GAGOVSKI

Wallpaper sees Houghton reporting from his kitchen, where walls are papered in a Pierre Frey design. “It’s called Espalier and I’ve loved it from day one,” he says. “If ever clients come to my house and see it, they nearly always request it for their own homes. It is bold but also amazingly serene, I think because its leaves connect it to nature.” The floral and leaf patterns in Marthe Armitage wallpapers are at the heart of their appeal to Leslie. “These are timeless patterns, classic and very modern at the same time.”

Gunter celebrates the textured wallcoverings by Phillip Jeffries, which come in a range of yarns and fibres from silk, raffia and hemp to grass and linen. “There’s nothing quite as soft, luxurious or soothing as these in terms of wall treatments,” she explains.

Meanwhile, von Stockhausen keeps the whole house in focus when she “adores Robert Kime’s small scale wallpapers for attics and smaller rooms that can often feel neglected.”

The overlap between classic and contemporary is expertly summed up in the fabrics Cave uses time and again. “We love a Howe stripe,” she says, “never bore of a Josef Frank 1920s to the 1950s print in brilliant colours, and a new collection we particularly like is from Flora Soames for her glorious use of timeless florals and an unexpected mix of colours.” For Paolo Moschino, Aurora Green is a print rooted in tradition that remains in the Nicholas Haslam collection year after year because designers keep discovering its possibilities. Instant attractions for von Stockhausen were Pierre Frey’s new collections, Rêveries Orientales, inspired by antique ikats, paisleys and ottoman florals, and Maharani, where Indian references include abstract interpretations. A classic favourite for Gunter is the ingenious Abbey Stripe by Fermoie, “and we often choose Johnstons of Elgin cashmere for covering cushions – or bedspreads when a client feels like splurging.”

Textiles also offer opportunities for a bespoke element and are one reason Henry Miller-Robinson keeps coming back to Soie de Lune for its hand-woven textiles. Designs can be modified, yarn chosen and, he says, “the ability to customise hand-dyed colours has made these weaves perfect for schemes as diverse among recent projects as a luxurious bespoke headboard, curtains for a study and feature backs for a set of dining chairs.

The natural texture with refined traditional weaving techniques and patterns is sublime and the opportunities offered to the designer become limitless.”

The two-way current between interior designers and their clients generates sparks that bring rooms to life. Clients gain access to furniture and finishes they are unlikely to have found without guidance and the interior designer keeps on evaluating furniture, colour and pattern for quality, visual relevance and craftsmanship.

Interiors should always be a good fit for the people who live in them so the overlap between interior designed projects and the elements the same designers bring to their own homes should come as no surprise. Good choices are made for sharing.

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THE ENGLISH HOME 83

Take a relaxed approach to entertaining with a plentiful supply of cushions, rugs and chairs to ensure all guests, no matter their age, are comfortable.

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ry

CREATE AN OUTDOOR Whether f make spe decadent

O

ur gardens, both large and small, have never been more important as somewhere to savour and delight in as well as to unwind, relax and spend time alone or as a family.

Whether decamping outdoors with a pile of books and magazines to indulge in some escapism or with a bundle of games to enjoy with loved ones, or to dine al fresco, adding indulgent details will ensure the garden is a place in which to luxuriate long into the night.

The aim should be to create an extension of the home with rugs, throws and cushions for comfort, well-considered furniture placement and atmospheric lighting to continue the joy of being in the garden into the night. • Use soft furnishings to bring comfort and style • Use linens and cottons or opt for specialist outdoor fabrics • Add cushions, blankets and rugs to create an outdoor room

Lazy days With the sun shining, there are few better prospects than a day spent pottering about and lazing in the garden. Set the scene with some comfortable furnishings, be they a lounger, a hammock, or a simple deckchair. Bean bags, floor cushions and footstools could also be utilised atop blankets, throws or outdoor rugs.

Set up camp in an area with sunshine and shade – if space allows a tent or gazebo could provide relief from the heat as well as an area for children to play – fill it with blankets and cushions to create a welcoming den, or for grown-ups, some comfortable seating and side tables on which to place drinks.

Though indoor fabrics – particularly hard-wearing linens and cottons – can be brought outside, why not look, too, to the increasing ranges of outdoor fabrics. As well as being practical – they are water and sun-resistant – there is a host of truly beautiful designs to choose from. They can used for anything

from recovering a deckchair to seat pads and scatter cushions.

Those stocked at Designers Guild are some of our favourites for pretty floral designs in bright colours. Meanwhile, Arley House has launched a new weather-resistant ground cloth, Como, on which any of the brand’s designs can be printed and be suitable for outdoor use; ready-made cushions are also available.

Sunbrella, too, is a popular choice when it comes to textiles for outdoor use and is stocked at several online fabric retailers. Also look to Thibaut, which uses Sunbrella technology for its extensive outdoor collections (turn to page 89 to see a selection).

Fabrics could also be draped from trees or other structures to create shelter from the sun’s rays as well as set a dreamy mood.

Outdoor carpets or rugs can also help to soften paved spaces and delineate seating areas. Weaver Green has several options that are practical and decorative. 

ABOVE LEFT Use a glamorous parasol to add shade and style.

Stevie parasol, £399, East London Parasol Company FAR LEFT Erect an elegant garden tent or gazebo and adorn with fabrics and furnishings for the ideal space to spend the day. Pergola, from £1,400, The Raj Tent Club LEFT Enliven a deckchair with a sprightly new fabric. This outdoor fabric with its painterly flowers is not only water repellent but also

stain, soil, mould and mildew-resistant, and machine washable.

Manchu Outdoor Fuchsia, £42 a metre, Designers Guild ABOVE An outdoor rug adds softness underfoot whilst pottering about or having a quiet cup of tea, as well as somewhere to scatter with cushions and rugs for extra seating.

Coral Jaipur Acorn cushion, £45; Juno Dormouse Rug, from £67; Medina Tangier footstool, £189, all Weaver Green

THE ENGLISH HOME 87

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Evening drinks Enjoy an evening watching the sunset and the stars come out.

Opt for sofa-style seating with plump cushions covered in lovely outdoor fabrics – Thibaut’s collections are a particular favourite, but look also to Osborne & Little.

Create a space for evening drinks with comfortable seating and side tables or a coffee table, in the same way a living room might be arranged.

Cordless, rechargeable table lamps – such as those from Alexander Joseph or Amara – could be used to set a sophisticated tone. Christopher Wray offers some high-end solar and outdoor options. For strings of lights and LED candles to add a cheering glow, look to Lights4fun.

A firepit or woodburner, such as those from Morsø or Chesneys, would also add some light together with heat as the evening chills creep in. Some luxurious blankets and throws would also be a cossetting touch on cooler nights.

Creating a cosy space beneath an awning or gazebo could provide extra warmth and potential for decorative touches such as twinkling fairy lights and lengths of fabric used as a backdrop.

With the scene set, just add some cocktails, sit back and relax.  • Source comfortable sofa-style seating and plenty of cushions and throws • Use strings of battery, solar or mains-operated lights • Provide coffee and side tables to set drinks and snacks on

ABOVE Use trees, pergolas and fences to hang strings of lights for a heart-warming glow at night.

25m 100 Warm White LED Connectable Festoon Lights, £175, Lights4fun BELOW LEFT Treat outdoor furnishings as indoor, with timeless designs on outdoor fabric – these are colour fast and stain resistant.

Cushions (from left): Linden Hill Stripe, Aqua, £72 a metre; Gabriel, Aqua £90 a metre; Bolton, Aqua, £90 a metre, all Thibaut BELOW RIGHT Enjoy an evening spent outside with a warming firepit.

Ignis Firepit, £199, Morsø

THE ENGLISH HOME 89

For a spot of lunch in the sunshine keep things simple with linen runners to double up as place mats.

Stoneware and wood are perfect for an informal meal.

Aeron stoneware, from ÂŁ8 for a side plate, and all other accessories, Amara

Dining in style With just a few thoughtful touches, eating al fresco can be transformed from the humdrum into a memorable occasion – whether for a couple or an entire family.

Make a lunchtime feast or impromptu supper feel more luxurious by dressing the table with a striking linen tablecloth and napkins, such as those from Summerill & Bishop, to create a sumptuous tablescape. Consider, too, using a favourite length of fabric or a throw as a makeshift tablecloth or runner. Team these textiles with cushions to soften hard seats so diners will be comfortable and therefore take their time and sit back after a delicious meal.

Though the table might be surrounded by greenery and flowers, displaying blooms in vases, just as an indoor dining table would be dressed, can add to the sense of occasion.

Place candles in candelabra, lanterns or simply jam jars to add a twinkling, atmospheric light at twilight, or hang pendant shades – metal ones are particularly good outdoors – fitted with a battery or solar-powered outdoor bulb (primrose.co.uk). Other decorations including tissue-paper pompoms or fans and bunting will add a jaunty touch.

Finally, bring out cutlery, crockery and glassware rather than pieces made of plastic or paper. Using proper tableware ensures that, whatever the occasion, it will feel more indulgent.

ABOVE Cushions, pouffes and footstools can be brought outside to add flair and comfort.

Round Callanish dining table, Brown, £1,895; Tantallon floor cushions, £295 each; Batur hanging lantern, £65; Benoa floor lantern, £75, all Oka RIGHT Adding vases of flowers, proper tableware and a beautiful tablecloth and napkins sets the scene for a special occasion.

Constellation tablecloth in Cosmic Blue, from £250, and all other items, Summerill & Bishop

• Dress the table with pretty fabrics •

dd candlelight and flowers

• Use proper tableware and glasses

THE ENGLISH HOME 91

Splashing about Not everyone is lucky enough to have a swimming pool in which to exercise and splash around, but those that do will savour the refreshing enjoyment it provides. Living by the sea, a river or lake is also a boon and creating a space in which to relax and enjoy the view is good for the soul – a hammock to lie in would be bliss.

An outdoor shower is a handy yet indulgent addition for those with pools or not. Whether for a fortifying morning wash, a welcome cool off when things get too warm or something for children to delight in, an outdoor shower is sure to be an inviting prospect. Garpa’s can simply be fitted to an outdoor hose with a special attachment making it an accessible option for many.

Others might prefer something to soak in. Why not think outside the box and consider an aesthetically pleasing bathtub in which to soak beneath the sky? Fill with water from the hose for a bracing experience or top up with some warmer water for a more indulgent time. A secluded spot will obviously offer quietude, but this unusual choice is would be a striking focal point for the garden, too.

• Make the most of waterside views with a comfortable seat or hammock • Consider an outdoor shower • Use a metal bath for an indulgent outdoor soak

92 THE ENGLISH HOME

FEATURE KATY MCLEAN PHOTOGRAPHS P84/85 © ADAM CARTER; P89 (LIGHTS4FUN) © OLIVER PERROTT; P92 (GARPA) © HEINER ORTH

LEFT Cool off or unwind in an outdoor bath – certain to provide both a focal and talking point in the garden.

Oxidised Copper Bath, Indigenous ABOVE An outdoor shower is a fun and invigorating addition to the garden and can be fitted to a hose for water supply.

Fontenay garden shower, £2,100 and towel rail, £390, Garpa BELOW Make the most of a waterside location with a hammoc in which to while away the hours.

Denim hammock, £175, Ella James

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Take inspiration from the Royal Horticultural Society garden at Rosemoor in North Devon.

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Dress to impress by ensuring the home’s exterior is well-maintained and attractive – from windows and doors to plants, lighting and more

BELOW Source windows and doors that maintain the historic integrity of a home and offer energy efficiency.

Bespoke engineered-timber front door and argon-filled double-glazed sash windows, Jack Brunsdon & Son

ABOVE A traditionalstyle composite front door combines a maintenance-free finish with the appearance of timber.

Traditional front doors, from £1,000, Thames Valley Window Company RIGHT TOP Smarten up tired fencing and railings with durable exterior paint.

Railings in Lead Colour intelligent exterior eggshell, from £35 a litre, Little Greene RIGHT A bench by the front door is the perfect place to take off muddy boots.

Cottage powdercoated aluminium seat, £1,400, Garpa

T

he well-maintained exterior of a home sits nicely within the landscape and is not only lovely to come home to, but may also add to the value of a property. Success is dependent on a carefully considered combination of form and function. Here, we provide a guide on creating a stylish first impression.

WAYS WITH WINDOWS Choosing to repair or replace windows can lift and brighten a home’s exterior, though do bear in mind that new regulations demand that replacements now meet strict thermal efficiency guidelines. This need not affect those looking for sympathetic period styles as there are plenty of quality reproductions available.

Specialist companies such as Architectural Bronze Casements specifically cater for older or listed buildings, however, do check with planners before changing the outward appearance of a property as permission may be required.

It also pays to “keep the style of the house in mind, as the wrong windows could actually devalue the property or reduce its appeal,” advises Ryan Schofield,

96 THE ENGLISH HOME

managing director of Thames Valley Window Company. “Timber, aluminium and heritage Crittall-style remain the traditional materials of choice,” he adds. Timber sashes and casements work well on homes from the eighteenth century right up to present day, and metal frames are ideal for Elizabethan or Arts and Crafts homes as well as 1930s semis and barn conversions.

If seeking to repair windows, companies such as Ventrolla offer a sash and casement restoration service, whilst the likes of Cotswold Casement Company can refurbish or replace metal windows. Lost decorative or privacy glazing can also be reinstated by specialists such as Recclesia; or for a lift try replicating designs with window film. Elsewhere, be sure to pay attention to ironmongery, both in terms of style and security – Jim Lawrence, for example, offers an extensive range of hand-crafted latches, stays and sash accessories.

DESIGNS ON DOORS When replacing original doors, or windows for that matter, it is always advisable to consider like-for-like, whilst those looking to right past wrongs should

ABOVE Consider giving dull masonry a vibrant facelift – perfect for a classic country cottage or Georgian townhouse, where local authorities allow.

Walls, Frosted Lake weathershield smooth masonry paint, from £33.32 for 5l; door, Dove Slate exterior satin paint, from £17.26 for 750ml, both Dulux

ABOVE LEFT Look to reference similar properties to ensure selection paint finish as well as is in keeping with the era of the home. colour. Oil-based For historical accuracy, reclamation yards and gloss tends to be specialist dealers carry vast arrays of stock and can more hardwearing whilst satin and advise on appropriate designs and door furniture. eggshell offer a In terms of replacement, bespoke is the more flexible subtler approach. option when it comes to size, style and material, with Door in Smokey Grey companies such as The London Door Company exterior 10-year gloss, offering a wide range of period-inspired designs to planters and mailbox in Seclusion and suit properties from terraces to country estates.

Cloudy Day rapid dry Alternatively, if simply looking to reinstate detailing satin, all from £35 for such as etched or stained-glass insets and fanlights, 2.5l, Sandtex glazing specialists can advise on glass options, designs ABOVE Plant up this and offer a bespoke service. Preserving or sourcing hardy, English rose original door furniture, meanwhile, should ensure for an approach bursting with scent a pleasing result and help new additions take on and colour. authenticity – though it is worth noting that quality The Mayflower reproductions can offer greater design flexibility.

English shrub rose, When it comes to finishes, brass or bronze is a staple £18.50 bare root, for formal doors, whereas chrome is ideal for an urban £25.50 potted, David Austin Roses update, wrought iron and enamelware bring country charm, and customised signs inject a personal touch.

Remember to keep finishes consistent throughout and 

THE ENGLISH HOME 97

bear in mind that although video doorbells may not be pretty, they can prove useful when boosting security.

PAINTED PERFECTION Exteriors will often benefit from a fresh coat of paint when looking to inject character into tired facades. Bear in mind that colours can often appear up to two shades lighter outside, so test prior to purchase and take into consideration the period and style of the property, along with neighbouring buildings.

Softer heritage shades and low-sheen eggshell paints tend to impart a more relaxed finish that works well for both doors and windows, whereas more formal high-gloss classics, such as bold racing green, black, navy blue and red, are best confined to doors. Render, stucco and weatherboarding also benefit from a crisp or colourful refresh. Avoid using the same shade across walls, windows and doors, as the result may simply feel flat and featureless.

Selecting natural, permeable paint finishes should help deter future decay in older homes. Schofield champions “microporous paints that allow the timber to breathe, thus preventing the paint from lifting and splitting.” Alternatively, linseed oil or wax can be used to maintain exposed timbers, whilst limewash is ideal for use on traditional render, brick or stone, and pigments are inherently suited to classic homes.

LIGHTING THE WAY The trick to successfully lighting the exterior of the home is not to get carried away and over-illuminate – after all, nobody likes to be greeted by the glare of floodlights. Classic lanterns and soft wall washers should suffice at the door. “An antique hanging lantern combined with wall lights will always create an impact and add character to the home,” suggests interior designer Louise Bradley. “Wall lights can also work well as accent lighting to highlight interesting architectural features,” adds Martin Waller, founder of Andrew Martin.

Of course, safety around paths, drives and steps is paramount, so light these with floor washers, ground

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ABOVE Architectural antiques add interest and focus to the front garden.

Antique eighteenthcentury large stone trough, £5,800, Architectural Heritage ABOVE LEFT Frame the front door with strategically placed planters, such as these charmingly quirky, galvanised steel buckets.

Bucket with handles, £55, Garden Trading

lights, posts or inset spots. Those with long drives or pathways may also wish to add welcoming lamps at the entrance to herald arrival, whilst fixtures with presence detectors will light up as guests approach, helping to conserve electricity and deter intruders.

On a more decorative note, highlighting foliage with spotlights will bring a whole new dimension to the garden at night, and employing spiked models will allow for easy repositioning as plants grow.

GARDEN GAINS Kerb appeal starts with a well-maintained boundary and gate, however, bear in mind that in terms of height, legal restrictions do apply, although like-for-like replacement is usually permitted. Brick and stone tend to work well in both urban and rural settings – consider the example of a townhouse with smart brickwork and iron gates, or a cottage with textural 

TOP Try warmer buffed and tumbled finishes when looking to blend hard landscaping with softer build materials, such as Cotswold stone or limestone.

Mandalay buff riven limestone, from £30 a square metre, Mandarin Stone ABOVE Draw attention to feature windows with contrasting colours – muted blues and greens work particularly well against grey stone.

Ethereal Blue oil gloss, from £60 for 1l, Edward Bulmer Natural Paints ABOVE RIGHT Well-placed exterior wall lights add presence to a doorway. This hand-fabricated lantern was inspired by a nineteenth-century English original.

Downton wall lantern, from £529.20, Vaughan

Hardware updates

2

1. Lion’s Head door knocker in polished brass, £30, John Lewis & Partners 2. Door bell cover in antiqued brass with ceramic bell push, £44.90, Jim Lawrence

3

1

3. Decorative doorbell in hand-cast iron, £16.75, Not On The High Street.com 6

4. Iron heart-shaped door knocker, £12, Dibor 5. Grove door knocker in bronze, nickel or brass, £44, Rowen & Wren 6. French blue metal door numbers, £2.50 each, Rex London

5 4

THE ENGLISH HOME 99

dry-stone walls and timber gates. More formal wroughtiron gates and railings, meanwhile, can be tailored to most property sizes.

Alternatively, picket fencing or trellis can be painted in heritage tones to sit within the landscape, whilst for a naturalistic approach, hedging, such as lowmaintenance privet and yew, provides a lovely soft border. The Royal Horticultural Society advocates this in particular to provide a home for wildlife and to filter out harmful pollution.

Once past the gate, a clearly defined path should lead guests directly to the door. A minimum of a metre in width is advised to guarantee ease of use for all who walk up it.

When it comes to which material to choose, gravel works well in country settings and produces a crunch that will deter unwanted visitors but may require racking and topping up. As an alternative, consider rustic bricks or cobbles, or more formal pavers and colourful Victorian-inspired tiles for urban environments. Mixing materials such as slabs and textural chippings, meanwhile, or adding creeping plants in crevices, will help break up larger expanses.

Whatever the choice, permission may be required for non-porous surfaces, so do check for permeable alternatives where necessary.

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FINISHING TOUCHES Planting will help soften an approach, link the house to the garden and can be incorporated into the smallest of spaces thanks to a plethora of pots.

The introduction of low-maintenance evergreens, such as hebes and box, should guarantee year-round structure, whilst smart topiary and bays trees placed either side of a door add instant, inviting formality.

Window boxes bursting with colour and climbers, including wisteria and clematis, can also be used to soften harsher architectural lines or dress boundaries in more casual or country settings, whilst scented plants, such as lavender bordering paths and roses around a door, ensure an aromatic welcome.

Classic sentinels, in the form of architectural antiques and replicas, will help direct attention to doors and porches, whereas well-placed ornamental statuary and fountains can bring focus to larger, more imposing spaces. “Considered attention must be given to both proportion and overall aesthetic when unifying house and garden elements,” advises Alex Puddy, founder of Architectural Heritage.

Finally, a bench, boot scraper and boot jack should all prove handy additions. Plus, if recycling bins must be kept at the front of the house, be sure to invest in a screen or store to conceal them.

FEATURE PAULA WOODS PHOTOGRAPHS P95 COURTESY OF RHS/JASON INGRAM; P98 (TROUGH) © ELEANOR WALPOLE; P99 (ROWEN & WREN) SPENCER COBBY PHOTOGRAPHY

TOP A practical doormat will prove a boon to owners and visitors alike, and this hardwearing rubber design adds a decorative touch to the doorway.

Maroq doormat, £30 Cox & Cox ABOVE LEFT Window boxes add a finishing touch and this pretty zinc design is based on a traditional latticework pattern.

Wirework window box, from £185, Garden Requisites ABOVE RIGHT Lead the eye to the front door by framing it with a well-kept path and smart planters.

Outdoor pots and planters from a selection at Dobbies

ADVERTORIAL

INDOOR & OUTDOOR STYLE It is temping to work from the inside out, but focusing on making the outside of the home as individual as its interior can add definite kerb appeal. It is not necessary to be a landscape gardener to make an impact.

Here, sash window specialist Ventrolla reveals a few simple ideas to consider

Window boxes Transferring our attention to the outside, window boxes create perfect solutions to add plants and flowers to the exterior of the home. Softening straight lines from the outside and framing views from the inside, window boxes work equally well for small urban homes, apartments and balconies or to add pretty detail to window sills of larger country homes with sprawling gardens.

Herb gardens Growing herbs in the kitchen is the perfect way to always have useful culinary reserves to hand and add interest to

functional areas of outside space. Buying herbs in the supermarket can be expensive and all the packaging and larger than required portions can be wasteful.

Now is a good time to start growing herbs at home to help both environment and bank balance. Extending the larder beyond the kitchen will look good and enliven cooking.

Colourful windows Incorporating woodwork into a colour scheme makes for seamless decor, connecting accents from within the home to the outside. We have seen a move away from classic white wooden window

frames, with dark grey and muted greens becoming more and more popular. Why not add even more character by daring to use brighter colours – imagine pinks, blues and bright oranges?

Who is Ventrolla?

Ventrolla is the market-leading sash window expert. Successfully renovating 18,600 windows annually, its services include renovation, draught-proofing, double glazing, secondary glazing and complete new timber windows, all of which can improve the value and appeal of a property. ventrolla.co.uk

THE STORY OF TIMBER WINDOWS

IN THE FRAME

T

hey say the road to success is never easy, an adage to which the company Timber Windows can attest, though not that you would know it today – it has an impressive 42 showrooms nationwide. The company started in 2004, when its founders saw a gap in the market for timber windows that had the durability of man-made plastic and aluminium alternatives. So far, so simple – or so they thought.

But they had no idea the lengths they would have to go to in order to create the perfect product. After plenty of trial and error, they eventually hit upon a unique blend of German engineering and Scandinavian techniques, allowing them to introduce multilayered, engineered timber windows to the UK market, the first of their kind to do so.

Timber Windows started with a single high street store in Beaconsfield in Buckinghamshire, but before long business took off. Paul Martin, marketing manager for the company, believes its success is largely due to one thing. “Attention to detail has always been a hallmark we are proud of,” he says. “That, and the fact we have created a collection that is carefully and sensitively tailored to complement the English home,” he says. “Whether you live in a period villa, a barn conversion or a more modern property, our extensive range allows you to choose new windows and doors that perfectly complement the age and architecture of your home.”

Unlike traditional timber windows of old, the engineered-timber ones from Timber Windows require minimal maintenance as they will not twist or rot and will therefore also need painting less frequently. They also offer high levels of insulation and security, ensuring there is no need to sacrifice good looks for comfort.

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“The windows and doors industry is competitive to say the least, and competing against man-made materials such as PVC and aluminium can be a challenge as they are cheaper,” Martin explains. “Sometimes it is difficult to convince people of the benefits timber has over these materials but we are seeing that timber windows and doors are becoming more and more popular again.”

Timber Windows also offers front doors, French windows, bi-fold and sliding doors, and its entire range is made-to-measure and handmade in state-of-the-art manufacturing facilities in Europe. These workshops combine specialist machinery with highly skilled, experienced workers who are at the top of their field when it comes to the fine detailing and finishing of the windows and doors. In addition to these craftsmen, there is a staff of hundreds across Timber Windows’ many showrooms in the UK, as well as its team of people who fit the windows. Every year the company photographs beautiful case study homes featuring its windows across the country.

The brand’s collection does not stop at the frames themselves.

“We also offer a variety of ironmongery options and because we can colour match to our customers’ needs, we are able to provide a bespoke product,” says Martin.

With three new showrooms opening last year and another two this year, Timber Windows continues to expand at an impressive rate. “We are an ambitious company,” says Martin, “and we definitely like a challenge.” And, by giving customers the good looks of a timber window with the durability of something man-made, its success is well-deserved.

FEATURE KATE FREUD

A desire for window frames made of wood but with the long-lasting properties of man-made versions has seen the durable, engineered-wood alternatives

by Timber Windows grace the facades of many an English home

ABOVE Cottage casement windows and Kingston door, all with 18mm astragal glazing bars and manufactured out of Engineered European Redwood.

FAR LEFT Westonbirt front door design featuring etched star glass, polished chrome ironmongery from Samuel Heath and finished in a colour complementary to Fired Earth’s Smoke Blue.

LEFT Slim sash windows finished in Off White and a Westonbirt front door finished in Harewood Grey.

OPPOSITE PAGE, LEFT TO RIGHT Traditional methods meet state-of-the-art manufacturing technology, resulting in truly authentic timber windows and doors.

THE ENGLISH HOME 103

Case Study One

Bliss BATHR

B

D c pr

athrooms, as intimate, personal spaces, have to be functional and hard-wearing yet also provide a cocoonlike and indulgent zone where we can close the door and feel at peace. It is vitally important, therefore, to get the feel right, particularly as warmth, comfort and a sense of luxury are bound to be high on the list of priorities. So the question is how to marry the brisk efficiency necessary for the early

104 THE ENGLISH HOME

veal important balancing style and ate the ideal bathroom

morning rush with the pleasure of a relaxing evening bath or a long, hot shower?

Here, our bathrooms special showcases a range of rooms by four experienced designers, each demonstrating that it is eminently possible to marry form and function and create a space which is both perfectly practical and a beautiful haven in which to refresh and unwind.

Gemma Gordon-Duff on creating a decadent en suite Interior designer Gemma Gordon-Duff, of architectural interior design practice Gordon-Duff & Linton, specialises in elegant, timeless and sophisticated design, and works both in the UK and abroad. Here, she reveals how she created a central London master suite with a difference.

The brief

“My client’s main residence is outside the UK and so, as this home is used intermittently, they wanted the master suite – bedroom, dressing room and bathroom – to have all the luxuries of a hotel, but with a more homely feel. They loved the decadence of a copper bath in the dressing room, and asked us to use this as the starting point for the design. The property is a handsome Georgian townhouse, with high ceilings and beautiful architectural features, and so another aim was to complement this feeling of grandeur with a suitably classic yet chic design.”

Luxury & opulence

“The perfect place for the bath was by the window in the dressing room, with a cream linen Roman blind for privacy. I chose copper because the client expressed a desire for a statement piece and, to elevate the experience (and to allow for possible water splashes), raised the bath on an Arabescato marble plinth. The room is finished with a luxurious, cut-pile velvet carpet. Next to the bath, I designed an oversized ottoman in a sage cotton velvet that allows for clothes to be laid out, or for a partner to sit and chat. I do feel that bathing in a room full of soft, luxurious fabrics is a lovely, serene and elegant way to relax and cleanse.

I designed wardrobe doors with a copper inlay to complement the bath.

The en suite has plenty of space for a shower and vanity unit. I continued the opulent theme by using the same Arabescato marble on the walls, floor and even the drawer fronts. Above the vanity, wall-mounted taps create clean lines and allow plenty of space for toiletries, and a shallow mirror-fronted storage unit has inset lighting concealed beneath. The oversized, walk-in shower with a wet-room floor ensures the room feels spacious but unfussy. The finishing touch is low-level lighting in the bathroom that is automatically triggered by movement at night. The overall effect is luxurious but also quite architectural.” 

OPPOSITE PAGE & ABOVE RIGHT A copper bath from Catchpole & Rye is raised to window height by being set on a marble plinth in the dressing room.

The wardrobe doors feature a copper inlay to echo the bath’s exterior; they were designed by Gordon-Duff & Linton. The silverframed bird paintings are from Oka. ABOVE LEFT The walls floor and drawer fronts of the en-suite shower room are covered with beautifully grained Arabescato marble from Stone of London.

THE ENGLISH HOME 105

Nicky Dobree on glamour and practicality in a ‘Jack and Jill’ bathroom Interior designer Nicky Dobree believes that our homes influence the way we feel, and that by changing our surroundings, we can also change our lives. She works internationally, specialising in luxury ski chalets, villas and contemporary residential interiors, and has recently completed her first hotel design project in Andalucia, Spain. Here, she outlines her thinking when designing a bathroom for a busy working couple.

The brief

“This seven-bedroom 1920s villa is home to a professional couple with four children. The brief for this bathroom focused on achieving refined elegance and a touch of glamour, with details inspired by the owners’ trips to Paris. It also had to be designed for dual-use, as it is a ‘Jack and Jill’ bathroom to the main (but rarely used) guest bedroom as well as to the master bedroom. Practical requests included plenty of storage, and space in which to get ready for the day ahead.”

Space considerations

“The rectangular bathroom has two doorways on opposite sides, and a tall window between, leaving only one wall free of apertures. By building a stud wall in front of this uninterrupted run, I created an extra wall against which to install fittings. Bringing the wall forward allowed the freestanding bath to take centre stage, making it the focal point from either direction, whilst giving room behind for a generous showering area and the WC. The feature wall in polished plaster was inspired by the Monsieur Bleu restaurant in Paris, its gold-effect finish echoing the gold veining in the bookmatched Calacatta marble slabs either side.

With art deco style in mind, I designed a pair of 1920s-inspired, mirrored-glass vanity units, positioned opposite each other to allow plenty of space around them. The mirrored glass bounces light right around the bathroom, as do the mirrored cabinets above, which open for additional storage.

The brass chandelier – inspired by the delicate seed-head of a dandelion, starbursts and supernovas – forms a glamorous crowning feature above the bath, with vintage wall lights in brass and glass providing a quieter, more understated elegance above the basins. As a finishing touch, I chose Farrow & Ball’s soothing Wimborne White with which to paint the woodwork, preventing the busy marble from being too overpowering.”  106 THE ENGLISH HOME

TOP The custom-designed vanity units pay homage to the clients’ love of Parisian art deco. They were designed

by Nicky Dobree, and feature inset bronze details and elegantly tapering legs in crisp white lacquer.

ABOVE & OPPOSITE The starburstinspired brass chandelier was designed by the late American artist Tony

Duquette. Its colours are mirrored in the gold threads running through the book-matched Calacatta marble that co ers the walls and floor. ehind the new stud wall to the left is a shower area and WC. Devon & Devon’s Celine bath was chosen for its classical, rounded shape that sits comfortably in the space.

Case Study Two

Lisa Persse of Porter on designing a space to unwind Porter specialises in bathrooms made with meticulous craftsmanship, using stone, wood and metal to combine style and functionality. Its timeless design seeks to reflect the honesty of its material approach, whilst offering a considered breadth of choice for clients’ bathrooms. A calm atmosphere was key for this particular project, as designer Lisa Persse explains.

The brief

“This is the master bathroom of a picturesque, eighteenth-century Cotswolds home. Our discerning client works in the fashion industry, and her overall brief was simply for us to create a calming ambience.

She wanted a timelessly elegant sanctuary in which to unwind. Subtlety, relaxation and a contemporary classicism were the order of the day.”

Subtle colours & natural materials

ABOVE Spherical Kew wall lights in silver nickel and frosted glass complement the gently flowing lines of the Portman marble-topped bath.

Extra-wide oak floor plan s by Trunk create the base for the room’s atmosphere of quiet luxury.

RIGHT Deep-set windows offered the opportunity to add sturdy window seats, with cast-iron column radiators tucked away underneath.

108 THE ENGLISH HOME

“My overall design focuses on the idea of calming curves, with the rounded ends of our Portman painted bath echoed by those of our statement Stratford double vanity. Providing plenty of storage means that the room can be kept clutter-free and thus feel much more relaxing, so I added a very tall, slim Portman cabinet between the Georgian sash windows, its top half glazed for display, with drawers below to tuck away all those bits and pieces that one doesn’t necessarily want on show.

I chose to use the same pale paint finish throughout – Portland Stone Pale by Little Greene – to give a tranquil atmosphere and a sense of continuity.

Nevertheless, an ultra-matt finish on the walls complements a subtle sheen on the painted cabinetry, providing gradual tonal shifts within the room. Adding our Hayden and Kew wall lights in silver nickel brings a contemporary flourish, and they are complemented by traditional-style brassware in a chrome finish. The oak flooring is by our sister company Trunk; extra-wide planks provide a naturally luxurious experience and add to the sense of generous space, whilst both the bath and the vanity are topped in subtly tasteful Crystal White marble. It’s a balancing act that allows the bathroom to find a place between tradition and trend, with a comforting warmth and a timeless quality of quiet simplicity.” 

Case Study Three

ABOVE A half-glazed cabinet by Porter provides plenty of storage and display space, enabling the owners to keep the room clear of clutter.

LEFT Porter’s Stratford double vanity contains plenty of storage and is topped with Crystal White marble. A large Granville landscape mirror reflects light from the windows.

kitchens

Extraordinary

Whether its traditional or classic, fitted or freestanding, our kitchens are refreshingly different, and with a unique range of painted, timber, distressed, vintage and industrial finishes, we’ve a kitchen style that’s perfect for your home.

If you’re looking for a truely bespoke kitchen to reflect your individual style, visit our website, order our new 2020 brochure or book a remote design and quotation consultation (considered by many to be the best in the UK).

Commissions fulfilled throughout the United Kingdom, Europe and worldwide.

110 THE ENGLISH HOME

High Street Moreton-in-Marsh GL56 0LH www.unfitted.co.uk 01608 650065

Case Study Four

Mark Gillette on working with a historic building Mark Gillette’s eponymous interior design practice is regarded as one of the UK’s leading interior architecture and design firms, with projects in locations as diverse as St Moritz, Salzburg, London, Manchester, Scotland and Luxembourg. Here, he explains how his bathroom design complements a Grade I listed stately home.

FEATURE KATHERINE SORRELL PHOTOGRAPHS P104/105 (BATHROOM) © DAVID BUTLER; P108/109 (PORTRAIT) © KATE NIELEN; (OTHERS) © GYORGY KOROSSY; P111 (PORTRAIT) © SAM RYLEY

The brief

“Our clients, who are based in the USA, had bought a two-bedroom, two-bathroom apartment set over four floors of a converted eighteenth-century, Grade I listed stately home. They planned to use it as a base when they spent time in the UK. The brief for the guest suite was that it should comfortably accommodate their American visitors – who tend to have strong opinions about good bathrooms – for quite long stays, and that it should have a luxurious, hotel-like feel. Because of the historic nature of the apartment, we worked closely with the local planners and with Historic England.”

A sense of history

“First, we decided that it would make a lot of sense to separate the different functions of the bathroom, so we built a stud wall with a pair of glazed doors, one leading to the WC and the other to a walk-in shower.

We lowered the ceilings within these two smaller rooms in order to box in and protect the original, historic coving, then added new coving to replicate it.

We used English limestone on the floors throughout, which we also cut into mosaic tiles for the shower walls.

We felt that the nicest place to wash and brush one’s teeth was at the large bay window, which has views over parkland and the lake, so we decided to use this space for a basin, built in with plenty of storage. We designed the semi-circular shape so it would be more decorative and interesting – and the freestanding dressing table mirror adds a touch of charm.

At the window, a roller blind cuts out very bright light, and the chintz festoon blind was fitted in order to soften the room, add pattern and colour, and provide an appropriately historic feel.

We installed a classic freestanding bath because it is a compact way to achieve a traditional effect, and chose brass fittings throughout, both because they are warmer in colour and because brass is so strongly associated with an English country-house look.”

TOP A new stud wall separates the shower from the main room. Gillette added a bench seat and some inset shelving in the shower room. Wall lanterns by Vaughan and brassware from Barber Wilsons & Co complete the classic English country house look.

ABOVE The built-in semi-circular vanity unit is topped with English limestone from Stone Age. The chintz blind is made in Jubilee Rose and trimmed with Pavilion Drop Fringe, both by Colefax and Fowler. The roll-top bath is by Aston Matthews.

THE ENGLISH HOME 111

Bathroom directory

Expert resources when considering bathroom projects Below we list our recommendations for where to source entire bathrooms as well as bath, shower, and fixtures and fittings specialists BATHROOM COMPANIES ASTON MATTHEWS

Tel 020 7226 7220 astonmatthews.co.uk

BURLINGTON BATHROOMS

Tel 01322 473222 burlingtonbathrooms.com CATCHPOLE & RYE

Tel 01233 840840 catchpoleandrye.com

C.P. HART BATHROOMS

Tel 020 7902 5210 cphart.co.uk CROSSWATER

Tel 0345 873 8840 crosswater.co.uk DEVON & DEVON

Tel 020 7221 5137 devon-devon.com DRUMMONDS

Tel 020 7376 4499 drummonds-uk.com DURAVIT

Tel 01908 286680 duravit.co.uk HERITAGE BATHROOMS

KOHLER

Tel 0800 001 4466 kohler.co.uk PORTER

Tel 020 3355 1817 porterbathroom.com RIPPLES

Tel 0800 107 0700 ripplesbathrooms.com ROCA BATHROOMS

Tel 020 7610 9503 uk.roca.com

THE WATER MONOPOLY

Tel 020 7624 2636 thewatermonopoly.com

VICTORIAN PLUMBING

Tel 0345 862 2878 victorianplumbing.co.uk VILLEROY & BOCH

Tel 00800 6864 8110 villeroy-boch.co.uk WATERWORKS

Tel 020 7384 4000 waterworks.com/uk_en WEST ONE BATHROOMS

Tel 0333 011 3333 westonebathrooms.com

Designer Kit Kemp’s collaboration with C.P. Hart

THE HURLINGHAM BATH COMPANY

Tel 01400 263310 hurlinghambaths.co.uk

VICTORIA + ALBERT BATHS

Tel 01952 221100 vandabaths.com

WATERS BATHS OF ASHBOURNE

Tel 01332 824166 watersbaths.co.uk

MATKI

Tel 01454 322888 matki.co.uk MERLYN SHOWERING

Tel 0808 101 1429 merlynshowering.com

112 THE ENGLISH HOME

Tel 020 8888 3461 barwil.co.uk

Tel 020 8283 2840 grohe.co.uk Tel 01992 708316 uk.lefroybrooks.com

LONDON BASIN COMPANY

Tel 020 8749 1267 londonbasincompany.com PERRIN & ROWE

TILES & FLOORING PORCELANOSA

SAMUEL HEATH

THE MAJESTIC SHOWER COMPANY

STONE AGE

Tel 01255 831605 albionbathco.com

BARBER WILSONS & CO

Tel 01708 526361 perrinandrowe.co.uk

CLEARWATER BATHS

Tel 0870 606 1623 imperialbathroom.com

Tel 020 7431 9364 balineum.co.uk

LEFROY BROOKS

IDEAL STANDARD

THE ALBION BATH COMPANY

BALINEUM

SHOWERS

Tel 01305 251930 williamholland.com

BATHS

IMPERIAL BATHROOMS

FIXTURES & FITTINGS

GROHE

Tel 01923 656777 porcelanosa.com

Tel 01322 473222 clearwaterbaths.com

Tel 020 7498 9665 trunkfloor.com

WILLIAM HOLLAND

Tel 0330 026 8503 heritagebathrooms.com Tel 0870 129 6085 idealstandard.co.uk

TRUNK

Tel 020 7384 9090 stone-age.co.uk STONE OF LONDON

Tel 020 7433 3848 stoneoflondon.com

Tel 0121 766 4200 samuel-heath.com

Tel 0844 800 1500 majesticshowers.com VAUGHAN

Tel 020 7349 4600 vaughandesigns.com

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114 THE ENGLISH HOME

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QUINTESSENTIALLY

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

PHOTOGRAPH © THE PICTURE PANTRY/ALAMY

NATURAL PERFECTION

Fingers in the soil, peas to pick, pop and shell, straight from the vine in English summertime. What delightful memories of childhood to relive each summer and share with little ones today. Peas are thought to be grown in English gardens since the seventeenth century, and Matthew Fort’s new column, overleaf, celebrates this humble but naturally sweet, versatile and nutritious summer vegetable amongst many others,

THE ENGLISH HOME 115

rt

FROM PATCH TO PLATE

Passionate about growing and cooking seasonal produce at his Cotswolds home, the renowned food writer and critic serves up the first of his delicious food columns

A

plump, rounded green pearl lies in the palm of my hand – the first pea of the season (Douce Provence if you must know).

This is a precious moment. I pop the green pearl into my mouth and crush it between tongue and palate. There is a gentle sweetness to its flavour, and a breezy grassiness and certain honeysuckle perfume and – well, there’s nothing quite like a pea that is picked, podded and eaten within about 20 seconds. It’s a different class of vegetable from your frozen pea or even the pea you buy in a greengrocer.

Not that I’ve got anything against a frozen pea. An admirable product in its way. The trouble is that its way is a narrow way. Frozen peas are monocultural. They all taste the same. That’s their point.

However, any determined domestic veg grower knows that different peas taste differently. There is a rainbow spectrum of pea flavours, flavours that begin to dim and change from the moment they’re picked, as the sweetness begins to turn to starch.

What is true of peas, is also true of all vegetables and fruits. My culinary and gastronomic life is a search for the bettertasting ingredient. My garden is small – three beds devoted to vegetables and one to fruit – but the pleasure I get from it is out of all proportion to its size.

Take potatoes, for example (another happy arrival at this time of year; Sharpe’s Express, in my case). Is there a vegetable more transformed and transformational than a potato, any potato, grown, dug, boiled or steamed, slathered in butter and eaten

within the hour? It is a different experience from even the most recherché potato bought in. It is a radiant tuber – nutty, floury and flowery, airy, elegant. It dances its way to the tummy. I can eat my potatoes on their own, but for the butter, and a dusting of salt, and be happy.

This cooking may all seem a bit rustic to you, a bit on the simple side, so let me be clear. I’m a home cook. I don’t believe in fancy. But I do believe in flavour, and flavour, in my view, starts with the seasons and freshness. If you have top-hole ingredients, why mess around with them?

I know we’ve enjoyed the harbingers of summer: sorrel, that most sparky and persistent of plants that you can use to sharpen up dull supermarket salad bags or team up with butter beans to make a soup; peppery radishes with unsalted butter and salt flakes; and rhubarb – as crumble lapped by a tide of double cream, fools, sauce (very good with mackerel) or mixed with orange, sugar, egg yolks and beaten egg whites to make a very refreshing pudding. But these are simply a preamble to the riches that start popping up in June.

This month, ingredients begin to hit their full stride. We can tuck into brand new beans (that I like to eat tiny, not bigger than the nail of my little finger, raw, dowsed in olive oil and mixed with flakes of Parmesan cheese), and butterhead lettuces, beetroot and turnips.

And don’t neglect the wild: sea trout from our rivers (still relatively sustainable, thank heavens); shimmering mackerel; elderflower heads (that make a very nifty fritter (see opposite)); and chanterelles (if you’re a proper forager). I’m rather partial, too, to the lively fresh flavour, not unlike celery, of the tips of ground elder leaves added to salads. Best of all, I don’t even have the worry of growing them.

ELDERFLOWER FRITTERS There is hardly a hedgerow in the land that isn’t lit up with the parasols of the heads of white elderflower. I suggest using a tempura-style batter for this. The elderflower is quite delicate and the lighter the batter the better.

INGREDIENTS 12 heads elderflower 100g plain flour 50g cornflour 175ml chilled fizzy water 1 egg yolk Vegetable oil Icing sugar or runny honey

METHOD • Mix the flours together in a bowl.

• Mix the fizzy water and egg yolk together.

• Add to the flour mixture, a bit at a time, until you have a thin batter. It doesn’t matter if there are a few small lumps.

• Heat the oil to 170°C and 180°C (335°F–350°F).

• Dip the heads of elderflower in the batter. Fry until the batter is crisp and lightly coloured.

• Drain on kitchen towel.

• Dip in icing sugar or honey.

• Munch away.

About Matthew Best known as a judge on BBC2’s Great British Menu, which is currently in its fifteenth series, Matthew is an awardwinning food writer and critic. He was the Food & Drink Editor of The Guardian for 15 years and is the author of four books.

PHOTOGRAPH P116 (PORTRAIT) GRANT SCOTT; JKA/SHUTTERSTOCK; P117 FRANK WEINERT/STOCKPHOTO

For a dessert with a difference, forage for elderflower then fry it in tempura batter and serve with a drizzle of orange blossom honey. Delicious.

THE ENGLISH HOME 117

THE SEASONAL HOME: r the home in glorious heir splendour to enjoy

S

ummer in full bloom is a glorious feast for the senses, a profusion of colourful flowers and an intoxicating aroma of heady scents wafting through the air. Choosing favourite flowers to bring into the home in joyous displays will cheer the soul, and adding flowers to a room somehow makes it complete. An organic, personal arrangement that can evolve through the season as colours, scents and shapes change gives the eye something new to focus on and a chance to unleash a little creativity. There are also lovely ways to preserve the beauty of this fleeting season to enjoy the rest of the year, which we explore on page 124 with deliciously scented roses.

Floral stylist Willow Crossley sees the summer season evolve through its changing colour palette. “We move on from the bright tulips of late spring, into the end of May. The start of June sees soft pastel tones emerge with spires of delphiniums, larkspur and garden roses – that typical cottage garden look that evokes those long hazy summer days – then things brighten up again with richer tones as we head into late summer and autumn with berries and wonderful dahlias.”

British flower grower and florist, Liz Fallon, owner of the Cotswold Posy Patch, echoes this sentiment, taking into consideration the ‘colour psychology’ associated with each season with what she decides to grow. “Early summer is traditionally white, pink and

118 THE ENGLISH HOME

purple and late summer is associated with hotter, brighter colours,” she says. “There’s definitely been a shift in the last decade away from strong, saturated, primary colours. White, green, blush pink, pale peach and muted (rather than pastel) shades are much more popular now, particularly in cut flowers for weddings.”

One of the early joys of summer are the first sweet peas, with their fleeting but delicious scent. A favourite of Fallon’s, she says they are “abundant and generous.

They are also very nostalgic – everyone has a tale to tell about someone they remember growing sweet peas.”

Fallon also notes snapdragons as a delight in June.

Delphiniums, lupins and peonies are also popular Moving into the heat of July, Fallon suggests achillea as “a brilliant filler flower in a lovely range of pastels and berry colours,” along with feverfew and scabious.

Crossley enthuses about scented garden roses and also passion flowers in particular “for fantastic foliage”.

Sunflowers, lavender and agapanthus are also at their best. August and into September sees statice (which is also wonderful dried), zinnias and hydrangeas bursting into life and dahlias are a lovely last hurrah of summer as we head into burnished autumnal tones.

With such an array of gorgeous blooms to choose from, over the next few pages, Crossley, Fallon and photographer and stylist Tamsyn Morgans suggest ways to display fresh summer flowers in the home.

ABOVE LEFT Blushing pink peonies are a summer favourite and look fabulous in an abundant display.

RIGHT Stylist Tamsyn Morgans suggests using flowers in a vignette with floral fabrics: “Collect beautiful vintage floral fabrics and botanical prints to be surrounded by flowers all year round.

Flea markets and vintage shops are great places to find fabric, especially vintage Sanderson fabric, with it’s glorious colours. Get creative by making cushions or even framing pieces to make a pretty gallery wall." Here, longstem roses have been used to complete the floral scene.

Display groups of different coloured roses together in a selection of vases or bottles for a simple yet effective vignette.

DISPLAYING AND ARRANGING FLOWERS Finding ways to display cut flowers in the home allows a creative outlet and a chance to bring a cheering focal point to a room, adding a burst of colour and wafts of sweet scent.

Crossley comments, “I play with flowers every day and have my favourites, of course, but my tastes also evolve over the years and I introduce flowers I previously disliked. I think it’s good to limit an arrangement to five to seven different varieties, with different shapes to create balance.”

Fallon agrees, “I make sure I choose flowers from three main shape categories – round (like dahlias, zinnias, cosmos, scabious, anemones, ranunculus), line or spike (snapdragons, foxgloves, larkspur and gladiolus), and spray or filler (like ammi, orlaya, achillea and feverfew). I also like to make sure I have a variety of textures included.”

Crossley says she works on instinct when it comes to choosing colours, but notes that lilac (both the flower and the colour in general) “is a good unifying, lifting colour throughout all seasons.” Fallon, meanwhile, is a fan of monochromatic palettes or those with a tightly considered colour scheme. “Choose flowers that contain two different colours to help bridge between the colours in other flowers,” she advises. “For example, say you wanted to put white and mid-pink flowers in an arrangement, I would look to include paler pink flowers in a similar range to bridge the gap.

Flowers with splashes of the darker colour on a paler background and those with picotee edges are also great as ‘bridging flowers’ and help pull the arrangement together creating harmony within it.”

120 THE ENGLISH HOME

In her book Flourish, Willow Crossley explores two ways to display lupins. Here, a crafted arrangement combines early summer flowers of sweet peas peonies, sweet william and assorted foliage with spires of pastel lupins.

BELOW A simpler but no less impactful display by Crossley.

She notes that the choice of bottles is as important as the flowers and that the dar background adds to the drama of the lupins.

‘June sees soft pastel tones emerge, that typical cottage garden look ... then things brighten up again with richer tones as we head into late summer’

ABOVE Tamsyn Morgans notes that “a home-grown dahlia in a jar is a simple but beautiful addition to a bedside table, this one is Café au Lait, a pale, creamy peach coloured bloom.”

LEFT Late-summer dahlias in burnished peach gently take the end of the season into an autumnal palette.

SINGLE BLOOMS Some flowers work well on their own, either en masse or as a single stem. “Peonies are wonderful – I love them by themselves,” says Crossley. Fallon also suggests summer flowers such as roses and dahlias can work well together, but her favourite is “sweet peas, we grown them by the cordon method which gives huge flower heads on long stems and they look and smell fantastic in a large bunch.”

Crossley advocates displaying a single stem of “an exquisitely formed flower” and to treat it like a specimen as it would be a shame to not give it the attention it deserves within a larger arrangement.

“Also, if you have limited quantities, it’s nicer to make lots of little bud vases down a table than one measly arrangement.”

Fallon recommends displaying a single focal flower in a vase or bottle with a narrow neck to support the stem. “A good rule of thumb when creating any arrangement is to make sure the overall height is one to one-and-a-half times the height of the container.

This creates balance and a good sense of proportion.

Clusters of bottles or bud vases containing a single flower or small cluster of flowers can look very pretty.”

Colourful and gorgeously scented, sweet peas are a welcome herald of summer.

THE ENGLISH HOME 121

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‘Pay attention to whether the flowers are warm or cool toned.

I tend not to mix the two, preferring an all-cool or allwarm arrangement’ This summer flower hand tied bou uet by iz allon at The otswold Posy Patch would ma e a beautiful gift or display in a ase. ull of different shapes and te tures it is united through a pin palette with hints of lilac.

To replicate arrange stems in a spiral and tie with twine or raffia. The flowers included are Zinnia uminosa Celosia argentea lamingo eather tatice Limoneum sinuatum) lue i er Alstroemeria Pin ensation and Tessa Helichrysum bracteatum il ery ose Cosmos bipinnatus ouble lic Limonium latifolium; Amaranthus cruentus el et urtains and weet illiam lectron .

LEFT anging a floral wreath on the door can spread cheer throughout the year to passers by. hoose a seasonally appropriate flower la ender wor s particularly well in summer and emits a wonderful scent too. se small tied bundles of fresh la ender and fi o erlapping in a circle on a wire frame or twisted ine. The la ender will dry o er time and last for months to come.

RECOMMENDED RESOURCES The following books and websites are good resources to get creative with flowers at home.

Willow Crossley has a number of books but Flourish is a favourite, full of gorgeous arrangements for every season, including the lupin arrangements on page 120.

Grow Your Own Botanicals by Cinead McTernan features tips on growing flowers and other plants, and ideas on ways to use them for homemade drinks and remedies.

See overleaf for ideas on rose-based culinary and beauty products.

The Cotswold Posy Patch grows and supplies cut flowers to the floristry trade, but also sells to the public (based on weekly availability). Its seasonal workshops are currently curtailed. Check cotswoldposypatch.com for when they will be available to book again. The company is also part of a network of British flower growers. Visit Flowers from the Farm (flowersfromthefarm.co.uk) for details of local growers and suppliers.  THE ENGLISH HOME 123

PRESERVE THE SEASON Roses are popular summer flowers for their heady, irresistible scent and tender, blowsy blooms. In myriad shades – from whites and palest pastels through to yellows, oranges and deep reds and fuchsias – roses can be used and enjoyed long after the summer is over for culinary purposes, in beauty products or as pot pourri in a decorative bowl.

Gardening expert and author of Grow Your Own Botanicals, Cinead McTernan reveals a few ways to prolong the joy of having these gloriously scented blooms in the home.

ROSE TEA Dried rose petals can be used to make tea – simply add hot water and allow to infuse before straining.

ROSE VINEGAR Fresh rose petals can be used to infuse white wine or apple cider vinegar. Put two cups of fresh rose petals and one litre of white wine or cider vinegar in a sterilised jar and let it infuse for a month in a cool, dark place. Strain the mixture and transfer to sterilised bottles. The rose vinegar will keep for one year.

Drying rose petals: Lay them on a screen in the shade (direct sun will make them fade) and leave outdoors to dry. Store the petals in a glass jar out of direct light

ABOVE Tamsyn Morgans uses rose petals and lavender for a heady, scented soap, using soap base which is easily available online and in craft shops. Simply melt and pour into moulds – small vintage pattisserie tins make lovely moulds. Add a favourite aromatherapy oil (check the correct temperature your melted soap needs to be before adding your oil, it must not be too hot), and decorate with lavender and rose petals.

Tip: Rose petals will go brown if submerged within the soap, so instead scatter them on top when the soap is nearly set.

124 THE ENGLISH HOME

RIGHT Pot pourri is a simple way to use dried rose petals, displayed in a large bowl or vase. As well as prolonging the summer season, it can be a way of preser ing flowers from a special occasion such as a wedding.

FEATURE KATY MCLEAN PHOTOGRAPHS P118 © DAIGA-ELLABY/UNSPLASH; P119 © TAMSYN MORGANS; P120 © TAMSYN MORGANS; LUPINS FROM FLOURISH, KYLE BOOKS PHOTOGRAPHY BY EMMA MITCHELL; P121 © SARAH GARDNER; © TAMSYN MORGANS; © DORLING KINDERSLEY LTD / ALAMY STOCK PHOTO; P123 POSY BY COTSWOLD POSY PATCH; © ANNA-MARI WEST/SHUTTERSTOCK; P124 © POS, RUUD/LIVING4MEDIA ; © TAMSYN MORGANS; © STEVE CORDORY/SHUTTERSTOCK

REJUVENATING ROSEWATER Put one cup of rose petals into a glass jar and pack down, then cover with two cups of boiling water and let steep until the water is cool. Strain the mixture, squeezing the petals to extract all the liquid. Store the rosewater in an airtight jar in the refrigerator for up to two weeks.

REFRESHING ROSE TONER In a bowl, mix together 175ml witchhazel and six drops of glycerine to 250ml rosewater. Store in an airtight jar in the refrigerator for up to two weeks.

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lthough I’d heard of the Bloomsbury Group, it wasn’t until I designed Charlotte Street Hotel in 2000 that I discovered Vanessa Bell, Virginia Woolf’s sister. She has always been a hidden star.

Whilst researching at the V&A, I became particularly interested in her early work; in the 1910s Vanessa was influenced by Picasso and Matisse. I visited Charleston, her East Sussex home, and loved her freehand paintings. She had a distinctive colour palette, bold but not bright, which works so well in an English light. At Charlotte Street Hotel, I’ve used similar tones in the Library and Drawing Room, echoing The Bloomsbury Group’s dusky blues, artichoke greens, damask rose, burnt orange and aubergine.

Vanessa was co-director of artist Roger Fry’s Omega Workshops – artists and craftsmen who created artefacts for the home – and she translated fine art into everyday objects. I admire this aesthetic and find her freedom of expression deeply inspiring. Her work was whimsical and eccentric; she looked at everything in an ‘altered way’. Equally in my designs, I like there to be a question mark throughout.

I didn’t want Charlotte Street Hotel to be a pastiche of Bloomsbury style. Instead, it is a living artwork. There is a painting by Roger Fry in the Library, and in the Drawing Room there is art by Vanessa and curtain fabric designed by painter Duncan Grant, her close friend. I admire Vanessa’s fortitude: she survived two world wars and offered calm in a stormy time for Virginia, who suffered depression. Vanessa would have enjoyed sitting in the Library taking tea and cake. She was a serious artist with sensitivity and humanity. We could have had a really good conversation.”

130 THE ENGLISH HOME

ABOVE The Studio at Charleston features a fireplace hand-painted by Duncan Grant and stove tiles painted by Vanessa Bell. “The Bloomsbury Group truly loved colour.

It is a totally unique colour palette that can be moody and uplifting,” says Kemp.

RIGHT Vanessa Bell trained as a painter at the Royal Academy; she also designed ceramics, textiles, and book jackets for the Hogarth Press.

BELOW The colours in Queen Mary, the 1935 Duncan Grant-designed curtain fabric, are intense yet work with English light; it is available to buy from shop.charleston.org.uk Twin armchairs are upholstered in Vanessa Bloom by Edit (edit-group. com.au) to evoke the spirit of The Bloomsbury Group.

FEATURE JUDITH WILSON PHOTOGRAPHS (CHARLESTON STUDIO) © PENELOPE FEWSTER; (VANESSA BELL PORTRAIT) © CHARLESTON TRUST; (KIT KEMP PORTRAIT) © SIMON BROWN; (CHARLOTTE STREET HOTEL) © SIMON BROWN

Kit Kemp, co-owner and creative director of Firmdale Hotels, on artist and designer Vanessa Bell

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