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Life in colour

KELLY WEARSTLER

INTERIOR DESIGN MASTERCLASS

NEW WAYS TO WORK WITH JOYFUL SHADES

BOLD DESIGN & DECORATING

AN EXCLUSIVE LOOK INSIDE KIT KEMP’S LONDON HOME

CONFIDENT LOOKS FOR KITCHEN CABINETS

THE SECRET TO CLASSIC ENGLISH STYLE

INSPIRATION FOR VIBRANT PLANTING, WHATEVER THE SEASON

STANDOUT FABRIC AND WALLPAPER IDEAS

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OBJECTS OF DESIRE New design must-haves, from lighting to furniture SMART FINDS Wise buys with impact THE AUGUST EDIT Our pick of fabulous new furniture and accessories for indoors and out PASSION FOR PATTERN Fabrics with fabulously bold graphics THE SUSTAINABLE HOME Sebastian Cox gets under the skin of eco paint NAME TO KNOW Florence Saumarez shares the magical process used to create her unique hand-marbled papers TOP TABLES Colourful pieces designed to catch the eye BOWLED OVER Spread some cheer with snazzy serveware IN THE SHADE Dazzling lampshades that will liven up any spot BEHIND THE DESIGN Expert advice on shopping for lampshades

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FAR FROM THE MADDING CROWD The indoor-outdoor feel in this South African farmhouse perfectly captures the property’s peaceful surroundings DEPTH OF CHARACTER Interior design maven Kit Kemp’s passions – from folk art to the Bloomsbury Set – inform the decor in her London home PURE ALCHEMY Vibrant jewel hues have breathed new life into a previously bland Edinburgh townhouse revamped by interior designer Jessica Buckley THE PASSAGE OF TIME Wes Gordon and Paul Arnhold’s New York city apartment mixes influences from the past and present

DESIGN IDEAS 38 50 52

COLOUR ON COLOUR Decorating with a rich palette and pops of pure joy HARMONIOUS HUES Expert views on how to pair colours to perfection INSPIRED DECORATION A guide to using fabrics, wallpapers and textiles to create personality-packed spaces

COVER PHOTOGRAPH SIMON BROWN

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60 COLOUR OF THE MONTH The appeal 63

of earthy pink and how to use this tone THE ART OF INTERIOR DESIGN Advice from Kelly Wearstler

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TWO-TONE STYLE Combine colours for added impact on kitchen cabinets STORE AND ORDER Stylish bathroom storage solutions

66 THE BRIT LOOK Ros Byam Shaw’s LIFESTYLE

new book explores classic English style

147 GARDENS 101 IN SEASON THIS MONTH Chic dahlias 103 SIMPLE PLEASURES: A FLORAL

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WREATH Make a fresh flower decoration MY GARDEN LIFE Landscape architect Tommaso del Buono shares his secrets BEYOND THE PINES Soaring trees give this sloping plot year-round structure JARDIN DES PARFUMS Christian Dior’s garden at the Château de La Colle Noire BRING BEAUTIFUL COLOUR TO YOU PLANTING Professional tips for elegant displays

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KITCHENS & BATHROOMS 125 NEWS The latest products and designs 130 HOW TO… PLAN A WET ROOM

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WE LOVE A stunning Italian castle turned into a dreamlike hotel THE COUNTRY FILES Suzie de Rohan Willner’s favourite spots in Oxfordshire LA DOLCE VITA Sweet treat recipes from Italy courtesy of Letitia Clark THE BEACH BECKONS Five hotspots luring househunters to the coast WHAT HOME MEANS TO ME Tennis player Andy Murray

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EDITOR’S LETTER THE RETURN OF REAL INSPIRATION

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TO SUBSCRIBE Subscribe for £42.99 and save 30%. Visit homesandgardenssubs.com/aug21 and quote code BJ25 DIGITAL EDITIONS AND PAST ISSUES These can be downloaded at homesandgardenssubs.com/digital or order print editions at homesandgardenssubs/backissue

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In case our exuberant front cover – featuring interior designer Kit Kemp’s extraordinary kitchen – isn’t enough of a clue (see p72 for an exclusive peek at more of her London townhouse), this issue is a celebration of colour. Here at H&G we are already colour converts, but if you are looking for decor inspiration – and if you have an eye for trends –know that interiors experts foresee bolder schemes becoming a feature in more of our homes from now on, thanks to the dark, dark year we have all just endured. So, let us enliven your interiors with our beautiful colour on colour decorating feature (p38); with imaginative ways to use striking fabrics and wallpapers (p52); with design maven Kelly Wearstler’s sage advice (p63); with – fittingly – our look at the latest colour-confident kitchens

PHOTOGRAPH IZABELA SMITH FABRIC HAMILTON EMBROIDERY IN MULTI ON CREAM, £207M, THIBAUT

(p134); and with stunning ways to add brilliance to your garden (p121), plus a tour of the outstanding Dior garden (p114). I also talk to some of the world’s greatest design and colour experts to get their advice and trend predictions for colour pairings into 2022 (p50). Bring on those brighter days …

LUCY SEARLE, GLOBAL EDITOR IN CHIEF

F OL L OW US ON Instagram @homesandgardensuk We’ve introduced a subscriber cover (above bottom) – a lighter-on-words version so you can fully enjoy the imagery. Turn to page 98 to subscribe.

Twitter @homesandgardens Facebook @homesandgardens Pinterest @homesgardensuk

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EDITORIAL ENQUIRIES 161 Marsh Wall, London E14 9AP homesandgardens@futurenet.com

Editorial Director Sarah Spiteri Global Editor in Chief Lucy Searle Group Creative Director Emma Williams Group Chief Sub-Editor Jennifer Spaeth Content & Product Development Director Michael Holmes Homes Content Team Editorial Director Rhoda Parry Houses Editor Vivienne Ayers Interiors Editor Emma Thomas Associate Editor Busola Evans News & Shopping Editors Jo Bailey and Rohini Wahi News & Features Editor Thea Babington-Stitt Gardens Editor Teresa Conway Food Director Elisa Roche Food Editor Samuel Goldsmith Group Art Director Alison Walter Art Editor Meredith Davies Head of Subs Operations Maxine Clarke Hub Chief Sub-Editor Carly Rigley Senior Sub-Editors Marian McNamara and Karen Wiley Head of Art Production Nicola Tillman Art Production Designers Chris Saggers and Phil Dunk Group Production Manager Matt Eglinton Production Manager John Botten Senior Ad Production Manager Jo Crosby Advertisement Copy and Make-up Barry Skinner

SUBSCRIPTIONS

ONLINE THIS MONTH COLOUR SCHEMING Find the perfect palette for every room STORAGE SOLUTIONS Stylish ways to organise your home INTERIOR TRENDS The latest looks and collections GARDEN IDEAS From landscaping to outdoor living

PHOTOGRAPHS (CLOCKWISE FROM TOP LEFT) POLLY WREFORD; JON DAY; DAN BALDWIN; EMMA LEE

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OBJECTS OF DESIRE FEATURE JO BAILEY

B e a u t i f u l p i e c e s w e ’r e c h a m p i o n i n g t h i s m o n t h 1. Can be covered in fabrics or leather Livrette chair, price on request, Federica Biasi for Gallotti&Radice 2. Fabric from a new talent Crinkle fabric in Olive & Light Blue, £130m, Jessica Osborne at The Fabric Collective 3. Celebration of craftsmanship Fosbury table, £1,951.20, Vaughan 4. Entertaining essential Poséidon tray, £78, Irène Rohr for Pierre Frey 5. For high-style lounging Sherazade sofa, price on request, Francesco Binfaré for Edra 6. Home bar beauty Rainbow lacquered ice bucket, £285, Matilda Goad 7. Big on brass Curtis table lamp, £2,400, Paolo Moschino for Nicholas Haslam &

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SMART FINDS Wise buys to snap up now 1. Reproduced from rare coral engravings 18th-century coral framed prints, £100 each, Petri Prints 2. Handwoven so each one is unique Jute cross rug, from £365, Nordic Knots 3. Stunning fluting Kaskad lamp, £345, Schneid Studio 4. Statement shelving in the material of the moment Rattan bookshelf, £195, Habitat 5. Chic curves Small terracotta scalloped pot, £17.50, Sarah Raven 6. Comfort and style Saffron stripe upholstered bar stool, £595, Susie Watson Designs &

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FEATURE JO BAILEY PHOTOGRAPHS (POT) JONATHAN BUCKLEY (SARAHRAVEN.COM)

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T H E AUGUST E DI T

THE CRAFTED PIECE Handmade by the Yoruba artisans of Nigeria, this lounge chair has been embellished with thousands of tiny glass beads applied to fabric covers that are then stitched onto the frame.

Taking up to 14 weeks to complete, each piece is a functional work of art, designed to be both sturdy and comfortable for everyday use – and no two are the same. Yoruba beaded chair, £2,200, Pentreath & Hall.

BRAND TO KNOW Founded by Robert Stephenson, Sedilia is a London-based company that designs and makes luxurious upholstered furniture. The soft curves of the Sennen sectional sofa are a testament to its ethos to create comfort with no compromise on style. Offered in a variety of configurations, the sofa can be tailored to specific sizes and orientations. Price on request.

FEATURE JO BAILEY

OFF THE SHELF Artist Lora Avedian uses traditional embroidery to make modern artefacts. In Stitch in Bloom (£15, Hardie Grant), she explores the art of couching, a technique used to adorn fabrics.

Focusing on British flowers, this book shows how to create a variety of projects that emphasise the joys of stitching by hand.

SPLASH OF PATTERN Nothing transcends through the seasons quite so seamlessly as the trusty stripe. Summerill & Bishop has been reminiscing about Mediterranean escapes with the launch of its table linen in summery shades of Blue, Green, Yellow and Pink. Stripe linen napkins, £25 each; tablecloths, from £275.

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NEW LOOK The Fin lamp marks a different style direction for Original BTC as it combines its trademark bone china with a large drum shade. The base is made using a slip-cast that reveals an elegant ribbed design, while the ivory linen shade casts a soft, diffused light. The elegant piece is available in two sizes, king and queen, from £449.

HERO COLLECTION Portobello from GP&J Baker is a quietly elegant fabric collection that conjures the understated luxury of country house interiors with their softly worn textiles and fading grandeur. Found in the firm’s archives, the designs reference rare Indian textiles and depict botanical prints in washed shades of blue, indigo and red. Among the 13 block prints and nine embroideries is Winchelsea (shown) in Red/Blue, £139m.

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SEEN ON INSTAGR A M @g e n e v i e v e d e s i g n Tell us about yourself. I’m a designer and creative director based in London. I recently took on the role of head of design for Liberty Interiors.

We design and make fabrics and wallpapers for contemporary interiors – archival Liberty prints are reinterpreted and reworked, and mixed with new designs created in our London studio.

Describe your Instagram account. I believe in producing work that is distinctive, precious and long-lasting, and I try to convey this. I love to mix colour, pattern and tactile surface with research into historic decorative arts to create modern heritage pieces. I also love experimentation and I like to show the journey of a textile.

What is your account’s USP? I put a special focus on surface and process: lustre and matt are balanced with line and tone, colour and hue, to create a variety of effects. I’m interested in how patterns can become bold centrepieces or quieter moments for a wide range of interiors.

Which accounts would you recommend we follow? @collagerie is a brilliantly curated selection of fashion, interiors and lifestyle across all prices and everything is spot on; @publicdomainrev, an amazing archive of weird and wonderful objects and illustrations from 500 years ago to now; and @derekjwilson, for incredible ceramic sculpture and vessels.

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THE SHAPE OF THINGS Continuing its collaboration with internationally renowned designer Michael Young, Christopher Farr launches Tessellation, £950, a striking hand-tufted rug. Experimenting with Voronoi patterns and inspired by motifs found in nature,

STANDOUT STORAGE Behold an exciting new concept from Neville Johnson: fitted furniture with a textured concrete finish.

It’s a chic move from the storage brand. Created for a contemporary living space, the design shown incorporates clever storage solutions as well as a hidden media centre. Concrete Lounge fitted furniture, from £3,600, Neville Johnson.

FOR OUTSIDE AND IN

Young plays with shape and form to create this original piece. Since spotting this design, we’ve noticed a vogue for unusually shaped rugs. It’s all about interesting edges right now.

TRENDING IN TILES The fine folk at Claybrook have produced a range of tiles based on traditional Moroccan Zellige designs.

After a trip to Moulay Yacoub, north of Fez, the team felt inspired to design a collection of machine-made tiles that offer the same inherent charm and variation of tone. Shown are Moulay Spa tiles, £54.72sq m.

Any well-designed outdoor table is both attractive and practical, but ideally you can source a piece that is elegant enough to use inside for year-round value. Bridgman’s Henley dining table, £3,699, features an attractive top made from ceramic slate with gently tapered aluminium legs – suitably stylish for a kitchen or dining room yet robust enough for a garden or patio.

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GA RDE N U PDAT E Chic outdoor cushions (From top) Garden Layers, £195, Patricia Urquiola for Gan at Made in Design; Desert in Sugar Kelp, £49, Ferm Living; Padua in Cobalt, £55, Designers Guild; Evie in Burnt Sienna, £80, Neptune; Reef in Lava, £70, Andrew Martin. &

HOT RIGHT NOW This alluring Galio round gas fire pit is fully automated, ensuring the utmost ease when it comes to outdoor heating. The Corten steel casing has a beautiful rusty appearance, subtly mixing modern technology with a more traditional aesthetic, which is further enhanced by the optional glass cylinder. Galio fire pit, £1,980; glass cylinder, £385, Planika UK.

STAYCATION IN STYLE Opening the doors to some of London’s most extraordinary homes for short rentals, Domus Stay offers the best of residential living with the quality of a five-star hotel. Located in the most desirable neighbourhoods, the properties have been hand-picked for their architecture or unique design by luminaries such as Sir David Chipperfield and Fran Hickman.

This one-bedroom apartment on Great Titchfield Street, Fitzrovia, costs from £350 per night.

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THE RETURN OF REAL INSPIRATION Join Livingetc for House Tours Live in London’s Primrose Hill and see six beautiful real homes LIVINGETC House Tours Live is an innovative event that

ESSENTIAL INFO

opens the doors to inspiring houses and amazing schemes.

A brilliant day out, it offers the chance to get up close with fresh design ideas, to see how paint colours look in real

Livingetc House Tours Live Primrose Hill takes place on 9 and 10 September, 10am-4pm.

Q Each ticket costs £50, including access to

rooms, meet the creative team behind the most original interiors magazine and take notes on ideas to try yourself.

This September’s event is in London’s Primrose Hill, once home to the cream of British rock and roll and now full of beautiful interiors. All six properties are within walking

six homes and the House Tours hub, where you can refuel and meet the editorial team.

Q EARLY BIRD TICKETS Early bird tickets are just £39 each, available for a limited time only.

HOUSE TOURS LIVE

BOOK ONLINE Don’t miss out, go to livingetcevents.com/housetours 22 H O M E S A N D G A R D E N S . C O M

PHOTOGRAPHS (CLOCKWISE FROM FAR LEFT) PHILIP VILE; ANDREW BEASLEY/FUTURECONTENTHUB.COM; VIGO JANSONS

distance, so you can view them at your leisure and enjoy a coffee or lunch in the buzzy neighbourhood. You’ll be outside for much of the day, and we’ve taken precautions to ensure the event will be Covid secure, socially distanced and safe.

Q

PA S S IO N F OR PA T T E R N

FEATURE JO BAILEY

D o n’ t b e s h y – f a b r i c s w i t h u p s c a l e d g r a p h i c s a r e t r u l y f a b u l o u s (Top row from left) Hamilton embroidery in Multi on Cream, £207m, Thibaut Susulu in Multi, £151m, Black Edition Moonstone in Raspberry, £116m, No.9 Thompson at Fox Linton (Middle row from left) L.A. Sunset in Pool, £74.90m, Linwood Les Mouettes in Chaux, £243m, Pierre Frey Obsession in LI88540, £220lin m, Élitis at Abbott + Boyd (Bottom row from left) Mahlangu in Ocre/Nude, £145.90m, Casamance Transverse in Ink, £75m, Harlequin at Sanderson Design Group Luna in Multi, £65m, Jane Churchill at Colefax and Fowler &

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THE SUSTAINABLE HOME Desig ner Seba st ian Cox char t s the renovat ion of his home, one inspir ing and innovat ively eco -f r iend ly idea at a t ime

M

y nerves peaked as I Zoomed in to Edward Bulmer’s office; after

years of giving interviews, this time I was the interviewer. It’s more pressure, especially with someone you admire. Edward has a mission to change the paint industry, and I don’t want to hold him up.

Before buying a house, paint was low on my list of eco concerns. I thought, it’s only a thin layer of material which has, surely, a small impact. But when you scale it up, it matters – and with 703 million litres of paint sold in the UK in 2019, it needed scrutiny.

are many low-VOC paints on the market, but few are derived from entirely natural sources – Edward’s are.

He explained that industrially produced paint began as a by-product of the refining of fossil fuels. In recent decades, these oil-based paints were replaced by high-performing emulsions of plastic suspended in water. Making paint water based seems a good step forward, but using only naturally derived ingredients (maize starch, beech tree cellulose and earth pigments, as examples) is, so far, a leap only pioneers are taking.

When Brogan levered open our Edward Bulmer tins, what struck us both was the lack of smell. As she began to roller it on, there remained no fragrance and we began to question the product’s durability… there must be a catch, we thought. I’ll report back on that once our toddler has had a year to test it.

So what should our priorities be when examining paint and sustainability? Certainly VOCs are a concern, and paint companies across the board have lowered these at an impressive pace since a legal requirement to publish VOC content on the tin was imposed in 2012. I believe Little Greene, Farrow & Ball, Earthborn, Eicó and Edward Bulmer all perform well here. I also believe we should be moving away

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from materials derived from fossil resources where natural alternatives exist. We should also be concerned about what happens when we wash our brushes – anything that contains acrylic or other plastics puts tiny plastic molecules into our water system. Edward’s paints omit fossil-derived acrylic, so became my first choice along with lime paints such as Bauwerk and Graphenstone, which we will try elsewhere in our house.

Finally, there’s the impact of production. Farrow & Ball seems to be a larger brand striving for lower impact, recycling 100% of its dry and 97% of its liquid waste and has an on-site water treatment facility, but Eicó, who runs its factory on geothermal energy, seems unbeatable here, although its product is made in Iceland and is 100% acrylic, leaving you to pick your environmental priorities. While it’s a burden to decide, it’s exciting to see smaller players leading change.

The brands that really stand out to me are those who publish their ingredients on the tin and those with high accreditation from recognisable bodies. Perhaps, as always, lowering our consumption is the best place to start when thinking about sustainability. Picking colours that last, responding to a space, its aspect and use, might be the greatest impact you can have. &

PHOTOGRAPH ALUN CALLENDER/FUTURECONTENTHUB.COM

I discovered Edward Bulmer when on the panel for this magazine’s Awards, and I’m grateful I did. Only months later my wife, Brogan, pregnant with our second baby, would be painting the ground floor of our house and, thanks to that discovery, not breathing excessive Volatile Organic Compounds (VOCs), which can compromise the health of unborn babies. There

Working in her Bath studio, Florence makes colourful hand-marbled papers, beautiful lampshades and unique paperweights

NA ME TO K NOW Desig ner Florence Saumarez – who is using trad it ional techniques to breathe new life into the endangered craf t of marbling and specialises in hand made papers and products at her Bath-ba sed desig n f irm Inq

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N EWS

Tell us about your background.

I have a degree in architecture, which gave me some fantastic training in aspirational thinking. Strangely, I emerged knowing very little about how to construct a building but a good deal about design and concept development. Since then, I’ve been a maker of one sort or another.

Where do you seek inspiration?

Aside from the bottomless pond of colour and beauty that is Instagram, I

WILL BE RETURNING, ALONGSIDE SCREENPRINTED DESIGNS. THERE IS NO SHORTAGE OF IDEAS, JUST A SHORTAGE OF DAYS” guillotine, foil press and tools. At the end of the room is a double plans chest, where I keep my marbled papers and make up my shades.

scheming – so there is no shortage of ideas, just a shortage of days.

What’s a typical day like for you?

Any advice for people who want to pursue a career as a designer?

I’d recommend not taking business

don’t consciously look for inspiration, although going anywhere with an eager eye will always be rewarding.

My weeks are lacking in routine at the moment as I’m dividing my time between my work for 8 Holland

advice from me! I simply do what I enjoy and thankfully the things I make are appreciated, but I don’t think that

Often a piece of clothing or a painting will make me want to experiment with new colour palettes, or I will see something incorrectly out of the corner of my eye and it will give me an idea for something entirely different.

Street in Bath, developing products for Inq, building our new home from a barn, and a bit of parenting on the side! I’m in a busy phase of life, but I’m dreaming of the highly efficient routine that one day will be mine!

adds up to much of a business plan.

What techniques, materials and equipment do you use?

I use largely the same materials that have been employed in marbling for hundreds of years. I flick droplets of paint into a metal tank containing carrageen fluid. The carrageen comes from an Irish seaweed and when diluted forms a thin gel that holds the paint on the surface. I manipulate the paint into patterns and lay paper on the surface of the tank to capture the print. It is quite magical and every piece produced is unique.

What’s been the biggest success story of your business so far?

That’s hard to answer as I feel I’m still on the starting line. I’ve enjoyed some wonderful collaborations and licensing projects, and my paperweights are about to be stocked in Liberty, which is a great honour.

study architecture. I’m enjoying my career and by my bed is a stack of books on neurosurgery and pathology, so I live my other life vicariously. & ■ @inq.ink | inq.ink

Can you describe your studio?

My studio is in a little mews building in the centre of Bath, about a four-

FEATURE JO BAILEY

“THIS YEAR, MY MARBLED LAMPSHADES

minute walk from my front door. One side of it is wet and splattered with paint; my tank, spray booth, hanging rail and pots of colours are along this wall. The other side is dry and clean and here I store my blank papers,

And the most challenging aspect?

My biggest struggle as a creative business person is that I’m a people pleaser. This is not pleasing to me at all. I allow myself to be steered off course in order to meet others’ wishes; I need to work on sticking to my path.

What’s in the pipeline for this year?

Projects involving digitally printed marbled wallpaper along with plaster lamps and mirrors. My marbled lampshade range will be returning alongside bold screen-printed designs. I’m always plotting and

Did you have a career plan B? Being a designer is my plan B. I wanted to train in medicine but my parents were against it and in a weak moment, I relented and applied to

LITTLE BLACK BOOK MUSÉE DU PARFUM, PARIS I stumbled across this by accident and the memories of that experience have given me pleasure for years.

INSTAGRAM @BATHMUMS Not just for mums. Its author, Shaks, is a journalist with fingers in all the Bath pies you might want to know about.

PERSEPHONE BOOKS Just opened, this is owned and run by Fran who everyone will want as their friend! What a joy it is that Bath has three independent bookshops now.

THE SPOOKY MEN’S CHORALE I am longing for this beautiful and hilarious Australian male voice choir to tour the UK again. It is hard to translate the experience into words.

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EXTERIOR At the heart of the working fruit farm, the farmhouse and gardens nestle among centuries-old oak trees.

FAR FROM THE MADDING CROWD Surrounded by sun-dappled orchards, this idyllic farmhouse celebrates nature both indoors and out WORDS AND STYLING MARTIN JACOBS PHOTOGRAPHY KARL ROGERS

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H OUSE S

ENTRANCE HALL A thread of nostalgia runs through the decor. Here, old copper kitchenware increases the charm. The artwork was painted by a friend.

Willow wallpaper by Morris & Co. For a similar rug, try the Fine Sultanabad, Rugs of Petworth

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HO US ES EXTERIOR A rill leads from the farmhouse to the jetty.

Regularly used by the family for early morning and post-school swims, the dam and jetty are surrounded by orchards, willow trees and dense plantings of agapanthus

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VERANDA With its rietdak (reeds) ceiling and fabrics in tones of green that mirror the garden beyond, this space is a true homage to nature.

Armchair in Roslyn by Sanderson. Try Design Vintage for rattan tables.

Anthropologie’s Rara jute pendant light is similar

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SITTING ROOM Relaxed elegance defines this space with its faded blues, dusty fawns, loose upholstery and crafted and rustic pieces.

Bennison’s Cherry Tree in Blue on Oyster is a similar sofa fabric

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H OUSE S

L

ife on Margot and James Gilfillan’s farm could not be more idyllic.

Whether they are relaxing on sofas before a crackling fire, gathering around the huge marble-topped table in the family kitchen or strolling through sun-dappled orchards, there seems little to separate the inside and out.

to life. ‘My garden is important to me,’ says Margot, ‘so the house has a disproportionate number of windows to make the most of its views.’ Planting closest to the house includes a lawn fringed with delicate grasses and flowers. The main suite leads onto a wilder, grassy meadow. This wildness intensifies as the garden steps down to a pool level, and once more

Daily living for the couple and their three daughters weaves through the home’s many French doors, framing domestic scenes set against a backdrop of

to dam level planted with shrubs and agapanthus.

Indoors, floral heritage patterns reference the landscape beyond. ‘I’m a huge fan of Sanderson,

floral patterns that welcome the outdoors in, while the abundant greenery beckons the family out. There hasn’t always been such a relaxed flow: disconnected rooms, low ceilings, a dark kitchen and small windows once defined the original homestead. It is testimony to the couple’s renovations and Margot’s thoughtful decorating that life on the farm now

Colefax and Fowler and Bennison fabrics, and used my gut-feel when choosing designs,’ she says. ‘These are in greens, pinks, faded blues and soft reds, always against cream backgrounds. I love floppy, loose covers for sofas and chairs, so I splurged on fabrics for these.’

Margot’s love of traditional decorating, coupled with nostalgia for her maternal grandmother’s

embraces its surroundings so comfortably.

The family settled in the Elgin Valley – South Africa’s ‘apple country’ – in 2014, and renovating the house began in earnest. Margot’s vision was to prioritise comfort and practicality. Plans included generous spaces that flowed seamlessly onto a veranda. ‘I wanted to make the most of the views, bringing lots of light in,’ she says. Comfort was necessary, so six open fireplaces were built and underfloor heating installed to provide warmth in the winter. A new wing was designed to house a main suite, three en-suite bedrooms for the girls, a television room, and his and hers home offices, all connected to the original structure with a wide, high-ceilinged passageway, complete with skylights.

Margot tasked landscape designer Franchesca Watson with bringing her ideals of a romantic garden

English farmhouse, served as inspiration when it came to furnishing the rooms. ‘I just adore old things and furniture that reminds me of days gone by.’

Margot’s love of collecting is apparent, too. ‘Nothing is more rewarding than finding unloved gems and restoring them,’ she says of the second-hand cupboards and tables that house her treasures.

Life on the farm is free-range, the family’s lifestyle shaped by the seasons. In summer, the Gilfillans share their pool with frogs, all seeking respite from the heat. During harvesting, dogs charge through open doors chasing apple-laden tractors. ‘I am acutely sensitive to my surroundings, harnessing energy from my home,’ says Margot, as she surveys the nearby horses from her favourite veranda sofa.

‘It’s my environment that keeps my mood in check.’ &

“NOTHING IS MORE REWARDING THAN FINDING UNLOVED GEMS AND RESTORING THEM”

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HO US ES KITCHEN Painted tiles highlight the hearth, while bookcases inform the room’s unique character.

The Saigon Mix tiles at Porcelain Superstore are a good alternative. Bespoke pendant light by Pieter van Dijk Studios; for similar, try 1stDibs

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HO US ES DAUGHTER’S BEDROOM Margot’s love of English country decorating inspired this scheme.

Aesops Fables wallpaper, Sanderson; the curtains and mosquito net trim are in the same pattern. For a similar four-poster, try the Wardley bed in Dove Grey from Neptune

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MAIN BATHROOM ‘I wanted this to feel like a room, not a utility area,’ says Margot of this space, which opens onto a grassy meadow.

Copper bath, London Encaustic. Try Sweetpea & Willow for a double-ended chaise longue. Similar mirror, Graham and Green

EXTERIOR Varietals of both apples and pears are cultivated on the farm. Mostly for export, these are harvested in late summer when the branches hang heavy with fruit

MEET THE HOMEOWNER

Margot Gilfillan shares her inspiration

BIGGEST INDULGENCE

My curtain fabrics.

GREATEST SUCCESS The veranda.

SMALL CHANGE, BIG IMPACT

Moving a window to create a better view.

FAVOURITE BUILDING Anything that

looks like an old-world cottage in the Cotswolds.

DESIGN/DECORATING HERO

I don’t have one, but maybe Nicholas Haslam, Robert Kime and Ben Pentreath.

AN OBJECT/PRIZED POSSESSION YOU WILL NEVER PART WITH

My sewing machine.

PASSAGE This generously proportioned walkway wraps around the original homestead to connect it with the newly built wing.

For similar handmade terracotta floor tiles, try Fired Earth

BEST GIFT YOU HAVE GIVEN SOMEONE A porcelain tea set.

WHAT’S ON YOUR COFFEE TABLE A genuine tortoise shell found by myself, candles and photo albums.

WORDS TO LIVE BY If it’s not useful or

beautiful, get rid of it.

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Colour on colour This summer is all about the br ig ht st uf f – f rom unex pected mi xes to br illiant pops of pure joy STYLING CLAUDIA BRYANT PHOTOGRAPHY POLLY WREFORD

START WITH THE ART This abstract painting inspired a harmonious room scheme of flaming reds and cobalt blues.

Wall in Etruria 326 absolute matt emulsion, £48.50 for 2.5ltr, Little Greene. Le Point de Rencontre au Fin d’automne by Caroline Denervaud, oil on canvas, £5,200, Otomys Contemporary. Silhouette bench in Portside Red, £2,193.32, Howe London. Patchwork cushion cover, £65, Toast. Large Papavera vase, £250, Oka. Blue kilim KL817 rug, £1,100, Larusi

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D ES IGN IDE A S

SERENE SCHEME Muted pink walls are a perfect backdrop for a rich palette – introduce crisp whites for breathing space.

Walls in Sulking Room Pink estate emulsion, £49.50 for 2.5ltr, Farrow & Ball. Soufflot armchair, from £1,736, Ligne Roset Westend. Cylinder side table, £1,700, Susie Atkinson. Jug, £125, Pentreath & Hall.

Turner Pocock Classic sofa, £6,480, plus 23m plain fabric, Lorfords Contemporary; covered in Conway Ecru, £67m, Designers Guild. Pink Flag cushion, £105, Fermoie. Cushion in Zig Zag, £139m, Virginia White Collection. Picasso cushion, £137, The Conran Shop. Stripe cushion, £45, Heal’s. Ikat cushion, £65, Pentreath & Hall. Mag side table, £495; coffee table, £595, both The Conran Shop.

Carafe, £75; tumblers, from £20, all Hadeda. Bibendum chair in Adamo & Eva Cayenne, £3,233, Aram Store. Collage, £1,550, Caroline Popham. Mirror, £1,600, Soane. Trafalgar lamp, £380; shade, £81, both Pooky. Framis rug, £1,600sq m, Mary Katrantzou for The Rug Company →

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CONFIDENT MOVES A hallway is ideal for bold colour and pattern. You can afford to be braver with a more intense shade such as this mustard in an area you’re passing through.

Wall in India Yellow estate emulsion, £49.50 for 2.5ltr, Farrow & Ball. Mercer sideboard, £1,750, Soho Home.

The Maharaja’s Dog framed print, £240, The Shop Floor Project. Avebury gourd table lamp in Teal, £352; Warwick 17in drum lampshade in Pale Cream Card, from £85, both Vaughan. Ceramic tray in Blue, £150, Summerill & Bishop. Ochre Yellow stoneware flower vase, £16.50, Madam Stoltz at Em Home.

Coral and Blue vase, from a selection, Sophie Alda Studio. Cone pot, £45, John Lewis & Partners.

Mattonelle Margherita glazed floor tiles in DMM-BLK 01, £159.35sq m, Mutina at Domus

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D ES IGN IDE A S

IN THE BALANCE The calming blue wall allows the richly coloured furniture, lighting and graphic artwork to pop.

Wall in De Nimes estate emulsion, £49.50 for 2.5ltr, Farrow & Ball.

Artwork by Al MacCuish (al@thesunshinecompany.com), commissions from £1,000. Linear dining table in Canary Yellow, £1,650, Jennifer Newman. Craftmaker’s chairs in Green and Black, from £950 each, Susie Atkinson. Banquette and small cushion in Array in Dark Indigo

by Makoto Kagoshima, £238.50m; Nomad cushion in Green by And Objects, £300; Lost and Found cushion in Indigo by Kit Kemp, £176.50, all Christopher Farr. Otton 3 Tier lampshade in Green, £95, Habitat. Tall Block Sgraffito vase, £150; Toulouse bowl in Petrolio, £130, both The Conran Shop. Tabor pot in Orange, £94, Amara →

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DE S IG N ID E AS

LAYER IT UP Colour-blocking on walls, softened by an embroidered fabric headboard, is a dynamic look for a bedroom.

Walls in Loft White absolute matt emulsion, £48.50 for 2.5ltr, Little Greene; and Dix Blue estate emulsion, £49.50 for 2.5ltr, Farrow & Ball. Breeze panel by Andrew Graves, £1,200, Wilson Stephens & Jones Gallery. Avery headboard, from £450; Avery divan base, from £950; Harewood mattress, £510, all Sofa.com.

Headboard in Alberto in Calisson; bolster in Alexander in Jaune, both £312m, Pierre Frey. Stonewashed linen double duvet cover, £159.99; pillowcases, £24.99 each, all LinenMe. Alba double bedspread in Celadon, €250, Caravane. Ilaria side table in Rust, £420, Ceraudo. Conrad lamp in Butterscotch, £792; Bongo shade, £276, both Porta Romana. Hand-blown glass, £26, Edition 94 &

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SHOPPING

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TOP TABLES

FEATURE JO BAILEY

Br ig ht , beaut if u l and any thing but standard-issue 1. So sophisticated Intermede cocktail table, £1,730, Maurizio Manzoni for Roche Bobois 2. A good armchair companion Nasty coffee table, £220, Sipa at Artemest 3. Beautiful in blue Woad coffee table, £2,165, Sebastian Cox 4. Stunning woven cane detailing and colour Lucia coffee table, £950, Ceraudo 5. Timeless style Ortis coffee table, £2,023, Gabriele & Oscar Buratti for Lema 6. Indoor or outdoor Mag coffee table, £595, Daniel Schofield for The Conran Shop 7. Gorgeous glossy finish Tray coffee table, £199, Hay 8. A fantastical design Hobe Sound coffee table, £2,252, Oomph at Nina Campbell 9. Think pink TS coffee table, £971, GamFratesi for Gubi at Nest &

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BOW LED OV ER 1. Hand-painted in Spain Coral, £55, Granada Ceramics at The Hambledon 2. A modern interpretation of English delftware tones Indigo Storm, £70, Faye Toogood for 1882 Ltd 3. Made in a studio that dates back 18 generations Italian Splatter Ware, £60, Montes & Clark 4. The ultimate fruit bowl Melon, £71, Bordallo Pinheiro at Amara 5. Bold and sleek Toulouse, £250, Laboratorio Castello at The Conran Shop 6. Taps into the fluted trend Amelie Scallop, £39.95, Graham and Green 7. Crafted in Morocco Malhem, £80, Caravane 8. Lots of lovely details Splatter, £68, Skye McAlpine for Anthropologie 9. Inspired by neoclassical designs Kyma porcelain, £140, Themis Z at Matchesfashion &

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FEATURE JO BAILEY

St ylish ser veware for summer soirées

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IN THE SHADE 1. High seas style Aegean lampshade, £176, Mind The Gap 2. Mellow in yellow 16 inch gathered Bedwyn lampshade in Yellow Wicker, £220, Fermoie 3. Made from organic cotton Kala Rama hand-painted drum, £90, Montes & Clark 4. Fashionable choice Matthew Williamson Leopard Love 45cm straight empire in Blue and Red, £123, Pooky 5. Silhouette design Flowerberry Orange laminated Pembroke lampshade, £180, Penny Morrison 6. Block-printed by artisans Florence in Emerald lampshade, from £70, Shenouk 7. Created using the Shibori technique Indigo Itajime Diamond drum, £150, Tatie Lou 8. Bespoke piece Vintage sari scalloped lampshade, from £265, Vanrenen GW Designs 9. Handmade in the UK Indian Summer Shells linen lampshade, £155, Susi Bellamy &

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FEATURE ROHINI WAHI

These beaut ies stand out f rom the crowd

BEHIND THE DESIGN If you like our edit of lampshades, read what the ex per ts say on sourcing the per fect st yle for your home ‘A COLOURFUL shade is an easy way to breathe

life into a room. Our Otomi designs, for instance, are artworks in themselves and work particularly well in neutral schemes, lifting the atmosphere and creating a focal point. Ikat shades often go better in more traditional settings. Silk is beautiful when unlit and in the evening lights up like jewels for a rich ambience.’

EMILY PINSENT, director, Montes & Clark

‘PAY attention to the edges: neat taped edges or

trim details instantly look more considered than a plain drum. Also, look at the frame. Too often it is coated or even plastic – brass has much more substance. At Soho Home we tend to opt for off-white and natural-toned shades, which allow the light to diffuse nicely. We love linen and silk mixes with a bit of texture.’

LAUREN QUELCH-WOOLLS, lighting product developer, Soho Home

FEATURE ROHINI WAHI PHOTOGRAPH SYRACUSE LAMPSHADE ON ARTISAN FLOOR LAMP BASE; COQUILLAGE WALLPAPER; KINGSTON CHAIR IN MEDITERRANEO; CURTAINS IN CALYPSO; AEGEAN CUSHION, ALL MIND THE GAP

‘MAXIMALISTS should opt for a luxury

statement shade. Designs with a perforated mesh cast atmospheric light and make a great centrepiece even when unlit. For a relaxed aesthetic, try rattan for an ultra-modern yet natural look; these shades work in urban and rural interiors, bestowing a warm glow.’

ANNA CROSS, home buying manager, Habitat

“IN A ROOM WITH LOTS OF PATTERN, CHOOSE A SHADE THAT PICKS UP ON ONE COLOUR: A DARK PINK ACCENT IN A RUG ECHOED IN TABLE LAMPS, THE YELLOW FROM A PAINTING IN A HALL REPEATED IN SHADES ON THE CONSOLE, OR THE INDIGO STRIPE ON A CHAIR CUSHION MATCHED TO A PENDANT” SHERINE FREETH, founder, Shenouk

‘ALMOST without exception, you can put any

shade shape on any lamp, but you have to get the size and balance right. Tall skinny lamps are the most flexible and can look great with little and larger shades. In general, as the lamp base becomes rounder, shades with more vertical sides look better.’

ROHAN BLACKER, founder, Pooky

‘THERE seems to be a renaissance for shades

with exciting colour and pattern. All of my designs can be matched with fabric, wallpaper and cushions for some pretty maximalism. Drum shades work well for smaller rooms as pendant lights, especially with a coloured woven flex and brass ceiling rose, but mainly in pairs at either side of a sofa or bed.’

SUSI BELLAMY, product designer

‘WE tend to follow these three guidelines to ensure

the lamp is looking its best with the chosen shade.

1) The width of the shade should be roughly equal to the height of the lamp base. 2) Its height should be about two-thirds the height of the base. 3) The shade should be wider than the widest part of the base.’

JIM LAWRENCE, founder, Jim Lawrence &

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HARMONIOUS HUES Choosing complementar y colour combinat ions is an ar t form that is ex plained per fectly here – along w ith the latest pair ings ‘PEOPLE feel nervous about teaming blue and

that are full of memories. The combination of India Yellow with Green Smoke epitomises the feeling of

imagine the landscape – the endless blue optimism of a summer sky against a green and pleasant land.

It’s a classic combination that evokes familiarity and comfort. Make it more dynamic by using glamorous fabrics, such as our Varanasi printed silk taffeta.’

optimism so crucial to our homes next year.’

TRICIA GUILD, founder and creative director, Designers Guild

‘PICK one colour as a foundation – from a favourite

artwork, image or piece of clothing – to form the

thread that runs through the space. Build your palette around this with complementary or tonal shades. My number one rule is: decorate for yourself, not others – choose tones that you love and you won’t go wrong.’

CHARLOTTE ARCHER, head of brand, Sanderson

‘IN THIS suite at the Crosby Street Hotel (bottom

far right), against the orange fabric-covered walls, I used my Friendly Folk design in Melon Orange for the curtains and cushions and in Basil Green on the chairs. Combined with Lewis & Wood’s Tribal in Limpopo on the sofas, this playful reverse colour combination adds freshness to the warm room. A solid orange trim on the curtains and cushions helps to frame the fabric, creating a sense of harmony.’

KIT KEMP, founder, Firmdale Hotels

JOA STUDHOLME, colour curator, Farrow & Ball

‘WHEN picking the perfect paint colour, I’m

typically on board for moody hues of navy, grey or noir. I love the warm, cosy vibes that darker tones lend to a space. Next, I layer in natural earthy accents such as terracotta, stone, putty and greybeige. Don’t be afraid to walk over to the dark side… just don’t forget your complementary earthy tones.’

MIKEL WELCH, owner, Mikel Welch Designs

‘SCALE really drives how diverse you can be with

colour pairings: larger homes can take a looser palette; in smaller homes, it’s best to keep the colours more concise – find three colours that harmonise and use them as a common thread for continuity. I enjoy using ivory, egg-yolk yellows with hints of navy, mixed with copper and metal accents. Old rose pink, nude and orangey tones is also a nice palette – the combination of dull shades creates a calm but sumptuous aesthetic.

We’re also using pastel lilac with thistle green and soft amber, which gives a pleasing visual sense.’

CHARU GANDHI, founder and director, Elicyon

‘A CLASSIC yet enduring combination I love

is multiple shades of brown and white. It is very important to use layers of the same combination to create contrast, depth and the feel of a well lived-in space. I admire the American designer Bill Blass, and his brown and white apartment in New York has

is denim blue with aged antique reds. These tones create rooms that appear effortless and stylish, embracing the trend for relaxed living. Our new Portobello collection combines these shades in a curated edit of simple Indienne-inspired block prints and softly coloured embroideries to create fabrics perfectly suited to interiors that are layered.’

been my number one inspiration for many years.’

ANN GRAFTON, creative director, GP&J Baker

‘THE COLOUR pairing I keep returning to

PAOLO MOSCHINO, co-owner, Nicholas Haslam

‘AS WE move into thinking about pairing colours

in 2022, I feel we might look beyond the nostalgic tones of the past year and be attracted to colours that are full of excitement, but somehow familiar. I am keen to use more homely, uncomplicated colours

50 H O M E S A N D G A R D E N S . C O M

‘GREEN and pink always feel like such a joyful

combination to me, reminiscent of the abundance of florals and botanicals in nature as spring turns to summer. I like to keep it feeling fresh and clean with a good dose of white in the mix.’

EMMA THOMAS, Homes & Gardens’ interiors editor &

FEATURE LUCY SEARLE PHOTOGRAPHS (ELICYON) PATRICK WILLIAMSON; (CROSBY STREET HOTEL) SIMON BROWN

green, but I believe it’s a quintessential pairing. Just

D ES IGN IDE A S

This scheme featuring Farrow & Ball’s India Yellow neatly broken with an accent strip of Green Smoke creates a feel of optimism

With its spectrum veering from soft pink to shades of orange, this space by Charu Gandhi of Elicyon exudes a sense of calm

Sanderson’s Very Rose and Peony wallpaper defines this scheme that teams rust, plum and shimmering green to striking effect

For this inviting hotel suite sitting room, designer Kit Kemp mixed exuberant patterns in fresh tones of melon and green

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INSPIRED DECORATION Beautif ul fabrics, tex tiles and wallpapers are at the hear t of ever y standout scheme – but how do you beg in to decide the b e s t a p p r o a c h? O u r g a l l e r y o f d e c o r a t i n g i d e a s i s a g o o d

TWO TONE

SCALE PLAY

On a large floor-to-ceiling window, a two-tone curtain brings energy to the room. Use a neutral for most of the panel with a contrasting shade for the top third, so you benefit from the colour without it distracting from the scheme. Plain Weave Linen in Chinese Yellow and Putty, £44m, Volga Linen.

In this kitchen, interior designer Anna Spiro uses the same paisley print on the walls and chairs for a sense of unity, but the larger scale on the upholstery creates extra impact as the shape takes up most of the chair backs, while the smaller repeat on the walls allows the pattern to be seen in full.

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FEATURE THEA BABINGTON-STITT PHOTOGRAPHS (TWO TONE) JAKE CURTIS/FUTURECONTENTHUB.COM; (SCALE PLAY) ELEANOR BYRNE; (ALL IN THE MIX) JON DAY/FUTURECONTENTHUB.COM

place to star t for look s and details that are f ull of f inesse

D ES IGN IDE A S

ALL IN THE MIX While the thought of a boldly coloured, multi-patterned scheme may seem jarring or over the top, it can be achieved with a considered approach. The trick is to stick to a palette, as shown in this elegant but strong sitting room based on reds and blues. Integrating these colours across all elements allows distinct motifs to sit together in harmony. Rounded shapes, from the scalloped pelmet to the curved chair arms, help to ensure overall softness, which makes the contrasting patterns seem to hug one another rather than creating harsh lines of divergence. Contemporary Afghan kilim, £1,050, Larusi.

Sofa covered in Cove in 004, £120m, Fermoie. Curtains in Speedwell, £97.24m, Lewis & Wood. →

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“WE LOVE LINING WARDROBES AND OPEN DRESSING ROOM JOINERY IN FABRIC TO ADD INTEREST AND SOFTNESS TO WHAT CAN BE A MASS OF CABINETRY. A SIMPLE STRIPE OR SMALL-SCALE PATTERN IN TONES THAT COMPLEMENT THE BEDROOM WORK WELL” NICK COX, interior designer, Hám

TRICK THE EYE

MEET YOUR MATCH

Small spaces that are used occasionally, such as cloakrooms or guest bedrooms, are ideal for bold decorating choices, as you won’t quickly tire of the scheme.

A trompe l’oeil wallpaper, such as Terrariums in Ink/Multi, £99 a roll, Sanderson, used here, can make a room appear larger, too.

In this striking project by Barlow & Barlow, the glass-fronted cabinets are lined with fabric that matches the wallpaper in the headboard space. As the eye follows the stripe upwards, the bed area appears taller than it is. For the cherry on top, even the door handles integrate into this smart design.

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D ES IGN IDE A S

“RUGS ARE A GREAT WAY OF LAYERING PATTERN. IT’S EASY TO LAYER UP A FEW SMALLER RUGS AND A TIP PHOTOGRAPHS (TRICK THE EYE) POLLY WREFORD/FUTURECONTENTHUB.COM; (ON THE EDGE) SIMON BROWN, (SMART STRIP) JAN BALDWIN, (SEEING DOUBLE) JON DAY/ FUTURECONTENTHUB.COM

IS TO HAVE A COMMON COLOUR THREAD IN THE PATTERN PLAY TO HOLD YOUR SCHEME TOGETHER” LORNA HAIGH, creative and marketing director, Alternative Flooring

ON THE EDGE

SMART STRIP

SEEING DOUBLE

A wallpaper border defines and adds character to an alcove or door frame. Borders come in all shapes and sizes, but we advise keeping the design simple and architectural. Here a crisp scallop trim sits happily against a contrasting green; for a formal setting, try a Greek key motif.

Think outside the box when using wallpaper. In this room, an eyecatching strip breaks up the space between the windows to striking effect. Its edges mirror the lines of the blind ties for a symmetrical finish. Darro Mosaic wallpaper border in Aegean, £64m, Schumacher at Turnell & Gigon.

When adding decorative elements, remember two are often better than one. Here, a punchy fringed, blockcolour chair adds extra impact when paired with a companion.

The close but not quite matching cushions add a point of contrast. La Passion de Diego wall mural, £969 for 3x3m, Élitis at Abbott + Boyd. →

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SINGING THE BLUES Using one colour for all the furniture in a room in no way equals a dull scheme. In this space, designer Beata Heuman has used shades of blue across four individual pieces. The duck egg of the ottoman is echoed in the cushion on the navy chair, which is linked to the deep blue trim on the canopy, which is in the same mid blue fabric as the sofa beneath. The canopy is a true statement piece, so staying restrained in tone felt like the natural choice. ‘There is a yellow contrast braid around the arm of the sofa, but otherwise it’s all different shades of blue, so it looks quite relaxed,’ says Beata. For more inspiring ideas, see Beata Heuman: Every Room Should Sing (£45, Rizzoli).

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D ES IGN IDE A S

“CONSIDER WHAT WILL HAPPEN TO A PATTERN WHEN IT’S WRAPPED AROUND AN ARMCHAIR. WILL IT GET CHOPPED UP OR DISAPPEAR OVER THE EDGE OF AN ARM? DOES IT MATTER – OR EVEN ENHANCE THE EFFECT?”

PHOTOGRAPHS (SINGING THE BLUES) SIMON UPTON; (TAKE IT UP A NOTCH) JON DAY/FUTURECONTENTHUB.COM; (NIFTY NOOK) ALEXANDER JAMES

NEISHA CROSLAND, textile designer

TAKE IT UP A NOTCH Wallpapering the ceiling is an effective way to add drama, and works particularly well in rooms tucked up in the eaves. Pair a decorative botanical print with smart panelling for a considered, crafted look. This is the Cote d’Azur wallpaper by Manuel Canovas at Colefax and Fowler.

PERFECT HARMONY

NIFTY NOOK

‘The easiest way to mix patterns is to work with distinct designs in complementary tones,’ says Sarah MacGregor, design director at Jane Churchill. Here, soft pink links the star patterned Tassi wallpaper, £58m, and blind fabric, £45m, with the chair in zigzag Kip, £45m, Jane Churchill at Colefax and Fowler.

The wraparound motif is the key to the cocooning feel of this cabin bed.

‘As pattern matching is difficult between ceilings and walls, we lined the edges with a braid, so you don’t notice if it is slightly off,’ says Sarah Peake, founder of Studio Peake.‘We used the same trick with a contrasting edge on the blind.’ →

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“DON’ T JUST LOOK AT WALLPAPER FOR YOUR FOUR WALLS – HAVE FUN AND THINK OUTSIDE THE BOX. FOR A DRAMATIC DESIGN STATEMENT, APPLY STRIPED WALLPAPER TO THE CEILING AS WELL AS THE WALLS OF THE ROOM”

CURTAIN CALL

NOW YOU SEE IT

Don’t stop at the headboard when adorning a bed; in a neutral room, add interest with flowing fabrics.

‘This curtain is a contemporary take on a more traditional-style bed, creating an elegant, inviting feel,’ says Riley Brooks, co-founder of Liberty Brooks, who worked with TR Studio on this project.

In a small room, wardrobes can visually block a lot of space, but if you cover the doors with the same wallpaper as the walls, it will help to make them disappear. Match the pattern for a seamless blend – the larger the repeat, the easier this will be. Brocade wallpaper, £109 a roll, Farrow & Ball.

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PHOTOGRAPH (CURTAIN CALL) BILLY BOLTON

PATRICK O’DONNELL, brand ambassador, Farrow & Ball

D ES IGN IDE A S

INSIDER INSIGHT INTERIORS EXPERTS SHARE DECORATIVE TIPS TO ENLIVEN YOUR SCHEMES ADD INTEREST WITH WINDOW DRESSINGS Curtains and blinds are the perfect

place to begin adding colour and pattern contrast to

your space. ‘Texture can be created in a scheme by, for example, pairing more delicately patterned floral curtain fabrics with small checks or block colours for the other soft furnishings, such as an ottoman or scatter cushions,’ says Emma Sims-Hilditch. ‘Why not use two types of patterned fabric for your curtains? A larger-scale print when seen from the outside and a smaller-scale design on the inside adds interest and provides a taster for what can be seen within.’

GET CREATIVE WITH WALLPAPER ‘Don’t waste a scrap – there are many uses for a half roll that’s currently lying redundant,’ advises Patrick O’Donnell, brand ambassador at Farrow & Ball.

‘Use it as a clever motif in a glass-fronted cupboard or create a focal point behind your bed with a decorative faux headboard. Four widths of paper

should be all you need for most beds, so get out your pencil and scissors and throw caution to the wind.

Inside cupboards and interior doors are other great places to start your adventure with wallpaper and will add impact to rooms that require more detail.’

BE CLEVER WITH FABRICS Just as

with wallpaper, nearly every extra piece of fabric can be repurposed to create a beautiful feature in your room and help keep your space as sustainable as possible. ‘We often use leftover strips of fabric to make a wonderful frill edge on a cushion or a piece of furniture,’ says Nicole Salvesen, co-founder of

Salvesen Graham. Similarly, narrow-width fabrics can be used creatively to add pattern to interiors.

‘Sometimes limitations inspire inventive ideas,’ says Dylan O’Shea, founder of A Rum Fellow. ‘Our narrow brocades can be used as exuberant details, such as a curtain lead-in or feature panels in upholstery.’

MAKE A STATEMENT WITH A HEADBOARD ‘A headboard is not just about comfort; with a little thought it can transform a

bedroom scheme by providing the perfect blank canvas to try out interesting colour and pattern combinations,’ says interior designer Natalia Miyar.

‘I love upholstering headboards in bright, decorative fabrics that draw the eye to the focal point of the room, elevating the bed itself to a style statement.

I often add piping around the edge for an extra pop of colour and smart tailoring. I like to accent an upholstered headboard with metal studs to introduce another layer of texture as well as contrast to the warm, rich textiles. This is also a great way to insert pattern in a block-coloured headboard as if the fabric has a metallic sheen or motif; the metal studs will enhance the finish and enrich the colours.’ &

“COLOUR AND PATTERN GIVE AN AIR OF INDIVIDUALITY AND HELP CREATE ROOMS THAT ARE FULL OF ENERGY” ANNA SPIRO, interior designer

THE SOURCEBOOK: FOR THE ULTIMATE IN DECORATING INSPIRATION DESIGN CENTRE CHELSEA HARBOUR DCCH is home to more than 600 luxury brands and 120 showrooms. The personal shopping service can guide you through with ease. dcch.co.uk

FABRIC COLLECTIVE Artisanal designers head to this Chelsea destination for its curated selection of fabrics and wallpapers, plus high-end accessories and antiques showrooms. thefabriccollective.com

DESIGNERS GUILD This west London stalwart offers its own fabric and wallcovering designs plus collections from brands including John Derian and William Yeoward. designersguild.com

SANDERSON DESIGN GROUP Ideal for sourcing fabrics and wallpapers online, this is the home to seven iconic British brands including Morris & Co and Zoffany. sanderson designgroup.com

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COLOUR OF THE MONTH Rich and nuanced, an earthy pink has a depth that lends sophistication to a scheme. A versatile hue, it can veer into burgundy or brighten into a deep coral. Here, those in the know show you how to use it

A complex reddish pink that changes with the light: Wall in Nutkin Claypaint, £47 for 2.5ltr, Earthborn X Country Homes & Interiors

D ES IGN IDE A S

‘Soft pinks rely on red and yellow ochre pigments, whereas brighter, harder pinks require mineral or organic sources (this means Azo dyes in industrial paints). They can be on the blue or red side and will pair with greeny or orangey-yellows accordingly.

of shades to choose from and dark pink can add depth and personality to a design scheme. It’s bold and vibrant and works so well when used for upholstery on a headboard or bed base in a bedroom. I also like to use it for piping on a cushion

Kept earthy, like our Nicaragua, pinks are distinguished and without a gender or age bias.’

to add a subtle pop of colour to a sofa or chair.’

NATALIA MIYAR, founder, Natalia Miyar Atelier

EDWARD BULMER, interior designer, eco expert and paint maker

‘When painting walls in pink, we usually use Temple from Paint & Paper Library – it’s a favourite brownish pink, characteristic of Famille Rose porcelain. It forms a great backdrop for all art and artefacts, as well as working with a lot of beautiful fabrics. It always creates a warm and

ELIZABETH HAY, founder, Elizabeth Hay Design

comfortable room and looks incredibly smart with a pale grey known as Slate II (also by Paint & Paper Library) on the woodwork.’

like drawing rooms, as it can actually add quite a masculine feel, especially when paired with olive greens or earthy browns. Simple classic shapes on upholstery also stop pink from feeling too fussy and overpowering.’

SOPHIE EADIE & FI CROLE, co-founders, Eadie & Crole

‘Pink is a truly wonderful shade to use as an accent colour in a room. There is such an incredible range

FEATURE ARABELLA YOUENS

‘This tone works perfectly in a scheme that is rather dark, or which suffers from a lack of natural light.

Not only does it inject a space with brightness and cheer, but it will also bring out and highlight any accent colours in the room.’

THINK PINK Natalia Miyar layers different shades of pink to great effect here, with a bed base in a raspberry tone, rising to a dusky rose on the wallpaper. Bed by Natalia Miyar Atelier; headboard upholstered in F3373001 Palla by Laura Gonzalez for Pierre Frey. Raw silk and laminated wallpaper, Phillip Jeffries

‘We love to use dark pink in more formal rooms,

NICOLE SALVESEN & MARY GRAHAM, co-founders, Salvesen Graham

OLD MEETS NEW A Georgian-style sofa in a deep rich hue helps to anchor a scheme that blends antiques with modern details in this sitting room by Salvesen Graham.

Sofa upholstered in Fermoie’s Plain Cotton L-202 with bullion fringe from Samuel & Sons; Scallop rug Cerise, both the Salvesen Graham Collection

SHINE ON This study nook by Elizabeth Hay Design features a built-in desk painted in a high-gloss loganberry paint with an inset travertine top. The cheery colour is picked out in the pinboard upholstered in a vibrant fabric.

Fabric pinboard upholstered in Hawkeswood Madder from Teyssier &

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P ROMO T IONAL F EAT U R E

PA L E T T E P E R F E C T IO N DISCOVER HOW YOU CAN TRANSFORM YOUR HOME INTO A STUNNING SANCTUARY WITH THE COLOUR CONSULTANTS AT FARROW & BALL WHEN it comes to refreshing our homes with colour, it takes careful consideration and expertise to choose a palette that is timeless and enduring.

This is where the Farrow & Ball colour consultancy service comes into its own.

together, you will design a colour palette that beautifully complements your home. They will help you with everything from colour pairings and accents to picking the right paint finish.

Choose world-renowned colour Consult the experts Whether you’re embarking on a large renovation project or redecorating just one room, Farrow & Ball’s Colour Consultants can help you create a unique look that is perfect for your home. With their expert design knowledge, they will combine their understanding of your home’s aspect, lighting and architectural features with your ideas to produce spaces that are sympathetic to your style and completely personalised – all while making the entire process feel effortless.

A tailored service Your Colour Consultant will share individual design advice that is entirely bespoke to your home, whether you want to embrace bolder colours or simply refresh the feel of a room. Working closely

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Farrow & Ball works with a wide range of design leaders, from well-known interior designers to beloved establishments, such as the Natural History Museum. This means that your Colour Consultant will bring a wealth of ideas and trends directly to your doorstep – whether in-home or virtually. So whatever the age and style of your home, you can take advantage of the distinctive look and quality of Farrow & Ball to ensure your home’s interior is as unique as you are.

HOW TO BOOK To book your colour consultation and to find out more, visit farrow-ball.com/cc

THE ART OF INTERIOR DESIGN IN THE LATEST IN OUR SERIES, DESIGNER KELLY WEARSTLER IMPARTS ADVICE ON USING NEUTRALS, PLAYING WITH SCALE AND MAKING THE MOST OF VINTAGE FINDS

SOURCING VINTAGE PIECES

I AM a firm believer that in every

era there is incredible design and I pull from lots of different periods – I love mixing deco, Bauhaus,

mid-century; sticking to one era can be a bit one note. If you buy all your furniture new it’s going to start to look dated quickly, but if you take the time to curate and shop in a variety of places, you end up with a much more timeless room.

I start sourcing furniture early on in projects, and taking time to ■

find the right pieces makes all the difference. I’m always looking for a balance between vintage and contemporary. If I buy a new sofa maybe I’ll look for a vintage coffee table, so they offset one another.

There’s nothing I wouldn’t buy vintage – I’ve even installed 1960s carpets before. Vintage carpets can be so beautiful, the fading of the colours and the patina of the rug.

FEATURE THEA BABINGTON-STITT PHOTOGRAPHS (SOURCING VINTAGE PIECES/PLAYING WITH SCALE) THE INGALLS

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I always look at quality when buying vintage and how something’s put together. When sourcing online, you have to make sure you know what you’re getting. Ask for

Kelly often uses a mix of vintage and contemporary elements for a balanced scheme

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a condition report and photos of everywhere, even the underside of a table. Checking if there are any labels is important, too – if it’s a classic piece, make sure the label or insignia is attached or intact. And

don’t be afraid to bargain and cost reference what you’re buying.

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When buying chairs online, I ask

the vendor to have somebody sit in the chair and take photos at all angles. Or if I’m buying a credenza, I ask them to put a lamp on it, and a chair next to it, because it helps with understanding the scale. →

WHERE I SHOP FOR VINTAGE I visit lots of flea markets and vintage stores. I always go to Round Top in Austin for a big shop! I also love 1stDibs, Brimfield Market, JF Chen, The Future Perfect, Hostler Burrows and Pamono.

The auction houses I go to are Cambi and Piasa. I love finding pieces by Pierre Paulin, Augusto Bozzi, Gae Aulenti, Tito Agnoli and Franco Albini.

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DE S IG N ID E AS

Adding a few oversized pieces can create a more interesting look

DESIGNING WITH NEUTRALS A NEUTRAL scheme can still

be inspiring and have depth. It’s important to consider texture, whether it’s a pattern, such as a jacquard fabric, or through mixing finishes, like a matt wall with gloss paint on the ceiling. These elements create interest that will make the monochromatic neutral room sing.

Many rooms are suited to the neutral look, but as neutrals are ■

so relaxing, I especially love a monochromatically neutral design for a master bathroom. It will feel very fresh, clean and balanced.

PL AYING WITH SCALE WHEN working with scale in a

bed that has a larger piece of upholstery or wood around it,

do is create a beautiful tension. It’s so much more appealing to pair a large sofa with a smaller side table than have everything lined up.

accentuating the furniture and ensuring the bed is the main element in the room.

room, what you’re really trying to

Heights of furniture is important.

Mix side tables of different heights – a lower one at around 14 inches with one that’s maybe 26 inches.

Having varying heights creates a depth of field and more interest.

Think about hierarchy. What is the largest piece in the room – the sofa? The bed? A work of art?

There’s no wrong or right answer, but once you have the biggest piece in mind you can think of how to create contrast with smaller ones.

In bedrooms, if you have a large bed in a space that isn’t too big, pairing it with two small side tables will help the room feel larger. For larger rooms, beds can seem quite out of scale, so I love to design a

Lighting is so important and an excellent way of playing with scale.

Oversized chandeliers are a great place to begin, then I love sconces and lamps on a table uplighting a sculpture or piece of art.

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WHERE I SHOP FOR SCALED-UP PIECES Morentz is a great gallery when it comes to sourcing just about anything, including large sofas and sectionals. It tends to have an array of postmodern sofas along with modular classics by De Sede, Mario Bellini and Ettore Castelli. For statement lighting I look at Carpenters Workshop Gallery (Vincenzo De Cotiis), Todd Merrill and David Krynauw.

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Light is really important when choosing neutrals. If a space gets a lot of natural light, I tend to go with lighter tones and enjoy the beautiful shadowing that ■

will come in throughout the day, creating another layer of texture.

In rooms with limited light, it’s naturally more moody, so darker neutrals can be very effective.

If someone wants a room that’s very calming, I would say stay completely in the neutral world with a more monochromatic look.

However, if you want a splash of energy, then include one incredible piece of art or a colourful rug to create interest and personality. & ■

WHERE I SHOP FOR NEUTRALS For paints, it’s the colours Tar, Salt and Sand, from Kelly Wearstler x Farrow & Ball, California Collection.

Farrow & Ball’s All White is another of my go-tos. For natural materials and fabrics, I love Phillip Jeffries’ grasscloth wallcoverings, Jack Lenor Larsen and Clarence House. For rugs, I often use The Rug Company.

THE BRIT LOOK

A large central farmhouse dining table can double up as a kitchen island for a look that feels rustic and relaxed

PERFECT IMPERFECTION It was an Italian designer, Renzo Mongiardino, who said that the secret of decorating was to ‘mix the high with the low’, for example using wicker chairs in a room hung with valuable works of art. This idea has been embraced by all of the greats, from Elsie de Wolfe and Madeleine Castaing to David Hicks. If you can put together a selection of different pieces – a Georgian mirror over a 1950s sideboard, say, with a modern vase spotted in a charity shop, finding echoes in their colours, lines or proportions – you will create the surprise of unexpected contrasts. This is the decorating equivalent of an outfit that mixes vintage, designer and high street. It requires a good eye and a certain aesthetic courage. If you get it right, it should seem effortless.

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FEATURE JO BAILEY PHOTOGRAPHS (PERFECT IMPERFECTION) CHRISTOPHER DRAKE; (ALL OTHERS) JAN BALDWIN

We d e l v e i n t o t h e d e t a i l o f c l a s s i c E n g l i s h s t y l e w i t h R o s B y a m S h a w ’s n e w b o o k w h i c h e x p l o r e s t h e desig n lang uage and the beaut y of imper fect ion

D ES IGN IDE A S

An example of a lower ground floor kitchen in a townhouse – a spacious room featuring Neisha Crosland curtaining

The unusual banister rail in this Regency house is all the more striking for the lack of carpet on the stone stairs

THE KITCHEN

THE HALL

Kitchens have been on the up for a good hundred years. No longer hidden from polite society in dank basements or distant wings, the kitchen has come to be the room on which, typically, most expense is lavished. Cooking is on show, and the kitchen table is where family and friends gather to eat and socialise, and, when not laid for a meal, is also likely to be where laptops congregate, homework is done, board games are played, flowers are arranged and plans are made.

Once a Cinderella, kept in the background and never introduced to guests, the 21st-century kitchen has stepped into the limelight. This relatively new status often causes a problem in old houses where the rooms with the best light, views, proportions and architectural

A hall is an introduction. The exterior and front door have already given plenty of clues – the sort you pick up when you see someone you haven’t met before across a room – but entering the hall is the beginning of a conversation. Will it be tidy, empty, plain? Will it be colourful and crowded? As the first space you experience, it creates a lasting impression. But a hall has an equally important practical role, as the stepping stone between indoors and outdoors, the passage between rooms and, more often than not, the link between downstairs and upstairs. Even in houses with boot rooms, the hall is a well-worn path, and because of this its flooring should be hardwearing. This is not a place for thick-pile carpet, valuable rugs or anything

detailing were always designed to be reception rooms, never kitchens. If a catering kitchen with ceramic tiling, strip lighting and expanses of gleaming stainless steel is at one end of the spectrum, these kitchens are at the opposite end, where choices such as flooring, lighting and work surfaces may be dictated more by aesthetics than by ease of cleaning and durability.

that stains or weathers unattractively. Any of the traditional floorings used in period homes fit the bill. Floorboards, farmhouse flags or tessellated encaustic tiles all look better for the polish endowed by generations of boot soles. If you are not fortunate enough to have original flooring, a good alternative is reclaimed versions, whether wood, stone or ceramic. ¤

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To recreate the patina that had been lost, the new paint was stripped back and finished with a look of old distemper

English style at its most ascetic in the drawing room of an early 18th-century London townhouse

PATINA

THE LIVING ROOM

There are many ways to ruin the atmosphere and period feel of an old house. You can strip out the original windows and replace them with double-glazed uPVC replicas. You can prise up floorboards and stick down new ones without holes, gaps or inconvenient slopes. Uneven flags can be replaced with smooth limestone that lies perfectly straight and flat. If you do any or all of these things, you will have lost something irreplaceable. Patina, as well as the craftsmanship of the past, is what you throw away. Patina describes the alterations to the surface of a material that occur over time through exposure to the elements or through use. As a term of approval, it is applied to materials

This is not a prescriptive style, and in most respects it isn’t. However, there are certain elements of the English living room – or drawing room, if you prefer the more old-fashioned term – that are non-negotiable. There should be a sofa, ideally squashy, plump and larded with cushions – the sort of sofa you can curl up in.

Armchairs can be substituted for the sofa, as long as they are the sort you can sprawl in. The room needs a focus, a direction in which to point the sofa, and this can only be a fireplace. Sofa and fireplace are the axis around which all other elements of the room are built.

These should include side tables big enough to hold a drink, a book and a lamp, and perhaps a padded

that are robust enough to last and continue to look beautiful – such as stone, wood and leather. In the antiques trade, the patina of a piece of furniture is a key element of its desirability and value. A painted piece

stool for more books and somewhere to put a tea tray.

Once you have these, you have everything you need.

dating from the 18th or 19th century may have been worn bare around its handles, its colours may have faded, its pattern become faint, but it will have achieved the ‘pleasing decay’ so loved by decorator John Fowler.

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Extracted from Perfect English Style by Ros Byam Shaw (£35, Ryland Peters & Small)

D ES IGN IDE A S

The bigger a bathroom, the more scope there is for furnishings – here, an antique linen press and an armchair, plus rugs and pictures

THE BATHROOM There has been a tendency in recent years for bathrooms to look and feel super slick – everything smooth, hard and shiny. Flooring slides seamlessly into shower areas, mirrored cabinets are set flush into walls above basins without lips and single taps like minimalist sculptures offer no helpful cues on how to use them. These sleek designs work best in new houses where plumbing is incorporated in the build, but they are the antithesis of an English bathroom. Bathrooms came late to English domestic architecture. Although by the end of the 19th century luxurious houses were fitted with flushing lavatories encased in panelled mahogany and cast iron baths, for most people a tin tub filled from kettles and an outdoor privy remained the norm. Today, in houses that pre-date 1900, bathrooms usually occupy former bedrooms, meaning they are big enough to swing cats in. &

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ENTRANCE ‘I wanted to make this into an area you would want to stand in and look around,’ says Kit of the choice of her whimsical wallpaper design, which offsets a collection of unusual pieces including a chair upholstered in an embroidered textile from Kazakhstan.

Walls in Mythical Land by Kit Kemp, Andrew Martin

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DEPTH OF CHARACTER Design maverick Kit Kemp’s many passions – from folk art to the Bloomsbury Set – are celebrated in her redesigned London home WORDS RACHEL LEEDHAM PHOTOGRAPHY SIMON BROWN

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DRAWING ROOM The room’s lively patterns are grounded with antiques, including a striking 18th-century Spanish chest, above which hangs a portrait

by Duncan Grant. ‘This home is very much a collaboration with my husband and the two of us share a love for Bloomsbury art,’ says Kit.

Curtains and armchairs in One Way by Kit Kemp, Christopher Farr Cloth.

Sofa in Eve in Robin’s Egg, Raoul Textiles at Turnell & Gigon. Cushions in Under the Sea in Multi, Schumacher. Wood and slate coffee table (opposite), Tom Stogdon

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ince they purchased their 1930s townhouse in central London, just over

repeat Mythical Land design, which forms an enchanting backdrop to intriguing pieces, including

two decades ago, co-founders of Firmdale Hotels and the Kit Kemp Design Studio, Kit and Tim Kemp, have undertaken two major renovations. The first was prompted by a conversation between Kit and fellow designer Robert Kime. ‘He told me that he always advised making the best room in the house the kitchen – and it was like a

a Swedish wedding clock and an old beehive.

For the drawing room – now with glorious east-west light – she teamed her oversized One Way geometric linen with an exuberant botanical print, tempering the two bolder designs with a neat paisley pattern.

On the walls hang a collection of works by seminal Bloomsbury artists. ‘The Bloomsbury Set has been so

light had been turned on,’ says Kit, who proceeded to transform their large, barrel-shaped dining room overlooking the garden into the kitchen, adding a

much a part of our lives ever since we designed the Charlotte Street Hotel,’ says Kit. ‘Because they are all

by British artists, we find that these paintings are

conservatory leading off it for dining. ‘Which, of course, we now live in,’ she adds.

More recently, with the couple’s three daughters having flown the nest, it was time to tweak the layout again. ‘We had a front room that was no longer being used so we knocked it through to the drawing room, which in turn links to the kitchen, so now everything

perfect in our light, as they are not too strong.’

Although every room has witnessed an overhaul, Kit has been mindful to reuse pieces where she can.

‘If the frame is good I will always reupholster it and we donate our fabrics to a number of different charities, while smaller offcuts get made into toys,’ she says. Kit also loves a barter system, devising one

is open plan,’ explains Kit, who also sacrificed one of the four bedrooms on the first floor to create a walk-through music room housing their grand piano. ‘Both Tim and I are naturally untalented so we didn’t want the piano in our main living space,’ she laughs, adding, ‘I lined this area with bookshelves and I now think that might have been acoustically rather a good thing.’

In the process of the redesign, the front door was moved and the hallway enlarged and it was with this space that Kit commenced the redecoration of the entire house. ‘It is one of our old sayings that if the in-between spaces – hallways, landings and so on – are given character, then your house is double the size, as you are not through them and out the other side,’ says Kit, who papered with her three-metre-

of the bedroom schemes around pieces garnered from a showroom set she designed, while another bedroom houses armchairs she created for a stand for home furnishings company Blithfield.

Creativity is at the heart of everything Kit does and, indeed, it forms the focus of her latest book, written during the pandemic. ‘Through doing my weekly blog, we saw that creativity at home has had enormous traction and that people want to customise their interiors,’ she says. ‘I think we have got over the idea of big designer names; now it’s more about your name – something you are bringing to your interior so that it is truly one of a kind.’ & kitkemp.com; Kit Kemp Design Secrets (£25, Hardie Grant Books) ■

“TO ENTER THE DOOR AND HAVE A WHOLE MAGICAL WORLD GOING ON AROUND YOU DOES RATHER TAKE AWAY THE BITE OF THE DAY ”

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KITCHEN The bespoke cabinetry was installed several years ago and it has seen a number of colour changes. Kit had the beaded lampshades made from colourful Kurdi aprons.

Cabinetry in Red Earth and Sudbury Yellow, both Farrow & Ball, and Winter Morning, Designers Guild

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CONSERVATORY Tord Boontje’s chandelier casts filigree shadows on the ceiling at night.

Ivy Shadow chandelier in Forest White, Porta Romana. Handle and wing chairs, Kit Kemp. Handle chairs in Sari in a bespoke colourway, Raoul Textiles.

Blinds and wing chair in Walker in India, Raoul Textiles at Turnell & Gigon

MUSIC ROOM The enlarged landing has been turned into a book-lined music space.

Joinery in Pomona, Edward Bulmer and Ointment Pink, Farrow & Ball. Lampshade in Mixed Tones Canvas by John Derian, Designers Guild.

Greenwich globe light, Vaughan

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MAIN BEDROOM Tucked beneath the eaves, this space benefits from interesting volumes that are emphasised with a grand half-tester bed.

Bedspread, cushions and headboard in Ashenwood

by Kit Kemp, Chelsea Textiles. Pelmet in Canterbury, Borderline Fabrics at Rosebank Fabrics

BEDROOM This fantastical headboard was created

by Kit for a showroom display; by a stroke of serendipity she found a lamp base that chimes perfectly with the aquatic theme.

Headboard in Under the Sea in Multi, Schumacher.

Sea table lamp, Richard Taylor Designs. Walls in Isabena, Nina Campbell.

Curtains in Majuli, Thibaut

MEET THE HOMEOWNER

Kit Kemp shares her style vision and loves

SMALL CHANGE, BIG IMPACT

Relocating the front door and making the drawing room front-to-back with east-west light.

MUSEUM TO VISIT Museum of the Home –

formerly the Geffrye Museum – in Shoreditch.

MAKERS TO WATCH Artist and ceramicist

Katherine Cuthbert and O.K. David for fanciful fabrics.

GO-TO COLOURS Edward Bulmer’s Invisible

Green, Brimstone and Pomona Green. I’m loving green and yellow at the moment.

WHAT WOULD YOU LOVE TO CREATE NEXT My rug and bedlinen collection is coming along

well with American designer Annie Selke.

OBJECT YOU WILL NEVER PART WITH My Tony Cragg miniature bronze sculpture.

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PURE ALCHEMY Interior designer Jessica Buckley has brought life to a previously plain Georgian townhouse by layering vibrant tones, textures and patterns WORDS JULIET BENNING PHOTOGRAPHY PAUL MASSEY

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H OUSE S DRAWING ROOM Jessica’s clients are drawn to soft pastels but she added deep raspberry tones and black notes for punctuation.

Kohl and Chalk Berber rug, Luke Irwin. James sofa, Charlotte James Furniture.

Muir armchairs, Charlotte James Furniture; covered in Seed Pod in Blue, GP&J Baker. Bridgehampton coffee table, Vaughan

SITTING ROOM Cream walls and curtains allow the pretty prints to become the focus.

Walls in Slipper Satin, Farrow & Ball. Bluebell corner sofa in Hydrangea Highland Tweed, Sofa.com.

Ottoman from Jessica Buckley Interiors; covered in Tori Murphy Scallop Stripe cotton in Claret

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DRAWING ROOM Jessica encouraged her clients to paint the cabinetry the same colour as the walls for a chic uniform look.

Cabinetry designed by Jessica Buckley Interiors; painted in Oval Room Blue, Farrow & Ball.

Antique chair covered in Fortuny fabric

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nown for her punchy use of colour and encyclopaedic

knowledge of pattern, Jessica Buckley is an interior designer who understands how to layer and balance. It was these attributes that her latest clients, the new owners of an Edinburgh townhouse, especially sought out.

‘The young couple approached us because they felt if they came up with the interior schemes themselves, they would be too safe,’ says Jessica.

The property, on one of Edinburgh New Town’s most desirable streets, was in a state of neglect when her clients bought it, so a full renovation was in order. ‘The layout was confused and it wasn’t clear why certain decisions had been made,’ says Jessica.

‘The old pine floors were creaky and the colours were drab. The kitchen was also tired so everything was due for a rip out and start again.’ Despite its poor condition, the architectural details like the cornicing

blue and pink as much as I do, which was fortunate, but they were generally drawn to a very soft palette.

I felt that it would need a bit of punctuation so I wanted to inject some darker blues, greens and raspberry tones to counterbalance the pale, pretty colours,’ Jessica explains. To make impact upon

and ceiling roses were intact ensuring that the new interior would have an elegant backdrop.

While the planning stage of the renovation went smoothly, the work on site was stymied by the pandemic. ‘In February, we placed orders for everything and then the world just stopped with the project put on hold,’ says Jessica. ‘We spent a few weeks waiting to make sure each company would fulfil our order but ultimately it all worked out.’

The old iteration of the house had placed the kitchen on the first floor to the rear so it was moved to the ground floor where it would be more practical for a family. The adjoining room became a relaxed sitting room where the children could play. Noting the couple’s desire for a more exclusively grown-up space, Jessica portioned the open-plan space on the

arrival Jessica found a charming timeless wallpaper

by Lewis & Wood for the entrance hall. ‘It was an extravagant choice but because of the amount of cabinetry and the dado rail, we were able to keep it in budget. We colour matched it for the stairwell, which isn’t much changed from how it would have been in Georgian times,’ Jessica notes.

Encouraging her clients to embrace bolder choices, the blue drawing room is one of the most distinctive of the renovation. ‘It’s used mostly after dark so I opted for a deeper more dramatic saturated colour that would be cosier in the evening. The clients were reluctant to paint the cabinetry in the same colour as the walls so I had to gently push them out of their comfort zone but now they’re delighted with it.’

Fulfilling her duty as skilled curator of colour and

first floor where the old kitchen had been to create the main bedroom and a drawing room next door.

‘The clients wanted a relaxed and welcoming family home with nothing too shouty or standout. They love

pattern, Jessica has given this once pale and uninspiring interior a vibrant new identity. &

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Jessica Buckley, jessicabuckley.co.uk

KITCHEN The clients opted for pale hues to counterbalance the north-facing light.

The mantel and herringbone tiling provide decoration.

Cobb large pendant lights, Original BTC. Blind in

Gable End in Deepest Indigo, Rapture & Wright Cabinetry, paint and work surfaces, all Neptune

HO US ES

BEDROOM Pink accents bring extra vibrancy to the multi-layered scheme where pattern is the star.

Bedhead covered in Oxus in Cobalt Blue, Lewis & Wood. Curtains in Avila in Soft Blue, GP&J Baker.

Walls in Green Blue, Farrow & Ball. Lamp, Angel & Boho

MAIN BATHROOM The lowered wall behind the vanity neatly conceals the shower and WC on the other side.

Source a similar double vanity unit at Neptune.

Walls in Joa’s White, Farrow & Ball

MEET THE DESIGNER

Jessica Buckley shares her style vision and loves

MOST SUCCESSFUL ASPECT OF THE PROJECT The wall colour in the drawing room. It’s

the thing that everyone has remarked on.

SECRET ADDRESS Tinsmiths. We had large

windows to dress and needed lots of material. Tinsmiths does patterned fabric that’s relatively inexpensive.

GO-TO COLOUR It’s got to be blue.

SMALL CHANGE, BIG IMPACT Window

seats are a small addition that everyone seems to love.

DESIGN HERO I’ve always loved Nina Campbell.

She’s been at the top of her game for decades. She’s got a strong look but she’s also adaptable.

LAST THING YOU BOUGHT FOR YOUR HOME Some really beautiful vintage silk sari lampshades from Nushka.

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BEDROOM The greens, blues and pinks in the headboard fabric tie this delightful look together.

Headboard in Dahlia Blue, Penny Morrison. Curtains in Tolosa in Indigo, GP&J Baker. New England chest of drawers, The Dormy House. Simon Sage lamp base, KD Loves. Blithfield Oakleaves cushions, Fine Cell Work. Walls in Cuisse de Nymphe Emue, Edward Bulmer

ENTRANCE HALL Bright colours provide a modern note, while the antique bench and art-deco chandelier introduce gravitas.

1970s Aldo Tura table, source at 1stDibs.

Glassware by Paul Arnhold.

Painting by Willi Baumeister

THE PASSAGE OF TIME

Masterfully mixing influences from the past and the present, this apartment is one of a kind WORDS JULIET BENNING PHOTOGRAPHY STEPHEN KENT JOHNSON

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DEN A wall of rare Meissen porcelain is creatively displayed against the baroque-style wallpaper.

Venetian Damask wallcovering, George Spencer Designs. Custom sofa in Zinc fabric, Romo.

Vintage chairs by Carlo Hauner and Martin Eisler, source at 1stDibs

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SITTING ROOM An artwork composed of vinyl records makes a striking statement against the pink wall.

Vinyl artwork by Gregor Hildebrandt. Charlotte Perriand chairs, source on 1stDibs. Walls in decorative wash in Amber Winds, Benjamin Moore

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H OUSE S

SITTING ROOM Two 1940s French oak screens add architectural interest and can provide privacy when required.

Screens, try 1stDibs.

Custom slipper chairs in fabric by Pintura Studio

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B

ehind the vermilion door of Wes Gordon and Paul Arnhold’s

New York city apartment lies a wonderland of collected and inherited furnishings. Having lived with a minimalist and plain white backdrop for years, the pair were driven by the urge to create a new interior setting more appropriate for their exquisite possessions.

The apartment is situated alongside the city’s famous linear park, the High Line, and upon his first encounter Paul, a property developer and glass-blower, was immediately enamoured. ‘The location was fantastic and while the apartments were clean and bright, they also incorporated more traditional architectural elements like the casement windows,’ he says. ‘You’re surrounded by nature here so it feels like a calm oasis in one of the world’s busiest cities,’ adds Wes, who is the creative director at Carolina Herrera fashion house.

The pair knew any new interior scheme would have

out to Brooklyn to stand in line for three hours to get our paint,’ says Stephen, his resilient nature the perfect match for the job. And his efforts are undoubtedly appreciated by the couple, who loved Stephen’s brilliant ability to combine all the objects that had spoken to them both over the years.

to bridge Wes’s appetite for an old-fashioned look with Paul’s more modern leanings and, having worked with Stephen Sills on their country home in Connecticut, they knew exactly who to turn to. ‘My style is contradictory, blending influences from antiquity with contemporary and minimalist elements,’ says Stephen.

Wes and Paul were in no doubt that their extraordinary collection of furnishings and artwork, spanning from the 17th century to the present day, would be in safe hands with Stephen – not least the Meissen porcelain Paul had inherited from his grandfather. ‘It’s a miracle collection that was saved from Nazi destruction by my great-grandmother. Most of it has gone to The Frick Collection but it’s wonderful to have a small display connecting me to my family history,’ says Paul.

Using the spring lockdown of 2020 as an

Taking a cue from the terracotta roof of the church that can be seen out of one of the windows, Stephen opted for a gentle pink wall colour for the main living areas. ‘It’s the most beautiful flattering colour, especially at night,’ says Wes. Elsewhere the striking green and yellow of a baroque print wallpaper makes an unexpected appearance within the contemporary setting. The most poised of all the fixtures are the chandeliers, one of which previously belonged to Yves Saint Laurent. ‘It was a lucky find from my friend Alexandre Biaggi in Paris,’ says Stephen.

The newly styled apartment has become the perfect backdrop for both Wes and Paul’s roving aesthetic minds. ‘Our home is eclectic, brave and individual, bold and layered but serene,’ Paul observes. While for now the apartment is a brilliant expression of

opportune time to work on the apartment, Wes and Paul decamped to their country home, leaving Stephen to run the show. ‘No one was doing any renovation work at that time but I remember driving

shifting periods in time, its subtle changing face will ensure it remains ever vital and current.

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Stephen Sills Associates, stephensills.com

H OUSE S

KITCHEN A wallcovering on the ceiling brings the illusion of more depth. Artwork hung on cupboard doors is another of Stephen’s original design choices.

Stripe Tease wallcovering, Elizabeth Dow. For Pierre Jeanneret stools, try Vinterior

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MAIN BEDROOM Paul describes the apartment’s look as ‘bold and layered but also serene’. This space is the perfect embodiment of that description.

Alpine II Hickory wallcovering, Wolf Gordon. Headboard in Maharam wool. Artwork, Daniel W Freeman

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BATHROOM Strong adhesive was used to attach the photo gallery to the marble.

The painted ceiling strikes a comforting note of enclosure.

Walls in Carrara marble, source at Marble City.

Tap, The Watermark Collection. For 1810 Russian chair, try 1stDibs

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IN SEASON THIS MONTH

FEATURE SARAH WILSON PHOTOGRAPH CHRIS BENZAKEIN

ARMFULS OF THE BLUSH DAHLIA ‘CAFÉ AU LAIT’ CREATE A BOUNTIFUL BOUQUET

Often referred to as the queen of dahlias, it’s easy to see why ‘Café au Lait’ has such a loyal fan club. It produces long, strong stems that hold up well in large arrangements. ‘Working with dinner-plate varieties can be intimidating because of their size,’ says Floret Flower Farm’s Erin Benzakein, author of Discovering Dahlias. ‘I find the best way to approach them is to embrace their over-the-top nature. For this arrangement, I let the ‘Café au Lait’ blooms take centre stage. I filled a zinc bucket with hydrangeas to create a pillowy nest. Next I threaded in some stems of pokeweed to add texture.’ Stems of ‘Café au Lait’ were nestled in among the hydrangea, then ‘Honka Fragile’ dahlias threaded in, using their star-shaped blooms to add softness. Wild sorrel has a hint of blush for the perfect finishing touch. &

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SIMPLE PLEASURES: A FLORAL WREATH BRAID FRESH FLOWERS INTO A DECORATIVE DISPLAY FOR A CELEBRATION – THEN LET IT DRY AND LEAVE IT UP ALL YEAR

FEATURE AND PHOTOGRAPHS CHELSEA FUSS

A HANGING wreath adds a sense of occasion to a

room and is, of course, perfect for a celebration. This fresh-to-dry project can be made with just-picked flowers, but it’s also a great way to use up ones that are on their way out – blooms that are wilting but still have pliable stems can be braided and will dry nicely.

Bay leaves, gomphrena and strawflowers are especially good choices for an arrangement like this one, as they’re all very long-lasting and dry well. The colours of strawflowers feel almost unreal (in the best way) and bring a sense of whimsy to the project.

This wreath is light enough that it can easily be suspended from a ceiling hook, if you wish to display over a table as a focal point. Made without wire, stems of millet and statice give it stability and the braided strawflower stems keep the blossoms in place. These braiding and weaving methods can be applied to create wreaths of all sorts.

Taken from Field, Flower, Vase: Arranging and Crafting with Seasonal and Wild Blooms by Chelsea Fuss (£21.99, Abrams).

Photographs © 2021 Chelsea Fuss

YOU WILL NEED 3 to 5 stems of common millet or pampas grass 5 stems of statice 25 stems of strawflower 8 stems of small bay leaves 5 stems of gomphrena Florist’s twine or string, for hanging Set out your ingredients in bunches. Remove the leaves from the strawflower stems and any excess leaves from the other plants. If they have been in water, let them dry out before working with them.

■ Create a base with the millet and statice, working with a few stems at a time. Curve them into a circle, spacing the blooms at intervals and twisting the stems around each other to secure.

■ Braid bunches of strawflower together, just as you would hair, alternating between three and five stems per bunch. Once braided, weave the bunches of strawflower into the wreath base, adding more ■

statice for security if needed.

■ Fill in the wreath with bay leaves between each bunch, then weave in gomphrena between the stems.

■ Create a hanger by tying lengths of string or twine to opposite sides of the wreath. Displaying away from direct sunlight will avoid it fading too quickly. &

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Having been brought up in Italy, Tommaso loves to work on Mediterranean projects, but he also enjoys working in UK conditions and the look of English gardens

MY GARDEN LIFE To m m a s o d e l B u o n o , o n e h a l f o f r e n o w n e d d u o del Buono Gazer w itz Landscape A rchitect ure, reveals how his Florent ine roots and appreciat ion of desig n helped shape his approach to gardening 104 H O M E S A N D G A R D E N S . C O M

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What inspired you to become a garden designer?

I was lucky in the sense that I decided very early on what I wanted to do. I thought about becoming an

FEATURE TERESA CONWAY PHOTOGRAPHS TOMMASO DEL BUONO; MARIANNE MAJERUS

architect for a long time but decided against it. I grew up in Florence and I met, through family connections, noted landscape architect Pietro Porcinai, a contemporary of Geoffrey Jellicoe. Once I realised that what he did combined botany and architecture, and involved working outside as

“I HAVE CREATED GARDENS WITH VERY LITTLE EMBELLISHMENT ADDED – THEN THE BEAUTY OF THE GARDEN RELIES ON ITS STRONG BONES”

What design tricks do you apply to small gardens?

Play with proportions. When you’re dealing with a smaller garden don’t feel that everything has to be small as a result. Objects and plants should be a little bit oversized in relation to

Which gardens do you like to visit for inspiration?

You never stop learning in our profession, which is one of the reasons it’s so exciting. Rousham in Oxfordshire is a favourite and Athelhampton in Dorset, and where

opposed to on building sites, I was immediately attracted to it.

the scale of the space you are working in. The boundary treatment is key and, generally speaking, I always try

I live in Suffolk I’m not too far from Houghton Hall. I love La Foce in Tuscany by Cecil Pinsent, a British

Tell us about your signature style...

I do believe that my upbringing was instrumental in the way I look at things. I went to school in the centre of Florence and we used to go to Boboli Gardens in our break times, which certainly left a mark on my

to blur the presence of the limits of the garden. Many gardens are able to benefit from borrowed greenery that surrounds the site. I try to visually bring this in to create an impression of a larger space.

designer who was based in Florence in the early part of the 20th century.

sensibility. I’ve always been interested in architecture and I worked in architectural practices – an important factor in the way I developed my sense of style. I have quite a rigorous approach to design and I prefer keeping things simple and inserting a strong and logical structure.

Which are your go-to plants?

Box, yew, hornbeam and beech are the plants I would use to add structure in a UK garden. I love roses, which I use in the UK and also warmer climes. There are some shrubs and herbaceous plants that are reliable and beautiful, such as nepeta, hellebores and euphorbia.

Rosemary is the plant I use in the Mediterranean for its structure and its aromatic properties.

that is a classic. I love the work of David Hicks and I have a book of gardens created by him.

How can we bring your unique style to our own gardens?

I am a firm believer that all gardens are site-specific in the sense that you want your garden to fit with its surroundings and feel like it truly belongs to its location. Aim to set up a good framework that can be achieved with structural planting on to which you can add as much or as little as you like. I love traditional horticultural techniques that have been used for centuries, such as topiary and training trees by pruning and pleaching.

Are there any gardening books you like to refer to?

There is a very beautiful book on Italian gardens by Georgina Masson

What’s been the standout moment in your career?

The Telegraph garden we did in 2014 for the RHS Chelsea Flower Show won a gold medal and I would say that was the culmination of an ambition I’d had for many years.

It’s a moment I think of as one of the best in my career.

What’s your ideal site to work on?

All projects are interesting and challenging at some level. It’s important to approach all of them with enthusiasm to obtain a good

Can you tell us what you are working on at the moment?

I am working on a very large garden in Greece in the Peloponnese region.

result. I love working on sites in the open countryside, in a beautiful setting and on a larger scale – preferably next to a beautiful old building in the English, French or Italian countryside.

It’s right on the coast and is great fun.

And I now have a small office in Florence because of the volume of Italian projects and I’m developing the Italian side of the business under my own name. &

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BEYOND THE PINES Soaring trees and clipped evergreens give a beautifully groomed Suffolk garden year-round style and structure WORDS AND PHOTOGRAPHS CAROLE DRAKE

Maytenus boaria is a small evergreen tree with narrow leaves from South America.

The major branches have been cleaned to give a graphic look

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View from the top of the sloping garden over clipped Lonicera nitida to a mound of Phillyrea angustifolia, more lonicera and other evergreen trees and shrubs

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The garden looks as good in winter as it does in summer, thanks to a framework of clipped evergreens and trees, including tall Pinus pinea and a standard Phillyrea latifolia

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n 2005 Geoffrey and Christine Ingham left a flat suburban garden in Cambridge full of exotics for a steeply sloping, overgrown

green olive, and populated by mounds of clipped box. Lonicera nitida, the small-leaved shrubby honeysuckle, and Elaeagnus x ebbingei, with its

cottage garden near Newmarket in rural Suffolk. Geoffrey, the garden designer of the pair, saw the south-facing slope as an advantage, the chance to try something completely new.

Inspiration came as Geoffrey watched coverage of the Masters golf tournament in Augusta, Georgia.

‘The repeated verticals of tall pine trees on the course

light-reflective silvery leaves, are clipped into undulating hedges that frame the gravel, like rock formations around a beach. The rough-barked trunks of Pinus pinea, the stone pine, soar skywards, bold and uninterrupted because Geoffrey removes their lower branches every year.

Spiky foliage contrasts with pillowy evergreens

struck me,’ he says. ‘In our garden I’m contrasting tall vertical forms, like those, with rounded ones to make a composition. Japanese gardens have

throughout the garden. The sword-shaped leaves of Phormium cookianum brush up against the glossy, aromatic leaves of Choisya ternata, Mexican orange

influenced me too, particularly the way they train plants by tying branches down and clipping foliage.’

Most of the existing plants were removed apart from mature Scots pines and some large evergreen shrubs, such as Viburnum tinus, which had lower branches removed to create small trees. Mature plants brought from their Cambridge garden

blossom, and Yucca gloriosa rises above low, cushion-forming Hebe rakaiensis. Though primarily an evergreen foliage garden based on shape and texture, there are a few flowering plants here too.

‘I like a pop of colour against the evergreen shapes in summer,’ says Geoffrey, ‘so we have crocosmias, kniphofias and hedychiums.’

included Trachycarpus wagnerianus, a windresistant palm; a big clump of Phyllostachys vivax f. aureocaulis, the giant golden bamboo; and evergreen shrubs including Osmanthus x burkwoodii, which Geoffrey cloud-pruned and now greets visitors inside the garden gate. New plants were sourced from Architectural Plants, a nursery in West Sussex specialising in shapely foliage, founded by Angus White, a friend of Geoffrey’s and another influence on his philosophy of garden-making.

Steps lead up into the garden through a grove of Trachycarpus wagnerianus, topped off with stiff, fan-shaped leaves. Beyond an elegant Maytenus boaria, a small evergreen tree from South America, the stepped path opens into a gravelled clearing surrounded by a grove of Phillyrea latifolia, the

Clipping is the biggest task in the garden. ‘I’ve started employing someone to help me with it as there’s just so much to do.’ Geoffrey uses an electric hedge trimmer to cut small-leaved Lonicera nitida, which grows so fast in spring it needs clipping every 10 days. Box is cut once a year with Japanese shears that he sharpens himself. For large-leaved plants he favours secateurs. Christine would like more flowers in the garden, but defers to Geoffrey’s plan; recently, though, she introduced some beautiful tree ferns, with several now thriving beside the glowing honeycoloured walls of their thatched cottage. & Dip-on-the-Hill, Ousden, Newmarket, Suffolk, CB8 8TW. Open for the NGS by arrangement June to September, see ngs.org.uk for details ■

“IN OUR GARDEN I’M CONTRASTING TALL VERTICAL FORMS, LIKE THE PINE TREES, WITH ROUNDED ONES TO MAKE A COMPOSITION”

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GA RDEN S

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The Trachycarpus wagnerianus palm has smaller, stiffer, more wind-tolerant leaves than the more frequently seen Trachycarpus fortunei so looks good even through windy weather

A gravel path edged with clipped box leads past a greenhouse. Beyond is a standard Hebe stenophylla and clipped waves of Lonicera nitida

GARDEN GUIDE SPECIAL FEATURES A garden where

foliage takes centre stage in a combination of undulating clipped evergreens and strong uprights.

ORIENTATION South-facing slope.

SOIL TYPE Boulder clay.

SIZE One acre.

CLIMATE A windy spot and very dry with

average rainfall of around 38-50cm a year.

BRING SHAPE AND STYLE TO YOUR SHRUBS AND TREES You don’t have to be an experienced topiarist or expert cloud-pruner to add definition to your garden with clipped and trained plants

Stem or trunk cleaning: trunks of trees and the canes of bamboos sprout weedy bits of growth, small stems that spoil the outline of the shape. Remove with secateurs or just by hand, with gloves on.

■ Crown lifting: some shrubs or small trees such as rhododendrons have appealing bark that gets obscured with low-hanging foliage. Remove lower branches to reveal the trunk; this also opens up new ■

areas for planting with ground cover and bulbs.

■ Cloud pruning: a Japanese tradition in which the foliage of trees and shrubs is clipped to resemble clouds floating around the framework of the plant.

Use to breathe life back into an overgrown evergreen.

When you’re cutting anything make sure your blades are sharp, and always disinfect between plants so you don’t spread disease.

■

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Pinus mugo – dwarf mountain pine – is a slowgrowing, spreading bushy shrub

The Trachycarpus wagnerianus palm tree is easy to grow and very robust

Hebe stenophylla is a graceful small tree with narrow leaves and a longflowering habit

Hebe rakaiensis bears short spikes of white flowers in early summer

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JARDIN DES PARFUMS THE GARDEN AT THE CHÂTEAU DE LA COLLE NOIRE HONOURS CHRISTIAN DIOR’S LOVE OF FLOWERS AND FRAGRANCE WORDS ZIA ALLAWAY PHOTOGRAPHY GAP PHOTOS/MATTEO CARASSALE

Cypresses lining the allée to the Château are underplanted with drought-tolerant perennials. Freesias give a welcoming scent in summer

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Roses ‘André Brunel’ and ‘Rose de Granville’, key ingredients in Dior fragrances, are the stars of the box-edged borders

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“THE IDEA WAS TO RECREATE LA COLLE NOIRE AS A PRECIOUS GARDEN, WITH A REALLY CHIC COMPOSITION THAT WOULD BE A REFLECTION OF CHRISTIAN DIOR” PHILIPPE DELIAU, landscape designer

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The pool, animated by a single fountain, throws light onto adjacent beds filled with Stipa tenuissima grasses, shrubs, perennials and fragrant roses

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rawn by the warmth of the Provençal sun and the prospect of creating a garden filled with his favourite flowers, Christian Dior bought the Château de La Colle Noire in 1951, just six years before his untimely death. His ambition was to grow scented flowers there for his new range of fragrances, which were being produced just a few

creator of Dior’s fragrances, and expert grower Armelle Janody, who looks after the roses at La Colle Noire. Philippe says, ‘We’ve recreated a beautiful rose collection, taking inspiration not only from those here at the Château, but also from the rose garden created by Christian Dior’s mother at the Villa Les Rhumbs in Granville, as well as fragrant roses in pastel colours, such as ‘Blanc Double de Coubert’.’

miles away in Grasse, the perfume capital of France.

Dior’s garden also evoked early memories of his home in Granville, Normandy, which he said

Philippe has also used Christian Dior’s favourite plant, lily-of-the-valley, in the shade of the Southern terrace, and woven Madonna lilies and irises

returned him ‘in a different climate, to the enclosed garden that protected my childhood’. The beds he designed were full of scented species, including the May rose (Rosa x centifolia), used to make the rose oil in many Dior perfumes, lavender, lily-of-thevalley and lemon verbena, to name a few. He also planted roses on a larger scale on the land beyond

between the olive trees, which the designer originally grew to make his own oil. More olive trees have been added to those planted by Dior, as well as apricot, persimmon and cherry trees, which he also loved.

For structure, Philippe has defined the main border with low box hedges and created smaller enclaves leading off it, in the style of a botanical garden. The

the garden, with help from his sister Catherine (said to be the inspiration for Miss Dior), a master rose grower who owned a perfume farm nearby.

Following Dior’s death, the property changed hands a couple of times before the House of Dior acquired it in 2013. Since then, La Colle Noire has been fully restored inside and out. Award-winning French landscape designer Philippe Deliau was tasked with maintaining the historical significance of the site, while fine-tuning planting that no longer worked, such as the cypress allée that leads to the Château.

Philippe says, ‘When they were planted in 1956, the cypress trees were three metres tall and Christian Dior surrounded them with cherry laurel. We needed to keep the trees, but to clear them a little as they had grown to 10 metres. So we removed the cherry laurel, which made the trunks visible and emphasised the silhouette of these emblematic trees.’

flowerbeds face the reflective pool that Christian Dior installed to fill the garden with light. The estate was originally over 50 hectares and included fields of roses and olive trees beyond the garden, but the House of Dior now owns just five hectares. However, the company has forged partnerships with landowners of the surrounding estates that now grow roses for its perfumes, including the eponymous La Colle Noire.

‘By thinking beyond the physical limits of the Château,’ Philippe says, ‘we are trying to enhance the surrounding landscape and restore its former aesthetic.’

Today, the terraces offer views across the garden to the rose fields beyond that Christian Dior would have enjoyed, and his dream to grow Dior roses for Dior perfumes has become a reality once more. &

Philippe selected many of the plants in the garden with the help of perfumer François Demachy, the

The House of Dior Château de La Colle Noire garden hosts occasional days when the public are invited to visit. Go to lvmh.com and search for Journées Particulières for details ■

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The reclining figure in the Nymphaeum looks out over a small pool

Fields of scented roses are grown as crops around the Château and harvested for the perfumeries in Grasse

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Visitors are greeted at the Château by elegant urns filled with kumquats (Citrus japonica)

A line of plane trees casts welcome shade in the height of summer

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GARDEN GUIDE SPECIAL FEATURES Rose garden; cypress allée; mixed flower borders; olive orchard; fruit trees, reflective pool.

ORIENTATION South-facing

garden; Château entrance faces north.

SOIL TYPE Good quality loam.

LANDSCAPE DESIGNER

Philippe Deliau, ALEP, Atelier Lieux et Paysages, alep-paysage.com.

Designer Philippe Deliau has packed the beds with seasonal highlights, including yellow daylilies and the blue nepeta, which spills over the path in summer

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BR I NG BE AU T I F U L COL OU R TO YOU R PL A N TING CAREFUL COMBINATIONS WILL ENSURE AN ELEGANT SCHEME – HERE, LEADING EXPERTS SHARE THEIR INSIGHTS INTO MAKING A VARIETY OF HUES WORK THE MAIN ROLE of planting in the garden is to

provide colour. This can be a mix of soft shades that blend together for a relaxed feel. Muted greys, purples and blues create a restrained effect that can also include fresh greens and pastels. The result is easy to live with and works well in most spaces. Alternatively, bolder choices can work as bright punctuation marks or surprise pockets of colour to create focal points.

Seeing colour as part of an overall composition that includes texture and shape is key. Also consider the way light moves around the garden, as this influences how we see colour at different times of day.

HOW TO USE COLOUR IN THE GARDEN When planting, designers tend to limit the palette to green plus two other colours. ‘A riot of colour is great if you know what you’re doing but it’s

FEATURE SARAH WILSON PHOTOGRAPH CLIVE NICHOLLS/ALISTAIR W BALDWIN GARDEN DESIGN

safer to restrict the range,’ says designer Charlotte Rowe. ‘Limit the use of colour in hard landscaping too. We never use green for trellis and fences as it fights against the plants.’ Instead, pick neutral colours.

PLAN A BRIGHT BORDER A stylish

effect can be achieved through the use of restraint and repetition. Colour is key to this, lending a pleasing unity. ‘We love creating harmony through simplicity and rhythm in our planting,’ says designer Alistair W Baldwin. Repetition of colour is a useful device to pull together a theme. The most simple and effective way to do this is by choosing one or two dominant colours.

MAKE COLOUR WORK FOR A CONTEMPORARY LOOK Colour in a

modern scheme can be anything you want: have fun and add some personality. ‘What I love about using colour in contemporary gardens is that there are no rules,’ says Patricia Fox of Aralia Garden Design. ‘There’s a sense of freedom, which can lead to an innovative space.’ Simplicity is everything. Go minimal and choose just one flower or colour as a highlighting touch.

This border uses a limited but impactful palette featuring Rosa ‘Harlow Carr’, Salvia nemorosa ‘Amethyst’ and Penstemon ‘Blackbird’

THINK ABOUT THE EFFECT

Decide on the mood. ‘Do you want it to be vibrant and energising using contrasting colours, or would you prefer a relaxing feel with a pastel-based palette,’ says Sue Townsend. Create a mood board of plants in hues you like and note when they’re in flower. This allows you to see the effect before you take the plunge.’ →

“WHEN I PLAN A GARDEN, DECISIONS ON COLOUR AND DETAILED PLANTING USUALLY COME LAST – ONCE THE OVERALL STRUCTURE HAS BEEN DECIDED” PIP MORRISON, landscape architect

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The borders in Pip Morrison’s own garden at Franklin Farm, Hampshire, feature a riot of reds, pinks and mauves in late summer

G AR DE NS

USING THE COLOUR WHEEL Designer Andrew Wilson FSGD explains the importance of this tool in planting

CHOOSING A PALETTE The colour wheel provides a reference for organising colour, enabling us to make choices that sing. Central to the wheel are the bold primaries red, yellow and blue. The use of these together in a planting scheme would prove lively but the fun really starts when we mix colours. First look at the secondaries opposite the primaries, then the tertiaries, which lie between the secondaries.

This scheme is based on a tetrad – four points on the colour wheel touching red, orange, blue-purple and green

SUCCESSFUL COMBINATIONS If you want to be more experimental in your choices, start by placing a triangle on the colour wheel so that each point sits on a colour. First do the primaries, then move the triangle as if it were a dial – the points will sit on colours that will work together through contrast. These are colour triads. For the tetrads, place a square or rectangle over the wheel in the same way.

THE PROPERTIES OF COLOUR Red

PHOTOGRAPHS (OPPOSITE PAGE) PIP MORRISON; (THIS PAGE) ANDREW WILSON AND GAVIN MCWILLIAM

is an advancing colour, bold and suggestive of heat and energy in colours such as orange and magenta.

Blue is a receding, cooler colour creating depth and space in blue-violet and blue-greens. Yellows are sunny and cheerful. Most are warm and pair well with reds and oranges. Greenish-yellows are cooler and suit delicate combinations. Greens suggest calmness.

CHANGING STYLES Tastes have changed

“THE TREND NOW IS FOR PLANTING PALETTES THAT

over the last few decades. It used to be about playing safe with softer hues and colour-themed borders.

Designers Nori and Sandra Pope experimented with richer tones, creating depth but it was the New Perennial movement that kick-started garden colour and also paved the way for Piet Oudolf to show us how to manipulate colour in contemporary schemes. &

ARE DOMINATED BY PERENNIALS, WHICH ARE ALL ABOUT COLOUR” ANDREW WILSON FSGD, garden designer

THE SOURCEBOOK: STOCKISTS TO CONSIDER CLAIRE AUSTIN This company specialises in perennials, peonies and irises but also stocks a great range of ready-made colour collections. claireaustin-hardyplants.co.uk

HAYLOFT A great source for annuals, biennials and award-winning perennials in every colour your garden could possibly need. hayloft.co.uk

HARDY’S COTTAGE GARDEN PLANTS Passionate about perennials, this firm stocks over 1,200 varieties and focuses on those that will do well. hardysplants.co.uk

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&

KITCHENS BATHROOMS

THIS DEDICATED SECTION SHOWCASES STYLISH LAUNCHES, INNOVATIVE IDEAS AND INSPIRATIONAL DESIGN

HAPPY HUES

FEATURE BUSOLA EVANS

Bring some joyous colour into the bathroom with Aura, a new trio of patterned basins by Kast.

Inspired by classical architecture, the three styles are single, double and pedestal and all have a soft, elongated pill shape and enticing fluted details. The double basin features a useful central vanity space that cleverly hides the waste, while Kast’s impressive selection of 28 colours means you will be spoilt for choice… Aura double basin in Blue, £3,228, West One Bathrooms. →

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K I TCH ENS & BATH R OOMS

Q&A

ELIZABETH SHERWIN, SENIOR DESIGNER, NAKED KITCHENS Now showrooms have opened up again, have you seen a change in people’s kitchen design requests? We are seeing clients coming to us in the early stages with a much clearer idea of their requirements than ever before. They are also considering the social areas within their space, such as incorporating banquette seating with storage.

What are the most popular new additions to kitchen design compared to back in 2019? Lots of clients are including wine coolers or separate drinks fridges and bar areas for at-home entertaining.

NEW COLLECTION Ten years after VIPP launched its first kitchen with its revolutionary modular concept and powder-coated steel finishes, it has unveiled its second collection. Focused on natural materials, the V2’s cabinets are made from oak sourced in Europe and are combined with Jura marble, a fine limestone from the German Alps. The V2 kitchen, price according to module, Moleta Munro.

Which colours and cabinetry finishes are proving most popular at the moment? Exposed timber and veneered fronts are increasingly popular at present, and clients are mixing these finishes with painted units in natural greens and inky blues for contrast.

Handleless door styles or slab fronts with recessed and minimal handles are also really popular.

Which worktop materials would you recommend for your projects? We love to incorporate solid timber from Norfolk Oak where possible. A food preparation area with our oak or walnut end grain is always a wonderfully practical and beautiful addition to combine with timber or quartz-type worktops.

What new developments in kitchen design should be on our radar? Continued experimentation with combinations of textures and finishes – timber, metal, stone. We are always looking to develop a new veneer textured finish option or paint finish.

We have worked with our coating specialists to introduce antibacterial paint as standard.

FEATURE BUSOLA EVANS

ITALIAN FLAIR Just in time for summer, Italian kitchen aficionado Officine Gullo has launched a new collection of gas barbecues. It allows home cooks to experiment with up to 15 cooking methods and has an integrated smoking and rotisserie system. Freestanding Grill Cooking Suite 100, £13,194, Officine Gullo.

What is your advice on how to best personalise a kitchen design? Be bold and be confident with your colour and handle choices. You can introduce individuality with a statement splashback as well.

Q

nakedkitchens.com ¤

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K IT CHE N S & BAT H R O O MS

3 OF THE BEST… GEOMETRIC TILES The strong lines of a geometric tile are perfect for making a bold statement in a kitchen or bathroom. Inspired by beach holidays, the pastel-hued Sunset collection by Otto Tiles adds some playfulness, while Bert & May’s new porcelain tiles can be used in wet rooms and outdoor spaces. For a touch of vintage look to the Vienna tiles by Aparici. From top, clockwise: Sunset collection, £162sq m, Otto Tiles; Vienna tile, £45.60sq m, Aparici; Green Majadas porcelain tile, from £62.25sq m, Bert & May

PURE VANITY Italian designer Artelinea’s latest concept in bathroom design, Fusion, is focused on floor-standing vanity storage. But it has far more in common with well-crafted furniture than average bathroom pieces. The fluted glass fronts lend elegance to the look, while the generously-sized wash basin has a smart offset counter for bathroom essentials. It’s available in six finishes or you can choose from the large selection of bespoke options. Artelinea Fusion furniture, from £7,398, C.P. Hart

GRAND IDEAS A scaled-down version of Drummonds’ Meon, the new Regent bath has the same classic lines and elegance of the traditional cast iron version but at 1570mm, it has been created with smaller bathrooms in mind. On the practical side, it also features clever skirting which allows the pipework to be connected above the floor but remain out of sight. The Regent bath painted in Farrow & Ball’s Radicchio, from £3,570, Drummonds

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MIRA MINIMAL RANGE IS A NEW COLLECTION OF COMPACT MIXER SHOWERS FOR SMALLER SPACES. FROM £108.33, MIRA SHOWERS. &

HOW TO...

PLAN A WET ROOM LEARN THE SECRETS OF A WELL-DESIGNED SPACE WITH NICHOLAS CUNILD, MD OF LUXURY SHOWER BRAND MATKI CLEAR BENEFITS Wet rooms provide a

microcement – in wet room designs and the results are stunning. Built up in layers, the finish is waterproof

a luxurious spa hotel. They are also level entry, so easily accessible to all, not to mention hygienic and easy to clean. Done well, a wet room is incredibly desirable and can boost your home’s value, too.

and seamless, so there’s no grubby grout to tackle.

spacious showering area and the high-end look of

SCREEN STARS On the continent wet rooms

room in a new build or extension, any bathroom,

are often just for showering, but in the UK we tend to include the WC, vanity and even the bath all in one room. This is where wet room screens come into their own. Soggy towels, toilet rolls and flooded floors

upstairs or down, can be fully tanked for wet room use. Issues such as the direction of floor joists can be problematic but not insurmountable. Wet rooms are

can be avoided, without losing that all-important openness in look and feel. Panels that integrate into the shower tray with no silicone sealant required are

particularly effective in small or awkward scenarios, such as rooms with sloped ceilings or strange layouts, as you can maximise the showering area without the restrictions of standard shower tray sizes.

great for a barely there, frameless look. I recommend going as wide as possible with a screen and including a hinged end panel for extra protection.

SUITABILITY While it’s easiest to install a wet

take extra steps with regard to heat, ventilation and drying. Homes on the continent are naturally

savvier about how to achieve fully tanked spaces nowadays, and tanking systems and products are readily available. In particular, hidden tray systems, which fit under the floor tiles and take care of drainage gradients and watertightness, have proved a game-changer. Low-level shower trays that fit flush with the tiles are also popular and can help define the showering space in a bigger room.

warm and tiled throughout, but in the UK you can often exit a wet room onto carpeted rooms – add kids, dogs and all the rest, and it is a recipe for waterlogged, messy floors everywhere! A screen will help to contain major puddles, but underfloor heating and heated towel rails will also speed up drying and help prevent slip hazards. Mechanical ventilation is a must for Building Regulation compliance and will help to clear steam quickly – look for models with intelligent humidity sensors that automatically boost when required. &

needs to be waterproof. Luckily builders are a lot

SURFACE IDEAS Tiling from floor-to-ceiling

is practical but can feel cold and uninviting in large volumes. We’ve noted a rise in polished plaster – both traditional tadelakt and the more modern

■

Matki, 01454 322888, matki.co.uk

SOURCEBOOK: WET ROOM SOLUTIONS C FERRI INTERIORS Carl Ferri and his team are artisans in all forms of polished plaster, from tadelakt to microcement.

He can advise on the best materials for wet room use. cferri.co.uk

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GEBERIT Drains can be more glamorous than you might imagine, and this German brand makes some of the nicest looking designs out there. geberit.co.uk

ON THE LEVEL An expert in tanking systems, this firm has been developing wet room solutions for 20 years, offering bespoke and specialist systems. onthelevel.co.uk

VASCO This firm’s powerful extraction systems are among the quietest available, and it has underfloor and on-wall heating products for all fuel types. vasco.eu

(TOP RIGHT) @LOVETEARSANDTEEPEES (BOTTOM LEFT) MAX KIM-BEE

BEHIND THE SCENES Clearly a wet room

FEATURE LINDA CLAYTON PHOTOGRAPHS (TOP LEFT) SARAH HOGAN;

STAY WARM AND DRY It’s important to

K I TCH ENS & BATH R OOMS

For similar floor tiles try Sherwood Black porcelain, £83.83sq m, Fired Earth. Design by Cherie Lee Interiors

Richmond bath, £1,670, Victoria + Albert Baths.

Design by Leanne Ford Interiors

EauZone Plus wet room panel with brace bar in brushed gold finish, from £934.80, Matki

Jagger Light Grey porcelain tiles, from £40.80sq m, Mandarin Stone

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T WO -T O N E S T Y L E WHY CHOOSE ONE WHEN YOU CAN HAVE TWO? A PLEASING PAIRING OF CABINETRY SHADES WILL DELIVER DEPTH AND INTEREST

SPLIT DECISION

look. ‘Colour blocking can make a simple two-tone scheme feel much more dynamic. A high-contrast split will make the strongest impact. Tie the colours together using small details like cabinet handles and taps,’ says Ashleigh Hanwell, senior designer, Second Nature Kitchens.

The Hunton Handleless kitchen in Dove Grey and Charcoal, from £12,000, Second Nature Kitchens

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FEATURE LINDA CLAYTON

The two most popular ways to divide colours are either a horizontal split – wall units versus base units – or a focal point split where just the island unit or dresser is a different shade. But there is a third way. Colour blocking, as seen here, corrals contrasting colours into distinct areas for a modular, almost free-standing

K I TCH ENS & BATH R OOMS

NATURAL PARTNERS Use timber for one of your tones and enjoy a dual-colour kitchen with natural beauty. ‘In this London kitchen we loved the warmth of the nude/pink cabinets against the bespoke terrazzo floor but wanted to add some masculinity and impact with wood wall cabinets,’ explains Tiffany Duggan, founder and director of Studio Duggan and TROVE. ‘We chose a rich, warm timber for contrast and texture with fluted glass panels to conceal the contents but kept the look light and airy.’ Tactile cement worktops and splashbacks bridge the top and base units, uniting the two shades with quiet style. → Bespoke kitchen designed and commissioned by Studio Duggan

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LIGHT EFFECTS

‘White is a classical kitchen choice that works well on its own but can prove even better when used in a two-tone scheme,’ enthuses Tom Howley, design director of Tom Howley. Bright white is a great choice for creating crisp contrasts

Introducing paler finishes at eye level is a well-known ploy for improving spaciousness and preventing wall units from overpowering, particularly above hard-working areas like the hob or sink. ‘We would generally recommend

that will freshen and lift earthy greens and beachy blues. ‘If you’re considering bright white on cabinetry, you should use warmer shades of white or creams on the walls and floors to ensure the kitchen doesn’t feel too clinical and sparse,’ adds Tom. Do take into account the room’s natural light levels when choosing

opting for dark shades at the bottom and lighter tones at the top, especially if the natural light isn’t great or the ceilings are low,’ says Sarah Ellison, founder and creative director at Frank & Faber. ‘In a kitchen that is really dark, we often forgo wall units altogether, if storage needs allow, or paint them in the same light shade as

whites – tester pots are essential.

the walls so that they virtually disappear.’

Bespoke Devine kitchen in Serpentine (green) and Sorrel (white), from £20,000, Tom Howley

Bespoke kitchen, from £35,000, Frank & Faber

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PHOTOGRAPHS (LIGHT EFFECTS) PAUL CRAIG

WORK WHITES

K I TCH ENS & BATH R OOMS

FUTURE PROOF Worried your current colour crush won’t last? ‘The beauty of a hand-painted kitchen is that in time, should fashions or your taste change, it’s simple to create a new look, especially if you restrict your bold choice to one unit, like an island or dresser,’ says Jasper Middleton, design director, Middleton Bespoke. ‘When choosing bold shades it’s important to consider the architecture of the space as a whole in order to give the colour room to breathe,’ he adds. ‘Here the bold pop of orange is balanced by the soaring ceiling and simple backdrop of polished concrete and blue-grey hues.’ → The Modern Middleton kitchen in Orange and Graphite (Middleton’s own colours), from £30,000, Middleton Bespoke

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K IT CHE N S & BAT HRO O M S

BALANCE BRIGHTS

CLOSE MATCH

‘Strong, bright colours can energise and illuminate a kitchen, creating an uplifting living space that really boosts your mood,’ says founder of King Celia Studio, Jess Piddock, who designed this colourful kitchen for her own family home.

Tone-on-tone colour involves using different saturations of one colour to achieve contrast and movement. It’s a great option for those who struggle with combining colours but don’t want

In this case terracotta adds depth and warmth.’

pattern elevates the grey-on-grey combo for a look that’s modern yet refined. &

Plywood kitchen door fronts, from £5,000, Luxe Hack. Design by King Celia Studio. Pergo 190 engineered wood floor, £75.23sq m, Domus

Parallels Ashton Grey door fronts (wall units), from £72; No Pattern Cloudy Grey door fronts (base units), from £54, Superfront

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PHOTOGRAPHS (BALANCE BRIGHTS) ANNA STATHAKI; (CLOSE MATCH) KARL ANDERSON

Jess handmade the tiles, and has since developed the brush mark pattern, called Pool Party, for textiles and prints. ‘The emerald green is a semi-transparent film that enables the grain of the plywood to shine through while providing a protective coating that’s easy to clean,’ she adds.

‘Bright tones benefit from a grounding shade.

a flat look. To make life easier, many paint companies graduate popular shades numerically, for example Paint & Paper Library’s neutrals come in five tones, from light to dark. In north-facing rooms where the light is cold, it’s wise to use the lighter tone on wall cabinets to help keep any potential gloominess at bay. In this airy kitchen, Superfront’s geographic surface

K I TCH ENS & BATH R OOMS

STORE A ND ORDER BATHROOM ESSENTIALS ARE KEPT FIRMLY UNDER CONTROL WITH THESE DESIGN-FOCUSED STORAGE IDEAS

FEATURE LINDA CLAYTON PHOTOGRAPH FRANCIS AMIAND

1

PANEL SHOW

Every bathroom deserves a striking focal point and this wall-hung vanity

by Humbert & Poyet demonstrates the statement-making potential of beautifully designed storage. The full-width drawer is satisfyingly deep but it’s the slatted design and smooth curves that most impress.

‘Painted wood is not a very noble material, but the notched detail and brass makes the arrangement feel more precious,’ agrees architect Emil Humbert, of Humbert & Poyet.

Bespoke cabinet in French Blue wood, with Calacatta Sponda marble and brass by Humbert & Poyet. →

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K IT CHE N S & BAT HRO O M S

2

CUSTOM FIT

3

EMBRACE VINTAGE

Not often associated with bathrooms, antique and vintage storage is worth considering for its uniqueness and capacity to ground a stark space. Choosing time-worn furniture can serve to soften the crisp ‘newness’ of cold sanitaryware and hard surfaces. Antique furniture is often solidly made, too, with many years of varnish or wax ensuring your investment will happily survive several more decades in a well-ventilated bathroom. Black Alalpardo tiles, £165sq m, Bert & May.

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PHOTOGRAPHS (EMBRACE VINTAGE) @ARTISTRESIDENCE

Commissioning bespoke storage is guaranteed to maximise every inch. Here, Christopher Peters has fitted an array of cupboards and drawers, including two generous laundry baskets, within a 1.5m-wide area under the eaves.

‘One factor to bear in mind when considering bespoke storage over off-the-shelf is the extended lead time, which can be several weeks from enquiry to installation,’ says master designer and owner Will Lyne. Similar bespoke cabinetry painted in Farrow & Ball’s Blackened, would cost around £2,500, Christopher Peters.

4

TIDY COUNTERTOPS

‘A mirror cabinet above the basin provides the perfect hidden storage for toiletries and toothbrushes that can otherwise clutter your vanity top,’ says Roy Persse, founder of Porter Bathroom. Surface-mounted designs work well if cutting into the wall behind isn’t practical, but a recessed cabinet offers deeper storage and a neater flush-to-wall fit above the basin. Everdon tall mirror cabinet, from £594; Carter double vanity, from £2,994; Pelham basin wall 3 hole tap, from £342, all Porter Bathroom. →

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5

LIFT & LIGHT

‘Wall-hung storage is an excellent way to make a small room feel larger by making more floor space visible,’ enthuses Josie Lywood, creative director, Q Design House.

‘Using a striking floor with LEDs underneath the unit helps to further boost the sense of spaciousness.

Be aware you’ll need to allow a decent gap for easy cleaning, which can mean sacrificing storage space inside the unit.’ A similar bespoke vanity in Farrow & Ball’s Ammonite would cost around £1,500 excluding marble, Q Design House.

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K I TCH ENS & BATH R OOMS

6

CURATED DISPLAYS

7

SLIDE TO HIDE

PHOTOGRAPHS (LIFT & LIGHT) ALEXANDER JAMES

Move your storage demands beyond purely practical with stylish freestanding pieces that offer the opportunity to introduce personality and character. This simple industrial style unit – Neptune’s Carter Collection is similar – provides space to stash textiles and toiletries in considered displays. Don’t overfill.

Giving decorative items room to breathe will draw attention to them in a way that would be lost in a cluttered arrangement. Woodblock Mono wallpaper in Knightsbridge, £78 a roll; bath in Marigold 209; window frame in Portland Stone Pale 155 intelligent satinwood, £75.50 for 2.5ltr, all Little Greene.

‘Storage with sliding doors is often more practical in a tight space where the opening span of hinged doors may prove a hindrance,’ says Behnam Makari, showroom and design director, C.P. Hart.

‘The Kut integrated LED mirror cabinet and shelves offer the best of both worlds. Open shelves to show off pretty toiletries, and a sliding mirror to conceal lessappealing necessities and position the mirror exactly where required.’

Kut mirror cabinet, £3,168; Kut shelves, from £626, by Karol, available at C.P. Hart. &

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L IF ES TY L E

We love

R e s ch io, a 1,0 0 0 -ye a r - old c a s t le i n Um br i a , h a s b e en restored to a lu x ur y retreat of my thical propor tions APPROACHED through the Umbrian countryside, Reschio

appears like a vision from a fairytale. Sitting on a 3,700-acre ancient pastoral estate, it has been painstakingly brought back to life over a decade by architect Benedikt Bolza and his wife Nencia, and this summer opens to the public as a stylishly re-imagined 36-room luxury hotel, restaurant and spa.

Each of the Castello’s rooms and suites offers sensational views of both the rolling landscape and the central garden courtyard. They feature either terracotta or wooden floors, sumptuous Italian fabrics, and bespoke beds and lights, designed by Benedikt’s own

FEATURE ROHINI WAHI

furniture studio BB for Reschio.

Original portraits, photographs and quirky curiosities from local antiques markets all add to the eclectic design.

Dining is a delight, with much of the produce coming from the estate’s abundant organic kitchen garden, forests, olive groves, beehives and vineyards. For a particularly charming table, head to the hotel’s beautiful Palm Court, the place to marvel at the castle’s architecture. Then there is the outdoor swimming pool and the spa. Reached by worn stone steps, the Bathhouse offers a tranquil sanctuary, with a hammam, sauna and ethereal plunge pool that fills a dramatic vaulted stone cellar.

NEED TO KNOW ■ Rooms from €590 a night, reschio.com &

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The country files S u z i e d e R o h a n W i l l n e r, C E O o f To a s t , t a l k s m o v i n g t o Ox fordshire, acquir ing ant iques and cycling to lunch spots TEMPTED by a change of pace, Suzie, her

husband and even her mother recently moved to picturesque Wallingford in Oxfordshire. They embarked on a restoration project, sensitively renovating a Georgian house. Just as with her home, Suzie champions slow fashion and artisan

greenhouse and he has built vegetable beds. We go to Busy Baskets Nursery, which is a family business – they don’t rely on the large, mechanised growers supplying most garden centres.

■

I recently found some treasures at the Tetsworth

handmade products through her work. Toast has initiatives such as Toast Renewal, a repair service, as well as the New Makers programme, which

car-boot sale. I bought a lovely old chest of drawers for my 90-year-old mother, who lives with us, and a couple of beautiful chairs. I love the atmosphere

supports artisans of any discipline at the beginning of their careers, selling their products in stores around the country as well as online.

there, like queuing up for your tea and sandwich; it’s all part of the charm.

The legacy of lockdown is that it forced us to think about how and what we consume. It made us reconsider what was in our wardrobes and appreciate the things that we wore the most. We ■

My husband and I try to get out for a walk once a day. We live in a beautiful historic town where the Oxford rowing team trains. I enjoy walking along the ■

river in the mornings. I find it very calming.

We moved here from Richmond last year in the middle of lockdown; our children live out this way and we decided we wanted to be closer to them. We bought a crumbly old Georgian house and it’s been a huge delight watching the progress as we do it up.

■

Many members of our family are artists, such as my mother-in-law who studied at Slade, so we have a lot of family pieces on our walls. I’m not an artist but art is important to me; I love visiting the Ashmolean and Pitt Rivers Museum in Oxford.

■

Colour has a huge impact on how we feel and I knew I wanted calm, muted colours in the house. I’ve ■

spent a lot of time in the South of France and I wanted to recreate that textured, pinkish plaster feel, so I went for Bauwerk lime paint in Alabaster for our kitchen.

My husband Stephen is besotted with the garden. We have a charming old Victorian ■

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ran online repair courses during lockdown and have our repairer in stores, where you can bring in any Toast piece to get it mended for free. I believe mending can offer an almost meditational moment.

I love Objects of Use in Oxford. It’s a utility-type store, similar to Labour and Wait in London, and I adore objects that are functional as well as a delight to look at. I also enjoy going to Blackwell’s bookshop; I can lose myself in there for hours.

■

Stephen and I like to cycle. It’s been fun discovering new places to eat out. We had the most gorgeous lunch outside at The Cherry Tree Inn in Stoke Row and The Perch on the river at Port Meadow looks fabulous.

■

I love it when a business tells you a story. The owners of The Cookhouse Deli in Wallingford take great pains to do that: Paul chats to every customer, even if there’s a queue. He wraps things in wax paper and puts a little sticker where he writes the name and provenance. It’s a really lovely experience. & ■

L IF ES TY L E

Objects of Use

Suzie de Rohan Willner

Busy Baskets Nursery

“THE LEGACY OF LOCKDOWN IS THAT IT FORCED US TO THINK ABOUT HOW

FEATURE JESSICA SALTER PHOTOGRAPHS (ROWERS) KUMAR SRISKANDAN/ALAMY STOCK PHOTO; (PITT RIVERS MUSEUM) ADAM EASTLAND/ALAMY STOCK PHOTO

AND WHAT WE CONSUME”

A rowing eight on the River Thames at Wallingford

The Pitt Rivers Museum holds archaeological and ethnographic objects from all over the world

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La dolce vita SAY HELLO TO SOPHISTICATED SUMMER ENTERTAINING WITH THESE IRRESISTIBLE ITALIAN SWEET TREATS BY CHEF, ILLUSTRATOR AND WRITER LETITIA CLARK

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L IF ES TY L E

CANDIED CLEMENTINE, FENNEL SEED AND POLENTA CAKE SERVES 8-10 4 clementines 350g sugar 250g unsalted butter at room temperature, plus extra for greasing 250g sugar Pinch of salt 4 eggs 190g 00 or plain flour 150g polenta 2 tsp fennel seeds, gently ground in a pestle and mortar, plus extra to garnish 1 tbsp baking powder Grated zest and juice of 5 clementines 3 tbsp natural yoghurt, plus extra to serve

■

To candy the clementines, slice into

thin discs, place in a saucepan and cover with 570ml water. Bring to the boil then drain. Pour over the same amount of fresh water and repeat the process. Add the sugar and another 570ml of water. Put over a low heat

COOK’S NOTE Keep a close eye on the clementine slices as you candy them, as towards

FEATURE SAMUEL GOLDSMITH

the end of the process they can catch and burn terrifyingly easily

and cook gently for 40-60 minutes, or until the liquid is reduced and the oranges are soft, shiny and candied.

■ Preheat the oven to 160C/Gas 3.

Grease a 23cm cake tin with butter and line with baking parchment. In a mixing bowl using an electric whisk, whisk the butter, sugar and salt until fluffy. Add the eggs, one by one, and fold in the flour, polenta, fennel seeds and baking powder. Mix the zest and juice of the clementines with the yoghurt and stir in.

■ Spoon into the tin and bake for 50 minutes. Cool on a wire rack, then transfer to a serving plate and garnish with the candied clementines and their syrup. Sprinkle with fennel seeds and serve with yoghurt. →

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ALMOND, RICOTTA, OLIVE OIL AND CHERRY CAKE SERVES 8-10 280g cherries, stoned Zest and juice of 1 large lemon FOR THE CAKE Melted butter, for greasing 250g ricotta 200ml olive oil 4 eggs 100g ground almonds 150g 00 or plain flour 2 tsp baking powder 200g sugar Good pinch of salt TO DECORATE 40g flaked almonds, Icing sugar, to dust

Preheat the oven to 180C/Gas 4.

Using a pastry brush, grease a 23cm cake tin with melted butter and line with baking parchment.

■ Toss the cherries in a bowl with the lemon juice and zest then set aside to macerate for 1-2 minutes.

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Put all of the cake ingredients in a blender and blend to a smooth batter.

(If you don’t have a blender you can whisk by hand in a mixing bowl using

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COOK’S NOTE You can use frozen cherries if you wish; they work surprisingly well

a balloon whisk, starting with the ricotta and oil to ensure there are no lumps in the ricotta, then adding the eggs and whisking, then finally whisking in the dry ingredients.) Stir through half of the cherries.

■ Pour the batter into the tin. Sprinkle over the remaining cherries and the flaked almonds. Bake the cake until risen and golden, 40-45 minutes.

■ Set aside or 10 minutes before turning out onto a wire rack to cool completely. Transfer to a serving plate, dust with icing sugar and serve.

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POACHED PEACHES WITH ROSE GERANIUM AND VERMENTINO SERVES 6-8 500ml Vermentino di Sardegna or similar dry white wine 2 strips of lemon zest 150g sugar 100ml water 6-8 ripe peaches 4-5 rose geranium leaves, plus geranium leaves or petals to garnish (optional) Mascarpone, to serve (optional)

Put the wine, lemon zest, sugar and water in a wide, deep saucepan and bring to the boil. Turn down

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to a simmer.

■ Wash the peaches. Cut them in half and carefully remove the stones aiming to leave the halves intact.

Place the halves into the syrup and cover with a cartouche. Allow to simmer gently for 7-10 minutes, until the peaches are soft. Remove the peaches with a slotted spoon and place them in a dish. Peel away the skins and discard.

■ Place the poaching liquor back on the heat and simmer to reduce for 3-5 minutes, to form a syrupy liquid. Set aside to cool slightly, and then add the geranium leaves, scrunching them a little in your hands before dropping them in to release their scent.

■ Allow the syrup to cool completely.

Once it is cool, strain out the leaves and lemon zest (discard) and pour it over the peaches. Serve the peaches in a deep dish with their syrup.

Scatter over some geranium petals or leaves if you like and serve with mascarpone. The whole plate is impossibly pretty. →

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YOSSY’S OLIVE OIL, ROSEMARY AND YOGHURT CAKE SERVES 8-10 55g butter, melted, plus extra for greasing 225g 00 or plain flour, plus extra for dusting 2 tsp finely chopped fresh rosemary Grated zest of 1 lemon 200g sugar 175ml olive oil 4 large eggs 240ml natural yoghurt 2 tsp baking powder Pinch of salt Icing sugar, for dusting

Preheat the oven to 180C/Gas 4.

Using a pastry brush, grease a 23cm cake tin or bundt tin with butter and dust it lightly with flour.

■ Mix the rosemary, lemon zest and sugar together in a mixing bowl.

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Whisk in the olive oil and the melted butter. Add the eggs and whisk for 30 more seconds. Whisk in the yoghurt and then fold in the flour, baking powder and salt.

■ Pour the batter into the prepared tin and level the top. Bake for 45 minutes, using a skewer or spaghetti strand to check it is done. Allow to cool in the tin for 10 minutes before turning out on a wire rack to cool completely. Place on a serving plate and dust with icing sugar just before serving.

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COFFEE AND BROWN SUGAR GRANITA WITH WHIPPED CREAM SERVES 6-8 500ml leftover strong espresso 5-6 tbsp light brown sugar 200ml double cream 1 tbsp icing sugar 1 tbsp amaretto

If the coffee is cold, warm it slightly so the sugar will dissolve easily. Stir

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in the sugar (add more to taste) until completely dissolved, then pour the mixture into a rectangular container, put in the freezer and leave for 1 hour.

■ After 1 hour, remove the container and mash the contents evenly with a fork. Repeat this 3-4 more times at roughly 30 minute intervals until you have an even, flaky slush.

■ Whip the cream, icing sugar and amaretto to soft peaks in a mixing bowl. Serve the granita and cream together in glasses. →

COOK’S NOTE Moka pot coffee is perfect for this recipe – alternatively, if you’ve got a great local barista then pay them a visit

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TIRAMISÙ SERVES 10-12 6 eggs, separated 200g caster sugar 1kg mascarpone 400ml strong black coffee 160ml Marsala 40ml brandy 40-48 Savoiardi or ladyfinger biscuits 10 tbsp cocoa powder, for dredging

Put the egg yolks and sugar in a mixing bowl and whisk using an electric beater (or a stand mixer) until thick, pale and mousse-like.

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Mix in the mascarpone by hand, folding it in until incorporated. Make the coffee (make sure it is good, strong, espresso coffee). Stir the Marsala and brandy into the coffee and set aside in a shallow bowl.

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In a separate, clean bowl using clean beaters, whisk the egg whites until smooth, creamy peaks are formed. Fold into the mascarpone mixture, incorporating gently so as not to lose too much air.

■ Dunk the biscuits briefly into the coffee mixture, making sure they are fully immersed. Hold for a second, turn and hold for another second, then remove. Arrange some of the biscuits on the base of your bowl.

■ Scoop a layer of the mascarpone mixture over the soaked-biscuit ■

COOK’S NOTE When immersing the biscuits in the coffee mixture the idea is not to have them sopping or still-crisp but somewhere in between

layer. Add another soaked-biscuit layer, then a mascarpone layer and continue layering to fill the bowl.

■ Dredge well with cocoa powder and place in the fridge to set for 1-2 hours. If you prefer, you can add fresh cocoa powder just before serving.

To make a smaller version, simply half the quantities given.

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PERFECT PURE PANNA COTTA MAKES 6 RAMEKIN-SIZE OR ESPRESSO CUP-SIZE PANNA COTTAS Flavourless oil, for oiling the moulds 400ml cream 100ml milk 50g sugar 1 vanilla pod, split 2 leaves gelatine (3-4g)

Oil your chosen moulds lightly using a pastry brush. Warm half the

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cream in a saucepan over a medium heat with the milk, sugar and vanilla pod, then bring to a scald. You will see small bubbles appearing at the edge of the pan when it is ready.

Remove from the heat.

■ Soak the gelatine in a bowl of cold water to soften. Squeeze as much moisture as you can from the gelatine, add it to the hot cream mixture and stir well to dissolve.

Add the remaining cream to the mixture and strain it through a sieve into a jug, removing the vanilla pod (the vanilla pod can be saved and used in other recipes).

■ Pour the panna cotta mixture into the prepared moulds, transfer to the fridge and leave to set for at least 4 hours. Remove from the fridge around 15 minutes before serving to take the chill off.

■ To serve, simply turn out the panna cottas onto serving plates. & Extracted from LA VITA È DOLCE: ITALIAN-INSPIRED DESSERTS by Letitia Clark (£26, Hardie Grant). Photography

by Charlotte Bland

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The beach beckons W i t h t he lu r e of t he E ng l i s h c o a s t mor e p opu l a r t h a n e ve r, we h ig h l ig ht f i v e h o t s p o t s f o r t h o s e s e e k i n g a h o m e b y t h e s e a THE PROSPECT of a future of staycations

combined with remote working has sparked a buying frenzy in popular and accessible coastal towns. These enticing locations offer idyllic beaches, good pubs, a strong community feel and fantastic water sports.

Rock, Cornwall, and the ferry across the Camel Estuary

WINCHELSEA, EAST SUSSEX This medieval town sits atop cliffs overlooking the Channel, with views of France when the light allows.

It is perfectly situated for accessing a number of beaches, as well as the twin charms of buzzy Hastings and literary Rye. Camber Sands and its kitesurfing school are big draws, as is sailing in Rye Harbour.

■ Budget: £900,000 buys a large period house with a separate cottage in Winchelsea, while a bungalow on Winchelsea Beach with sea views is £750,000.

FEATURE ARABELLA YOUENS PHOTOGRAPH NIALL FERGUSON/ALAMY STOCK PHOTO

ROCK, CORNWALL Nowhere along the coveted north Cornish coast has yet to steal Rock’s crown. ‘The sailing clubs, golf at St Enodoc and sandy beaches, along with restaurants are big attractions,’ says Josephine Ashby of John Bray & Partners. The gateway to the Camel Estuary, it also enjoys easy access to Padstow via water taxi and ferry.

■ Budget: Two- or three-bedroom properties in the village start at around £250,000, but you’ll need £4m and up for a larger waterfront house, Josephine says.

WELLS-NEXT-THE-SEA, NORFOLK Once thought of as the poor cousin of the betterknown north hotspot, this location has significant appeal. ‘Alongside vast stretches of sandy beach and the fact that it remains an authentic fishing town, it now offers that café culture buyers look for,’ says Ben Rivett of Savills. The Wells Maltings arts centre, with a cinema and theatre, opened in 2018.

■ Budget: From £700,000 to £1m for a small family house; £1m to £2m for a larger home with a garden.

ORFORD, SUFFOLK While there are other stars along the Suffolk Heritage Coast, the ancient fishing village of Orford is worth considering, especially if you’re looking for excellent

food. Restaurants such as Pinney’s (known for smoked fish) and the Butley Oysterage jostle with the Kings Head pub and Pump Street Bakery. The beach is shingle – not the best for families seeking expanses of sand – but the area is rich in history and the arts, with Aldeburgh, Snape and Southwold nearby.

■ Budget: From around £300,000 for a pretty house in the village with no views, rising to over £1m for a house overlooking the river or Orford Ness.

NEWTON FERRERS/NOSS MAYO, SOUTH DEVON These twin villages on the Yealm Estuary are among the best-kept secrets of the South Hams. Closer to the M5 than better-known Salcombe, they offer a vibrant village life year round. ‘I’ve seen many trends come and go, but the overwhelming desire for uncongested South Devon coastal areas over the past year stands out,’ says Roger Punch of Marchand Petit.

■ Budget: £275,000 for a one-bedroom cottage within half a mile of the coast, rising to over a £1m for a house with water views. &

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What home means to me A N DY MU RR AY

THE TENNIS STAR ON BEING ON THE MOVE BUT FINDING SOLACE WITH HIS FAMILY MOST of my early memories of home are linked to my brother Jamie. We are only 15 months apart so were very close growing up in Scotland. I remember playing swingball, which was probably with Jamie, and also sipping my babysitter’s coffee when I was very young, which I spat out. I have never touched coffee since.

I’M very close to my grandparents who still live in Dunblane, and speaking to them brings back memories of home. I spent a lot of time with them when I was younger, playing games like Monopoly, snap and dominoes together and they tell me I was very competitive even then. I had to win at all costs.

I’ve been living away from home since I was 15 playing tennis so I’m fairly good at adjusting to wherever I am. It’s become a way of life.

I ENJOY travelling but it’s great to come home after a big tour – I really miss the family. We FaceTime a lot but it’s hard with very little children.

I’ve got four children now, so I’m usually thrown straight back into family life as soon as I walk through the door. They change so quickly, it’s always nice to see what they’ve learned while I’ve been away.

LOCKDOWN was a strange time for me. Compared with what so many other people went through we were pretty lucky, so I’m grateful for that. But it was frustrating as I was just preparing to get back onto the Tour after my hip surgery and recuperation.

Fortunately I have a lot of training equipment at home, so I could do quite a bit remotely. I’m hoping to stay healthy and get lots of match time so I can be back at Wimbledon.

I LEAVE most of the house decor to Kim. And now we’ve got four children, I don’t have much time for DIY. That’s my excuse anyway! When I bought and renovated the Cromlix Hotel, near Dunblane, Kim and I both had input into the interiors. We wanted it to feel like a grand old country house,

MY son, our third child, was born in the October before this all happened, so it was great spending time with him and my daughters. That was the silver lining to all of this for me.

that is comfortable and cosy but feels luxurious.

There are some traditional Scottish elements I really like, but it’s not too overdone. I particularly love the giant baths, which are great for relaxing in after a day in the Scottish countryside.

is probably now. I feel confident in who I am. I’ve achieved a lot although I still believe I can do more.

I’ve got a great family life, a good team around me and after such a long time out with my injury, I really appreciate being back playing the game I love. &

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THE point in my life where I have felt most at home

FEATURE DANIELLE LAWLER PHOTOGRAPH ALAMY STOCK PHOTO

I’ VE lived in Surrey since 2009. It’s close to where I train when I’m in the UK and also near to Heathrow and Gatwick for when I’m travelling. But home for me is wherever my wife Kim and our children are.

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