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The art of luxury

DIVINE INTERIORS AND THE NEW GRANDEUR EXQUISITE HOUSES FROM A MONASTIC MODERN VILLA IN CALIFORNIA TO ROSE UNIACKE’S CHIC LONDON HOME

SMART RENOVATIONS

STATEMENT KITCHEN ISLANDS SPA-STYLE BATHROOMS LIVING ROOM LIGHTING INSPIRATION

THE 2021 H&G DESIGN AWARDS WINNERS

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NOV EMBER 2021

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NEWS & SHOPPING

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OBJECTS OF DESIRE Designs to inspire, from seating to ceramicware

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SMART FINDS Savvy and stylish buys THE NOVEMBER EDIT Discover this month’s style and product news BEAUTIFULLY MATCHED An exciting collaboration between two iconic brands THE SUSTAINABLE HOME Our columnist Sebastian Cox on choosing the textiles that adorn his home NAME TO KNOW Nature Squared creates beautiful surfaces from materials that would usually be regarded as waste FLOOR SHOW Stunning rugs DREAM TIME Rest easy with our edit of beautiful upholstered beds FINE DINING Elegant dining chairs COMMISSIONING BESPOKE FURNITURE Our essential guide to adding original pieces to your home

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THE BEST IN DESIGN Our annual awards celebrate beautiful products, spaces to inspire and standout people

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TRUE GRANDEUR Rose Uniacke describes the labour of love with which she has transformed her London home HIGH CULTURE An apartment in Stockholm has been given an international feel thanks to mid-century finds from Italy and France DIVINE INSPIRATION A change of design direction led to a minimalist look that chimes perfectly with the monastic architecture of an American villa EDWARDIAN RENAISSANCE Philip Vergeylen’s signature style of luxurious materials and fine detailing is seen to stunning effect in a Grade II-listed villa MODERN ELEGANCE Designer Tiffany Duggan has given a soulless London new build a timeless feel that still offers an element of surprise MIAMI CHIC A design celebrating strong textures helps a high-rise apartment overlooking South Beach feel reassuringly grounded

COVER PHOTOGRAPH KRISTOFER JOHNSSON/LIVING INSIDE

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DESIGN IDEAS 40 POINT OF FOCUS Imaginative ideas 57 61 69 73

for using a single look-at-me design for creating rooms with character COLOUR OF THE MONTH Rich earthy brown has a warm, timeless appeal and we asked the experts how to use it LIGHT THE WAY Pages of inspiration

KITCHENS & BATHROOMS 151 156 158

for establishing a living room lighting scheme that is functional and fabulous THE ART OF INTERIOR DESIGN Charu Gandhi on celebrating floors and ceilings and designing a luxe bathroom THE ALLURE OF THE EAST A look at the history of chinoiserie

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SPA-STYLE BLISS Relaxing bathroom retreats perfect for five-star pampering

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133 IN SEASON THIS MONTH Burnished flowers and foliage STROKES OF BRILLIANCE A garden ablaze with rich autumnal hues MY GARDEN LIFE Gravetye Manor’s Tom Coward shares his design secrets EVERGREEN SHRUBS FOR YEARROUND BEAUTY These versatile plants will bring structure to your garden

NEWS The latest products and designs HOW TO… USE BATHROOM TECH Innovative offerings that will transform your daily bathing rituals STATEMENT ISLANDS Make the most of this kitchen must-have with advice on style, design and materials

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HOTEL WE LOVE Les Sources de Cheverny in the Loire Valley THE COUNTRY FILES Jewellery guru Monica Vinader on the north Norfolk coast A TASTE OF PARIS Recipes inspired by classic French patisseries DESIGN DESTINATIONS The top five country towns with distinctive shops WHAT HOME MEANS TO ME We hear from Kit Kemp

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EDITOR’S LETTER SUBSCRIBE TO H&G

TO SUBSCRIBE Subscribe for six months for £19.99. Visit homesandgardenssubs.com/nov21 and quote code BX38 DIGITAL EDITIONS AND PAST ISSUES These can be downloaded at homesandgardenssubs.com/digital or order print editions at homesandgardenssubs/backissue

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Over the past months, the H&G team has been working on the 2021 Design Awards. Every year our panel of esteemed judges whittles down thousands of entries to come up with the ultimate edit of people, products and projects (see the winners on p79). What the selection underlines to me is that living in beautiful surroundings is about more than just aesthetics – it can boost wellbeing, too. I see this as the art of luxury today – we now look for spaces that nurture and nourish us as much as we look for glamour. This issue is a feast of interiors to feed the soul, from Rose Uniacke’s extraordinary home (p32) to a sublime Edwardian villa designed

by Philip Vergeylen (p112). Our Point of Focus decorating shoot (p40) highlights the power of a single statement design piece. I love the red thread that pulls the story together. Elsewhere we look at how to commission bespoke furniture (p54), standout kitchen islands (p158) and spa-style bathrooms (p165) – plus living room lighting ideas to set the mood for an indulgent

PHOTOGRAPH IZABELA SMITH FABRIC ARZU IN SORBET, £125M, ROMO

autumn (p61). All of these things say luxury to me.

LUCY SEARLE, GLOBAL EDITOR IN CHIEF

F OL L OW US ON Instagram @homesandgardensuk

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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 Editor Samuel Goldsmith Group Art Director Alison Walter Art Editor Meredith Davies Senior Designer Chris McPhail 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

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FO R T H E F IN EST C O N S ERVA T O RIE S, O RA N G ERIE S A N D R O O F LIG HT S

+44 (0) 14 76 5 6 443 3 www.valegardenhouses.com

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FEATURE JO BAILEY PHOTOGRAPHS (PINCH) JAMES MERRELL; (GALVIN BROTHERS) INDIA HOBSON

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OBJECTS OF DESIRE T h i s m o n t h’s e d i t o f d e l i g h t f u l d e s i g n s w e l o v e 1. Debut rug collection Chimes rug in Aqua, £13,428, Ochre 2. Hand-stitched linen for a pretty patchwork Reclaim cushion, £230, Kirkby Design 3. First in-house-designed furniture range Wensum pedestal table, £2,450, Birdie Fortescue 4. The art of marquetry Round Curve mirror, from £280, Chelsea Vivash 5. Beautiful glazed arches Konig sideboard, £5,600, Galvin Brothers 6. From the new brand to know Gigli bowl with stand, £125, Bettina Ceramica 7. Latest addition to a popular series Brody wingback chair, £2,985, Pinch &

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SMART FINDS 1. Bring a whimisical touch to the table Rattan napkin ring bows, £32 for set of 4, Mrs. Alice 2. Ideal for a kitchen island Ray 3 light bar pendant, £202.80, Där Lighting 3. Woven with a soft blended yarn Tasara throw in Heather, £125, Designers Guild 4. Patterns from Positano Fiore serving dish, £58, Host 5. Clever hidden storage Aurora footstool in Sonia Stripe in Ginger, £390, Ceraudo 6. Beautiful branches Flora taper candlestick, from £22, Anthropologie 7. Upholstered seat for extra comfort Southwark bar stool, £229 for set of 2, Swoon &

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FEATURE JO BAILEY

Sav v y buys w ith st yle in spades

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THE NOV EMBER EDIT TREND-FIRST TILES The Arch Collection of encaustic tiles has been designed by Bert & May alongside our friends at Livingetc; a celebration of both brands’ love of clean architectural lines. The range, costing £8.40 a tile, is made up of soft, yet striking, patterns such as soaring columns, gentle arches and playful circles in a muted palette for a laid-back contemporary look.

HIGH-STREET HERO Sofas & Stuff’s new collection of fabrics and furniture in collaboration with the V&A draws inspiration from 16th- and 19th-century illustrations in the museum’s archives. There are five designs in 10 colourways, as well as two new sumptuous sofa styles. Seen here, the Anglesey chaise in Ikat in Basil, from £1,980.

FEATURE JO BAILEY

DESIGNER WALLS This autumn British designer Susie Atkinson launches her first wallpaper collection. Susie worked with artist Ellen Merchant to create a range using traditional techniques. There are three florals in several colourways, Eastern Garden (top), Dipley (bottom) and Wild Daisy, from £90 a roll.

LIGHTING WE LOVE This year’s Decorex at London’s Olympia, 10-13 October, will see the launch of J Adams & Co’s latest lighting collection, Luna, named after the Roman goddess of the moon. The range combines brushed brass with travertine and is designed to explore concealed light and reflected illumination.

It comprises a pendant light in two sizes, a wall light, above, £900, and a table light. ¤

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NEW LINE IN STYLE

not only by designs from the past, but by Ercol’s commitment to craftsmanship.

BEST IN SHOW At this year’s RHS Chelsea Flower Show, David Harber displayed his ever-expanding portfolio alongside his newest design Sentinel, £30,535.

The sculpture features two elegantly balanced halves, made from slate and marine-grade polished steel, that creates a kaleidoscope of reflections. This imposing piece explores how we can co-exist in close proximity without touching – a powerful observation of recent times.

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SEEN ON INSTAGR A M @s t ud io.ha m Tell us about yourself. We’re a newly launched home store curated by the team behind HÁM, our family-run design-and-build practice based near Henley-on-Thames. We create original interiors filled with art, antiques and intriguing objects. Studio HÁM is an organic response to requests for our eclectic aesthetic.

Describe your Instagram account.

A destination for those seeking artwork, furniture, decorative antiques and homeware, the look reflects our style – elegant and a little eccentric. Our Made by HÁM collection is designed in-house and handmade in England, while the Found by HÁM antiques collection is sourced by the team.

What’s your account’s USP? Our peppy colours and unique products. We always try to bring a sense of style and fun to our work and we hope that shows.

Which accounts would you recommend we follow? New York designer @stevengambrel for a masterclass in colour and architectural detail; Dorset’s @fordeabbey for ethereal garden images; we have a passion for antiques so @brownrigguk and @antonandkantiques are favourites; lastly interior design duo @stampsandstamps whose schemes are rich in pattern and beauty. ¤

PHOTOGRAPH (SEEN ON INSTAGRAM) ALEXANDER JAMES

L.Ercolani is a new luxury furniture brand from Ercol. It is now the home for heritage designs, including the Butterfly chair and the Studio couch, as well as future classics, such as the Reprise chair (above), £2,570, part of a recent collaboration with Norm Architects for L.Ercolani. The new direction is influenced

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3 OF THE BEST: GRAPHIC RUGS

POWERFUL COLLABORATION Interior designer David Netto, known for creating modernist interiors that abound with warmth and humour, has created a range of lighting for Soane Britain. The collection includes nine

Mirzyan, £7,600, Matthew Hilton for Christopher Farr. Folding Ribbon, from £690, Nordic Knots x Campbell-Rey. Pale pink and green large check jute, £725, Tate & Darby

designs, including the Bad Kitty, inspired by the sparkling mood of a cocktail of the same name from London’s Kitty Fisher’s restaurant. Bad Kitty table lamp, £1,800; Bad Kitty lampshade, £990, both David Netto for Soane Britain.

CHIC OFFICE UPDATE The Lacquer Company, creator of contemporary, covetable lacquerware, has worked with designer Suzanne Sharp on a 16-piece collection inspired by travel and her Mediterranean heritage. The Castello mail tray, £350, is one of the standout items with its distinctive design reminiscent of a castle. It is available in four colours.

INTERIORS COUTURE Designer and fashion icon Iris Apfel has created the Maximal Couture Collection.

Inspired by her own textile archive and fashion items, the eclectic range includes colourful prints, wovens and embroidery fabrics as well as trimmings. From £90m, Iris Apfel for Fabricut at Christian Lee.

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BE AU T I F U L LY M ATCH E D This October sees the collaboration bet ween t wo iconic B r i t i s h b r a n d s : Fa r r o w & B a l l a n d L i b e r t y

How would you best describe the overall look and feel of the collection? The combinations are irresistible! From the edgier but complex tones of Pantalon and Chemise to the simple appeal of Archive and Clunch, these 15 colours might have their roots in the past but they are perfect for the contemporary home and, like the fabrics they complement, feel both exciting and dependable.

Can you explain the creative process when collaborating? It was natural – Genevieve Bennett from Liberty and I worked closely together mulling over which would be the most suitable colours to work with her fabrics, taking into consideration which suited the contemporary home best and also which had a ‘Liberty’ feel to them.

Which is your favourite combination? Each of the colours was carefully chosen on individual merit, but I am pleased to say that many of them work brilliantly together. Nature is a great clue to colour combinations – I have always adored pinks and greens together, a mix which often dominates in our gardens. So, my favourite would have to be Chine Green with Fruit Fool – both heavily saturated colours that sit well in modern homes.

What tips do you have for using this collection?

I am keen on creating big, light spaces to live in during daylight hours and more strongly coloured, intimate spaces to retire to in the evening. The light tones of Clunch are perfect for use in kitchens, while the fabulously complex tones of Sloe Blue will create a cosy space in a bedroom. And who can resist wonderfully earthy Cane for a small space like a loo.

After years of neutrals, it seems like people are seeking more colour in their homes…There’s been a seismic shift in the way we are using colour in the home and many of us are embracing stronger shades as they remind us of our childhood and so create a feeling of nostalgia and safety after a couple of turbulent years. &

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Wall in Olive No.13, Farrow & Ball. Headboards in Poppy Meadowfield in Pewter Blue and Wiltshire Blossom in Sloe, both Liberty

Wall in Smoked Trout, Farrow & Ball. Curtains in Persian Voyage in Pewter, Liberty

FEATURE JO BAILEY

To celebrate its 75th year, Farrow & Ball has joined forces with Liberty to create a stunningly curated collection of 15 paint colours from the firm’s archive of 114 much-loved hues. We caught up with Joa Studholme, Farrow & Ball’s colour curator, to find out more.

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THE SUSTAINABLE HOME Fo r h i s m o n t h l y c o l u m n , d e s i g n e r S e b a s t i a n C o x c h a r t s t h e renovat ion of his home, one inspir ing and eco idea at a t ime

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ne of the things we’ve noticed about living within splashing distance of

the sea is that when the winter wind blows, it really howls. Fires lit at home, we’re donning jumpers and drawing curtains to conquer the drafts that get pushed into the house from the North Sea. Insulation aside, there’s one thing that both holds in heat and keeps spirits warm – the textiles in our home.

Curtains, throws, bedding, rugs and soft furnishings are all invaluable even in the most austere and airtight modern interiors. But with such various fibres coming from globally diverse sources and factories, fabric and textiles can be an environmental minefield.

It seems, though, that the eco-conscious scrutiny that’s beginning to be applied to the world of fashion, isn’t equalled by interior designers to the homeware textile industry. Perhaps it’s because there’s a lot to learn and understand about fabric.

Brogan, my wife, is a keen seamstress. With her sewing machine and overlocker in our cellar, she turns out all manner of things for our house and frequently makes her own clothes. With her expert eye for quality and my curiosity for the source of things, we’ve established a few rules for draping our home. Aside from working conditions, which are best ensured by buying fabric from UK mills or small transparent companies, the two areas we apply most scrutiny to are the source of the raw material and the chemicals used in production.

Flax and wool are our go-to materials. Flax, which makes linen, is a fibre that can be grown native.

Unfortunately, we don’t have the machinery to harvest it as it requires pulling, rather than cutting, although organisations like Flaxland are looking to change this.

The best sources are Belgium, France and Ireland, who have held on to their linen industries and are on our doorstep. A plant flax requires very little water to grow compared to cotton, no pesticides or fertiliser, and is processed and softened mechanically rather than chemically. This means its environmental footprint is invariably lower than cotton. Wool is, of course, a familiar fibre, known for its warmth and hardiness,

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making it suited to cosy carpets and curtains. We seek UK wool from UK mills, like our curtains from Stitched or Naturalmat mattress, entirely woven and sewn in the UK and with low or no chemical inputs.

I’ve touched on the mechanical processing above, which is a massive consideration in fabric. When first milled, fabrics are stiff and need to be softened.

This can be done by soaking the material in baths of chemicals or by pounding it with machines. While using more energy, mechanical processing is much less polluting than chemical, which too often means chemicals finding their ways into our water courses in the form of dyes and printing inks. A pioneering company paying due attention to its waste water is Rapture & Wright, who has invested in an impressive series of natural filtration ponds at its Cotswolds production facility, pictured above, to turn the waste water from its hand-printed fabrics into clean, drinkable water, providing space for nature along the way in its wildlife-teeming pools.

As the fashion world slowly smartens itself up, companies like Rapture & Wright give us hope that the interiors world can follow or, better still, lead. &

FEATURE JO BAILEY PHOTOGRAPHS (PROCESS IMAGES) MIGUEL NACIANCENO; (STYLING IMAGES) TRACY WONG

Elaine Yan Ling Ng, chief material innovator for Nature Squared. Raw materials include mussel shells and eggshells

NA ME TO K NOW A n e a rly a dopt er of su s t a i nable produc t ion, Nat u re S qu a re d i s t h e b r a i n c h i l d o f L a y K o o n Ta n a n d P a u l H o e v e . It s a i m : t o create beautif ul sur faces f rom mater ials usually discarded a s wa st e wh i le nu r t u r i ng cra f t sma nsh ip i n developi ng cou nt r ies HOMESANDGARDENS.COM

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N E WS Tell us a little about yourselves and the background of your business.

From mundane to marvellous: Nature Squared is inspired to create beauty from waste material

Back in 2000, my friend Paul Hoeve and I were bemoaning the state of the world. Having had successful careers in finance, we felt it was time to ‘give something back’. So, we took our key drivers: a passion for nature, a desire to preserve heritage skills and to create jobs in developing countries, our view of sustainability… and came up with Nature Squared.

What products do you create?

We make surfaces out of sustainable natural materials, using superlative craftsmanship. We now employ 160 artisans in the Philippines, most for well over 10 years. We take organic waste, divert it from landfill, and turn it into solid surfaces, largely for architectural and interior use.

What techniques do you use?

We are a microcosm of diverse but close-knit specialists: among our 180 people, are inlayers, weavers, dyers… people with carving and gilding skills… laser operators, carpenters, draftsmen, engineers. We work with a vast variety of equipment, from humble darning needles to state-of-the-art lasering.

Describe your working spaces.

In our factories in Cebu, people work on orders that might vary from a bathtub to a tap, from a monumental column to a bijou artwork… all in seashells and nutshells; reeds and vines; porcupine quills and pheasant feathers. And our studio in London is an Aladdin’s cave of samples.

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What challenges have you faced?

Working with natural materials comes with myriad challenges.

There’s no technical datasheet! From a design perspective, it needs careful curation. This is what distinguishes craftsmanship from handicraft. Many of our people work to 1mm precision, without compromising their artistry.

What’s in the pipeline?

We are launching our new CArrelé collection of crushed eggshell tiles, and collaborating with Dornbracht on a luxury collection of taps. & ■

@nature.squared; naturesquared.com

LITTLE BLACK BOOK ELPIDA HADZI-VASILEVA, ARTIST Her works are startling in their concept and originality.

SWIMMING POOL, RAC LONDON A stunning pillared art-deco beauty in the heart of London; it inspired one of our best-loved projects.

PIRIPI, ALICANTE Among the best tapas bars in Spain; my daughter ate her first tapas here.

ABERFELDY WATERMILL A wonderful independent bookshop cum art gallery cum coffee shop.

NARWHAL GALLERY, LONDON Ken and Tija Mantel have championed Inuit art and education from their Chiswick base for 40 years.

PHOTOGRAPH TRACY WONG

Where do you find inspiration?

We start by identifying a community that needs support, and look in their environment for materials. Some, like feathers, are innately beautiful and immediately inspirational. Others, like discarded fruit skins, prove more of a design challenge!

TRUE GRANDEUR A walk around interior designer Rose Uniacke’s London home illustrates the power of exquisite craftsmanship and pared-back design PHOTOGRAPHY FRANÇOIS HALARD

FOR her debut book, Rose Uniacke describes

the labour of love with which she has transformed her London home. The property, once a grand mansion owned by 19th-century Scottish artist James Rannie Swinton, had been neglected following a stint as an art school then wartime

light, shadow, texture, colour and scale. In this stunning tome, Rose eloquently describes the work that went into the project. She brought in the help of architect Vincent van Duysen, but the aesthetic of the house is uncontroversially hers. And as she opens her second store on the

bombing. Luckily, enough of the original structure and detailing survived. The results are extraordinary. Rose has animated the house in her particular style, with deft juxtapositions of

Pimlico Road and launches her first paint range, it feels like a wonderful time to hear Rose’s unique design viewpoint and take inspiration from her sense of quiet luxury.

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H OUSE S

‘Once we stripped it, the house was sublime,’ says Rose. ‘It felt like an abandoned palazzo with extraordinary volume in the rooms and wonderful layers of distressed colours from years of decoration. I was determined to retain – I hope you can feel it – a real sense of the empty house, a sense of the space in its very simplest form. But it couldn’t be cold or daunting or too grand, and it had to welcome.’ →

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‘Vincent had the idea of turning Swinton’s portrait gallery into an indoor garden,’ says Rose. ‘After the original domed roof was bombed in World War Two, it was replaced in the 1970s by a white, heavy, boxy thing. I loved the idea of making the gallery into a garden room – a winter garden – but it was very challenging and took time to evolve. I asked Tom StuartSmith to design the garden, the terraces and the winter garden. His gardens are romantically wild and have an effortless feeling yet are deeply considered. I completely trusted him.’

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H OUSE S

‘Within the hall wall supporting the stairs, we were fortunate to find a fragment of stone, proving that there had once been a significant stone staircase there,’ says Rose. ‘So we were able to get permission to reinstate it. I looked all over London for examples of period cantilevered stone staircases – sometimes even craning my neck to look through other people’s hall windows.’ →

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‘Wood is such a perfect material,’ says Rose. ‘It forms the heart of the furniture collection here. There is a great deal of wood in all forms. I love looking at it. I love what it can do, and I love the patterns and warmth it offers. There is also a lovely relationship with the furniture and the bare floor.’

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H OUSE S

‘I like to work out where the heart of a room will be, and how it will flow, so furniture thoughts come early,’ says Rose.

‘In order to root the house, some of the pieces would need to reflect the place and period. It made sense to start with English furniture of the 19th century. I favoured plain with a simple beauty.’ →

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HO US ES

‘One colour throughout each room with no contrasts frees you to enjoy the detail and the architectural shape with just the play of light and shadow,’ says Rose. ‘There is movement and patina naturally, and a dry, chalky feeling. Each room is one complete box of colour. We layered thin washes of distemper over the original stripped walls until the feeling was just right, so that the house offers again an unobtrusive beauty.’ &

Extracted from ROSE UNIACKE AT HOME by Rose Uniacke with a foreword by Alice Rawsthorn (£150, Rizzoli)

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Point of focus A standout , eye- catching desig n in any room n o t o n l y t e l l s a s t o r y, i t a l s o d r a w s o u r at tent ion and spark s wonder STYLING CLAUDIA BRYANT PHOTOGRAPHY JON DAY

MAKE AN ENTRANCE Graphic prints hung side by side over a bespoke metal console create a striking impact.

Shapely accessories in glass and marble further enhance the ensemble.

Walls in Hardwick White estate emulsion, £49.50 for 2.5ltr, Farrow & Ball. Transfer (left) and Contour prints, £570 each, Formworks. Tremble table, £9,600, Cox London. Top shelf from left: Venito lamp, £185, Soho Home. Vintage hand-blown glass vase, £195, Edition 94. Magic Jar Candy Floss Rose by Normann

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Copenhagen, £89, Couverture & The Garbstore.

Bottom shelf from left: Blackfish stoneware plate by Takashi Tsushima, £175, Among the Pines. Corinium platter, £38, Neptune. Tall plinth in Marble Rose Calacatta Viola by Norm Architects for Menu, £997, Aram Store. Hudson rug, £6,268, The Rug Company

D ES IGN IDE A S

VA-VA-VOOM VELVET A lavishly curvaceous red sofa takes centre stage, tempered by elegant monochrome furniture and understated geometric curtains.

Walls, as before. Curtains in Circuit in Carbon, £176m, Schumacher. Curtain pole from a selection at John Lewis & Partners. Arbor three-seater sofa in Alpaca velvet by Matthew Hilton, from £4,345, The Conran Shop. Cushions from left: Ankara square cushion in Pink, £75, Birdie Fortescue. Monserrate Cameo cushion, £70, Designers Guild. Cloud coffee table, £9,960, Tom Faulkner. On coffee table: footed bowl by Connie Augoustinos, £193, Maud & Mabel.

Pink glass dish from a selection at Anthropologie.

Kata tall pink glass vase, £48, Graham and Green.

Denali accent table, £1,476, Arteriors. Fin king table light, £589, Original BTC. Bowl by Iva Polachova, £65, Flow Gallery. Wool Structure rug by Brian Coleman, £16,200, Knots Rugs. White Sherpa pouffe, £145, Graham and Green →

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MONOCHROME MOMENT Generous in scale and pattern, this rug makes a bold statement. Pair with simple lines and calm tones so as not to overwhelm a space.

Walls, as before. Untitled 21-63 (top) and Untitled 21-67 framed collages by Caroline Popham, £1,400 each, Maison Artefact. Tambour cabinet, £5,998, Knowles & Christou. On cabinet from left: Eddie sculpture, £520, Arteriors. Muses Clio vase by Ferm Living, £75, Amara. Regan bronze vase, £375, Arteriors. Jigsaw monochrome rug, Riviere for Zoffany, £13,176, Riviere. Bespoke chair, Martin & Parker; covered in Rest in Blossom K5266/02, £260m, Kirkby Design. Caribou cushion, Khalique London. For a similar side table, try the Classic End table in Black by Pols Potten, £194, Made in Design. On table: Raawii Alev medium vase in Young Rose, £55, Amara

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D ES IGN IDE A S

DELICATE DELIGHT An sculptural white chandelier offset against grey walls makes for a delicate yet characterful centrepiece for a dining room.

Walls, as before. Colombier chandelier in Chalk White, £2,484, with 7 x Lily linen shades, £32.40 each, all Vaughan. Sand Debris 1 oil on board by Jeremy Annear, £4,750, Among the Pines. On fireplace: candlesticks in Blush Pink, Flamingo and White, £190 each, Margit Wittig. Small vase by Iva Polachova, £165, Flow Gallery. Moose dining table, £2,772, Julian Chichester. Amalfi woven chairs, £160 each, French Connection. On table: Serax Earth vase in White, £90, Amara. Collie tray, £472, Arteriors. On tray: Maison Balzac Stem wine glasses in Pink and Smoke, £25 each, Pentreath & Hall. Candy Swirl hand-blown Italian carafe, £85, Edition 94. Mazandarian flatweave rug, £4,950, Robert Stephenson →

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SHAPELY SILHOUETTES The sculptural side table with dark burnished brass discs offers a counterpoint to the pale curves of the headboard, but both say ‘look at me’.

Walls, as before. Monette table in hand-burnished metal by Massimo Castagna, £1,164, Gallotti & Radice.

Ronnie table lamp in White, £30, John Lewis & Partners. Apollo king-size headboard, £2,230 plus 2m fabric and 3.5m piping, Ensemblier London; covered in Foss linen in Pink, £72m, Colefax and Fowler; piped in Audrey silk in Charcoal, £172m, Madeaux. Cushions from left: Linao beaded Abaca cushion by Kubo Curated, £360, Mint. Plain velvet rectangular cushion in Hot Pink, £71, Oka. White pure linen king-size duvet cover, £149; standard housewife pillowcases, £18 each; fitted sheet, £79, all Secret Linen Store. Kantha velvet quilted throw in Fog, £225, The Conran Shop. Vice Versa fringed linen throw in Bois De Rois, £185, Edition 94. Vintage Anatolian kilim floor runner KL761, £594, Larusi →

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FAIREST OF THEM ALL A decorative 1940s-inspired mirror sets the stage for an elegant dressing corner.

Walls, as before. Countess large rectangular mirror with red gesso frame, £2,075, Julian Chichester.

Double Foliage wall fitting in gold, £183, with 16cm Empire black silk shades with Glasgow gold interior, £32 each, all Pooky. Bench with metal frame and brass trim covered in Madama velvet in Fumo, £1,210, Chelsea Textiles. On bench: Vice Versa fringed linen throw in Pasteque, £185, Edition 94. Cassia Cameo and linen velvet cushion, £70, Designers Guild &

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FEATURE ROHINI WAHI

Shapely r ugs f u ll of room-transforming potent ial 1. British artist offering Doodles by Faye Toogood, €9,174, cc-tapis 2. Made by Danish creative Signe Kejlbo Flores, €699, Aytm 3. Various textures for tactility Selce bouclè, velvet, relief and shaggy by Studio Salaris, £4,265,95, Carpet Edition 4. Inspired by the architecture of Stockholm’s old town Norr Mälarstrand 03, from £575, Nordic Knots 5. Hand-knotted in pure silk Concertina, £1,380sq m, Deirdre Dyson 6. Neutral tones in an ornate shape Ammir hand-tufted, £6,290, Hommés Studio 7. Influenced by Indian kite festivals Kites Mono by Kangan Arora, £1,145, Floor_Story 8. Discreet adornment Kelim, £105, Ferm Living 9. Doubles up for indoor and outdoor use Diamond Kilim in Nude Petrol by Gandia Blasco, £611, Heal’s &

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DREA M TIME Uphol s t er e d b e d s for sle epi ng i n lu x u r y 1. Plush panelling Belsa, from £1,975, Soho Home 2. The pretty skirt hides storage Moreau pleated, £3,895 for king size (excluding fabric), Pinch 3. Buttoned beauty Burbage, £699 for king size, Swoon 4. The velvet is special and spill-resistant Ciao in Good Green clever deep velvet, from £1,045, Loaf 5. Handmade in Devon Rosemoor, from £1,990, Naturalmat x Homes & Gardens 6. Has matching bedroom furniture, too Salina, from £1,115, Ercol 7. A bestseller Clarence in Linen Sage, £4,412 for king size, The Conran Shop 8. Curves in all the right places Lupin in Pampas plush velvet, from £1,045, Button & Sprung &

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FEATURE JO BAILEY PHOTOGRAPHS (PINCH) JAMES MERRELL

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FINE DINING 1. Can be made in the fabric of your choice Lyall in Khotan Weave Sable by Schumacher, £795 (excludes fabric), David Seyfried 2. Iron legs for a mid-century look Elliot, £448, Anthropologie 3. Delightful decorative detailing Bobbin in Berri Petrol by Penny Morrison, £1,200, Julian Chichester 4. A style to sink into Stafford with arms in Midnight Green, £550, Oka 5. Modern in denim Mowbray in vintage oak and Chloe Denim, £475, Neptune 6. Solid walnut frame Anais, £549, Heal’s 7. Lovely lattice motif Romsey in Milas (fabric sold separately), £1,160.60, Vaughan 8. Gorgeous gold capped feet Arabella in Sage smart velvet, £390, Sofa.com 9. Craft meets comfort Abacus in Natural Linen, £450, Graham & Green &

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FEATURE JO BAILEY

Charming chairs for fabu lous fea sts

S HOP P ING

COMMISSIONING BESPOKE FURNITURE WE DELVE INTO THE DETAIL OF HOW AND WHY TO INCORPORATE ONE-OFF ORIGINAL PIECES INTO YOUR HOME LIKE a tailored Savile Row suit, a bespoke piece

established websites with high Google rankings but can be found more easily on social media. Don’t forget to ask around, too – word of mouth is very powerful, and take a look at past commissions. If possible, try and meet the maker. Chemistry and trust are so important, on both sides.

a chance to have something completely individual, tailored to your tastes as well as helping to support a rich tradition of furniture design and craftsmanship.

DEFINING THE BRIEF A brief needs to

capture the visual mood of the piece and all the technical aspects. Starting with visuals, include

bespoke items can appeal to those who don’t want recognisable items in their houses. ‘It can answer design challenges, too,’ says Mike Fisher, founder and creative director of Studio Indigo. ‘Sometimes it’s simply impossible to find the right piece at the right

reference images either torn from magazines, historical images from museums or made on a Pinterest mood board. Then it’s up to the maker to interpret or translate this. ‘It’s surprisingly easy to do this,’ says furniture designer Rupert Bevan who makes both freestanding and fitted furniture for clients from his studio in Notting Hill. ‘But the best

price, finish or scale – going bespoke allows us to create the perfect piece.’

But it also attracts those who like the idea of supporting the arts and craftsmanship, as well as the satisfaction of owning an original piece that will endure. ‘There’s a growing awareness of sustainability and things made with integrity that will be passed down the generations,’ says Bruce Hodgson of Somerset-based bespoke joinery firm Artichoke.

way is for us to ask the right questions to prevent lots of last-minute alterations down the line.’

Interior decorator Susie Atkinson has a long history of commissioning bespoke piece for her projects.

‘I first find out where it will go; what will it be used for; what size it needs to be; what will be stored inside; and if it’s in a high-traffic area. I need to know how important this piece needs to feel in the room – is it the star of the show or in the background?’

ESTABLISHING TASTE ‘Taste is incredibly

BUDGET Having a discussion about the cost at

BOUNTIFUL BENEFITS Commissioning

personal so you can’t make mistakes,’ says Yelena Ford, managing director of The New Craftsmen, a Mayfair gallery showcasing many of the most exciting craftspeople in the UK. ‘Taking the misnomer of “good taste” out of the equation can be a vital first step.’

And looking at interiors magazines, both those of today and ones that were printed around the time

the earliest stage is vital. It’s not just the making that needs to be considered but also the cost of design and development, which is usually charged at the hourly rate of the maker. ‘Don’t be afraid to have an open and frank dialogue about the budget,’ recommends Robert Stephenson of London-based furniture designers and upholsterers Sedilia. ‘When

of childhood, to see if anything evokes an emotional response, is another good tip.

discussing your brief, make clear what is important.

For example, if it has got to be super comfortable, ask your maker to place particular importance on that.

Or if it just has to look fantastic but won’t be used very much then ensure the finishing is perfect.’ &

CHOOSING THE MAKER Look at

Instagram for inspiration. Lots of makers don’t have

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FEATURE ARABELLA YOUENS PHOTOGRAPH (BEAVERBROOK HOTEL) SIMON BROWN

of furniture should fit perfectly, function beautifully and look fantastic: some go as far as to dub it ‘interior couture’. Like their catwalk counterparts, artisan-designed solutions are an investment, but they offer standout and esoteric results.

Commissioning a bespoke piece of furniture is

LITTLE BLACK BOOK Decorative artist Tess Newall; @tessnewallstudio Modern marquetry Emma Wood of Woodpop; @woodpop Metalwork Crucible Foundry; cruciblefoundry.com Textile designer and ikat colourist Jacob Monk; @jaccobmonk Furniture designers Bibbings & Hensby; @bibbingsandhensby Decorative finishes and art DKT; @dkt_artworks

Elicyon designed this display cabinet for a client in London. It was made by Bill Cleyndert & Company using brushed antiqued brass, leather and bevelled mirrors A curvaceous upholstered sofa designed bespoke

by Sedilia and commissioned by Rui Ribeiro Studio

While decorating the Beaverbrook Hotel in Surrey, interior designer Susie Atkinson had the opportunity to commission several bespoke pieces including these mirrors which hang in the dining room

D ES IGN IDE A S

COLOUR OF THE MONTH Considered a dark neutral, earthy brown is grounding but a l s o h a s a n e l e g a n c e t h a t i s t r u l y s o p h i s t i c a t e d . Ve r s a t i l e , it can be striking on its own or allow other hues to

FEATURE ARABELLA YOUENS

stand proud. Here, experts extol all its virtues

This warm, balanced brown, named after a JD Salinger short story, has vast depth and versatility. Wall in Love and Squalor eco emulsion, £27 for 1ltr, Francesca’s Paint

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‘Being polychromatic, brown goes with everything, but in deeper, very rich hues it is particularly good at flattering beautiful, well-drawn patterns.’

EDWARD BULMER, interior designer and founder, Edward Bulmer Natural Paint

‘We believe north-facing rooms should be painted a dark or strong colour, like brown, to make it more cocooning and those on the south side in lighter colours. The thinking is where you have darkness you should bring colour, warmth and joy.’

MIKE FISHER, creative director and

‘A soft brown, like our Millbank, can be used to highlight key architectural details in a room.

For a modern look, try inverting the usual colour treatments by painting the woodwork and architrave detailing or ceiling and leaving the walls off white.

This creates a striking effect without the colour becoming too dominant in the room.’

DOMINIC MYLAND, CEO, Mylands

founder, Studio Indigo

‘An outstanding room that I have never forgotten was a library/study that had chocolate brown grass paper on its walls. It was restful, welcoming and striking. It was teamed to great effect with white ceilings and woodwork together with a printed chintz in brown and white.’

‘I’ve used Farrow & Ball’s London Clay in my drawing room (below, far right). I love it as a

‘Don’t be scared to use dark colours in a small, gloomy

background for the paintings and the furniture.’

Its magenta pigment gives it a soft, earthy look.

room. It’s never going to look light, so choose a fab rich colour and the effect can be truly transformative.’

EMMA BURNS, managing director,

NATALIE FORBES AND LOUISA RIX, co-founders,

Sibyl Colefax & John Fowler

Forbes Rix Design

A STUDY IN BROWN Strong and warm, the sophisticated brown in this scheme by Edward Bulmer is respectful to other colours in the room, managing not to overpower the fine furniture and art.

Walls in London Brown emulsion, £51 for 2.5ltr, Edward Bulmer Natural Paint. Desk, Lorfords

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CALM AND CONFIDENT As this sitting room is primarily used as a night room, Studio Indigo upped the atmosphere by choosing this rich shade and adding tones in cream and burgundy. Walls brushpainted in 46-29T, Papers and Paints. Artwork, Willer Gallery.

Sideboard, Simon Orrell Designs

FINE ART Emma Burns of Sibyl Colefax & John Fowler has painted her drawing room in an earthy hue with a magenta pigment that forms an elegant backdrop for her eclectic furniture and art. Walls in London Clay, Farrow & Ball. Wave table, Soane.

Hindi lamp, Guinevere Antiques &

PHOTOGRAPHS (A STUDY IN BROWN) PAUL WHITBREAD; (CALM AND CONFIDENT) LUKE WHITE; (FINE ART) SIMON BROWN

MEG TREHERNE, founder, Meg Treherne

D ES IGN IDE A S

L I G H T T H E WA Y

FEATURE ARABELLA YOUENS PHOTOGRAPH PAUL MASSEY

WITH THEIR DELICATE INTERPLAY BETWEEN FUNCTION AND FORM, ALL LIVING ROOMS BENEFIT FROM A WELL-EXECUTED DECORATIVE LIGHTING SCHEME

WORK OF ART High-value (be it in real terms or personal) art needs to be treated with careful consideration when it comes to lighting – especially if the aim is to make it a standout feature of the room. ‘Lighting a picture has the double advantage of showing off the work and reflecting light back into the room,’ says interior decorator Nicola Harding, who designed this scheme. She chose a wall colour with a lacquer finish to reflect natural light; the artificial light above stands in place during darker hours. ‘That reflected light is more atmospheric than something that lights the whole room. I also enjoy playing around with wall lights that weren’t specifically designed as picture lights. Anything with an articulated arm can work.’ →

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“I LOVE USING ANTIQUES IN SCHEMES SO WE OFTEN BUY OLD VASES, LIDDED URNS AND EVEN PLANTERS AND POTTERY TO CUSTOMISE LIGHTING IN DRAWING ROOMS”

SCULPTURAL LOOK

LIE LOW

REACH OUT

An architectural feature light will enhance a room by catching the eye, says Clara Ewart, head of design at Kitesgrove. ‘This light highlights the art in a modern way rather than using traditional picture lighting, and its sculptural silhouette adds a modern touch.’

Wall lights are a great way to bring interest to a wall or frame a piece of furniture. They also free up floor or table space. ‘Consider what height you put them – they are to light the room (or chair) not the ceiling, which too often happens,’ says Emma Deterding of Kelling Designs.

If you don’t have (or don’t want) a ceiling light, consider a floor lamp that stretches up and over a sofa.

It will create an instant reading corner. This is also a good solution in panelled rooms or those with decorative wallpaper whose lines might be interrupted by wall lights.

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PHOTOGRAPHS (SCULPTURAL LOOK) MARK BOLTON; (LIE LOW) JON DAY/FUTURECONTENTHUB.COM; (REACH OUT) PAUL RAESIDE/FUTURECONTENTHUB.COM

HENRIETTE VON STOCKHAUSEN, creative director, VSP Interiors

D ES IGN IDE A S

PHOTOGRAPH ALEXANDER JAMES

MIRROR, MIRROR One of the oldest tricks is to use mirrors to maximise light. In this scheme by K&H Design, a Rupert Bevan slumped mirror fills each alcove. This southwest-facing room already benefited from plenty of light; what it lacked was atmosphere. The mirrors help project the sun throughout the room and increase the sense of space. Use a similar antiqued finish when working on this scale. Not only does it soften the glow of light but anything with a smoother surface runs the risk of tipping into hair salon territory. ‘The decorative lighting adds drama and brings together the contemporary and old with the antique chinoiserie lamp,’ say Katie Glaister and Henry Miller-Robinson, co-founders of K&H Design. →

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DE S IG N ID E AS

When commissioning bespoke joinery, ask the carpenter to make allowances for internal wiring from the start. This will allow for some lights to be built into the unit, removing the need for trailing wires from standalone lamps or wall lights, resulting in a cleaner finish. Interior decorator Sarah Brown commissioned this pretty bespoke shelving painted in a pale pink gloss and with tongue and groove detailing for a sitting room in London. ‘An interesting room is made up of many layers that allows the eye to travel,’ she says. Sarah added decorative flourishes to the lighting by using patterned lampshades on the sconce and the mantelpiece lamp.

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PHOTOGRAPH CHRIS SNOOK

PLANNED TO PERFECTION

“WHEN CHOOSING LAMPSHADES, THINK ABOUT HOW THEY ARE DISTRIBUTED THROUGHOUT THE ROOM. YOU HAVE TO BE CAREFUL ABOUT HOW MANY SORTS OF SHADES IT CAN SUPPORT WITHOUT LOOKING LIKE A SHOWROOM”

PHOTOGRAPHS (PICK AND MIX) SIMON BROWN; (CREATIVE SCENE) JAMES MERRELL/FUTURECONTENTHUB.COM; (COMFORT ZONE) SIMON BROWN

NINA CAMPBELL, founder, Nina Campbell

PICK AND MIX

CREATIVE SCENE

COMFORT ZONE

For a colourful look, follow the lead of Kit Kemp, creative director of Firmdale Hotels. Her well-honed eye for cleverly mixing unexpected yet uplifting hues and folk art patterns follows through to her lighting choices, which embrace pairings and mismatched bases.

Choose a sculptural lamp and it will look more like a piece of art than a light source. Restaurateur Mark Hix shows how a floor lamp from the mid-century Italian brand Stilnovo stands in perfect company among sculpture and collectibles in his London sitting room.

‘Wall lights in window seats can add to the feeling of comfort by providing a warming glow,’ says Mary Graham, co-founder of Salvesen Graham. These wall sconces draw the eye, as well as creating a calm spot that’s perfect for curling up with a book. →

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“WHEN IT COMES TO CREATING A LIGHTING SCHEME, I LIKE TO THINK ABOUT TEXTURES SUCH AS WOOD, METAL, CERAMIC AND POLISHED AND HANDMADE FINISHES AND WHAT THEY BRING TO A SPACE”

BALANCED APPROACH

CENTRE STAGE

ENHANCED DESIGN

For a classic look, try taking a symmetrical approach to lighting.

‘A great way to achieve this is to place two lamps either side of a mirror or a piece of art,’ says Louise Wicksteed, design director for Sims Hilditch. ‘The resulting aesthetic is one of well-distributed elegance.’

Use light to highlight the architectural strengths of a room. A timeless approach is to frame the mantelpiece with a pair of lamps or sconces. ‘It is also an opportunity to add pattern with a decorative shade,’ says Nicole Salvesen, co-founder of Salvesen Graham.

Where a stronger light is needed, consider an upscaled sconce or articulated wall light. ‘I have used this one many times as it works perfectly above a corner sofa where the lighting can be dim,’ says Susie Atkinson, who designed this scheme for Lime Wood Hotel.

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PHOTOGRAPHS (BALANCED APPROACH) BRENT DARBY; (CENTRE STAGE) ALEXANDER JAMES; (ENHANCED DESIGN) SIMON BROWN

JAMES THURSTAN WATERWORTH, founder, Thurstan Design

D ES IGN IDE A S

INSIDER INSIGHT THE KEY STEPS TO ILLUMINATING YOUR LIVING SPACE CONSIDER LIGHT TEMPERATURE

CHOOSING A PENDANT For any hanging

Co. ‘We use 2700K warm white.’ Another favourite tool is thinking of how the lining of lampshades can impact the overall light temperature, as well as add a playful spin on the decor – not only can you use metallic card linings, you can also use patterned or coloured fabrics.

‘Don’t forget that it will impact the colour of the light it creates,’ adds Irene. ‘For instance, a green lining

the design has space to breathe and can be hung reasonably low so that it relates to the furniture in a room and those using it. ‘In the 25 years I’ve been hanging chandeliers, people tend to plan a pendant too high and, in reality, it looks and feels a little better lower.’ You can always hang a pendant lower over a coffee or centre table as long as it doesn’t

will provide a green light – not the greatest look!’

detract from an important view or artwork.

PLACING THE LIGHTS Consider how the

CONTROL THE LOOK Put floor lamps and

the mood of a room, so for added ambience, choose darker tones which will feel moodier and cosier.

sofas to avoid having trailing wires. ‘If you have a small alcove, adding two slim wall lights on either side can create an intimate place to sit and relax and read.’ &

The first rule is to use a consistent lighting temperature in fittings, says Irene Gunter of Gunter &

light changes throughout the day when thinking about where to position lights to create the most impact.

Think about flexible light sources for different situations: a floor light with a swivel arm is ideal as an evening reading lamp behind a sofa or chair, says Hollie Moreland, creative director of David Hunt Lighting. Remember that shade colours can affect

THINK LAYERING Start with the overhead

lighting: pendants or chandeliers are a beautiful way to ‘crown’ the lighting, says Lucy Barlow, creative director of Barlow & Barlow. ‘Then look at art – picture lights are a great way to add the second layer. The next are decorative wall lights installed at head height as an eye-level light source.’ Finally, table lamps will light the lower section of the room. ‘If you’re able to do this you might not need a single downlighter which, in more traditional schemes, is a huge advantage.’

light, the total drop available is a great starting point, says designer Chris Cox of Cox London. Ensure

table lamps on 5 amp sockets in a sitting room. Using lighting controls so that each effect can be individually controlled is the key to setting the mood. ‘At a minimum, add dimmer switches so you can manipulate the light levels,’ says Sally Storey, creative director of John Cullen Lighting. She also recommends having sockets set into the floor at the centre of the room by

“FOR LIGHTING AFICIONADOS, CONTRAST IS IMPORTANT – YOU NEED LOTS OF LIGHT AND SHADOW IN A SITTING ROOM” TOM BARTLETT, founder, Waldo Works

THE SOURCEBOOK: LIGHTING DESIGNERS AND MAKERS ORIGINAL BTC This family-owned, Oxfordshire-based lighting design company was established in 1990 and makes all its products in England. originalbtc.com

DÄR LIGHTING One of the best-known designers and distributors of lighting for the home, whose products are sold through a selection of specialist retailers. darlighting.co.uk

POOKY A design-led decorative lighting company with showrooms in London and the West Country, known for its affordable prices and wide choice of styles. pooky.com

HEAL’S A long-term favourite source of modern designer lighting, ranging from top brands to the latest contemporary styles, with on-site advice from experts. heals.com

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THE ART OF INTERIOR DESIGN IN THE LATEST IN OUR SERIES, CHARU GANDHI, FOUNDER OF ELICYON, SHARES HER THOUGHTS ON IMPACTFUL BATHROOMS, HALLS, FLOORS AND CEILINGS

FABULOUS ENTRANCE HALLS

Striking artwork and bold accessories set the scene in this bright hallway

I ALWAYS advise using really

interesting furniture in a hall – a beautiful console table or a sculptural piece. It’s unexpected and because it’s not a space you’re going to sit in for ages, you don’t have to focus on functionality or, indeed, comfort, so you can get away with doing something that’s quite frivolous.

Entrance halls have a structure to them and you can add a very heavy, monolithic piece of furniture that’s going to stay there. While you

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wouldn’t necessarily want to have a very chunky, oversized marble table in the living room as you wouldn’t be able to move it around, it can stay in place in the hall.

I love putting mirrors in entrance spaces because they can tend to feel quite dark. Similarly, do try and add a floor or table lamp, especially for when you’re entertaining.

FEATURE THEA BABINGTON-STITT PHOTOGRAPH ALEXANDER JAMES

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I would never do anything that makes the ceiling feel lower in a hall, so no dark ceilings or chandeliers if the ceiling is already low.

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You do need to consider the practical elements, then design around them so you don’t detract from the beauty. Things like where coats, shoes and keys are going to go. If there’s space, I think doing a seat or a bench that incorporates

shoe storage is great. We nearly always add a tray so you can lay your things out ready to go.

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Make sure you don’t add furniture that blocks the flow of the space.

You really want to look at where that entrance hall is bringing you and make sure that the flow and movement is protected. → ■

WHERE I BUY PIECES FOR ENTRANCE HALLS For console tables, I would most often go bespoke and have them made by one of our artisans. Otherwise, Willer gallery often has beautiful pieces, as does Charlotte Biltgen from The Invisible Collection. For artwork, I would usually look at the Edel Assanti and the Osborne Samuel galleries.

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DE S IG N ID E AS

CREATE A STATEMENT BATHROOM

A decorative chandelier emphasises high ceilings

ONE type of bathroom that I really

love talking about is the powder room. Because they’re not wet rooms, you have more of an opportunity to play with more fun materials.

I love to add a wallpaper because it’s a cool way to make a statement, but you’re not overcommitting as it’s easy enough to change.

I love hanging a standout light in a bathroom – a chandelier can ■

bring a lot of fun. When people hear chandelier they imagine old world Ritz style bathrooms, but you can do really interesting things with contemporary shapes and materials.

Often the vanity is the focal point in a bathroom, but even if you have a very simple unit you can add a really beautiful surface-mounted ■

I LOVE to celebrate the ceiling

– it can have its own character.

With a high ceiling, I like to add high-gloss paint to create an almost mirror-like effect, which causes the walls to become subservient to the ceiling and the floor. Sometimes ceilings can seem too high, so you can add a tented fabric hanging to bring the height down.

Reflectivity at close quarters can be almost disconcerting, so in a low ceilinged room I would go much more matte, and even use plaster to create a soft movement.

■

impact that’s different to what you can achieve on a vertical surface because there’s an unbrokenness to the floor. On walls, you have your doors and windows, whereas on the floor you have a larger canvas to work with.

Introducing interest to floors can be done with patterns, colours and materials. By choosing the right pattern, you can actually direct the flow of a room and lead the eye where you want it to go. Rugs are such an opportunity to create an abstract piece of art, but also to ■

create zones within a space.

■

I really enjoy doing interesting

floors in a space. You create an

■

elicyon.com

WHERE I BUY RUGS AND PAINTS One of my current favourite rugs is the Gypsy by Coral & Hive. Jennifer Manners always has amazing options, too. For ceiling paint, I look to colours with high gloss finishes from Little Greene, and another amazing paint brand for me is Edward Bulmer.

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sink as a focal point instead – it’s a really fun way of making a bathroom interesting. You can also give a simple vanity a bit of a zhuzh by adding beautiful handles.

Even if you’re buying an off-theshelf mirror, if you backlight along the edge that adds a really nice designed element.

■

I find seating in a bathroom is such a luxe thing. It brings a sort of intimacy and adds a wonderful sense of domesticity. & ■

WHERE I BUY STATEMENT BATHROOM LIGHTING Bathrooms can really benefit from two beautiful wall lights on either side of the mirror, as well as a stunning pendant or chandelier. I love Charles Paris for bathroom lighting. I also recently used the Elystan Double from The Urban Electric Company.

PHOTOGRAPH PATRICK WILLIAMSON

HIGHLIGHT CEILINGS AND FLOORS

D ES IGN IDE A S

THE ALLURE OF THE EAST

FEATURE JO BAILEY PHOTOGRAPH FRITZ VON DER SCHULENBURG/THE INTERIOR ARCHIVE

A capt ivat ing journey throug h the whimsical world of chinoiser ie and how it inf luenced desig n

A painted chinoiserie panel in the dining room of the Duke and Duchess of Windsor’s home in Paris, designed

by Stéphane Boudin

DECORATIVE STYLE Chinoiserie is a cultural phenomenon that first swept across Europe and America in the 17th and 18th centuries, flooding both interiors and gardens with all manner of things inspired by the Far East. Chinoiserie is traditionally defined as a style of building and decoration that was inspired by the East but manufactured purely in the West. A chinoiserie object is therefore not the same as a Chinese object. In many cases a real Chinese object would be given a European embellishment to increase its appeal, effectively turning it from a simple foreign artefact into a piece of chinoiserie. It was in England that chinoiserie can be said to have been most successfully absorbed into mainstream fashion, percolating further down the social scale than elsewhere. English chinoiserie took a gentler form, being adapted to complement the existing tastes of the Georgian period. Chinese wallpapers with exotic birds and flowers were put up in all the great houses, accompanied by elegant lacquer chests and small collections of Chinese porcelain over fireplaces. →

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In the Chinese Teahouse at Pillnitz Castle, Dresden, Asian-inspired patterns frame panels depicting the Imperial Gardens in Peking

PALETTE & PATTERN vibrant colours and intricate patterns. Many of these were inspired by imported Asian objects such as porcelain, embroidered silks and lacquer furniture. The chinoiserie element of choice in Britain was fretwork, as Chinese lattice patterns were known. Fretwork was widely appreciated as the most tasteful way of introducing a dose of the highly fashionable chinoiserie style to both interiors and gardens without things getting too busy, and it worked well even with classical interiors.

A PASSION FOR PORCELAIN

In the kitchen at Tureholm Castle in Sweden, the blue-andwhite motifs on Chinese dishes are echoed on the walls and ceiling

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Once more valuable than gold, no princely collection of porcelain was ever considered too large. Although far more accessible today, the aesthetic value of a large blue-and-white ginger jar is no less high. The fashion for displaying pieces of porcelain en masse was spearheaded by Amalia van Solms, Princess Consort of Orange, and the trend found ready imitators. Large porcelain collections became a key domestic status symbol, resulting in the development of increasingly extravagant methods of display.

PHOTOGRAPHS (PALETTE & PATTERN) ERNST WRBA/ALAMY; (A PASSION FOR PORCELAIN) ERIK KVLASVIK

Two of the most celebrated attributes of chinoiserie are

D ES IGN IDE A S

A mural of tropical foliage in a pavilion at Villa Mabrouka, the Tangier home of Yves Saint Laurent and Pierre Bergé

PHOTOGRAPH GUIDO TARONI

DISTANT SHORES Although today we may not think of China as particularly tropical, in the past it was viewed from the distant West as an exotic place. Because no distinction was drawn between the Chinese mainland and her equatorial neighbours or the coasts of southern India, chinoiserie imagery abounds with island and oceanic symbols such as palm trees, pineapples, monkeys, parrots, coral and seashells. After the explorer and writer Johan Nieuhof travelled from Batavia to the Chinese capital of Peking in 1665 as part of a Dutch embassy, he published an account of his journey. Interestingly, either Nieuhof or his publisher decided to add palm trees to all the views of Chinese cities, even though in reality there were none. This was a deliberately deceptive act designed to make China appear more foreign and appealing. Chinoiserie is more prevalent in our surroundings than we realise. So many motifs, patterns, materials and objects have their roots in past obsessions with Eastern shores, together creating a genre of decoration that is repeatedly referenced today. →

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DE S IG N ID E AS

Chinese floral wallpaper dating to the early 1830s in the State Bedroom at Penrhyn Castle, Wales

THE FLOWERY LAND All the influential chinoiserie designers of the 18th century made flowers a very prominent aspect of their work, with artists such as Jean Pillement publishing whole books of invented blooms dans le goût chinois.

These creations were both outlandish and biologically implausible, but China remained a fantastical place where one could plant any imaginary seed and watch it blossom into a beautiful flower.

A MYTHICAL MENAGERIE The chinoiserie dragon, which was popular from about 1750, had a more timid appearance than those seen in Chinese art. Influenced by the medieval heraldic dragon, it took on the look of a lizard-like creature with wings. The phoenix also made frequent appearances in chinoiserie.

Called a hoho bird in England, this motif was much used in the decoration of rococo and chinoiserie mirrors. &

Extracted from Dragons & Pagodas: A Celebration of Chinoiserie by Aldous Bertram (£50, Vendome Press) ■

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PHOTOGRAPHS (THE FLOWERY LAND) NATIONAL TRUST IMAGES/ PAUL HIGHNAM; (A MYTHICAL MENAGERIE) NATIONAL TRUST IMAGES/ANDREAS VON EINSIEDEL

A niche decorated with two dragons and a pair of hoho birds by master carver Luke Lightfoot at Claydon House, Buckinghamshire

& DESIGN AWARDS 2021

THE BEST IN DESIGN

FEATURE CLAUDIA BAILLIE BACKGROUND FABRIC CHATSWORTH IN CANVAS/SLATE, SANDERSON PHOTOGRAPHS (CHARU GANDHI) GEORGINA VINEY; (KIT KEMP) SIMON BROWN; (LULU LYTLE) DAMIAN RUSSELL

The a n nu a l Home s & Ga rden s awa rd s c e l e b r a t e t o d a y ’s s t a n d o u t p e o p l e , product s and project s – this is the ult imate edit of the industr y names t o k n o w, b e a u t i f u l p r o d u c t s t o choose and the spaces to inspire T H E J U D GI NG PA N E L

SEBASTIAN COX Furniture designer, craftsman and environmentalist

CHARU GANDHI Founder and director of interior design studio Elicyon

KIT KEMP MBE Founder and creative director of Firmdale Hotels

LULU LYTLE Co-founder and director of Soane Britain

SARAH SPITERI Editorial director of Homes & Gardens

TOBIAS VERNON Interior designer, gallerist and founder of 8 Holland Street

IN ASSOCIATION WITH

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T H E P E O P L E AWA R D S

PRODUCT DESIGNER OF THE YEAR WINNER: CHRISTINE VAN DER HURD Often described as the ‘First Lady of textile design’, Christine Van Der Hurd has been creating bespoke rugs, carpets and textiles for over 35 years. This continued success has led her to the ateliers of the world’s leading designers and architects, including Beyer Blinder Belle, Pentagram, Gensler and Selldorf Architects. Other notable collaborators include Cappellini and Louis Vuitton. ‘I truly admire what she has done to the humble dhurrie,’ says Charu Gandhi.

‘She is a great colourist,’ adds Kit Kemp.

INTERIOR DESIGNER OF THE YEAR WINNER: ADAM BRAY With a penchant for crisp gloss finishes, rich-hued velvets and rare textiles, Adam Bray’s interiors are comfortable and unpretentious yet filled with character. A master at sourcing unexpected, eclectic furniture and objets d’art, the former antique dealer is also known for his bespoke pieces and distinctive colour palettes, which come together to create contemporary, luxurious and inviting spaces that always feel like home. Based in London with over 25 years’ experience working internationally on both residential and commercial projects, he has also collaborated on products and collections with Papers and Paints, Plain English, Vanderhurd and Hamilton Weston.

WINNER: THE LAND GARDENERS Henrietta Courtauld and Bridget Elworthy established The Land Gardeners to research plant and soil health.

Years of investigation has led them to develop Climate Compost, an inoculum full of microbial life that helps plants grow strong while bringing balance to

‘Adam’s interiors are endlessly inspirational and always full of character,’ says Tobias Vernon.

‘Drawn from endless differing periods and styles, every object, piece of furniture, textile and artwork has a sense of playfulness and integrity.’

gardens with no need for pesticides or chemical fertilisers. They also grow organic cut flowers in Oxfordshire and restore historic gardens. ‘Not only do they create the most beautiful gardens, they’re pioneering a compost revolution,’ says Lulu Lytle.

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GARDEN DESIGNER OF THE YEAR

& DESIGN AWARDS 2021

PHOTOGRAPHS (ADAM BRAY AND CHRISTINE VAN DER HURD) OSKAR PROCTOR; (THEA SPEKE) INDIANNA PETRUCCI

RISING STAR – INTERIOR DESIGN

CONTRIBUTION TO DESIGN

WINNER: THEA SPEKE Thea spent five years working with Rose Uniacke

WINNER: SOPHIE ASHBY Sophie Ashby founded her interior design practice in 2014, and along with her now 12-strong team

before setting up her own interior design consultancy service and online shop, which sells a covetable selection of antiques and lighting. Her focus is on creating balanced and inviting interiors using layers of tonal texture and colour, which she combines with carefully chosen furniture. The result is thoughtful, charming and energised spaces that will stand the test of time. ‘Refined

has since completed a diverse roster of residential and commercial projects. In July 2020, together with Alexandria Dauley of Dauley Design, she launched United in Design, a charitable initiative that addresses the lack of diversity in interiors, specifically the lack of representation of black, Asian, ethnic minority and low socio-economic

and sophisticated. She has lovely eye,’ says Lulu Lytle.

communities. With a mission to create equal opportunity pathways and diversity in all sectors, the platform aims to provide resources to businesses and to empower designers to pledge their support.

2021 saw the launch of an apprenticeship scheme and mentorship programme, with renowned studios offering early-stage designers both work placements and guidance. ‘Sophie should be recognised for her work on United in Design. She is tackling equality issues head on and making a genuine, material impact,’ says Sebastian Cox. →

RISING STAR – PRODUCT DESIGN

“MAC HAS SHOWN

WINNER: MAC COLLINS Having graduated from Northumbria University in 2018, Mac Collins creates experimental furniture that celebrates the inherent beauty of the materials he uses.

His award-winning graduation project, the Iklwa chair,

PARED-BACK FORMS SINCE HIS

fuses his African-Caribbean roots with British craft and has recently been expanded into a commercial range by Benchmark Furniture. ‘Mac has shown consistency in beautiful, pared-back forms since his graduate piece.

It feels like he is going places,’ says Sebastian Cox.

SEBASTIAN COX, furniture designer, craftsman and environmentalist

CONSISTENCY IN BEAUTIFUL, GRADUATE PIECE. IT FEELS LIKE HE IS GOING PLACES”

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& DESIGN AWARDS 2021

ECO CHAMPION – PRODUCT DESIGN WINNER: THE MUD STUDIO Founded by Philippa du Toit in 1999, The Mud Studio began as a poverty alleviation project that centred around ceramics. In 2003 she began working with destitute people in Clocolan, South Africa, where they used recycled clay to make beads.

A year later Philippa’s husband Werner designed the first clay bead chandelier. ‘What I admire is that the design starts from a village community and becomes something desirable worldwide,’ says Kit Kemp.

ECO CHAMPION – THOUGHT LEADERSHIP WINNER: KATIE TREGGIDEN A purpose-driven writer and keynote speaker, Katie is currently exploring the question ‘can craft save the world?’ through her fifth book, Wasted: When Trash Becomes Treasure (£30, Ludion), and a podcast, Circular with Katie Treggiden. With 20 years’ experience in creative industries, she regularly contributes to a range of publications and has launched, edited and published a design blog and an independent magazine. ‘Katie has authored books, led discussion and launched a podcast all to educate the design-interested world around the impact of products,’ says Sebastian Cox.

THE SUSTAINABILITY AWARD WINNER: RAPTURE & WRIGHT Rapture & Wright’s handmade fabrics and wallpapers are manufactured in-house to leave the smallest environmental imprint possible. Among its list of credentials, which include UK-based production, mechanical rather than chemical processes, printing to order, renewable energy and a 2030 self-sufficiency goal, the company has developed a groundbreaking studio that uses an ecological treatment system to break down print waste through a series of living ponds. ‘This impressed me as they have thoroughly designed their production process,’ says Sebastian Cox. ‘It’s exactly the kind of forward-thinking approach textile manufacturing needs.’

HIGHLY COMMENDED: Latte Chair by Very Good & Proper.

‘This is a neat design with a low CO2 footprint – I like it,’ says Tobias Vernon. →

“THE MUD STUDIO’S PROJECT BRINGS IN PEOPLE WHO OTHERWISE WOULDN’ T BE ABLE TO ENTER THE INDUSTRY ” KIT KEMP, founder and creative director of Firmdale Hotels

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T H E P R O D U C T AWA R D S

BEST WALLPAPER & FABRIC COLLECTION WINNER: CANOPY BY THIBAUT A brightly coloured collection of coordinating fabric and wallcoverings, Canopy includes a selection of whimsical designs, many of which are revived from antiques of the early 20th century. Large-scale botanicals, organic motifs and geometric shapes that channel the spirit of springtime also feature in this fresh and easy-to-use range. ‘If you opened your front door and saw those fabrics it would make you feel 100% better,’ says Kit Kemp. ‘Guaranteed to bring cheer.’

HIGHLY COMMENDED: Makoto Kagoshima x Chariots On Fire for Christopher Farr.

‘I love the scale of the graphic as well as the purity of colour,’ says Charu Gandhi.

BEST WOVEN COLLECTION WINNER: CONDOR COLLECTION

BY ANDREW MARTIN Comprising five designs in 18 colourways, the Condor collection takes its inspiration from traditional, handwoven Andean cloths. Incorporating geometric motifs and chunky stripes, it has a unique, rugged texture thanks to the irregularity of the yarns. ‘Everyone has been wanting to cover things in Argentinian rugs, and here you can do it by the metre,’ says Kit Kemp.

BEST FABRIC COLLECTION WINNER: PORTOBELLO COLLECTION BY GP & J BAKER Referencing many treasured documents from GP & J Baker’s archive, including rare Indian textiles and early 20th-century botanical prints, this collection includes 13 block prints, nine embroideries and a smart, woven stripe, all designed to create an air of relaxed, country living. ‘I like the mix from a collection perspective of embroidered and printed fabrics,’ says Sarah Spiteri.

HIGHLY COMMENDED: Kindred by A Rum Fellow x George Spencer Designs.

‘This is a very useable collection with a great colour palette,’ says Lulu Lytle.

BEST WOVEN FABRIC WINNER: JAJIM BY MADEAUX Madeaux’s new multi-coloured stripe takes its inspiration from the ancient Persian rugs of the same name, but unlike the traditional carpets is woven horizontally to create a modern feel. Wool with a touch of alpaca gives the fabric an extra soft handle. ‘I love the colour mix. It has a lovely feel and would look fabulous on upholstery of any type,’ says Kit Kemp. ‘It has a natural and earthy appearance,’ adds Charu Gandhi.

& DESIGN AWARDS 2021

BEST PRINTED FABRIC COLLECTION WINNER: PAVILION BY FLORA SOAMES A new collection of indoor and outdoor fabrics, Pavilion includes a series of stripes and Serpentine Grove featuring a tree of life motif, all realised in Flora’s distinctive jewel-like palette. This nostalgic and very British range is inspired by 1930s samplers. ‘This is a sophisticated, high-quality and cohesive collection,’ says Charu Gandhi. ‘The fact that you can use it inside and out is great,’ adds Kit Kemp.

BEST HISTORICALLY INSPIRED FABRIC WINNER: ROYAL SILK EMBROIDERY FROM THE MASTERPIECES COLLECTION BY SCHUMACHER It takes 25 artisans 30 weeks to craft just 100 yards of this fabric, which is produced in limited quantities. Interpreted from a dress worn by Queen Elizabeth I in a 1599 portrait by Nicholas Hilliard, handwoven silk and linen cloth is embroidered with 58 hand-dyed silk threads to create this unique design. ‘This is exquisite, just divine,’ says Kit Kemp.

BEST PRINTED FABRIC WINNER: MILL POND BY FANNY SHORTER Newts, dragonflies and water boatmen swim among a lattice of lily pads and frogspawn on this magical fabric, which was originally designed for interior designers Turner Pocock who at the time were working on a house that overlooked a mill pond. ‘This is amazing original artwork,’ says Lulu Lytle. ‘It looks like it’s so well observed,’ adds Sebastian Cox. HIGHLY COMMENDED: Tyger Tyger by St Jude’s.

‘This would be an amazing surprise in a country house,’ says Sarah Spiteri.

‘It’s as if it’s telling a great story, and it feels very British,’ adds Tobias Vernon.

BEST EMBROIDERED FABRIC WINNER: INTI FROM THE PALENQUE RANGE BY WILLIAM YEOWARD FOR DESIGNERS GUILD This bold embroidered fabric, named after the Inca god of the sun, is designed using corded jute stitched on to a natural linen ground to create a handcrafted look that reflects the artisan skills the South American empire was known for. ‘It would look amazing as an unlined Roman blind,’ says Tobias Vernon.

HIGHLY COMMENDED: Elizabeth from the Gardyne Collection by James Hare.

‘The embroidery is done with fervour,’ says Kit Kemp.

HIGHLY COMMENDED: Arapsodie by Casamance.

‘Power pattern at its best,’ says Sarah Spiteri. →

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& DESIGN AWARDS 2021

BEST WALLPAPER COLLECTION WINNER: HAND-BLOCK PRINTED WALLPAPER COLLECTION

BY GAINSBOROUGH Gainsborough is among Britain’s last remaining silk weaving houses. This is its first collection of hand-block printed wallpapers that includes five historical designs never seen before. ‘You don’t often see hand-blocking now, which makes this special,’ says Kit Kemp.

HIGHLY COMMENDED: Manila Spiral by Arte.

‘This collection has great originality that creates real impact,’ says Sarah Spiteri.

BEST PLAINS COLLECTION WINNER: PURE BY DE LE CUONA The Pure collection is a complete range of 100% organic linens certified to the Global Organic Textile Standard. Created without compromising on beauty, longevity or the handle of the fabrics, they are sustainably and responsibly produced, so that no damaging particles enter the environment or living spaces. ‘We are always excited when we discover new products that marry beauty with clear, excellent eco credentials,’ says Sarah Spiteri.

BEST PLAIN FABRIC

BEST WALLPAPER

WINNER: SATURNIA BY C&C MILANO A delicately textured, tight-weave linen suitable for both upholstery and decorative use, this contemporary and tactile fabric has a crisp but soft handle. Available in a broad range of colours, it’s an easy care, durable and versatile choice. ‘The weight, quality and colours are gorgeous, and the coordinating semi-plains in the broader collection are also divine,’ says Lulu Lytle.

WINNER: BROWN PAPER STRIPE

BY ADAM BRAY Partnering with Hamilton Weston Wallpapers, Adam Bray took inspiration from the 1960s and 1970s interiors trend for manilla papered walls to create this understated but classic and highly useable collection. ‘I love the honesty of the brown paper. It feels very original,’ says Tobias Vernon. ‘The colours are great.’

HIGHLY COMMENDED: Tivoli Melange Sateen by Johnstons of Elgin.

‘Great colours and a lovely handle that’s not at all rough,’ says Lulu Lytle.

HIGHLY COMMENDED: The Wave by Linwood.

‘You could have a lot of fun decorating with this,’ says Sarah Spiteri.

HIGHLY COMMENDED: Madame Ziggle by Ottoline.

‘Wonderfully painterly,’ says Kit Kemp. ‘I love the fact that it’s original artwork,’ says Lulu Lytle. ¤

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& DESIGN AWARDS 2021

BEST PAINT COLLECTION WINNER: WONDER COLLECTION

BY ATELIER ELLIS Created with the optimism of youth in mind, this collection of 10 naïve and buoyant colours from Cassandra Ellis are designed to invigorate thinking, encourage positivity and invoke the creative freedom of childhood. ‘This collection is one person’s creative direction, which is something I really like,’ says Sebastian Cox. ‘It’s a thoughtful and well curated range,’ says Lulu Lytle.

BEST HARD SURFACE WINNER: MEDITERRANEAN COLLECTIONS BY LAPICIDA These three collections of patterned and plain tiles pay homage to traditional Mediterranean ceramic designs. Handmade using a centuries-old technique, the coordinating ranges capture the texture and imperfections of glazed terracotta. ‘It’s a fresh collection that is very useable and decorative,’ says Lulu Lytle. ‘The deep glaze creates a wonderful texture,’ says Tobias Vernon.

PAINT COLOUR OF THE YEAR WINNER: TURQUOISE

BY EDWARD BULMER NATURAL PAINT With a vitality that is hard to beat, Turquoise remains a universally loved colour that Edward Bulmer has reproduced to great effect. Using a simple, natural pigment recipe this is a clear, vibrant shade that is true to the natural gem and kind to nature, too. ‘It reminds me of my childhood,’ says Charu Gandhi. ‘It would also work well in town and country, and in traditional and contemporary spaces.’

BEST SOFT SURFACE WINNER: CHARLESTON FROM THE ANNIVERSARY COLLECTION

BY ROGER OATES DESIGN Originally designed in 1989, Charleston takes its cue from the very first Roger Oates rugs. Now rewoven using a contemporary herringbone structure, the sophisticated design looks just as good 30 years on. ‘Roger Oates is always an amazing resource and a go-to brand,’ says Sarah Spiteri. ‘The fact that its 100% wool, and loop piles makes it very chic too,’ says Kit Kemp. ¤

& DESIGN AWARDS 2021

BEST LIGHTING WINNER: LARGE OPHELIA WALL LIGHT

BY PORTA ROMANA Emerging from the wall like a piece of art, the flutes of the Ophelia wall light have

BEST FURNITURE COLLECTION

a distinctly botanical and ethereal feel. Each piece is individually made from forged steel and features a white plaster finish that enhances its soft glow. Custom finishes are also available. ‘This piece

WINNER: JAN HENDZEL STUDIO With its signature ripple surface, this nine-piece collection is made exclusively using British timbers,

is so sculptural, and its plaster finish would add gorgeous texture to a contemporary

including olive ash and sycamore, which are treated using a chemical-free thermo modification process to make them extra durable. Offcuts are used to make accessories and minimise wastage. ‘Jan has blended digital fabrication and craft really well, using CNC to cut the wavy fronts while hand crafting the dovetails, and the proportions are lovely,’ says Sebastian Cox.

space,’ says Sarah Spiteri.

PHOTOGRAPHS (JAN HENDZEL STUDIO) FERGUS COYLE

HIGHLY COMMENDED: Susie Atkinson.

‘We love the mix of materials,’ says Lulu Lytle.

BEST FURNITURE PIECE

BEST ACCESSORY

WINNER: MAG OBLONG TABLE BY DANIEL SCHOFIELD FOR THE CONRAN SHOP ‘This collection celebrates a standard material and

WINNER: STAINLESS STEEL TABLEWARE BY DAVID MELLOR ‘This collection is functional and so well

turns it into something beautiful’ says Charu Gandhi.

HIGHLY COMMENDED: Audley shelving by Pinch.

‘This is such a useful piece,’ says Charu Gandhi.

HIGHLY COMMENDED: Side Table by Albion Nord.

‘Fresh, original and cute,’ says Kit Kemp.

HIGHLY COMMENDED: Pantry by deVOL. ‘It encourages you to display objects,’ says Sebastian Cox.

designed, it’s a classic,’ says Sebastian Cox. HIGHLY COMMENDED: Bow Handles

by Beata Heuman.

‘A charming design,’ says Sarah Spiteri.

HIGHLY COMMENDED: Meandros Blue rug from the Mediterranean Collection by Floor_Story.

‘Striking and a good price,’ says Charu Gandhi. ¤

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T H E P R O J E C T AWA R D S

BEST COMMERCIAL WINNER: THE FARMYARD AT THE NEWT

BY RICHARD PARR ASSOCIATES The traditional farmstead has been reinvented into a luxury hotel by Richard Parr Associates, who have combined skilled restoration with contemporary architectural interventions. ‘A gem,’ says Sarah Spiteri.

HIGHLY COMMENDED: The Bradley Hare.

‘James Thurstan Waterworth has transformed the bedrooms,’ says Tobias Vernon.

HIGHLY COMMENDED: Le Bristol Paris garden.

‘Arabella Lennox-Boyd has combined theatricality with softness in this city haven,’ says Sarah Spiteri.

BEST RESIDENTIAL

incorporates a wealth of natural materials including a walnut library and Welsh slate fireplace. ‘It’s an exciting and dynamic project,’ says Charu Gandhi.

HIGHLY COMMENDED: Beata Heuman’s Terraced Victorian House.

‘I love her original, fantastical work,’ says Sarah Spiteri.

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BEST KITCHEN WINNER: STUDIO DUGGAN A host of carefully chosen materials and surface come together in this chic kitchen by Studio Duggan, which is part of a recent London-based project.

Nude pink base cabinets sit on a pink-flecked bespoke terrazzo flooring, while rich timber wall cabinets designed with fluted glass panels to subtly conceal contents add a touch of drama.

‘The material palette is wonderful and I love the fluted cabinetry detail,’ says Lulu Lytle.

PHOTOGRAPHS (HAMPSTEAD HOUSE) WILL PRYCE

WINNER: HAMPSTEAD HOUSE BY SUZY HOODLESS A collaboration with Dominic McKenzie Architects, this project carefully restores previously removed historic elements to this Victorian home and replaces an early 2000s rear extension with a modern structure. Clad in bespoke bronze tiles, the space

& DESIGN AWARDS 2021

BEST LARGE GARDEN WINNER: HOLLYWICK FARM BY PAOLO MOSCHINO FOR NICHOLAS HASLAM With an eye for detail and a passion for gardening, Paolo Moschino and Philip Vergeylen have planted evergreen perennials to ensure this garden is a lush retreat with incredible views from every window all year round. Located in the grounds of their Sussex farmstead, it has been divided into outdoor rooms to

BEST BATHROOM WINNER: CHELSEA TOWNHOUSE BATHROOM BY GUNTER & CO Gunter & Co transformed this tired bathroom into a relaxing space. A bespoke curved shower enclosure

create different ambiences and uses. ‘This garden takes you on a journey – I love the ways it’s been divided up and the sculptural planting,’ says Sarah Spiteri.

HIGHLY COMMENDED: Acomb High House

by Matthew Wilson Gardens.

‘An exciting design that takes on a sloping site,’ says Tobias Vernon. &

allows a double vanity, a freestanding bath plus a loo and bidet to also slot within the clever design. While elegant panelling, classic stone and a soft brass finish all add to the refined look. ‘I like the playful touches like the wallpaper and shell lighting,’ says Sarah Spiteri.

HIGHLY COMMENDED: Drummonds’ Wetroom by Cuschieri Architects.

‘I’m always drawn to a great use of colour,’ says Kit Kemp.

BEST SMALL GARDEN WINNER: LONDON SANCTUARY GARDEN BY MARIAN BOSWALL LANDSCAPE ARCHITECTS A spiritual haven, this garden was designed as a place for children to play, and for adults to exercise and entertain friends. Mature trees and shrubs were all incorporated, and so were willow and topiary domes, a willow tree house and a hidden rose garden. ‘An amazing garden to have created in the city,’ says Sebastian Cox. HIGHLY COMMENDED: Richmond Garden by Tom Massey.

‘This garden is really smart, but also wonderfully inviting,’ says Sarah Spiteri.

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SITTING ROOM A pair of works by American post-war artist Dan Ray hang above a vintage Italian sideboard.

Vintage Melchiorre Bega sideboard, try VNTG. Vintage Oscar Torlasco table lamp, try Vinterior.

White sculpture, Bert Van Hoecke Interiors

HIGH CULTURE The beautiful coming together of Italian and French mid-century pieces and exquisite marbles and textures lends a luxe international flavour to this Stockholm apartment WORDS RACHEL LEEDHAM PHOTOGRAPHY KRISTOFER JOHNSSON/LIVING INSIDE

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H OUSE S MEDIA ROOM Bespoke storage conceals giant speakers, while the back of the unit has fabric panels with sound-absorbing wadding to optimise the acoustics.

Reupholstered vintage chairs by Vladimir Kagan and Jumbo coffee table by Gae Aulenti, try 1stDibs.

Rug, Knut. Sofa, Eichholtz

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SITTING ROOM Brass, wood and leather subtly enhance the cool palette in here.

Fao sofas, Christophe Delcourt. 1970s brass coffee tables, Lova Design.

Grand Antique marble side table, Studio Lawahl.

Model 2109 ceiling light by Gino Sarfatti, Astep. Marzio Cecchi chair, try Pamono

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his apartment may lie in the heart of Stockholm but there is very little about its interiors that gives away its Scandinavian location.

‘Our aesthetic tends to incorporate influences from further south in Europe – we love sourcing pieces from Italy and France, for example,’ notes Joanna

from lighter rooms to darker spaces; for example, you move from the pale greenish blue of the sitting room to the darker green of the media space, where we used the same colour on the ceiling so that you have the sense of it wrapping around you,’ says Joanna.

Another important request from the clients was for beautiful stones, resulting in intricate marble floors

Lavén of Swedish interior design firm Studio Lawahl, who, together with her co-founder David Wahlgren, has entirely remodelled the spaces. She

in the entrance and bathrooms, while work surfaces, tables and even cabinets have been crafted from stone. ‘We had to be inventive yet practical: the stone

continues, ‘The building is situated on the waterfront address of Strandvägen and when it was designed in the late 19th century, the architects took inspiration from other major European cities to reflect its prestigious location. It therefore felt appropriate to give the interiors more of an international feel.’

The clients are a doctor and lawyer with three

in the kitchen, for example, is very forgiving,’ says Joanna of the choice of richly grained Fantasy Brown Dolomite, which was used for the surfaces and also teamed with teak to create the elegant cabinetry.

Indeed teak, as well as oak, plays an important role, helping to mitigate the cooling effect of the colour palette and the stones. ‘We also introduced materials

young children, and Joanna and David already had a good sense of their preferences. ‘We had redesigned their previous home so there was a strong level of trust,’ recounts Joanna, whose changes to the floor plan entailed moving the kitchen to a more central location linked to the living spaces, and adjusting the sleeping quarters to create a bedroom and bathroom for each family member. False ceilings – vestiges of an insensitive renovation in the 1990s – were ripped out, while details such as panelling were reinstated.

The grandest spaces, which run along the front of the building and enjoy uninterrupted views across the islands of central Stockholm, now accommodate the sitting room, media room and the main suite.

‘The clients wanted a cool palette of blues and greens and we decided to play with these tones by moving

such as leather and sheepskin, while the furniture and lighting is mostly vintage, which brings another layer of warmth,’ says Joanna of the array of midcentury pieces, which are predominantly by a roster of Italian and French designers such as Gae Aulenti, Marzio Cecchi, Pierre Chareau and Pierre Paulin.

Although the clients had jumped at the chance to purchase a property on Strandvägen, they had been content in their previous apartment and shortly before their move, they confided to the design duo that they were apprehensive they might miss their former home.

They need not have worried. ‘They are so happy that they took the plunge,’ reports Joanna, adding, ‘They describe this home as their sanctuary.’ & ■

Studio Lawahl, studiolawahl.com

“THE FURNITURE AND LIGHTING IS MOSTLY VINTAGE, WHICH BRINGS ANOTHER LAYER OF WARMTH”

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KITCHEN-DINER The dining area is lit with a vintage chandelier by an unknown designer.

‘We were like children in a sweet shop when it came to choosing the lighting,’ confides Joanna.

Bespoke cabinetry in teak and Fantasy Brown Dolomite stone, designed

by Studio Lawahl

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H OUSE S KITCHEN In order to maximise space, the designers chose the complex option of recessing cabinetry into a retaining wall. The richly veined stone has even been used to front the wall cupboards.

Range cooker in custom colourway, Lacanche. Bar stools by Jorge Zalszupin, Etel Design

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HO US ES HALLWAY While removing a partition wall, the designers uncovered an alcove which inspired them to design a recessed bench in teak and upholstery.

Tube chandelier, Michael Anastassiades. Vintage chairs by Luigi Caccia Dominioni, try Selency.

Artwork, Moja Adlersson

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MAIN BEDROOM ‘We used the same saturated blue for the walls, stucco and ceiling to create a very calming feel,’ says Joanna.

Pelican chair by Finn Juhl, Twentytwentyone. Stone bedside table and table; both Studio Lawahl

BATHROOM The vanity’s fluted design echoes the reeded glass of the sliding door.

Vanity, Studio Lawahl at Vanitas Studios. Tara tap, Dornbracht. Wall lights by Gino Sarfatti, Astep

MEET THE DESIGNER

Joanna Lavén shares her style vision and loves

SMALL CHANGE, BIG IMPACT Removing a slim wall that had been put up to divide the hallway into two – the light and feel of the space are both so much better now.

BIGGEST INDULGENCE The vintage brass

MAIN BEDROOM The wardrobes, which were designed to match the space’s panelling, include a ladder system to access the top cupboards.

Bespoke cabinetry, Studio Lawahl

coffee tables from Lova Design. We love them.

GREATEST SUCCESS An obvious answer,

but the whole feeling you get when you enter the apartment. Every time we visit it strikes us.

YOUR STYLE IN THREE WORDS Timeless, elegant, harmonious.

SECRET ADDRESS In Stockholm, you

shouldn’t miss the ceramic and glass stores in the district of Södermalm; my favourites are Kaolin, Blås & Knåda and Konsthantverkarna.

FAVOURITE BUILDING There are so many

but to name two, the Sheats–Goldstein Residence

by John Lautner in California and Villa Necchi Campiglio by Piero Portaluppi in Milan.

WHAT’S NEXT IN INTERIOR DESIGN

Quality thinking. Pieces that are being produced should last for a long time, and I believe this trend will only get stronger in the coming years.

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MAIN BATHROOM This space commands attention with its stunning use of marbles, including Bardiglio, Carrara and Rosso Lepanto; even the doorways to the shower and WC are framed with stone.

Bespoke ceramic artworks, Hanna Järlehed Hyving.

Peggy pendant, Vistosi

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DIVINE INSPIRATION Interiors maestros Atelier AM used the monastic architecture of this villa as a reference for schemes that are like a calming embrace WORDS JULIET BENNING PHOTOGRAPHY STEPHEN KENT JOHNSON/OTTO

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SITTING ROOM Raw plaster walls and ceiling strike a simple, mellow note.

Clayworks can achieve a similar wall finish. Boden Sea, Uttwil photograph by Hiroshi Sugimoto, Artspace.

Art Deco armchair (opposite) by Francis Jourdain, 1stDibs

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or architects and interior designers starting out, there is nothing quite so

the pair had a change of heart. ‘He’s a big collector of contemporary art and almost in the middle of the

daunting as their first few projects. Yet when Michael and Alexandra Misczynski of Atelier AM met the owner of a villa in Rancho Santa Fe, California, a journey of trust, travel and discovery unfolded. It meant a seminal project for the fledgling firm (founded in 2002), and one that would dictate the shape of things to come. ‘Our client had no idea

night we realised we had made a mistake and we were designing the wrong house for him,’ admits Michael. ‘We decided to strip it down and take a more minimalistic approach. But we kept some of the things we bought on that first trip because they seemed important and part of the journey.’

Michael and Alexandra’s friendship with the art

who we were but he put his faith in us,’ says Michael.

The client, an industrious businessman from Chicago, had bought the house rather on impulse.

dealer Axel Vervoordt also inspired the resulting tone of the villa. ‘We were clearly influenced by Axel and his wife May, and took our client to their house for

‘He acquired the property really for its 30 acres of land,’ says Michael. ‘It’s in horse country and it has stables and an orange grove.’ The villa itself was a spec house built in a Mediterranean style about 30 years ago and while the client had considered rebuilding it, Michael and Alexandra soon realised they should preserve its cavernous internal volumes.

several lunches and dinners,’ says Michael. Through its vast raw plaster walls and simple curved arches, the villa breathes as if in reverence for the landscape surrounding it. Acres of space surround each carefully chosen piece of art and furniture, the light from the huge steel-framed windows showing them to best advantage. Reclaimed French oak and

‘We gutted the house, reconfiguring the plan to make the rooms larger,’ explains Michael. ‘We pushed out the family room, which had been dark due to the overshadowing of a loggia despite facing south, and gave it large new windows. The previous windows had been square or rectangular and smaller with wooden frames. The project was a study in how to bring in all that Southern Californian light.’

Eager to imbue the house with a sense of history that would belie its relatively short existence, Michael and Alexandra took their client on a buying trip to Europe. ‘Our original approach was to give the interior a very traditional design language so we bought lots of antique mantelpieces and doors in Paris, which we then shipped over,’ says Michael. Yet soon after the completion of his Chicago apartment,

limestone flooring also add an antique character.

‘It’s meant to be a casual home so it was important for us to use fabrics and carpets that don’t feel too precious. We wanted guests to feel comfortable and relaxed, not like they’re in a museum. You’re surrounded by very special things here but you can touch them,’ Michael notes. A house resilient enough to cope with plenty of grandchildren was another requisite of the client. ‘He sometimes just puts them on a plane and flies them out,’ adds Michael.

A dreamlike world far from Chicago, the villa envelopes its guests in a calming embrace. ‘Our client told us the first thing he does when he walks in is just to exhale. That, for us, is the best reward.’ & ■

Atelier AM, atelieram.com

“WE WANTED GUESTS TO FEEL COMFORTABLE AND RELAXED, NOT LIKE THEY’RE IN A MUSEUM. YOU’RE SURROUNDED

BY VERY SPECIAL THINGS HERE, BUT YOU CAN TOUCH THEM”

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FAMILY ROOM To imbue the 30-year-old home with a sense of history, reclaimed French oak flooring was put in and antique pieces were sourced for every space.

Custom-made limestone table by Atelier AM. Chairs slipcovered in antique linen from Loro Piana

MAIN BEDROOM Two thicknesses of curtains ensure light from the huge windows can be moderated.

Sanded oak chair by Jean-Michel Frank.

1930s parchment lamp, source at 1stDibs

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LIBRARY Deep wood-clad walls bring warmth and provide a recessed work space.

For a similar rug try the Pearl Handloom silk rug, The Rug Company. Grace modern corner sofa in Merlot vintage linen, Love Your Home, would look similar

MEET THE DESIGNER

Michael Misczynski shares his style vision and loves.

MOST SUCCESSFUL ASPECT OF THE PROJECT Having a happy client. It was one of our

first commissions and he had no idea who we were. It wound up being an incredibly important project.

GO-TO COLOUR We don’t have one, but the

colours we do use are ones you would find in nature.

They’re unusual and not super saturated.

SMALL CHANGE, BIG IMPACT Adding in the steel windows and doors.

SECRET ADDRESS Abhaya, an Asian antiques dealer in New York (abhayatribeca.com).

MOST CHALLENGING ASPECT OF THE RENOVATION Reconceptualising the

entire project halfway through. But worth it completely.

FAVOURITE FURNITURE DESIGNER Jean-Michel Frank. So simple, but so thoughtful.

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MAIN BEDROOM A minimalistic approach was taken throughout to ensure the outside landscape stars in every scheme.

Tall Piper headboard from Loaf would work here.

Source a silk rug from The Rug Company

MAIN BATHROOM The limestone tub brings a feeling of continuity to the floor slabs.

Chair by René Gabriel, source on 1stDibs

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HALLWAY There’s a beautiful gallery-like feel in here with every piece given space to breathe.

Noguchi’s bronze sculpture Figure, 1945. Can You Feel it, is it Straight, 2003 artwork (on wall) by Mark Bradford

EDWARDIAN RENAISSANCE Designer Philip Vergeylen has restored this villa with his signature style of dramatic flourishes, opulent antiques and hints of humour WORDS MARY WEAVER PHOTOGRAPHY SIMON UPTON

DINING ROOM This 18th-century Coromandel screen is hung from the wall for a theatrical effect.

Chest of drawers, stamped ‘antique Maison Jansen’. Cyrus table lamp and rug, Nicholas Haslam.

Screen, Gerald Bland

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HALL Double doors were used to provide vistas into rooms and the new columns here increase the sense of symmetry.

Try Vinterior for a terracotta sculpture.

1920s plaster chandelier, originally from a bank in Chicago

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nown for his opulent use of luxurious materials and fine

fight with the planning officer who argued that the 1980s decor should be honoured – unbelievable,’ says

detailing, and skill at instilling personality into previously characterless homes, Philip Vergeylen is used to the demands of clients who come with the territory of high-end restorations. In this instance though, he says, the owners were so delightful and enthusiastic that he instantly forgave their inevitable peccadillos.

Philip, now victorious with the house restored in line with its original Grade ll-listed grandeur. Removing the false ceilings revealed tall, elegant rooms that were crying out to be returned to splendour courtesy of Philip’s signature style. Eighteenth-century Belgian marble lines the entrance hall where overhead a pair of fabulous 1920s plaster chandeliers from a

They had given Philip carte blanche – very rare – to design their home after seeing his work in a house they had considered buying. ‘They had fallen in love

bank in Chicago preside. Grand, new, plaster columns and mouldings co-ordinate with the antique and are echoed in the dining room and sitting room that lead

with it but it was too small, so when they found this one they called me in,’ says Philip who, with partner Paolo Moschino, is one half of Nicholas Haslam.

It sounds like a dream commission but the reality was that Philip came up with a scheme, then ideas were ping-ponged back and forth. Decisions were made, then changed, then made again, which of

off. Soft grey parquet flooring, used throughout the ground floor, was chosen to tone with the marble.

The dining room is deliciously dramatic, bordering on decadent with mirrored doors reflecting tigerprint chairs, a sculpture of a river god and a pair of 18th-century Coromandel screens. Shaking things up further is a Perspex stalactite light installation

course is all part of the process. ‘The owners were intoxicated by the idea of the refurbishment and keen for a speedy turnaround,’ he says. ‘Their excitement was infectious but their expectations were incredibly high.’

The handsome Edwardian villa in west London had last been renovated in the 1980s and needed a top-to-toe refurbishment with a two-storey basement added to its existing four floors. ‘That would normally take a year and a half, and they wanted it done in seven months,’ Philip says. Philip and his team didn’t quite hit the unrealistic deadline but they did complete the scheme in less than a year.

The, now, fabulously finished home, had been stripped of original details and encumbered with fake ceilings concealing fluorescent lighting. ‘I had a

suspended over a pair of wrought-iron-based tables inspired by one owned by Yves Saint Laurent.

In the double-aspect sitting room a palette of powder blue and soft grey seating is highlighted with brass-edged occasional tables and a magnificent 1950s Italian bas-relief bronze wall hanging. The kitchen is impressive with an elaborate chandelier, large-scale seating and a polished concrete island.

The first floor accommodates the main white-onwhite bedroom, a walk-in wardrobe and his ’n’ hers bathrooms. Children’s rooms are on the floor above, with guest accommodation in the basement. This has been a happy project says Philip. ‘We are still very good friends and that is my best reward.’ & ■

Nicholas Haslam, nicholashaslam.com

“FOR ME THE RELATIONSHIP WITH MY CLIENTS IS THE MOST IMPORTANT THING. IN THIS HOUSE I FEEL YOU CAN SEE THAT POSITIVE ENERGY IN THE FINAL RESULT”

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SITTING ROOM This was designed with plenty of seating for the family of five who like to entertain.

Gilded chairs in Velours Tiger, Nobilis.

Brass table, 1970s Maison Jansen.

Parquet, Element 7.

Lamps and vase, Nicholas Haslam

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WIFE’S BATHROOM This was inspired by the original Dior shop in Avenue Montaigne.

Floor, Statuario Marble.

Shower, bespoke nickel frame with Madison fittings by Dornbracht.

Trellis cupboards, designed by Philip with Sterling Studios

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MEET THE DESIGNER

Philip Vergeylen shares his style vision and loves

GO-TO COLOUR Not Totally White

from Papers and Paints.

DESCRIBE YOUR STYLE IN THREE WORDS European, sophisticated, with a sense of humour.

SECRET ADDRESS Two – both are related to setting beautiful tables: Fiona Finds (run by my friend Fiona Dreesmann) and La Tuile à Loup in Paris for more rustic china.

YOUR DESIGN HEROES Albert Hadley, Bill Blass and Stéphane Boudin.

MUSEUM TO VISIT Musée Nissim de

Camondo (a spectacular hôtel particulier in the centre of Paris where time stood still).

PRIZED POSSESSION My collection of drawings by Jean Cocteau.

MAIN BEDROOM Madame de Pompadour sits at the entrance of this space, which includes a seating area.

Try Vinterior for a terracotta sculpture.

Ischia reading lights, Nicholas Haslam.

Floor, Element 7

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MODERN ELEGANCE In designer Tiffany Duggan’s hands, this London new build has been imbued with a look that is effortlessly classic and contemporary WORDS ALI HEATH PHOTOGRAPHY ALEXANDER JAMES

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H OUSE S KITCHEN Brass features accentuate the beauty of the pale pink on the cabinetry.

Kitchen, 202 Design; painted in Dead Salmon, Farrow & Ball. Bar stools, Ben Whistler. Zellige splashback tiles, Mosaic Factory. Hive handles, Dowsing & Reynolds.

Kelly Wearstler pendants, LuxDeco

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it in Farrow & Ball’s Railings for added impact.

‘Everything is designed with intent,’ she says.

founder of Studio Duggan, starts with understanding how they tick. ‘I like to get under the skin of the owners: how they aspire to live, how they imagine spaces to flow, what storage needs they have, how they dream spaces will make them feel, what colour palettes appeal. The bare bones have to be absolutely

Throughout, monochromatic marble floor tiles are juxtaposed with natural wood floorboards and softer porcelain tiles in the kitchen. The owner is Italian and loves to cook, so the kitchen has been designed to work hard and look good. Soft, dusty pink cabinetry combines with teal stools and touches of brass on lighting and hardware, a theme that extends

right before we start adding the layers,’ she says.

‘With this London build, we were invited to collaborate during the early stages, so we were able

into the relaxed kitchen living area and beyond into the more formally styled entertaining and dining spaces – where earthy tones become progressively

to influence architectural details and the spatial design,’ she continues. ‘The brief here was to avoid a soulless, new-build feel – mixing characterful, antique and traditional with touches of sophisticated and contemporary, while injecting an element of surprise, hence the basement spa.’

As you enter through the Georgian-inspired façade,

richer and more cocooning.

Upstairs, the bedrooms and en suites have been designed with luxe textures and details, which include many bespoke finishes designed by Studio Duggan. ‘I seek inspiration from many different sources and am used to designing custom-made pieces,’ says Tiffany. No surprise, then, that in 2019

the bleached-oak herringbone floor in the hallway flows into a light-filled space: look up and a central window triptych frames a striking chandelier and upstairs gallery. ‘The banister rail has a simple, polished profile and lends a curvaceous flow as you ascend through the house,’ says Tiffany. ‘I like the tension that comes with a combination of feminine lines and more masculine contrasts: like the curved, velvet armchairs paired with a sharp-edged marble cube coffee table in the formal sitting room.’

To the right of the entrance, the doorway is arched – a theme Tiffany has extended to oversized metal framed doors that open on to the garden from the main living areas. ‘The archways add a sense of scale, drama and light,’ says Tiffany, who used the same device with the dining room dresser, painting

she decided to launch Trove, her Notting hill store that showcases a growing collection of bespoke furniture and accessories, inspired by lack of market choice and her own intuitive creativity. She launched with a bedroom collection and 2021 has since seen some newly designed pieces for the rest of the home. ‘We will also be teaming up with a select few fabric houses to create Trove-inspired colourways and re-editions,’ says Tiffany.

‘For me, it is never about the latest trends,’ she continues, ‘but about creating personal spaces that have a lasting timeless elegance – spaces where you immediately feel at home.’ &

hen designing a client’s home, Tiffany Duggan,

Studio Duggan, studioduggan.com ■ Trove, thetrove.co.uk ■

“THE BRIEF WAS TO AVOID A SOULLESS, NEW-BUILD FEEL – MIXING CHARACTERFUL, ANTIQUE AND TRADITIONAL WITH TOUCHES OF SOPHISTICATED AND CONTEMPORARY ”

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DINING ROOM Beading was used to add architectural detailing.

The dresser is vintage and was customised by Studio Duggan with antiqued-mirror glass panels and a bold, modern colour.

Bespoke dining table, extendable to seat 20 guests; chairs, all Studio Duggan. Walls and ceiling in Palette Red, Atelier Ellis

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MAIN BEDROOM The oversized headboard creates a dressing area space behind the bed.

Bespoke headboard, Studio Duggan. Willow wall light with bespoke backplate, Porta Romana

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HALLWAY A grasscloth-effect vinyl wallpaper is practical and pretty.

Floor, Gravity Flooring.

Woodwork in Slate II, Paint & Paper Library, and Railings, Farrow & Ball.

Wallpaper, Thibaut.

Staircase, Studio Duggan with Excel Stairs

MAIN EN SUITE Marble surfaces and metal-framed doors contrast in this restful yet decadent space.

Bespoke vanity unit with pink Aurora marble top, Studio Duggan.

Alisio herringbone marble flooring, Artisans of Devizes

MEET THE DESIGNER

Tiffany Duggan shares her style vision and loves

GO-TO COLOUR Soft plaster pink.

SMALL CHANGE, BIG IMPACT

Introducing a series of arches to the basement corridor. These little architectural details are so paramount when designing a new build.

SOURCE OF INSPIRATION It’s such a cliché, but really everywhere – if you keep your eyes open, it is all around.

SECRET ADDRESS Anton & K for antiques.

FAVOURITE BUILDING

Debenham House in Holland Park.

DESIGN HERO Madeleine Castaing.

NEXT GAME CHANGER IN DESIGN The art of the edit. Our clients want character, personality and a well-curated mix of old and new.

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MIAMI CHIC A redesigned apartment in South Beach surprises with a serene aesthetic that showcases the stunning light of its coastal location WORDS JO LEEVERS PHOTOGRAPHY KEVIN SCOTT

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The apartment is part of a recently completed residential tower

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for Eric and his clients. ‘Our first conversations focused on the ever-changing views from the apartment and

riven stone, this family home feels reassuringly grounded. This is all the more surprising when you discover it is located six storeys above the buzzy, hedonistic setting of Miami’s South Beach – but that was precisely the aim of its designers at mwworks.

This apartment was designed for a family with

the quality of light,’ he explains. ‘Our design grew out of a desire to amplify these effects and let the interior architecture act as both a canvas and a frame.’

For this reason, artworks are kept to a minimum and hit just the right note. Dreamy fantastical graphite drawings by Ethan Murrow in the kitchen and the main dining area feel suitably airy. Then the

strong Miami roots, returning to Florida from Seattle. ‘The idea was to create a quiet, atmospheric environment that is rich in tones and materials,’

entrance has a large-scale photograph of a figure floating in the ocean by Richard Misrach, a reminder of how the serenity of the sea also carries a hint of

explains Eric Walter, co-founder of mwworks. ‘In this way, the space allows the family to focus on being together in a setting that suggests permanence, a quality not often associated with South Beach.’

The five-bedroom home was previously two separate apartments, which Eric and his team have seamlessly joined together. They began by stripping

danger. A giant folded paper sculpture by Gonzalo Lebrija hangs in a corridor, reflecting a fascination with textures, folds and shadows that is repeated in a section of angular 3D tiles in the bathroom.

In this way, themes and shapes are echoed so that the closed off private spaces (the bedrooms, a family room and the entrance area) feel as integrated into

back the spaces to their raw elements and the original hefty cement pillars that they revealed at this point have not been concealed or treated in any way. Instead, they take their place alongside grainy wood, concrete and sweeps of plaster in a scheme that celebrates strong textures. Key materials include black limba, a West African hardwood used not only on the floors but for bespoke cabinetry and the sliding doors that divide, or unite, the sociable spaces.

Pattern is added in subtle, texture-rich ways, including a bas-relief feature that acts as a headboard in the main bedroom and wraps around a partial wall to continue into the en suite. Its pattern shows up all the more clearly in the early morning or late afternoon, when the light casts deeper shadows. In fact, the intensity of the light was a key consideration

the whole as the open-plan kitchen, dining area and living room. And, throughout, there is an interplay of light and shadow. ‘The irregular surface of the plaster on the walls highlights the changing quality of light throughout the day and lends a particular softness to private spaces,’ adds Eric.

The emphasis on textures also embraces the simpler decorative finishing touches, such as woven chair backs, baskets, sheer curtains and rugs, which come loosely threaded with silk or as tightly woven sisal bouclé. It all adds up to spaces so rich in materials that they feel complete, cohesive and, most importantly, self-contained. To the point where the ocean views from the windows are simply an added extra. &

ith layers of dark timber, hand-trowelled plaster and

■

mwworks, mwworks.com

“OUR FIRST CONVERSATIONS FOCUSED ON THE EVER-CHANGING VIEWS FROM THE APARTMENT AND THE QUALITY OF LIGHT”

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DINING AREA Rich black limba wood was chosen for the sliding doors and bespoke storage. The plaster for the walls in the family room beyond was picked ‘as the irregular surface highlights the changing quality of light throughout the day’.

Dining table and chairs, De La Espada. Tray, Michaël Verheyden.

Nobsa rug, Sebastian Herkner for Ames

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LIVING ROOM Sculptural shapes bring a sense of ease to the main seating area, which has beautiful ocean views.

Koster chairs by Marc Sadler. Side tables, De Castelli. Rug, Warp & Weft.

Table lamps, Pulpo

MAIN BATHROOM The shower tray is made from carved stone, a texture that feels natural underfoot.

Shower, try Lusso for similar. Try West One Bathrooms for a bespoke vanity unit

KITCHEN The worktops are hand-chiselled with raised lips reminiscent of the natural drift of sand.

Kitchen, bespoke by mwworks. Carved worktops, The Vero Stone; try Space Cucina for similar. Stools, Varaschin.

Vase, Michaël Verheyden

BEDROOM In every scheme, the designers used texture to add pattern – here, a rattan bed and a handcrafted side table that echoes the shape of a sea anemone.

Side table, Pia Maria Raeder. Bed, Ceu Studio.

Wall light, Allied Maker

MEET THE DESIGNER

Eric Walter shares his style vision and loves

GO-TO COLOUR A simple palette of

neutrals leaves room for flourishes of colour in a decor that may change over time.

SMALL CHANGE, BIG IMPACT

Custom-made and very minimal door handles allow for a seamless flow of space between rooms when the doors are open.

GO-TO INTERIORS BRAND

The Vero Stone blends timeless traditional craftsmanship with modern design.

WHERE DO YOU FIND INSPIRATION For this project, it was

the natural light – it is something that has an almost tactile quality in Miami.

DESCRIBE THE PROJECT IN ONE WORD Craft, with a strong focus on

the detailing and materials.

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IN SEASON THIS MONTH

FEATURE SARAH WILSON PHOTOGRAPH AESME STUDIO

BURNISHED FLOWERS AND FOLIAGE FORM A FINE ARRANGEMENT

Autumn is one of the best times to celebrate all that nature has to offer.

‘This beautiful bouquet was arranged straight from the garden of a friend in Sussex,’ says Alex Nutting of London-based florists Aesme Studio (@aesmestudio). The team at Aesme grow their flowers on a farm in Hampshire using organic methods.

‘The flowers and foliage we picked for this display were perfectly evocative of the mellow autumn weather. We chose ferns, speckled hydrangea, rudbeckia and zinnias, and finished with vines and seed pods.’ With the revival of small-scale flower farming, there is now a real movement for growing and sourcing flowers locally and seasonally. This creates displays that are fresher, as well as being more interesting, unusual and sustainable.

It’s a trend worth tapping into. &

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STROKES OF BRILLIANCE Sarah Pajwani’s autumn garden burns brightly with repeat colourful plantings of fiery-red smoke bushes and golden-leaved dogwood WORDS JACKY HOBBS PHOTOGRAPHY CLIVE NICHOLS

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The garden is alight with Quercus rubra (red oak), Cornus sanguinea ‘Midwinter Fire’ (dogwood), Euphorbia griffithii ‘Fireglow’ and Miscanthus sinensis ‘Kleine Silberspinne’

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Trees are reflected in the pond, which is filled with Nymphaea alba (water lilies) and fringed with Hydrangea paniculata ‘Limelight’ and Liriodendron tulipifera (tulip tree)

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urrounded by towering, deciduous trees that cling to their gold and russet foliage, Sarah Pajwani’s garden in Pinkneys

overlooked in favour of its tulip flowers. Carpinus betulus (hornbeam hedging) creates a sweeping, golden, three-metre-tall backdrop, rimming the Big Circle

Green, Berkshire, remains hidden from outside view. Conversely, inside, ‘everything is open’, with the architecture of the house providing multiple views over a natural and understated sunny, open garden.

When Sarah and her family moved to St Timothee in 2006, there was no escaping the fact that she needed to ‘plant a garden that would provide colour and

Border, helping to link the garden to the surrounding trees. ‘I introduced Stipa gigantea and Calamagrostis x acutiflora ‘Karl Foerster’, miscanthus and panicums to bring structure that had softness and movement to the garden.’ Sarah relocated clumps of existing Cortaderia selloana (pampas grass) to form a spectacular backdrop to the pond bringing height as well as spectacular white

interest all year round, replacing the rough grassland that then surrounded the house,’ she says. However, she sought design direction from experts at Acres

feathery plumes. Cotinus coggygria ‘Royal Purple’ (smoke bush) takes centre stage in autumn, its mass of burgundy-red foliage echoed in the front of the borders

Wild. Designer Debbie Roberts explains, ‘The aim was to integrate all the disparate, existing features (house, outbuildings etc.) to create a cohesive composition with large sweeping borders that Sarah could plant herself.’

A wildlife pond was focal to the garden with curved plantings radiating from this pivotal feature. With little previous gardening experience, working organically

with ruffles of similarly coloured Heuchera ‘Chocolate Ruffles’, H. ‘Plum Pudding’ and H. ‘Brownies.’ A good working colour palette is key. ‘Autumn colours are often brown, I like to dial up rich shades of reds, golds and greens, combining shrubs, grasses, foliage and flowers,’ says Sarah. The Red Border glows with a blend of rose-gold grasses Panicum virgatum ‘Rehbraun’, deep

Sarah was ‘happy to sacrifice a few plants for the good of wildlife’. A profusion of planting is magnificently reflected in the water, dialling up the garden’s rich autumn foliage and echoing the deep blue skies above.

Spring, summer and winter dominated the initial planting schemes, ‘autumn happened almost by accident, a collision of late summer and forthcoming winter,’ says Sarah. She discovered some ‘super-late flowers’ lingered long into autumn, like Penstemon ‘Raven’ and Cornus sanguinea ‘Midwinter Fire’.

Confidence growing, Sarah began to work within this seasonal window, emphasising ‘a mix of heights, shapes, colours and texture’. Height and colour is provided by trees. The deep russet of Quercus rubra complements the rich, golden cat-faced leaves of Liriodendron tulipifera (the tulip tree), so often

rose Persicaria amplexicaulis ‘Blackfield’ and ruby-red Dahlia ‘Arabian Night’. In contrast, the Fire Borders are aglow with golden-leaved Cornus sanguinea ‘Midwinter Fire’, studded with golden orbs of Dahlia ‘David Howard’ against the verdigris foliage of Euphorbia wulfenii. A backcloth of lawns, box and yew balls helps offset the brilliance of richer-hued plants.

‘For me, autumn is all about woodland walks, so I try to capture that mood by harnessing colour with key foliage plants and super-late flowers.’ Her borders are big and bold, some seven metres deep, a traffic light of red, amber and green lighting up the garden, which can be seen from all aspects of the house. & Opening times and events at St Timothee Garden can be found at ngs.org.uk

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“YEAR-ROUND INTEREST IS IMPORTANT BUT MY MAIN AIM IS TO CREATE A RELAXED, HAPPY ATMOSPHERE THAT REFLECTS THE MOOD OF ALL SEASONS”

SARAH PAJWANI

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Box balls flank a path edged with Cornus sanguinea ‘Midwinter Fire’ and Cotinus coggygria ‘Royal Purple’ (smoke bush)

GARDEN GUIDE ORIENTATION The main garden faces south,

but the open aspect delivers sunshine to all areas.

SOIL TYPE Slightly alkaline, a mix of heavy clay

but chalky and well-drained in places. Generally moist and deliberately no irrigation.

SPECIAL FEATURES Wildlife pond,

year-round borders, parterre, evergreen structural box and yew and mature ‘woodland’ trees.

GARDEN DESIGN Acres Wild Landscape & Garden Design, 1 Helm Cottages, Nuthurst Street,

Horsham, West Sussex RH13 6RG, 01403 891084, acreswild.co.uk.

PLANTING DESIGN Sarah Pajwani.

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HOW TO CREATE A TIERED BORDER FOR AUTUMN COLOUR ■

Select a key structural shrub for height, shape and

colour; Cotinus coggygria ‘Royal Purple’ – repeat, rhythmically if space allows.

■ Introduce large but light, airy grasses; Stipa gigantea (golden oats).

■ Fill in with seasonally colour-appropriate midheight late-flowerers; Sedum ‘Matrona’, cerise aster.

■ Edge with frills of dark-burgundy foliage; Heuchera ‘Plum Pudding’ or similar between contrasting silvery foliage, Stachys byzantina.

The pond is fringed with golden reeds and Cortaderia selloana (pampas grass), set against a huge evergreen yew cone

Dark-purple flowers of perennial Penstemon ‘Raven’

Glaucus blue foliage of Euphorbia characias wulfenii

Heuchera ‘Chocolate Ruffles’ and Cotinus coggygria ‘Royal Purple’ (smoke bush) bring bursts of colour to the Back Border

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PLANTING SUGGESTIONS Best structural shrub for bright red autumn foliage Cotinus coggygria ‘Royal Purple’ (smoke bush) Best front of border plant Any heuchera, e.g. ‘Paris’ Best long-flowering bloom Dark-purple Penstemon ‘Raven’ flowers until first frosts Best golden yellow foliage tree Liriodendron tulipifera (tulip tree) has big-leaved, eye-catching foliage Best buttery yellow-leaved shrub

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Cornus sanguinea ‘Midwinter Fire’ has valued foliage before fiery stems are revealed in winter Best big ornamental grass Cortaderia selloana (pampas grass) has immense presence and energises the autumn garden Best elegant grass Stipa gigantea (golden oats) Best flower for bold colour Burgundy-red Dahlia ‘Arabian Night’, golden-yellow Dahlia ‘David Howard’

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A path edged with Erigeron karvinskianus and Calamagrostis x acutiflora ‘Karl Foerster’ (feather reed grass) leads to the box parterre and potting shed

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MY GARDEN LIFE A f t e r s t i n t s a t W i s l e y, K e w a n d G r e a t D i x t e r, To m C o w a r d i s now head gardener at Gravet ye Manor in Sussex, where he ha s restored the h istor ic ga rden. He revea ls to u s h is de sig n secrets, his inspiration and the best hor ticult ural book s 142 H O M E S A N D G A R D E N S . C O M

FEATURE SARAH WILSON PHOTOGRAPHS GRAVETYE MANOR

The kitchen garden at Gravetye supplies year-round produce for the restaurant (this picture). In autumn, the surrounding woodland (right and below) lights up the landscape. Tom Coward in the garden (below right); ‘working here is pretty perfect,’ he says

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What inspired you to become a gardener?

Quite simply, I love plants. I grew up in the countryside on the Isle of Wight and my mother was a passionate gardener, too. As a teenager I did some work on a fruit farm and my fascination grew from there. Then I did a horticultural course and realised gardening was the career for me.

“FINDING TIME TO FIT EVERYTHING IN IS A CHALLENGE. YOU NEED TO BE MULTI-DISCIPLINED AS A GARDENER. I REALLY NEED A 48-HOUR DAY”

restoration project as it had become so overgrown. It was the perfect first head gardener job as anything I did could only make it better. In terms of signature style, with any garden it’s important to do what’s appropriate for that site. At Gravetye this meant

rufa (red hot pokers). The colour from the trees is wonderful, too, the Nyssa sylvatica and Acer palmatum, as well as the beech trees in the wonderful woodland that surrounds Gravetye.

I spent a wonderful formative year at Wisley and from there went to Pershore, where I did a gap year in

working with the heritage landscape and improving this wherever possible.

for inspiration?

Every Tuesday I go to local gardens with a group of friends. I find that

Oregon in the Pacific Northwest working in a tree nursery. Then I studied for a diploma at Kew and did an extra year there as a tree surgeon.

This led to a job at Paul McCartney’s garden in Sussex, where I worked as assistant head gardener. Next I went

What does being head gardener at Gravetye mean to you?

We have taken the heritage garden designed by gardening legend William Robinson and developed our own style, evolving his work by developing the borders and putting our own stamp

sharing ideas is really helpful. Ventnor Botanic Garden on the Isle of Wight is very special. Further afield, Les Jardins de Kerdalo on the north coast of Brittany is also well worth a visit.

travelling and ended up in France working on a restoration project at a chateau. It was here that I got a call from Fergus Garrett, head gardener at Great Dixter, offering me a job. I got the next boat home.

on it. Archives, plans and paintings have all provided details of the atmosphere we were keen to recreate.

live without?

Robinson’s The Wild Garden and The English Flower Garden are two very important books to understand the principles of his gardening style at Gravetye. The RHS Encyclopedia of Gardening answers any question better than the internet and always sits in my trug. I love Christo’s writing too and particularly Cuttings: A Year in the Garden with Christopher Lloyd.

You trained at Wisley, Kew, Pershore. It’s quite a CV…

Tell us about your time at Great Dixter.

I met Christopher Lloyd and Fergus on a work experience weekend when I was a student at Wisley, so I already had a connection. It was so exciting working there. Fergus was a great mentor and helped me consolidate my knowledge as well as becoming a good friend. It was a lifestyle more than a job and my time there was really special. Gravetye was the only place that could lure me away.

How did the signature style at Gravetye evolve?

When I took the job the garden was a

What’s the one thing at Gravetye that’s unmissable?

It depends on the season, but generally it’s the kitchen garden. It’s unique in the world, surrounded by forest and still used as originally intended to grow food for the house. The three main objectives in the kitchen garden are preserving the heritage, increasing productivity and creating something that’s aesthetically pleasing.

What’s special here in autumn?

The kitchen garden is packed with pumpkins and squashes, cabbages and cauliflowers, fennel and beetroot.

The flower borders are a riot of autumn colour with late season grasses like Miscanthus sinensis, ‘Magenta Star’ dahlias and Kniphofia

Which gardens do you visit

Which gardening books can’t you

What are you currently working on?

Reinvigorating Robinson’s beautiful wild meadows to improve biodiversity and keep moving forward. We’re also looking at an exciting tree planting programme, rebuilding one of our old Victorian cold frames and maintenance work on the Victorian peach house. And, of course, hanging out in the potting shed. & ■ gravetyemanor.co.uk

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EVERGREEN SHRUBS FOR Y E A R -ROU N D BE AU T Y EVERY GARDEN NEEDS ELEMENTS THAT ARE CONSTANT – OUR EXPERTS SHARE ADVICE ON INCORPORATING NATURE’S ENDURING PLANTS INTO YOUR SCHEME

place in every garden, adding interest and structure whatever the month. Even better, they tend to be low-maintenance. Some add colour with blooms and berries, too, while others are scented, so they bring far more than just year-round, good-looking foliage.

Garden designer Kate Gould (kategouldgardens.com) recommends using a high percentage of evergreens to provide a framework against which other plants can shine: ‘Ideally, 50-70 per cent of planting. It doesn’t mean that such plants only have green leaves. Camellia, rhododendron and nandina, for example, also have the advantage of flowering at different times of the year.’

STRUCTURE AND ENCLOSURE ‘I

aim to create spaces that make people feel uplifted and this often begins with adding strong structural elements that give a feeling of cosiness, or of drama,’ says landscape designer Emily Erlam (erlamstudio. com). ‘Evergreen topiary has been used for centuries in grand country gardens, but we have learnt to use the same technique of sculptural form in small gardens to great effect. By using a series of soft, billowing forms we blur the edges of the garden and make people feel comforted by enclosure.’

SHRUB SUGGESTIONS ‘I like gardens to

have strong “bones”. It’s important to ensure that a garden has year-round beauty,’ says garden designer Tommaso del Buono (delbuono-gazerwitz.co.uk).

‘This is where evergreens come into play. I use them to create the architecture to hang the garden on. I love box, a staple of Italian gardens. Lately I have also been using Japanese holly (IIex crenata) and Phyllyrea angustifolia. In a garden in Paris I made

two long cloud-pruned borders to frame a lawn. Yew (Taxus baccata) is the best for tall hedges and large topiary shapes, while in London I like to use bay (Laurus nobilis) for the same purposes.’

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PERFECT PLANTS TO PROVIDE CONTRAST ‘We use evergreens for year-round

structure and interest as well as providing a strong form to contrast with looser, more ephemeral planting,’ says landscape gardener Debbie Roberts (acreswild.co.uk). ‘Smaller evergreens are useful for hugging the sides of steps instead of a wall. Hebe rakaiensis is one of our favourite “step-huggers” especially when combined with Nepeta ‘Walker’s Low’.’’

DEFINING THE SPACE ‘A large portion

of the structure in gardens should be provided by the planting,’ says RHS gold-medal-winner Rae Wilkinson (raewilkinson.com). ‘Alongside the vertical element of trees, and the textural and floral displays of grasses and perennials, an evergreen backbone is important.

Hedges can soften boundaries and accentuate the division between spaces. Topiary adds drama, while smaller evergreen plants such as lavender and hebe provide form, colour and texture at the lower level.’

BEAUTIFUL BACKDROP ‘Clipped

evergreens make a wonderful, neutral backdrop and a foil for looser planting around them,’ says awardwinning designer Robert Myers (robertmyersassociates.co.uk). ‘In winter they come to the fore, as herbaceous planting recedes to reveal their form.

They could be hedges, or single clipped topiary creating punctuation marks within the planting.’ →

“WHEN HERBACEOUS PLANTS DIE BACK AND LEAVES FALL, THE EVERGREEN STRUCTURE RETAINS THE GREEN ELEMENT AND DEFINES THE SPACE” RAE WILKINSON, garden designer

FEATURE SARAH WILSON PHOTOGRAPH EVA NEMETH/ERLAM STUDIO

EVERGREEN shrubs work hard to earn their

A subtle tapestry of evergreen plants adds a strong sculptural element.

Erlam Studio’s planting includes Stipa gigantia, box balls, dark Iris ‘Blue Rhythm’ and ‘Badlands’, with Ballota pseudodictamnus and Alchemilla mollis used as edging plants

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ESTABLISHING A FABULOUS FRAMEWORK

Alice Ferguson (@alice_ferguson_), who trained at the London College of Garden Design, imparts advice on getting a balanced and beautiful landscape with evergreens

CHOOSE ASYMMETRICAL PLANTING The art of creating a structural

framework with evergreens is key in anchoring the looser, natural-style planting fashionable at the moment. In borrowing wabi-sabi principles from Japanese culture, which appreciate the incomplete and imperfect, beauty can be found in balanced asymmetry.

LIMIT THE NUMBER OF SHRUBS

Balanced evergreen structure can be achieved without being formal or grand. Keep to a palette of no more than two or three types of shrubs for balanced rhythm.

I love Myrtus communis, Osmanthus x burkwoodii and Daphne bholua ‘Jacqueline Postill’ where space allows. For a more clipped style, I choose Ilex crenata or Taxus baccata. A dwarf camellia, such as Camellia sasanqua ‘Dwarf Shishi’, is great for blooms in winter.

PLANT IN LOOSE CLUSTERS Position

your evergreen plants in natural clusters with a

Hebe rakaiensis as a ‘step-hugger’ alongside Nepeta ‘Walker’s Low’, planted by Acres Wild

hierarchy of size, allowing low evergreens to spill onto paths. Avoid a scattering of evenly spaced, evenly sized evergreens. Rough out your planting then step back and take an overview to check the balance works.

or textured evergreens provide contrasting texture and form to softer herbaceous planting. Use perennials like Gillenia trifoliata, Thalictrum delavayi and Verbena bonariensis to rise up through structural planting.

Underplant and soften shrubs with low perennials like Geranium ‘Rozanne’, Salvia nemorosa ‘Caradonna’ and Astrantia ‘Roma’ to complement evergreens. &

“I LOVE USING EVERGREENS TO CREATE A GREEN STRUCTURAL PATTERN. AN EVERGREEN FRAMEWORK PROVIDES A RHYTHM TO THE GARDEN” ALICE FERGUSON, garden designer

THE SOURCEBOOK: WHERE TO BUY EVERGREEN PLANTS PARAMOUNT PLANTS

ARCHITECTURAL PLANTS

MIDDLECOMBE NURSERY

Specialises in sourcing, selling and delivering mature plants and trees, including evergreen screening and hedging to provide the plant framework for your garden or landscape direct to your door. paramountplants.co.uk

Good for a great selection of sculptural evergreens and strong shapes that bring a distinctive year-round presence to the garden. Offers garden design and construction, courses, talks and events. architecturalplants.com

This friendly family-run company offers a good range of quality plants, including evergreen shrubs, with helpful and experienced horticultural advice on offer, too. middlecombenursery.co.uk

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PHOTOGRAPHS (ABOVE) ACRES WILD; (ABOVE RIGHT) DEL BUONO GAZERWITZ; (RIGHT) ROBERT MYERS ASSOCIATES

MIX WITH PERENNIALS Close-clipped

Providing permanent structure and shape, evergreens – including Prunus lusitanica, clipped shapes of buxus sempervirens, Libertia formosa and the white pompoms of Hydrangea arborescens ‘Annabelle’ – are employed (above) by del Buono Gazerwitz for lasting beauty

Robert Myers has created a simple yew topiary column to form a ‘punctuation mark’ backdrop to planting in this design (left), which also features Bear’s breeches – Acanthus mollis ‘Rue Ledan’ – and pink/purple Turks’ cap lilies, Lilium martagon

&

KITCHENS BATHROOMS

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

NOSTALGIC TOUCH

FEATURE BUSOLA EVANS

Already known for its gentle nod to the past when it comes to kitchen design, deVOL has gone one step further and launched the Heirloom collection. It’s a curated edit of well-crafted pieces, including cabinetry, plate racks and lighting, which evoke childhood memories and manage to look vintage yet thoroughly modern. Described as an ‘ever-evolving’ range, expect to see regular additions to the classic designs. The Heirloom collection starts from £10,000, deVOL →

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K I TCH ENS & BATH R OOMS

LUXURY DESIGN BRAND RUTLAND LONDON HAS INTRODUCED ITS FIRST COLLECTION OF WCS IN A VARIETY OF STYLES – FROM WALLHUNG TO HIGH-LEVEL. FROM £660

STANDOUT SHOWER Drummonds has remodelled the shower tray with its latest offering, the Test shower, which features a gently curved skirt, in the style of the rounded edges of its signature baths. Cast in iron, the tray, which comes in three finishes, is enamelled while the exterior is hand-finished to order. The solid brass frame is available in nine different finishes.

Test shower, £21,540, Drummonds

FEATURE BUSOLA EVANS

PATTERN FIX Perfect for brightening up bathrooms, the Sun collection adds three new hexagonal tiles to the encaustic-style range at Ceramique Internationale. Thanks to modern printing technology, they have the faded appeal of hand-printed cement tiles, but the hassle-free maintenance of modern porcelain. Sun Alkes Hexagon, £68.99sq m, Ceramique Internationale

3 OF THE BEST… COLOURED PLINTH BATHS Freestanding plinth baths create a luxurious look that, on a practical note, also help hide pipework. The slipper bath from Bayswater Bathrooms echoes the iconic Victorian style and is available hand-painted to order in Farrow & Ball’s Plummett or Stiffkey Blue.

Devon&Devon’s Hollywood has pleasingly plump edges and is inspired by mid-century design, while Victoria + Albert’s Elwick offers a wide choice of colours to fit any scheme.

From top: Slipper, £1,922, Bayswater Bathrooms. Elwick, from £3,735.90, Victoria + Albert Baths. Hollywood, from £6,907.12, Devon&Devon at West One Bathrooms ¤

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

REWORKED CLASSIC A reimagining of the original Alea, Poliform’s latest kitchen offering, Alea Pro, benefits from some reworked details. The door design and opening grooves are among the elements refreshed and the new side panel, which is slightly detached from the doors, gives a lighter look to the base units.

The Alea Pro is priced on request according to dimensions and choice of finishes, Poliform

Q&A TOM HOWLEY, DESIGN DIRECTOR, TOM HOWLEY KITCHENS What are the new requirements in kitchen design since the pandemic? Multifunctional living has become a necessity as our clients want their homes to work even harder than they did before. Simple design features, such as a breakfast cupboard, built-in appliances and storage are popular but also the little luxuries, such as a separate boot room or walk-in pantry.

Which new materials and finishes are growing in popularity? We see clients opting for bolder colours, and not just accents, but whole kitchens.

Ten years ago, if you had asked me if clients really do buy dark navy islands, I would have said no, but over the years people have become braver with their design choices.

THE BORA X BO IS A NEW GENIUS WI-FI-COMPATIBLE STEAMER AND OVEN ROLLED INTO ONE. ITS FUNCTIONS INCLUDE A CHARCOAL ODOUR FILTER AND AN AUTOMATIC DOOR. FROM £5,808

Are there any new storage solutions for maximising space? The success and style of every kitchen starts with storage. I advise clients only to fit floor-to-ceiling cabinetry if they have lofty ceilings. In smaller spaces, waist-height pull-out drawers are best. A waist-height unit means you’ll have access to copious worktop space that floor-toceiling cabinetry cannot provide in the absence of an island counter and lots of low-lying storage units. In a small galley kitchen, a great way to save space is to fit pocket doors at the entrance.

What are your tips for a successful kitchen layout? The overall design of the kitchen should

FILLING STATION The pot filler is becoming increasingly popular as we discover the convenience of having a tap above the hob. Available in several finishes, this one folds flat against the wall when not in use. Armstrong pot filler, £760, Perrin & Rowe

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focus on the balance of scale and proportion.

Simple, modern updates such as open shelving and curved island details give a design a contemporary edge, without losing the traditional craftsmanship values. Positioning all the appliances within a workable distance of each other provides the chef with complete flexibility. Having separate ‘zones’ for preparation, cooking and cleaning creates an easy flow around the kitchen. & Q

tomhowley.co.uk

HOW TO...

USE BATHROOM TECH FROM PROGRAMMING THE PERFECT SHOWER TO VOICE CONTROL FOR WEATHER UPDATES, TECHNOLOGY CAN TRANSFORM BATHING RITUALS IN MANY HOMES the bathroom is the one

which is easier to retrofit. ‘Choosing products with built-in Bluetooth speakers – like showerheads and

but are we in danger of missing out in the process?

‘Technology improves our lives in many areas, so why not the bathroom?’ asks Sarah Evans, Hansgrohe’s head of product UK. The German brand is one of many bathroom manufacturers embracing technology, most recently in a collaboration with Philips Hue called RainTunes, which uses water, video, sound, light

mirrors – is a seamless way to incorporate audio without a full renovation,’ says Jason Keller, smart home lead, Kohler. Such products stream audio from your phone or similar device and enable services like Siri, Amazon Alexa and Google Assistant to deliver the latest travel updates while brushing your teeth.

place we can escape the pressures of technology,

and aroma to create multisensory shower scenarios.

WHAT’S AVAILABLE? Technology is being

harnessed for a variety of uses, from pampering and convenience to safety and health monitoring. Adding luxury is a big focus and examples include controllable lighting with chromotherapy scenes, digital showers with personalised settings, mirrors and showerheads with built-in speakers and automated aromatherapy.

There’s also demand for smart toilets with deodorising capabilities, touch-less taps and voice-controlled sound and lighting that reduces bacteria on surfaces.

HOW DOES IT WORK? Early bathroom

tech, such as waterproof speakers, TVs and mood lighting, required complex electrical schemes, usually installed by home integration specialists in tandem with the plumbing. Including the bathroom as part of a ‘Smart Home’ installation is still popular in high-end residences and centralises the control of lighting, blinds, heating and audio-visual technology across the whole home. More recently, the focus is on wireless integration, particularly Bluetooth based,

DOES IT LOOK NICE? The emphasis is on seamless integration and the majority of bathroom technology is designed to perform quietly in the

background. Appreciating that there’s nothing relaxing about stressing over complicated controls, operation is intuitive and easy to follow. Many bathroom brands are developing families of ‘Smart’ products that work together (usually on an app).

IS IT WORTH IT? Like any technology – the

internet being a prime example – only once you’ve enjoyed the benefits do you realise it is revolutionary.

Digital showers with remote control may sound unnecessary, until the first morning you get to step out of bed into a perfectly warm shower. Sensoroperated night lights are both convenient and a safety feature, especially if you have young children, while technology that reduces water wastage can have benefits both financially and environmentally.

‘High-tech lighting is a big priority for our clients,’ says Richard Fox, senior designer at Ripples Solihull.

‘The ability to create the perfect ambience or set lighting scenes for different tasks has huge appeal.’ &

4LITE Choose smartphonecontrollable bathroom lighting with this firm’s hub-free connected range, which includes downlights, ceiling lights and LEDs. 4lite.co.uk

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KALDEWEI This German brand has developed Sound Wave, a system of acoustic panels and transducers that turn its baths into Bluetooth controllable speakers. kaldewei.co.uk

NOKEN Porcelanosa’s designer brand is committed to digitising its bathroom fittings with electronic taps, digital showers, smart toilets and smart mirrors. noken.com

SCAVOLINI The Dandy Plus collection features a Task Bar with integrated Amazon Alexa, from which users can control music, lights, blinds and showers. scavolini.com

FEATURE LINDA CLAYTON

SOURCEBOOK: PLACES TO SHOP

K I TCH ENS & BATH R OOMS

Backlit mirror with integrated Contour HDX27 Linear LED strip, from £54m; Grissini pendant from £520; John Cullen Lighting

Tono sensor-controlled electronic basin tap, price on request, by Foster + Partners for Noken by Porcelanosa

Toto’s Washlet RW smart toilet with auto descale, self-cleaning, night light and water heater, from £3,719, West One Bathrooms

The Aquamoon shower

by Dornbracht with treatments including chromotherapy, from £11,920, West One Bathrooms

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STATEMENT ISLANDS HARNESS THE FULL POTENTIAL OF THIS COVETED KITCHEN FOCAL POINT

BY CHOOSING BOLD SHAPES, MATERIALS AND DESIGN TWISTS

FLOWING FEATURE

A popular design feature, a ‘waterfall edge’ involves continuing the worktop seamlessly from horizontal to vertical. ‘Deeply veined marbles look particularly fabulous, especially if you source a slab large enough to allow the veining to flow right down to the floor,’ enthuses Oana Sandu, lead designer, Blakes London.

‘It’s important to think about the flooring and how it will complement your choice of worktop – usually a contrast works best.’ Bespoke kitchen with Paonazzo marble worktops, from £45,000, Blakes London.

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FEATURE LINDA CLAYTON PHOTOGRAPHS (FLOWING FEATURE) MALCOLM MENZIES; (DYNAMIC FORM) MARY WADSWORTH

1

K I TCH ENS & BATH R OOMS

2

DYNAMIC FORM

Think outside the box with an island shape that’s totally unique.

‘It’s a brave move to step beyond classic rectangular designs but the pay-off can be huge in terms of visual impact. Here, we designed the island to look like a beautiful piece of furniture. It reflects the owners’ adventurous personality, while also helping to zone the open-plan room,’ explains Jane Powell, designer, Roundhouse. Urbo and Metro matt lacquer bespoke kitchen, from £30,000, Roundhouse. →

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SHAPELY CURVES

Fluid shapes lend movement and dynamism to this island, sculpted to aid smooth passage through an open-plan home.

The work of Australia-based Auhaus Architecture, it is made from Australian hardwood with an oiled finish. Formed from vertical planks, the structure appears to rise out from the flooring below.’

For a similar bespoke kitchen in the UK, try Chamber Furniture, from £40,000. Zig Zag wall tiles

by Popham Design, from £127.44 for a 0.62sq m box, Day True.

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K I TCH ENS & BATH R OOMS

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NATURALLY MODERN

For a truly one-off island design, look to naturally unique materials. ‘We love to use nature-made materials in a very contemporary way,’ says Achala Knights, head of design at minotticucine London. ‘The contrast between the natural fluidity of defined woodgrain or heavily veined marble, against the crisp lines of modern cabinetry feels unexpected. The simple form of our furniture means there are no visual distractions, just the beauty of nature.’ Hanami Collection in fossilised oak and Calacatta marble, from £60,000, minotticucine London.

PHOTOGRAPHS (SHAPELY CURVES) TREVOR MEIN; (LIGHT SHOW) DARREN CHUNG

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LIGHT SHOW

Put a statement island firmly in the spotlight with thoughtfully selected lights. ‘Not only does characterful lighting serve a practical purpose, in that it lights up the whole of the island, it also provides a decorative function when combined with reactive materials like marble tops and metallic accents,’ says Richard Atkins, design director, DesignSpace London. The Brass Dust cabinetry finish and White Macaubas quartzite on this island reflect beautifully under the warm light bulbs. Modulnova kitchens start from £25,000 at DesignSpace London. →

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JOINED UP THINKING

When plotting the size of your island, do consider the impact it has on the worktop installation.

‘Joints can be really obvious on island units that are centrally positioned and designed to be noticed,’ says Graeme Smith, head of retail design, Life Kitchens. Islands longer than 3.5m usually require two slabs of stone or quartz. ‘Adding timber elements such as chopping blocks or breakfast bars is a good way to mix materials while hiding joints,’ he says. Vivid kitchen, from £30,000, Life Kitchens.

SIZE MATTERS

Generously sized kitchens call for an island with generous proportions to ensure it doesn’t appear lost in the space. Here, Chiselwood used chunky worktops and outsized handles for an eye-catching island. ‘The thickness of the worktop was achieved by mitring deep strips around the perimeter. You get striking depth without excessive weight on the cabinetry beneath,’ explains design director Martin Holliday. Bespoke kitchen, around £55,000, Chiselwood. Strata Argentum sintered stone worktop, from £600sq m, Neolith. &

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PHOTOGRAPH (SIZE MATTERS) DARREN CHUNG

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K I TCH ENS & BATH R OOMS

S PA - S T Y L E B L I S S

FEATURE LINDA CLAYTON PHOTOGRAPH JAMES MERRELL STYLING MARY WEAVER

SET THE SCENE FOR RELAXING AND REJUVENATION IN YOUR BATHROOM WITH THESE LUXE IDEAS FOR FIVE-STAR PAMPERING

WHITE OUT A white-on-white palette is fresh yet sophisticated and, mixed with time-worn antiques, can channel the laid-back chic of an exclusive country spa hotel. For her own home, White & Faded founder Janet Parrella Van Den Berg layered up the texture – sheepskin, washed linen and old, whitewashed floorboards – to create a crisp white bathroom that’s surprisingly warm and inviting. ‘With a white palette it’s all about how the light falls, the sun shines and the shadows play,’ she explains. ‘White changes through the day and brings details and shapes into focus. It makes me feel uplifted but calm.’ → Walls in Shirting intelligent matt emulsion, £53 for 2.5ltr, Little Greene. Artisan Collection linen pillowcases, from £49, White & Faded. Alseda banana fibre stool, £25, Ikea. Try BC Designs’ acrylic boat bath, from £1,702

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MINIMALIST TIMBER

HOT TREND

From red cedar saunas to Scandi-style Douglas fir, wood will always have natural associations with the spa aesthetic. For timber with a contemporary twist, leave the rustic finishes behind and go for crisp, slatted panelling in

Once rarely found in domestic settings in the UK, sauna sales are on the up post-pandemic.

The good news is they now come in much more desirable designs. ‘The main stumbling block for British homes is space but if you have plenty to

rich, dark tones. Taken full height, the effect is dramatic but cocooning. Keeping accessories and decorative touches to a minimum creates a soothing environment and draws attention to luxurious textures and materials. In this minimalist space, the walls are finished in Venetian plaster, which has a tactile patina, while

spare, there are some seriously stylish saunas to choose from right now,’ enthuses Yousef Mansuri, head of design at C.P. Hart. ‘A variety of wood finishes means the design can fit into your bathroom scheme rather than dictate it. We love Effegibi’s Sky sauna, which comes in made-tomeasure sizes with floor-to-ceiling glass panels

cement tiles lend velvety softness underfoot.

to create a beautifully light and airy feel.’

Tara bath mixer with hand shower in Matt Black, £1,646, Dornbracht. Plain hexagonal cement floor tiles, £84sq m, Mosaic Del Sur. Try W.M. Boyle’s Orac Bar 3D waterproof panels, from £68.10 a panel. Venetian plaster by Loggia

Effegibi Sky sauna, from £18,000, C.P. Hart

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PHOTOGRAPHS (MINIMALIST TIMBER) PAUL MASSEY; (RESTFUL HUES) BLAKES LONDON

K I TCH ENS & BATH R OOMS

RESTFUL HUES A soothing palette of dusky hues ripple through this bathroom, bringing spa-like tranquillity in their wake. The coolness of blue-grey marble is warmed by pink-tinged tadelakt walls, with minimalist brass fittings adding jewel-like richness. While the palette of materials may be restrained, note the subtle texture provided by the tadelakt plaster and herringbone pattern tile installation. The former is a traditional finish typically found in Moroccan hammam baths, and benefits include seamlessness and moisture resistance, making tadelakt a practical choice in the bathroom. → Creative Glass Studio makes similar steel-framed partitions with doors priced from £4,440 for 2.4x2.4m

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PHOTOGRAPH DRUMMONDS/DARREN CHUNG

LOOK UP Replacing the ceiling with glass transformed the ambience in interior designer Alison Henry’s home. ‘I felt a sense of liberation when the glass went in and it quickly became my sanctuary,’ she says. ‘Bringing the outdoors in is central to my philosophy, and the ever-changing tree and skyscapes from above are hugely mood-boosting.’ Alison also promotes the use of mirrors. ‘As well as making a room appear more spacious, they also reflect light and amplify the mix of textures to make the room sing.’ → Ashburn bath, from £3,390; Mull Classic bath and shower mixer taps with floor standing legs, from £2,376; double Lowther vanity basin with Arabescato marble, from £7,140; Mull Classic 3-hole basin taps, from £1,170; 3 bar wall-mounted heated towel radiator, from £2,142, all Drummonds. Interior design by Alison Henry

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K IT CHE N S & BAT HRO O M S

Blur the lines between indoors and out with a generous, opening roof light and feel the warmth of the sun on your skin while you shower. Even on dismal days, natural light from above lifts the spirit without compromising privacy. Designed by Australia-based architects Breathe, this bathroom was created as a calm retreat. Enclosed behind steel-framed glazing, the shower features a retractable skylight in the roof for a year-round connection to nature. Slatted timber panelling boosts the spa vibe, drawing attention outwards beyond the steel framing to make the overall space feel bigger. &

Mandarin Stone’s Carrara polished marble tiles, £83.20sq m, are similar

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PHOTOGRAPH BREATHE ARCHITECTURE/KAT LU

STEP OUTSIDE

L IFE S TY L E

Hotel we love Steeped in romance, Les Sources de Cheverny is an eco -f r iend ly wood land ret reat in histor ic chateau cou nt r y A CHIC new edition to the hotel scene, Les Sources de Cheverny’s village-style hotel is nestled in the heart of the Cheverny forest, just two hours from Paris by train or car. Its 49 rooms and suites are spread over six buildings with whimsical names like La Maison des Fleurs, La Maison des Fruits and Le Baron Perché (the baron in the trees). Rooms with forest views are painted in calming

FEATURE ROHINI WAHI PHOTOGRAPHS MP MOREL

shades of green and furnished with pieces from local brocantes.

When you enter the spa, which forms the centrepiece of the retreat, with both indoor and outdoor pools and large barrel hot tubs to soak in, you will find cabins illuminated by rustic frescoes of the surrounding landscape by artist Claire Blaser.

If it’s a romantic getaway you’re after, the luminous Le Baron Perché suite is the ultimate love nest – set on stilts above a lake, it has an en-suite bathroom with a Nordic outdoor oak hot tub looking out onto white birches.

If you can tear yourself away from the tranquillity of the rooms and the spa, head to the chateau’s informal Auberge restaurant, which serves hearty fare like meat grilled on the open fire and lamb sausage with harissa-flavoured aubergines. Come sunset, guests are invited to the enchanting music salon for some vintage local wine. & NEED TO KNOW Q Double rooms start at £153 Q sources-cheverny.com

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The country files Jewel ler y de sig ner Mon ic a V i na der op en s up her a dd re s s book of t re a su re s on t he nor t h Nor fol k coa st MONICA Vinader discovered jewellery design

after studying fine and decorative art at the City and Guilds of London Art School. She worked as a jewellery maker and interior designer before launching her brand with her sister Gabriela in 2006.

The business has grown from her kitchen table in

For fun gifts and textiles, I shop at Bombay Sprout near Burnham Market. Zara Bolingbroke-Kent, the owner, designs the most beautiful collection of Dhurrie rugs handmade in India in amazing colours.

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I buy a lot of fresh flowers for the house, and

Norfolk and now has standalone boutiques and space in department stores. Monica lives in north Norfolk with her husband, Nick Zoll, daughter Scarlett and

Hannah Hunnam flowers in Castle Acre delivers seasonal, wild and naturalistic creations on a Friday.

Also, Constance Rose’s new shop at Creake Abbey

dogs, Spinner and Olive, and four puppies.

is a frequent stop of mine for flowers and plants.

We live very close to the sea in the northern part of Norfolk. It’s a historic building; an old farm which dates back to Saxon times with a medieval pond at the back and a Victorian carrstone facade. It once belonged to one of the knights who came over with

My favourite walks are always at the beach, especially in autumn and winter – Holme beach is fantastic. I have always been happiest near the sea and my childhood was spent swimming, regardless of the weather – it’s pretty rainy in the north of Spain.

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William the Conqueror. It has a very rich history.

There are some great pubs to eat out around us.

The Duck Inn at Stanhoe has great food and a cosy atmosphere, and we often make the drive to the Gunton Arms near Cromer for a good steak.

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I grew up in Spain, in the coastal town of San Sebastian and I love to travel. I have been influenced by living and working abroad, exploring the colours, landscapes and architecture of different countries including Italy, Patagonia, Morocco, Mexico and India. The house is full of the lovely things we have collected, so I stay inspired, even when not travelling.

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Our home is not ‘designed’ even though I used to do that for a living; it is just a fusion of the things my husband and I love. We mix all periods – I adore mid century, but also antique Chinese furniture.

I often visit Bayfield Hall Antiques near Holt – it has very good painted antique furniture.

We cook at home all the time too. I get fresh fish from Gurneys in Burnham Market and vegetables from our local farm shop in Thornham, as I like to cook and eat seasonal produce.

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The last things I bought for my home? A set of 10 of Bordallo Pinheiro Cabbage plates for dinner parties and a beautiful Mexican Desert rose mineral from Les Couilles du Chien to add to my collection.

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I am thinking ahead to Christmas right now. I love to make an effort with lots of greenery from our garden and I have a batch of giant red baubles which come out every year to create an instant ‘Christmassy’ look! & ■

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Our office is inside the Holkham estate in a

listed 17th-century farm complex. It is an incredible renovation, full of light and surrounded by the park – we get to drive through this amazing set-up every day into work! I feel very lucky.

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monicavinader.com

L IF ES TY L E Monica Vinader

Monica’s home

FEATURE JESSICA SALTER PHOTOGRAPHS (PORTRAIT AND DINING ROOM) MARK LUSCOMBE-WHYTE; (THE OLD STABLES) GRAHAM PRENTICE/ALAMY STOCK PHOTO; (GURNEYS FISH SHOP) ROBERT ESTALL PHOTO AGENCY/ALAMY STOCK PHOTO; (HOLME-NEXT-THE-SEA) SJ IMAGES/ALAMY STOCK PHOTO

Monica’s dining room

Holme-next-the-Sea beach, north Norfolk

The Old Stables antiques

“I HAVE ALWAYS BEEN HAPPIEST NEAR THE SEA AND MY CHILDHOOD WAS SPENT SWIMMING, REGARDLESS OF THE WEATHER”

Gurneys Fish Shop in Burnham Market

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A taste of Paris E v o k e t h e a r o m a s a n d f l a v o u r s o f a c l a s s i c Fr e n c h p a t i s s e r i e w i t h t h e s e m o u t h - w a t e r i n g r e c i p e s b y A n n e - K a t r i n We b e r

The classic Paris-Brest – a ring of choux filled with hazelnut cream (recipe on p180)

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CRÈME BRULÉE SERVES 4 1 vanilla pod 400ml double cream 5cm piece of organic orange peel 5 egg yolks 5 tbsp sugar 2 tsp orange-blossom water (optional) YOU WILL NEED four ovenproof ramekins

Slit open the vanilla pod lengthways and scrape out the seeds. Bring the cream, orange peel, vanilla pod and seeds to the boil in a saucepan,

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remove from the heat and let the vanilla cream steep for 10 minutes.

Beat the egg yolks and 2 tablespoons of sugar together until fluffy, sieve the vanilla cream, then stir in with orange blossom water (if using).

COOK’S NOTE These can be stored in the fridge for up to three days without the caramel topping – when ready to serve, sprinkle over sugar and caramelise with a blowtorch

Pour into the ovenproof ramekins.

■ Preheat the oven to 120°C/Gas ½.

Place the ramekins in a large gratin dish and pour hot water into the dish until the ramekins are two-thirds immersed. Place the dish on the middle shelf of the oven and cook for 45 minutes. Remove the ramekins from the water, allow the cream mixture to cool, cover and refrigerate for 4 hours.

■ To caramelise the tops of the crème brulée, put the ramekins back in the gratin dish and pour iced water around them to keep the cream mixture nice and cold while it caramelises. Sprinkle the ramekins evenly with the remaining sugar and briefly caramelise with a blowtorch.

Serve immediately.

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L IF ES TY L E

CHERRY GALETTE SERVES 6-8 FOR THE PASTRY DOUGH 250g plain flour 3 tbsp sugar 1 tsp salt 110g cold butter 50g crème fraîche FOR THE TOPPING 600g fresh sour cherries 2 tbsp sugar 1 tbsp cornflour 2 tbsp ground almonds 2 tbsp milk 2 tbsp flaked almonds icing sugar 200g crème fraîche

To make the pastry, rub together the flour, sugar, salt, butter in small flakes and crème fraîche to form a coarse crumb. Add 2-3 tbsp of ice-cold water, and quickly knead to form a dough.

The dough must not be over-kneaded – small, pea-sized pieces of butter

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should still be visible, to make the pastry nice and crumbly. Wrap in cling film and refrigerate for 1 hour.

■ Wash, drain and pit the cherries. Mix in a bowl with the sugar and cornflour, and allow them to steep in the juice.

■ Preheat the oven to 220°C/Gas 8. Roll the pastry out to form a 32cm round, and lay on a baking sheet lined with parchment. Sprinkle pastry with the ground almonds. Spread the cherries over, leaving a border of 4cm. Loosely fold the border over the cherries, brush with milk and sprinkle with almonds.

■ Bake the galette for 30-35 minutes on the lowest shelf of the oven, until well browned. Remove, sprinkle icing sugar over the pastry border and serve straight from the oven or lukewarm, together with the crème fraîche. →

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PARIS-BREST MAKES 20 FOR THE CHOUX PASTRY 100ml milk 100g butter 2½ tsp sugar pinch of salt 150g plain flour 4 eggs 40g flaked almonds FOR THE FILLING 50g hazelnuts 75g sugar 15g butter 500ml double cream PLUS 1 tbsp icing sugar

To make pastry, bring 150ml water, milk, butter, sugar and salt to the boil in a pan. Remove from heat, add flour and stir vigorously, then return to heat.

Stir mixture over a medium heat until it is smooth and forms a coating on the pan. Transfer to a bowl and mix in one

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egg. Using a hand-held mixer with a dough hook, add remaining eggs one at a time, until a smooth dough. Add to a piping bag with a star-shaped nozzle.

Preheat oven to 190°C/Gas 5. Line two baking sheets with parchment.

Squeeze dough onto sheets to form 10

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COOK’S NOTE Do not open the oven during the first 15 minutes of baking or the pastry rings will collapse

9cm-rings. Sprinkle with almonds.

Bake for 20-25 minutes until golden.

Remove from oven, cut through horizontally and leave to cool.

■ To make filling, chop nuts. Melt sugar in a pan to form a pale caramel. Stir in butter and nuts, then spread onto parchment. Leave to go hard, then chop to a fine brittle in a processor. Beat cream until stiff. Fold in brittle, add to a piping bag with a large, flat nozzle and pipe onto lower ring. Cover with top ring and sprinkle with icing sugar.

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L IF ES TY L E

CANELÉS DE BORDEAUX MAKES 8 ½ vanilla pod 20g butter 330ml full-fat milk 135g sugar 80g plain flour 2 egg yolks 3 tbsp dark rum YOU WILL NEED 8 canelé moulds, greased if metal

The day before, half the vanilla pod lengthways and remove the seeds for

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the batter. Melt the butter and leave to cool. Bring the milk and vanilla pod to the boil, then pour the vanilla milk into a bowl. Allow to cool for 5 minutes. Add the sugar and flour to the vanilla milk, stirring constantly.

If lumps have formed, pour the mixture through a fine-meshed sieve.

Stir in the egg yolks, then add the butter and the rum and mix everything thoroughly. The mixture will now have the consistency of a thin pancake batter. Cover the bowl and refrigerate overnight.

The next day, preheat the oven to 240°C/Gas 9. Pour the batter into the moulds so each one is about two-

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COOK’S NOTE The canelés will stay fresh for about three days in a tightly sealed container

thirds full. Place the canelés on the middle shelf of the oven and bake for 8 minutes. Turn the oven down to 180C/Gas 6 and bake the canelés for a further 45-50 minutes, until crispy and well browned. Remove the canelés from the oven and allow to cool for 5 minutes. Then flip them out of the moulds and leave to cool on a cooling rack. →

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L IFES TYLE

TARTELETTES AU CITRON MAKES 7 FOR THE PASTRY 170g plain flour 30g ground blanched almonds 50g sugar pinch of salt 125g cold butter 1 egg yolk FOR THE LEMON CUSTARD 3 eggs 125g sugar 100ml freshly squeezed lemon juice (from about 5 lemons) 150g cold butter dried pulses 7 slices of lemon icing sugar

To make pastry, rub together flour, almonds, sugar, salt and flaked butter to a fine crumb. Add egg yolk and, if necessary, 1 tbsp of very cold water.

Knead into a dough. Wrap in cling film and refrigerate for 30 minutes.

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Preheat oven to 200°C/Gas 6 and grease tins. Roll pastry to 3mm and line tins. Cover pastry with parchment and weigh down with pulses. Bake tartlets for 12 minutes, then remove parchment and pulses. Bake for a further 5 minutes until are browned and crispy. Cool, remove from tins and cool on a rack.

■ For the custard, mix eggs, sugar and juice in a pan. Slowly warm, stirring, until you have a custard (about 10 minutes). If you have a thermometer, at 80C the custard will be ready. Remove pan from the heat and pass custard through a sieve. Cool until lukewarm.

Finely dice butter and mix with ■

Adapted from IN LOVE WITH PARIS

by Anne-Katrin Weber (£16.99, Hardie Grant).

Photography ©Julia Hoersch

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lukewarm custard using a hand-held blender. Spoon custard into tartlets, cover and refrigerate for 2 hours.

■ To serve, arrange lemon slices on the filling and dust with icing sugar. &

L IF ES TY L E

Design destinations I f y o u ’r e m o v i n g t o t h e c o u n t r y a n d n e e d i n t e r i o r s a n d ant iques empor iums near you, these are the tow ns to head to LOOKING for a house that’s close to one-of-a-

kind interiors shopping? The rush out of cities and into rural locations has thrown a spotlight on those that offer the best of both worlds: access to glorious countryside with an array of distinctive shops and independent cafes and restaurants. ‘When it comes to selling houses, being within an easy distance of one of these towns can make or break a sale,’ says Lindsay Cuthill, head of the country house specialists at Savills.

HARROGATE, YORKSHIRE This Yorkshire spa town stands at the gateway to the Yorkshire Dales and has a happy balance of high street favourites and independents. ‘There are two sets of people in Harrogate,’ says Toby Milbank of The Search Partnership, a buying agency. ‘An up-and-coming crowd and those who’ve retired and want to enjoy the open spaces.’ Saffron Hare, creative director of James

FEATURE ARABELLA YOUENS

Hare fabrics, recommends Richard Grafton Interiors, Furnish & Fettle, Woods of Harrogate and Fabric & Co. ‘Amazing gems can be found in 27 West Park, an antiques shop,’ adds Toby. At Harrogate’s heart is the Stray, a 200-acre parkland. Offering the perfect mix of town and rural life, you can walk to the annual RHS flower show at Harlow Carr from the centre of town.

■ On the market 12 York Place is a beautifully presented house in the heart of Harrogate, offering six bedrooms over three floors as well as private allocated parking, a summer house and a wonderful garden. £1.25m, Knight Frank (01423 594286)

Plas Dolguog is a hotel outside Machynlleth, which is a hotspot of interiors shops, £1.4m through Savills, Cardiff

Tyron, Kevis House Gallery and Moncrieff-Bray art galleries – with the latter displaying contemporary work throughout its gardens and converted barn.’

■ On the market Oak House is a handsome fivebedroom family home in the village of Graffham, just outside Petworth. It’s a short walk from the village shop, recreation ground with tennis courts, two pubs and a network of public footpaths. £1.635m through Jackson-Stops, Midhurst (01730 812357)

PETWORTH, WEST SUSSEX Once a sleepy market town renowned for antiques (it is the only place outside London to boast more than

TETBURY, GLOUCESTERSHIRE Tetbury in the Cotswolds is a honeypot of shops, galleries and antiques dealers. Among the plants and vegetables of the Saturday market, you’ll find bric-à-brac, old books and vintage jewellery. There are also regular craft fairs and art exhibitions upstairs in

30 art and antiques dealers within a one-mile radius), Petworth has more recently become a magnet for entrepreneurs and wealthy Londoners relocating to the countryside. ‘Petworth offers a collection of boutique and artisan shops, from high-fashion to fine art and bespoke wine suppliers,’ says Nick Ferrier of JacksonStops. ‘It’s a collector’s haven, and the numerous antiques shops are complemented by the Rountree

the Market House. Four postcard-pretty streets – Long Street, Church Street, Market Place and Chipping Street – are lined with interesting businesses. The range changes too, adds Lindsay Cuthill, who lives nearby. ‘Noble & Thane has opened a shop selling homeware. It’s opposite Brownrigg, another favourite.’

■ On the market Grade II-listed Spencer House is one of the most eye-catching homes in Tetbury. It →

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L I FES T YLE

has three bedrooms and a roof terrace. Offers over £700,000 through Hunter French (01666 505068) HUNGERFORD, BERKSHIRE This pretty market town has long been recognised for the quantity and quality of its antiques shops.

Many of them are found in the Hungerford Arcade, voted the UK’s best antiques centre. ‘It’s a great place to find antiques,’ says Sarah Vanrenen of Vanrenen GW Designs, who lives locally. ‘On Wednesdays it’s market day with stalls in the high street including a chap with a great knick-knacks. Other favourites include Garden Art Plus, Great Grooms, Below Stairs and the Blanchard Collective just outside in Froxfield, which is my go-to for French decorative pieces.’

■ On the market Fieldridge Wood House is just a few miles outside Hungerford, overlooking the Lambourn Valley. It has four bedrooms, a home office and large garden. £1.5m through Carter Jonas (01635 263000) MACHYNLLETH, POWYS This small mid-Wales market town is surrounded by stunning countryside. For interior design enthusiasts, however, it has another claim to fame: it was where Laura Ashley opened her first shop in 1961. Known as ‘Mach’ to locals, it has a reputation for being arty, unpretentious and eco-minded – the Centre for Alternative Technology was established here in the 1970s. Interior designer Camilla Norberg owns two shops in the town, including The Deco Shop in Laura Ashley’s original premises. Her other store has tableware and furnishings from Scandinavian and British brands. ‘Ian Snow is also a great resource for homeware, tableware and soft furnishings, and Wheeler Fabrics is a proper haberdashery that has been a fixture in our town for decades,’ says Camilla.

■ On the market Anyone wanting a change of lifestyle might consider Plas Dolguog, a hotel overlooking Snowdonia National Park, just outside Machynlleth. £1.4m through Savills, Cardiff (029 2036 8900)

Lorfords in Tetbury is a treasure trove of decorative antiques

CASE STUDY Toby Lorford opened his decorative antiques shop in Tetbury in 2003. He lives with his family in a farmhouse in the nearby Slad Valley ‘Tetbury was the obvious option for me back then.

I had recently moved from London and was a dad-at-home with a baby and toddler. The town offers a steady stream of potential customers, which was invaluable before the dawn of fully-fledged websites and Instagram. My favourite locals include Veloton, which offers the best coffee outside of London as well as awesome bikes. Gallery BR is a wonderful gallery while the Lola & Co deli recently opened. It’s a great lunch break spot – they have jamón to die for and so many other delicious temptations. My advice to anyone moving here would be to embrace the countryside: it’s a great shame when villages become too sanitised.’ &

“THE RUSH OUT OF CITIES AND INTO RURAL LOCATIONS HAS THROWN A SPOTLIGHT ON THOSE THAT OFFER THE BEST OF BOTH WORLDS: ACCESS TO GLORIOUS COUNTRYSIDE WITH AN ARRAY OF DISTINCTIVE SHOPS, CAFES AND RESTAURANTS”

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What home means to me KIT KEMP

THE DESIGNER AND FOUNDER OF FIRMDALE HOTELS ON HER LOVE OF THE FAMILIAR I WAS such a tomboy as a child – I was always out playing cricket with my brothers or climbing trees.

Even so, I have a vivid memory of one part of the inside of my childhood home: the linen union fabric my mother used to make loose covers for the sofas.

I still love the handmade look of re-covered sofas; they might be a bit old and sagging but there’s something rather lovely about them.

MY earliest memories of home are of riding on the back of one of the sofas pretending it was a horse.

Also, the glorious feeling of sliding across polished wooden floors – there’s nothing quite like it! Another happy memory is of rooting through my mother’s fabric collection, looking at materials she’d collected to make dresses from but never quite got round to using. This sparked my lifelong love of textiles.

I FEEL most content in our kitchen. You have the best conversations in kitchens: after all, parties always end up there. Ours has a very comfortable chair and when I’m cooking, there’s always someone who wants to sit with me and chat.

I LOVE being welcomed home by my dogs, Pixie and Button. Even if I’m feeling hellish or had a really rotten day, they’re always wagging their tails and making me feel fabulous. We aren’t very strict with

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them I’m afraid – they love sitting on the sofa with my husband Tim as he gives them plenty of treats.

ABOVE all, we have a relaxed home and that’s so important to us. When people come through the door, I want them to feel welcome. It’s common these days to see rooms that are over-designed and that don’t feel welcoming. Of course, rooms should appeal to all the senses but they must be comfortable.

RITUALS, such as sitting down for meals as a family, are very important to us. There’s nothing better than spending time together enjoying food: people are happier when they’ve got full tummies.

Sunday lunch is a special time of the week for me.

OVER lockdown, my husband and I decided to cheer ourselves up by repainting our kitchen. Before, it was a misty morning blue but now we’ve also added in a warm red and a soft yellow. I’ve always wanted to live in a Romani caravan and now I do. &

FEATURE SOPHIE BAYLIS PHOTOGRAPH SIMON BROWN

WE always lived in the same house when I was growing up (my parents moved there when they married and lived there until they died) so ‘home’ to me means being surrounded by familiar things that you love. This idea has certainly inspired my current house. Being a visual person, I’m always looking and re-looking at it and how it’s decorated. But at the same time, I don’t want to change much: once I’ve decided on something, that’s it for a while. The sign of a welcoming room is one that you don’t want to update constantly. When I choose something, I want to live with it and just love it.

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