Stories Vol.16 by Neptune

STOR IES VO L U M E 16

STOR IES

FOR EWOR D

Summer is here and, with it, an opportunity to envelop ourselves in all that lifts the heart. Surround ourselves with what makes us smile, and indulge in simple pleasures. From a family meal in the garden at a beautifully laid table, to finding a quiet corner to slip away to with a good book and a cool drink. It’s about enjoying the moment. Underlying the pleasure of reconnecting in our happy spaces is a desire – no, a need – for quality and decency. After living through a period of collective angst, we want to have trust and authenticity in all we do. It’s an approach that Neptune has followed for over 25 years, striving to support craftspeople, work with quality materials, care for customers, and create a name that can be trusted. It was a concept that influenced this edition of Stories, when we asked documentary photographer Jon Tonks to spend two days behind the scenes in our Wiltshire workshop observing the craftspeople at work. It also inspired thought-provoking articles such as Fleur Britten’s contemplation on how communities have cared for each other over the generations. But this issue is also about the pure, unadulterated joy and comfort of home. Perfectly encapsulated in Nicholas Coleridge’s story of conceiving and building a folly in the garden of his home during the pandemic. Or the rarely noted domestic routines that kept Charleston house running efficiently while the Bloomsbury set focused on their creative activities. Whatever your plans for this summer, we hope you have a wonderful time, enjoying your homes and surrounded by loved ones.

On the front: the colours in the illustration are part of our paint collection, drawn from the palettes in the article on page twenty. Opposite: Cheltenham bench / Grace cushion in Chloe Trellis / Ella tumbler in Forest

CONTR IBUTORS Thank you to the talented authors and journalists who contributed to this edition, along with our fabulous team of in-house writers. Nicholas Coleridge CBE Nicholas Coleridge is chair of the Victoria & Albert Museum, The Prince of Wales’ Campaign for Wool, and was co-chair of the Platinum Jubilee Pageant. For thirty years, he was variously editorial director, managing director, president and chairman of the Condé Nast magazine company. @nicholas.coleridge

Jo Rodgers Jo Rodgers is a journalist who lives in London with her husband and son. She is a contributing writer at Vogue, Condé Nast Traveller, House & Garden and Country Life. @jo_rodgers

Suzanne Imre For seventeen years, Suzanne Imre was the influential editor of interiors magazine Livingetc; a renowned style pundit and trend leader. Today, she lives in London and works as a brand consultant, content director and writer. @suzanne.imre

Jonnie Wake Jonnie Wake is a landscape and architectural designer. He studied horticulture at Pershore College, garden design at The English Gardening School, and landscape architecture at Gloucestershire University. Jonnie was senior lecturer at The English Gardening School at Chelsea Physic Garden. @landmarkgardensuk

Giles Kime Hampshire-based Giles Kime is executive editor of Country Life magazine and author of four books including Nina Campbell Decoration and Homes & Gardens Decorating. His next book with Rizzoli will be about Neptune’s creative founder, Emma Sims-Hilditch. @giles.kime

Fleur Britten Fleur Britten is acting deputy fashion editor at The Guardian, formerly of Sunday Times Style for fifteen years, and author of five books. She lives in Sussex with her two children and two cats. @fleurbritten

Jon Tonks Jon Tonks is a documentary photographer based in Bath. His work captures people and places shaped by history and geography. In 2013, he published his first book, Empire, an exploration of remote British overseas territories. @jon_tonks

Max Fraser Max Fraser is a design writer and consultant. He has authored many design books over two decades; his forthcoming titles in 2022 include a monograph on Italian designer Luca Nichetto, and one on British designer Benjamin Hubert. @maxfraserdesign

Sam Baker Sam Baker is a journalist, broadcaster, author, and presenter of podcast, The Shift (on life after 40). Her book, The Shift: how I (lost and) found myself after 40 – and you can too, is published by Coronet. She lives in Edinburgh with her husband and Sausage the cat. @theothersambaker

Amy Moorea Wong Amy Moorea Wong is an interiors and lifestyle journalist, previously features editor at ELLE Decoration and news editor at Livingetc. She has a penchant for Scandinavian design and eco materials. @amy_moorea

Fiona McCarthy Lifestyle journalist and author Fiona McCarthy writes about fashion, interiors, travel and food for the world’s leading newspapers and design glossies, including The Times, The Telegraph, House & Garden, ELLE Decoration and Vogue Living. @thechicshopper

Carole Annett Carole Annett is interiors editor at Country & Town House magazine and host of the House Guest podcast, available on Apple via the Country & Town House website, and on British Airways in-flight entertainment. @carolewannett @countryandtownhouse

CONTENTS

4 A folly for all seasons Nicholas Coleridge

44 In the kitchen: recipes

8 Product no.2

50 Book club Jonnie Wake

10 Seeing red Suzanne Imre

52 A community state of mind Fleur Britten

14 The price of value Giles Kime

56 Sarah-Louise, Christopher & their Henley kitchen

17 A picture of craftsmanship Jon Tonks

62 Sign of the times Max Fraser

20 The colour that surrounds us Sam Baker

66 How to: create a study corner

26 The home designer’s go-to directory

68 Intelligent design Amy Moorea Wong

30 Small but powerful Fiona McCarthy

74 A warm welcome Carole Annett

34 How to: decorate an al fresco table

78 Collection classics

36 Keeping house at Charleston Jo Rodgers

84 How to: scent a garden table

This page is coloured in vibrant, fresh and invigorating Quince, which is just one of the shades in our timeless paint collection.

A FOL LY FOR ALL SE ASONS

When V&A chairman and co-chair of the Platinum Jubilee Pageant Nicholas Coleridge CBE decided to commission a folly in the grounds of his home, Wolverton Hall, little did he realise that, thanks to lockdowns, it was to become his mission control.

think I had always hankered to commission a folly of architectural merit. We had rented at least ten of them from the Landmark Trust for holidays, and I invariably experienced an envious yearning, wishing they were mine to keep. At one point I longed for a Mughal summerhouse, later something Gothic. But it was only when we bought an old eighteenth -century house in Worcestershire that we at last had the space to consider it seriously; a walled garden across the lawn provided a perfect location. We had never commissioned a proper architect before, and to complicate things further, our house is listed Grade II*, which makes planning permission dicey. I had been reading about the neoclassical architect Quinlan Terry for decades, and doubted he would consider so modest a job, nor did we know what such a project might cost. But then I thought: what the hell, nothing ventured, and fired off a letter. And not long afterwards, the distinguished tastemaker came to inspect the site and promised a set of sketches for discussion in the coming weeks. We had agreed what we were after: a garden tower, broadly classical in style, perhaps loosely influenced by the banqueting house folly at Long Melford Hall

in Suffolk. It would house a small study/office for me on the first floor, a flagstoned entrance hall, and (most important) some outside space on the roof – a drinks-come-sunbathing deck, with views towards both Bredon Hill and the Malvern Hills. Little did we realise how gloriously timely this was all going to be, with Covid looming. When the drawings arrived, they blew us away; they were at least twice as magical as we’d anticipated. The more we pored over them, the better we liked every detail: the Tudor-style two-inch bricks, the ogee windows, the elegant lead-roofed turret and balustrade. It had the air of a gatehouse at Hampton Court Palace. And the interior was ingenious, with a narrow curving staircase hugging the walls, a concealed kitchen and loo, and tip-top WiFi, soon to be invaluable. Virtually every brick, window and door was made locally in the Midlands, and the craftsmen all lived within fifteen miles of our front door. Our sustainability cred is sky high. And, what’s more, the entire construction took exactly one year from start to finish, being delivered virtually on budget and only one month late, despite some torrential rain during the build.

Opposite: Wolverton Folly

How often do I use the folly? All the time, every single day when I’m here. Behind the GeorgianTudor-Gothic exterior is Mission Control: the full computer kit with Seattle-quality WiFi and Zoom facilities. During lockdown, I must have been on half a dozen video conference calls a day to do with the V&A, The Queen’s Platinum Jubilee Pageant, and the Campaign for Wool, all of which I’m rather involved with. The setting, with its narrow bookcases between the large ogee windows, and classical plaster busts of Roman emperors above each one, elevates every Zoom conversation. To use the jargon, I live my best life in that study. I’m not even sure I could have got through lockdown without the folly, since our children had taken over the entire house, all working from home, scrapping over the bandwidth. Our folly is the most epic of man sheds, and a legacy that will far outlast any accomplishments from my multiple Zoom calls.

Above left: linocut of Wolverton Folly by Eric Cartwright. Above right: the first floor study.

O U R FAV O U R I T E F O L L I E S

Temple of Apollo, Stourhead, Wiltshire Approached through an Italian Renaissance-style In architectural terms, a folly is a building made grotto, this classical circular temple is perched high for purely decorative purposes, to add interest and above the lake in the lavish grounds of stately Stourhead. romance to the grounds of a grand house, or as the Commissioned by Henry Hoare II in 1765 to rival a folly focal point of a countryside vista. Often extravagant in in Kew Gardens, this temple to the god of the sun is now design and featuring indulgent details such as Greek a popular spot for small weddings. columns, rustic elements, or castellated ramparts, the construction of these ornate follies in the eighteenth Temple of the Four Winds, Castle Howard and nineteenth centuries was also thought to have High on the windswept Yorkshire hills, Castle Howard’s offered creative work for local artisans. Here are just a domed and porticoed folly was designed in 1726 and few of our favourite follies around the UK: used as a stop-off point for refreshments and resting by the Howard family and their guests. In the cellar, servants would prepare lunches for the tired walkers. House in the Clouds, Thorpeness, Suffolk What to do with the rather ungainly water tower, built in 1923 to supply the village of Thorpeness, which dominated the pretty Suffolk landscape? The answer was to disguise it as a weatherboarded house, more in keeping with the local Jacobean architecture. Today, it has been reimagined as a five-bedroom holiday rental floating above the Suffolk treeline. Temple of the Four Winds

Broadway Tower

Rushton Triangular Lodge, Northamptonshire An early folly, the three-sided Rushton Lodge was designed in 1594 by Sir Thomas Tresham (father of one of the Gunpowder Plot members). Its three sides, three floors, and the three windows and gables on each side are symbols of the Holy Trinity and a bold statement of Tresham’s Catholic faith. Broadway Tower, Worcestershire The vision of landscape architect Capability Brown, this Cotswold tower is perched dramatically on what was originally a beacon hill. Based on a Saxon theme, the tower is a mismatch of turrets, battlements and gargoyles, but it’s the view, spanning sixteen counties on a clear day, that takes the breath away.

As warm and mellow as a Cotswold village (or folly), the colour used as the background here is our paint shade Old Chalk.

P R O D U C T N o. 2 The Rocking Deckchair

Tenacity, vision, and a little trial and error all went into the creation of Neptune’s second ever piece of furniture.

ow to follow the success of the hammock, Neptune’s first furniture design? That was the conundrum facing friends John Sims-Hilditch and Giles Redman back in 1997 as they sat in their ‘research and development studio’, otherwise known as the freezing cold spare bedroom in Giles’ home. As the hammock had been received so well the year before, it made sense to explore other garden seating, and so the two entrepreneurs started experimenting to perfect the geometry of a collapsible deckchair. ‘It was during the process of working out how to make it fold well,’ recalls John, ‘that I looked at the structure from a different perspective and said to Giles, almost as a joke, “If we put the brackets in the ‘wrong’ places, it should rock.” And sure enough, it did.’ They liked the relaxing rocking sensation, but the next challenge was to make the chair not only gently sway, but also collapse. ‘We had no CAD [computer aided design] skills – indeed, we didn’t even have a CAD programme,’ says John, laughing. ‘It was trial and error that got us there.’ John and Giles decided to take their prototype, along with the hammock, to a large garden furniture show in Germany, camping on the banks of the Rhine to save money along the way. They had refined the design, adding in some pleasing aesthetics such as a wider, curved armrest which followed the arch of the fabric sling, and were delighted when the chair attracted considerable attention. But fortunes turned when the buyer for one of the USA’s largest retailers arrived at the stand and placed an order for ten thousand, followed later by UK homeware brand Habitat. ‘We’d been expecting a handful of sales,’ John admits, ‘and the size of order was beyond the capacity of our lean-to shed in Wiltshire, so we partnered with a beech wood supplier in Czechoslovakia and set about the manufacturing process.’ The rocking deckchair went on to become a reliable seller in the following years, with the canvas seat being produced in navy, green and natural finishes. And, buoyed by the success of their garden furniture designs, John and Giles eventually turned their attention to kitchen cabinets, so beginning the next chapter in Neptune’s story.

Pictured: an original, twenty-year-old Neptune rocking chair, repainted in French Grey.

SEEING

Red Just a hint of this bold colour can have a dramatic effect, writes interiors editor Suzanne Imre.

Chichester four-foot open dresser in Shell and Burnham Red / Chatto dining table and carver chair in Cactus / Chatto armchair in Quince

ensions were riding high at the Royal Academy of Art’s 1832 Summer Exhibition. Constable was unveiling his masterpiece ‘The Opening of Waterloo Bridge’, with its moody shadows and scarlettopped barges bobbing on the Thames, which had been thirteen years in the making. Adjacent sat Turner’s smaller and rather watery-grey ‘Helvoetsluys’ seascape. When Turner saw the oils hanging next to each other, he marched up to his own canvas and planted a single daub of red paint in the middle of the rolling waves (he later modified it to a red buoy) to draw the eye, unequivocally, to his work. It succeeded. On seeing Turner’s improvisation, Constable declared, ‘He has been here and fired a gun.’ Such is the power and effect of the merest hint of red in a painting or, for that matter, a room scheme. As Neptune’s creative founder, Emma Sims-Hilditch, explains, ‘I love the warmth that a touch of red can offer – be it a lampshade, a cushion, or even a red-painted picture frame or picture mount. But it also acts as a focal point: your eye will naturally be drawn to a hint of red in an otherwise more muted colour palette.’ And while most interior designers would agree that neutral colour schemes feel harmonious, calming, and welcoming, they would also suggest such rooms need depth to make them interesting and cosy. A pop of warm

red in the form of just one vase or cushion, or even a stripe on a cushion, can be all it takes to turn a space from ordinary to something special. This is because red is an ‘advancing colour’ – it appears to come towards you – which is why it’s so successful at creating a sense of depth when used against cooler, receding colours and neutrals. ‘It could be as simple as some red spines on a bookshelf,’ suggests Emma, who also runs interior design company Sims Hilditch. ‘The merest hint of red makes the other colours stand out more. It’s a bit like red lipstick on a face – it brings things to life. Or in nature, a robin redbreast in a snowy scene has the same arresting and beautiful effect.’ Used to excess, red can feel overwhelming in a space, but according to Emma, the ‘daub’ of red technique can be introduced into most rooms of the home effectively – a deep red feature chimney breast in a sitting room, an elegant red bookcase in a study. Or even in a kitchen: ‘I particularly love using our Burnham Red shade as a contrast. Consider painting bar stools red against kitchen cabinetry in Alpine Blue, Shell or Shingle.’ Indeed, Emma has used the technique in the Cornish cottage she shares with her husband and Neptune cofounder, John Sims-Hilditch – the bright red hull of a model sailboat pings amidst the gentle colour palette of the sitting room. Turner would have been delighted.

Above: Emma and John’s Cornish cottage, Polvarth Point in St Mawes, is available for holidays via cottages.com. Image courtesy of Sims Hilditch.

Pembroke bookcase in Burnham Red and Shell / Wycombe table and chair / Heatherley desk organiser / walls painted in Honed Slate

T H E P R I C E O F VA L U E

How do you establish something’s worth? Interiors journalist Giles Kime says it’s got nothing to do with the price.

The colour of this page is Pink Peppercorn, our subtle and universally flattering shade of pink paint.

e own a sofa that once belonged to my great-grandfather that we use every day. I’m sitting on it now. Neither its neat, elegant proportions nor its venerable old age compromise its comfort; whether I’m sitting or sprawling, it has a magical ability to offer support just where required, even while I’m balancing a laptop on my knee. It’s an heirloom that just keeps on giving – first to my grandmother, then my mother, and now to us. With each generation, there has been a new cover, and I can remember its different incarnations – my grandmother chose wool, my mother opted for a jaunty stripe, and we upholstered it in a delicious chocolatey velvet. I’m not aware that it has ever required any structural repair, but if it was a poorly made modern sofa, this wouldn’t be an option. I’m also not aware how much my great-grandfather paid for our sofa. He wasn’t a rich man, but whatever the figure, it was an investment that has reaped pretty good returns and one that highlights deficiencies in so much modern furniture, as well as our own dwindling expectations of what furniture should be. This, of all years, will be critical for the way we perceive value in everything; with the rising cost of materials, wages and transport, do we lower, maintain, or raise our standards? Time and careful consideration might cost money, but a trip to your local dump offers a startling insight into the reality of lesser quality furniture with a bad case of inbuilt obsolescence thanks to peeling veneer, substandard materials, and staples rather than robust joints and stitching. It’s possible to do so much better – and, thankfully, some manufacturers still do. Of course, everyone has to cut their cloth according to their means. Yet of all the financial savings anyone might have to make, whether on holidays or cars, furniture is perhaps the one that will have the greatest impact on our daily lives, long after this current economic turbulence has been forgotten. As we’ve discovered, a beautifully made, carefully designed, comfortable piece of furniture with a capacity to last a hundred years is the best value piece of furniture you’ll ever buy.

Opposite: our Eva sofa, built to last for generations, upholstered in Harry Flax Blue

HOW TO:

Spot a good buy

When it comes to buying furniture well, there are a few things to look out for whether you’re buying new or antique.

Materials • Look for furniture made from solid wood or over six-nine layer plywood for durability. Avoid thin ply, particleboard or fibreboard. • If you choose a solid wood with a veneer, be aware that the veneer won’t withstand many rounds of sanding down if blemishes occur. Thicker veneers run the risk of peeling off. • Check for deep knots in the wood which might indicate future splits or possible cracks. Build • Look for dovetail or mortise and tenon joints and reinforced corner blocks over anything constructed with staples, nails or visible glue. • Ensure that any drawers glide smoothy, and try to avoid wood-on-wood sliding. • Investigate any hinges to ensure they’re tight, have no rough edges, and are not rusted or bent. • Check the frame for creaks or wobbles by pressing down on each corner on a level surface. Upholstery • In seating, look for coil or serpentine springs that are positioned close together and have some resistance when squashed, and avoid anything where the springs are more than a few inches apart. • Look at the alignment of fabric patterns, and consider opting for more neutral colours for larger pieces of furniture as they will stay in favour longer. You can always introduce colour and pattern through smaller pieces.

Above: dovetail joints in the construction of a drawer box

A picture of craftsmanship When it comes to visiting far flung locations in search of a story, British documentary photographer Jon Tonks is right at home. So how did his experience differ when he swapped the great outdoors for the inner workings of our Wiltshire workshop?

hey say a picture paints a thousand words. That’s certainly the case for Jon Tonks, who developed his passion for pictorial storytelling and love of travel into a career in documentary photography. Whether observing and shooting local life across remote British overseas territories such as the Falklands, or working on an outdoor fashion campaign for the sustainable British menswear brand Sims Wear (simswear.com), the stories Jon documents are typically shaped by geography and history. Looking to bring the tale of our workshop to life, we gave Jon an all-access pass and asked him to venture behind the scenes in search of an altogether different narrative. Housed in an expanse of Neptune’s Wiltshire HQ, the workshop in question is far from the single room space you may imagine. Instead, it comprises an array of interconnected areas, each with a specific function, and each one as industrious and creative as the next. To a cacophonous soundtrack of sanding, cutting and constructing, a skilled team turn their hand to all manner of tasks and techniques, from the mixing and application of paint (choose a custom colour for your furniture or cabinetry and this is where the process takes place) to the intricate customisation of – and repairs to – existing pieces. Even the careful crafting of entirely bespoke designs. After two days in the workshop, and with a multitude of moments captured, we caught up with Jon to hear more about his experience.

You are more usually found photographing communities in isolated landscapes, or fashion moments in city settings, this must have been quite a change for you? ‘It was indeed quite a different environment, however, my work has always been about responding to the environment I’m presented with, whether it’s within the Neptune workshops, meeting people in the street, or finding stories on remote islands.’ How would you describe the atmosphere of the workshop? ‘Buoyant. There was a real sense of camaraderie between the team, though the individual work areas still had a studious air to them. The sounds and smells were quite nostalgic to me too. I have a degree in product design and spent a good deal of time in the woodwork area, cutting and sanding, using lathes for turning and shaping timber. The hot, resinous smell of the wood being cut on the bandsaw and the scents of the paint really took me back.’ What stood out to you? ‘The intricacy of the work. It’s evident in everything from the sanding and joinery, right across to the work of the repairs team. I was amazed by how much was done by hand too, and how well-oiled the process was. As soon as one job was completed, the design would be passed on to the next person. Everyone seemed to have their station and knew exactly what needed doing and when. It was satisfying watching all the hands-on elements come together to form the final piece.’ Was there a particular process that caught your eye? ‘The painting process was fascinating to watch. The base colours are applied with a spray gun, but the second coat is hand-brushed to bring depth and texture to the finish. It all comes back to the attention to detail.’ Did you meet any memorable characters? ‘I think it has to be the guys in the paint spray booths. They were really accommodating and a lot of fun to watch. It’s such a pleasing process and they made it look so easy.’ What was your lasting impression? ‘The level of care and detail that goes into every design. And how much knowledge each member of the team holds – some had been there for years and years. There was a definite sense of pride in their work.’ See more of Jon’s work in his new book ‘The Men Who Would Be King’ jontonks.com

We’ve coloured this page in Salt. Our warmest white paint colour, it’s soft and soothing with its tiniest hint of pink.

The colour that surrounds us

Look around and note how local hues capture the spirit of a favourite place, recommends author Sam Baker. The natural colours of the landscapes that surround us impact our daily lives just as much as the shades we choose for our homes. Who hasn’t stepped outside and felt their mood change? Not just the much-needed blast of fresh air but the fuel injection of greens and blues and greys (often greys!) that make up our natural surroundings. Imagine any part of the country – a much-loved childhood holiday destination, a capital, a coastal walk – and you see colour. The stretch of golden sands on a Cornish summer’s day; the grand sweep of cream-fronted Regency townhouses that act as a shorthand for Bath; the crashing green-greys of a wild North Sea. All say something about the identity of a place, its feel, its culture, the sensibilities of its inhabitants. It’s those familiar hues, more than anything, that make a place feel like home.

B R O N T E ’ S H AW O R T H A N D T H E YOR K SHIR E MOOR S Wuthering Heights. Just say those words and I’m there, looking down on Top Withens, a brief hike from Haworth, the sky steely grey, wind squalling, the ground alternately flinty and earthy green beneath my feet. Pink-grey flickers of heather leavening the horizon. This part of Yorkshire, where dales and moors collide, is characterised by looming crags and rolling green hills with jigsaw puzzle outlines of drystone walls. Some say the dales are too cute compared to the wild beauty of the moors. Both have their appeal. But the moors speak of deeply felt emotion, a landscape that heaves and moans and sighs.

Old Chalk Honed Slate Sage Olive French Grey Moss

Inspired by the landscapes in this feature, we’ve pulled together those colours from our collection that best evoke each location’s palette. Find all our paint colours in store or online at neptune.com/interior-decor

EDINBURGH The Scottish capital is a city of extremes. Old and new(ish), rich and poor, ghosts lingering just below the surface. Contrast the clean sandstone sweeps of the New Town’s neo-Gothic Moray Estate with the purple greys of the city’s Old Town, a fortress guarded at either end by the volcanic plugs of Arthur’s Seat and Edinburgh Castle. But this is not just a city of granite greys and sandstone turned smoky by the centuries. Look north over the Firth of Forth to the Kingdom of Fife and the snowy peaks of the Trossachs; east where the angry grey North Sea laps at Portobello Beach; or south to the rolling green Pentland Hills. A moody city of contrasts that’s reflected in its inhabitants.

Walnut Clove Fog Shale Smoke Charcoal

BR IGHTON Nothing signifies Brighton’s status as city of optimism more than the dazzling white of its Royal Pavilion. Built as a seaside ‘pleasure palace’ by King George IV, it sealed Brighton’s trajectory from fishing village to fashionable city. Fashionable, but neither as frivolous nor frosty as its architectural ice cream curves, for Brighton greets all comers. Like any city, Brighton is more than its architecture. It’s edged by the taupes and greys of its shingle beach, the moody greens of the English Channel. But its life blood is colour. Greys, blues, whites, but also pinks, purples, greens. You have only to visit The Lanes to see joy and optimism in every store front. Brighton is a place that embraces colour and embraces life.

Aqua Blue Powder Blue Shingle Snow Mustard Old Rose

COR NISH COA ST I only have to think of Cornwall to see summer. Optimistic, I know, but the nickname ‘England’s riviera’ came from somewhere. The cornflower blues of sea and sky; dusky pinks of sunrise and sunset, merging to coral on the horizon; sandy stretches of Widemouth Bay and enclosed granite coves of Bedruthan Steps; rocks freckled with the greens, yellows and oranges of algae, wrack and the five hundred other types of seaweed the county boasts. Colours that bring the kiss of warmth to your skin, even if only in your mind.

Salt Driftwood Flax Blue Navy Saffron Olive

The home designer’s go-to directory

Which Neptune pieces do our design experts rely on time and again? Walk into any Neptune store and at the heart of it all, among a plethora of fabric swatches and paint samples, you’ll find our home designers, the mainstays of our Home Design Service. There to make decorating your home easier, enjoyable and less overwhelming, our designers know precisely which pieces will make a space sing. We asked a few of the team, from around the country, to reveal their favourite Neptune designs and the ways they like using them.

George

NEPTUNE FULHAM While I do deal with some larger homes, a typical London-based project will have a smaller footprint. As a result, our modular cabinetry collection, Chawton, crops up frequently in my designs – its proportions and versatility make it ideal for city living. It really is the king of adaptability. You can use it to create the likes of a cinema room, a kitchen dresser, or even a library complete with a ladder. The George sofa is another favourite (and not just because of the namesake!). It’ll fit through almost any door and into almost any space. And its integrated back lends itself to plenty of scatter cushions, making it an excellent blank canvas for colour and pattern. If there’s space, and the shape of the room allows, I’ll place two George sofas facing one another to create a ‘conversational’ set up. Its classic scroll arms mean it’s very happy in a period property, yet its clean lines and subtle button detail make it a great choice for contemporary homes too.

Kyra

Jessica

N EP T U N E FA R N H A M

NEPTUNE CA MBR IDGE

One piece I return to time and again is the Charlotte headboard. It’s the most traditional design in the headboard collection but it’ll sit happily in period properties and new builds alike. I tend to lean towards a classic fabric that will stand the test of time just as well as the headboard itself, but by upholstering Charlotte in a bold velvet, you can also bring a beautiful statement to a room lacking in architectural features. Here in the Surrey countryside, we have a lot of farmhouse-style homes built around the turn of the twentieth century. I find the demand is highest for the more traditional pieces for these properties, such as the classic Olivia sofa and Edinburgh or Arundel tables.

The Matilda and Wycombe armchairs top my list. Matilda really is the perfect occasional chair – it’s such a versatile piece that works in all sorts of spaces, from sitting rooms to bedrooms. I’ve also used it in studies, dining rooms and even a bathroom before. Its rounded back means it’ll fit perfectly in corners and the small footprint allows it to nestle into even the slightest of nooks. I like to use it in a patterned or contrast fabric – it looks beautiful in Francesca Old Rose, though my favourite is Elliot Soft Teal. I included it in this colourway in an old rectory cottage design last year, positioned next to a Cotswold stone fireplace. The outcome was particularly memorable. Wycombe, on the other hand, with its oak frame and woven seat, is the perfect armchair for adding tactility to a space that already has lots of upholstery. It’s also truly comfortable and is such a timeless design to return to.

Chloe

NEPTUNE BR ISTOL For me, it’s got to be Chawton cabinetry, and our Long Island seating collection. It all comes down to the freedom that both offer. Chawton can be as little or large as needed. It can also be used in multiple spaces without feeling like you’ve simply ‘copied and pasted’ the same design from one room to another. It works in pretty much any style of property too. You can maximise the height of the cabinetry to create a statement piece in a Georgian townhouse in Clifton, for example, or stick to a simple low-height dresser in a country cottage in Devon. As its exterior can be painted in any of our colours, it’s also useful for injecting personality into a scheme. Most recently, I used it in Honed Slate for a home located in Brecon, Wales. The colour really mirrored the beautiful landscape outside. As for the Long Island sofa, it’s the soft, inviting aesthetic of the design that I love. The L-shape configuration is a particular favourite with customers – it’s comfortable, timeless and sociable. With it being modular, you also have the reassurance that it’ll fit through most doorways if access is tricky!

Small but

POW ER F U L

Microgreens pack maximum punch for our taste buds and wellbeing, as journalist Fiona McCarthy discovers.

orget packing up and moving to a smallholding in the hills – being part of the green revolution can take place just as easily on the humble windowsill. Growing microgreens, for instance, requires no more than a corner of your kitchen worktop (or aforementioned sill), and yet the abundance of healthimbibing goodness you can produce in next to no time will more than compensate for the lack of a palatial kitchen garden outside your back door. The concept of microgreens has come a long way since the earthy, earnest days of mung beans, alfalfa sprouts and cress. Today’s new generation of edible miniature seedlings of larger vegetables, herbs and flowers are not only five-star fancy (in both style and flavour) but fantastically good for you as well. From broccoli, kale and rocket to radishes, chard and kohlrabi, the microgreen’s dainty leaves and pretty stems are said to be packed with four to six times more nutrients – such as vitamins C, E and K, potassium, iron, zinc, magnesium, lutein (a carotenoid used by our bodies to make vitamin A), and antioxidant polyphenols as well as other phytochemicals – than you’d find in the mature leaves of the same plants.

Harvesting them straight onto your plate – with no need for packing or transportation – means capturing all the very best the original seed has to offer. ‘A dry seed shields itself from getting eaten before it has a chance to sprout, so it holds onto its vital minerals and proteins until it starts growing,’ explains Swedish author Lina Wallentinson in her book Sprouts, Shoots & Microgreens: Tiny Plants to Grow and Eat in Your Kitchen. But once the seeds are soaked in a little water, frantic activity ensues. ‘As the sprout’s defences weaken, its nutrients release. It’s impressive and almost magical that a seed containing no vitamin C whatsoever suddenly has quite a lot of it after a few days of sprouting,’ she enthuses. Microgreens have recently been credited with helping to lower blood pressure and cholesterol, fight heart disease and cancer, improve eyesight, and nourish gut-friendly probiotic bacteria.

Above: Suffolk kitchen cabinetry in Silver Birch

With the help of a few trusty kitchen utensils – such as jars, colanders, and even a piece of kitchen towel set on top of a plate – it takes only three to six days to grow sprouts (when a small tail starts to appear on the seed), and one to two weeks for shoots (when the first small leaves, called cotyledons, start to appear). Lina suggests snipping a few twisty pea shoots straight onto a salad, or layering some freshly harvested broccoli shoots into a sandwich; sprouted adzuki beans (red mung beans) add crunch to a pad thai or stir-fry, and sprouted sunflower seeds, roasted with some salt or soy sauce, make for a healthy but tasty snack. To make it even easier, Alice Boden, founder of Teeny Greeny, a microgreen company supplying Neptune’s café in Bath, The Provenist, has created kits (which include an organic, vegan, peat-free coir compost) to help you grow everything from pak choi, red cabbage and rocket to ‘China Rose’ radish at home. Alice’s passion for microgreens isn’t just about teaching people to grow their own, but also advocating the mental health benefits that come from taking time to nurture nature. ‘I’m trying to educate people that when they’re caring for something like a plant, it’s a reminder of what we should be doing daily for ourselves too.’ Of course, it’s also easy to see why chefs in the country’s best kitchens are besotted with the dramatic finish the dainty leaves and miniature flower heads create. Ollie Dabbous of Michelin-starred Hide, based in London’s Piccadilly, believes that ‘fresh microgreens add,

quite literally, a raw vitality to the dish.’ With a painterly flourish, he uses unusual micro herbs, from lovage to perilla (a grassy-flavoured member of the mint family), and nasturtium to sorrel. ‘They bring dishes to life both aesthetically and from a flavour perspective: a burst of colour, beauty, crunch and fragrance,’ he enthuses. Ultimately, growing your own microgreens makes incorporating extra colour and goodness into everyday life so much easier. ‘In the morning, you can throw them in a smoothie or sprinkle them on eggs, or at lunch, put them on top of a soup,’ furthers Alice. ‘If anything has grown a little bit too big, I turn it into a pesto. It all helps to put a little more green on your plate.’

Aptly taken from our Plant palette, the colour of this page is our green-meets-neutral paint shade, French Grey.

HOW TO:

Decorate an al fresco table

Neptune stylist Meaghan explains how she sets a table for a meal under the sun (or stars).

Colours & textures • Decide on a palette using at least two colours and a combination of textures such as wafting linens, lightweight rattan or rustic tableware. • Soften the look with light, natural textiles: start the foundation of your table layout with a simple, coloured linen table runner. This will create a focal point and helps to ground any accessories placed along the length of the table. • Reflect your surroundings by injecting some greenery into the scheme with mini potted plants down the centre of the table. Scented (but not too floral) plants like rosemary or mint work particularly well (an odd number of pots usually works best too). Accessories • Keep your place settings relaxed and casual – a simple woven placemat with a pile of crockery, and cutlery tucked into a loosely folded linen napkin will stop things from feeling too formal. Finish with an Ella tumbler at the top right of each placemat. • Place co-ordinating cushions and throws around the table (I usually work in pairs so the setting feeling loose but put together), bringing an additional layer of comfort as the evening turns cooler.

You’ll find more ideas for garden settings over on our Instagram videos as part of our ‘in the garden’ series. Just follow us @neptunehomeofficial

Lighting • Add two or three cordless Hanover lamps (the taller version makes for easier conversation across the table) to cast a flattering light across the table. • Finish with candlelight. Adding ambience helps to bring your table to life as the light falls and extends the useability of your space into the night. Scatter tealights along the length of the table. Glass hurricanes or storm lanterns protect the candlelight from wind. Position them around the dining area to give a warm, backlit glow to the space.

Stanway table and benches / Denham campaign chair / Evie outdoor cushions / Browning, Alderney and Kennington lanterns / Tetbury planter / Maya placemats

Keeping house at Charleston Charleston house was a hotbed of creativity and free-thinking in its heyday, but what about life behind the intellectual debates and painterly passions? Writer Jo Rodgers explores the domestic life of this fascinating farmhouse.

t around seven o’clock in the morning, there were descending footsteps on the narrow back stairs above the kitchen at Charleston farmhouse. In the early twentieth century, most of the family and guests at Charleston – the rural Sussex home of the down-from-London Bloomsbury Group, including the artist Vanessa Bell, her sons Julian and Quentin, her lover Duncan Grant, and occasionally her husband, Clive Bell, with or without his mistress Mary Hutchinson – wouldn’t turn up in the dining room for bacon and eggs until eight, when summoned by a hand bell. But Grace Higgins, who ran the kitchen for fifty years, was awake first to light the range cooker and ferry dishes of water to each of the bedrooms. In the winters, before a heating system was installed, the water was liable to freeze. The residents would have to crack through the ice in order to brush their teeth. Charleston was a place of meaningful artistic output, underpinned by organised domestic support. The residents didn’t see it as a conventional household. Virginia Woolf, Vanessa’s sister and a frequent local visitor to the house, characterised the group’s intention for Charleston: ‘We were full of experiments and reforms. We were going to do without table napkins… we were going to paint; to write; to have coffee after dinner instead of tea at nine o’clock. Everything was going to be new; everything was going to be different. Everything was on trial.’

The dining room at Charleston (opposite) and a view of the house from the walled garden (above right), both photographed by Lee Robbins. Above left: Charleston’s front door, photographed by James Ratchford. All images © The Charleston Trust

And they did, in fact, have coffee instead of tea (Vanessa Bell’s preference). But regular meals were cooked and served by Grace at eight o’clock, one o’clock, and eight in the evening, and laundry was picked up by Mr White on Mondays. Daily women came to do housework, a dedicated one-armed gardener worked outside, and a slaughterman came to prepare the family’s livestock for the table. Creature comforts like Charbonnel chocolates sent down from Bond Street, coffee beans from Soho, and the odd clutch of quail’s eggs from Fortnum & Mason were not unheard of. Decent housekeeping freed the inhabitants up to be productive in other avenues.

During breakfast each morning, Vanessa would visit the kitchen, take a seat, and discuss the arrangements for the day with Grace, who stayed on her feet. A butcher and baker both travelled from the local market town, Lewes, to make deliveries to the house, and milk was brought in from a nearby farm. The proprietor of the village store in Firle, Scovell’s, would have a cup of tea with Grace in the kitchen and tell her about the local goings-on when he made his deliveries. Lunch was generally simple – cold meat, salad, and cheese – but dinner could be more extravagant depending on who was visiting.

Above: the kitchen at Charleston and a closer look at the tiles by Quentin Bell that sit behind the range. Opposite: Clive Bell’s library at Charleston. The bookcase and door are decorated with paintings by Duncan Grant. All photographs by Lee Robbins and © The Charleston Trust.

‘When T. S. Eliot came for supper with ten other people, Vanessa accidentally over-provisioned, and the table groaned under eleven cooked grouse.’

Clive loved to hunt, and the South Downs are rich with game, particularly grouse and pheasants. After answering his correspondence, writing, and reading The Times in the morning, Clive would sometimes shoot in the afternoon and return with a hare for dinner. When T. S. Eliot came for supper with ten other people, Vanessa accidentally over-provisioned, and the table groaned under eleven cooked grouse. For much of the First World War, the garden was planted with vegetables and fruit trees to support the needs of the family (Grace also kept chickens and ducks, as well as pigs). Eventually, the garden was pulled up and reconfigured by the painter Roger Fry, who created the central lawn and gravel paths, and the heavily planted borders that are still in place today. Vanessa and Duncan decided what sorts of flowers to plant based on what they wanted to paint. In a letter to Duncan in 1921, Vanessa writes about the garden as ‘masses of artichokes in flower and hollyhocks as tall as the apple trees and…lots of Canterbury bells and columbines.’ A sanctuary for family and friends then, and for the rest of us now.

With special thanks to Darren Clarke, head of collections, research and exhibitions at The Charleston Trust.

Paintings adorn every surface at Charleston, including in the dining room (previous page) and artists’ studio (opposite). Above right: one of the hand-decorated ceramic pieces to be found in the studio. Above left: abundant flower beds in Charleston’s walled garden. All photographs by Lee Robbins and © The Charleston Trust.

In the kitchen However many the pleasures of the other seasons, summer eating is surely the finest. Produce is as garden fresh as it comes, lighter dishes mean ingredients are served in full technicolour vibrancy, and there’s a distinct feeling of summer holiday nostalgia in every fruit and cream-laden pudding. And then there are the various al fresco opportunities. In the garden, at the beach, with a view… Long live summer and all its epicurious delights!

GLOBE ARTICHOK ES

W I T H L E M O N, D I L L & C A P E R M AYO N NA I S E Makes enough for four as a side or starter

W H AT YO U ’ L L N E E D

W H AT TO D O

4 globe artichokes 100g radishes finely sliced 100g rocket 50g pea shoots 20g fresh dill finely chopped Juice of 1 lemon Sea salt and cracked black pepper (about a tsp of each)

1 Start by removing and discarding the stems and the toughest leaves from the artichokes. Cut each in half before slicing off a couple of centimetres from the top and bottom. Remove the small fibres from the hearts with a knife, then cut each in two.

For the mayonnaise: 1 egg yolk ½ tsp good quality Dijon mustard 1 tbsp capers finely chopped 1½ tsp white wine vinegar 75ml extra virgin olive oil ½ tsp sea salt 1 tsp lemon zest grated

2 Bring a small pan of water to the boil and add the artichoke hearts, then reduce the heat to a simmer and cook for fifteen–twenty minutes or until tender. 3 In the meantime, you can crack on with the mayonnaise – which is surprisingly simple. Just add all the ingredients to a small bowl and whisk them together until smooth and glossy. You can also do this in a food processor if you prefer. 4 Once the artichokes are tender, drain off the liquid and toss them with the mayonnaise. Arrange the rocket, pea shoots and dill on a serving platter before topping with the artichokes and the finely sliced radishes. Finish with the lemon juice, season to taste, and take to the table.

As sunny and optimistic as it comes, the colour of this page is Saffron, just one of our timeless paint shades.

BROA D BE A N & PE A CRUSH

W I T H R I C O T TA , F L AT B R E A D S A N D C R U D I T É S Makes enough for four as an appetiser or light lunch

W H AT YO U ’ L L N E E D

W H AT TO D O

250g broad beans shelled 200g green peas 2 tbsp white wine vinegar 4 tbsp extra virgin olive oil 1 tsp sea salt 1 tsp cracked black pepper 2 cloves of garlic 1 small bunch of mint (roughly 40g) 2 tbsp finely chopped parsley 200g ricotta cheese 1 tbsp pumpkin seeds 1 red chilli finely sliced (optional) Toasted flatbreads and your choice of raw vegetables, to serve

1 Bring a small pan of water to the boil and add the broad beans. Cook for four–five minutes until tender, then drain and set aside. 2 Tip the beans into a food processor along with the peas, vinegar, oil, salt, pepper, garlic, mint and parsley (save a little of the herbs for garnishing later), and pulse until roughly crushed and everything’s combined. 3 Spoon out into a large serving bowl and dollop generously with the ricotta cheese. Scatter over the pumpkin seeds, a little more fresh mint and parsley, and a touch of finely sliced red chilli if you’d like a hint of heat. 4 Serve alongside crudités and a stack of toasted flatbreads for dipping.

This page’s background is in Sage – a gentle and cooling green from our paint palette.

BA K E D R H U BA R B & C US TA R D TA RT Makes enough for six to eight

W H AT YO U ’ L L N E E D 160g spelt flour 140g butter (cold) 650g rhubarb 400g sugar 2 star anise 1 cinnamon stick 4 eggs

1 tbsp cornflour 300ml double cream 300ml whole milk 1 large vanilla pod ½ a nutmeg grated (You’ll also need a 22cm tart case, or several smaller ones.)

W H AT TO D O 1 Start by making the pastry. Rub together the flour and butter with your fingertips until the mixture resembles breadcrumbs, then add 60ml cold water, and stir together until it forms a dough (use a spoon or palette knife to keep the mixture cool). Knead your dough for a couple of minutes, then wrap in cling film or a cheesecloth and cool in the fridge for half an hour.

4 To create the custard, mix together the eggs, sugar and cornflour in a large bowl. Add the cream, milk and vanilla to a large saucepan and gently heat until simmering. Add the egg mixture, a little at a time, whisking well to incorporate. That done, simmer for a further two minutes, stirring until the custard has thickened, then take the pan off the heat.

2 Preheat your oven to 200°C. Trim and chop the rhubarb into roughly ten centimetre pieces, then add to an ovenproof dish and sprinkle with 200g of the sugar, and the star anise and cinnamon (break these up a bit). Bake for twenty minutes until the rhubarb is tender but still holding its shape.

5 Arrange the baked pieces of rhubarb in the pastry case, removing any pieces of cinnamon or star anise, then pour over the custard. Sprinkle with grated nutmeg and bake for twenty–thirty minutes until the custard has set and the top is a deep, golden brown. Take the tart out of the oven and allow to cool before serving.

3 Lightly grease your tart case(s). Roll the chilled pastry out on a floured surface, creating a circular disc large enough to cover the bottom and sides of your case, plus a little extra. Gently press the pastry into the case and trim if needed, leaving a little overhang. Place a sheet of baking paper over the pastry and fill with rice or baking beans, and bake for fifteen minutes or until the pastry is golden. The colour here is Old Rose, which is as pretty yet sophisticated as its namesake.

English garden designer Jonnie Wake recommends four horticultural books that will always have a place on his shelves.

BOOK CLUB H O R T I C U LT U R A L L I T E R A R Y

For me, gardening is a kind of alchemy. It’s turning an empty space into an oasis. It’s a chance to share your creative thoughts with the world through nature and design. Good design isn’t just about creating a beautiful garden, it should be productive, inspiring and nurturing. It should have an innate sense of place and purpose. That’s why I’ve selected these four books by gardening experts I respect. They all share a deep knowledge of their subject area, a care for the natural world, and a genuine delight in flora and fauna.

You can read more from Jonnie over on our journal, where he’s sharing his advice on designing a small garden. neptune.com/inspiration

Planting: a New Perspective

Natural Selection: a Year in the Garden

Piet Oudolf and Noel Kingsbury (Timber Press)

Dan Pearson (Guardian Faber Publishing)

For me, this is the modern bible for naturalistic planting design, and is the most detailed to date on Dutch garden designer Piet Oudolf’s approach. I find the glossary of perennials and grasses is particularly useful – it’s a groundbreaking book and a useful reference for any gardener.

A world-renowned garden designer and former Observer columnist, Dan has written a work of gentle simplicity, filled with beautiful observations of the rhythm of the gardening year, as observed in his small London plot and the rolling hills of his Somerset garden. More inspiration than instruction, this book is simply a good read – uplifting and restorative.

The Art of Making Gardens Luciano Giubbilei (Merrell)

Drought Resistant Planting: Lessons from Beth Chatto’s Gravel Garden

Luciano Giubbilei is a designer I admire for his evolution of style, from bold, leafy architectural gardens with contrasting textures and forms, to complex and layered planting schemes which focus on colour and flowers, including his experimental flower bed at Great Dixter in East Sussex. This book is a rich catalogue of his work, including a fascinating insight into his love for traditional craft and how such designs contribute to his gardens.

Formerly published as Beth Chatto’s Gravel Garden (Frances Lincoln)

Garden designer and plantswoman Beth Chatto demonstrates a deep sensitivity and knowledge of plants in creating schemes designed to withstand the droughts that we’re increasingly witnessing during warmer and drier summers. This book, and her advice, is a great resource for future-proof planting schemes.

SOU N DTR ACK TO T H E SE A SON

A regular since our very-first volume, you’ll find our soundtrack for this season on Spotify. Simply search for @neptune_home or tap the camera icon in the search box of your Spotify app and scan the code above.

Gentle, green-tinted Lily – the background colour for this page – is the perfect neutral in our paint collection for rooms that look onto the garden.

This page is coloured in our rich blue-green Aqua Blue, part of our Nordic paint collection.

A community state of mind When cities and towns look after their citizens, good things happen, as editor and journalist Fleur Britten observes.

trolling down Brighton beach with my family last summer, we heard in the distance a glorious explosion of brass music coming from the city’s Victorian bandstand. As we hurried over to join the throng, I suddenly found myself blinking back a tear of joy at this unexpected gift: a moment of social connection with a crowd united by soaring melodies and architectural splendour, with absolutely nothing expected of us in return.

I’ve always judged a place by how well it cares for its citizens. A bandstand – built surely for no other purpose than collective pleasure – is a pretty good start. In their Victorian heyday, there were 1,500 exotically designed bandstands in Britain. But then the paternalistic Victorians excelled at civic architecture, providing the public with landscaped parks, elegant bathhouses and lidos, ornate piers, and abundant libraries – places for socialising, relaxing and coming together in good times.

Opposite: Brighton Bandstand

Our need to gather is timeless though. Who didn’t feel that ache more acutely than ever during the pandemic? The sociologist Richard Sennet writes a lot about human requirements in times of crisis, especially our need to be surrounded by others, even if they’re complete strangers. During my own family’s daily lockdown outings, I would strategically position us so we might find the opportunity for random chats. Creating this possibility for meaningful engagement is a pillar of community architecture. It’s hard to feel lonely when bonded by music, play or good conversation. Its why design is so important: for civic architecture to truly work, everyone needs to feel that they belong. With ever more diverse communities, these places now need to be multifunctional, offering something for everyone. Perhaps that’s why we’ve lost many heritage assets to rack and ruin – the Victorian one-size-fits-all response feels less relevant now. Take libraries. Many, in their stuffy old incarnation of silence and study, have not survived. But when their design has been approached with inclusivity in mind, it’s made for some exciting reinventions. The colossal, tiered-glass Library of Birmingham features rooftop gardens, an outdoor amphitheatre, and dedicated spaces for kids and teens. Inside, it feels like a palace for the people – each and every one of them. Similarly, architects Will Alsop and Jan Störmer’s fun, colourful (and award-winning) Peckham Library in south London is inviting, not excluding.

Library of Birmingham

We may not have the Victorians’ budgets (funded, of course, by the spoils of empire), but it feels like civic architecture is enjoying something of a renaissance. If ever I come across a new private-sector development, I always look out for the communal elements now that planning controls have enabled local authorities to demand they’re included. The new Design District at the Greenwich Peninsula is an entire block of co-working spaces, studios, exercise areas, and eateries, all designed by a roll call of buzzy architects (among them SelgasCano, Architecture 00, and 6a architects). Its purpose? To support the creative industries with low rents and a cool, dynamic workplace in which anyone would feel proud to work.

Manchester’s Victoria Baths

But, to me, the most exciting type of development is what’s known as ‘activation’ – the repurposing of unused spaces for community use. It makes perfect sense, given the high volume of unused building stock and the environmental consequences of conventional construction. Building reuse is an important part of the circular economy, and perhaps the most economically viable option for civic architecture right now. The architecture collective Assemble were the first ever architects to win the Turner Prize – for renovating a rundown neighbourhood, Granby Four Streets in Liverpool, for which they also created social spaces, a homewares workshop, and a local market.

Mostly what’s happening now are bottom-up endeavours. I jump for joy every time another glorious Victorian or Edwardian swimming pool is saved from closure by local resident groups, who’ve invariably fought long battles against developers, and done everything they can to secure crowdfunding. There’s an impressive list of such rescue missions (among them Leeds’ Bramley Baths, Bristol’s Jubilee Pool, and Manchester’s Victoria Baths), all lovingly restored and returned to a happy, relieved community, along with plenty of other options – exercise, dance, food, chatting – should swimming not appeal. On another trip to Brighton a couple of years ago, we chanced upon the designer Morag Myerscough’s ‘Belonging Bandstand’ as it travelled around Sussex. Morag, whose work is renowned for bringing a smile to people’s faces, had adorned her mobile stage with placards created in community workshops. Variously reading ‘family’, ‘safe’ and ‘be yourself together’, these slogans were people’s responses to what belonging meant to them. The message was clear: this was everyone’s bandstand. We couldn’t resist the gravitational pull. We danced, played and picnicked, and left inspired, refreshed and happy. It was a perfect example of modern-day civic architecture: a moment of wonder created by the community for the community, and proof that you don’t need extravagant new buildings to care for your fellow citizens.

The colour of this page is Powder Blue, a barely-there paint colour that works perfectly with deeper Aqua Blue from overleaf.

HENLEY KITCHEN

ith two successful Instagram accounts spanning lifestyle, travel and home, alongside an online store and decorating sourcebook to their names, Sarah-Louise and Christopher are no strangers to design. Intent on creating a kitchen with real integrity, the couple worked with our Fulham store to design a striking space showcasing the very best of our oak cabinetry and bespoke craftsmanship.

T H E FA M I LY & T H E HOUSE Sarah-Louise, Christopher and Mala, the cat. A 1900s four-bedroomed Victorian terraced house in Richmond. THE PROJECT

Inspired by the Californian white oak kitchens they’d admired on their travels, the couple knew that oak would After living in their home for a year, the couple set about a take centre stage in the design for their space. They also top to toe renovation, including a ground floor side return wanted to incorporate other natural, untreated – or extension, a new kitchen, and first floor utility room. living – elements. Namely, unlacquered brass hardware From the outset, Sarah-Louise and Christopher had and marble surfaces. ‘We love that they’ll all gradually a clear vision for their kitchen. It would be functional, age together,’ says Sarah-Louise. ‘Over the last few welcoming, calming, timeless. It would celebrate decades, oak kitchens have come to been seen as a bit oldnatural materials. It would also make a statement. But fashioned, but we knew our own take was going to feel before they could begin the design process, the space fresh and contemporary. But also timeless. That’s why we itself – little larger than a galley kitchen – needed to be decided on Henley.’ converted. ‘We opted for a side return extension which The North American white oak used in our Henley has given us a much broader, brighter space,’ explains collection is chosen for its durability and resilience to water Sarah-Louise. ‘We’ve also flooded the room with light and heat. Its natural pale and even grain gives Henley a using generous skylights and full-height windows and contemporary honeyed look, rather than the dated, often doors that look out onto the garden.’ orangey quality Sarah-Louise and Christopher were keen to avoid. ‘We did pair its contemporary appeal with more traditional cornicing and skirting to soften the hard edges of the marble though,’ Sarah-Louise adds.

The paint colour we’ve used for this page’s background, Honed Slate, will ground a room in soothing natural tones, just as our Henley oak kitchen does.

The initial ideas for the kitchen design were conceived in late 2020, but it wasn’t until the following April that the couple joined forces with Neptune’s Fulham store. ‘When it came down to the details, the team was essential. Christopher and I didn’t want a sink or hob built into the island,’ Sarah-Louise recounts. ‘We wanted to use it as a surface for cooking, but also for displaying big branches and floral arrangements. So, Neptune suggested incorporating the chopping block unit into the island instead, to improve its practicality for food preparation.’ It was this union of form and function that became central to the collaborative design process. ‘The planning that went into the space to ensure it was as functional as possible was second to none,’ adds Sarah-Louise. ‘From the location of the bin next to the breakfast larder (tea bags!) to the bespoke dishwasher drawers in our island. We have a cool drawer from Fisher & Paykel in the middle of the island and sockets concealed inside the larder for our toaster and coffee machine. These aspects make kitchen life a joy.’ Neptune’s bespoke service, meanwhile, played a role in the project, allowing Sarah-Louise and Christopher to step outside the boundaries of standard kitchen design. In addition to the dishwasher drawers and cool

What can you now not live without? The breakfast larder and our Perrin & Rowe boiling water tap.

drawer, the two double-door larders that flank the sink and Lacanche range were crafted to be as tall as possible, adding scale to the space. The couple painted their walls in Bauwerk’s lime paint ‘Stone’ and installed whitewashed oak flooring from Trunk Floor to complement the cabinetry. Yet it was the Calacatta Borghini marble, chosen for its ornamental veining, that really completed the space. ‘Using the stone for our work surfaces, sink and splashback has helped us to make a dramatic impact,’ Sarah-Louise muses. ‘We were initially concerned that the sink might stain or leak, but it has an epoxy mesh fiberglass coating to prevent that from happening. It was an eleventh-hour decision, but we’re so glad we went for it as it’s become a real feature.’ All the while the kitchen project was taking place, a utility room was being designed and crafted too. ‘The cabinetry is also Henley, but it’s painted in Sage,’ says Sarah-Louise. ‘We painted the walls and ceiling in the same shade which envelops you in a sense of calm.’ Now that the project is complete, the couple hope their new kitchen might help to inspire others: ‘To us, the Henley oak kitchen feels like a timeless icon. We hope it may encourage other people to embrace natural oak in their own kitchens.’

What’s your favourite time of day in the kitchen? A bright and sunny morning, soaking up the space, coffee in hand.

Why Neptune? Without doubt, the quality.

Follow Sarah-Jane and Christopher @the_adventuresofus and @no.17house 61

Hand-drawn vintage signage is enjoying a renaissance, as design journalist Max Fraser discovers.

ife is seldom short of stimuli, spoilt for choice are we with cultural attractions, foodie hotspots or picturesque villages. Perhaps you, like me, find inspiration in the built environment that has evolved over time, the tapestry of architectural movements either unifying or fracturing our villages, towns and cities. Look closer and graphic information in the form of signage is peppered across these old buildings. Tune your eyes past the never-ending alerts and warnings (‘mind your head’, ‘do not enter’, ‘wear a mask’ and so on) as well as the visual onslaught of modern-day advertising, and you’ll notice the layering of old logos, slogans, shop signs, pub boards, house numbers, and vintage ads. Before the introduction of printed billboards, advertisements were commonly hand-painted directly onto the brickwork of buildings across the country. Those redundant signs that nevertheless remain are collectively referred to as ‘ghost signs’, and often trigger nostalgia for bygone eras and draw in a niche following of enthusiasts who dedicate books, blogs and social media accounts to them. There are some beautiful specimens remaining: faded Nestlé milk signs still grace the walls of what was once

a grocers in Winchester; a ‘FOUNT PENS REPAIRED’ sign runs along the old Walker Bros. fountain pen specialist shop in Hackney; fans of Bovril can marvel at the confident logo still visible in Brixton; John Smith’s Magnet ales clings on in York; bold black and white typography adorns the imposing warehouse buildings along the UK’s canal network, such as on the Trent Navigation Co. wharf and warehouse in Newark-onTrent; and who can object to a vintage Coca Cola sign still visible in Paisley, Glasgow? Decades of sun and rain eventually take their toll on these signs, the faded appearance nevertheless boasting a rich patina. Several signs have become so embedded in local life that they achieve conservation status. A Raleigh and Humber Cycles sign on the side of a former bike shop in Warmley, Bristol was recently repainted and protected from future planning applications. Similarly, the Bile Beans (the ideal tonic laxative – appetising!) sign in Leeds was repainted by the council in response to requests from the residents’ association. Many such signs, both old and revived, are diligently documented by Sam Roberts, a ghost signs blogger, tour guide, and author of Ghost Signs: a London Story.

Many will be pleased to know that hand-painted signage and advertising is still a thriving part of our vernacular. Ged Palmer’s business, Luminor Sign Co. has a shop in London’s Bethnal Green showcasing their variety of hand-lettered designs and sign painting. Demand is high, and Ged attracts a variety of clients including cafés and restaurants wanting script lettering, grocers, barbers, even tattoo shops requiring a handpainted sandwich board, or homeowners desiring a gold leaf house number. All of these techniques communicate certain values such as respect for longstanding traditions, an appreciation of the individuality of the handmade, as well as a nod to slow craft imbued with care and precision. ‘These days, handmade work stands out against the uniformity of digital design,’ says Ged. ‘What I came to realise through studying calligraphy is that the tool actually dictates the look and feel of the writing. Customers are aware of the difference, and young folk are keen to work with analogue techniques.’ And therein lies optimism for the future of this craft, with today’s businesses even bringing back the commissioning of hand-painted advertisements on brick walls in London’s Shoreditch, Brooklyn’s Williamsburg, and beyond. Ged’s enthusiasm for his medium is contagious. ‘Sign writers talk about the “swing” of a brush. That’s the little flick you get when you’re painting a curve – your hand stops and the brush just kind of completes the curve with a little snap, and that’s where you get the energy and the bounce that makes work look so lively.’ He pauses. ‘You can never reproduce that with pixels.’

To commission work from Ged, visit luminorsignco.com

HOW TO:

Create a study corner

Hallways and landings, alcoves and under-stairs cubbies. All can be transformed from forgotten spaces into creative corners for home working or artistic projects – as our stylist Meaghan proves with this study nook.

The colour ‘The key to making a tucked away corner like this one feel loved is to give it a distinct personality, and bold colour is perhaps the easiest way to do that,’ says Meaghan. ‘We chose Quince not just because it’s our colour of the season, but also because it’s the sort of stimulating shade that a workspace calls for.’ The panelling ‘You spend most of your time in a home office sitting down, so concentrating colour at and below seated head height will have a cocooning effect,’ Meaghan suggests. ‘We’ve done that by using relatively tall tongue and groove panelling. The slim ledge around the top also creates a surface for an ever-evolving display of artworks and favourite small objects.’ The desk ‘As a bespoke solution to the size constraints, we actually used a pair of Henley kitchen drawer cabinets with a custom length of oak work surface, which meant we could make the most of every last inch. This would also be a good way to incorporate a desk into a kitchen and have it feel like a cohesive part of the room.’ The accessories ‘We wanted this to be a very artistic space, whether it’s used for creative projects or not,’ Meaghan explains. ‘The colour was the starting point for that, but we also added pattern through the blind, lamp, and stationery, and a relaxed mood by leaning unframed prints and postcards. Together with traditional touches – the Lloyd Loom Havana chair and the vintage rug – the overall look is a subtle nod to the expressive Bloomsbury style.’

Henley cabinetry and panelling in Quince / Havana carver chair in Silver Birch / Olney lamp in Flax Blue / Francesca grand printed linen in Peat (used for blind)

Interiors writer Amy Moorea Wong reveals the thinking behind some of our classic furniture designs.

INTELLIGENT DESIGN

HENLEY L AR DER CABINET

Neptune’s approach to furniture design is a little surprising. The pieces aren’t trying to be perfect. Instead, they focus on making life – as messy and unpredictable as it can be – a little smoother. The furniture is cleverly, carefully crafted to solve niggly problems and make every day a little easier and brighter.

While larders may be top of many a kitchen wishlist, when making design decisions, it’s easy to forget about the all-important details that will make baking, teamaking, or snack-finding effortless. While outwardly, the Henley larder cabinet combines handsome solid North American oak with a stately yet subtle style, internally it’s crafted using age-old joining methods to ensure practicality, strength, and longevity as well as good looks. It’s when the doors are drawn open that the real magic kicks in. Within Henley is a chasm-like depth, creating storage space, it seems, as if from nowhere. Filled with three vertical layers of shelving, including a double-sided pull-out rack in the middle, it makes finding that specific jar of spice or long-forgotten ingredient so easy, you forget how stressful it once could be. ‘The Henley larder has a huge amount of storage space crammed within it, and is designed in such way that everything is easily accessible,’ says Henry, Neptune’s design lead. ‘It’s arranged to give the best visibility for each item, and the shelves can be hinged out to give access to each level of storage, so there’s no need to half empty the whole thing to get to that one item you want.’

A classic and easy to live with neutral, you’ll find this page’s background colour, Dove Grey, in our Fossil paint palette.

W YCOMBE FOLDING CH A IR Bidding goodbye to the days of scrabbling around for mismatched seating when additional guests descend, it’s hard to believe that the Wycombe folding chair does indeed flatten. To compress, simply lift the seat and move the side rails inwards like a concertina so the front and back legs meet – it happily stands self-supported when flat, slotting neatly behind doors, into cupboards, and under the stairs, minus any precarious balancing. With its traditional, handwoven cord seat, elegant spindled back, and streamlined, Shaker-inspired solid oak frame, the design is the twin of our original, fixed Wycombe chair, and placing the two side by side makes for a difficult game of spot the difference. The only variation? A couple of discreet hinges. ‘What’s lovely about the folding Wycombe is that the style and aesthetic haven’t been compromised to allow it to flatten – we focused on creating a beautiful and comfortable design that could also fold down if needed,’ explains Henry. ‘Now you can unpack extra dining chairs that perfectly match those from the existing Wycombe collection – the shape, the comfort, and the craft skills that go into the making process are the same for both versions.’

EXTENDING MOR ETON DINING TA BL E When thoughts turn to extending dining tables, more often than not, complicated design, confusing mechanisms, heavy lifting, and bashed wood come to mind. The extending Moreton dining table solves all of these issues in a simple, stylish, and ingeniously spacesaving way, neatly hiding extra surface leaves stacked within a false drawer – flip down the drawer front, remove the planks, pull the top apart, and slot them in, and suddenly your six-seater table fits ten. The surface-lengthening leaves feature fold-down skirted edges to mirror the table’s own skirt. And each element of the table is made from solid North American oak, constructed using traditional furniture-making techniques to allow for the natural movement of the timber. Moreton’s understated shape quietly showcases the honey-toned wood’s swirling grain, and the extending design is almost identical to the original table. ‘The Moreton extending table has a classic silhouette and feel, but with modern functionality,’ explains Henry. ‘We wanted to create a timeless table to suit the realities of everyday life, where storage is always at a premium. The only discernible difference between the extending and non-extending Moreton tables is a discreet central breakline in the top to allow for the extension – the false drawer blends in completely.’

One of our palest greys, Shingle (the colour of this page’s background), can be used to create a calm and restful space with a touch more depth than white.

Barbury tiles in Flax Blue / Chichester double drawer washstand in Aqua Blue / Madeleine chair in Isla Steel / Buckingham mirror / Hanover wall lights / walls painted in Alpine

BA R BURY TILES It’s fair to say that artistry, technique and passion go into every single one of our Barbury tiles. For these squares of soft colour are glazed, finished and fired in a Wiltshire town, using time-honoured traditions that ensure each tile is beautifully unique. Carefully shaded to complement our paint collection, they speak of an organic, rustic heritage, and promise an artist’s eye for colour and texture. Find out more about Barbury online, on our journal, and in store. neptune.com

A Warm Welcome INTER IOR S EDITOR C A ROLE A NNET T E X PL A INS W H Y STEPPING ACROSS T HE THR ESHOLD OF A STOR E FEELS SO GOOD

Above: the doors to our Edgbaston store. A very warm welcome indeed. This page is coloured in our Burnt Sienna paint shade.

I love to shop. Not fashion and fripperies, it’s food and homeware that excites. I feel the same magnetic draw to a furniture showroom or antique shop as I do to an artisan bakery – you know broadly what you’re going to find, yet there’s opportunity for surprise. A simple pleasure like handmade bread is taken to another level with good quality ingredients and a baker passionate about the end result. For me, that’s Neptune’s secret: they care, elevating ordinary things we use every day in a gentle, attainable way.

I’ve made planned jaunts to Neptune for large purchases (Cheltenham metal outdoor furniture going strong after eight summers) and I can never resist popping into a store if I’m passing. Each has its own character, like Neptune Chester for example, once The Nag’s Head, and Neptune Hailsham, a terminal for the Cuckoo Railway line in a former life. There’s always a story behind the façade, and when you enter, light, bright, welcoming interiors with vignettes arranged as room sets. Wandering around a store is like walking through a friend’s home – tables laid for entertaining, beds made, and goodie-stocked larders. Furniture shopping is more than just seeing. Yes, you can do it online but, for me, it’s about smell, touch and conversation. I need to sit in a chair to check comfort, flop on a bed to test bounceability, poke a nose inside a kitchen cabinet (that woody twang), and, joy of joys, talk to someone who can explain why a mix of horsehair, wool and cotton is optimal for a mattress, or which kitchen worktop won’t stain with lemon juice and wine. Lately, we’ve all been on the receiving end of, ‘You are number 432 in the queue, please hold,’ phone calls. Hurrah to real people, engaging staff who know their stuff. On a recent visit to the Farnham branch, I learnt about textile designer Beki Bright, whose Odette pattern fabric decorates this season’s cushion covers. Beki’s picture and short bio is framed on a shelf to discover while you browse. So too the work of Jane McCall, whose Charleston-inspired artworks adorn lampshades. Consumers need more than just beautiful objects, we need to know provenance, just as with the food we eat. If thought and love and care are put into what you’re buying, you treasure it. I just wish Neptune made bread. To find your closest local store, visit neptune.com/our-stores

Neptune Collection classics

Neptune’s co-founder John Sims-Hilditch and creative founder Emma Sims-Hilditch share some of their favourite timeless pieces and most interesting designs from collections past and present.

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Opposite: Chichester butcher’s block in Burnt Sienna / Chichester kitchen in Flax Blue / Stanton teak root bowl

CHICHE STER K ITCHEN & BU TCHER’S BLOCK John: ‘Our first ever kitchen design is so versatile, it would look good anywhere, from a city apartment to a rural cottage. It feels timeless and the mouldings are almost organic, fitting into any style of property. I think the larder is iconic, although Emma particularly likes the butcher’s block, one of our original pieces in the collection, for chopping vegetables. We’ve had the Chichester kitchen for over twenty years in our home; it has been repainted nine times now and still looks amazing.’

WA R D L E Y C H A I R John: ‘The Wardley chair is one of my favourites. It’s based on an antique, Shaker-like shape with great attention to craftsmanship in the joints.’

Emma: ‘It’s so sturdy; it will last for years and years, making it a sustainable piece that’s good for the environment.’

A RU NDEL TA BL E & BENCH John: ‘Our classic Arundel table and bench is a great, practical design, perfect for relaxed dining, and the bench allows you to fit lots of people around the table. I like its visual signs of joinery and craftsmanship.’

WA R D L E Y F O U R P O S T E R B E D John: ‘For a summer bedroom, I’d opt for a king size Wardley four poster bed with white linen curtains and our Edith crumpled linen bed sheets. It would be beautifully dressed but not have too many decorative pillows – going to bed shouldn’t be an exercise in loading and unloading cushions!’ Emma: ‘Bedrooms are all about the luxury of sleep, so a good mattress and calm and restful atmosphere is key. When I’m designing, I love to include an armchair in a bedroom – or, if space is tight, a bench or stool at the end of the bed.’

Opposite: Wardley dining chair in Burnham Red with Northwich stool in Flax Blue Above: Arundel table and benches with Milo stool in Chloe Ash / Wardley bed in Salt with Larsson low chest of drawers in Antique Salt

F E N T O N TA B L E WA R E

BASKETS

John: ‘For me, the Fenton tableware collection encapsulates bella figura, the Italian approach to living well. The delicate bone china is beautiful and elegant. Drinking a good cup of coffee or tea from a Fenton cup doubles the enjoyment.’

Emma: ‘I love using baskets and have them all over the house, even as storage boxes in the fridge! We use them to contain footwear by the front door, for logs in the sitting room, lotions and potions in the bathroom, and under the bed for tucked away storage.’

H A NOV ER L A MP

CH AT TO G A R DEN CH A IR

Emma: ‘The cordless Hanover lamp is so clever and good-looking. I use mine everywhere at home: it’s great for lighting up dark corners where there isn’t a plug socket, but I also use it by the bath and in bed so I can read next to it. I’ve even used it as a torch on occasion!’

John: ‘Neptune was conceived when we designed a hammock, before moving into garden furniture and progressing to kitchens and other rooms, so garden seating has always been an important part of who we are. The Chatto chair is a classic. I like the texture of the Lloyd Loom weave. It’s hardwearing and long lasting and can be painted in any of our Neptune shades. In fact, most of our wooden designs can also be custom-painted in our Wiltshire workshop.’

Above: Fenton crockery with Maya placemats / Hanover tall cordless lamp in bronze with Ashcroft butler’s tray table Redford basket with Arundel console table and Bayswater vase. Opposite: Henley curved dresser

HENLEY COR NER CABINET John: ‘This cabinet is a really important part of our history. It has a complicated design as there are so many curved components – even the drawers follow the cabinet’s profile: while the middle drawer pulls forward, the two either side swing outwards. We wanted to design a cabinet that showcased our commitment to precision cabinet making and craftsmanship. It marks a moment in our story.’

HOW TO:

Scent a garden table

Set the scene for balmy evenings in the garden with this simple do-it-yourself idea that looks as summery as it smells. Prefer to follow along with a video instead? You’ll find it on our Instagram @neptunehomeofficial

What you’ ll need • Glass vases or large jars, such as our Alderney hurricanes • Fresh, fragrant herbs (we’ve used rosemary and mint) • Limes and lemons • Your choice of essential oils • Unscented floating candles What to do It’s really quite easy to put everything together. Simply fill each vase with sprigs of herbs, a few slices of lemon and lime, and your essential oils. How much of the latter you use depends on how strong you’d like the scent to be and how large your container is. It’s also up to you which scents you choose, although citronella, geranium and lavender can all help with keeping bugs away when you’re out in the garden. Finally, top up with water and place the candles so they’re floating on the surface. Once these are lit, and as they warm the water, the oils, herbs and citrus will gently release their scents.

This page is coloured in vibrant, fresh and invigorating Quince, which is just one of the shades in our timeless paint collection.

We have Neptune stores across the UK, Ireland and Europe. To see all of our homes, visit neptune.com/our-stores

UK Bath BA1 5BD Belfast BT7 3GB Bournemouth BH2 5SL Bristol BS8 2QY Bury St Edmunds IP33 3PH Cambridge CB22 7PX Canterbury CT1 3TY Cheltenham GL50 4DW Chesham HP5 1NG Chester CH2 4JR Chichester PO20 2EW Chiswick W4 4HH Colchester CO3 8LT Edgbaston B15 3AA Farnham GU9 0BB Fulham SW6 2TD Guildford GU1 3AJ Hailsham BN27 1DQ Hove BN3 4QD Knutsford WA16 8TA, Reading RG10 9SA Southport PR4 6JA Tonbridge TN9 1RF Weybridge KT13 8DX Wimbledon SW19 1RX Winchester SO21 1HL York YO32 9TW Wiltshire Outlet SN5 8YG Store in store: Neptune by Treehouse Midmar, Aberdeen, AB51 7NB Neptune by Creative Classics, Ayr, KA7 2HD Neptune by Sims Hilditch, Bath, SN14 8JR Neptune by Woods of London, Blackheath, SE3 0TA Neptune by Robert James Interiors, Coventry, CV8 3HB

Neptune by Hunters, Derby, DE1 1SY Neptune by Richard F Mackay, Edinburgh, EH11 2SG Neptune by Malone & Smyth, Co. Fermanagh, BT92 9BL Neptune by Bridgewater Interiors, Gateshead, NE8 2AJ Neptune By Closa, Tetbury, Glos. GL8 8AA Neptune by House of Wood, Hereford, HR1 3NU Neptune by Aberford Interiors, Leeds, LS25 3DP Neptune by Ben Heath, Newbury, RG14 5SA Neptune by Appleyard, Norfolk, NR25 6AR Neptune by Wilton Kitchens, Salisbury, SP2 0HX Neptune by Holloways, Worcestershire, WR6 5DE Neptune by Bradley Gardens, Wylam, NE41 8JH IRELAND Neptune by 1933, Co. Meath Neptune by Browsers, Limerick Neptune by Global Village, Dublin Neptune by Global Village, Wicklow Neptune by The Orchard, Co. Kildare Neptune by Trevor Morrow, Co. Mayo Neptune by Castle Cabinets, Kilkenny

FRANCE Neptune Paris

AUSTRIA Neptune by Steinwender, Wien

Store in store: Neptune by Etat d’Esprit, Cannes Neptune by Beaumont Chamborand Neptune by Fabrica, Eymet Neptune by Mi Figue Mi Raisin, Forbach Neptune by Rosiris, Granville Neptune by Just Kitchens, Miélan Neptune by Hérick Aménagement Nantes Neptune by Etat d’Esprit, Pertuis (Provence)

BELGIUM Neptune by O&V Home Interiors, Seneffe ITALY Neptune by Adi Arredamenti, Brescia Neptune by Forteshire, Forte dei Marmi Neptune by Forteshire, Milano LIECHTENSTEIN Neptune by Allure, Vaduz SPAIN Neptune by Sacarello, Gibraltar

GERMANY Neptune Berlin Neptune Fellbach Neptune Hamburg Neptune Köln Neptune Tegernsee Store in store: Neptune by Helma Interior, Heidelberg

SWITZERLAND Neptune by Thomas Homes, Luzern Neptune by Styles Interiors, Rolle Neptune by Friolet Interiors, Zurich THE NETHERLANDS Neptune by The Classic House, Weteringbrug (near Schiphol)

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