ENGLISH HOME The
Best of British
Celebrating the essence of English style September 2019 | Issue 175 | £4.50 | UK Edition
CREATIVE BRITAIN Celebrating Great British brands & home-grown talent
DREAM HOMES
Elegant townhouse Georgian-style new build Cottage renovation
DECORATIVE LIGHTING Jewellery for interiors At home with MONTY DON
COLOUR LOVE The timeless allure of duck egg, aqua & teal
PERIOD STYLE
Lady Mary’s bedroom Mrs Patmore’s kitchen Lord Grantham’s study
CONTENTS SEPTEMBER 2019
44 54
Beautiful Buys 12 HOME COMFORTS Soft hues and tactile finishes
in our selection of beautiful new buys.
18 LADY MARY’S BEDROOM Downton Abbey delights. 20 MRS PATMORE’S KITCHEN Period ingredients. 22 LORD GRANTHAM’S LIBRARY Inviting touches.
English Homes 34 TAILORED TO PERFECTION A converted Victorian
mews becomes a light, bright family home.
44 FINE & DANDY The interior of a neglected
Regency townhouse is given a new lease of life.
54 RISEN FROM THE ASHES A thatched cottage in
Oxfordshire is lovingly restored in creative fashion.
64 CLASSICAL HARMONY Decorating a Palladian-style
64
house creates classic charm and elegant style.
74 MY ENGLISH HOME Gardening expert Monty Don
on his historic Herefordshire home.
THE ENGLISH HOME 5
Style inspiration 77 BEST OF BOTH Bringing together old and new. 78 A SENSE OF PLACE A look at the makers and
manufacturers of beautiful work in Britain.
88 30 GREAT BRITISH BRANDS Celebrating brands
respected for their heritage skills and innovations.
95 COLOUR CONFIDENCE WITH AQUA Expert advice
for decorating with flair.
106 LIGHTING BY DESIGN Statement decorative lights
for all areas of the home.
114 THE STORY OF BESSELINK & JONES From
converting ceramics to classic lighting designs.
95
Quintessentially 117 SEASONAL PLANS The multi-hued hydrangea. 118 SEPTEMBER IN THE MOMENT Organising the
home, seasonal ingredients and gardens to visit.
106
130 MY PASSION FOR... Sarah Rotheram, CEO of
fragrance house Miller Harris, on her design love.
Regulars 8
A LETTER FROM HOME A welcome from our
Editor-in-Chief.
25 NOTEBOOK Our monthly digest of notable people
and pursuits, plus important dates for the diary.
33 THE LONDON EDIT Interiors news from the capital. 76 SUBSCRIBE Treat yourself or a loved one to
a subscription to The English Home.
126 COMING NEXT MONTH & ADDRESS BOOK
88 GLISH LIS ME E AC COUNTRY EDITION The
Co
The
C b
h ss
untr
f E
y Spec
ial
sh s y
FULL OF
CHAR
ge, Victorian
Coastal cotta
rectory, listed
ma
Thatched cottage, 17th-century farmhouse, Georgian home
IS E Ce e r
C
R liftin
g homes
STYLE ESSENTIALS
to inspire
Decorative ingred ents for country houses
VINTAGE DETAILS
Ki
your own
decor
LOOKS FOR A LIFESTYLE
with Add charm accessories time-worn
Vil age life Down on the farm Lady of the manor
MY RURAL HOME Kate Humb e on her countryside idyll
MODERN RUST C GLOBAL S ARTISAN
ed textiles Hand-block ed rugs to hand-knott
Outdoor l
Midsumm
er parties,
ses, garde
summerhou
Pared-back design, muted hues, smart deta ls
NEW ROMANTICS Pr y pa ra
k &
w a na v ng
6 THE ENGLISH HOME
n ture, t les,
flooring, work
t ch
e en d esign guid
ee e e f E
tops & more
ye
?
Useful resources and an insight into the delights to come in our October edition.
ENJOY SINGLE ISSUES BY POST To make life easier, you can now buy single editions or back issues of The English Home online and have them posted directly to your home address. To order your copy, please visit
chelseamagazines.com/shop
HOME
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OUTDOOR
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LIGHTING
g a rd ent r a d ing .c o .u k
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A letter from home
C
BEHIND THE SCENES... Being a journalist should demand an insatiable level of curiousity, and that goes for interiors journalists, too. “It’s not all fluff and cushions,” as I’m fond of telling my husband. Sometimes, I’m shocked to think that I have amassed some 25 or more years of being nosy! Yet those years have afforded me the incredible opportunity of gleaning a basic understanding of a wide range of makers’ skills. I’ve seen kitchen cabinetry created, range-cooker panels hand-sprayed, taps sand-cast, tableware painted, carpets woven and mattresses hand-stitched. I’ve also seen paint mixed, tiles baked, loos glazed, glass mouth-blown, wood steam-bent, and wallpaper and fabric printed. And still there is so much to learn. I highly recommend visiting a factory if you get the chance – it’s a fascinating education.
Follow us on Twitter @englishhometeam Pinterest at pinterest.com/theenglishhome Facebook at facebook.com@theenglishhome Instagram at instagram.com@englishhomemag 8 THE ENGLISH HOME
With warm regards,
Kerryn Harper-Cuss, Editor-in-Chief
PORTRAIT RACHEL SMITH PHOTOGRAPH © RACHAEL SMITH
For insights into British makers and manufacturers turn to page 88
herishing Britain’s manufacturing skills and home-grown talents is top of mind for many consumers. Some might frame this in the context of three years of Brexit talks, others might feel that seeing closures of big employers, such as those in the car industry or on the high street, has made them think more closely about supporting British-based brands. These are undoubtedly important factors, but I take a much longer-term view. For me, the growing interest in indigenous ‘making’ is a completely natural extension of the rediscovery and appreciation of slow food, organic produce and local independent businesses, aligned with thoughts of carbon footprints and low-air miles. And like these movements, I believe it exemplifies a desire to feel a human connection with the things we choose to buy. In my own home, it is the pieces that tell a story, echo a memory and offer a sense of place that give me the greatest pleasure to use – be that pottery, a beautifully made light or a fabric made by a designer I have had the privilege to meet. I have been lucky to go behind the scenes in many, many workshops – from sanitaryware manufacturers to furniture makers – in Britain and overseas. This has given me an invaluable insight into the labour-intensive nature of some pieces and a deeper understanding of levels of quality. Not everything made in Britain is world-beating and not everything can be 100 per cent made in Britain anymore, yet there is so much to celebrate and value. I sincerely hope this edition will help further the desire to learn and ask more, not only of our own national skills but those of other nation’s skills and specialisms, too.
Treat your walls to Earthborn Our luxurious eco paint helps your walls breathe. So you can create beautiful spaces that are healthier for you and your home. Come and find out more at earthbornpaints.co.uk
Colour shown: Hobgoblin
ENGLISH HOME The
Be t of Briti h
Celebrating the e ence of Engli h t le September 2019 | Issue 175 | £4.50 | UK Ed tion
CREATIVE BRITAIN Celebrating Great British brands & home-grown talent
DREAM HOMES
Elegant townhouse Georgian-style new build Cottage renovation
CONTACT US Editorial 0333 014 3215 The English Home, Cumberland House, Oriel Road, Cheltenham, Gloucestershire, GL50 1BB Email theenglishhome@chelseamagazines.com Website theenglishhome.co.uk Advertising/Publishing 020 7349 3700 The Chelsea Magazine Company Ltd, Jubilee House, 2 Jubilee Place, London SW3 3TQ Email info@chelseamagazines.com
DECORATIVE LIGHTING Jewellery for interiors At home with MONTY DON
COLOUR LOVE
The timeless allure of duck egg, aqua & teal
COVER PHOTOGRAPH © ANDREAS VON EINSIEDEL ILLUSTRATION © SOMARTIN/123RF ARTWORK SEATED LADY BY ALBERT BERTALAN
EDITORIAL
Editor-in-Chief Kerryn Harper-Cuss Executive Editor Samantha Scott-Jeffries Managing Editor Sarah Feeley Art Editor Claire Hicks Contributing Art Editor Matt Griffiths Sub Editor Lea Tacey Decorating Editor Katy Mclean Features Editor Eve Middleton Homes & Lifestyle Editor Clair Wayman Editor-at-Large Kate Freud
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PUBLISHING
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ONLINE
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PRODUCTION
Reprographics Manager Neil Puttnam Printing William Gibbons Ltd
NEXT ISSUE ON SALE 4 SEPTEMBER 2019 THE ENGLISH HOME (UK EDITION) ISSN 1468-0238 (PRINT) THE ENGLISH HOME (UK EDITION) ISSN 2397-7086 (ONLINE)
Beautiful flooring, designed to last Over 100 designs | Expert advice | 20,000m of stock | Express delivery 2
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PERIOD STYLE
Lady Mary’s bedroom Mrs Patmore’s kitchen Lord Grantham’s study
SUBSCRIPTION RATES UK £72 (12 issues) Overseas £90 (12 issues) NEWS DISTRIBUTION Seymour Distribution Ltd 2 East Poultry Avenue London EC1A 9PT Tel 020 7429 3667
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Family design Inspired by May Morris – the youngest daughter of William, and one of English embroidery’s most prominent figures – the new Melsetter collection pays homage (in print) to her distinctive needlework style. Curtains, Wilhelmina, Ivory, £69 a metre; wallpaper, Mallow, Dusky Rose, £59 a metre, both Morris & Co
HOM Set an inviting mood with soft hues and tactile finishes from our selection of beautiful new buys
12 THE ENGLISH HOME
forts
CLOCKWISE FROM LEFT A stitch in time Hand-embroidered on natural linen, these napkins are the latest addition from the team at South Africa’s Mogalakwena Craft Art Development Foundation, provider of training and jobs to previously disadvantaged women. Wild Flowers embroidered napkins, £86 for six, Craft Editions Delicate detail New trim colour combinations such as this soft blue, seafoam and rose variation, are highlighted by clever use in intricate finishes. Veranda Linen Beaded Fringe in Delphinium, £104 a metre, Samuel & Sons Nature & nurture Textile designer Tori Murphy’s move to the countryside and the slower pace of life have inspired two new designs in her signature graphic weave. Scallop Stripe tea towel, Raspberry, £30; Little Cress oven glove, £33, both Tori Murphy
CLOCKWISE FROM TOP LEFT Alpaca blend Made from sheep’s wool combined with alpaca wool, this deep-pile carpet is luxuriously soft underfoot. Aalya carpet in Cashmere Shawl, £98 a square metre, Axminster Carpets Drawn from nature Both muted shades and strong outlines are paired to depict peonies, magonlias and foxgloves with beautiful butterflies, offset by bold insect designs. Blind and centre cushion, Flora, Boxwood; rectangular cushions, Entomology Beetle Drawer, Ink, both £95 a metre, Tradescant & Son Twist on a classic New sister brand to kitchen specialist Burbidge, Kitchen Makers offers classic shaker style with a hint of contemporary flair. Alderley kitchen in Bone, from £15,000, Kitchen Makers Light the way Designer Paul Smith’s latest collaboration with iconic lighting firm Anglepoise sees a patchwork colour effect. Type 75 desk lamp, Paul Smith Edition Four, £195, Anglepoise
14 THE ENGLISH HOME
100% Bespoke kitchen & household furniture, sympathetically designed to work with your home’s architecture and handmade to last a lifetime. 24A West Street, Ashburton, Newton Abbot, Devon TQ13 7DU
Tel: 01364 653613 www.barnesofashburton.co.uk
FEATURE EVE MIDDLETON PHOTOGRAPHS P12 © ANDY GORE; P13 (TORI MURPHY) © CHARLOTTE BLAND; (KITCHEN MAKERS) © JON DAY; P16 (ATELIER ELLIS) © KALINA KRAWCZYK
CLOCKWISE FROM ABOVE Cool & collected A delicate lino-cut effect print and a peaceful palette of blues, greys and creams create a restful bedroom setting. Maya double duvet set, £90; Maya Standard Pillow Case, £22 for two, all Murmur Paint palette Spanning light grey through to deep burgundy, the 14 shades recently added to the exisiting range from designer Cassandra Ellis offer a soothing backdrop in a busy world. Human Natura Ellis Paint colours, from £51 for 2.5l Matt Emulsion, Atelier Ellis Rustic form Scallop-edged and ribbed ceramic forms mark the latest designs in Rowen & Wren’s artisanal offerings. Clemence scalloped candlestick holders, £7 each; hand-crafted stem vases, £30 each, both Rowen & Wren n
16 THE ENGLISH HOME
Individually designed to suit your lifestyle
CELEBRATING 30 YEARS OF MAKING FINE FURNITURE & LUXURY INTERIORS Kitchens
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Bedrooms
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Bathrooms
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Studies
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Living Rooms
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Full Project Management
HANDMADE IN ENGLAND Showroom and Workshop: Cane End Lane, Bierton, Aylesbury, Bucks HP22 5BH | simon-taylor.co.uk | 01296 488207
DOWNTOWN ABBEY SPECIAL
Frill Edge cushion cover (30cm x 40cm), £32, with Heirloom monogramming, £9 an initial or £22 a word, Volga Linen
BeauVamp Inca Gold Silk Tiffany Lamp Shade, from £295, Rockett St George
BEDROOM
Whatever drama may be unfolding in Lady Mary’s life, she can rest assured her bedroom will always be an elegant oasis of calm where even the flowers never fade (the Downton Abbey film crew use faux flowers for continuity). The maids busily keep the mahogany furniture and accessories pristine, plump the pillows, air the newly introduced eiderdown and provide a ready supply of tea.
Wonderlust Jasmine Bloom teacup and saucer, £55 Wedgwood
The Friar’s chair (bespoke), £4,440 plus fabric and fringe, Sibyl Colefax & John Fowler
Mahogany dressing table, dressing stool and triple mirror (RL.23535), £7,745, Titchmarsh & Goodwin
Faux White Rose stem, £16, Neptune
Waterford Lismore Diamond perfume bottle, £90, John Lewis
Belle Epoque photograph frame, (20cm x 16cm), £55, India Jane
18 THE ENGLISH HOME
Double Indian & Organic cotton eiderdown (160cm x 145cm), £490, Cave Interiors
FEATURE CHARIS WHITE PHOTOGRAPHS (DOWNTON ABBEY) © JAAP BUITENDIJK/COURTESY OF FOCUS FEATURES; (FRIAR’S CHAIR) © BARRY MACDONALD; (EIDERDOWN) © LUCA PIFFARETTI
LADY MARY’S
Gardenia Green paint, £45 for 2.5l Active Emulsion, Sanderson
The perfect addition to your garden . . .
As a family run business established since 1989, we have built up a reputation priding ourselves in designing some of the nations most exquisite Garden Buildings including: • Pool Houses • Workshops • Garages (single, double, triple) • Summerhouses • Garden Offices • Bespoke Garden Studios and Gazebos • Log Cabins
We have both an indoor and outdoor showroom located in Stoke-on-Trent, Staffordshire. Here you will be able to view our range of exceptional garden buildings, have a chat with our friendly team and take advantage of our bespoke service.
Work, rest or play with Tunstall Garden Buildings and let us help turn your dreams into a reality . . . T: 01782 832166
www.tgbuildings.co.uk
E: tunstallgb@mac.com 160 Pinnox St, Stoke-on-Trent ST6 6AD
DOWNTOWN ABBEY SPECIAL
Fortnum’s Provisions tea towel, £12, Fortnum & Mason Svend Bayer jug, 2.8l, £95, David Mellor
MRS PATMORE’S
KITCHEN
Fisher wall light in antiqued brass, £102.90, Jim Lawrence
Wooden pot brush, £3.99, Cotswold Trading
Mrs Patmore runs a tight ship in the kitchen at Downton Abbey, not just creating delicious treats for Lord and Lady Grantham, their family and guests upstairs, but also keeping a close eye on all the kitchen staff. Whilst deeply suspicious of any new gadgets and inventions, preferring instead to stick to her trusty copper pans, jelly moulds and mixing by hand, Mrs Patmore has had to acquiesce to having electric lighting fitted.
Croft Collection Copper Saucepan with lid, from £70 (for 16cm diameter), John Lewis
Leeden handle basket (small), £14, Daylesford
Spitalfields kitchen, from £45,000, Plain English
20 THE ENGLISH HOME
Traditional cast-iron balance kitchen weighing scale, £79.99, Lakeland
FEATURE CHARIS WHITE PHOTOGRAPHS (MRS PATMORE) © JAAP BUITENDIJK/COURTESY OF FOCUS FEATURES; (LAKELAND) © MIKE COOK IMAGING; (DAYLESFORD) © AC COOPER
Sweet Treats notebook, £2.50, Re-Found Objects
DOWNTOWN ABBEY SPECIAL
Kala Cushion, £85, Soho Home
LORD GRANTHAM’S Islay Whisky Connoisseur Set, £299.95, Annabel James Labrador notecards and envelopes, £8.50 for a set of 10, Annabel James
LIBRARY Designed for the 4th Earl of Carnarvon (1831–1890), The Library (below left) at Highclere Castle contains 5,650 books, the earliest dating from the sixteenth century. It is where Downton Abbey’s Lord Grantham deals with correspondence at his desk, has meetings with the estate manager and also where Lady Grantham and other family members gather on the red sofas on either side of the fireplace to discuss family matters or have pre-dinner drinks. Leather-bound, gold-blocked limited edition of Love is Enough by William Morris, £250, The Folio Society
Highclere Castle will be running Real Lives and Film Sets tours for small groups this autumn including The Library (below) and State Rooms used as sets in Downton Abbey
22 THE ENGLISH HOME
Silver embossed metal service bell, £25.95, Melody Maison
Boston three-seat sofa in Albany Redcurrant, £5,020, Brights of Nettlebed
Men’s Kilim slippers, £165, Pickett
Ships Decanter, £115, Dartington Crystal
FEATURE CHARIS WHITE PHOTOGRAPHS (LORD GRANTHAM) © JAAP BUITENDIJK/COURTESY OF FOCUS FEATURES; (THE LIBRARY) © HIGHCLERE CASTLE
Book Shelves wallpaper, £150 for three 3m rolls, Mind The Gap
WHY HARTLEY
Bespoke Glasshouse, RHS Hyde Hall, UK
S T R U C T U R A L LY S U P E R I O R Every Hartley Botanic Glasshouse is handmade in the North of England to your exact requirements. It is made of the finest materials with unparalleled durability, safety and beauty. All of our sections have a structural purpose. We never take short cuts by ‘sticking’ aluminium to glass for aesthetic reasons. We are so confident of the structural integrity of our Greenhouses; we offer a Lifetime Guarantee. Bespoke Glasshouse, RHS Hyde Hall, UK
For more information please call 0800 783 8083 or visit www.hartley-botanic.co.uk
NOTHING ELSE IS A HARTLEY The only aluminium Glasshouses and Greenhouses endorsed by the RHS © The Royal Horticultural Society 2018 Endorsed by the Royal Horticultural Society. Registered Charity No 222879/SC038262 rhs.org.uk
THE ENGLISH HOME
NOTEBOOK
Our monthly digest of inside information on people, places and pursuits by Managing Editor Sarah Feeley
Diary – events worth noting INSPIRING INSIGHTS
Mid-September sees interiors professionals and design enthusiasts converging at London’s Design Centre Chelsea Harbour for Focus/19. In addition to new collections from 600 international brands, there will be workshops, guest speakers, meet-thedesigner sessions, discovery tours and artisan demonstrations. Trade only preview 15–17 September, all welcome 18–20 September; dcch.co.uk EXQUISITE HISTORY Berkeley Square in
London is the historic setting for the LAPADA Art & Antiques Fair. Over 100 exhibitors will present art, antiques, clocks, antiquities, ceramics, furniture, tapestries, decorative arts, silver and more, with prices ranging from £500 to £500,000 and above. 13–18 September; lapadalondon.com A RARE GLIMPSE Open House London
is the country’s largest architectural showcase, with over 800 buildings opening their doors to the public – including The Old Bailey and the Barbican – plus walks and architect-led tours, all free of charge. 21–22 September; openhouselondon.org.uk
A Good Read
PURSUITS Baking authentic sourdough Sourdough September is run by The Real Bread Campaign to celebrate authentic sourdough, encourage amateur bakers to make it at home and help avoid expensive imitations (or ‘sourfaux’) with events, classes and participating bakeries across the country. Believed to date back to ancient Egypt, sourdough is made using a mixture of water, cereal flour and a culture of naturally occurring yeasts and lactic acid bacteria. It is known for its depth of flavour, longevity and potential health benefits.
To make sourdough, a ‘starter’ is needed – a mixture of flour, water and wild yeast – to make the bread rise. This can be bought ready-made from an expert source, such as Hobbs House Bakery in Gloucestershire, or made by hand at home over two days. As timing and temperature are key when baking sourdough, keep both a thermometer and a timer handy. Practice makes perfect, so note down any little tweaks made to the recipe or method each time in order to repeat delicious successes. breadmatters.com
Buckingham Palace: The Interiors by Ashley Hicks (£40, Rizzoli)
Home of the Royal Family since 1837, the opulent and historic interiors of Buckingham Palace beautifully exemplify Regency, Victorian and Edwardian styles. In this treasure of a book, interior designer Ashley Hicks leads us through dazzling State Rooms, the Throne Room, the Ballroom and more. The large format showcases every sumptuous detail. THE ENGLISH HOME 25
PEOPLE
Caroline Inchyra
Founder of fabric house Inchyra Caroline Inchyra’s obsession with finding a way to recreate the look and feel of old linens has resulted in exquisite fabrics and accessories with a timeless charm and nostalgic warmth. A chance meeting with a Scottish linen mill owner turned her passion into reality, and her fabric company Inchyra was launched in 2012. Her original range of archive-inspired linens has grown to include pure Scottish wools, co-ordinating cushions and throws. “I find inspiration in something found, perhaps a scrap of antique fabric or an old shawl,” she says. “The route may be to simply recreate something that no longer exists and give it new life, or it may be to edit and play with form, colour or size to create something new. “I try to always link what we’re doing back to fabrics that we already have, so the whole collection works comfortably together. A house decorated in our fabrics feels lived in, it feels comfortably luxurious, you know that you are surrounded by a level of real quality.” Working only with pure natural fabrics, the colour palette is both strong and subtle, from deep reds, soft pinks, greens and mustard yellows to aged blues and greys. inchyradesigns.co.uk
Martin Waller Founder of design house Andrew Martin Martin Waller is the Indiana Jones of design – his worldwide travels and adventures inspiring Andrew Martin, the design house he founded in 1978. From furniture to fabrics, wallpaper, lighting, art, cushions and accessories, the rich blend of global influences captures the escapist romance of travel. He says: “Design has always been about more than just attractive patterns. It’s about reflecting a personal view on a subject. For me, this has often been about describing a love of various places or peoples. “It was in Thailand that I first saw the miracle of silk yarn production and the laborious work of ikat weaving, which can take a day to produce a single metre. But it was more than just the end product that captivated me; it was the serene patience of the weavers, the skill of the dyers and the ancient tradition of the technique. “While many designers want to say something new, I want to say something old – to capture the flavour of an antique land and somehow bottle it.” The Andrew Martin Interior Designer Review, which spotlights 100 interior designers worldwide, is now in its 23rd edition. andrewmartin.co.uk 26 THE ENGLISH HOME
What’s unique about an Albion Bath?
We started making fine free-standing baths over 20 years ago using our own material: Iso-Enamel. Iso-Enamel keeps your bathing water hotter for longer than other bathtubs, at half the weight of an equivalent cast iron or fireclay bath.
To suit your design ideas, the exterior of most Albion baths can be finished to a colour of your choice - and with over 50 models available, we’ll have you spoilt for choice. Request our 276 page brochure to find out more about our baths, taps, showers and bathroom furniture.
Request your Brochure: +(0) 1255 831605 albionbathco.com
PLACES
Thomas Goode & Co Dating back to 1827, Thomas Goode & Co is considered by some to be the world’s finest china, glass and silverware shop. Its ornate and historic red-brick building in Mayfair hints at the exquisite craftsmanship and opulent products within. Proud holder of the Royal Warrants of Her Majesty The Queen and His Royal Highness The Prince Of Wales, this luxury emporium is full of handcrafted treasures and precious items, large and small, from highly regarded heritage brands across the globe. Walking through its 12 interconnected showrooms is an immersive experience to savour. Designed by distinguished architects Ernest George and Harold Peto, the striking building also features a rare piece of Victorian design – a mechanically operated automatic front door still in operation today. Standing sentinel in Thomas Goode & Co’s windows are the two magnificent 7ft Minton ceramic elephants that were commissioned for The Paris Universal Exhibition of 1889. Founder Thomas Goode’s son William collaborated closely on their design. Earlier this year, Sir Elton John became the store’s co-owner and global ambassador. “There’s no shop like this in the world,” he says. thomasgoode.com
The Hambledon For two decades, The Hambledon shop in Winchester in Hampshire has been lovingly filled from the worldwide marketplace with carefully curated items encompassing homeware, beauty, fashion, gifts, books, stationery, toys and accessories for children, and more. The shop has a national and international profile, and its passionate founder Victoria Suffield looks both backwards and forwards for inspiration. “If it isn’t oxymoronic,” she explains, “we are traditional and modern shopkeepers, obsessing over detail and beauty and people and things; trying to make a place that is a pleasure to be in and filled with stuff that is a pleasure to take home; hoping to please our customers and make ourselves proud.” Set over four floors in a double-fronted Georgian building in Winchester’s cathedral square, the shop has a “treasure trove aesthetic”, says Victoria. Homeware makes up around half of its stock, ranging from tableware to soft furnishings and almost everything in between; a discerning blend with an emphasis on artisan craftsmanship. Victoria was almost born in her mother’s shop, The Hambledon Gallery in Dorset. After studying history of art and film, and working in exhibition curation, film, art dealing and mail order, Victoria opened The Hambledon in 1999; a project born from her lifelong love of retail. To mark its 20th anniversary this month, 20 limitededition products have been specially made by brands such as Molly Mahon and Alex Monroe, and an in-store exhibition charts the shop’s history. thehambledon.com
LUXU RY B ESPOKE WARD ROB ES & D RESSING ROOMS
Please contact us for more information on our innovative wardrobe design solutions and personal design service.
0207 129 7916
theheritagewardrobecompany.com
PLACES
Magnificent Hatfield House in Hertfordshire was built in 1611 by Robert Cecil, 1st Earl of Salisbury, and to this day superb examples of Jacobean craftsmanship can be found within. It was built near The Old Palace, which was constructed in 1485 by the Bishop of Ely and acquired by King Henry VIII in 1538 as a nursery for his three children Mary, Elizabeth and Edward. Elizabeth was sitting under an oak tree in Hatfield Park in 1558 when she learnt of her succession to the throne. The famous Rainbow Portrait of Queen Elizabeth I is one of the many treasures to be found inside Hatfield House, as well as many historic mementos collected over the centuries by the Cecil family who have lived here for 400 years. Today, it is the home of the 7th Marquess and Marchioness of Salisbury and their family. Giant water sculpture Renaissance (top right) by Angela Conner stands at the front of this fine Jacobean country house – officially one of the 10 Treasure Houses Of England. An extensive deer park and gardens surround the house, whilst the historic interiors include The Marble Hall (above right), The Armoury (top left), The King James Drawing Room (middle left) and The Library (left). September offers visitors a final chance to explore Hatfield House, its gardens and park before it closes on 29 September, to reopen next Easter. hatfield-house.co.uk n
30 THE ENGLISH HOME
PHOTOGRAPHS P27 (BREAD) © FORESTLIFE/SHUTTERSTOCK. P28 (TOP LEFT) © DAN DUCHARS; (TOP RIGHT) © LAMB LOVES PHOTOGRAPHY; (MARTIN WALLER PORTRAIT & DINING TABLE) © DOMINIC BLACKMORE. P30 (THOMAS GOODE EXTERIOR) © CHRIS LAWRENCE/ALAMY; (PLATES) © JOHN ADRIAN
Hatfield House
WHERE THE CIT Y ENDS & THE COUNTRY BEGINS
Explore the house, park & gardens
Indulge at the Stable Yard Shops & River Cottage Kitchen & Deli
Meet some of the locals at Hatfield Park Farm
WWW.HATFIELD-HOUSE.CO.UK | 01707 287010 | VISITORS@HATFIELD-HOUSE.CO.UK
Experts in the finest Chesterfield Sofas, lovingly hand crafted in our workshop.
Visit www.TimelessChesterfields.com or Call 0800 470 0170
THE ENGLISH HOME
THE LONDON EDIT From an entire kitchen to door furniture, Editor-at-Large Kate Freud selects British-made designs for the home THE BEARDMORE COLLECTION
MCCARRON & CO
LOAF
F
ounded over 150 years ago, The Beardmore Collection continues to be one of the industry’s leading innovators in the production of quality architectural hardware, all of which is hand-crafted in the UK. The company creates its striking pieces – such as the art deco-style mortice knob with a tiger’s eye inlay (above) – for a large variety of locations, from royal palaces and the Venice Simplon-Orient-Express to public buildings and private residences throughout the world. In addition to its ever-growing range of classic and contemporary designs, The Beardmore Collection recently discovered a lost library of ironmongery patterns spanning almost two centuries of the company’s design archives. This has become more than just a reference document as several of these original designs are being reproduced at the firm’s dedicated foundry on the South Coast of England, where the skilled artisans also create bespoke pieces from drawings or samples. A pair of lion’s head door knockers measuring 800mm (one of which is shown below) marries traditional design with quality production methods. beardmore.co.uk
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espoke furniture company McCarron & Co was established by eight friends who, collectively, had an abundance of experience when it came to the world of luxury kitchens (many having worked in the trade for 30 years or more). Their aim was to not only make the finest British furniture, but also to offer a very personal level of service. Whatever the scale of the company’s projects – from bijoux Georgian Chelsea townhouses to stately piles like Aynhoe Park in Oxfordshire – the attention to detail remains. All its designs are bespoke from start to finish, from something as personal as reducing the height of a kitchen counter for a client to creating a perfect kitchen on a superyacht. Aside from kitchens, the firm creates beautiful bedroom furniture and dressing rooms, out-of-this-world wine cellars and contemporary media rooms and home cinemas – all designed with impressive vision. Everything is hand-built at its workshop in Wiltshire, which clients can visit to view pieces being made prior to a commission or to see their furniture being made. mccarronandco.com
oaf was born 10 years ago of founder Charlie Marshall’s own frustrating experience of trying to buy a mattress, after which he decided the process should be much more straightforward. Marshall’s goal from the start was to create a homeware brand designed to encourage people to sit back, relax and enjoy their homes a little more – a concept Loaf’s fans have more than bought into. Having started online with just 12 beautifully constructed beds and one well-considered mattress, there are now eight stores nationwide and a range that includes dining tables and chairs, soft furnishings, lighting and curtains. Visiting one of Loaf’s ‘slowrooms’, its ethos becomes perfectly clear. The customer service is excellent, deliveries are speedy and at convenient times, and all packaging is disposed of. There is also great pride in the fact that the sofas and beds are hand-produced in Long Eaton, Derbyshire – the heart of British upholstery-making – and the mattresses are handmade in Wiltshire, truly celebrating the best of British. loaf.com n
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In the sitting room, a large 1930s Italian mirror reflects a wall of bookshelves opposite. Seating includes a traditional South African riempie bench and a pair of large Howard armchairs upholstered in Alessandro fabric by Claremont. The painting on the far left is Seated Lady by Albert Bertalan and the nude is by Londonbased artist Luke Martineau.
The bookcase painted in Farrow & Ball’s Down Pipe runs across the width of the sitting room and frames the doorway through to the dining room, beyond which Jane’s bedroom can be seen.
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he catalyst for Jane Whitfield to put her ABOVE By using the same very dark grey Ladbroke Grove flat on the market and paint on the window hunt for a bigger property in London was frames, bookshelves adopting a son and, therefore, also making and doors Jane a career change. “I was in the process of adopting my created a strong son Alexei [now 10 years old] from Russia and statement in the sitting room. The planning to work from home,” she explains. “I wasn’t Roman blinds are in aiming for quite such a large space, but when I saw it, Robert Kime’s Indian all 4,000 square feet plus, even on a very cold and Pear linen. miserable winters day, I had to have it.” RIGHT The decked What Jane had found was a large apartment terrace is as large occupying the first storey of four terraced mews houses as many city gardens and provides a in South West London. “A major attraction for me sheltered environment was the huge, private terrace stretching across the full for plants. The 30-metre width of the property at first-floor level,” she iron-and-wood says. Built many years before, the terrace was the garden furniture perfect entertaining space and home for a collection came from South Africa. of abundant potted plants from roses to jasmine, agapanthus and buxus. The nineteenth-century walled, gated mews would at one time have been stables servicing the once-grand houses nearby and still has painted signs on the outer walls boasting ‘horses bought and sold here’. The now nine individual residences in the mews were used as workshops by an upholstery company prior to the first THE ENGLISH HOME 37
‘Because of the scale of the rooms, I’ve made sure everything is big and cosy’ ABOVE The kitchen is filled with light from above and three windows that overlook the mews courtyard. Roman blinds in red Killi fabric by Penny Morrison inject colour into the otherwise neutral scheme of off-white and grey. OPPOSITE Jane sourced the antique glazed dresser from Loran & Co near Bath. She bought the table from Made.com and paired it with a set of 1950s plywood chairs.
conversions being carried out in 1982. Soon after this, the author Roald Dahl moved into the property beneath Jane’s, living there until he died in 1990. Having given up a successful career in interior design to coach women through trauma and cancer (she is a member of the International Coach Federation) and adopted a young child – two life-changing events that in themselves were challenging – Jane was now taking on a sizeable refurbishment project. Fortunately, included in the property is a studio apartment on the ground floor next to the entrance hall. “That was the key in many ways,” she says. “I could live there whilst the builders, all eight of them, spent nearly nine months on the interiors upstairs.” As a seasoned designer, both for clients and herself – having bought, restored and sold five previous homes – Jane admits she is a good organiser and quick to make decisions. “Experience is pretty important, as well as knowing what you want and where to find it,” she says. Although the apartment was already light, with windows back and front, Jane was keen to maximise
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the potential for more, so gained permission to include new skylights in the main living spaces. She also had all the wiring and plumbing upgraded, old carpets removed and new wooden floors laid whilst all the walls were replastered and four bathrooms refitted. It was Alexei’s bedroom and bathroom that were the first priority – “the rest was builders’ carnage,” Jane says. Her main aim, apart from creating a modern, efficient living space, was to create a home where people could put their feet up and relax. “Because of the scale of the rooms, I’ve made sure everything is big and cosy,” she says. “Very little of my previous furniture worked here; it all seemed too small. Even the bookshelves, which fill an entire wall in the sitting room, are designed to make a statement.” Jane says she has kept to colours that are longterm favourites of hers, such as various shades of pink and blue, with shots of dark colour in the form of Farrow & Ball’s Down Pipe, which she has used for the bookshelves, windows and doors in the sitting room. “I also adore vintage and ethnic textiles and
ABOVE Herringbone rush matting from Capital Carpets complements the informal look of the main dining area. The chandelier was specially made for the space by Graham Carr Fine Arts whilst the eighteenthcentury sideboard and chairs either side of it were bought at Lantiques in Petworth. LEFT Jane in the light-flooded dining room where she sees all of her clients as it has such a positive energy.
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love mixing up patterns and colours,” she says. Handling bold pattern, colour and scale successfully is truly the mark of a skilled designer. Jane’s talent not only lies in being a homemaker but in creating interiors and indeed gardens that appear to have evolved over time, never just assembled and neatly co-ordinated. She makes bold use of mirrors and had a huge chandelier specially made for above the dining table. By doing without ceilings, instead leaving the A-frame construction exposed, a greater sense of enhanced space is achieved. The kitchen overlooks the courtyard of the mews around which all the buildings are arranged. There are three generous windows all dressed in a Penny Morrison fabric. “She is a great favourite of mine, along with Robert Kime and Fermoie fabrics,” says Jane. Rather than buying from a specialist kitchen company, Jane designed all the units herself and had them made by a joiner replacing a 1960s set-up and blocking a redundant fireplace. The capacious antique French glazed cupboard was a lucky find, although Jane believes she underestimated the amount of storage space she would need and regrets not making the island unit larger. As well as having a good-sized table in the kitchen, Jane has installed a large, beautifully patinated rustic table in the dining room, where the walls are clad in white-painted boarding. Additonally, there is an
In the master bedroom, a comfortable chaise longue is covered in Penny Morrison’s Haveli Blue linen. Above the trestle table is a French film poster advertising the 1970 film Ryan’s Daughter.
antique sideboard and sisal matting, making the space feel like a room in a country house rather than in the middle of one of the most populous cities in the world. A set of high-backed dining chairs covered in an ikat linen provide comfortable seating. “I see my clients here as it is a very positive, pretty and comforting space,” says Jane, whose clients come to her for reassurance, guidance and help with finding confidence during and after illness. The master bedroom suite, which includes a spacious en-suite bathroom and – the ultimate luxury – a walk-in dressing room, is located at one end of the apartment. Meanwhile, Jane’s son Alexei has his own domain situated at the opposite end, along with the three guest bedrooms. Soaring ceilings, neutral carpets and pale colours make Jane’s bedroom exceptionally relaxing. Interlined curtains in a de Le Cuona linen enhance the cosy, enveloping mood, whilst an armchair, a backless sofa at the foot of the bed and a chaise longue, newly reupholstered to match the headboard, provide ample seating for a complete retreat when required. It has been 10 years since Jane moved to the mews, which is a bit of a record for her and testament to the fact that this home is a complete success for family life, work and her aim for it to be somewhere everyone can feel thoroughly welcome and relaxed. n
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ABOVE Calm and peaceful, the master bedroom is decorated in pale blue and warm white. The bespoke headboard and the valance are in the same Penny Morrison fabric as the chaise longue (see previous page) and the glass table lamps are from Tyson. Graham Carr Fine Arts made the bedside tables. RIGHT Jane designed the master bathroom from scratch, building in storage discreetly hidden behind mirrored doors. The blind fabric is Star Atlantico in Aubergine by Jasper Fabrics at Michael S Smith.
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Robert designed the layout of the kitchen with cabinetry by Harvey Jones, which he had painted in French Grey by Little Greene, along with the walls, panelling and Venetian blinds. “It’s a soft grey which is never dull, no matter what the light,” he says. The flagstone floor is by Artisans of Devizes.
& SLIE PHOT
ABOVE LEFT The walls of both the entrance hall and the drawing room are painted in Stone I by Paint & Paper Library. In the entrance hall, an antique bleachedoak mirror hangs above a console table designed by Robert. An antique French lantern lights the space from above. LEFT The beautifully proportioned facade, with its ornate iron balconies, creamy stucco and columns at the door, perfectly exemplifies lateRegency style.
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he eminent architectural and art historian Nikolaus Pevsner describes the templefronted terrace in which Robert Moore’s house sits as one of London’s finest. Pevsner – although German born – was an Anglophile and author of the Pevsner Architectural Guides, a series of 46 books written over 20 years, cataloguing towns and cities in Great Britain and Ireland, describing in detail the style of each area and individual streets of architectural merit. This terrace was built in lateRegency style with classic stucco frontages combined with yellow London stock bricks – a perfectly balanced row of elegant townhouses in a leafy pocket of South London. Tapering columns frame the doors, delicate iron balconies punctuate the facade and classic arched windows look out over traditional deep front gardens, as they have done for almost 180 years. Interior designer Robert lives here with his partner Jonathan Beak and their Jack Russell, Lucy. “We adore this house for many reasons,” he explains. “Its elegant
facade and proportions completely won us over. Also, having a front garden with a lawn in the middle of town is all very grown up!” The back garden was also a major attraction. The couple’s previous home – a loft apartment in a nineteenth-century former tea warehouse where they had lived for 11 years – could scarcely have been more different. “It was a lovely apartment but without any external space,” remembers Robert. “We had been craving a roof terrace or courtyard garden for quite some time.” They now have the perfect inner-city oasis – a considered contemporary design that demonstrates a similar balance of scale and symmetry to the house itself and is accessed by French windows Robert added. With a planting scheme of pleached hornbeams and quintessential English favourites such as climbing roses, foxgloves and hydrangeas in a calm, serene palette of white and green, this horticultural haven is perfect for al fresco entertaining and very much exemplifies the attention to detail demonstrated
throughout the house. Glorious displays of floral blooms in all sizes and styles are dotted around every room – from a grand centrepiece of orchids in the drawing room to tiny posies of fragrant orange roses and seasonal English sweet peas in the bedrooms. “Flowers make a room,” Robert adds, “I love going to Covent Garden Flower Market and feel lucky that it is so local to us. It is virtually my second home.” Before any of this could come into being, there were significant renovations to be tackled. Prior to Robert and Jonathan purchasing the property, it had been in the same hands for over 40 years, with very few improvements made along the way. “We understand that it had actually been two flats at one point, and owned by a housing association – it even still had two separate gas meters,” Robert says. “The house was not listed so we could make all the changes we wanted without having to gain Listed Building Consent,” he continues. This was indeed fortunate, bearing in mind they were renovating
ABOVE LEFT Robert created an opening between the drawing room and library to give a sense of space and light. Mirrored panels either side of the fireplace in the drawing room add depth and light. ABOVE The library walls are painted in 7-085 from Papers and Paints by Patrick Baty – a rich teal in contrast to the pale tones of the drawing room. A seventeenthcentury French tapestry hangs above the sofa.
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Above the library fireplace is a portrait of Lord North, the tenth English Prime Minister. The parcel-gilt fauteuil chairs were bought at an antique fair and have been covered in herringbone fabric by Romo.
‘I believe the key to getting these houses right in terms of layout is to really think about how you are going to use them’ ABOVE The dining chairs in the breakfast room were purchased from The Conran Shop and sit nicely alongside the original Biedermeier dining table. The artwork is a signed piece of 1980s advertising for a music event designed by artist Nigel Waymouth. RIGHT Robert in the garden. The garage that cuts across the garden was white and unsightly. “I ordered reclaimed building materials to reclad the garage. I found the oak boarding at a saw mill and some old tiles with lichen for the roof, all via SalvoWeb,” he says.
a neglected period townhouse that had not been touched in virtually half a century. It took the charismatic designer just four months to turn things around. The intensive schedule included completely replumbing and rewiring, removing the basement floor to install underfloor heating and a French limestone flagstone floor, digging out one of the front wells to create a utility room, opening up the entrance hall to the drawing room and the drawing room to the library, creating a master bedroom and en suite by sacrificing one of the smaller bedrooms, and dedicating the top floor to two office spaces, one for each of them. “We also moved the kitchen in the basement from the smaller back room to the larger front room,” says Robert. The property is now a welcoming and harmonious home that clearly satisfies Robert’s desire to combine intricate design ideas with practicality to ensure a it works on all levels. “I believe the key to getting these houses right, in terms of layout, is to really think about how you are going to use them. You live on the stairs, more or less, so you need to be practical. We opted for a basement-kitchen layout and have ended up using all four levels every day.” THE ENGLISH HOME 49
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ABOVE An ikat fabric by Bernard Thorp is a chic choice in the master bedroom. The walls are in grass cloth by Ralph Lauren. RIGHT The master en-suite bathroom is painted in Basalt by Little Greene. The 1950s Venetian mirror is paired with Empire sconces from Ebury Trading.
A closer look at the interiors reveals Robert’s meticulous attention to detail. The original floorboards were hand-sanded to remove the layers of dirt without eroding the soft undulations created by almost two centuries of footsteps. Throughout there is evidence of the extensive research Robert carried out to find craftspeople capable of reinstating all the internal architectural details such as the architraves, cornicing and skirting boards that had been lost along the way. When it came to the design, the couple turned to their existing collection of art and antiques for inspiration, including some exquisite Biedermeier furniture pieces and a pair of nineteenth-century parcel-gilt fauteuil chairs.  THE ENGLISH HOME 51
ABOVE & RIGHT The curtains and headboards in the guest bedroom are in Lillies by Nicky Haslam, whilst the walls are painted in Stone III, by Paint & Paper Library. Robert had pelmet boxes created in plaster to conceal the curtain rails. An antique gilt table lamp sits on the bedside table in the guest room and a framed piece of de Gournay silk wallpaper serves as a focal point between the two beds.
Robert was keen to have a sense of continuity throughout the house so he used various tones of blue in the decoration on every level of the house – some paler and some stronger – to create differing dramatic tones throughout. This is most notable in the library where the walls and woodwork are all painted in teal blue to create a room that could be enjoyed in both summer and winter, whilst providing a fitting backdrop to showcase the elaborate seventeenthcentury French tapestry the couple already owned. “It is fun moving and creating a new look with what you already have. You suddenly start looking at paintings and artwork with fresh eyes,” he says. Robert is keen to point out that, whilst historical references are a key influence in his interior design ideas, he enjoys reusing them for today’s way of living. “Antiques are great for adding character, history and decoration, whether for a period look or something more modern,” he says. And rightly so, as behind that fine Regency facade lies an equally fine period interior, expertly designed by its current custodians to be perfectly suited to modern London life.
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Walls are painted in Wimborne White by Farrow & Ball, and all but the main central ceiling beams have been painted white to amplify the light. The pale pink chair is a family heirloom and the lampshades are from Pooky. The pretty floral curtain fabric came from The Mill Shop.
ABOVE An heirloom kitchen table, that Taitch remembers eating breakfast on as a child in her grandparents’ kitchen, fits the space perfectly and has been known to squeeze eight for dinner. The chairs, from The Brackley Antique Cellar, have been painted and the seats covered in Cow Parsley by Vanessa Arbuthnott. LEFT The combed wheat reed thatch features a pretty ‘continuous scallop’ design, typical for the area, by Parkinsons Master Thatchers.
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haracter and a garden were the two items at the top of Harriet Orr-Ewing’s wishlist when she was looking for a cottage in the north Oxfordshire countryside where she had grown up. Having lived in London for 20 years – “ten years too long, I now realise” – she was more than ready for a change. She had already traded in her office job for garden design, her true vocation, but was beginning to tire of small city garden jobs – not to mention parking fines – and yearned for larger, greener, outdoor spaces. “I loved the energy and diversity of London,” she explains, “but I’m a country girl at heart.” The penny finally dropped when Harriet (known as Taitch) decided to get a puppy; Elfie, a Dandie Dinmont terrier, changed everything. “Loading a reluctant dog, along with plants and gardening equipment, into a hot car each day just seemed wrong,” she explains. Within a few months of Elfie’s arrival, the West London flat was on the market. Taitch narrowed her search area to a village in north west Oxfordshire. It was not too far from her family home, and close to her sister along with many lifelong friends. “We’re a close family and I felt a pull to be nearby,” she explains. Over a long year of searching
Taitch replaced the green carpet in the dining room with floorboards which she painted off-white. A little two-seater Ikea sofa, covered in red-and-white ticking, and a Turkish kilim rug – on which Elfie the Dandie Dinmont terrier likes to lie – add a dash of cheerful colour. The antique mirror is from The Brackley Antique Cellar.
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Although the cottage had languished empty, it had an unmistakable warmth of character ABOVE A row of pink geraniums brighten the windowsill in the north-facing kitchen. Roman blinds in Cow Parsley by Vanessa Arbuthnott have been trimmed with cherry pink pompom braid. LEFT Taitch and Elfie soak up the sun in the delightful cottage garden.
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she saw a fair few cottages slip through her fingers, setting her heart on several, only to see them snapped up by higher bidders. “Just as I was beginning to lose hope, a cottage came up for sale, right next door to one I had hoped to buy earlier,” she remembers. It had incredible kerb appeal – a charming stone-built thatched cottage with a sunny south-facing facade. Taitch hardly dared hope that its exterior promise would continue inside, but her heart leapt as she discovered the interior was full of potential too. Although it had languished empty through the long winter months and felt chilly, there was an unmistakable warmth of character that really stood out. With two reception rooms downstairs and a double-aspect master bedroom above, the three main rooms were generous and flooded with light. An elderly lady had lived out her days here, and there were green carpets throughout and a lot of heavy, dark wood. But there were wonderful features, too – deep window seats, gnarled beams, old scrubbed-pine shutters and a vast inglenook fireplace – and it was in
ABOVE The kitchen was Taitch’s one concern with the house. Modest in size and north facing it might have been cheerless but Taitch has livened it up by painting the wooden cupboards in Parma Gray by Farrow & Ball and adding artisan door handles discovered on eBay. FAR LEFT Taitch was on the lookout for a Welsh dresser, but opted instead for a plate rack which she paired with a small cupboard, both separate finds from the local recycling centre. LEFT The vintage desk where Taitch works at her garden designs, found at Farthinghoe Recycling and Reuse Centre.
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good structural shape, too, with new timber windows. Most importantly, the thatch had recently been replaced. It turned out that just three years previously – when thankfully the owner had been away – the cottage had caught fire after a spark from next door’s barbecue set light to the thatch. The fire brigade had managed to put out the initial blaze, but apparently the thatch had smouldered on for weeks. Most of the windows had needed to be replaced and smoke damage meant the place had to be completely gutted before it was habitable again. Taitch booked a second viewing with her mother and sister. “Mum got a bit overexcited when she saw it – ‘It looks as though it’s smiling!’ she exclaimed,” Taitch laughs. “But she did have a point: with its generous windows, huddled under its cosy thatch, the cottage does have a noticeably benevolent appearance.”
Clearly, Taitch and Elfie are quite at home here, ABOVE An assortment of and Elfie’s little face is often seen peering out of the cushions in cheerful window, watching their neighbours come and go. blues and reds “She’s a nosy neighbour,” adds Taich with a smile. and a handful of Wanting to make the most of the natural light that botanical paintings floods into the house, Taitch spent her first winter by Taitch add a welcoming touch to there repainting. She painted the walls, some of the the guest bedroom. beams and exposed stonework in lighter colours and chose a fresh, French blue to cover the brown kitchen cupboards. With whispered apologies to her predecessor, she replaced the green carpets with neutral cream ones and had floorboards laid in the dining room which she then painted in an off-white colour. “Old houses have a dignity that I wanted to honour, and any changes I was going to make needed to respect the times and residents gone by. I feel I have picked up where the previous owner left off,” she says. THE ENGLISH HOME 61
ABOVE & RIGHT The master bedroom and en-suite bathroom are peaceful havens for Taitch. Two inherited chests of drawers sit alongside newer painted bedside tables. A cosy Brora throw and a selection of scatter cushions add softness and warmth. The duvet cover is from Livvy B Bedding & Homewares.
“Since then, it has been very much a case of make do and mend,” adds Taitch, who has trawled salvage yards, second-hand shops and markets, and not least, a local reuse and recycling centre – frequented and fondly known by locals as ‘The Dump’. By slowly gathering family heirlooms, eBay finds, upcycled one-off pieces of furniture and with a great deal of work and imagination she has gradually created a home of great calm and character. That first winter was long and chilly – “I got snowed in twice,” the former Londoner says proudly. But when the snow finally retreated, she took great joy in watching the garden come to life and was thrilled to see some of her favourite plants and flowers springing up – the previous owner had clearly been a keen gardener. Constantly adding plants and updating, Taitch is never happier than when pottering in the flowerbeds, with Elfie snuffling nearby. Character and a garden were the two things Taitch hoped for when she started her search and she has found both in abundance. As the sun shines through the windows, lighting up the calm, colourful rooms, she recounts how her home is now known by her family as, quite simply, ‘the house that smiles’. n
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At first glance, the walnut bookcase looks like an antique, but it is in fact a bespoke piece designed by Sims Hilditch to add further character to the room. An antique French glass-topped brass side table from Lorfords contrasts with a simple coffee table by Robert Langford. The elegant Bryant chandelier is by Visual Comfort.
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HARMONY After taking on a large, unfinished Palladian-style house, Ginni Riley realised that decorating on such a grand scale would have its own particular challenges FEATURE & STYLING CLAIR WAYMAN PHOTOGRAPHY RACHAEL SMITH
ABOVE A pair of bespoke French-style armchairs, covered in Pigment 04 by Pedroso & Orsorio, act as a divide between the two seating areas. Florence velvet cushions by Neptune add accents of vibrant gold. Kelly has layered two rugs, one on top of the other, to bring depth to the drawing room. The top Bayat rug, by The Rug Company, is a one-off piece, and has been overdyed and distressed to create an ethereal, aged feel.
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aving spent over five years hunting without success for their perfect period home, Ginni and Ian Riley were coming round to the idea of buying a plot of land and building a house from scratch. “My dream was to find a characterful Victorian home, but we always shied away from listed buildings, especially ones that needed a lot of work. Then, out of the blue, an estate agent called and said he’d found somewhere he thought we might be interested in,” remembers Ginni. The property in question was a Palladian-style new build with imposing proportions, but still a work in progress. The previous owner, a well-known local character, had passed away suddenly, leaving his beloved building project unfinished. “He’d had a passion for Palladian-style architecture, so had poured everything into his dream home. However, making his vision come to life had been a lengthy process with a 10-year wait for planning permission,” says Ginni. By the time Ginni saw the Oxfordshire property in November 2016, the build had taken two years but was
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far from finished. “When we went for the first viewing it was still a building site, the flooring wasn’t down, wires were hanging out everywhere and there were no stairs, so we had to climb up ladders to get to the first floor,” remembers Ginni. “The builders did say to me jokingly that they’d thought about putting the walls on wheels because the previous owner had changed his mind so often,” she laughs. Ginni was instantly struck by the graceful proportions and luxuriously large rooms. “Even though the house is new, it had those lovely classical features that we were looking for,” she says. The layout was also very appealing because rather than the usual warren of rooms that older properties can have, this new build had been designed with modern living in mind. “I love the free-flowing, open-plan layout with the kitchen merging in to the family room – it’s really how we like to live,” she adds. “Our two grown-up children are now at college so we had been thinking of downsizing, but after seeing this property we knew that wasn’t going to happen,” she laughs.
LEFT The imposing double staircase in the lofty entrance hall creates a dramatic first impression for visitors. The central circular mahogany-stained table was commissioned by Sims Hilditch and sits beneath the Original Globe pendant lamp by Jamb. BELOW LEFT The graceful Palladianstyle house with its classic symmetrical features sits comfortably in the gently rolling landscape. BELOW A second, more informal seating area has been created in the drawing room using rich, tactile fabrics, including aged leather and velvet. The Alex stool by Neptune is covered in Ralph Lauren’s English Riding Velvet in Blue Ribbon and the aged-leather and brass Wallace ottoman is by Oka.
The painted dark blue Basalt island anchors the kitchen and acts as a foil to the lighter French Grey walls and doors, both colours by Little Greene. The striped kitchen blinds (shown here and above right), made using Book End Navy fabric by Christopher Farr, add interest to the subtle scheme.
ABOVE A pair of It wasn’t just the classic architecture and easy layout Shoreditch bar stools that sold the house to them. Being a nature lover and from Neptune, in an avid gardener, Ginni was also smitten by the Gara Seashore fabric surroundings. “As soon as I walked in, I was drawn by Ian Sanderson, to the windows and the sweeping views of fields and offer a comfortable spot to sit, whilst a woodland stretching out as far as the eye could see. set of three Chiara I love the way you can’t see another house, and yet glass pendants by neighbours are all around,” she says. Hector Finch add a Ginni and Ian could see the advantages of taking on finishing touch. a project at this stage. “It was the best of both worlds RIGHT Comfort is key for us because we didn’t have to go through planning in the relaxed family room adjoining the permission, and yet we could have that final say,” says kitchen. The Brenta Ginni. The main structural work was complete, leaving hanging shade by Ginni to put her stamp on the property with finishing Vaunghan creates a touches. The previous owner was a flamboyant focal point over the character and had been planning lavish interiors, but seating area. Pink Fermoie cushions are Ginni had other ideas, and was keen to bring a calm, mixed with Vignatella elegant country feel to the house. Woad cushions from When Ginni took on the house, she worked closely William Yeoward. with the builders to create a home that reflected her taste. “They were good at project managing themselves but there were a lot of decisions still to be made, which THE ENGLISH HOME 69
Walls painted in Hicks’ Blue by Little Greene create an intimate atmosphere in the dining room. The elegant eight-arm chandelier above the dining table is by Richard Taylor.
‘Your style evolves as you grow older. I decided to use this as an opportunity to start afresh’ was a bit nerve-wracking, especially as I have never done anything like this before.” She chose all the mouldings and flooring throughout the house, including the exquisite parquetry in the drawing room, and even had a hand in designing the dramatic double staircase in the entrance hall. Ginni and Ian had lived in their previous home for 16 years, and before they moved out Ginni realised just how dated the interiors had become. “Your style evolves as you grow older,” she muses. “I decided to get rid of the vast majority of our old furniture and use this as an opportunity to start afresh. Some pieces just didn’t fit in with what we were planning to do here and the scale of a lot of it wasn’t right,” she adds. The house was built on such a grand scale that Ginni’s next task was to work out how she was going to fill these enormous spaces. “I didn’t think about using an interior designer at first, but when I started walking around the house looking at the size of the rooms, I felt too daunted to do it on my own,” she says. “It was actually the estate agent who had sold us the house who suggested we talk to Sims Hilditch.”
Sims Hilditch came on board in April 2017 and had four short months to focus on the main rooms before Ginni and Ian moved in, in June that year. The second phase of the project concentrating on the rest of the house was finished in the following November. The Sims Hilditch look is understated and elegant which fitted perfectly with Ginni’s subtle sense of style. “We knew how we wanted to use the spaces but not how to delineate them, especially in the larger rooms, such as the drawing room and family room off the kitchen. The designer, Kelly Ross, was brilliant at showing us how to break up these big areas effectively into various zones and seating areas,” Ginni says. The striking drum shade in the family room was just one of the clever ways Kelly denoted a separate zone. “It draws your eye into the area and is a way of separating the room without actually having walls,” Kelly explains. Ginni’s brief was quite loose but one of her requests was to mix antique and new pieces to create a balance of traditional and modern styles to give the rooms character. “I was particularly keen that the house didn’t feel brand new,” Ginni explains. “I wanted
ABOVE The contemporary four-poster bed was designed by Sims Hilditch to work with the generous proportions of the master bedroom. Gustavian Bureau side tables by Chelsea Textiles add a classic touch to suggest the scheme has come together organically over time.
THE ENGLISH HOME 71
ABOVE An Indigo Melange throw by So Cosy and Maroc Indigo cushions by Rapture & Wright echo the blue of the embroidered Cawdor Indigo fabric by GP & J Baker used for the curtains in this guest bedroom. RIGHT An elegant Cameron table lamp by Visual Comfort sits on top of a Chelsea Textiles Gustavian bedside table in this guest bedroom. The bespoke headboard is upholstered in Patina Storm fabric by Mark Alexander.
it to feel relaxed, comfortable and timeless, as if it’s evolved over time.” Kelly commissioned furniture that was the right proportion for the large rooms and softened the spaces with fabrics and accessories. “You really have to think about layers and textures in these larger rooms,” she explains. “We’ve layered two rugs one on top of another in the drawing room to create an inviting feel.” Keeping the overall colour palette light, Kelly added touches of contrasting indigo blue in the drawing room to add depth. Blue, in varying shades, is a key colour that runs throughout the house, tying the schemes together for a harmonious feel. “It’s important the rooms are cohesive and read well together,” says Kelly. “A house can feel quite segregated if they’re too different.” It is a mark of a good designer to push a client gently into trying something new. “The dark blue in the dining room was a leap of faith,” Ginny says. “I wasn’t at all sure it would work, but I completely trusted Kelly. I’m so glad she persuaded me.” Now, after all the hard work, Ginni and Ian can sit back and enjoy their beautiful new home.
72 THE ENGLISH HOME
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MY ENGLISH HOME
The gardener, writer and television presenter on what makes his beloved Tudor hall house and garden the centre of his world
W
ell-known gardener, television presenter and writer Monty Don OBE has been lead presenter of the BBC’s Gardeners’ World since 2003 and since 2011 the programme has been broadcast from his garden, Longmeadow, in Herefordshire. Whilst work takes him all over the world in search of the finest gardens, about which he makes television programmes and writes books, being at home with his wife Sarah, their three grown-up children – Adam, Freya and Tom – and two golden retrievers, Nigel and Nellie, is where he is happiest.
kitchen with a big open fireplace, long oak table where we mostly eat and, of course, a large Aga, which we bought in pieces from the corner of a builders’ merchant in 1991 for £1,000. The kitchen is warm in winter, cool in summer and certainly the beating heart of the house.
Where do you live and why? I live near a little town called Leominster in Herefordshire, near the Welsh border. We moved here 30 years ago because it was sufficiently far from London to be outside any commuter belt, and therefore affordable, and because my wife Sarah’s parents and her extended family lived in this part of the country.
Do your dogs Nigel and Nellie have baskets in every room of the house? No! Just in my workroom, the kitchen – next to the Aga – and in the back kitchen where they sleep at night and go when wet and muddy. They are not allowed upstairs in the bedrooms and only into the sitting room by invitation.
How would you describe your home? A Tudor hall house characterised by a lot of 500-year-old oak beams. Scruffy, quirky and spacious, it is designed around creative life rather than entertaining or impressing – there are 10 work rooms and studios but only one sitting room and four bedrooms. It delights in natural materials of all kinds – there is no cement in the entire building, just lime mortar and plaster, wood and stone – and is filled with a jumble of far too many things. It is all that we love.
FEATURE CINEAD MCTERNAN PORTRAIT © ALISTAIR HEAP/ALAMY
Did you enjoy renovating your home? When we bought this house it was a ruin – no roof, electricity, running water or sanitation. It took 10 years to finish the initial building work but it has been a privilege and joy to restore. Which room are you happiest with following the renovation? I suppose opening up what we call ‘the big hall’ – which is the medieval hall at the heart of the house that was subdivided into four rooms when we bought it – has made the most dramatic change and certainly sets the tone for the house. It is spacious, airy, dramatic, inspiring and pretty impractical in terms of bedrooms and the more conventional ways of organising a house. Is there a room you naturally gravitate to? The kitchen, I suppose, but that is for practical reasons. It is a large farmhouse
Where do you write? In my workroom, which is the upstairs floor of a converted hop kiln. The floor beneath is the tool shed and above me a 30ft-high conical ceiling ending in an oculus. I have written here most days for the past 20 years.
Do you have cut flowers throughout your home? Yes, everywhere. As well as small posies on bedside tables, windowsills and sideboards, we like huge but very simple displays using teasels, cow parsley, foxgloves, branches of blossom or whatever the garden is offering. There is always something. Do you share the nation’s love of house plants? I am just coming round to them. Although I, like many people of my generation, disliked house plants and associated them with rooms belonging to our Victorian grandparents that were simultaneously stuffy and cold, I now have quite a lot – scores, in fact – in the darker parts of the house. Have you approached creating your garden as you might a home, with ‘rooms’ that have an individual purpose and style? The garden relates closely to the house and does have many different areas or ‘rooms’. However, with the garden we started from scratch with an empty field so could do whatever we wanted, whereas the house was loaded with the weight of history that we were bound to honour. If you did not live in the countryside, could you live in the city? No. Under no circumstances. I am a countryman through and through. I hate crowds, traffic, bustling streets, pubs and restaurants and crave silence, solitude and
the natural world. I quite often don’t leave the house and garden for a week or more and scarcely notice. By and large, my family and a handful of friends and colleagues provide all the society I need. Do you have any memorabilia from your travels dotted around your home? I have bits and pieces, but I am not in any way a collector nor at all sentimental about my past – my next project is always the most interesting. Sarah has a lot of artefacts from Papua New Guinea where she lived for five years in the 1970s before we met. Do you collect anything? Not deliberately. I have many thousands of books, but each one is bought individually because I want to read it. If I like things – books, penknives, secateurs, guitars, clothes, notebooks, pens – then I happily buy the various ones I want which sometimes accrue, by default, into a small collection, but I have none of the true collector’s urge to have every kind of anything. Now you have lived in the house for 30 years, are there any changes you would like to make? I would not like to change anything. The house feels easy in its skin and has been organised entirely to suit us – we never plan to sell it. Although there is one room that has never really had its potential realised. When we arrived it was a rat-infested storage barn dating from about 1600. Then it became my tool shed, before being incorporated into the house and for many years used as a gym. The plan now is to make it into a garden room, which may or may not happen! What does home mean to you? Love, happiness, peace, family, creativity, health. The centre of my world. I never want to be anywhere more than I want to be at home. Leaving it is always a wrench. To what would you never give house room? A microwave. Hideous things and utterly pointless. Finally, what should no English home ever be without? A dog or two. Japanese Gardens: A Journey by Monty Don and Derry Moore, £35 (Two Roads), is out now. n THE ENGLISH HOME 75
For everyone who loves beautiful homes
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STYLE INSPIRATION Our special section dedicated to design and decorating inspiration begins here
BEST OF BOTH
FEATURE KATY MCLEAN PHOTOGRAPH MAREE HOMER/BAUER MEDIA/CAMERA PRESS
Bringing together old and new styles to honour the period of a property whilst retaining a modern identity requires a careful balance, as shown in this elegant vignette from a country project by interior design studio Todhunter Earle. The tapestry and panelling acknowledge the rural location and history of the home, whilst the trestle table, with its glossy bright-blue top, strikes a contemporary note. A playful mix of colours stands out against the slate-blue walls, creating a scene that is both timeless and of the moment.
THE ENGLISH HOME 77
A sense of place MAKERS OF BRITAIN
Throughout the British Isles beautiful work is produced that reflects our heritage of traditional skills and techniques, abundance of raw materials and colourful landscapes
Melin Tregwynt is a family company that has been weaving at Tregwynt Mill in Pembrokeshire, West Wales, for over 100 years. Its throws, blankets and cushions are an appealing combination of traditional and contemporary.
M
aking is so often intimately linked to place. Local geography, weather patterns, livestock, trades and acquired skills all played a part, historically, in determining who made what, where and why. Cutlers based themselves in Sheffield because it had all the necessary ingredients for their craft: rivers to drive water wheels for grinding, coal for smelting and forging, and iron ore for making the blades. The Potteries in Stoke-on-Trent developed into a centre for ceramics thanks to the plentiful supply of clay, lead, salt and coal in Staffordshire. Furniture-making became a specialism of the Chilterns in Buckinghamshire due to raw materials from the surrounding beech woods and a local labour force that was skilled in turning bowls, spoons and other small items, and subsequently parts for chairs. Whilst it may seem unnecessary in this day and age, many modern makers base their work on geographical location, particularly if they wish to make use of traditional skill-sets, machinery or locally sourced materials. Adapting a heritage craft for a modern aesthetic or simply taking inspiration from the nearby landscape, whether it be rural or urban, is also a reason for being in a specific area. As the ever-increasing pace of life provokes a corresponding desire to slow things down and celebrate quality, authenticity and sustainability, provenance is becoming increasingly important.
LEFT FROM TOP One of the two lino cuts carved by Angie Lewin and used to create her two-colour Clover fabric for St Jude’s, shown here as a print (turn to page 81 to view the fabric). The rugs and runners by Roger Oates Design are reinventions of eighteenth-century twill floor coverings, woven on narrow-width looms. Rapture & Wright hand-prints fabric and wallpaper in its Gloucestershire workshop. Anta’s carpet designs are inspired by Scottish landscapes and woven in Scotland from British wool. THE ENGLISH HOME 79
Made in England “These days it might be possible to make anything anywhere,” says Kate Hills of Make It British, “but when a specific skill-set has developed in a particular place then relevant industries tend to be based there.” She cites, for example, Stoke-on-Trent for its ceramics, Somerset for products in leather and sheepskin, Macclesfield for printing and Sudbury in Suffolk for silk. Known as the silk capital of England, Sudbury is where around 95 per cent of the nation’s silk is woven and in 2015 Sudbury silk was awarded protected geographical status. Four prestigious silk-weavers are still based in the town: Gainsborough Silk Weaving Company, The Humphries Weaving Company, Stephen Walters & Sons and Vanners Silk Weavers. North West England, traditionally the home of cotton spinning and weaving, helped make nineteenthcentury Britain ‘the workshop of the world’. There are still several thousand textiles companies in the area, including family-owned weaving business John Spencer, jacquard specialists S Dawes Weaving, and Ian Mankin – which produces timeless fabrics in natural and some organic fibres at its own factory, one of the last surviving cotton mills in Burnley. In 2016, English Fine Cottons reopened a restored Victorian cotton mill near Manchester and launched as the only commercial cotton spinner in Britain, bringing together a supply chain from dyers to weavers to finishers. The company is responding to what it sees as an enormous appetite for provenance, and last year launched a range of bed linen in collaboration with Peter Reed, making the Albion range the first bed linen to be entirely British-made in decades. England also has a fine heritage in carpet making. Kidderminster is known as the heart of the British carpet industry, with Brintons, our oldest continuously manufacturing brand, having a major base there, whilst Victoria Carpets, Adam Carpets and Brockway Carpets have also all been manufacturing in the town for over a century. Axminster Carpets in Devon has been making fine woven carpets for over 250 years, using British wool and skills passed down from generation to generation. The firm is not, however, sitting on its laurels – it recently launched a British first in the form of Aalya, a carpet that blends sheep and alpaca wool for sumptuous softness. When it comes to flatweave carpets, the British cheviot wool blend used for Roger Oates Design’s distinctive rugs and runners is spun and dyed in Yorkshire before being woven on specially adapted narrow-width looms and hand-finished in the company’s workshop in Herefordshire. As Roger 80 THE ENGLISH HOME
Galvin Brothers employs traditional joinery techniques to create contemporary forms. (Completely) Imperfect side table in European oak, £285, Galvin Brothers
Peter Reed’s Albion bedlinen, the first to be entirely made in Britain for decades thanks to English Fine Cottons. Albion king-size duvet cover, £1,050; Albion pillowcase, £259 each, both Peter Reed, available exclusively at Harrods
FAR LEFT, TOP Marthe Armitage produces handprinted wallpapers and fabrics from linocuts as well as working with Ivo Prints in West London. Wallpaper, Willow, £360 a roll, at Hamilton Weston; chair, Marrow, £96 a metre, Marthe Armitage FAR LEFT, BOTTOM A hand-block-printed design inspired by the decoration on fifteenth-century Italian tin-glazed pottery. Curtain, Majolica, Dusky Rose, £96 a metre, Rapture & Wright TOP LEFT Stuart Scott furniture is built by hand in Wiltshire and each piece is signed and numbered. Fleure three-seater sofa, from £3,960, Stuart Scott LEFT One of Angie Lewin’s joyous screen-printed designs for St Jude’s. Curtain, Clover, Meadow Green, £72 a metre, Angie Lewin, St Jude’s BOTTOM LEFT Hand-woven silks by Gainsborough adorn the walls of rooms at the Goring Hotel in London. From left: Lullingstone (special colour), silk/cotton, £339 a metre; Saluté (special colour), silk/linen, £259 a metre, Gainsborough MIDDLE RIGHT Tom Raffield’s products are hand-shaped in Cornwall using sustainable wood. No 1 Pendant Giant, £875, Tom Raffield
Made in Tom Faulkner’s workshop in Wiltshire, this table’s ribbons of powdercoated bronze steel give it a quiet energy. Ariel dining table (D120cm), £6,650, Tom Faulkner
Oates says: “It’s all about truth to materials; there’s an honesty to how things are made, how they’re finished, how they’re presented to people.” The printing of fabric and wallpaper is very much still alive in Britain, a legacy of London’s pre-eminence in hand-block-printed wallpapers from the seventeenth to the nineteenth centuries, followed by the emergence of Lancashire as a centre of mechanised printing in the mid-1800s. One of Britain’s leading printers of wallpapers and interiors fabrics is Ivo Prints, which launched in West London in the 1960s and has worked for a veritable roll call of renowned names, including Christopher Farr Cloth, Bennison Fabrics, GP & J Baker, St Jude’s, Marthe Armitage, Paolo Moschino for Nicholas Haslam and Lewis & Wood, as well as producing a fabric collection in collaboration with The Royal Botanic Gardens, Kew. Stead McAlpin in Cummersdale, Cumbria and Bruce Fine Papers near Lincoln are two other important printers which print many of Britain’s best-loved brands. On a smaller, more artisanal scale, Rapture & Wright – winner of the Rural Business Awards Best Creative Business in the UK 2019 – is one of the few remaining studios still printing by hand in Britain. Based in a workshop in Gloucestershire, Peter Thwaites and Rebecca Aird screen-print fabric and wallpaper in contemporary and classical styles. As they say: “Small-scale, artisan production is time-consuming and physically demanding, but the results are personal and subtly different, reflecting the hand of the maker.” The furniture hub of Britain is, historically, High Wycombe in Buckinghamshire, but there are, in fact, many small, highly skilled furniture makers up and down the land. From Tom Raffield in Cornwall, who specialises in steam-bent furniture and lighting, to Galvin Brothers in Yorkshire, who celebrate the unique properties of English oak and other hardwoods and place traditional joinery techniques at the centre of contemporary forms, to Tom Faulkner in Wiltshire, whose small team meticulously handmakes furniture in metal and stone for private clients and interior designers, and Stuart Scott whose team creates beautiful handmade seating and occasional tables also in Wiltshire. 82 THE ENGLISH HOME
Based in the Scottish Highlands, Angus Ross’s fine furniture combines traditional woodwork, the ancient process of steambending and the latest cutting technologies. Y Light Table in Scottish oak (also available in Scottish ash), from £890 (made to order), Angus Ross
Large Ochil Rug (170cm x 240cm) with St Andrews binding, £1,150, Anta
‘The demand for UK products with provenance is growing. It’s seen as an investment and, like slow food, or organic food before that, it’s a movement that is only going to increase.’ Kate Hills, Make It British
Made in Scotland
TOP The artisan manufacture of Harris Tweed is protected and can only take place in the Outer Hebrides. The makers work with Tetrad to provide fabric for its fine upholstered furniture, which is made in Lancashire. Shown here is the Bowmore compact sofa (contact Tetrad for stockists). ABOVE Faolchú’s hand-crafted luxury furniture is made by a small team of skilled craftsmen in its Glasgow workshop,
where they fuse traditional methods with innovative techniques. Rathan bed in turned leather and brass, £25,000, Faolchú LEFT Kevin Gauld makes Orkney chairs and other furniture at his fourth-generation family farm, where he also grows his own oat straw for use in the chairs. He sources Scottish-grown hardwoods felled from sustainably managed woodlands. Gent’s chair, from £1,050, Kevin Gauld
The textile industry was as important for Scotland as it was for Lancashire in the eighteenth and nineteenth centuries – and not just in terms of cotton manufacturing, but also for linen, silk, wool and iconic tweed, tartan, cashmere and paisley-patterned shawls. In the 21st century more than 500 Scottish textile companies still contribute to a notably buoyant industry. Leading brand Anta is renowned for its luxury interior textiles that reflect contemporary Scottish style. Callum Fisken, co-director of Edinburgh interior design studio Ampersand and of furniture designer Fisk, also picks out Brora and Johnstons of Elgin for their modern cashmere, Harris Tweed for its iconic branding and global reach, and MYB Textiles for its heritage of niche skills in Scottish lace and Scottish Leno Gauze weave, now known as Madras. MYB is the only producer in the world manufacturing patterned lace with original Nottingham lace looms, some of which are more than 90 years old. Fisken says: “Some of the last remaining traditional weaving skills are to be found at such companies, cheek by jowl with cutting-edge processes and inventive design.” Exceptional furniture makers of Scotland include Angus Ross in Perthshire, which manages an ancient woodland as a source for the company’s oak furniture, Glasgow-based Faolchú, whose choice of materials is influenced by an appreciation for Scotland’s rich heritage, and Edinburgh-based Fisk, which uses the country’s urban and rural landscapes as inspiration for characterful, individual designs. “Sustainability plays a part in our use of materials as well,” says Fisken. “By-products of the farming industry such as sheepskins, as well as naturally shed antlers, are both used in Fisk designs.” THE ENGLISH HOME 83
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Made in Wales
Basketmaker Mandy Coates cultivates coloured willows to use in her work, which features in Aelwyd at Ruthin Craft Centre until 13 October
TOP & ABOVE RIGHT Limitededition collection of blankets either hand-crocheted or woven on traditional looms in West Wales. (Top): Handcrocheted blankets, from £240; (above) Woven blankets, £165, both Damson & Slate LEFT Trefriw Woollen Mills manufactures traditional Welsh ‘tapestry’ patterns, all from the raw wool, using machines which are over 50 years old and powered by a vintage water turbine. Throw, £180; half throw, £100; cushion, £48, all Trefriw Woollen Mills
Whilst weaving springs to mind first and foremost in terms of Welsh craft – wool having once been the country’s most important industry – Philip Hughes, director of the Ruthin Craft Centre in Denbighshire, points out that Wales has a strong tradition in other areas too. These include ceramics, basketry and furniture-making, and Hughes says that there are young makers producing a range of interesting work that draws on the rural craft heritage of the country whilst also looking at using new methods and styles. “In some ways the change has been happening since the 1950s and 1960s,” he says. “There are interesting things going on, a reinvention of rural crafts, and people are starting to do things differently.” This autumn an exhibition at the Ruthin Craft Centre explores the sense of belonging and home through objects made from natural materials. Exhibits include pieces by basketweaver Mandy Coates and weaver Llio James, who works both by hand in her studio and in collaboration with one of Wales’s few remaining weaving mills. Other Welsh companies of note include Solva Woollen Mill, the only mill in Wales to specialise in flatwoven flooring, Damson & Slate, a collection of interior accessories edited by designer and stylist Hilary Lowe, and Felin Fach, which makes Welsh blankets and throws using natural dyes. Melin Tregwynt is one of the best-known names in Welsh weaving, producing contemporary products based on traditional designs at its historic, family-owned mill. Hughes sums the picture up, saying: “Provenance has long since been important in Wales, but there is definitely a sense of change at the moment. It’s linked with mindfulness, a concern with the environment, avoiding waste and buying local. People are looking to buy pieces that are unique, that will last a lifetime and that they can cherish and then pass on to someone else to cherish.”
Northern Ireland Northern Ireland, whilst strictly speaking not part of Great Britain but of the UK, plays its part in the British Isles’ tradition of beautifully crafted work. Its linen industry developed in the late-seventeenth century, and was the focus of the country’s industrial revolution. Today, Irish linen is more a luxury than a household staple, but is still highly regarded both for its rich heritage and its contemporary appeal. Makers include Thomas Ferguson, jacquard weaver for more than 160 years; William Clark, the last authentic linen beetler in the world (it pounds the linen with wooden blocks to create a unique sheen), and John England, supplying linen to interior designers and the film, theatre, TV and opera industries. THE ENGLISH HOME 85
The Luachanna (‘shared values’ in Gaelic) collection, a collaboration between London-based furniture designer Pinch and Northern Ireland weaver Mourne Textiles, showcases hand-loom weaving and the beauty of natural materials. Cushions, £185 each, Mourne Textiles
FEATURE KATHERINE SORRELL PHOTOGRAPHS P78 © EFION GRIFFITHS. P80 (MARTHE ARMITAGE) © JON CEFAI. P81 (STUART SCOTT) © DANIELLA CESAREI, INTEIOR DESIGN BY IMRAAN ISMAIL INTERIORS; (TOM RAFFIELD) © KIRSTIN PRISK; (TOM FAULKNER) © ANDREA FERRARI. P85 (MANDY COATES) © ROBERT HEATON; (TREFRIW WOLLEN MILLS) © ANTHONY ROBERTS. P86 (MOURNE TEXTILES SPOOLS) © TARA FISHER.
Collaborations across the borders Across Britain, makers are also collaborating to bring together the benefits of their specialisms and innovations in design and technology alongside age-old techniques. The New Craftsmen in London was founded in 2012 with the aim of championing British makers and is a firm believer in the forming of partnerships to create new pieces. “Collaborations that bring together traditional skills and modern designs can work really well,” says creative director Catherine Lock, “particularly where both sides show respect for each other and share a singular vision and an open mind.” Lock cites as an example the Brodgar chair, an Orkney chair combining the oak Windsor chair vernacular with a traditional straw back, made for the gallery by Dalston furniture maker Gareth Neal and Orkney chair maker Kevin Gauld. The latter’s work is utterly imbued with ‘sense of place’, his chairs and other pieces – made by him and a small team – are directly inspired by traditional styles, techniques and materials found on his home of Orkney, including the use of straw that he has grown himself. Bute, whose award-winning, internationally acclaimed contemporary woollen fabrics are inspired by the island’s natural colours, textures and patterns, has collaborated with eminent designers including Tom Dixon, Barber Osgerby and Timorous Beasties, the latter of whom is praised by Fisken for having almost reinvented wallpaper with its edgy, often rebellious designs and modern colours. Welsh contemporary weaver Heather Shields has recently collaborated with Roger Oates Design (see Made in England, page 80) to produce a collection of blankets, cushions and upholstered benches based on designs from the company’s archives and its signature rugs and runners. Family-run Mourne Textiles in Northern Ireland is a hand-weaving studio producing creative designs that reflect time-honoured techniques and the rich colours and textures of the local landscape. For London Craft Week 2019 (held in May), Mourne Textiles collaborated with London-based furniture designer Pinch to create a limited-edition collection of cushions and wall hangings to celebrate artistic making and their shared values of putting craft at the centre of British manufacture. n
86 THE ENGLISH HOME
ABOVE Heather Shields is a Scottish textile designer and weaver specialising in vibrant, contemporary fabrics, homeware and accessories, all either hand-woven by Heather in her home studio or in small batches at a local mill. Paperchain and Puzzle blankets, £280 each, Heather Shields RIGHT Spools of yarn used by Mourne Textiles for its creations ranging from rugs to scarves.
www.westcountrycookers.com
T: 01548 830069 F: 01548 830912
kitchens
Extraordinary
We purchase Agas for restoration
It is odd that a meeting re. a kitchen made my heart sing, but it did. Kate B.
Prepare to be inspired!
Whether its traditional or classic, fitted or freestanding, our kitchens are refreshingly different with a unique range of painted, distressed, vintage and industrial finishes. If you’re looking for a truely bespoke kitchen to reflect your individual style, visit our showroom at Moreton in Marsh in the heart of the Cotswolds or register online for a brochure. Comprehensive design service and home consultations arranged countrywide. Commissions fulfilled throughout UK, Europe and worldwide. High Street Moreton-in-Marsh GL56 0LH www.unfitted.co.uk 01608 650065
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Pa rke r K n o l l
Marking its 150th anniversary year, British furniture manufacturer Parker Knoll continues to make 100 per cent of its sofas and chairs in England, at its manufacturing base in Nottinghamshire. Its new Collection 150 takes inspiration from the 1920s and 1930s and was created in collaboration with Metropolitan University’s Frederick Parker archive and the Worshipful Company of Furniture Makers.
re t
BRITISH BRANDS In celebration of specialisms in manufacturing across the nation, we consider a selection of fine British brands (in no particular order) respected for their heritage skills and modern-day innovations
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HALCYON DAYS Proud holder of the Royal Warrants of HM The Queen, HRH The Prince Of Wales and HRH The Duke Of Edinburgh, Halcyon Days crafts exquisite enamel and fine bone china items, all made in Britain. Founded in 1950, the firm’s recent Aragon Collection is influenced by the Historic Royal Palaces fabric collection designed by GP & J Baker.
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AGA Shortly approaching its 100th anniversary, Aga was established in 1922 in Sweden, before moving to Britain in 1929. Its ranges are made in Shropshire where they are cast in molten iron, and then finished in multiple coats of enamel that take three days to apply. Their longevity is renowned – the oldest working Aga is more than 70 years old.
88 THE ENGLISH HOME
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FERMOIE Best friends Martin Ephson and Tom Helme founded Fermoie in 2012. Named in The English Home’s ‘Ones to Watch’ list in 2016, in 2018 the duo were awarded OBEs for services to Design and Manufacturing. Fermoie’s products are designed and printed in Wiltshire and clients include Soho House and Firmdale Hotels.
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Jo h n sto ns o f E l gin
Creating desirable cashmere and fine woollen textiles from its weaving mill in Elgin and its knitting mill in Hawick on the Scottish borders, Johnstons of Elgin is holder of a Royal Warrant for manufacturing estate tweeds for HRH The Prince of Wales. Founded in 1797, it still proudly makes 100 per cent of all its products in Scotland. Its Herringbone-weave fine merino throw is its best-selling product.
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BURLEIGH POTTERY Founded in 1851 and manufactured at Middleport Pottery in Stoke-on-Trent since 1889, this British brand is said to be the only remaining pottery to use a transfer technique that takes seven years to learn. The pottery is best known for its Asiatic Pheasants design, featuring delicate avian forms.
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ROGER OATES DESIGN Instantly recognisable for its iconic stripes, flooring by Roger Oates Design is all made in England, and sold globally. Based in rural Herefordshire, Roger and his wife Fay founded the firm in 1989, rediscovering and reimagining 100 per cent wool Venetian flatweave and transforming humdrum hallways and staircases forever.
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Geo r g e S mi t h
Named after the celebrated nineteenth-century furniture designer, known for his eclectic, fashionable designs and immaculate craftsmanship, George Smith was founded 40 years ago, and its namesake’s exacting standards and style still inspires and informs the brand today. Using prime beech and birch, the company makes 100 per cent of its furniture in its workshop in Newcastle, using both traditional and modern techniques. It also continues to pass down upholstery techniques through the generations via its award-winning apprenticeship scheme.
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THE NEW CRAFTSMEN Championing craftsmanship across the UK and Ireland, including furniture, lighting, textiles and ceramics, The New Craftsmen is much admired for its innovation and commitment to promoting the importance of supporting artists and local businesses in a global economy. It has also garnered the influencial craft patronage of Kit Kemp from Firmdale Hotels.
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IAN MANKIN Best known for its precision woven ticking and founded in 1983 by Ian Mankin, this fabric house uses a weaving mill in Burnley, Lancashire that has been in the same family for over 160 years. Its traditionally woven, natural fabrics include an organic range with Global Organic Textile Standard accreditation. September 2019 sees the launch of its first licensed collection with The Landmark Trust, comprising 34 designs.
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THE ODD CHAIR COMPANY This Lancashire family business, set up in 1969, creates reproduction pieces alongside modern and bespoke furniture. Founder Susan Cook’s background in antiques ensures that the on-site archive provides a wealth of accurate information as well as inspiration for the hand-turned, hand-cut and hand-polished designs. THE ENGLISH HOME 89
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JOHN BOYD TEXTILES Weavers of horsehair fabrics since 1837 for upholstery, wallcoverings, lampshades and screens, John Boyd Textiles originally supplied famous furniture designers such as Lutyens, Chippendale and Hepplewhite. Today it supplies top-level designers and royal households worldwide with weaves still made on looms dating to 1870 from its base in Castle Cary, Somerset.
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THOMAS CRAPPER & CO With four Royal Warrants over the company’s 158-year history – starting in 1886 with the future King Edward VII – Thomas Crapper & Co is an iconic name in sanitaryware. Its eponymous founder started a plumbing and sanitary engineering business in 1861, and soon realised there was a sizeable market for high-quality bathrooms and toilets. This led him to open the world’s first bathroom showroom in 1870 on London’s King’s Road. Today, the firm makes 95 per cent of its products in Huddersfield, has celebrity clients, supplied Westminster Abbey and top hotels such as The Goring, and its sales grew 50 per cent this year compared to last.
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ESSE Loved by names as diverse as Hugh FearnleyWhittingstall, Florence Nightingale and Sir Ernest Shackleton, these handbuilt premium heating stoves and range cookers are crafted in Lancashire. The company was established in 1854, and continues to uphold the ethos of creating cleanburning and efficient products designed to last.
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Ti m o ro u s B e a st i e s
“We have weaved our way through recessions, made the best of ridiculous situations, grown the studio, employed people, opened our own showrooms, made great friends and connections around the world, and importantly stuck to our guns by producing designs that we want to – and have been able to remain in Glasgow to do it all,” says Alistair McAuley, co-founder with Paul Simmons of Timorous Beasties. Globally known for boundarypushing wallpaper and fabric, with a focus on quality, craftsmanship and attention to detail, they hand-print in Glasgow and have collaborated with the likes of Ercol, Nike and Fortnum & Mason.
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Ti tch m a r sh & Goodwin
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ORIGINAL BTC Winning a Queen’s Award For Enterprise in International Trade was a huge accolade for Original BTC, founded in 1990 by Peter Bowles. A specialist in the design and manufacture of interior, exterior and LED lighting under its own name, Davey Lighting and Beadlight, it has also designed bespoke lights for Belmond’s luxury train Grand Hibernian.
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BENCHMARK Sir Terence Conran and Sean Sutcliffe started Benchmark in 1984 to make innovative, modern English furniture, all crafted in Berkshire and Dorset using traditional techniques. One of the first makers to gain the Forest Stewardship Council Chain Of Custody Certification, it has also won The Queen’s Award for Sustainable Development twice.
Using traditional techniques and English oak, maple and walnut, Titchmarsh & Goodwin has been hand-crafting wooden furniture from tree to table for 90 years in its Suffolk-based workshops. Its skilled teams of cabinetmakers, guilders, carvers and wood-turners handmake each piece to order and keep their skills alive by passing them on to apprentices. With an archive that now contains 45,000 designs, the company also offers a bespoke design service.
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SOANE BRITAIN Founded by Lulu Lytle in 1997, Soane Britain produces furniture, lighting, fabrics, wallpapers and homeware from across a network of workshops specialising in artisanal crafts. Known particularly for its rattan pieces, the company initiated an apprenticeship programme to help keep the tradition alive, creating new and adapted designs.
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SAVOIR BEDS Founded in 1905, when the beds were first commissioned for The Savoy hotel, Savoir Beds are 100 per cent hand-crafted in Britain, each one bespoke and made from the finest natural materials, cleverly combining traditional techniques with the latest innovations. Quintessentially English, the brand has 15 showrooms around the world, from New York to China and Germany to Russia.
THE ENGLISH HOME 91
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Co le & S o n
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WILLIAM HOLLAND Established in 2003 and operating from a tithe barn in Dorset, William Holland produces hand-crafted copper baths fashioned at its on-site workshop by a team of creative experts and craftsmen, and counts Soho House and members of the Royal Family amongst its devotees.
Transforming interiors with its colourful and witty wallcoverings and fabrics, Cole & Son is a brand that fuses forward-thinking design with both traditional and innovative printing techniques. Founded in 1875 in North London – famous for the 190 hand-blockprinting companies located there – today, the company’s archive holds designs from its entire history, including 1,800 block-print designs. Best known for its more recent Woods and Palm Jungle designs, along with its collaboration with Italian design atelier Fornasetti, Cole & Son is also a Royal Warrant holder for the supply of wallpaper to HM The Queen.
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EMMA BRIDGEWATER Known for cheerful designs hand-painted onto cream earthenware, Emma Bridgewater proudly manufactures all of its pottery at its factory in Stoke-on-Trent, welcoming over 50,000 visitors a year for tours. Founded in 1985, its Polka Dot and Black Toast designs have become iconic, with a new range of kettles and toasters recently launched with Russell Hobbs.
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SAMUEL HEATH Solid-brass bathroom fittings and architectural hardware form the mainstay of this brand, founded in Birmingham in 1820. Be it a window latch, a door handle or a bathroom tap, each is completed by hand and can be plated in various finishes to fit with the interior scheme of any home.
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COMITTI Describing itself as creating ‘horological art for the home’, Comitti was originally an instrument maker (barometers and thermometers) when founded in 1850, but specialised in making exquisite clocks and time pieces from 1890 onwards, and works with high-end clients and partners such as Asprey to create bespoke pieces from its workshops in Ongar, Essex.
FEATURE KERRYN HARPER-CUSS, SAMANTHA SCOTT-JEFFRIES, SARAH FEELEY, EVE MIDDLETON PHOTOGRAPHS P89 (BURLEIGH) © RACHAEL SMITH. P90 (ESSE) © ED OVENDEN. P91 (BENCHMARK) © PETR KEJCI. P92 (HYPNOS) © DOMINIC BLACKMORE; (COMITTI) © PETER TOMEY
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HYPNOS Manufacturing luxury handmade pocket-sprung mattresses and divans for more than 100 years, Hypnos holds the Royal Warrant of HM The Queen and was the first carbon neutral bed manufacturer in the UK.
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EVERHOT Established in 1979 in Gloucestershire by the Goring family, an environmentally responsible ethos lie at the heart of Everhot. Designed to work using a trickle feed of energy, the cookers are suited to renewable sources.
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A br a h a m M o o n & Sons
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LEPORELLO Founded in 1998, Leporello designs and produces an exceptional range of bespoke furniture handmade to order in hardwood using traditional methods, 99 per cent of which is made in Dorking, Surrey. The company’s best-selling ranges include The Karelian Collection, The Evo and Elysian.
The high-quality, natural wool fabrics crafted and finished by Moon have been entirely made at its mill in West Yorkshire since 1837. Today, it is one of the last remaining vertical mills in Great Britain. Known primarily for its fashion fabrics, the last 10 years has seen the company grow its interiors range from just 10 per cent of its turnover and production to 50 per cent in 2018. Its best-selling Skye Check, launched 11 years ago, is now the cornerstone of its Classics collection, whilst recently it has collaborated with the National Trust on a collection of sustainable wool fabrics and accessories.
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I & JL BROWN Herefordshire-based specialist furniture maker I & JL Brown, founded in 1984, produces pieces created by hand with minimal machinery, highlighting the pride in craftsmanship so synonymous with the company name. It also offers an interior design service and carefully selected lighting, upholstery and accessories. n
01608 652442
raptureandwright.co.uk
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Redfield’s make the highest quality lead planters, cisterns, fountains. See online now and contact us for your bespoke planter or water feature
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94 THE ENGLISH HOME
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COLOUR SERIES COLOUR CONFIDENCE
WITH
AQUA
Inspiration for using this enticing shade that is not quite blue and not quite green
Headboard and Roman blind, Lapland Stripe, Smoke/Duck Egg/Hay (LAP-30-8-34), £60 a metre; bedspread, Gypsy, Smoke (GYPSY-30), £54 a metre and Plain Linen, Smoke (PLAIN-30), £52 a metre; wallpaper, Spotty Stripe, Smoke (WSPOT-30), £56 a roll, all Vanessa Arbuthnott THE ENGLISH HOME 95
2 5
6
1 4
8 9
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Tantalising aqua
7 10
FEATURE KATY MCLEAN PHOTOGRAPHS (2) © PAUL RAESIDE; (5) © KIP DAWKINS; (6) © JON DAY; (9) © STEVE PICKERING
Whether pale duck egg, deepest teal or dazzling turquoise, colours that sit on the cusp of blue and green are versatile, attractive and incredibly popular. Often named after a counterpart found in the natural world, these hues can include the jewel-like tones of a peacock’s feather, the shimmering waters of a Caribbean sea, the flash of colour on a drake’s plumage, the matt yet vibrant finish of a precious turquoise stone or the subtle hue of an eggshell. Neither decisively blue nor green, the various incarnations of aqua can sit squarely in between the two or veer towards more azure or verdant ends of the scale, causing much discussion along the way as different eyes interpret the undertones in their own ways. For instance, duck egg may be interpreted by some as a green-grey robin’s-egg hue, whilst others may consider it a powdery blue. Teal can be seen to be either bright and gem-like or densely saturated and enveloping. Turquoise aquas can be thought of as lively greens or bright yet calming blues. Rather than making these shades difficult to work with, this versatility makes them adaptable and multi-faceted, allowing a playful and layered approach to decorating. EXCITING PALETTES As we have seen in previous issues, both pure blues and greens can be layered together in a scheme in different tones, and the various aqua tones work well in the same way. Not only that, they are naturally at home with either blues or greens as accents, and using these will strengthen the presence of blue or green in the aqua shade. Colours that sit opposite aqua on the colour wheel provide a strong contrast. Look to shades with a red base – coral or rusty oranges can add depth to both pale duck egg and rich teal schemes. Pinks in all shades are an excellent partner to these blue-green shades. A pretty pastel scheme of pale pinks and duck egg is utterly charming; a mid-pink looks delightful with more saturated aqua tones; and for a striking, contemporary pairing, try fuschia and teal. A zing of yellow can also work well, as can an eclectic, colourful scheme that plays with all these colours, with an aqua as a backdrop. Easy on the eye, these aquatic hues can bring a soft infusion of colour to natural or grey schemes too. The following pages look at different combinations for various settings and styles. 1 Wallpaper, Brodsworth, Empress, £97.50 a roll; skirting, Marine Blue, £64 for 2.5l Intelligent Eggshell, both Little Greene 2 Wall, Deep Water Green, £55 for 2.5l Architects Matt, Paint & Paper Library 3 Cushions in Cevennes collection fabrics, from £89 a metre; wallpaper, Cevennes, Aloe, £185 a roll, all Brunschwig & Fils 4 Wallpaper, Vyne Silk in Oolong (background) and French Grey (foreground), both £90 a metre; curtains and chair pad, Java, Verdigris,
£55 a metre, all James Hare 5 Wallpaper, Basketry, Aqua, £66 a roll; headboard, Demetrius Applique, Aqua, £117 a metre, and all other fabrics, Thibaut 6 Calvin armchair, £399, Atkin & Thyme 7 Hydrangea soft duck egg fabric, £52 a metre, Jacqueline Milton 8 Signature wallpaper collection, from £89 a roll, GP & J Baker 9 Plushious velvet duck egg blue cushion, £45, The French Bedroom Company 10 Vernon Teal rug (2.8m x 3.5m), £2,377, Roger Oates THE ENGLISH HOME 97
Duck egg
Imbue a sense of calm and understated prettiness with this appealing, delicate shade
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his popular shade can vary greatly from a more green-based hue to a pale blue, however, the saturation always remains light, clear and ethereal. Creative director of Fired Earth Colin Roby-Welford says of its Duck Egg shade (centre swatch above), “This delicate blue-green has more depth and complexity than a powder blue or a pale green, yet it retains a wonderful freshness and vitality. Duck egg hues have a reassuring sense of familiarity and evoke a touch of nostalgia, making them perfect for traditional schemes and an easy, relaxing colour to live with.” This versatile colour can work well in many pairings. Surprisingly, it can be a great friend to terrracotta hues and rich browns, providing a light contrast to the warm tones. Calming duck egg tones – neither warm nor cool – can work almost like a neutral since they are so easy and restful on the eye. Adding a little more character to a natural palette of creams and beiges, they can look smart. For a pretty scheme, duck egg finds a great partner in pale pinks. Other shades of blue-green – brighter aquas or deep teals – also work well as an accent against the paler duck egg, as do purer shades of either blue and green.
Pretty pairing Clean, bright and uplifting, duck egg is ideal for enhancing the sense of light and space in an open-plan area, such as a kitchen with a dining area, whilst still having warmth and character. This space (above right) is charming but could be elevated by increasing the blush-pink accents. The two pastel tones work in harmony to create a feminine scheme that, though sweet, feels fresh and crisp. A pattern combining duck egg with pink could be used for the blind or on table linen. Sarah Hardaker’s Zia (swatches right) does this beautifully in two colourways – one with more pink, the other more duck egg. Balance out dainty elements with some chic choices such as glass pendant lighting – consider blush-toned glass to add another layer of pink. The Gustavian-style dining furniture shown works well for this look, but if seeking a more contemporary feel whilst still remaining true to the country mood, straight-backed Lloyd Loom chairs are a nice option. These (right) from Neptune can be painted in a range of colours. An assortment of chairs in pale pink and blue-green shades could be used for a playful character or stick to one colour choice for a more tailored look. 98 THE ENGLISH HOME
Calm yet colourful Here (above), duck egg takes on a sophisticated character in a scheme that is serene yet full of depth and pattern. With a somewhat neutral backdrop, duck egg is used in a plain fabric on the largest piece of furniture – the sofa. Vibrant tones are added in the stronger hued geometric pattern of the curtains and the lively turquoise and cobalt blue print used on the chair. This perfectly showcases how the subtle mix of blue and green in duck egg allows stronger tones of each to be brought out in the use of accents and layering in swathes of tonally harmonious colour. With this in mind, more of the blue could be highlighted, perhaps with a bold-hued glass lamp and shade. The flooring could be replaced with wood and topped with a sumptuous rug to add more texture and another layer of duck egg tones. Adding details in the form of trims provides further interest in this gentle colour palette. Golden accents in furniture and picture frames provide a refined finish. Silver would add a more cooler, fresher feel where golden tones bring a warmer aesthetic.
PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Duck Egg, £18 for 2.5l Breatheasy Coloured Emulsion Matt, Crown • Duck Egg, £42 for 2.5l Matt Emulsion, Fired Earth • Hawkesmoor, £51 for 2.5l Marble Matt Emulsion, Mylands OPPOSITE, FROM TOP • Fulbourn Dusky Pink Pendant in Polished, £138, Jim Lawrence • Slim Daisy Flower jug, Teal, £30, Dartington • Walls in Pale Duck Egg, £35 for 2.5l Emulsion; Provencale Ivory furniture, from £600 for a pair of dining chairs, all Laura Ashley • Montague Lloyd Loom chairs in Pink Peppercorn and Powder Blue, £280 each, Neptune • Zia fabric in Shell and Faded Duck Egg, £59 a metre, Sarah Hardaker
• Hotchpotch Vintage Three-Tier Cake Stand with Butterflies, £39.50, Bombay Duck ABOVE, CLOCKWISE FROM TOP LEFT • Curtain, Garden Trellis, £133 a metre; sofa, Sagamore, £94 a metre; chair, Odisha Jungle, £113 a metre, Travers at Zimmer + Rohde • Perfume Bottle lamp, Azure, £1,296; Teal Satin slim straight oval shade, £146, Porta Romana • Directoire Tape, Teal, £92 a metre, Schumacher • Modena Blue Colour Block Photo Frame, £20, Oliver Bonas • Engineered Parquet Flooring, £110 a sq m, The Main Company • Blossom Mist rug, £778 a square metre, Riviere Rugs • Caspian Coffee Table, £1,450, Andrew Martin THE ENGLISH HOME 99
Turquoise Vibrant, bright and clean, these dazzling aqua tones bring fresh, crisp colour to a scheme
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ull of vitality, bright aqua hues evoking gemstones such as turquoise, jade and aquamarine have a vibrancy without feeling brash. Echoing crystal-clear seas on a sunny day, these clean colours are inviting yet somehow also tranquil and calming. This mood can be heightened in a pairing with crisp whites or greys for a fresh, modern scheme.They also work well with a warmer palette of colours. Pinks work supremely well as a contrast, but blues, limes, yellows could also be combined to create a bright, zesty palette that is fun and invigorating. Some turquoises can be more blue – such as Lakeland Paint’s Gualala (right-hand swatch above). Others are more jade-like and green in tone such as Devanandha’s Aqua (middle swatch above), from Francesca’s Paints, whose founder Francesca Wezel explains that the vibrant shade is made from Phthalo Green pigment only. “That’s the reason it is so fresh and tangy. It is deeply pigmented and it is a clean colour, contrary to duck egg.”
Bright & playful This rather vivid and lively turquoise (left) might seem an energetic choice to use as a block colour on walls, however, here, it provides a clean backdrop to the playful assortment of bright pastel and eclectic pattern ensemble. It is surprising how adding more colours, creating a seemingly mismatched palette, actually mellows its vigour and creates an uplifting and beautifully considered sitting room. The dark and light blues add a subtle richness, bringing forth the blue undertones of the turquoise. The zesty lime greens could seem incongrous in theory (the yellow-green seeming out of balance with the blue-green) yet here add punctuation in block colours on upholstery, cushions and the rug. Accents of pink bring the whole scheme together, providing a contrast to all the other colours. Recurring in all the patterned fabric choices, they create a visual cohesion that calms the eye. More of each colour could be added, with painted furniture in pinks or blues, some more lime green in a footstool and a touch more teal in a lampshade, perhaps. For a similar paint colour try Edward Bulmer Natural Paint’s Turquoise (left swatch above).
Ethereal beauty Shades of aqua offer a soothing quality in this light, bright sitting room (above). Echoing a Caribbean beach house with its light, breezy ambience, there is a a welcoming, relaxing quality to this palette designed by Tricia Guild, founder of Designers Guild. “In my view there are few more relaxing colours to live with than the glassy, delicate aqua tones that blur the fringes of blue and green,” Guild says. “Although apparently cool, in reality these colours are anything but. Used with soft neutrals, like parchment and linen, they feel more gentle and warm than their perceived glassy coolness. Put them with clear white, and even tones of grey, and the mood can change again to a modern feel.” Using a range of textures helps to soften the look – velvets and silks maximise the jewel-like qualities of these gemstone tones. Shapely furniture brings a softer, classic feel and could be accentuated by adding other pieces such as the curved console table (above right), or streamlined and angular pieces can be used for a modern look. Finally, some small accents of apple green are peppered about for a little contrast and dynamism but do keep these limited to retain the sense of serenity in the scheme.
PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Turquoise, £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint • Devanandha’s Aqua, £47.29 for 2.5l Matt Emulsion, Francesca’s Paints • Gualala, from £61.75 for 5l Matt Paint, Lakeland Paints OPPOSITE, FROM TOP • Gathered Bedwyn empire lampshade in Plain Teal light linen, from £85, Fermoie • Asta Rose coffee tables, £125 for two, Bloomingville at Amara • Curtains, Palmette, £69.90 a metre, and all fabrics, Linwood • Anderson footstool, green with walnut legs, £199, Cult Furniture • Cushion in Camellia Trellis Green, £55, Susie Hetherington • Budapest rug, from £160 (180cm x 120cm), John Lewis & Partners
ABOVE, CLOCKWISE FROM TOP LEFT • Plain Velvet cushion cover in Mustique Turquoise, £54, Oka • Villa Nova Starstruck cushion, Aqua, £70, Sweetpea & Willow • Glass Bottle Vase, Green, £10, National Trust Shop • Round layered mirror in Smoke £379, Heal’s • Salamander table lamp in Eau de Nil clear blown glass with 45cm straight empire lampshade in Natural Linen, £305, Pooky • Archer Dining Chair, £395, India Jane • Palladio console table, £2,800 Paolo Moschino for Nicholas Haslam • Sofa, Iridato,Pale Aqua, £105 a metre; wallpaper, Berettino Celadon, £65 a roll, and all other fabrics, the Murrine collection, Designers Guild
THE ENGLISH HOME 101
Teal
Deliciously deep, teal tones add richness and complexity to colour palettes
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amed after the duck of the same name which features a flash of gorgeous green-blue on its crown, this particular deep colour has been enjoying a wave of popularity over the last couple of years. Though it can be dark, it still retains an intriguing vibrancy, which makes it more stimulating than a deep navy or moody green, and a bit lighter in its overall effect. It provides a fabulous backdrop to brighter aqua tones – the two tones boosting each other and enticing the eye with an indefinite assortment of blue and green. Though brighter blues and greens could work with teal – think of the beauty of a peacock’s feather which combines all three – teal often looks better with a stronger contrast. Sitting opposite teal on the colour wheel are deep oranges. Whilst complementary, this strong contrast can be quite powerful; rich yellows might be a more appealing choice. Though yellows can work with other aqua shades, teal works especially well with golden highlights. Pinks, both in pale and deeper shades, are a beautiful foil to teal and look partiularly lovely in a bedroom. Purples, too, can add further rich colour for an interesting combination.
Deeply enticing Dark kitchen cabintery looks smart and refined, and whilst navy or hunter green hint at a classic style, teal strikes a more contemporary note. The ambiguity between green and blue is softer in its impact than purer tones. In this kitchen (above right), some lighter accents in a pale aqua, almost a duck egg, further enhance this gentler approach. Adding tiles in this colour would work well and brighten the space. Here, we suggest the addition of another layer of colour in the form of a statement range cooker in deep aubergine (right). The daring might look to a mustard yellow option, but for a more understated yet still colourful look, the use of purple is playful but well considered. Putting another feature colour in the mix means limiting other accents to shades of blue-green, whether teal or duck egg. A teal flatweave rug would add a little comfort underfoot. Warm metals in brass or copper maintain a slightly more heritage feel whereas silver and nickel finishes offer a cooler, contemporary look. Adding knobs, handles, even pots and pans, in rich coppers will add a classic warmth. 102 THE ENGLISH HOME
The hand-painted wallpaper (above right) by de Gournay provides an elegant backdrop in this dining room with its dramatic design on a sumptuous teal background. The colourful birds and citrus trees intermingling with flowering tulip and peony trees in the design provide a range of rich colours to pick out for use in accent details. Furniture in teal and turquoise might add an intense hit of vibrancy, as might an golden yellow fabric at the window, plain or semi-plain so as not to detract from the wallpaper. An opulent silk would be an ideal pairing, particularly with a sparkling crystal chandelier or flickering candles in the evening. Though this is a sophisticated room, playful notes could be added with accents of colour in glassware or tableware, or in floral centrepieces that pick out the hints of pink, orange, lime and bright aquas in the paper. For a more affordable option, a chinoiserie-style wallpaper could be used, but look for one that still has plenty of detail and colour to provide the eye-catching central feature of the scheme.
PAINT SWATCHES OPPOSITE TOP LEFT (FROM LEFT) • Maritime Teal, £42.84 for 2.5l Diamond Matt, Dulux Heritage • Vardo, £46.50 for 2.5l Estate Emulsion, Farrow & Ball • Serpentine, £49 for 2.5l Elite Emulsion, Zoffany OPPOSITE, FROM TOP • Gisela Graham Circular Green Marble coaster, £11 for two, Hurn & Hurn • Potters Glaze tiles, Gadsby, £64.42 a square metre, Claybrook • Arbor kitchen, from £20,000, Harvey Jones • Everhot 100+ range cooker, Aubergine, £7,925, Everhot • Aged Satin Copper cup handle, £54.70, G Johns & Sons • Upani cotton rug, Teal & Natural, from £99, Urbanara
• Newey & Bloomer Kensington copper kettle, £220, Borough Kitchen ABOVE, CLOCKWISE FROM TOP LEFT • Saisons tassel tieback, Capri, £280, Samuel & Sons • Hummingbirds wallpaper, £115 a roll, Cole & Son • Jardinières Citrus Trees handpainted wallpaper on Blue Green Williamsburg, from £977 a panel (W91.5cm), de Gournay • Deneuve cabinet in Teal Vellum, £6,429, Julian Chichester • Atelier dining armchair, from £3,036, Baker Interiors Group • Fabric, Quartzite, Yellow, £60 a metre, James Hare • Jewel Tone glass candlesticks, £22 each, Sophie Conran
THE ENGLISH HOME 103
FEATURE KATY MCLEAN PHOTOGRAPHS P92 (TRAVERS) © KIP DAWKINS; (ANDREW MARTIN) © LA PHUC PHOTOGRAPHY; P94 (FERMOIE) © DEBORAH HUSK; P95 (NATIONAL TRUST SHOP) © NIELS VAN GIJN; (INDIA JANE) © JOHN LOWTON; (DESIGNERS GUILD) © JAMES MERRELL; P97 (SOPHIE CONRAN) © DOUWE HOOGSTINS
Luxurious setting
NINA CAMPBELL
on aqua
“
Aqua hues – from teal to duck egg – are some of our most popular colours for fabrics and accessories. I think they can be very versatile colours that can work well with many different palettes. You can also use them in a subtle, soft way or push them to brighter or deeper saturations, so they have a very different impact. A CASE IN POINT For this bedroom (above right), as with many couples, the wife wanted something feminine and the husband didn’t want to be in a pink room. I presented several options and this colour appealed to them both. I like to call this shade duck egg, though I am not sure a duck’s egg ever is this colour, but it’s a good term. It is an easy, calming colour, not blue, so it is not cold, and not green either, which I find is not a very flattering choice in a bedroom. It reflects on the skin in a poor way. This is a lovely, light room, so combining the aqua with chocolate brown [in the bedlinen] was easy and made it even more welcoming. The only really strong use of duck egg, or aqua, is on the headboard and stool at the foot of the bed. Otherwise there is lots of broken white, ecru linen on the walls and some smaller touches of aqua coming in, such as the beautiful blue-glass lamps and the braid trim around the wall. It is very detailed and tailored.”
104 THE ENGLISH HOME
USING AQUA SUCCESSFULLY KEEP IT CLEAN • Whatever tone of aqua, the colour needs to be bright and clean, don’t muddy it. Then it can become very dull.
in some yellow or warm it up with coral or orange. In a New York apartment, I paired it with greys and a strong blue. It’s very versatile.
USE SPARINGLY • One potential pitfall in using aqua is it can start to look as though you are in a swimming pool. That’s not to say you can’t use it on the walls, but balance it with some other colour or broken white. Or, as I did in the bedroom above, use it boldly on a few pieces.
BEING BOLD • In my own hallway, I’ve used a much stronger turquoise in a lacquer finish. One place I feel you can go really bold with a strong colour is the hallway. Mine goes straight into my sitting room, which is in a plainer linen hue, so I wanted a strong colour to create a joyous sense of arrival. The lacquering makes it shiny, strong and so uplifting when I come home. Though the turquoise is a bold colour, it almost behaves as a neutral since I have all sorts of other colours thrown in with it. It surrounds a bookcase in which the spines are in every possible colour. I think you can throw colours together with it to great success. n
BEST PAINTS • Argile is a French company that uses a lot of pigment so the colours are beautiful. In this colour palette, I’d recommend Eucalyptus, Lichen Bleu and Terre d’Orient. Benjamin Moore also has a very good paint range. STRONG COMBINATIONS • Teal goes beautifully with greens. You can also throw
FEATURE KATY MCLEAN PORTRAIT © SYLVIE COGRANNE PHOTOGRAPH © PAUL RAESIDE
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Lighting
BY DESIGN
Whether ornate or clean-lined, a statement light draws the eye and completes a room scheme as well as conjuring atmosphere
I
t is natural for the eye to be drawn to light
sources, but if the fittings are things of beauty in their own right, their power to enhance an interior will even remain by day when the lights are turned off. “If you compare a room scheme to an outfit, then decorative lighting is the jewellery,” says Harriet Daniels, founder and creative director of Tigermoth Lighting. “Specific to the space it is in, lighting has the ability to make or break a room.” The shape, size, colour, texture and position of any one light fitting and its relationship to other elements in a room all need careful consideration when planning the design of any room in the home. If seeking inspiration, look to the ever increasing number of specialist shops and bespoke makers to find exactly the right piece – whether a statement pendant for an entrance hall or above a dining table, or a pair of elegant table lamps to add symmetry and atmospheric lighting to a sitting room or bedroom.
MATERIAL CHOICES An increase of interest in lighting has encouraged manufacturers to experiment with materials of every kind – from the precious and luxurious through to natural and organic. Modern materials such as resin and polymers can be cast and moulded into interesting shapes with broad appeal. Alongside these, an emphasis on sustainability has led designers to
explore the potential of using materials such as wood, rattan, leather, cork and even cardboard. Metal, hand-blown glass, crystal and semi-precious stones provide limitless design possibilities for a luxurious touch. Clear and translucent materials change character when lit from within. Chandeliers made from crystal or intricately worked Murano glass flash and sparkle, but even simple globe and bellshaped pendants made from jewel-bright glass come alive when the lights are turned on. Where diffuse light is needed, alabaster – a marble-like stone – is the traditional choice. With light behind it, it becomes softly luminous and its characteristic veining more pronounced. Porcelain and bone china lamps produce a similar effect. A constant in the history of lighting design, metal is used for every kind of fitting from candleholders to contemporary lamps. Polished, semi-matt or textured, it comes in a vast range of finishes. “In the past, brass was the metal finish of choice,” says Chris Jordan, managing director at Christopher Wray, “but polished chrome and nickel, and more recently bronze and copper finishes, are all options.” “The way designers integrate metals into their schemes is changing too,” observes Daniels. “It used to be the aim to match all metallic finishes but now different finishes tend to be mixed together. The key is to make sure they are of a similar tone.”
OPPOSITE Aerin Clarkson 10-Light Chandelier with Linen Shades in HandRubbed Antique Brass, £3,719.98, Visual Comfort & Co at Andrew Martin ABOVE CLOCKWISE FROM LEFT Browning Lantern Pendants (small) in Bronze, £275 each (small), Neptune Hand-forged Genoese Chandelier with Amethyst & Crystal elements (H122cm x W105cm), £17,800, Cox London Walter Pendant, Size 2, in Anthracite Glass & Brass, £439, Original BTC Bespoke lamps in combinations of bronze resin and handmade glass elements, £POA, Margit Wittig
THE ENGLISH HOME 107
PERIOD AESTHETIC Contemporary lighting looks wonderful in a traditional home, its modern design a lively counterpoint to original features. Equally, where the goal is to achieve a more coherent period style, there is no shortage of choice. Whilst genuine antique fittings are available, it is not always easy to find pairs in good condition and at the right price. A simpler way is to opt for good-quality reproductions. Lights that mimic candle sconces, chandeliers, oil lamps, art deco and mid-century modern styles have become classics and are made in a range of styles to suit homes of every era. “Designs become classics for a reason,” says Jordan. “They stand the test of time – lighting based on old styles with a modern twist are always best sellers.” Lanterns and chandeliers are amongst the most enduring of period pieces and, depending on the level of detail in their design and the colour and finish of the metal they are made from, can put a convincing finishing touch to a traditional space or simply give a nod to its history. The way lights are positioned affects the style of a room too and symmetry is key to a traditional look. A pair of wall lights flanking a mirror above a fireplace, or picture lights over paintings placed either side of a chimney breast, have an elegance that contributes to the period atmosphere.
ABOVE RIGHT Hampton Pendant, Size 2 in Opal & Weathered Brass, £525, Davey Lighting RIGHT The Tulip 18” ikat lampshade, £396, Melodi Horne FAR RIGHT Attingham cylindrical lantern, £6,240, Jamb
STATEMENT DESIGN Placed above a dining table, at the heart of a group of seating or in the tall stairwell of an entrance hall, a strikingly designed pendant, chandelier or cluster light commands attention, drawing the eye to the centre of activity. Colour, design, texture and reflectivity each play their part in giving statement lights their star quality. Although interesting designs are readily available, personalised pieces are becoming easier to commission, with specialist retailers offering bespoke or customised fittings to customers who want something uniquely their own. “We are becoming fussier about our lighting, ignoring the ordinary in favour of pieces that are singular, handmade or have a story to tell,” says interior designer Joanna Wood. “A signature lamp is a brilliant substitute for art or accessories because it perfectly balances the functional with the beautiful.” Statement lighting can be unexpectedly successful in functional areas of the home and quiet corners where practicality is usually the main concern. A line-up of
ABOVE LEFT Cactus table lamp (large) in Arancio, £474, Hector Finch ABOVE RIGHT Selection of classic pendants in Ruby, from £295, Curiousa & Curiousa
PRACTICAL POINTS Energy-saving light bulbs help keep electricity costs down and are more eco-conscious, and LED bulbs offer the best savings using up to 90 per cent less energy than incandescent bulbs. Our brief guide explains what to look for: • Brightness The level of brightness is measured in lumens instead of watts, and the higher the number of lumens, the brighter the light. As a guide, a light output of about 400+ lumens is needed for a bedside lamp and around 700+ lumens for a table lamp in a sitting room. • Colour temperature The first LED bulbs acquired a reputation for producing a cold, harsh light, but now they are available with a choice of colour temperature. Measured on the Kelvin scale, look for a colour temperature of 2000K for decorative and ambient light and around 2700K for task lighting. • Colour Rendering Index (CRI) This measures how accurately a lamp reproduces colour. A CRI level of 90-plus recreates the effect of a traditional lightbulb. THE ENGLISH HOME 109
Knurl bronze wall light with bespoke shade in truffle, £282, David Hunt Lighting
HOME LIGHTING SPECIALISTS
pendant lights above a kitchen island or dining table turns the everyday into a special feature, and it is the idea, not a boundless budget, that makes it a success. A lone armchair set apart from the main seating area or in a study always needs a lamp of its own should anyone wish to sit and read. Choose an elegant floor lamp or a chic table lamp with a colourful shade made from antique or handmade textiles to help transform the area into a cosier sanctuary.
TOP LEFT Colombier Chandelier in brass, £2,322, with 5-inch drum lampshades in lipstick pink silk, £59 each, Vaughan ABOVE LEFT Resin, aluminium and fabric chandelier, £POA, Sunbeam Jackie
• Bella Figura Striking pieces made in England and Italy. Tel 020 7376 4564; bella-figura.com • Besselink & Jones Hand-built English decorative lighting. Tel 020 8574 4068; besselink.com • Charles Edwards Elegant forms created in Wimbledon. Tel 020 7736 8490; charlesedwards.com • Christopher Hyde Classic and contemporary luxury designs. Tel 020 7351 0863; christopherhyde.com • Collier Webb Hand-crafted lighting forged in East Sussex. Tel 020 7373 8888; collierwebb.com • Cox London Creators of renowned sculptural forms. Tel 020 3328 9506; coxlondon.com • David Hunt Lighting Cotswold-based manufacturer of classic styles. Tel 01295 672628; davidhuntlighting.co.uk • Fritz Fryer Modern, designer, contemporary, traditional, retro, vintage and bespoke light fittings. Tel 01989 567416; fritzfryer.co.uk • IJ & L Brown Hereford-based brand with curated lighting. Tel 01432 851991; ijlbrown.com • Jim Lawrence Classic and modern lighting made in Suffolk. Tel 01473 826685; jim-lawrence.co.uk • John Cullen Lighting Award-winning architectural lighting specialist. Tel 020 7371 9000; johncullenlighting.com • Pooky Decorative lights, lamps, bases and shades. Tel 020 7351 3003; pooky.com • Scabetti Sculptural pieces handmade in Staffordshire. Tel 01538 371471; scabetti.co.uk • The English House Handmade lighting with a classical simplicity. Tel 020 7242 6727; theenglishhouse.co.uk • Villaverde Designed in Chelsea and made in Italy. Tel 020 7610 9797; villaverdeltd.com THE ENGLISH HOME 111
FEATURE MAGGIE STEVENSON PHOTOGRAPHS P117 (MARGIT WITTIG) © SIMON BROWN; P118 (MELODI HORNE) © SIMON BEVAN; (JAMB) © SIMON UPTON
LEFT Atlante Classic alabaster and metal 24-light chandelier (two lights per shade), from £7,915, Villaverde. Interior design by Auberry of London
QUESTION OF SCALE Large table lamps have a generous, expansive look and cast a wide pool of light creating an atmosphere of comfort and warmth. They make a strong design feature placed strategically in pairs on a console table or individually on side tables to highlight different parts of a room. Where surface space is limited, choose slender column lamps or those with a small footprint, though bear in mind that the lamps themselves are decorative pieces and need room around them to be seen without competition from other objects. Large ceiling lights transform a space, especially where there is a high ceiling. Crystal chandeliers are a favourite for traditional interiors and the choice is becoming wider with new shapes and designs on offer. Tiered and ring chandeliers come in classic and modern styles, but linear designs intended to hang lengthways over a rectangular dining table provide an even light over the surface. Fantastical designs hung with laser-cut foil leaves instead of clear drops make a dramatic centrepiece, whilst angular metal constructions have a sharp sophistication. Interior designer Natalia Miyar believes that choosing a striking, one-of-a-kind light fitting can give a room a distinct identity. “It can be bold and beautiful, capturing the eye as you enter the space,” she says. “The right fitting will add another layer of colour and texture and visually lower the ceiling height creating a sense of intimacy in a large room.” n 112 THE ENGLISH HOME
BELOW Brass Fold chandelier in handgrained brass, £6,504, Tigermoth Lighting BOTTOM Sputnik chandelier in brass, £1,750, Jonathan Adler
Large Traditional Slate Grey Pendants adorn this Classic English Martin Moore Kitchen
www.curiousa.co.uk
www.martinmoore.com
OPPOSITE The highly skilled craftsmen at work in the workshops at Besselink & Jones ABOVE LEFT Six-light Flemish chandelier in brushed nickel, £1,659; 5.5” candle lampshades in cream card, £48 each LEFT A hand-built bespoke chandelier commissioned for The Law Society in London TOP RIGHT Picture light, from £225 for 6.5” in distressed brass MIDDLE, RIGHT (Far left & far right): Windermere pendant floor lamp; (centre): Alexander three-arm floor lamp with adjustable, lipped table; (background): Telescopic desk lamps MIDDLE, LEFT Two-arm library light, £673 in distressed brass, plus shade BOTTOM RIGHT Fluted glass column on ornate base in distressed brass, £1,158, plus shade
he Story of BESSELINK & JONES The co
FEATURE KATE FREUD PHOTOGRAPHS (BOTTOM LEFT IMAGE) © DAVID CLEVELAND
T
lighting manufacturer has a stro ge of g decorative treasures into lam l as creating its own innovative yet classic designs
he remnants of an old Spitfire components workshop might seem an unlikely place for the foundation of one of the oldest lighting companies in the country, but that is exactly where Besselink & Jones’ intriguing history started in 1959. It is a story the company is proud of, as its owner Neil Watton explains. “It is now 60 years since [original founder] Jack Cadman set up the company with workers who were unsure what to do after the Second World War. He decided to use their combined skills to create a workshop repairing old chandeliers.” From these humble beginnings, the business grew from strength to strength. “In time, they started restoring a larger variety of lights before eventually converting ceramics and decorative objects into lamps,” Watton says. Cadman soon began employing craftsmen in the fields of gilding, wood-turning, cabinetry and engineering to bring the skills and expertise to handle more delicate and complex projects to the workshop. Before long, its specialist offering allowed it to become involved in the restoration of everything from chandeliers to furniture. When Hank Besselink – who came from an engineering background – began working with Cadman at his workshop in Surrey, the duo started to develop new designs and techniques together. Nearly a decade later, interior designer and accomplished artist Nigel Jones joined the ranks and Besselink & Jones as it is known today was born. Jones would go to Besselink and Cadman with designs for a range of products, and the three of them would work out how to make many of the pieces that can still be bought to this day.
“From our workshops in West London, we still manufacture and restore decorative lighting, including everything from delicate antiques to heavy chandeliers,” Watton explains. “Because we produce every piece of lighting by hand, and all designs can be created completely bespoke to suit a client’s specification, our passion for hand-built decorative lighting lives on.” The company has 35 employees, including some of the finest millers, spinners, platers and polishers in the world and Watton is the first to acknowledge how fortunate Besselink & Jones is to have them. “There’s nothing more satisfying than seeing all the old techniques still being used to this day,” he says. Though the firm takes great pride in its history and the use of traditional manufacturing techniques, when it comes to the environment it is a truly 21st-century business. Its lights can be supplied to suit energy efficient LED bulbs and all packaging is recycled. Another innovative move will be launching a new website over the next 12 months, allowing customers to order products online for the first time. There have been many proud moments for Besselink & Jones over the years, but some stand out more than others. “We have been fortunate enough to supply everyone from the Royal household to luxury hotels such as The Ritz in Paris, The Astoria in St Petersburg and The Lanesborough in London,” Watton says. “Nothing gives us more pleasure then seeing our lighting in such fine establishments. I remember the first time we supplied Buckingham Palace with some of our lamps – it was a truly memorable moment. And being a proudly British company, it doesn’t really get better than that.” n THE ENGLISH HOME 115
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QUINTESSENTIALLY
Inspiration for seasonal pastimes and making the most of life at home starts here
SEASONAL PLANS
FEATURE EVE MIDDLETON PHOTOGRAPHY & STYLING TAMSYN MORGANS
The last vestiges of summer are neatly encapsulated in the beautiful hues of the hydrangea flower – ranging from delicate creams through to vivid purples, its colour palette shifts according to the pH levels of the soil in which it is grown. These simple single stem arrangements by stylist and photographer Tamsyn Morgans (@tamsynmorgans) showcase the delicately coloured petals to best effect. For similar glass vases, try Summerill & Bishop or Closet & Botts.
THE ENGLISH HOME 117
Se
…in the moment
h
me at or with moods
Organising the home
W
TOP Opt for storage solutions that place everyday items within easy reach. Wardrobe cupboards, from £1,410, British Standard ABOVE The sleek lines, neat storage and neutral colour palette in this Sophie Paterson Interiors townhouse project combine to create a calm environment in this dressing room.
118 THE ENGLISH HOME
ith September comes the advent of new beginnings – turning the page on summer signals a shift in direction, and equally brings about a renewed sense of purpose. Now is the time to channel both energy and effort into organising the home. Storage solutions offer a plethora of opportunities, and though the thought of tackling areas in need of remedy might be daunting, the reality can often be much simpler and produce great rewards. “The right attitude is key,” explains Svetlana Michalovskaja, head of wardrobe organisation at clothing storage and management company Vault Couture. “You have to be in the right frame of mind and be prepared to sort through and throw out or give away items. Before beginning, be sure you are ready to commit to the process – set aside the entire day, and take one section at a time so you don’t get overwhelmed.” Focusing on one facet of a room, such as the wardrobe, can be an effective starting point for setting further solutions in place elsewhere. Small changes can make a big difference, says Michalovskaja, who also recommends drawer dividers and hangers (“ideally non-slip and all matching”) to maximise space. “If your wardrobe is overloaded, consider purchasing a freestanding rail with a shelf on both top and bottom. It is important that you organise your wardrobe in a methodical way and that your everyday items are easy to reach without disrupting all your hard
work. You would be surprised how often these details are overlooked.” Larger areas of the home can require more focused attention. The Association of Professional Declutterers and Organisers has a number of experts on hand for insider help, and runs workshops and events throughout the year for those in search of further guidance. “People often accumulate things that they no longer need, so it can be useful to create an inventory and look at how often the items on it are actually used before deciding what needs to be kept, which to display, and which it would be preferable to hide away,” says Merlin Wright, design director at cabinetry specialists British Standard and Plain English. Open shelving and fitted furniture can be effective for display purposes, and provide an instant storage solution that requires no work, whilst fitted storage can make the most efficient use of more awkward spaces and can look more architecturally integrated. “You can even used fitted furniture to ‘zone’ a room,” says Simon Tcherniak, senior furniture designer at Neville Johnson, citing an open-back peninsula bookcase as an example of storage that can “act as a subtle room divider”. Whether sorting and decluttering a chest of drawers or an entire house, adding a personal touch to creating clear, open spaces and organised storage brings a peace of mind and satisfaction that welcomes in the season ahead.
Maximising space with clever use of freestanding clothes rails and non-slip matching hangers creates a pleasingly neat and equally practical aesthetic.
THE ENGLISH HOME 119
In an English kitchen
S
eptember’s warm dappled sunlight ushers in the onset of the harvest season, itself reflected in country orchards bearing boughs of sweet perfumed apples and perfectly ripe pears. The Soil Association’s Organic September seeks to promote the use of sustainable and pesticide-free produce with events held across the UK (soilassociation.org/organic-living/organic-september), whilst British Food Fortnight celebrates homegrown food and drink, running from 21 September to 6 October (lovebritishfood.co.uk).
World’s biggest coffee morning Macmillan Cancer Support’s biggest fundraising event is held every September and sees supporters enjoying cake and a coffee with the aim of raising money for people affected by cancer (coffee.macmillan.org.uk). All coffee mornings are listed on the ‘find an event’ section of the website, whilst those wishing to host are encouraged to sign up for the free fundraising kit which offers advice and information on how best to plan an event. Donations on the day – this year 27 September – can be made in person, by text or online, and will go towards the total of more than £200 million raised since the first coffee morning in 1990.
Seasonal ingredients FRUIT & VEGETABLES Apples Celeriac Damsons Elderberries Kale Leeks Parsnips Plums Sweetcorn FROM LAND & SEA Cockles Goose Guinea fowl Lemon sole
Plum & apple tart Makes about 8 slices 45g unsalted butter, at room temperature 90g golden caster sugar 1 egg 1½ tsp baking powder 90g plain flour 375g ready-rolled sweet shortcrust pastry, defrosted if frozen 10 Victoria plums, pitted and halved 2 Bramley apples, cored and sliced 3 tbsp apricot jam, to glaze (optional) A 23cm/9in loose-based fluted tart pan, greased
• Preheat the oven to 160°C/325°F/Gas Mark 3. • To make the cake mixture, put the butter and sugar in a mixing bowl and mix with an electric whisk to combine. Mix in the egg and baking powder with the whisk, then gently fold in the flour by hand until evenly combined. • Line the tart pan with the shortcrust pastry and trim the excess dough neatly around the edges. Spoon the cake mixture into the tart shell and spread evenly. Scatter the plums and apples all over the mixture. • Bake in the preheated oven for 40 minutes. When the tart is ready, the fruit will have sunk a little and the cake will have risen up in parts and be golden. Remove from the oven and leave to cool for a few minutes. • In the meantime, put the apricot jam, if using, in a small saucepan and heat gently until melted and runny. Brush the jam all over the tart filling with a pastry brush and leave for a few more minutes before serving. Alternatively, serve it chilled with cream or custard.
Taken from Home-grown Harvest, Ryland Peters & Small, £14.99
LEFT Rosey-hued apples hang heavy ready for harvesting. BELOW Picked fresh off the stalk, sweetcorn comes into its own when steamed and served with melted butter.
Enjoy the season’s fresh fruit baked into a perfumed tart, warm from the oven and served with a pool of cream
THE ENGLISH HOME 121
In an English garden Clare Foggett, editor of our sister magazine The English Garden, on how to maximise enjoyment in the garden this month
G
ood planting choices, such as asters with grasses for texture and movement, can help bridge the September gap between late summer and autumn. Ornamental grasses have soared in popularity over the last decade or two, largely thanks to the ‘New Perennial’ movement, spearheaded by designers such as Piet Oudolf. Large swathes of long-lasting perennials are mixed with grasses creating a tapestry of texture and colour. Head to Pensthorpe Millennium Garden in Norfolk for a glorious example, or the Hauser & Wirth gallery in Somerset.
In bloom
Held in conjunction with Plant Heritage, the charity that is dedicated to the conservation of rare garden plants, Helmingham’s Autumn Plant Fair with Artisan Market features specialist nurseries to tempt any plant shopper and a market of artisan foods, collectables and pottery. It takes place in the gorgeous gardens of Suffolk’s Helmingham Hall, transformed by owner and garden designer Xa Tollemache – formally known as Lady Tollemache – who will be giving guided tours on the day (book in advance). Lady Tollemache has also launched her own range of elegant garden furniture, The Helmingham Collection. 15 September; helmingham.com
Time to plant IN THE GREENHOUSE Plant festive bulbs such as hippeastrum (often sold under the name amaryllis) and forced hyacinths for Christmas flowers. OUTDOORS/IN THE BORDER Hardy annual seeds can be sown directly into finely-raked border soil this month. The seedlings will overwinter and flower next summer. Try zingy orange calendula or blue centaurea. September, especially towards the end, is one of the best times to establish new perennials, while the soil is still warm but plenty of rain is likely. Many perennial weeds are more vulnerable to weedkillers applied in autumn, so where
122 THE ENGLISH HOME
there are problems with persistent patches, apply a systemic weedkiller now. FRUIT & VEGETABLES Pick prolific autumn raspberries this month, such as ‘Autumn Bliss’ and ‘Glen Ample’. If you still have potatoes in the ground, dig them up and store in a cool, dark and dry place to use over the next few months. Left in the soil they will be prone to slug damage, as will carrots and beetroot. Sow crops for harvests over winter or next spring. Try winter salad leaves, such as lamb’s lettuce and land cress, in a greenhouse border or cold frame for winter pickings of fresh leaves, or broad beans, spring greens and early peas to provide next spring’s first crops. n
TOP RIGHT Plants on display at Helmingham’s Autumn Plant Fair with Artisan Market. ABOVE LEFT The garden at the Hauser & Wirth gallery in Somerset. LEFT Blue asters at sunset.
FEATURE EVE MIDDLETON PHOTOGRAPHS P119 © HOLLY MARDER/LIVING4MEDIA; P120 (APPLES) © ALEKSANDRA H KOSSOWSKA/SHUTTERSTOCK; (SWEETCORN) © MAMA_MIA/SHUTTERSTOCK; P121 © PETER CASSIDY/RYLAND PETERS & SMALL; P122 (HAUSER & WIRTH) © JASON INGRAM; (DAHLIAS) © NNATTALLI/SHUTTERSTOCK
Choose Aster x frikartii ‘Mönch’ for masses of daisy flowers in pale blue-mauve, or try blue ‘October Skies’ or magenta ‘Andenken an Alma Pötschke’. Japanese anemones are an excellent choice for shady spots, and bear flowers in white and all shades of pink, pretty in their simplicity, and held on tall stems. Persicaria is beloved for its bottlebrush-like flowers – seek out ‘Taurus’ or ‘Firetail’ for upright flowers in crimson-pink.
Ironwork Door Canopies
HOME & GARDEN FEATURES
Faux Lead Mayfield Planters 55cm model now just £75 (was £112) Other sizes in range: 27cm - £16.50 | 32cm - £27.50 | 38cm - £44 | 45cm - £68
www.roundwood.com Tel: 01435 860 888
catalogue available
01225 851577
www.garden-requisites.co.uk
English Fireplaces offer a full range of hand carved fireplaces in marble and limestone in the finest quality with great value. Call to see how we can help you.
020 3179 9700 info@englishfireplaces.co.uk www.englishfireplaces.co.uk THE ENGLISH HOME 123
Introducing The English Garden Voted Garden Publication of the Year
Special offer to readers of The English Home
Six issues only £21.95 plus FREE WELCOME GIFT Available exclusively to our subscribers, these strictly limited-edition The English Garden secateurs by Spear & Jackson are presented in a beautiful box illustrated by Hannah McVicar.
*Gift offer applies to Direct Debit orders only
The perfect companion to The English Home Every issue brings Britain’s prettiest gardens to life through glorious photography and captivating stories, supported by expert planting advice and inspirational design ideas from experienced gardeners.
Special benefits for The English Home readers SAVE OVER £1.60 per issue off the shop price Posted FREE to your home FREE welcome gift worth £32.99
“The English Garden is a constant reminder of the beauty of English gardens.” Alan Titchmarsh MBE
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Smart Buyer’s THE
GUIDE
Daniel Fairburn: Industry expert and founder of Out & Out Original brings you the latest in great value designer furniture for 2019 and his choice of best buys for making the most of home living this summer.
NOW ONLY
Murcia 5 Seater Lounge Set
£499
• Stylish, luxurious and virtually maintenance free. • Super comfy chairs with seat and back cushions. • Includes coffee table with tempered glass top
with code EH7AUG
SAVE £200
for drinks and snacks.
Havana - Patio Dining Set
• • •
Outdoor designer sofa, seats up to 5 and includes on-trend granite table. Hand woven polywrattan and sits on a robust metal frame for strength and durability. Hugely comfy thanks to thick seat and back cushions. Virtually maintenance free.
Chesterton - Corner Lounge Set
• Contemporary corner sofa with matching • •
glass-top coffee table. Easy to look after, virtually maintenance-free with thick comfy cushions. Made from heavy duty polyrattan and strong steel frame.
NOW ONLY
• 8 stackable armchairs with matching • •
Copenhagen Corner Sofa
SAVE £200
200cm rectangular dining table. Made from aluminium, so lightweight and easy to move – yet incredibly strong. Virtually maintenance free with fabric seat and back rest chairs.
£499 with code EH7AUG
NOW ONLY
£499 with code EH7AUG
NOW ONLY
£399 with code EH7AUG
R& E L EL ST! S T A ES G F B R IN U O GO
SAVE £200 Contemporary Planters
• These distinctive pair •
of planters are perfect for the home or garden. Modern and stylish design but solid NOW ONLY through robust construction.
£99 with code EH7AUGA
SAVE £200
SAVE £30 (W) 39 X (H) 51cm
(W) 36.5 X (H) 43cm
To order and claim your discount, visit www.outandout.com entering discount code at checkout or call 02037 728 752 before 04.09.2019
Concrete Planter on Plant Stand
• Can be used either in • •
or outside the home. Sits on 3 solid wooden legs to give rustic appeal. Other sizes available see website.
SAVE £10 NOW ONLY
£89 with code EH7AUGB
(W) 48 X (H) 63cm
COMING NEXT MONTH
ADDRESS BOOK
OCTOBER EDITION New fabrics & wallpapers special PLUS...
Four beautiful homes filled with inspiring ideas Decorating with rich, elegant spice tones Fabulous flooring: the latest desirable looks Chic ways with upholstery
ON SALE 4 SEPTEMBER
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PHOTOGRAPHY (TOP RIGHT) © NICHOLAS YARSLEY; (BOTTOM RIGHT) © CHRISTOPHER DRAKE
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Bernard Thorp Tel 020 7352 5745 bernardthorp.co.uk Besselink & Jones Tel 020 7351 4669 besselink.com Chelsea Textiles Tel 020 7584 0111 chelseatextiles.com Ebury Trading Tel 020 7881 0881 eburytrading.com Fermoie Tel 01672 513723 fermoie.com Graham Carr Fine Arts Tel 01264 731377 grahamcarr.co.uk Lantiques Tel 01798 344020 lantiques.com Loran and Co Tel 07917 366241 loranandco.co.uk Lorfords Antiques Tel 01666 505111 lorfordsantiques.com Lynda Myles-Till Tel 07802 741194 Neptune Tel 01793 427450 neptune.com Papers and Paints Tel 020 7352 8626 papersandpaints.co.uk Parkinsons Master Thatchers Tel 01608 683730 parkinsonblackwell.com Penny Morrison Tel 020 7384 2975 pennymorrison.com Pooky Tel 020 7351 3003 pooky.com Robert Kime Tel 020 7831 6066 robertkime.com Robert Moore Tel 020 7582 7327 mooredesign.info Sims Hilditch Tel 01249 783087 simshilditch.com The Brackley Antique Cellar Tel 01280 841841 brackleyantiquecellar.co.uk The Mill Shop Tel 01604 875062 the-millshop-online.co.uk Vanessa Arbuthnott Tel 01285 831437 vanessaarbuthnott.co.uk
To advertise call +44 (0) 207 349 3700 or email: info@chelseamagazines.com
Directory
ANTIQUES
Hingstons Of Wilton Purveyors of Antiques and decorative items (est.1976)
PETS Parking your barker on a BARKA PARKA since 1979
tain i r B at tyle
re nd S G n rt a ei
ad omfo m C and ity,
H
il
rab u D
www.barkaparka.com T: 01722 742263 E: nick@hingstons-antiques.co.uk
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The Old Bell House, 2 Shaftesbury Road, Wilton, Salisbury, SP20DR
CLOTHING
SHUTTERS
www.hingstons-antiques.co.uk
Tel: 02392 597967 AMERICAN SHUTTERS LTD www.americanshutters.co.uk
Renowned for bespoke, top quality products, service and attention to detail
Solid Tulipwood shutters painted any colour free of charge / any shape / Solid Shaker, Edwardian / Georgian / Louvered / Waterproof shutters / hardwood venetians / blackout blinds / Free site survey / in-house carpenters. 25 years experience.
Call or email us today with your dimensions for an estimate:
Tel: 02392 597967 Email: sales@americanshutters.co.uk
Modern timeless styles in cashmere, merino and yak. Tel: 01273 401827
www.mistycashmere.co.uk For more information visit us at www.theenglishhome.co.uk When calling the UK from North America, dial the country code ‘011 44’ and drop the first ‘0’ in the UK phone number
FURNITURE AND JOINERY
THE HANDMADE SOFA COMPANY
HOME ACCESSORIES
SAMARKAND DESIGN
4
TEL: 01258 841414
www.handmadesofacompany.co.uk The Handmade Sofa Company, Unit 4, Manor Farm Business Centre, Gussage St Michael, Wimborne, Dorset, BH21 5HT.
CERAMICS
SAMARKAND DESIGN sources vintage textiles from around the world to create beautiful and distinctive home accessories. Unique lampshades crafted from exquisite vintage silk sarees, hand block-printed voiles and shibori dyed silk. Call 07973 922943 or visit www.samarkanddesign.com to see full range
STORAGE
Introducing Zebedee
The Any Angle Hanging Rail. Zebedee is the only and original off the shelf hanging rail specifically designed for sloping ceilings. Created and manufactured in Lincolnshire, it has a specially designed coil which allows clothes or any item, to be hung nicely spaced apart, at virtually any angle, however steep! Available in a range of sizes and colours, Zebedee is perfect for the dormer bedroom, loft conversion, under the stairs, in the kitchen or even the garden shed!
Tel: 07712607529 • Email: diane@zebedee.co Website: www.zebedee.co
For more information visit us at www.theenglishhome.co.uk When calling the UK from North America, dial the country code ‘011 44’ and drop the first ‘0’ in the UK phone number
ANTIQUES
BEDS
GIFTS
HARDWARE AND IRONMONGERY
BAS E D I N T H E B E AU TI FU L S HR O PS HI R E H I LL S I N TH E TOW N O F CH U RC H S TR E TTON W E A R E A P E R I O D H A RDWA R E AND T R A D I T I O N A L IRO N MO N GERY C O M PA NY SUP PLY I N G T H E PUB L I C AND TR AD E . W E COV E R A L L T YP E S OF B L ACK SM I T HI N G , S TAI N E D G LA S S A N D WO O DWOR K K EE P I N G T H E OL D T RAD I T IO N S A L I V E , A L O N G W I T H O U R OW N U N IQU E D E S IG N S .
T HE D OOR KN OCK E R COMPANY H IGH S TREE T, C HU RC H STR ETTON , SHROPSHIRE W W W.T HE DOORK NOC K ERC OMPANY. CO,U K
For more information visit us at www.theenglishhome.co.uk When calling the UK from North America, dial the country code ‘011 44’ and drop the first ‘0’ in the UK phone number
MY PASSION FOR...
REFURBISHING FURNITURE
“
When I was a young girl of about 14, I was very lucky to work for an amazing woman called Miss Hanley, who was an interior designer and spent her weekends living in a cottage on the Audley End estate [in Essex]. She opened my eyes to beautiful antiques, silver and fabrics. I would scour junk shops and make wild lampshades for old lamps, buy old lace to furnish a chair or give tables to my parents that I had refurbished with gold leaf or painted. I loved the idea of something having been used before and with its own story to tell. For my own home, the first pieces I reworked were a pair of 1950s chairs that I purchased when I was about 20 for £20. These sat for almost a decade in my parents’ garage until I had a place of my own and could afford to have them properly refurbished. They are still two of my favourite pieces today. My home is full of things that have had a life before. I rarely buy new; even my bed was bought at auction 20 years ago, but my 130 THE ENGLISH HOME
home still feels modern. I have things passed down from my mother and grandmother and I wouldn’t part with them because they are so full of memories. There’s something beautiful about sipping from a cup that you remember your grandmother using when you were a child. However, the pieces in my home also have to function for family life today. If elements of an heirloom, auction or eBay find are worn out or the colour palette doesn’t work in a modern home, by changing the colour or stripping an ornate piece back it is possible to appreciate the shape and quality of the original craftsmanship and for it to feel relevant again. If it’s painting a piece of furniture, sewing or upcycling, I do that myself. I currently have my son’s paddling pool full of dye for a rug. When it comes to upholstery, I get an expert to do it. It’s well worth spending money on something well constructed and unique to add character to a home.” millerharris.com n
TOP LEFT Sarah at home on an upright settee – a present from her grandmother. Her love of refurbishing pieces fits with her values on waste and craftsmanship which also inform her work at Miller Harris. TOP CENTRE & TOP RIGHT A bedside cabinet Sarah has covered in hand-printed paper from Japan. She has made several more as gifts. ABOVE CENTRE One of Sarah’s grandmother’s chairs covered in a Designers Guild fabric. ABOVE RIGHT One of the 1950s chairs Sarah had reupholstered when she had her first home and still treasures.
FEATURE SAMANTHA SCOTT-JEFFRIES PPHOTOGRAPHS © DARREN CHUNG
Sarah Rotheram, CEO of London-based fragrance house Miller Harris, on her design obsession