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High-end residential interior design used to be about competitive opulence, but now a quieter take featuring bespoke, crafted pieces is the ultimate luxury he world is full of houses, but our home is uniquely ours. It’s there for the basics, but also to make life good. It’s about us as individuals.” That’s according to Edward Bulmer who, with his own successful natural paint brand, knows rather a lot about how and where we live and the way interior decoration has changed in recent times. He attributes the move away from ostentation to a more custom-made approach to this sense of the personal, to people wanting to be involved in the stories of their spaces. “If you have something designed and made for you,” he continues, “you have formed a unique creative relationship with a company or craftsperson, and you’ll get something tailored to your needs and to your sense of what makes you happy.”

To fully understand the shift from bling to bespoke takes an awareness of the emotional connection we humans have with our environments. Life is cyclical yes, but – both figuratively and physically – home is where we begin and end each day, it’s the starting point and destination of every journey we make. It’s part of us and, particularly post pandemic, an aesthetic that shouts “look how wealthy I am” no longer seems to resonate. We’re less concerned with keeping up or competing with our neighbours, peers, whoever, and more in tune with what makes us feel relaxed, the things that represent our values. As Siobhan Kelly, Associate Director at David Collins Studio points out, “Many UHNWIs are very discreet, family-oriented and are quite stealthy in their relationship with luxury. They want their families to have the best possible quality at home. For them, custom design is very much a private experience.”

A renewed interest in the value of craft has helped to drive this move towards nuanced and sophisticated interiors, with designers noticing this resurgence first hand. “I think with the proliferation of AI and technology we crave human connection and are fascinated by the stories behind truly authentic makers,” says textile artist Aiveen Daly. “Provenance has such currency in the luxury arena.” Furniture designer Bethan Gray, who creates pieces using fine marquetry and inlay, agrees: “The craftsmanship inherent in a product is only more apparent when it’s been personalised to fit the proportions of a space perfectly or according to someone’s chosen colour palette.” Both the maker and the customer are at the heart of the product. Gray sums this up well: “People want to have a story to tell about their furniture. Because you’ve made it for them specifically, it reflects them and they become part of the narrative. It gives it real soul.”

This idea of individuality and being part of a commentary and narrative is something creatives come back to again and again.

Laylah Holmes of rug company Holmes Bespoke, for instance, says, “The process of designing a bespoke rug is like weaving your story into a special one-off piece of art.” While Paul Fleming of bespoke furniture manufacturer Fleming & Howland highlights the unique nature of being able to collaborate in this way: “Being able to work with an artisan or craftsman is extra special, especially in a world of mass production.”

Above ▲ Fleming & Howland

Above, right ▲ Bethan Gray

Right ► Goldfinger

Below ▼ Aiveen Daly

Unsurprisingly, it is interior design firms that are spearheading this new movement. No strangers to creating custom pieces (most have always mixed bespoke designs with other elements in projects), they have completely grasped the idea of collaborating with master craftspeople to deliver exactly what clients are looking for. Winch Design, for example, works with the Queen Elizabeth Scholarship Trust (QEST), a charity dedicated to preserving British craftsmanship. “We’re supporting an important cause,” says Lisa Stratton, Senior Partner at Winch Design, “but it also allows us to expand our network of talented artisans and artists who can deliver on time and to the highest quality, and this allows us to bring something totally unique to the client.” Sharon Lillywhite, Founding Partner of interior design studio Oliver Burns, links this direction in interiors to the company’s ethos of what they call ‘thoughtful luxury’. “There is definitely a larger focus now on beautifully crafted investment pieces that reflect a considered, quiet luxury approach.”

While some may consider this re-embracing of craft and heritage skills a return to the past or a backwards-looking idea, the concept is, in fact, infused with modernity. “I love taking ancient techniques such as hand embroidery or leather work and reimagining them for my clients in this century,” says Daly. “It is the alchemy of the old and the new that creates a little bit of magic.” Stratton wholeheartedly agrees: “Many traditional skills are now being interpreted in a contemporary way and often this is down to the fact sustainability is at the core.”

Marie Carlisle, CEO and Co-Founder of Goldfinger, a furniture company with true eco credentials, underlines the role custommaking has to play in having a positive impact on the planet. “There’s been a gradual move away from mass produced,” she explains. “People now want to support local businesses and to know where and how their products are made. Choosing bespoke can break down those barriers, supporting makers and companies that have visible supply chains and transparent ethics.” wOur country’s sharpest-eyed scribe notes ten things that sum up life in the UK for him, circa now

So, where we live may very much be the start and end point of our daily lives, but with the embracing of craft, of one-off pieces and our understanding of the positive impact these can have, people are finally coming around to the idea that home is also the journey itself, a journey of discovery.

RAVEN SMITH