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From the sun-soaked parasols of the Amalfi coast to crumpled sweetshop bags on the English Riviera, stripes are everywhere. They always have been, in various forms, but their presence feels particularly loud right now.
Perhaps it's because we crave their unabashed joy in the midst of gloomy national and international developments, or because we’ve been busy whole-heartedly embracing summer after years of restriction. Whatever the reason, manifestations of this versatile pattern range from classic to retro.
A chequered (striped) past
Stripes have not always stood for beauty and joy, though. During medieval Europe, they actually signified an outcast and those condemned to wear stripes included hangmen and court jesters. This was mostly down to a bible passage which dictated: “You will not wear upon yourself a garment that is made of two.” Christians interpreted this to mean clothing of two contrasting colours. Because of their simple and obvious nature, stripes drew attention and demonstrated 'otherness.' To this day, prisoners around the world wear stripy uniforms to hinder their chances of escaping unnoticed.
Classic or frivolous?
The turning point for the pattern came at the end of the 18th Century. Tastemakers were exhausted by the heavily ornate rococo and chinoiserie styles that had dominated up until then. With the enlightenment came a countermovement - neoclassicism - and with neoclassicism came a newfound love for stripes. Stripes now stood for simple elegance and a sense of order that stemmed from classical architecture.
This was the era of the Regency stripe - a wide stripe in one colour flanked by two or more narrower ones in a contrasting shade. Still popular today, this classic stripe works anywhere from clothing to upholstery. Across the channel, French seamen wore woven shirts featuring 21 navy stripes - one for each of Napoleon’s victories. This classic nautical stripe would later inspire the iconic Breton shirt, and so begun fashion’s love affair with the pattern.
Fast forward to the 1920s and stripes were now appearing on all sorts of clothing; suits and ties, cricket and rowing blazers, and even candy-striped swimwear. Once the 20th Century had weathered two world wars, no advert for the seaside was complete without a swimsuit bearing the pattern.
It wasn't just fashion that started to harness the power of stripes, but hospitality too. Wide ‘awning stripes’ get their name from the shops and restaurants that sported them, becoming synonymous with a warm welcome. Throughout history, stripes have offered a joyous antidote.
Ticking stripes - from mattress to design icon
The stripe has been through many guises, and not all of them were purely driven by aesthetic. Ticking refers to the dense woven cloth that once covered mattresses, designed to protect you from harsh fillings like straw and horsehair. The cloth featured a uniform pattern of wide and narrow stripes, usually in a muted palette of black, blue or red.
Despite its humble origins, mattress ticking has had a monumental ripple effect in the design world. Fabric houses from Chelsea Textiles to Colefax & Fowler have released their own versions, while other traders specialise in original antique cloths.
Indeed, ticking stripes have become a distinctive marker of English country house style, where they decorate anything from sofas to valances. Ticking is a shining example of how stripes can feel refined, with a timeless appeal that weathers passing trends.
How to use stripes
Striped cloth dates back to the ancient Egyptians, making it one of the oldest patterns on record. The wildly different ways we've embraced them over the centuries goes to show just how versatile they are. This simple pattern is the building block of plaids and checks, as well as geometric designs.
From seaside to fireside
When we think of stripes in interiors, fresh nautical schemes often spring to mind. Certainly, lots of striped fabric instantly brings a relaxed beach house feel to a garden room or shepherd’s hut. Outside, too, nothing evokes nostalgia quite like a stripy deckchair or parasol.
But stripes do have their place in more traditional environments as well. After all, they first came to the fore in opulent French drawing rooms and classic English country houses. Upholstery fabric is perhaps the most obvious use, and one that allows a lot of room for personal interpretation. A classic Howard & Sons sofa or armchair, for example, remains understated and elegant with a Regency stripe fabric, or gets a heady lift with a bright awning stripe.
Stripes don’t have to be the only pattern in a room, either. In fact, they layer beautifully with fluid, ornate patterns like toile de jouy. A simply striped sofa in front of a chinoiserie wallpaper, or a striped Swedish flatweave in amongst chintzy upholstery, is the sort of bold decorating that really pays off. Statement walls painted with lemon yellow stripes, or a more traditional striped wallpaper, can transform the feel of a room.
Small doses
If you’re not quite ready to paint candy stripes across an entire wall, the pattern works just as well in small doses. Striped valances and headboards bring a light-hearted joyfulness to the bedroom setting without feeling overwhelming, for instance. Scatter cushions have the same effect, offering a good opportunity to blend different types of stripe in one setting.
Even if an interior appears to have no stripes at all, a closer look often reveals their powerful presence. For instance, a simple border around an otherwise plain rug draws the rest of the room in - conversing with other geometry in the room to create a considered feel. Lampshades in bright, contrasting stripes, or with subtler top and tail trims, can add a little or a lot of this chic pattern to a space.
When it comes to this ubiquitous pattern, no home or personal style is off-limits. With autumn well on its way, look to the humble stripe to keep the joy of balmy summer days alive.
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Shop the look, visit our lookbook 'For the love of stripes'.
During September we were delighted to be asked to contribute to several fantastic events in London. From London Design Festival to RHS Chelsea Flower Show, Lorfords Antiques were at it all!
RHS Chelsea Flower Show, Jardin Blanc
When the organisers of Jardin Blanc at RHS Chelsea Flower Show contacted us to ask if we'd be interested in contributing to this year's restaurant, of course, we couldn't say no! We were delighted to lend the show two beautiful dining tables and chairs with glorious urns accompanying them, as well as a fantastic large French iron clock face and decorative French gilt mirror.
Belgravia in Bloom with Cox London
From France to Belgravia, this 19th Century French fairground horse has been showing off its beauty in a beautiful window display created by Cox London for Belgravia in Bloom. Belgravia in Bloom celebrated its sixth year this year and returned with a series of floral installations all themed around 'Floral Fairground'. Cox London walked away with the silver award and the wonderful horse has now returned back to his current home in our Hangars in the Cotswolds.
London Design Festival with de Gournay
de Gournay's crisp rendition of the ‘Chatsworth’ Chinoiserie on White Metal gilded paper creates a glittering backdrop for an imagined bathroom at their London showroom in celebration of London Design Festival. An elegant setting composed around a majestic bath from Drummonds overflowing with gypsophila – its gleaming copper the perfect foil to the hand-gilded walls, illuminated with a pair of plaster standing column lamps from us.
The Decorative Antiques and Textiles Fair
The Decorative Fair returns after a year of postponements and cancellations and we weren't going to miss it! With many of our dealers attending this year's show, it proved to be an event not to miss with the finest treasures from all over the world.
The rococo style, defined by its sinuous curves and natural beauty, swept through Europe in the 18th Century. Sweden was then something of a remote northern outpost, but its craftsmen were not to be underestimated. The Swedish Rococo period saw a new royal couple take to the throne and the Swedes' elegant take on the style flourish.
Sweden’s artistic ‘golden age’ spanned three design periods, which naturally followed fashions in Europe’s cultural heartlands. The dramatic Baroque period (1650-1750) gave way to Rococo (1750-1775), which was followed by the refined Gustavian era (1775-1810). All of these styles were influenced by trends in France and England but came later to Sweden due to its location and comparatively small population.
The historical context
Several events sparked Sweden’s design prowess in the 18th Century. King Karl XII’s wars came to an end in 1718, ushering in a new period of peace and prosperity. Sweden’s upper and middle classes were eager to beautify their homes, and those with the money to do so indulged in lavish interior decoration. Secondly, the Swedish government announced a ban on imported furniture in 1731. In the early part of the 18th Century, Sweden relied heavily on imports from England and France. This measure intended to support native craftsmen and encourage domestic excellence, a move that certainly paid off. Lastly, the fall of the Caroleans brought new royals to the throne. King Adolf Frederik and Queen Lovisa Ulrika of Prussia were a fashionable young couple, influenced by the ideals of the French Enlightenment.
When rococo arrived in Sweden around 1750, the style had already been thriving in France for 20-30 years. The architect Nicodemus Tessin the Younger was overseeing the build of The Royal Palace at Stockholm when he died in 1728, leaving the project incomplete. Luckily for Sweden’s cultural legacy, Tessin had chosen his successor wisely. He left the commission to his promising young student, Carl Hårleman. Hårleman demonstrated a mastery of architecture and became one of the most influential figures of the 1700s. Indeed, the grandest manifestations of the rococo style were in Sweden's great palaces.
Swedish Rococo in the royal palaces
Hårleman needed to complete and furnish The Royal Palace in Stockholm for the needs of King Adolf and Queen Lovisa. He largely followed Tessin’s designs, except in one crucial respect. Tessin’s plan revolved around the baroque style, but Hårleman – with a keen eye on fashions in France – adapted it to incorporate the new rococo trend. This was not necessarily a drastic change; we sometimes describe the rococo style as the final expression of baroque. Indeed, the late baroque period had already moved away from overly dark and imposing furniture. Softer designs, often with a painted finish, were increasingly popular. This transitional phase paved the way for rococo to take centre stage.
Queen Lovisa was far from a passive patron; she was one of Europe’s leading cultural monarchs and favoured the playful rococo style. Fortunately, The Royal Palace had many, many rooms to fill. French cabinet-makers came over to contribute designs and teach Swedish craftsmen their skills. One of Hårleman’s major contributions to Swedish cultural history was his insistence on educating others and subsequent generations in order to spread techniques and skills.
The Chinese pavilion on the grounds of the Royal Palace at Drottningholm.
At Drottningholm, where the royal couple resided until their new palace was ready, designers refurbished parts of the palace in the rococo taste. A major, and often overlooked, element of Swedish Rococo design was the chinoiserie style. The Swedish East India Company was formed in 1731, sparking enthusiasm for all things oriental. The Chinese Pavilion at Drottningholm, designed for Queen Lovisa’s birthday, is a fantastical palace in itself that combines European Rococo with exotic eastern taste. Examples of classic Swedish Rococo furniture adorn the rooms at Drottningholm to this day.
Nature's ornament
Rococo is certainly heavy with ornament and celebrates beauty for beauty's sake, but not without thought. The word rococo combines two French words: coquille (shell) and rocaille (stone). Nature’s innate beauty is certainly at the heart of this hedonistic style. Rococo reflects the natural world in both form and decoration. It has a gentle fluidity and embraces asymmetrical shapes and ornament. Any right-angles are softened with rounded corners to create welcoming designs.
We also recognise the rococo style for its decorative motifs. Popular iconography included shells - the style’s namesake - as well as dragons’ wings, vegetation and floral tendrils. Swedish Rococo mirrors demonstrate the many elements of this style beautifully. They feature elaborate gilded foliate frames and shell crestings. The master Swedish mirror-maker Johan Åkerblad spanned both the rococo and Gustavian styles during his career with great success. Surviving mirrors attributed to Åkerblad provoke great excitement today.
Swedish architects and designers naturally drew from French and English designs, but they also put their own stamp on the rococo style. Over in France, Louis XV's interpretation of rococo was at the frivolous and elaborate end of the spectrum. Meanwhile, the style propounded by leading architects such as Hårleman maintained the Swedish sense of refinement and conservatism.
The Swedish take on Rococo
Swedish Rococo cabinets feature pronounced bonnet-tops and doors with gracefully shaped panels. Chairs and tables exhibit beautifully carved friezes and rest on cabriole legs. The Swedish Rococo chair is one of the most famous chair designs in history and the model is still very desirable today. These chairs have simple carved wood frames, and the most popular design has an open fiddle-shaped back with a single gently carved splat. Many examples of rococo chairs remain today in Sweden's great palaces and country houses.
Sweden’s painted furniture defines its legacy, and the Rococo period was no different. We are fond of Swedish antiques for their pastel colour palettes, yet the popularity of black-painted rococo furniture is less well-known. Craftsmen also adopted rich and exotic Chinese hues, so a diverse range of painted furniture survives from this period. There is always a difference between furniture produced in Stockholm, Sweden's capital and cultural centre, and country pieces. Stockholm rococo pieces might have more finesse, but country versions with those tell-tale rococo curves are charming in their own way.
The transition from rococo to Gustavian was similarly subtle to that of late baroque to rococo. Queen Lovisa's place in the royal household continued, as she served as Queen Mother to King Gustav. In addition, many prominent designers of the rococo era fused old and new fashions in their designs. It wasn’t until the end of the 18th Century that rococo's distinctive curves fully gave way to straight-lined neoclassicism.
Rococo for today's home
Design in Sweden underwent exciting development and change throughout the 18th Century. The result is a plethora of stunning antiques, offering furniture and decorative pieces for every taste. Swedish Rococo furniture and furnishings are an excellent choice for today’s home. The graceful curves and fresh paint colours make rococo suitable for traditional and contemporary interiors alike. The soft femininity of the style is perfect for a bedroom or dressing room, whilst the flora and fauna themes lend themselves to a conservatory or orangery setting.
Browse our collection of Swedish Rococo antiques here and all of our rococo-style pieces here. View our lookbook 'Sinuous curves' for a little inspiration.
"You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up." Tim Butcher and Lizzie Deshayes of Fromental have been creating bespoke wallcoverings for 16 years. We chatted to the inspiring duo ahead of the launch of their new sister company, Studio by Fromental.
Q: You can find Fromental wallcoverings in some very cool locations. What project are you proudest of?
Custom Bucolic wall-covering by Fromental in The Goring Hotel
I think it's got to be the lobby of The Goring Hotel. It was such a personal piece. The Goring has a wonderful balance of classicism and eccentricity and we hope we managed to capture that in the design. The wallcovering shows an Arcadian landscape peopled with walruses, banqueting pigs and other hidden creatures.
Q: It looks like you have been busy over lockdown. Tell us about the launch of your new brand Studio by Fromental and how it came about.
A: We believe that walls are surfaces for decoration and self-expression — art needn’t be framed. That being said, we understand that commissioning a truly bespoke wallcovering can be daunting, so wanted to use our skills and knowledge of the craft to create wallpapers that have a similar bold beauty but are easier to purchase and use.
Our intention for the new diffusion line is to empower more people to be brave with their walls and express themselves creatively.
Every element of a Fromental project is bespoke, whereas Studio designs are supplied as ‘ready to hang’ sets of four panels. Each design is based on an original, hand-painted artwork which is then hand-finished to order. This method honours Fromental’s craft and finesse and works beautifully with the papers and textured grounds we print on.
Q: Studio contains nine new designs, with 38 possible colourways, Where do you get the inspiration from?
A: As designers, we take our inspiration from all around us. We visit galleries and exhibitions and we have a deep love of the history of the decorative arts. This continual research into pattern and process informs all of our creations.
The debut collection for the brand is called 1st Edition. Each design within the collection has its own individual style - its own story to tell. We drew inspiration from a breadth of art forms, so two threads run through the collection. One is our ongoing exploration of stylised floral motifs, with a strong influence from Asian arts and culture. Another is experimenting with abstract architectural forms and texture.
Some examples to illustrate this:
‘Flock’ is a bold scale scene of cranes dancing across the room. Designed by Emma, this pattern is a modern take on the Rinpa School style.
Inspired by the leather inlaid bookbinding of Georges Cretté in the 1930s, Andrew composed the powerful architectural piece that is 'Deco Arches'. This arresting pattern recalls the era's modernist style, fine craftsmanship and use of rich materials.
'Edo Springs' is a painterly mix of delightful shades, which ensure that this abstract floral pattern is both balanced and bold. The design itself is a contemporary rendition of a classic Japanese screen with trailing flowers climbing the walls.
Q: Do you have a personal favourite in the new collection?
A: It is always difficult to choose a favourite, and this often changes over time depending on the spaces used and the architectural surroundings, but if we must -
Tim - 'Bamboo Lights.' There is an inherent challenge in designing something abstract and minimal because there is a deceptive simplicity to it which can easily slip into something very pedestrian. Andrew, who designed Bamboo Lights, has managed to create a design that is simple yet versatile, abstract but still has character, graphic but with a real sense of movement and flow. Our US team seem to particularly love it!
Bamboo Lights, Studio by Fromental
Lizzie - 'Coquilles.' I love the simplicity and elegance of this design. The shape and texture bring to mind wonderful Deco era tiles. Scale and proportions really attract me in wallpapers, and Coquilles is skilfully designed to balance both perfectly.
Coquilles in the Lettered Olive colourway, Studio by Fromental
Q: How was Fromental born?
A: We launched Fromental in 2005 with the simple aim to make the world’s most beautiful wallcoverings. Our more audacious aim was to create the defining decorative arts of our time. Lizzie was and is an accomplished craftsman and she had developed a series of designs that offered a 21st Century slant to traditional scenic papers. I had been working with classical chinoiserie papers for several years and was working closely with artists in China. We established our own studio and Fromental began.
Our artists are trained in the traditional skills and styles of Chinese painting, paper-craft and embroidery. We were the first to introduce traditional embroidery into wallcoverings, fusing two ancient crafts for a new medium. Over the years we have worked to move beyond the forms of traditional figurative styles to create more conceptual designs.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and the prismatic play of light are unique in the history of wall surfaces.
Untitled 1 in the colourway Sachs, Fromental
Q: How do you see your brand evolving, both now and in the future?
A: We have never considered ourselves followers of trends or followed traditional launch cycles. Our philosophy has always been to launch a design when we feel it is relevant. We are restless and simply want to continue our exploration of materials, techniques and patterns to always produce something new and surprising.
We work very closely with the designers who use our wallcoverings and this establishes a creative relationship. This has naturally lead to collaborations. We love the creative energy generated by these projects, where both parties learn from each other. So, we definitely envisage more of those.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and prismatic play of light are unique in the history of wall surfaces. To be able to work closely with such a decorative design icon was incredibly inspiring. It was fascinating to learn more about René Lalique the man, and to work side by side with the generations of craftsmen behind their production. It was clear that René Lalique combined art and industry through relentless creativity – that was a real inspiration for what we want to achieve through Fromental.
Q: Your designs are bold and vivacious. Why are colour and texture important in an interior?
A: At best an interior is an expression of our own unique personality. To me, colour, texture and pattern are the languages of that expression. Combing these elements can create further resonance and energy between the elements. This can amplify and add nuance to the language. When you create an interior that expresses this personality and mood, it becomes a great gift that reflects back this mood when you need it. You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up.
New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that.
Hand-embroidering Clef des Champs, Fromental
Q: Each bespoke Fromental design is handmade at great lengths. Why are these long and laborious processes worthwhile?
A: Our clients are looking to create unique interiors. Not only do we want to produce something you won't see anywhere else, but also something with a very personal story. Working with these hand-made processes means that we are free from the usual constraints of production and this enables such a bespoke design service.
We have become known for our elaborate and hand-embroidered designs. Our artists spend up to 600 hours elegantly painting and stitching individual panels. I really do believe that when you have an item that has so much personal focus and attention, so much application of skill, the material is imbued with the quality of the craftsmanship in a way that is palpable. There are no shortcuts to achieving this.
Q: Wallcoverings were a staple of the 18th Century and were once considered 'out of fashion.' What do you think is driving their renewed popularity?
A: In our more recent history wallpapers did become unfashionable for a short time in the 90s, but these trends are cyclical. New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that. Maybe starting with one wall but as people have become more confident, wallpaper has gone from strength to strength.
It is always important to remember that no ‘trend’ is ever all-encompassing. Designers with bold visions were using maximalist patterns during any period where the ‘norm’ was minimal.
The fact is that wallpapers are the perfect medium to put your own personal stamp into your interiors. There are few ways of creating such a strong statement in any interior than with the use of a strong wallpaper.
Marta Sala's apartment featuring Raineri in the colourway Pavone, Fromental
Q: Some of your most beautiful wallpapers are in the chinoiserie style, which we often see in our furniture and decorative antiques. How can chinoiserie work in today's homes?
A: Chinoiserie – that wonderful hybrid of European and Far East design – transcends fashion. It brings exoticism, colour, pattern and movement to a room of any size or style of architecture, which is why it has never been out of style. The themes found within chinoiserie designs, such as panoramic garden landscapes, ornate florals and delicately drawn birds, harness the restorative power of nature. These themes resonate strongly today with our sense of wellbeing.
Chinoiserie wallpapers are often used on all four walls, which creates that wonderful immersive feeling. It is also a versatile canvas – you can add contrasting elements for an ultra-modern interior or complementary furniture and accessories for a more classic look.
Q: What is your favourite room in the home? Why?
A: Tim - my favourite room is one I do not have. But I think imaginary rooms are important. In Bleak House Mr Jarndyce introduces his ‘Growlery’; “When I am out of humour, I come and Growl here… When I am deceived or disappointed, and the wind is easterly, I take refuge here”. I shall have my own Growlery one day and I know exactly how I shall decorate it.
Lizzie - The studio. In the words of Virginia Wolf, it is a room of one's own.
When selecting colour and pattern you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result.
Clef du Champs, Fromental
Q: We're all feeling very familiar with our own homes after the last year. How can people escape a design rut?
A: In our experience, the familiarity of their four walls has inspired people to change their décor. In the last year, we have had time to focus on that in a way that is seldom possible.
Events and venues we would normally frequent for our cultural fixes and inspiration have been closed. However, in this void, the design community has stepped up with talks programmes and virtual presentations. So, in fact, the interested consumer has had more inspiration at their fingertips.
Of course, book your tickets once the galleries, museums and exhibitions re-open. We know we will be!
Q: Your designs are wonderfully decorative - would you say you both have a maximalist approach to interiors?
A: We do love the more is more approach to decorating! We feel that, when selecting colour and pattern, you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result. However, we would not describe our own homes as maximalist. Yes, every surface is filled with textures and pattern but we have created a space which is not overly layered. There is a richness to the result but I would say it is somehow more naturalistic. Even the patterns have a quality akin to organic materials rather than bold graphics.
Q: We have loved working with Fromental in the past. If you could pair one piece from our website with one of your new designs, what would they be?
A: A few choices!
I love smokework and think this cabinet would be beautiful with Coquilles in Lettered olive.
https://www.lorfordsantiques.com/american-18th-century-painted-chest-on-stand-cb0910096
This fabulous Scandinavian cupboard with Edo Springs in Celadon rose. This definitely appeals to the maximalist in me …!
https://www.lorfordsantiques.com/scandinavian-cupboard-bk2510801
We also love this Amalfi headboard by Lorfords Contemporary with our Rocaille design in col Belvedere.
https://www.lorfordsantiques.com/the-amalfi-studded#
Read all of our Q&As on L-Shaped.
Chippendale: the greatest cabinetmaker of all time? A sweeping statement, certainly, but not far-fetched. Thomas Chippendale is among the most important, recognised and emulated of any designer in British history.
Born in Otley in 1718, Yorkshire would remain significant to Chippendale for the rest of his life. We know little else about his early days and can only assume he arrived in London to pursue a cabinet-making apprenticeship. The rest is history, as the young man would go on to become a key player in a golden age of furniture design - the Georgian period.
The Gentleman and Cabinet-Maker's Director
Thomas Chippendale statue in Otley
Chippendale set up a workshop on the prolific St. Martin’s Lane and his business grew quickly. A major turning point came when he published a pattern book, The Gentleman and Cabinet-Maker’s Director, in 1754. Comprising 160 engraved plates, Chippendale presented the book as: 'The most Elegant and Useful Designs of Hous(e)hold Furniture.' This pattern book swiftly secured his reputation. Georgian England had a flourishing middle class who desired practical yet fashionable furnishings. Interiors were rapidly changing, and cabinet-makers were high in demand. Chippendale answered the call, and his Director served as a catalogue of sorts.
The Director covered everything from highly fantastical designs to essential 18th Century domestic furniture. Chippendale even included designs specifically for country craftsmen, hence the parallel ‘country Chippendale’ style that emerged. Indeed, The Gentleman and Cabinet-Maker’s Director was enormously well-received and ran to various editions. High levels of production ensured that it was distributed far and wide, catering to the upper and middle classes and providing a textbook for provincial carpenters.
This was a clever publicity move. As more and more copies of his book sold, Chippendale’s prowess became famous throughout the country. Hence, commissions flooded in from society's elites as everyone wanted a piece of this man's expertise.
Recognising Chippendale antiques
Master of all styles
Perhaps Chippendale’s most important skill was his adaptability. The 18th Century was an exciting period of developing styles and Chippendale acted as an incessant facilitator. He intercepted every new fashion and taste and swiftly made them his own. He is most noted for his anglicised take on the rococo style. Chippendale's British rococo furniture drew inspiration from French Louis XV femininity but insisted on a more English refinement. One of the most famous Chippendale chairs, the ribband back with its cupid’s bow cresting rail, demonstrates his mastery of this style. Remarkably, he spanned two vastly different styles during his career - rococo and neoclassicism - with ease.
Chippendale period mahogany bookcase
Everything Chippendale came across enchanted him. He experimented extensively with the chinoiserie and gothic styles in particular. Indeed, the Chinese Chippendale style was synonymous with chic in the 18th Century. This was a time when the western world found all things oriental fascinating, and Chippendale never let an opportunity pass. He expertly incorporated pagoda-style pediments, fretwork, and other intricacies into his designs. The Chinese Chippendale chair, with its lattice back and faux bamboo and lacquer structure, was intensely popular in its time and remains iconic today.
Chippendale was unrivalled when it came to chair backs, and he expressed the gothic taste with pointed arches and s-shaped curves. Whatever he turned his hand to, he tapped its beauty and executed the designs with grace.
Chippendale's patrons
It wasn't long before Chippendale's reputation preceded him, and he received no shortage of high-profile commissions. In the late 1750s, the 5th Earl of Dumfries needed to furnish the majestic Dumfries House. He really wanted to impress; the Earl was heirless and needed to attract a new bride. Upon a visit to Chippendale's store on St. Martin's Lane, the Earl fell in love with the craftsman's work. He ended up ordering in one of the largest collections of Chippendale furniture on record, much of which still resides in Dumfries House today.
In 1767, he received a huge commission to furnish Harewood House. Returning to his roots, the neoclassical interiors of this Yorkshire house are some of Chippendale's very best work. Chippendale held the hand of his patrons right through the process. Surviving invoices for his project at Nostell Priory charge for everything from large-scale furniture to a chopping block. Indeed, when we think of Chippendale we often think of his most grandiose work. However, evidence and anecdotes suggest that the more mundane aspects of furnishing an interior were not beneath him. Remarkably, the cabinet-maker never received a royal warrant for his work - unlike some of his competitors.
Marquetry writing table, designed by Chippendale for Harewood House
A formidable legacy
Chippendale furniture has a classic elegance that we never tire of and will surely grace our interiors for more centuries to come. His furniture appeals to period and more contemporary schemes alike. His legacy lives on in every ribbon-carved chair and camelback sofa. It is also in the details, like his preference for a ball-and-claw foot or a set of glazed astragal doors. Period Chippendale furniture commands high prices today, but there are plenty of replica examples and pieces in his style. This is no bad thing, so long as you know what you are getting and it is well-made.
Statues in his hometown of Otley and on the facade of the V&A museum recognise Chippendale's extensive contributions. In so many ways, the craftsman encapsulates why antique furniture is so desirable. His work reflects a period of true excellence in pre-industrial cabinet-making, when the individual held a close relationship with a piece right through from its conception to its placement in a home.
To learn more about Chippendale's era, read our article: 'Spotlight on: Georgian furniture.'
'Work from home.’ It’s the phrase that has defined the last ten months or so of our lives. Whether or not home has always been the natural habitat for your work, many have rushed to transform part of their house into a workspace. The Lorfords collection is full of unique pieces that will bring your dream Mid Century Modern home office to life.
The psychology of our interiors
Studies show that the more personal control we have over our office space, the happier we are. The ability to get creative with our workspace and have our favourite furnishings close at hand is a silver lining of the current circumstances.
One of the biggest challenges of staying at home has been drawing a line between work time and our personal lives. This gives you all the more reason to invest in your office space and create an environment you want to spend all day in, before returning to those parts of your home that you associate with relaxing.
Calm, uncluttered surroundings encourage efficiency and productivity. This can be difficult to achieve at home, but by dedicating a space for work you are halfway there, and Mid Century Modern design will do the rest.
It can be easy to feel as though you are ‘playing office’ whilst working from home, so it’s important to get creative with your space and invest in it. Stylish and useful furniture is conducive to your productivity, as well as your happiness.
A la mode
Media and popular culture have made Mid Century design an object of fascination. From the smooth teak and glass of the Mad Men office to the contemporary prints and low chairs of Miranda Priestley’s office in The Devil Wears Prada, the understated glamour of a Mid Century Modern office is well-known.
The post-war period was a new age of prosperity, and many migrated to urban and suburban areas. After the horrors of war, there was a desire for more human, organic and natural design. Inspiration was sought from America and Scandinavia, and designers eagerly embraced new materials like plywood and plastic. Manufacturers had machinery and mass production at their disposal, so luckily many fantastic pieces survive today.
Furnishing newly built homes and smaller living spaces saw design take on new priorities, and functionality was a top priority. Designers didn’t skimp on style, however, and the iconic designs they brought to life have timeless appeal.
Mid Century designers
Designers of the Mid Century Modern period wanted to make furniture accessible to everyone, not just the very wealthy. The contributors to this new democratic style were many, including Arne Jacobsen and Harry Bertoia. Ray and Charles Eames were the design power couple of their day, and it's their executive desk that graces Don Draper's office in Mad Men.
Far from dull, design in this period was full of juxtapositions. Designs were extremely varied, and you might struggle to spot what a marshmallow sofa and a teak sideboard have in common. However, there were certain principles that united these designers in their plight: fine craftsmanship, quality, and chic style.
The straight-lined silhouettes of Mid Century Modern furniture make it the perfect choice for an office. Manufacturers of the period, such as Herman Miller, focussed in on office furniture and produced desks, chairs, and savvy storage solutions. George Nelson was a key mover and shaker in Mid Century Modern design. His iconic Storagewall design captured attention far and wide and he is credited with designing the first L-Shaped desk.
Redefine 'office'
There’s more to working life than a desk and a chair. Nobody wants to work amongst empty cups of tea and a teetering stack of paperwork, but many of us do. It may be a cliché, but it’s difficult to argue with the concept of ‘tidy desk, tidy mind.’
It's often unrealistic to reimagine a whole room of the home in one style, but a few key pieces will transform a space. Credenzas and sideboards were already furniture stalwarts, but they were revolutionised in this period. Fitting unobtrusively against the wall, they provide storage and a surface for display. Most importantly, a sideboard or low cabinet means you can keep stress-inducing clutter out of sight.
When it comes to designing an office space, the mood can tend towards the clinical. Mid Century Modern is the perfect antidote to monotony because designers reinterpreted basic furniture with innovation and creative flair. Designers made chairs that were lower and broader, often supported on splayed UFO-style legs. They made many office-style chairs, with reclining and swivel functions. You've got your pick when it comes to desk chairs and should indulge in a big upholstered armchair for when you need a break.
Lighting was the major triumph of Mid Century design, and designs are famous and sought-after today. From practical floor lamps to Sciolari's spectacular sputnik light, lighting is the ultimate flourish for a 20th Century home office. Maison Charles’ iconic palm standard lamps demonstrate how natural forms were embraced in this period, and they make a great statement in an office setting.
Punchy Mid Century modern accents
20th Century design was far from solely utilitarian. Designs from this period were full of creative flair, and this should be reflected in a Mid Century Modern office. This was the heyday of faux tortoiseshell, glass, contrasting woods, bright colour, and abstract art. Adorn a brass and glass coffee table with a lucite magazine holder, or fabulous colourful glasswork by Val Saint Lambert.
There’s no point in working in a space that won’t inspire creativity and progress. Surround yourself with fabulous contemporary art and sculpture that makes you feel content and calm. Colour and character are key to boosting your mood in a long working day. This was an age of bold and pioneering design, and by surrounding yourself with examples of it you encourage the same in your work endeavours.
Whatever your personal style, there is something to love in this spectacular period of design. Mid Century Modern pieces have the power to transform a space into the perfect home office. For further inspiration, have a browse of our lookbook: Office Envy.
The Regency was the pinnacle of British sophistication and a pivotal period in design. It was a time of fascinating architecture and elegant furniture, but the influences in this period were far from straightforward.
The Prince Regent
At the heart of the Regency was the Prince Regent himself. In 1810, George III became seriously ill and was deemed mentally unfit to rule. The Regency Act was passed the following year, which allowed his son to rule on his behalf. Technically speaking, this period is the nine years that George IV was Regent. 1820, the Prince Regent became George IV and King in his own right.
But in reality, Regency style and design was more enduring and covered more or less the first 30 years of the 19th Century. Nonetheless, it is rightly seen as a reflection of the character of the Prince Regent. He reacted against the frugality of his upbringing under his father, George III, with extravagance. George IV was seen as a hedonistic and gluttonous young man, ridiculed by cartoonists at the time.
The concept of The Grand Tour and broadening one's horizons was long gone. Britain was suffering a trade blockade due to its war with France, so young men wined and dined in London’s most prestigious venues. The ‘dandy’ emerged, and these men modelled themselves on the styles of the Prince Regent.
Yet, even more so than food and women, George’s great passion in life was building, designing and collecting. The Prince Regent spent the first few years of his reign commissioning vast amounts of furniture. The interests of the Regent, as well as the wider context of the Napoleonic wars, help us to make sense of the paradoxes of Regency style.
The eccentric Royal Pavilion in Brighton, as well the Prince’s city residence Carlton House, were two iconic expressions of Regency style.
Empire style
Regency coincided with Empire style across the channel in France. Napoleon’s successful campaigns in Egypt meant that Egyptian motifs frequented French furniture. The Prince Regent wanted to match, if not surpass, the architecture and design of his rival.
Neoclassical design was very much in vogue already, but Regency designers followed classical precedent in a far more prescriptive sense. They did away with the fussy ornamentation of Adam style and stayed true to classic simplicity of form.
Exact copies of ancient Greek, Roman and Egyptian pieces were made and classical motifs were incorporated into Regency furniture. Regency brings to mind heavy wood and this was certainly the heyday of mahogany and rosewood. There was a newfound appreciation for surface and beautiful patinas, particularly the bold figuring of exotic timbers.
Regency prioritised straight elegant lines and beautiful sabre or concave legs. The period did away with marquetry and intricate carving, preferring brass metalwork for ornamentation.
But no single set of characteristics can define Regency. In fact, it was a melting pot of foreign and home influences. It was refined British elegance juxtaposed against extravagance. Many styles were revived or imported. There is undoubtedly a strong oriental influence in Regency furniture. Chinoiserie and japanning were popular, Indian styles were copied and bamboo surged.
The Regency architects
So, who were the main players in this design revolution?
The strong classical influence on the Regency period was fuelled by new publications about classical art and architecture. Thomas Hope published Household Furniture and Interior Decoration in 1807, which was full of classical designs inspired by his extensive travels. The ideas in this book would have a profound influence on Regency style.
Hope wasn't alone, though. The architect Henry Holland sent designers to Rome to make drawings of classical objects. These were published in the book, Etchings of Ancient Ornamental Architecture, in 1799-80. Thomas Sheraton’s Cabinet Dictionary of 1803 shows Grecian couches, which introduced the daybed into Regency Britain. Animal motifs and ‘sabre’ design legs were engraved in this book- features that would become the distinctive characteristics of Regency furniture.
It is impossible to mention Regency without the name John Nash. Nash was court architect to George IV and their visions were very much aligned. With his remodelling of the Royal Pavilion in Brighton, Nash realised the Prince Regent’s dream of a lavish palace in the oriental style. This extraordinary building is clearly influenced by Indian and Chinese styles. Nash was also the brains behind modern day Regent Street and the terraces of Regent’s Park.
Furniture manufacturers of the time were eager to embrace this new style. Renowned cabinet makers Gillows led the charge, incorporating Regency traits including lion paws and reeded carving into their finely crafted pieces.
The Regency legacy
Furniture from this period is highly sought after and has a lasting legacy. Regency chairs are particularly renowned, with their crested rails, low curved backs, brass inlay and sabre legs. By the end of the period, cotton or linen upholstery became the norm and chintz flourished. The Prince Regent loved dining in style and prioritised these spaces in his homes. Because of this opulent attitude to dining, you can discover wonderful sets of Regency dining chairs.
Furniture companies began making lots of tables made for specific purposes. For example, extendable tables, nests of tables, kidney tables, sofa tables and side tables were all produced throughout the period. Regency tables are often round and pedestal bases with tripod legs are common.
However, it wasn't all about furniture and mirrors were a significant feature of Regency style. Circular convex mirrors were particularly prominent in this age, copied from France and seen as a symbol of wealth. These mirrors were supposedly put in dining rooms so that butlers could keep an eye on the progression of guests through each course. Indeed, convex mirrors were so popular in Regency England that they are the only type of mirror to be listed in the mirror section of Sheraton's Cabinet Dictionary. However, you also find beautiful overmantle mirrors from the Regency age.
Regency style has lasting attraction. It is full of unique features and yet still inherently classic. As a result, the architecture and design of this period is very influential and reflects socio-political movements.
The Lorfords collection 
Regency furniture is a delight to have in your home and new pieces are always coming through the doors here at Lorfords. Come and visit us in our hangars at Babdown Airfield and our Tetbury shop to see these pieces in all their glory.
Visit our lookbook, 'Regency flair,' to browse some of the Regency furniture we house.
When rumours of an impending lockdown were circulating back in March, office workers everywhere were hauling technical equipment home. As restrictions ease, it seems that the option to work from home will be part of our lives for the foreseeable future. Spending time curating your perfect home office is well worth it, for the sake of comfort and style.
Home office through history
Office life has been ingrained into modern society for decades and is a part of our culture. However, prior to the industrial revolution it was the norm to work from home. Humanity has always had some version of this concept, from medieval merchants operating from home, to women in post-World War II Britain who began the industry of in-home sales.
Indeed, working life was redefined by the success of Brownie Wise’s Patio Parties in the 1940s and 50s. Working in sales for Stanley Home, Brownie saw an opportunity for selling Tupperware by bringing women together in a social capacity.
There is a plethora of antique furnishings dedicated to working, reading and writing. Despite modern technology, the office doesn’t have to strike a jarring contrast with the rest of your home. The highly efficient laptop you work from may not resonate with the 18th or 19th Century study, but your desk and décor certainly can.
Oasis of peace
When the country was instructed to work from home if possible, there were some happy novelties- namely endless cups of tea and waking up ten minutes before your first meeting of the day. But then Zoom calls became exhausting, interrupted by children or pets, and the home WiFi cracked under the pressure. The line between working life and free time became increasingly blurred.
Love it or loathe it, working from home for lots of professions is going to remain prominent. Creating the perfect home office space is vital for the most productive and aesthetic work environment. A study ought to provide an oasis of calm amidst the chaos. Technical equipment is the interior designer’s worst nightmare and the key to reconciling cables and screens with attractive furnishings is storage and clever use of space.
A handsome secretaire can ease all your work-from-home woes. Introduced in the late 18th Century, these enclosed cabinets became a staple for middle-class homes. The secretaire, which translates literally as ‘writing desk,’ keeps your unruly paperwork, many notes-to-self and quirky possessions safe and out of sight. Archival boxes serve a similar purpose and will keep your desk clutter-free.
Just as important as an attractive, practical desk is the accompanying seat. Long days sat at the computer cry out for a good chair. A finely crafted antique chair will give you the support you need to get through a lengthy meeting or project at your desk. In addition to a desk chair, a good library chair is perfect for the coffee break or a morning meeting.
Office envy
We have been given unprecedented insight into each other’s homes during this period, seeing our colleagues in a more personal light. On a video call, it seems as though people compete for the most extravagant house plant, the most diverse and
thoroughly stocked bookshelves or the finest painting in their background.
Excess decoration is often a distraction in an office environment. However, some décor is necessary and a good clock is a must for counting down the minutes until your next tea break. The odd attractive painting, sculpture or vase is worth including to provide something pleasing to the eye when you’re on your eighth Zoom call of the day. In the midst of a long working day, a few memoirs from travels and adventures can help to keep you motivated for your next trip.
The home office should have several sources of light; a desk light is vital and a floor lamp a pleasant decorative addition. A Maison Jansen palm standard light in the corner of the room will out-shine even the most over the top house plants.
Take a break
Necessities aside, why not put a daybed in for when the constant stream of video
conferencing gets overwhelming? Lorfords even offer a bed for your (very small) dog or cat, so that they don't miss out.
Consider investing in a drinks trolley to keep nearby, Mad Men style, so that your 5pm drink comes that bit faster. Alternatively, stay true to the sober Victorian beginnings of the bar cart and use it to keep a constant stream of tea going.
Visit our new lookbook, ‘Curate the perfect antique home office’ to browse the pieces featured.
With this year’s Oscars ceremony almost underway, “Antiques Roadshow” expert Chris Yeo goes beyond the silver screen to tell the story of a style straight from the Golden Age of the Hollywood.
It’s that time of year again. As the Academy get its envelopes in order and Hollywood’s publicity machine goes into warp drive, you’ll hardly need reminding that 2018’s Oscars will be taking place in a couple of days. Are you breathless with anticipation? Me neither, let’s do lunch. That’s not to say I don’t enjoy a good film, quite the contrary, it’s just that, as with so much in my life, my tastes lean firmly towards the vintage. And when it comes to movies - and movie stars - the Dream Factory just doesn’t make them like it used to. Talking of which, did you see Feud? It was indisputablythet.v. drama highlight of 2017, an intimate and intricate examination of the relationship between the undisputed movie queens of Hollywood’s Golden Age: Joan Crawford and Bette Davis. The whole eight episodes was a perfectly crafted study into the rivalry between the two stars that had simmered for decades but which finally boiled over in 1962 during the making of Whatever Happened to Baby Jane?. Amongst the stellar performances and electric dialogue, the scene stealer – cast aside - was Joan Crawford’s apartment; a symphony in royal blue and cream velvet, replete with Chinese Foo dogs and an artificial cherry tree. It was, quite simply, the very definition of Style, with a capital ‘S’. Of course, one would expect nothing less from a woman whose appetite for perfection knew no bounds and who once had on operation to have her back teeth removed – all the better to see your cheekbones, my dear
Joanie’s apartment – where we’ll return a little later – was an example of the design style known as Hollywood Regency. On the other side of the Pond it’s a term that requires little explanation. You’ll probably be familiar with the name, thanks to our friend the internet, we’ve started to encounter it in the U.K. in recent years, but just what is it? Well, let’s start with the name. As monikers go, this one couldn’t be more apt: conjuring up the glamour and spectacle of tinsel town with the refinement and sophistication associated with Georgian England’s playboy in chief, the Prince Regent. Hollywood Regency was a style born of Hollywood for Hollywood. It was created for the homes of southern California’s elite and emerged in the 1930s, just at the point when Hollywood movies started to be seen as the epitome of all that was glamourous. It was a child of the movies, the offspring of set and costume design, which trickled out of the studios, into the imaginations of designers and magazine editors, and eventually into retail shops. The people who adopted it were the film stars, studio moguls and gossip columnists, tinsel town’s equivalent of royalty and aristocracy. Hollywood insiders know it when they see it but, for those outside the Hollywood culture, it can be difficult to recognise. What are its hallmarks?
As a style, it exudes sophistication and confidence, with an undertone of swagger. Hollywood Regency samples from a smorgasbord of other styles; modernism is its base line but elements of chinoiserie, Moroccan, neoclassical, art deco provide the beat.Glamour was its soul; every detail was intended to convey a sense of luxury and refinement. It was all about finish, gilded, lacquered and mirrored surfaces sparkled and gave an air of opulence and exoticism, but this was no mere showman’s style. A sense of refinement and impeccable elegance was central to its popularity – people this wealthy and fabulous didn’t need to advertise their wealth when they could display something far more precious – their taste. Small wonder it became the signature style of celebrities at a time when their stardom depended on their personal image. Stars had to be seen to be having parties and be at parties and their homes had to be decorated in a way which matched and complemented (but never overshadowed) their megawatt personalities. Just how Hollywood Regency came to be the style du jour is a story that could only have happened in tinsel town.
In 1930 William Haines was MGM’s top male lead and one of Hollywood’s biggest stars. Handsome with dark hair and piercing baby blue eyes, he was every studio executives idea of what a leading man should look like. Hollywood was at William Haines’ feet. Five years later his film career was finished and he was told he’d ‘never work in this town again’. Haines was gay and his movie career was cut short because, unlike other gay movie stars of the time, he refused to hide his homosexuality – or his boyfriend – from the public. He steadfastly resisted Louis B. Mayer’s demands that he end his relationship and enter into a studio arranged “lavender” (sham) marriage. His film career ended in 1935 with Mayer ripping up Haine’s contract and throwing it in his face. For most people, this would have spelled The End, but Haines was not most people. With that enviable and peculiarly American talent for starting-over, he reinvented himself as a decorator. He had a feeling for antiques and talent with interiors what he lacked, however, was a client base. Step forward Miss Joan Crawford – Haines’ best buddy from his MGM days. In the fickle world of Hollywood most people would have thought Haines too hot to handle, but not Joan. Not only did she stand by her old friend, she enlisted him to give her L.A. home a facelift, and helped launch his career as Hollywood’s number one decorator. In fact, Haines would achieve far greater success as a decorator than he ever had as a film star, whose not-so-little black book of clients included Gloria Swanson, Carole Lombard and Nancy and Ronald Reagan.
Billy Haines set out to find a lighter, more stylish alternative to the dark and gloomy Tudor and Spanish styles which had been in vogue during Hollywood’s early years. He achieved it by combining neo-classical elements, rebirthed from 19th century European designs, with rich textiles, sumptuously tufted seating and bold colourways, punctuating his schemes with unusual or eccentric artefacts to lead the eye around the room. This was the blueprint for Hollywood Regency. Haines was a true Modernist and loved clean lines, along with what he called ‘negative space’. He would leave objects floating in the middle of rooms, and favoured small-scale low-slung seating, understanding that the client would look grander – larger than life, in fact - if they were not overshadowed by their furniture. Haines never lost his taste for the dramatic; as well as bold colours, his clients were treated to oversized sculptures, satin covered fainting couches and strategic dashes of Brighton Pavilion style chinoiserie, like the Foo dogs, so loved by Joan Crawford. It was Joanie who called Billie Haines and his partner Jimmy Shields “the happiest married couple in Hollywood” they were together from 1926 to 1973 when William died. Jimmie took an overdose of sleeping pills shortly after, saying he found it impossible to go it alone. Over thirty years William decorated all of Joan Crawford’s homes and, yes, she did really have a cherry tree in her sitting room
Dorothy Draper was another designer who had a hand in the development of Hollywood Regency; she was also the person who invented the term. Born to a wealthy family, Draper was the first to professionalise the interior design industry by establishing Dorothy Draper & Company in 1923. She revolutionised the concept of design by breaking away from historical room styles and embracing a look that was consciously Modern. Like William Haines, she was fond of the grand, theatrical statement – often referred to as “the Draper touch”. While Haines worked on a small scale, Dorothy Draper became well known for her over scaled and brightly coloured versions of classic traditional rooms which she christened “Modern Baroque”. It has been said that Dorothy Draper was to interiors what Coco Chanel was to fashion. She was confident, cultured and able to challenge traditional ideas of good taste in a playful way. Draper took traditional decorative elements and gave them a twist, playing with contrast and scale; Floral chintz, stripes, and banana leaf prints were exaggerated to add a punchy, poppy vibe to wallpaper and upholstery. Panelled doors were given a proto mod-sensibility with contrasting squares in black and white. She loved to use vibrant, eye-popping colours in never-before-seen combinations, such as aubergine and pink with a splash of chartreuse, or, one of her favourite combinations – “dull” white and “shiny” black. Both Billy Haines and Dorothy Draper understood that interiors were as much of a stage as anything that could be found inside a Hollywood studio and that chic refinement and luxurious glamour could make a great double act. Hooray for Hollywood!
Photo credits William Haines studio and Dorothy Draper