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Ahead of her collaborative project with Philip Mould gallery, we caught up with Sims Hilditch design director Louise Wicksteed, who gave us an insight into her interior design must do’s (and don’ts). We chatted about the Sims Hilditch style, their ethos that distances itself from trends and the benefits of using local craftspeople.
"Thank you! Well our aim is to create interiors which will stand the test of time using the finest materials and makers, both physically and in terms of enduring style. In all projects we begin by examining the building’s heritage and natural surroundings, considering how we might incorporate this sympathetically into our design.
Repurposing and reusing antiques and our clients’ existing furniture is a great way to nod to timeless English style. This gives pieces that are often steeped in English history a new lease of life. Additionally, paints by Farrow & Ball tend to work well in traditional and contemporary English homes alike. We love their range of timeless whites. These work well as a beautiful backdrop to more punchy shades which can be used on furniture and joinery, such as De Nimes."
"Yes, we love to feature natural materials which are locally sourced in our interiors. Reclaimed wooden and stone flooring work well in kitchens, hallways and boot rooms and sisal carpet is great for sitting and bedrooms. We also retain much of a building’s existing material where possible if it has historic value."
"The key to creating character in a home is to ensure the interior feels that it has evolved over time. Layering an interior using a variety of textures, patterns and colours is a great way to achieve this. Each element works together to make the room burst with life. Incorporating antiques into a newer home is also a key consideration, as they bring gravitas and history to the design."
"An open plan sitting, dining and kitchen area is the ideal solution for creating a social space designed for entertaining. In many traditional homes, the kitchen is often cut-off from the rest of the house, making it difficult to host guests or socialise with family while preparing a meal. Knocking through the wall between a kitchen and sitting/dining area and sectioning off each space with a kitchen island is the ideal solution. Placing stools at the island creates an informal space for guests or family members to sit before the meal is served."
"The key to creating a contemporary style in a home while retaining character is to choose a carefully balanced blend of sharp lines, metal finishes and punchy colours and pair these with a selection of antiques. This might include artwork, furniture or even family heirlooms like a grandfather clock. The challenge here can be to maintain a curated, layered look while avoiding clutter."
"Accent colours are a great way to be bold in your interior, without overwhelming it. A sofa upholstered in a bright colour, or lampshades and cushions in a yellow, red, or pink bring life to your interior in pleasing statements when threaded throughout a room with a neutral backdrop. For those tempted to be brave and opt for contrasting colours in a room, we recommend using the colour wheel for guidance. Typically, colours which sit on opposite sides of the colour wheel are contrasting but work well together (like blue and orange).
"Layered lighting allows a variety of moods to be created in one room. This tends to be made up of floor, wall and overhead lighting. We often attach all light fixtures in a sitting or entertaining room to a 5 amp dimmer switch. This can be controlled from a single point, allowing the mood of the room to be altered easily."
"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."
"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."
"Hand-painted wallpaper and or tiles is a great way to incorporate handcrafted items into your interior. We love to use wallpaper by de Gournay and tiles by Marlborough Tiles. A great way to champion handcrafted pieces, is to research local artists in your area and incorporate their art into your home. This might be a painting of the landscape of your local area, or some beautiful ornaments or crockery that speaks to you in some way. A plate wall is a lovely way to display crockery."
"Absolutely. At Sims Hilditch, we champion the highest quality in terms of the products and materials we use. We love to work with companies that share these values.
Small artisans and independent brands are often made up of smaller teams who are passionate about their brand. They are incredibly knowledgeable about what they do, making them real experts in their field. These handcrafted techniques are steeped in history, so it is important to support these artisans. These skills could die out if there is no longer a demand. What’s more, these techniques often produce the highest quality pieces which will last for generations."
For more information on Sims Hilditch interiors click here.
To read more from L-Shaped on interior design, please click here for our interiors section.
*Images courtesy of Sims Hilditch.
The English country house is one of the most enduring and celebrated styles in the interior design lexicon. This scheme is hard to pin down because it doesn’t follow a fixed set of rules. Nonetheless, its powerful influence is blatant at every turn - whether you are conscious of it or not.
The country house interior is full of paradoxes. It feels quintessentially English, yet an American developed the scheme. The country house style is far from limited to England and celebrates cultures all over the world. Even the term ‘country’ house is no longer defining. In our recent interview with Turner Pocock, the interior design duo observed that this style is now as sought after for decorating London townhouses as it is for country piles.
Country house rooms are vibrant yet refined. They are curated yet lawless. Spaces look beautiful, yet they are inviting and comfortable. These wonderfully juxtaposed layers define the English country house interior.
Grand English interiors often feel as old as time, which is an integral part of their charm. It is one of this scheme's great ironies of this scheme, then, that the style was only formally realised in the early 20th Century. The new approach to interiors glorified an old rural golden age and was the culmination of interwar sentiment. The bare bones of the style date back further, of course, with Georgian interiors laying the foundations. The stage was already set, but we owe one American lady an enormous debt for bringing the country house style to the fore.
In the 1940s, an American heiress was busy forging valuable connections in Britain. Nancy Lancaster was a prolific socialite who felt such a strong affiliation with England that she renounced her American citizenship in 1948. It was in this same year that she bought Colefax & Fowler, London’s leading interior decorating studio at the time. Together with John Fowler, Nancy began to spread the country house style through English interiors.
Lancaster herself inherited several properties that she wanted to respectfully maintain but also move on to suit her own tastes. Her innate flair for interiors became obvious through her work on her homes, those of friends, and those of Colefax clients. Nancy seized old English tropes and injected fun and imagination into them. Design movement was one of her key principles. For her, it was important that a room felt lived in and had space to evolve. This timeless feel became absolutely integral to the country house look.
Nancy Lancaster was not the architect of the English country house style. In fact, there wasn't one. Rather, numerous factors contributed to the style's evolution over centuries. The heiress, however, was the major facilitator needed to bring the style to the fore. Her key contribution was making the English home comfortable. She brought American luxuries like carpeted floors and central heating to grand old mansions, without detracting from their authentic value.
Colefax & Fowler shot to new prominence under Lancaster’s direction. She and John were a design force to be reckoned with and the company’s reputation flourished. Colefax & Fowler decorated Chequers and the Audience Room at Buckingham Palace, to name a few iconic interiors.
This interior style does not abide by any fixed rules and celebrates individualism. However, a certain essence makes the scheme feel familiar and recognisable. Comfort and easy living are integral; not only should a country house interior appear lived in- it should also BE lived in. The result is inevitably slightly dishevelled which is very much part of the charm- something John Fowler called ‘pleasing decay.’ Perhaps the reason this approach to interiors remains so unerringly popular is its forgiving nature. The house should feel like a home as opposed to a showroom. Parties, children, and dogs are all welcome.
Classic deep-seated upholstery of the sort that rose to prominence in the 19th Century is front and centre of country house interiors. Antique frames from the Queen Anne, Georgian and Victorian periods still appeal today, often upgraded with fresh upholstery. More is more, and you needn't limit upholstery to living areas. A cosy armchair in the bedroom provides a classic country home feel. In general, a range of seating of all shapes and sizes is key to crafting a welcoming space.
Classic antique pieces are the bread and butter of an English country house interior. Commodes, chest furniture, large cabinets, and other such timeless pieces provide useful storage and a traditional look. Layering time periods is key, and antiques will take pride of place in any successful scheme to make it feel established. Indeed, inherited possessions were at the core of these interiors when they first emerged. Country house interiors shouldn't feel like a showhome where you have carefully planned and sourced. Acquire pieces that you love and when it comes to styling them mismatching will only add to their charm.
Bookcases often form the architecture of a country house living or drawing room. Whether it’s a majestic breakfront piece, built-in shelves, or a matching pair of low-lying cabinets, bookcases are indispensable for achieving this look. Besides providing a beautiful piece of furniture, having treasured books and collectables close at hand and on display gives the country house its lived-in look.
Certainly one of the best things about the English country house style is its room for personality and eccentricity. Nancy Lancaster herself saw this as crucial: 'One needs light and shade because if every piece is perfect the room becomes a museum and lifeless.' Indeed, the origins of country house style were in florals, chintz, and china. For some, these details now feel dated and passé. However this is an unapologetic style, and there is plenty of room for ‘Granny chic.’ We all have antiques or collectables that we love in spite of them being a bit ‘kitsch.’ Souvenirs from our travels, our grandparents’ silver, Staffordshire pottery, an old family portrait… this maximalist interior scheme embraces it all and is better for it.
Much of the success of this scheme is in the details. Whether it’s a ball and claw foot, a fabulous gilded frame with the red bole showing through, or the blue and white patterns of a ginger jar, these decorative and intriguing accents draw the eye and make a space feel exciting.
The English country house style is far from drab and dreary; it is actually often daring and eclectic. When Nancy Lancaster bought a set of rooms above Colefax & Fowler on London’s Avery Row in the 1950s, John Fowler encouraged her to paint the drawing room bright yellow. The famous ‘Yellow Room’ set the tone for grand living rooms and is far from dull. Floral fabrics, plentiful wall art, and opulent chandeliers all complement the yellow beautifully. Colour has always been at the heart of the English country house style and it is becoming even more prominent in today's interiors.
Statement antiques, upholstery, bright colours, and due prominence to books and collections. The final key ingredient in this scheme is textiles. Not only do they bring colour and pattern to rooms, but textiles also give the English country house its crucial homely feel.
Rugs, runners, and carpets are vital for rooms with wooden or stone floors. There’s an increasing urge to bring far-flung destinations into our homes at the moment and fabrics are a brilliant way to achieve this. Our collection includes Swedish flatweaves, beautiful kilims, and vast carpet rugs.
Bedrooms ought to be the most comfortable and welcoming spaces in the home. Soften a traditional four-poster bed with antique linens galore- maximalism is the only way with furnishings. Pillows, quilts, bedspreads, and throws will make a bedroom feel charming and loved. Blending plenty of materials helps to achieve the layered tapestry that typifies an English country interior.
Contemporary designers have grabbed the reigns of the English country house style and are steering it in a new direction. The essence of the style will likely stand forever, but it's sufficiently versatile to welcome new interpretations. These adaptations and variations on this scheme reflect the powerful appeal of country house interiors and the desire to make them work with modern requirements.
Those who wish to live a less cluttered life can pare this style back and go for fewer but just as impactful pieces. When styling a smaller house or apartment, colourful paint, gallery walls and sconces will bring character whilst saving space. However, don’t fear large statement pieces either because playing with scale can transform a space. When it comes to bringing colour and vibrancy, the outdoors is your untapped resource. Bringing foliage and flowers indoors has a transformative effect on an interior.
Whilst grand English houses may have provided the original canvas for this style, today it is achievable in pretty much any home. This versatility is a testament to the design ideals at the heart of the country house style. It encourages fun and colour, it mixes historical pieces with new influences, and it reflects our human nature to seek joy and comfort.
Get inspired with our lookbook, 'Life well lived.'
There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Toby's top picks include a striking 19th Century Italian enfilade of a bold architectural design and a beautiful pair of 19th Century Tuscan wall sconces, decorated in traditional cream and gilt.
19th Century Italian Painted Enfilade
Pair of 19th Century Tuscan Wall Sconces
Alice's top picks include a classic 1930's design Lloyd Loom sofa in original French grey paintwork and a stylish Modernist textile screen in the manner of Edward Bawden.
Carly's top picks include a large black-and-white image of a Roman emperor in the style of Timney Fowler and a pair of Art Deco armchairs which have recently been reupholstered in an attractive monochrome colour palette.
Large Contemporary Image of a Roman Emperor
Pair of French Art Deco Armchairs
Heidi's top picks include an iconic wicker Harley Davidson motorcycle designed by Tom Dixon and a charming pair of carved oak cherubs dating to circa 1880.
20th Century Tom Dixon Wicker Motorcycle
Pair of 19th Century Carved Cherubs
Rob's top picks include a luxurious blue velvet armchair paired with the perfect Christmas afternoon set-up; a fabulous brass drinks trolley and a Parisian-style silverplate cocktail shaker.
Late 19th Century Blue Velvet Armchair
20th Century French Brass Drinks Trolley
Large Parisian Style Silverplate Cocktail Shaker
Jane's top picks include a comfortable English Country House chaise longue with hidden storage and a charming 20th Century feather-filled carpet cushion.
20th Century English Country House Chaise Longue
20th Century Feather Field Carpet Cushion
Tom's top picks include a wonderful untouched George III secretaire estate cupboard and a superb English club fender of large proportions.
George III Oak Secretaire Estate Cabinet
Large 19th Century Club Fender
Hattie's top picks include an original 19th Century French carpet sofa from the Napoleon III period and a charming pair of silverplate Mr and Mrs napkin rings in their original box.
19th Century French Carpet Sofa
Pair of 20th Century Madame and Monsieur Napkin Rings
Kate's top picks include a wonderfully shaped two-seat sofa featuring a scalloped back, enclosed sides and sloping armrests and a fabulous pair of 20th Century clam shells.
Pair of 20th Century Clam Shells
Eleanor's top picks include a 20th Century lacquer and gilt Chinese screen, depicting cranes and gold-painted bamboo to the reverse, and a stunning 19th Century drop-end red Chesterfield sofa.
20th Century Chinese Lacquer Screen
Steph's top picks include a fine early 19th Century complete circular tree seat from the Regency period, and a late 20th Century print of Liz Hurley by John Stoddart which rests on a stylish lucite and brass display tripod with adjustable blocks.
Regency Circular Wrought Iron Tree Seat
20th Century French Lucite Easel
Late 20th Century Liz Hurley Print by John Stoddart
Sophie's top picks include a 19th Century French chaise longue in pink velvet and a beautiful framed black and white French scenic wallpaper depicting an attractive lakeside scene.
19th Century Upholstered Pink Banquette
Piers' top picks include a fabulous pair of Italian marquetry and ormolu bedside tables and a truly outstanding 19th Century folk art diorama model of Tower Bridge, London.
Pair of Italian Marquetry Bedside Tables
19th Century Model of Tower Bridge
Dave's top picks include a 20th Century coffee table with a drawer and its original key, a lovely example of an early 20th Century Edwardian elbow chair and a stylish 20th Century opaline glass table lamp.
Small 20th Century Coffee Table
Giant Mid-Century Style Opaline Glass Table Lamp
Jordan's top picks include an elegant French Meridienne sofa and in the spirit of the World Cup, a pair of 19th Century medici lions.
19th Century French Meridienne Sofa
19th Century Carved Pair Medici Lions
Chris' top picks include a lovely buttoned and tufted sofa of small proportions and a wonderful large-scale French zinc clock face in its original iron frame.
Small 19th Century Swedish Buttoned Sofa
French 20th Century Zinc Turret Clock Face
Cody's top picks include a lovely English golden oak occasional table with a single drawer and a superb pair of French 18th Century Louis XV bergéres.
19th Century English Golden Oak Occasional Table
Pair of French 18th Century Louis XV Bergeres
The Windsor chair is known and loved far and wide, from its namesake town in England to the United States. This iconic chair represents all there is to love about antique furniture - from its rich history down to the simple, sturdy joinery that has allowed so many to survive.
Windsor has not strayed far from our thoughts over the last month. The market town is on the River Thames just West of London and home to Windsor Castle, a royal residence and the final resting place of Her Majesty Queen Elizabeth II.
It’s generally accepted that the first Windsor chairs were made in the Thames Valley in the 1720s, and High Wycombe was actually the main producer. Windsor was the all-important trading ground for transferring the chairs to London, so it soon adopted the name Windsor chair.
While we usually picture a Windsor at the dining table or in front of the fire, it actually started life as an outdoor chair. The 18th Century brought immense change for the English landscape garden, marking a departure from the formal style of the 17th Century. The garden was suddenly more relaxed and leisure-orientated, a place to take tea or play a lawn game.
This prompted a need for garden furniture that was sturdy but light enough to move around, and from there came the Windsor chair. Originally, these chairs sported a coat of green paint to blend in with their outdoor setting. As the style grew popular, a distinction arose between painted chairs for outdoor use and stained versions for indoor use - with the latter more familiar to us today.
The Windsor chair is as much defined by its construction as it is by its aesthetic. They were sometimes called ‘wedge’ chairs because of the wedge joinery that secured the legs and uprights into the seats.
Put simply, a wedge-tenon is a mortise-and-tenon joint without the glue. Instead of glue, small pieces of timber cut at an angle - the ‘wedges’ - secure the two parts together. It is a friction joint that relies on minimising any possible movement between the different parts. The survival of so many original Windsor chairs today testifies to the strength of this simple joinery.
Local workshops made use of the native woods that were abundantly available to them to make these common chairs. For instance, beech was plentiful in the hills surrounding High Wycombe, so this material usually formed some part of the chair. As steam-bending increased the popularity of curved backrests, yew and ash were chosen for their pliable nature.
Furniture makers often favoured elm to form the seat. They couldn’t rely on adhesives to join seats, so they had to use one solid piece of timber. Elm, a sturdy hardwood, fit the bill because of its firm yet malleable nature; the latter important for creating the saddle seat design.
The Windsor style inevitably spread far beyond the west of London. It migrated northwards, with prolific workshops in Nottingham and Yorkshire amongst other counties. Part of the charm of regional furniture is the variations that arise from local influences, with a gentle competitive spirit driving a need to stand out.
The backrest offered a canvas for creativity. Firstly, different regions and workshops had different preferences when it came to the overall shape of the backrest. As a result, you find hoop-backs, comb-backs, bow-backs, high and low backs, and everything in between.
The central back splat presented the opportunity to stand out and show off expert furniture-making techniques. Fretwork could be simple or elaborate, depending on the maker, and splats depicting a carved wheel were particularly popular throughout the Windsor's heyday.
This humble chair would sometimes reflect national developments, too, as was the case with the Prince of Wales feathers.
You will occasionally come across Windsor chairs where the central splat bears these feathers - the heraldic badge of the Prince of Wales - in fretwork. While a long-standing emblem of the heir to the throne, it had particular resonance in the late 18th Century.
The Prince of Wales became Prince Regent in 1787 due to the declining health of his father, King George III. As the youth entered the national spotlight, furniture offered ordinary people the chance to recognise the monarchy in their own homes.
When it comes to Windsor chair legs, two main styles align with national furniture trends at the time. 18th Century examples tend to feature stately cabriole legs, their graceful curve accompanied by equally elegant stretchers, which became popular under Queen Anne.
Moving into the 19th Century, furniture-makers favoured turned legs accompanied by turned stretchers. ‘Bodgers' were responsible for turning the timber to produce legs, stretchers and spindles for Windsor chairs. So valuable was their craft, bodgers had their own concentration of workshops in the Chiltern hills.
While production slowed after the 19th Century, the Windsor chair has lived on in countless guises ever since.
Ercol put their distinctive stamp on the style in the Mid-20th Century, launching their own Windsor chair made with wedge-tenon joinery. Mid Century versions tend to be sleeker and more refined, yet the basic concepts of a saddle seat and decorative open back remain in almost all of them.
Modern manufacturers continue to emulate and draw upon this rich design history, demonstrating the timeless appeal of simple, well-made furniture. We’re not sure you can beat an original though…
There are Windsor chairs to suit every room of the home and serve every purpose. You might choose stately examples with armrests and proud legs for a fireside chair, and simple hoop-backed chairs for dining. There are children's Windsors, captain's Windsors, and rocking Windsors.
When it comes to sets, don’t be afraid to mix and match Windsors for a more eclectic look. They will share a simple vernacular aesthetic and the strength of solid wood - the quirky variations are very much part of their charm.
Browse our collection of Windsor chairs here.
Charlie Hibbert, Head Chef at Thyme's Ox Barn restaurant, shares a delicious recipe that everyone will love - a grilled cheese toastie, the perfect autumn weekend lunch!
I can’t deny it – like most people on the planet, I’m pretty much addicted to melted cheese. There’s just something about it. I use this recipe probably more often than I ought – on account of it being (a) delicious and (b) super easy. You can also whip it up when you think you’ve got nothing for supper or weekend lunch… just so long as you have Cheddar and some leafy greens in your armory. I use chard, but you could use spinach or other leafy greens you may have.
Serves 4
For the rarebit
350g best Cheddar cheese
1 heaped tsp English mustard powder
1 tbsp Worcestershire sauce
1 egg yolk
3 dashes of Tobasco
6 leaves of chard
8 slices of sourdough
Gently pull the leaves from the stalks and wash them. Slice the stalks thinly and place them in a pan with 30ml water. Cook them over high heat with the lid on whilst roughly chopping the leaves, before adding them to the same pan. Continue to cook until all the liquid has evaporated, then set to one side and allow to cool.
Place all the ingredients for the rarebit into a food processor and blend until smooth. Spread the cheese mix onto 4 of slices of toast and cover with the chard. Top with the remaining slices of bread. Butter the outside of each side of the sandwich. Fry on each side for 3 minutes or until golden brown, then cut in half and serve.
Thyme includes 32 bedrooms situated in the Georgian rectory, The Lodge, The Farmhouse and the cottages around the courtyard; the Ox Barn restaurant (62 seater); Baa bar; meadow spa, orchid house, pool, botanical bothy & Bertioli beauty products; balcony room & piggery boutiques selling Bertioli silk wear, tableware & bespoke homeware; cookery school; farm, kitchen gardens, orchards & water meadows; Old Walls self-catered cottage; Tithe Barn for private events
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
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.
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.
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.
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.
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.
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.
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.
Shop the look, visit our lookbook 'For the love of stripes'.
Edward Bulmer Natural Paint has recently opened the doors to its first flagship store in London. The pioneering paint company have long been admired in the pages of the interiors glossies, on the walls of beautiful homes and of course you will have seen how we at Lorfords use their exquisite colours.
Edward and the team are delighted to now have a ‘home’ in the design hub on Pimlico Road. More than just a ‘paint shop’, not only can you browse their range of colours on a huge colour wheel, Edward Bulmer Natural Paint is championing sustainable interiors, hosting exhibitions with creatives and exclusive, curated events.
Unsurprisingly the showroom is a colourful display of the natural paints throughout. Edward chose to paint the façade in his favourite deep, rich orange ‘Malahide’, paying homage to the area’s history. This eye-catching deep orange exterior, brilliantly inspired by Orange Square, where the showroom is located on the corner of Ebury St and Pimlico Road.
“Bringing further colour to orange square, we look forward to providing help with all things colour and paint in the heart of London’s greatest design quarter.”
Orange tones, Edward says ‘are having a revival – with distinctly nostalgic notes, Malahide fuses modern with timeless so effortlessly.’
Deep, magnetic and exotic all rolled into one colour, it certainly stops people in their tracks as they walk by the showroom. @Farstud.o also uses our ‘Malahide’ with ‘Jonquil’ (pictured to the left), creating a tonal yet fresh and light palette, as a more peachy scheme.
If you are thinking about where or how to use ‘Malahide’ in your home, Edward suggests it to be a great spot ‘to cheer up a boot room or a dark passageway, especially with a two-tone scheme or dare we mention – a feature wall’. With Edward going on to say one special rule for this orange colour… ‘Don’t paint sparingly – if you use it, mean it. You won’t regret it.’
Malahide as featured in a Lorfords Antiques and Lorfords Contemporary photoshoot.
The Edward Bulmer Natural Paint showroom will also be hosting a series of exhibitions throughout the year where they will be sharing some of their favourite sustainable, like-minded brands. From art exhibitions and installations to curated collections, talks and exciting pop-up events; there is going to be something for everyone.
The brand aims to champion smaller sustainable brands and artists by providing a platform in the heart of London to help them tell and sell their stories. Current brands on show in the shop are Haines Collection and Hum London lamp shades and the plastic-free wall murals from Beautifully by George.
The Autumn line up at Edward Bulmer Natural Paint is not one to miss with events during London Design Festival 17th – 25th September, leading British landscape artist Pete Beckett, Edward’s own book launch ‘The Colourful Past: Edward Bulmer and the English Country House’ and a Christmas shopping pop-up with Sharland England and Louise Roe.
To celebrate the 20th anniversary of London Design Festival, Pimlico Road is very much on the map as one of the design districts for the week-long celebration of all things creative and design. Edward Bulmer Natural Paint will be hosting an immersive and quite extraordinary exhibition from some leading young artists using waste to make art, including waste paint!
The Crossover Project brings three creative industries together to collaboratively tackle waste in a bid for a circular economy. Harnessing waste from design and fashion brands, the project is connecting artists to this waste who will work with these unfamiliar materials, transforming them into bespoke artworks and diverting them from landfill.
Alongside the exhibition, there will be lampshade upcycling workshops with artist Jemima Sara and the founder of Haines Collection, Jules Haines. With a further talk at the showroom in the evening, where Edward Bulmer will host a talk with journalist and co-founder of The Crossover Project Roddy Clarke, Aurelia Isliyme and Jules Haines.
If you'd like to join Edward Bulmer Natural Paints for their workshops or talks then book via the links below - spaces limited!
Workshop – Thursday 22nd September 10-12pm
Workshop – Thursday 22nd September 2-4pm
Talk – Thursday 22nd September 6pm
Visit their website and sign up to their newsletter, follow them on Instagram, pop into their London showroom or give them an email or call!
Website: https://www.edwardbulmerpaint.co.uk/
Instagram: https://www.instagram.com/edwardbulmerpaint/
New London showroom: 194 Ebury St, London SW1W 8UP
Email: info@edwardbulmerpaint.co.uk
Call: 01544 388535
We talk to Hampshire-based interior designer, Lucy Cunningham, about what makes her tick and her latest interior design projects. Layers of the unexpected set Lucy’s refined English aesthetic apart... but where does she find this unexpected inspiration...
The place that means a lot to me is Le Deux Tours in Morocco, I often visit with my mum. It’s heaven on earth and where I feel the most relaxed. It's out of the city centre and is set in the most beautiful gardens with peacocks roaming around… the architecture and interiors are breathtaking - from the Moroccan tiles on the floors to the fabulous ceilings and even the little bar... it's all so chic and charming… I could go on and on!
My favourite souvenir is the sweetest little Morrish table from my last trip to Morocco - circa 1890 it has the most exquisite inlay work …what a find - it has made me very happy!
The best books I’ve read in the past year are 'Where the Crawdads Sing' by Delia Owens - it's beautifully written and the imagery in the book is breathtaking… I heard this quote and it's so true of this book… “you know you have read a good book when you turn the last page and its as if you have lost a friend” - that's how I felt. Another is, 'If in Doubt Wash Your Hair' by Anya Hindmarch – it's such a brilliant book…having worked for Anya I was desperate to get my hands on it… it was so typically her - brilliantly funny but also the BEST advice - what more could we all want?
The podcast I’m listening to is The Modern House with Matt Gibberd – and also Kit Kemp - An award-winning interiors designer on her design secrets, dealing with setbacks and finding your own style
In my fridge, you’ll always find Diet Coke, it's my guilty pleasure!
Some of my best ideas have come while in the garden. We were lucky enough to have inherited the most beautiful garden from the previous owner, artist Lucy Dickens. It’s bursting with glorious colours and smells and always gives me such inspiration.
The thing I couldn’t do without out is my tape measure!!! You cannot measure things enough times!!
The event that changed everything for me was moving to Gloucestershire in 2014 which is when I worked on my first big project, a beautiful ex- national trust home just outside Burford. The clients were a dream and we’re still friends today.
An indulgence I would never forgo is getting my colour done at Josh Wood. David Iman is a total genius.
The last piece of clothing I added to my wardrobe was a pair of Malone Souliers heels and an amazing dress from ByTimo.
My favourite building is Farm Street - the church in Mayfair that we got married in. It looks so inconspicuous from the outside but inside it’s incredibly opulent and decorative, with painted ceilings, artwork and stained glass windows. Plus there is a great pub next door that used to be owned by Guy Richie.
My favourite room in my house is the sitting room, I’ve filled it with favourite finds from my travels and it’s where we spend time as a family.
The best advice I’ve ever received was from Anya Hindmarch, who told me to make sure I surrounded myself with a good team.
One artist whose work I would collect is Kate Corbett Winder. I have three pieces at the moment and just love the colours and movement in them.
Trillgate Farmhouse is a beautiful example of a Cotswold house, full of charm and character. Where do you begin to work on a project of this size?
With most projects, we begin by thinking about what the property needs in order to turn it into a beautiful yet functional home. The process can often begin with some building work or tweaks to layout etc followed by developing layered schemes that add character and warmth. We love to blend the contemporary and classic, drawing from a variety of cultures and finding special pieces that bring the room to life and create interest.
Where did you draw your inspiration from?
I’ve always been incredibly curious about different cultures and draw a lot of influence from my travels. I’m passionate about mixing colour and patterns from different cultures with art, antiques and textiles from a variety of periods. Often it can be a single piece found at a flea market that sparks the inspiration for an entire scheme.
Talk us through the living rooms, you kept them light with soft shades like Farrow & Ball's Setting Plaster and Parma Gray. What was the process you used to piece together the other elements to the room?
The magnificent original fireplace and flagstone flooring provided an anchor for this room. We wanted to create a space that enhanced rather than overwhelmed these traditional country features, so worked on a soft, soothing palette, using muted colour on the walls and introducing lots of pattern and bolder colour through textiles accessories, wall coverings behind the shelving and lots of statement pieces.
You have mixed contemporary and traditional here, What Lorfords pieces did you use in this characterful renovation?
We found the most wonderful Lorfords pieces for this room. I always get excited about what amazing things I’ll find when I visit to source for a new project. This is a Swedish antique rug that we found and instantly fell in love with… the colours were calming but added some depth to the room scheme - it’s the perfect finishing touch.
What are your basic rules for mixing contemporary and traditional?
Honestly, I know it sounds like a cliché but I really don’t have any rules, actually, I try to avoid them as I think they get in the way of natural curiosity and the ability to push yourself out of your comfort zone. One thing I do often say is: ‘If it’s beautiful and it makes you happy then try it!’
Your client was an American family – did they have specific wants/needs within the property that you factored into your designs?
They wanted the interiors to feel typically Cotswold-y and retain as much authenticity as possible so we went for a traditional country house palette, dressing it with a mixture of traditional and also slightly more contemporary patterns and colours inspired by a number of cultures. Having worked on the clients previous home we had a great relationship already in place and they completely trusted our ideas so we had a lot of free reign.
Rugs and fabrics feature heavily in your designs, resting against stone flooring or whitewashed exposed brick. How do you choose the textiles involved? And what are your tips for pairing textiles and patterns?
Rugs can really make a room; it’s an element that brings everything together as well as providing an added layer of warmth and homeliness, especially if you are working with harder flooring such as stone or wood. I choose rugs in the same way that I choose fabrics and wall coverings – beautiful colours and patterns that speak to the furniture and fabrics chosen for the rest of the space. Saying this, sometimes, if we have found an incredible rug it might be that we work backwards from there and build the scheme around the rug. My tip would be to treat a rug like you would fabrics and wallpapers – don’t be afraid to experiment and mix a variety of colours, patterns and textures.
Click here to read more L-Shaped interviews or click here to visit Lucy's website.
The British, as we are always told, are a reserved people. Along with fish and chips, our stiff upper lip is what we’re most famous for. I must admit that whenever I hear this, I have to remind myself that, within this sweeping statement, they’re talking about me. I don’t know about you but I’ve never considered myself the shy and retiring type, if anything, I’m a bit of a Cavalier. A what, I hear you ask. Let me explain. According to a particular school of thought, we Brits divide into two camps – Roundhead and Cavalier. Students of history will know that these were the opposing sides in the English Civil War – the Parliamentarians aka Roundheads were known for their spartan tastes – banning Christmas carols and anything that looked even remotely pleasurable while, on the other side, the Cavaliers revelled in all that life had to offer and showed it with their big hair, Saville Row tailored uniforms and their all-round flamboyance and love of the good things in life. We have a saying that if someone has a ‘cavalier attitude’ it means they don’t care (like that’s always a bad thing). If ever someone accuses you of that just tell them to stop being such a Roundhead.
Anyway, so the theory goes, these opposing traits have become key aspects of the British character, battling for supremacy in every walk of life like it’s 1642 all over again. As a design historian, one of the things I love is being able to make connections between man-made objects and the wider world. I think, down the centuries, this Roundhead versus Cavalier tension has played out in the way we decorate our homes. Roundheads are all about straight lines and classical order, while Cavaliers are more laissez-faire and letting things go curly. Normally it works pendulum style – think of the florid excesses of High Victorianism being stamped out by William Morris and his smock-wearing acolytes, or those ‘Form Follows Function’ Modernists showing Art Deco exactly what it could do with its decorative flourishes - but occasionally those two forces fight it out at the same time. With this in mind, this week we’re taking a look at the curious affair that was English Rococo.
Rococo, it’s a word you’ll have heard before but what exactly was it? Quite simply, the most self-consciously decorative – cavalier - of all decorative styles. Developed in Louis XIV’s (it was known as “the French taste” in this country) it was the dominant style in northern and central Europe during the first half of the 18th century, affecting all the arts from furniture to fashion and sculpture to ceramics. The word rococo actually began life as a term of ridicule in the 1790s, when the style was already dead and buried. It sounds Italian but actually derives from the French rocaille (pronounced 'rock-eye'), describing the shells and rocks which were used as decoration in shell-rooms and garden grottoes.
There’s nothing straight about Rococo, it’s all about the curve. Flowing lines became obligatory. Think twirly-whirly, think wedding cake decoration, sinuous C and S-scrolls, garlands, ribbons, shells and sea monsters. Familiar objects lose their well-known outlines and, to quote the Bard, suffer a sea-change, into something rich and strange. In Rococo’s surreal world everything swirls, moves and writhes. Designers plundered the natural world for inspiration; crabs, eels, and crustaceans happily rub along with seaweed, mermaids and river gods. Rococo’s essential motif was the cartouche – an amorphous, unformed shape that was somewhere between a jellyfish and the human ear, which could be moulded into any shape. From this basic motif the great French ornemanistes – like Nicolas Pineau, who could take a console table and turn it into an all singing, all dancing gilded extravaganza – produced their extraordinary designs.
Across the channel, the British were grinding their teeth. Paris was the undisputed centre of European fashion and the French luxury trades set trends for all the other European nations. Despite being almost constantly at war with France throughout the 18th century, those thrifty Anglo-Saxon Protestants still craved the exquisite sophistications of the enemy. Rococo arrived in England just at the point when things were getting more square and architectural. Since the 1720s when Lord Burlington had led a campaign to revive the classical splendours of Palladio and Inigo Jones, the Palladian movement had been the dominant force in design. The watchwords were symmetry and balance and, as styles go, it was sober and serious – Roundheaded, even. For some, Rococo’s arrival was looked upon rather like the arrival of a flu pandemic. Frothing with indignation, one commentator had this to say:
They heap cornices, columns, cascades, rushes and rocks in a confused manner, one upon another; and in some corner of this confused chaos, they will place a cupid in great fright, and crown the whole with a festoon of flowers.
The Rococo first inveigled its way into England via the fashionable dining rooms of the aristocracy. Gastronomic success rested not only on the best ingredients, but also on the service, the convivial atmosphere, and the visual interest of the table and eating room. By the 1740s, the best dining tables were groaning with a prince's ransom of rococo silverware: a still-life centre piece or a branching epergne holding flowers and fruit surrounded by a flotilla of tureens, condiment sets and candelabra. The greatest Rococo silversmiths were Paul de Lamerie and Nicholas Crespin (who once found the perfect Rococo shape in a turtle’s shell and so mounted it in silver and turned it into a punch bowl) both of whom specialised in elaborate tableware that were swirling rocaille masterpieces, which must have ruined the taste of the soup for more Palladian-minded diners.
The outstanding English interpreter of Rococo was Matthew (or Matthias) Lock. He was a designer and cabinet-maker who had workshops in Tottenham Court Road but about whose life we know virtually nothing. Lock was an outstanding draftsman who, probably more than anyone else, understood the French style giving it his own, very English, twist. In his fantasy world – best seen on his mirror frames – a riotous assembly takes place; friendly goats confront surprised foxes; monkeys precariously perched monkeys blow bubbles; squirrels admire spring flowers; Chinaman in coolie hots and drooping moustaches cling to trees, the roots of which dissolve into icicles; all among a riot of fountains, shells and running water.
So did, England ‘go Rococo’? Well, for the answer to that, look around. Visit France, or southern Germany, or Austria or northern Italy and you’ll be tripping over Rococo palaces, churches and townhouses, try looking for the same in this country and your search will be in vain. The truth is Rococo made only a brief stay as a fashionable style and only touched the smart and the grand, even then, mostly in the form of small objects – vases, candlesticks, soup tureens, mirrors - rather than whole interiors.
As styles go, Rococo was elegant and charming but insubstantial. This was to sow the seeds of its downfall since it showed a lack of reverence for classical architecture which became unacceptable to the new generation of Rome-inspired architects, like Robert Adam who openly despised it. In fact, what was called Rococo in England bore little resemblance to the rich, creamy, wedding-cake heights it achieved in Europe. Done properly, Rococo was smart, urban and sophisticated it was also expensive and hard to master. Rococo designs demanded that each craftsman be also an outstanding artist as well. That was asking too much. John Betjeman, the great architectural historian, said that political history explains the style’s failure to launch. Because of the Civil War and gradual reform of Parliament, the aristocracy took a greater interest in politics here than on the Continent. Rococo required commitment and we were just too busy with other things. Perhaps it was a victory for the roundheads after all.
Styles never quite come to a full stop. In the early 19th Century the rococo impulse was revived under the flamboyant Prince Regent. Its last hurrah was at the turn of the century with Art Nouveau, when it made a flamboyant if brief return. While the austere geometry of modernism governed much of design thinking during the twentieth century, designers continually returned to organic, natural curves as a source of inspiration in the 1950s, and the psychedelic 1960s.
Fantastical, daring, highly decorative and never, ever sensible, it’s almost impossible not to be charmed by Rococo. There again, as a Cavalier, I suppose I would say that.
A huge fan of British crafts, Alice is a keen supporter of local talent. “I think the more we can support homegrown craft, the better. I’ve noticed a big movement in this direction, especially with Brexit, closely followed by the pandemic. Imports have become trickier over the last few years. Now is as good a time as any to be supporting our homegrown talent.”
Her considered designs are undisputed. So we wanted to know what makes Alice tick. A long soak, as it turns out, and a bronze sculpture she tracked down on her honeymoon. Read on...
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The last thing I bought and loved was a framed textile by the Marrakesh lifestyle company Lrance. I love finding new and interesting pieces, mixing and matching, commissioning special pieces too. Getting to know the artist makes the process so much more meaningful.
The place that means a lot to me is where I grew up in North Wales.
The best souvenir I’ve brought home is a bronze sculpture from our honeymoon in Mauritius - they were sitting on tables in the restaurant and we tracked down the local artist.
The best books I’ve read in the past year are the Paper Palace by Miranda Cowley Heller and ‘If in doubt wash your hair’ by Anya Hindmarch - a brilliant guide to juggling work and family life!
The podcast I’m listening to is My Life in Seven Charms by Annoushka Ducas. Annoushka is a jeweller and in the podcast she talks to inspiring women about collecting charms. She explores their unique ability to evoke memory and meaning.
In my fridge, you’ll always find chutney - it goes on everything!
Some of my best ideas have come while I’m in the bath. My bathroom is my favourite room in my house – I take baths very seriously!
The thing I couldn’t do without is my ear pods – and much to my children’s amusement, I lose them on a daily basis!
The moment that changed everything for me was getting my first job in Design with Lavinia Dargie (Dargie Lewis Designs) and staying for 10 years.
An indulgence I would never forgo is a good coat to hide a multitude of sins underneath, especially in a hurry on a school run.
The last piece of clothing I added to my wardrobe was a beautiful linen dress from Wiggy Kit.
My favourite building is Somerset House in London.
I am excited to see more earthy terracotta colours and natural hues being used in design projects. They can look really wonderful in limewashed paint finishes. The company Bauwerk specialises in these natural limewashed finishes, which react with the air on application to create wonderful matt, stone-like results which look amazing.
I am inspired by the V&A! I find it jam-packed with inspiration. I’m also lucky to live close to the Design Centre at Chelsea Harbour and they have a fantastic programme called ‘Conversation in Design’ where I always pick up top tips. Living in London, I get very inspired from just walking amongst old buildings that have a foot in the past and the future. I love to see how decorative details stand the test of time and how modern craftsmanship can continue that story.
My favourite Lorfords Antiques piece is currently a Swedish Flatweave Rug by Ingegerd Silow. I love a mid-century Swedish flatweave rug - their patterns and colours are always so adaptable to many a room.
I keep coming back to the Lorfords Contemporary Elmstead Sofa. I am a huge fan of it, I love their style and comfort. I recently placed two of these in a reception room of a very elegant stucco-fronted London Townhouse and covered them in a lovely teal wool from Tissus D'Helene.
(The Elmstead Sofa from Lorfords Contemporary. Alice Leigh Design. Image by Rachel Smith)
One of my favourite sustainable materials is rattan. It's hugely sustainable and there are a few wonderful suppliers championing the craft in the UK. It works well in both traditional and contemporary projects adding both character and timelessness to a room. One of my absolute rules is to include antique and salvaged items that are not only sustainable, they add a sense of authenticity to a project.
An indulgence I would never forgo is a good coat to hide a multitude of sins underneath, especially in a hurry on a school run.
The best advice I’ve ever received is don’t sweat the small stuff.
(Alice Leigh Design | Images: Jonathan Bond)
For more information on Alice Leigh, please visit her website.
To read more interior design articles, please see our interview with Sims Hilditch here.
“Nature is our muse. It is a source of constant inspiration.”
(Image by Helen Cathcart)
It was a delight to be able to sit down with Milly and Bell, two very talented and eco-conscious women. Milly Hibbert is head of brand and retail development at Thyme* and Bertioli, while Bell Hutley is a London-based artist and designer. Known for her darkly romantic aesthetic and use of colour inspired by nature and folklore, Bell was the perfect partner for mother and daughter team, Milly and Caryn Hibbert, when designing their new tableware range. This talented team are driven by their love for the environment around them. And with that, their hope to preserve nature's fragile eco-systems for generations to come.
Bertioli is a brand inspired by nature. Caryn and Milly design simple yet beautiful products for everyday living that inspire connection with the land and nourish both people and planet. The Bertioli & Bell Hutley collaboration was born from a shared desire to tell the story of nature’s pollinators and to celebrate their magic. This collection of limited edition tableware, illustrated by Bell and Caryn, and designed by Milly, celebrates these vital partnerships between flora and fauna.
The species that their designs have focused on are indigenous to Great Britain, as familiar to us as a farmyard scene or rolling green hills. The Tiger Moth with stingy nettles, Dragonflies and Water Lilies and Sea Buckthorn for the Brimstone Butterfly surround us here in the British countryside. We know them well; spending many youthful hours skipping after moths and butterflies whilst (mostly) avoiding the nettle patches.
Their beautiful and natural designs will create an element of nostalgia for many of you, whilst reminding us too of the here and now. Our responsibility is to protect these delicate species and the nature that surrounds us, whilst being lucky enough to enjoy the beauty in these locally designed homewares.
Milly – “We had admired each other’s brands for a while. I knew of her designs and Bell, likewise, knew of Thyme and Bertioli. We messaged each other and we were looking at stocking a few of Bell’s products in the shop as we felt her illustrations would go really well with our lines. But it became clear that we could do more. The creative sparks flew and we aligned quite quickly.
Bell then came down to see us here at Thyme* (in Southrop, Gloucestershire) and our processes aligned really well – from a brand and personal perspective, there is a real passion for nature so the collaboration felt really natural. The design process became one team and we flowed really well.”
Milly – “We used what we had in the gardens and farm here to be inspired. Seeing the butterflies flutter past the window here at Thyme felt like we were on to something. We came up with a number of ideas and then settled on our final three pairs.”
Bell – “It was really nice to be able to design tableware around botanicals and species that have had a bit of a bad press. Nettles and moths - they don’t really have the best reputations! So hopefully we are giving them a new lease of life through our designs.”
Image by Helen Cathcart
Milly – “With all our products, they are about inspiring a collection with, and a love of nature. There is also a bit of creative license. They are not scientific drawings but a meeting in the middle of creativity and nature. We hope to engage people in the stories of the botanicals and species. We came up with the three pairs and started with what we could see here at Thyme. Bell did some sketches first, and then we added our sketches and it grew from there.”
Image by Helen Cathcart
Milly – “We wanted to give back to what has inspired us. ‘1% for the planet’ is a big global movement, there are a number of brands who have signed up to it. It is a community of likeminded businesses who give 1% of revenue to environmental causes. This figure allows us to donate significantly, whilst also allowing our business to grow, and ultimately therefore, to donate more. We can choose which organisations and charities to work with and we have worked with a number of them.
This year, our focus is on working with a project close to us - the West Oxfordshire Bird Project. We also work with Plantlife, who work across the country to educate and enable people to preserve meadows as the UK’s most bio-diverse habitat.”
Milly – “We have got many things in the pipeline. I’d love to build on what Bell and I have created here together. In the meantime, we have a few launches in the pipeline – stepping into the interiors world is next. Our ambition for Bertioli is to create a whole collection of connections to nature in the home. We want to take that into all parts of the home – wallpapers and upholstery fabrics, in addition to homeware and beauty. It’s important for us to build on the relationships we’ve created with like-minded brands.”
Bell – “My aim is to continue telling stories through art. Anything beyond the canvas, whether it’s a tablecloth or lampshade, I’m always trying to create new ideas. I love interiors but I’m also writing a children’s book and creating collections around that. I want to push myself and my creativity through the storytelling. I’d love to continue working with like-minded and inspiring brands, I learn so much from it and feel incredibly lucky to be working in what I love!”
*Bertioli is the sister brand of Thyme. Nestled in a Cotswold village, Thyme is a quintessential English country destination. A collection of restored 17th Century farm buildings, houses and cottages, Thyme is a boutique hotel, with on-site restaurant and spa.
More about the Bertioli & Bell Hutley collaboration
In recent years, the fragility of nature has been put at the forefront of conversation, with species decline and habitat loss at the heart. One of the key concerns has been around the health of pollinators and the crucial role that they play in every ecosystem.
With this collaborative collection, we bring together the distinctive illustrations by Bell and Caryn to celebrate pollinators and highlight their relationships with both common and unique plantlife. This will hopefully inspire conversation around the table and a deeper connection to nature.
“Bertioli’s mission is to consolidate the idea that in nurturing nature, we nurture ourselves.” Caryn Hibbert.
There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Pair of 19th Century 'Bejewelled' Candlebras
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
French 19th Century Chandelier
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
18th Century West Country Windsor Armchair
Pair of Bristol Chemist Bottles
Swedish 20th Century Pine Desk
Large Mid 20th Century Terracotta Canova Lion