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When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Preparing your canvas
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
Tactile textures
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
Relics of land and sea
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
The Mediterranean garden
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Soft touch
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
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'.
Edward Bulmer Natural Paint, creators of eco-friendly, breathable paint talk to us about colour trends and how to create timeless interiors.
Top tips from the team at Edward Bulmer
As consumers, we are inundated with headlines on trends and new colours in glossy magazines and on Instagram. At Edward Bulmer Natural Paint we are advocates of simply choosing colours you love that will stand the test of time. Most of these trends are already recycled from a period in history or modern culture and many of us have seen several different iterations of such in our lifetimes.
When planning an interior, we all want to achieve the perfect balance – a space that feels fresh and will stand the test of time. Our founder, leading interior designer and eco-worrier, Edward Bulmer, believes there is both a science and art to creating colour. Edward has created a timeless collection where every colour has its place, and all have absolute relevance and resonance whatever the style of your home.
There are some principles of colour rules that won’t ever change, whatever the trend when it comes to colour. Uniquely, the Edward Bulmer exquisite range of 102 colours and the new ‘Shade Collection’ are all made from just 12 natural pigments. This creates a patina alive with pure colour and because they all come from the same natural sources, the colours are all in tonal harmony with each other.
Rather than whitewashing your home, it's much more interesting and personal to use a variety of paint colours and shades in different spaces. The key to clever colour is creating flow within your home or scheme, all the colours just ‘work’ together whether using the ‘Shades’ and creating neutral interiors or bolder designs full of colour.
So you can feel confident choosing colours, from the punchy ‘Pompadour’ to smoky pink ‘Nicaragua’, to ‘Ethereal Blue’ and ‘Lilac Pink’. The most important factor is to choose colours you love; you may start with a fabric or a piece of furniture and there are some colours which of course enhance those elements in a room. As far as trends go, the company are seeing a definite rise in customers choosing bolder colours and pairing them with other more contrasting colours.
Emma Bulmer, head of colour consultancy at Edward Bulmer Natural Paint, recommends pairing dusky pinks with deeper hues like ‘Pompadour’ or ‘Nicaragua’ as ‘it creates a high contrast and adds some drama while remaining soft and tonally consistent’. Wall to wall, room to room – the effect of natural paint is as remarkable in ultramodern interiors as in Georgian stately home and just as obvious in the neutral shades as in the bright, strong colours.
Of course, we should not discount the Instagram effect with the spotlight on different rooms and colours. The use of colour in specific rooms trends daily and there has been a massive rise in popularity of colours like plaster pink ‘Jonquil’, ‘Trumpington’ and ‘Invisible Green’, the latter two notably at the farmhouse owned by Rita Konig.
Image credit: Guiaro Design
Edward Bulmer also advises how yellows are a great hallway and passage colour for walls but it also depends on what pigment base the yellow is made up of – ‘Halls and passages work well with ochre-based tones while a bright mineral yellow can articulate the volume of a living room to great effect. Just bear in mind that starved of light, yellows can seem a bit green to the green. There are, however, ways to make this hue look contemporary: juxtaposed with clear white, it looks fresh and confident. Deep and slightly tobacco-like shades can lend a chic, suede feel to a room, especially if you tie it in with a complementary trim.'
The tobacco yellow ‘Trumpington’ is pictured in a hallway scheme by colour consultants Charlotte Crofts and Emma Bulmer. A classic look, with warmth and mood-boosting power of sunny tones for a vibrant feel.
A timeless colour pairing which must always be seen, Pink and Green! And in fact, Edward Bulmer’s favourite combination, as many know from his own music room scheme in soft green ‘Pomona’. Greens are very popular for creating calm interiors, Edward is known for his versatile greens from soft to the stronger ‘Invisible Green’, a modern icon! It creates the perfect backdrop for an eclectic mix of fabrics and textures and goes with any colour. This bold statement colour has an extraordinary softness and warmth and is packed full of pigment.
Apple Green, styled by Lorfords Antiques
Next, the blues which run the whole gamut of shades, from Prussian Blue ‘Ethereal Blue’ to our deep jewel ‘Azurite’, are chosen by many to create a classic or contemporary scheme and are never cold.
Pinks have certainly been amongst the most popular with bestsellers including ‘Jonquil’, ‘Lilac Pink’, ‘Cuisse de Nymphe Emue’ and the new ‘Mason Pink’ seen in the image below styled by Lorfords Antiques.
Edward’s top tip, use ‘Jonquil’ downstairs and ‘Cuisse de Nymphe Emue’ upstairs. But it is all down to personal preference and the aspect and size of a room.
Pink has long been used to great effect by architects including Robert Adam. The key to a timeless interior is to ensure they are neither too sugary, blue, babyish or garish. Emma Bulmer also says of pink and blue schemes, ‘another surprising pairing with pinks, are the deeper blues; the pink tones often darker ones such as Indigo, Azurite or the steely Cerullian Blue, a pairing often seen in fabrics designs.’
If you are choosing colours, whether a neutral and tonal scheme or using deeper colours you cannot go wrong with the natural paints from Edward Bulmer Natural Paint. The unrivalled response to light and pigment-rich colours are timeless and their truly sustainable provenance makes them the right decision for the future.
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Find out about the NEW colour consultancy service, taking all the hard work out of choosing colours and creating that sought-after timeless palette: In Home and Virtual consultations are available. Your dream paint schedule is just a click away.
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Visit Edward Bulmer Natural Paint's website or follow them on Instagram.
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...
Behind the brand
The last thing I bought and loved was an antique kilim rug which I’ve put in my kitchen, its perfect shade of blue meets your eye as you walk in through the front door and always makes me smile!
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.
About Lucy's interior design...
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.
To meet the challenges posed by the pandemic, businesses around the world have had to react in agile and decisive ways. As we move into the next phase, now is the time to seek out and seize the opportunities emerging in the recovery.
Companies have had to rethink and sometimes reinvent their business models to maintain relevance and be a part of the solution. After this period of isolation, we are witnessing people recognising the basic need of emotional and physical connection; this in turn is demanding their employers develop environments in which they feel comfortable and nurtured. As a business, priorities have changed in ways we never imagined before the pandemic, and as a result, we are also seeing our industry shift to a much more relationship-led business model, surrounding ourselves with all the things which now feel very important to them.
Within our industry, internal teams, clients, and suppliers, are all looking to connect on a personal level - building relationships and championing each other. In its most basic form, people are picking up the phone, rather than sending an email, sparking conversation and the exploration of thoughts and ideas. This has led to cross-pollination; interrelated industries working together to reach the same client base. The approach has led to building cohesive living environments, full of depth and substance. An excellent example is Gucci’s new Lifestyle collection, which ranges from desk objects to games. Traditionally a designer of clothing and accessories, Gucci are known for their creativity and originality, and it’s very exciting to see such a reputable designer expand their range through collaborations and partnerships. Read more here.
In our recent endeavours around industry-led events, we have noticed a very welcome explosion of creativity. This feels like the result of the shackles coming off our mental and physical restriction of the last two years, the excitement of expression and freedom driving a wave of creativity that is most certainly blowing away the cobwebs! We see more creative risks being taken with an abundance of colour, texture, pattern and materiality coming together. This is evident in what we feel is one of the best interior design exhibitions the industry has seen in years.
The WOW! House at Chelsea Harbour Design Centre has been a fabulous melting pot of ingenious interiors. The first of its kind in the UK, this designer show home has brought together some of the largest names in the Interior Design world, and what a noise they make when unrestrained by existing spaces and preconceived ideas. We were delighted to be asked to provide seating for the GP & J Morning room, designed by Rita Konig. The resulting space was a multi-layered collaboration, with GP & J Baker’s fabrics and wallpapers tastefully adorning the space, and many carefully chosen objects complementing our TP Classic sofa, and TP Classic chairs. Coincidentally also a collaboration with our friends over at Turner Pocock, who also designed the most delicious Library at the WOW! House.
A multi-layered collaboration between Turner Pocock, GP & J Baker and Rita Konig.
We have always built our business around people, our staff, our clients, and our industry partners, so we applaud this recent shift in strategy. It has, most definitely, fuelled us to push forward with new, inspiring collaborations, which we are thrilled to be seeing approach fruition. We will be sharing more details in the very near future.
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We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.
Glass Act
When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is.
Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture.
For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self. There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.
The history of colourful glass
The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time. Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.
Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.
Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.
Examples of Murano glass
Murano Glass
From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass. Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini.
The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin. Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion. The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement.
By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.
'Folded-handkerchief' by Venini
Glass around the world
With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95).
Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain.
In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.
Glass art by Whitefriars
Glass in the modern-day
Following on from its 1950s heyday, studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.
Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme.
The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact.
Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.
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Browse our collection of Mid-Century glass:
> Shop our Murano glass collection
> Shop glass and ceramics
Well, we do love a tasty mealtime, and now for some tasty tableware! The busy bees at Bertioli have just launched their new series of prints, the Veg Patch. They are making the whole dining experience a delicious affair. Inspired by Thyme’s kitchen garden, the delightful linen tablecloths and napkins have been meticulously and lovingly drawn by Thyme’s founder Caryn Hibbert.
"I’ve always loved drawing and painting, but as I pursued a career in medicine, they became something of a childhood memory. It was only a few years ago that I started drawing again, picking up a pencil and rediscovering a passion that I had forgotten... I’ve since painted many of the wonderful plants in our gardens at Thyme, but the Veg Patch range is a particular favourite. I love how our vegetables are uniform and jumbled in equal measure – making for fabulous subject matter – but also because cooking has always been so central to Hibbert family life."
CARYN HIBBERT, FOUNDER, THYME
Field to fork
The collection displays veg patch favourites, such as radishes, carrots and onions, bean flower and runner beans. Picked daily from their own veg patch for the Ox Barn’s menu, Thyme enjoys a field to fork ethos. How perfect then, to create their own tableware from such an integral part of Thyme and Bertioli's raisin d'être.
The collection includes linen tablecloths in the following lengths: 260cm, 320cm, 380cm and 450cm. The collection also includes napkins, with the tableware packaged in matching “book bags”. There are plans for tea towels and aprons in the future. Rumours also abound of a range of crockery and one of wallpapers and upholstery fabric… more to follow when Bertioli has done some more digging on that front.
Bertioli is a family affair
Thyme and Bertioli's ethos is to create products and a wonderful environment, that can tell stories of the natural world evolving through the seasons. The name Bertioli is a reference to Caryn Hibbert’s maiden name. Her father, Michael Bertioli was pivotal in the restoration of the historic barns and buildings that make up Thyme; her mother, Patricia played a formative part in Thyme’s chef director, Charlie Hibbert’s culinary journey.
Sustainability
Made from sustainably grown French linen (with an entirely European supply route from flax to loom), Caryn’s original prints have been delightfully transposed onto this exquisite collection of tablecloths, napkins and placemats. The designing takes place in Caryn’s studio at home, before the production brings the pieces to life in Lithuania. There is full transparency on the production process of the Thyme table linens and the production is certified by OEKO-TEX® to ensure there are no harmful substances used. All the fabrics are digitally printed, leaving minimal run off of dyes.
Order your tableware
The full Veg Patch collection is available in The Piggery and Balcony Room boutiques at Thyme and for order and delivery on bertioli.co.uk. The tableware and ceramics in the Thyme boutiques have been chose for their links to the nature, food and entertaining.
To find out more about what's happening at Thyme, click here.
Our friends at Bertioli have launched a clothing collaboration with Greek clothing designer, Flora Sardalos. Whilst on the Greek island of Samos, Camilla Hibbert, head of brand and retail development found one of Flora Sardalos’s dresses. It was love at first sight!
Flora Sardalos x Bertioli Collection
Camilla and Caryn (mother and daughter duo) worked with Flora to create three classic Flora Sardalos styles adorned with three prints. Hand-painted by Caryn Hibbert, the designs are inspired by the orchards of Greece – the iconic olive, a pretty almond blossom and a wild iris.
Now available in the Thyme Boutique, these limited edition dresses are ideal for summer. They beautifully show off the Flora Sardalos style of billowing sleeves and voluminous fabric whilst maintaining 100% cotton. The exquisiteness of these dresses has one transported instantly to a Greek terrace, overlooking the deep blue Aegean as the sun sets over the horizon.
Camilla Hibbert, head of brand and retail development at Bertioli and Thyme says "I'm always on the lockout for interesting collaborations with designers. Then when I was on holiday on the island of Samos, I fell in love with Flora Sardalos's dresses. We persuaded mum (Caryn Hibbert) to draw native Mediterranean plants - olive, almond blossom and wild iris - and with Flora's wonderful billowy, sunny designs, we are thrilled with the resulting micro-collection she did for Bertioli."
Luckily, we don’t have long to wait until Bertioli’s homewares receive a taste of Greek nature too. Each print will be created into matching linen table cloth and napkins, bringing the essence of the Greek countryside to your own dining rooms. These will be launching in September.
Click here to view the Flora Sardalos x Bertioli collection. To read more about the Bertioli collection, please click 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.
A trip down memory lane
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.
So Milly and Bell, tell us a little about how the Bertioli & Bell Hutley collaboration came about.
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.”
The tableware designs are beautiful, can you talk me through the inspiration for the designs?
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
The botanical habitat designs beautifully complement the species you focus on- Tiger Moth, Brimstone Butterfly and the Dragonfly. How did you come up with the idea to design these as eco systems?
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, Bertioli have a commitment to “1% for the planet”, please tell us a little about that?
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.”
Your mission - to consolidate the idea that in nurturing nature, we nurture ourselves – is one that we all feel a connection to. It’s a mission that works for both Bertioli and Bell too, which is why this collaboration works so well. So, what’s next for Bertioli, and Bell Hutley?
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!”
To browse or find out more about the Bertioli & Bell Hutley tableware collection, please click here.
*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.
Most of us have the desire to ‘do our bit’, to have as little an impact on the earth and its natural resources as possible. Ideally, we would like to be eco-conscious without overly compromising on our own lifestyles. Sustainability in all its forms, has made its way into all our lives and here at Lorfords, we are very much here for it.
From eco-conscious design and furnishings, to hand-crafted, cosy and comforting, sustainability has been singled out as a trend for 2022. But hopefully in the not too distant future, it won’t just be a trend. Sustainability will become integrated into all the interior design decisions we make. From using pre-love antiques, through to choosing ethically and sustainably made furnishings, there is more of a focus on the materials we use that the brands we shop from.
Natural Materials
Incorporating sustainable elements to your interior is relatively easy to achieve. And for the bonus? You will get that feel-good factor too. Natural materials produce much fewer toxins during their production. That’s why you’ll be helping our planet if you decide to decorate with sustainable, natural materials. As well as the eco-friendly credentials, you’ll instantly achieve that soothing, natural feel in your home once you implement more natural colours and materials. Look for handwoven, natural rugs. Shop for recycled fabric cushion covers, not only will they be good for the environment, but they will also look wonderful in your home.
Eco-Minded Interior Designers
Eco-conscious interior design isn’t just a temporary trend, it is here to stay. Using the services of an interior designer who truly understands the benefits of sustainable design, and who carefully select their manufacturers is an important step.
“I like the challenge of introducing considered, sustainable pieces of furniture and accessories and taking the time to appreciate the maker or its lineage” says interior designer Alice Leigh.
Edward Bulmer says “For my work I have always sought to use native timber, traditional construction and the minimum of sheet material. But it is hard for cabinet makers to compete against producers who don’t do this because they can ‘outsource’ the polluting and exploitative effects of waste, poor labour conditions and manmade materials to offer us ‘cheap’ prices. We are all culpable here! Recycling, repurposing, upcycling, antique collecting, bespoke commissioning would be the stuff of a bright future for interior design.” (To read more from Edward Bulmer, click here).
Low-impact textiles and materials
A great way to create a natural, sustainable interior is to opt for items made from non-toxic, renewable and natural materials, such as bamboo, compressed earth, cork, wood, or recycled metals. Textiles such as hemp, wool, linen, and recycled cotton can make your home a beautiful and sustainable place to be.
Repurpose, recycle, upcycle
There are multiple ways to reuse or reclaim furniture for a more sustainable interior. Every interior yearns for a little transformation from time to time, remember moving around the furniture in your childhood bedroom to get that wonderful ‘brand new’ feeling? Antiques are the original recycle products, very much on trend and each adds a distinct look and feel to a room. To see our collection of new arrivals here at Lorfords, please click here.
Energy-efficient lighting
Another interior trend this year is a focus on lighting and in particular, on well-lit areas. Having bright lighting is invaluable. Having eco-friendly lighting will offer great illumination, whilst also being gentle on the environment. Go for LEDs or composite fluorescent bulbs to maximise the effects of lights. They offer great value for money and will last longer, while using very little energy. Consider making the most of natural light – skylights look lovely and will brighten up the interior of any house.
And finally...
To improve the air quality in your home, add indoor plants to your interiors. Not only are they beautiful and calming, but they have health benefits too.
In conversation with: Edward Bulmer
Eco-worrier, interior designer and founder of his eponymous natural paint brand
For 30 years, Edward Bulmer has worked in some of Britain’s finest buildings. As a leading interior designer, architectural historian and ‘colour expert’, he is renowned for restoring heritage buildings, and bringing his design ingenuity to the creation of modern living spaces surrounded by character.
Bulmer is an expert in conservation too. And it is this that motivates him. His years of interior and architectural experience have resulted in his creation of Edward Bulmer Paints, a natural paints brand that cares for the environment.
We joined Edward to talk about colour, his experience and passions. It has been a delight to gain insight into one of the most interesting interior design minds in the country.
You are first and foremost an interior designer. How do you feel that this experience set you up for adding paint-maker to your list of accomplishments?
“Really because first and foremost I am an eco-worrier. It pains me that interior design is so wasteful and disregarding of its impact on people and the planet.
I used to do my eco-worrying through charitable activity but realised that if I directed my energies to something I knew about from long experience, that I could make more difference. Modern paints are petro-chemical preparations. Our paints are plant-based preparations. Replace the former with the latter and you can have a major reduction in plastic pollution, carbon emissions and poor air quality.”
You mostly focus on historic home and heritage restoration projects. What fascinates you most about these buildings?
“All of life is there! They encapsulate the human endeavor of generations of occupants, craftsmen and designers. They are endlessly adaptable and repairable, so like antiques they are sustainable provided the associated energy use to maintain them is kept in check.”
Image by Lorfords Antiques
When you walk into a room, do you immediately understand what colours will work in that room, or is it a process that takes time and patience?
“On the whole, yes. I divide rooms between those of passage and those of dwelling. The former (halls, corridors, stairs, etc) were painted simply with ‘common’ colours in the past and I believe our default ‘evolutionary aesthetic’ is based on this – warm whites, greys, stones and pale pinks derived from earth pigments.
Rooms for dwelling would be treated more richly and fashionably with mineral pigments used to obtain stronger colours and wallpapers and fabrics introducing deeper hues.
Fundamentally though, colour is a preference but the tonality of the chosen colour is key and that is the service that I give and now our paint range provides.”
You work on stunning renovations of houses full of natural character. How do you recommend adding character to younger buildings – to a mid-century house in the country for example?
“Colour is the obvious answer – but it need not be wall colour – it can be on joinery or on pieces you acquire. Often the patina of an old painted or polished surface of an antique can punch above its weight in bringing your room a sense of calm and historic resonance.”
How challenging is it to design a modern / contemporary feel whilst retaining or adding character too?
“Anything is a challenge if you are trying too hard! Don’t be too self-conscious. Use and buy what you like, but if you are combining pieces look for a tonal unity and try to ensure a similar level of design quality and integrity.”
Do you have any favourite antiques pieces that you have placed recently?
“The last things I bought from Lorfords give me pleasure every day because I used them here at home rather than on a client project.
The first was a Louis XVI style writing table (see image below) with very chic geometrical marquetry and the second was a pair of large fluted Doric columns which now dress the frontispiece on the west façade of the house!”
Image by Paul Whitbread
Do you think that handcrafted British furniture is the future of interior design in this country?
“I sure hope so – whether new or old. For my work I have always sought to use native timber, traditional construction and the minimum of sheet material. But it is hard for cabinet makers to compete against producers who don’t do this because they can ‘outsource’ the polluting and exploitative effects of waste, poor labour conditions and manmade materials to offer us ‘cheap’ prices.
We are all culpable here! Recycling, repurposing, upcycling, antique collecting, bespoke commissioning would be the stuff of a bright future for interior design.”
You have spent years perfecting your very own plant-based paint. How did you feel when you were finally able to launch your paints onto the market?
“I started by using the paints on client projects with my own skilled painters. Gradually we launched to the wider market and realised that modern plastic paints had made builders and painters lazy with expectations of paint that were being met with a cocktail of petro-chemicals.
So we worked with our manufacturers to develop paints that could outperform modern paints but only require plant derivatives for their formulation. We have played a long game and that has worked in our favour as the market has professed ‘green’ credentials for longer than customers have really cared.
Now the worm is turning and the value of natural paint is being recognised as an easy win in reducing the carbon footprint and pollution impact of building projects. This month we open our first shop, though we continue to sell and supply our paints online, it will be great to have a place where customers and designers can come and see for themselves the revolution that is going on in house paint.”
Your paint is made from natural raw materials that are responsibly sourced and you have made your manufacturing process as eco-friendly as it can possibly be. Your passion for protecting our environment is a wonderful thing. What top three tips can you share for those of us who would like to create a more sustainable interior without breaking the bank?
- Do it once and do it well.
- Ask your supplier to take responsibility for their packaging.
- Always ask for the ingredients/materials used in what you are buying and ensure the principle of repairability that antiques have.
If you can pick a favourite colour out of your collection, which would it be and why?
“Aquatic is a great example of a colour that has weight and drama. It hovers between blue and green, providing a great backdrop for all sorts of pieces.”
Image by Lorfords Antiques
Where do you take your inspiration from?
“The long history of paint making. With the exception of the last 100 years, we have used natural materials for 40,000 years. The basic 12 earth and mineral pigments we use have been known about for millennia. They are as useful today as they have always been and my work as an interior designer leads me to concentrate on colours that I believe work as part of successful productions, rather than seeking to be the main event.”
What are your predictions for the future colour mixes over the next 12-24 months?
“As you will gather I believe that what goes around comes around. I do think that good mid to deep tonal browns may have a resurgence. They can create atmosphere, straddle the urban/rural divide and flatter your furnishings.”
Do you have any tips for bringing light into a room and at the same time, attempting to create an opulent feel?
Insert a Venetian window! Like this one at Lorfords for instance, or any ornamental reclaimed window.
Join Edward Bulmer on his Create Academy course
Edward Bulmer has teamed up with lifestyle learning platform Create Academy to launch a course on colour, teaching you how to achieve harmony and cohesion throughout any interior scheme. We have secured L-Shaped readers with 15% off the course ‘A guide to pigments, paints and palettes’ at createacademy.com. Use code ‘LORFORDS15’ when booking.
Leading image: credit Andrew Crowley
Edward Bulmer has poured over 30 years of experience into every tin, creating beautiful colours backed up by ecological principles.
The plant-based recipes offer more than just a colour choice; the paints are highly breathable, healthy with no harmful VOCs or microplastics.
Historically resonant yet robust for modern living, these pigment rich paints give outstanding coverage. They are easy to apply and create an unrivalled finish.
Beautifully, breathable colours are backed up by ecological principles which are kind to both people and planet.
All the paints are freshly mixed to order and delivered directly to your door. New flagship store open from 9th May at 194, Ebury St, SW1W 8UP
We are excited to present ‘Through The Looking Glass’, a collection of paintings by London based artist Coco Morris. The exhibition opens on 3 May and runs through 1 June at Lorfords.
(Image by Adele Watts)
Morris pulls from a variety of painting languages and mixes them with her own personal landscape. This produces bold, captivatingly playful and sensory paintings that explore colour-form relationships.
Opposing narratives come together and inhabit her works; abstraction and figuration, intention and chance, the reductive nature of minimalist discourse and the all-immersive traces of abstract expressionists sit side by side. Her art plays on the tensions and boundaries that exist between these genres.
Colours clash and varying opacities layer enough to agitate the canvas surface and tempt you, the viewer, to look into the painting and construct your own associations.
The exhibition brings together a focused selection of paintings made over the last two years in which Morris has deconstructed painting and pushed the limits to explore how little needs to be in a painting for it to feel finished.
Coco graduated with a Fine Art degree from City and Guilds of London Art School in 2019. Two years prior, she was awarded the Painter-Stainers Scholarship and then the Chadwyck-Healey Prize for Painting in 2019. We visited Coco at her studio in South London and discussed her love of art, what drives her creativity and how she feels about her work.
We are so excited about your exhibition starting in May. Your work tends to blur genres, with each painting having its own personality. What ideas do you explore in your work?
Thank you! I explore colour-form relationships and the tensions and boundaries that exist between different painting languages and genres. This means that the subject matter, style of painting, materiality, point of inspiration and the process can be quite different between each painting.
Image by Kim Booker
Can you share an insight into your artistic process?
Well, I tend to plan out the larger paintings, [like those you will see in this show]. The composition comes from observational drawings that I obsessively redraw until the composition is reduced and abstracted. Sometimes the colours are based off other paintings or colour swatches I have collected. I begin the painting with washy layers of very bright, electric colour so the paintings have a backlit, glowing quality to them. Then I block in colour using uniform, repetitive marks and continue layering on different shades of a colour until the painting ‘clicks’ into place and feels finished.
I use my smaller works to trial new materials, colours, compositions, mark making and texture. I’ve found a certain freedom in making small works that has resulted in making a different series from my usual abstract paintings. I go in with no plans or expectations, I just put some marks, texture or colour on the surface and react to it, they are purely abstract and tend to be quite layered.
Abstraction and non-representational have opposing conceptions yet you are using both…
I allow for both, as I find that they feed into each other. I try not to put limitations on how I make paintings. When I commit to making a series I’m a bit more disciplined in what I allow to happen but I think there's room for both abstracted and the purely abstract within my work.
You have a strong relationship with colour. What moves you about how the colours interact on the surface?
Sometimes my colours are based on things like lipsticks, velvet and other fabrics. I want to recreate the colour but also the tactile sensations of the items. Or I might be trying to create a sense of light or temperature through the colour. I’m trying to create a sensation as much as a colour. I like how consuming colour is, and how it can change the way a room feels. And how tactile and physical colours can seem - certain colours look edible or velvety or matte. They can create illusions of depth and space. For me, framing the way I think about and make paintings, through the idea of colour, creates an endless amount of inspiration for painting.
The works in this show were made in the past two years. The titles feel much more emotionally charged than your earlier work (such as Magenta Haze in 2019) – why is this?
My earlier work was all planned out, I abstracted the forms from drawings, I had a vague idea of the colours I was aiming for and the types of marks/textures I would be using. Titling these paintings in a more process-based way that referenced the colours, forms and visuals seemed to make sense. In my more recent work, there's more pure abstraction. It all comes from me, the process feels more intimate. Titling them in a more emotive way compliments the process. I also think people find it easier to connect to abstract painting when the titles give a sort of emotional springboard into understanding or connecting with them.
Are there references that you consistently return to?
I have a lot of abstract motifs that reoccur in my work, like the frame/border and certain combinations of shapes. These come from abstracted drawings I made years ago. There are a couple of Rose Hilton paintings that I always seem to circle back to - ‘Blue Cafe, 2007' and ‘The Red Room, Woman Sleeping, 2010’. The soft edges, abstracted spaces and painting choices all balance figuration/abstraction and colour/form relationships so well.
If you could spend a day in the studio with any artist, past or present, who would it be?
I think my answer to this would change every month depending on what I'm doing in the studio. At the moment I'm thinking quite a lot about John Hoyland's paintings, so it would probably be him.
Which artists are you greatly influenced by?
I really love Bonnard and Vuillard. I constantly return to their paintings. Also Rose Hilton, Patrick Heron, Mark Rothko. And figurative artists like Michael Armitage and Antonia Showering.
Describe your interior studio space for us. Is there a piece of furniture or object in your studio that you love, that you feel particularly attached to?
My studio is messy! There are paintings in progress everywhere - on the floor, walls, the table, stacked up in corners and on shelves. I work on the walls, table and floor so they’re all covered in smudges of different colours of paint. Any furniture I have in the studio will at some point turn into a painting pallet. Lots of very used looking paintbrushes - the bristles have been completely worn down, cut up or matted. They each create their own type of mark. There is one clean wall where I stack all the larger finished work and a glass wall which looks out onto the larger communal area inside my studio building.
I have a special attachment to three paintbrushes in my studio, that were used to paint my degree show. The bristles were completely worn away through the process of making those paintings but I've never thrown them away.
What do you do first thing in the morning to get your day going?
I have tea every morning with Kim Booker, another artist in the same studio building as me. We generally talk about painting, what we’re working on, and look at art books and references. It's a nice way to get into the mood for painting.
As an artist, what actions do you take to try to minimise your impact on the environment?
I’m always trying to be more sustainable in my practice. I’m a typical artist so I hoard everything. For the most part, it all gets reused, repurposed, or recycled. I buy paint colours in larger quantities to minimise packaging and also use Sennelier Abstract paint - it uses very lightweight packaging. I re-stretch canvases a lot, so I don't tend to buy many canvas frames. On most days, I do other small things like walk to and from the studio, take in a homemade (plastic-free) lunch and keep the radiators off. Generally, the paint itself isn’t very environmentally friendly so I'm always trying to find more ways to be eco-conscious.
You can visit 'Through The Looking Glass' at Lorfords, 30 Long Street, Tetbury from Tuesday 3 May through Wednesday 1 June.