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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
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'.
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.
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.
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
Nestled in Thyme's 'village within a village,' you will find The Ox Barn restaurant. Under the direction of Head Chef Charlie Hibbert, Thyme curate amazing dishes inspired by their rural surroundings. As we enter a cold and dark winter, the team have provided the perfect recipe for you to cook at home and transport yourself to the Mediterranean...
A Greek-inspired baked orzo dish, soaked in the juices of the chicken, fennel, olive and lemon. One to truly transport you to a Mediterranean island.
Serves 2
Prep & cooking time: 35 minutes
Difficulty: easy
2 organic chicken legs, separated into thigh and drumstick
50ml white wine
½ small red onion, diced
¼ head of fennel, sliced from root to tip
5 black olives, pitted and halved
1 bay leaf
½ lemon zest and juice
100g orzo
200ml chicken stock
1 tsp salt
½ tsp cracked black pepper
A handful of chopped parsley
Preheat the oven to 180°C (normal) | 160°C (fan) | gas mark 4.
Fry the chicken pieces in an oven-proof pan over a medium heat until browned and crisp on all sides.
Remove from the pan and set to one side.
Pour in the white wine and scrub off any brown bits with a wooden spoon.
Scatter in the onion, fennel, bay, lemon and orzo in the pan and stir together.
Place the chicken back in the pan and pour over the chicken stock.
Season with salt and pepper and bake in the oven for 20 minutes, until the liquor has been absorbed by the orzo.
Put the chicken onto a plate, stir through the parsley and serve.
Andrea, who owns and leads Last Drop Wines on the King's Road in Chelsea, recommends a sustainable Pinot Noir from Cordaillat. Read her advice here.
Thyme includes 32 bedrooms situated throughout the Georgian rectory, The Lodge, The Tallet and the buildings around the courtyard and gardens. Ox Barn (seats 62) offers a wonderful dining experience, with its own twist on seasonal British food.
Thyme also offers the Baa bar, meadow spa, pool, orchid house and botanical bothy. The piggery and balcony room boutiques stock Bertioli by Thyme's range of silkwear, tableware and bespoke homeware.
If that's not enough, their 'village within a village' also contains a cookery school, floristry and drawing classes, farm, kitchen gardens, orchards and water meadows. Cottages are available for private hire and you can also book the Tithe Barn for private events.
You can view our collection of Thyme recipes and our interview with Charlie Hibbert on L-Shaped.
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These are room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
Thyme shares the perfect autumnal recipe this month. Quince tart, a guaranteed crowd-pleaser. Andrea at Last Drop Wines recommends two wines that she describes as 'magic in a bottle' to accompany this indulgent dessert.
'I adore quince but never see enough of it. I have a similar passion for Ratafia, the wine pairing. (A word of caution, Ratafia, is a widely used word for fruit liquors, nutty biscuits and fortified wines - the latter is the one of interest.) Ratafia was very much a treasure tucked away in a small oak barrel in the corner of a small family producer's cellar. Made for consumption by family and friends and not as a commercial wine, it is simply magic in a bottle - a local custom dating back to the 13th Century. A certain amount of begging had to be done to get our hands on these wines.
This pair of Ratafias are the perfect gift for your friend or yourself. Available for £75 for the pair, including delivery and a handwritten card.
Please send orders through to hello@lastdropwines.com.
Our online shopping system is coming soon! It will be available at www.lastdropwines.com.
An 'Aladdin's cave for wine-lovers,' you will find Last Drop Wines on the famous King's Road in Chelsea. The store is owned and led by Andrea, whose expertise can recommend and provide a bottle for any occasion.
View all seasonal recipes and wine pairings on L-Shaped.
As cooler days approach, Thyme has released this hearty recipe for ribollita, a Tuscan bread soup. At this time of year, we can find ourselves with a surplus of garden or allotment produce. This dish is perfect for making use of seasonal leftovers and getting the most out of your vegetables.
Charlie Hibbert is Head Chef at Ox Barn, Thyme's restaurant. Charlie says: 'Ribollita is a famous Tuscan bread soup. You can use a variety of different vegetables that you have on hand, with the core ingredients being the beans, kale, and of course the bread. The fennel and celery give this soup its distinct depth.'
Serves 2 - with plenty left over for the rest of the week.
Prep and cooking time: 45 minutes.
Difficulty: easy.
4 tbsp olive oil, plus extra for serving
1 onion, peeled & diced
1 head of fennel, diced
4 sticks of celery, chopped
1 carrot, scrubbed & chopped
½ tsp ground fennel seed (if you don’t have ground fennel, just use a pestle and mortar with the seeds)
6 thyme sprigs, leaves picked and chopped finely
1 bunch of cavolo nero, leaves stripped
4 cloves of garlic, peeled & grated
Zest of 1 lemon
1 tin of whole tomatoes, best you can find
1 tin of cannellini beans
Pinch of chilli flakes
½ loaf of stale bread, torn into chunks
Sea salt flakes & freshly cracked black pepper
Parmesan for finishing
Heat the olive oil in a pan large enough to fit everything in comfortably. Sweat the onion, celery, carrot and garlic on medium heat for 2 minutes. Next, add in the ground fennel and chopped thyme and cook until the vegetables have begun to soften (around another 10 minutes). Add in the lemon zest and stir through before adding in the tomato. Allow the tomatoes to cook and thicken for 5 minutes before adding in the cannellini beans, chilli and just enough extra water to cover. This is a thick soup so don’t drown it.
Allow everything to simmer together and get to know each other for a further 10 minutes. Finish by adding in the cavolo nero and torn bread chunks. Allow the bread to soak up moisture and the cabbage to braise for 10 more minutes. Season with plenty of salt and pepper, ladle into a bowl and grate Parmesan on top along with plenty of olive oil. This soup will keep well in the fridge for several days and improve with time, so enjoy.
Andrea, who owns and leads Last Drop Wines on the King's Road in Chelsea, recommends a wine as sustainable as it is delicious to accompany this dish. Read her advice here.
Thyme includes 32 bedrooms situated throughout the Georgian rectory, The Lodge, The Tallet and the buildings around the courtyard and gardens. Ox Barn (seats 62) offers a wonderful dining experience, with its own twist on seasonal British food.
Thyme also offers the Baa bar, meadow spa, pool, orchid house and botanical bothy. The piggery and balcony room boutiques stock Bertioli by Thyme's range of silkwear, tableware and bespoke homeware.
If that's not enough, their 'village within a village' also contains a cookery school, floristry and drawing classes, farm, kitchen gardens, orchards and water meadows. Cottages are available for private hire and you can also book the Tithe Barn for private events.
You can view our collection of Thyme recipes and our interview with Charlie Hibbert on L-Shaped.
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These are room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
Traditionalists have lamented the downfall of ‘brown’ furniture in popular taste for decades. But like all great things, antique dark wood is making a comeback – and for good reason.
Even the name is unfair, and frankly lazy. Brown furniture implies plainness and drudgery, when in fact it encompasses a brilliant spectrum of pattern and colour. Usually, brown furniture refers to solid dark woods like walnut, mahogany, rosewood and teak. It can also apply to any wooden furniture that has been stained dark at some point in its life.
‘Brown’ is a weak adjective though. These quality woods often feature a whole rainbow of browns, but also red, yellow, and black hues. A beautifully figured burr walnut table looks totally different to a mellowed oak refectory table, for example. 'Brown’ sells both short.
The wood itself aside, we commonly associate brown furniture with a certain style too. The heavy-duty furniture that adorned your grandmother's home, polished twice daily and kept out of reach of grubby hands, might spring to mind.
But centuries of cabinet-making produced reams of dark wood furniture in different forms. From slender and elegant Edwardian cabinets to bold and expressive Regency tables, brown furniture critics unfairly lump a vast range of styles into one bracket.
Somewhere around the 70s, we started to turn on this furniture. The forward-thinking Mid Century Modern approach quickly made traditional antique furniture look tired and dated. Luckily, trends are always cyclical, and the brown furniture renaissance is finally here.
The main reason why you shouldn’t dismiss brown furniture is its quality. Genuine period furniture from the Victorian, Regency and Georgian eras reflects expert cabinet-making. Manufacturers like Holland & Sons and Gillows of Lancaster set a high standard for craftsmanship in their fields.
Even simple country antique furniture demonstrates impressive skill. The charming bobbin-turning on a side table or chair stiles from the pre-industrial era reflect hours of handiwork at the wooden lathe. Such features are remarkably popular in contemporary furniture right now, so sourcing an original - probably for cheaper - is a no-brainer.
The sturdy construction speaks for itself; antique wooden furniture has served its purpose for over 100 years. If you need extra bedroom storage, an English 18th Century commode, made from solid wood with spacious drawers and working handles, is going to do the job just fine. Dining tables that have endured perhaps thousands of different family dinners in their lifetime aren’t about to let you down now.
But the best word to describe what brown furniture bestows on an interior is gravitas. A tall Georgian chest on chest, with gleaming colour and graining and decorative brass handles, demands respect. It commands attention and authority in a room, seeming to draw all the other elements towards it. This is the power of traditional antique furniture. One or two imposing brown wood pieces will mature any interior, even the shiniest new build property.
This sort of furniture can alienate people, feeling too stern or formal for their tastes. However, just because this furniture was designed for Georgian or Regency townhouses doesn't mean it won't look right anywhere else. Be imaginative with your styling and you can make antiques relevant for a 21st Century setting.
There is plenty of inspiration out there, as we increasingly see brown furniture in a diverse range of interiors. Majestic antiques are finding homes in contemporary flats, apartments and loft conversions. It all comes back to contrast, the greatest interior trick in the book.
We are not defined by one style. An antique mahogany dining table looks fantastic surrounded by abstract contemporary art, for instance. If you are limited on space, a well-chosen piece of antique dark wood furniture, like a walnut bookcase, instantly creates a mature space.
If your style is more modern, incorporate antique wood furniture sparingly and don’t fear juxtaposition. A tall mahogany cabinet in the same room as a glass and chrome coffee table adds depth and interest. Taking risks is essential for creating that friction that makes an interior successful. Equally, the Mid Century take on brown wood was all sleek lined and sculptural. A teak sideboard from this era will bring the same qualities as antique examples, just with a more contemporary feel.
For many, colour is a major consideration when it comes to choosing furniture. Those who aren’t a fan of colour in general tend to gravitate towards whitewashed interiors. Others will match their furniture colours to other interior elements like paint. Lots of us jump to paint a piece of brown furniture to make it fit into a wider scheme.
However, it is important to remember that brown IS a colour – it is not a blank canvas. Natural timber, beautifully aged and patinated, is one of the loveliest colours you can have in an interior. It also works well with a remarkable range of colours, patterns, and textures.
With light paint and minimalist furnishings, a mahogany commode in the living room will ground the scheme and add richness. Equally, brown furniture will look brilliant within a moody scheme paired with rich dark paint. Look at the dominant hues in the wood and use paint and soft furnishings to draw out those colours.
Dark wood furniture was designed to be well used and well-loved, and this should still be our approach today. Keeping it in check just requires a little TLC, as our in-house restorer Dave explains.
There is no denying that antiques elevate our interiors in more ways than one. They connect us to the past and create unique spaces full of character. The often forgotten but equally important point is just how sustainable antiques are.
We spend a lot of time showing off our beautiful antiques here at Lorfords and too little time sharing how good for the planet they are. This may seem like an obvious statement, as antiques are in essence sustainable. And yet, in an age of climate consciousness around food, clothes and single-use plastic, the fast furniture crisis is on the backburner.
This doesn’t mean the crisis is not there, nor that it hasn't been exposed. A study commissioned by Antiques are Green found that a new piece of furniture lasts for an average of 15 years. Meanwhile, an antique piece of furniture is resold once every 30 years. This study concludes that the environmental impact of an antique piece is six times less than that of a new piece of furniture. Stark statistics indeed.
What is fuelling this crisis? Throwaway culture has become the norm. In 2019, the North London Waste Authority found that 22 million pieces of furniture are binned in the UK each year, with much of that going straight to landfill. Super low prices and the flatpack revolution have simply made it too easy for us. We’re on a conveyor belt of buying a piece of furniture, getting bored of it or it breaks, throwing it away and then buying another to replace it.
It’s not all bad though. A younger generation, the same age group we have labelled the ‘flatpack generation’ in years past, are waking up when it comes to their interiors. This is partly because they want to live an eco-friendly life and understand that fast furniture has a big impact on their carbon footprint.
But it is also because they are seeking soulful interiors – and the same can increasingly be said for all of us. The fast furniture culture resulted from modern living demands, the rent revolution and constantly changing fashions. The result was minimalist, functional… uniform.
The theory that such interiors aid our busy lives started to show cracks in lockdown. The Marie Kondo approach felt stark when our homes acted as a permanent base and refuge. This generation is seeking interiors with personality, character and soul. They want novel furniture and decorative pieces that provide a talking point. Our interiors are a reflection of us, so looking the same as everyone else isn’t cutting it anymore.
Antiques create more sustainable interiors - that's a fact. But why, exactly?
Antiques are one of the most forgotten forms of recycling, and yet one of the most obvious. To classify as an antique proper, an object must have survived for over 100 years. This is no mean feat and often a credit to the original craftsmanship. We already mentioned the statistic that antiques are resold every 30 years on average. They were crafted to last and be passed down through generations and that trend continues today.
Before the industrial revolution, cabinet-makers did everything by hand with a limited range of tools and techniques to hand. There was no MDF, nor any laminated chipboard.
Makers had to be invested in their product; if a piece fell apart after a few weeks, they would be the talk of their community – and not in a good way. There was a personal responsibility for good craftsmanship, a sense of ownership. It can feel like eco-consciousness is a relatively new development, but this is not the case. Back in the 19th Century individuals were striving to counteract the excess and waste of the industrial revolution.
One such pioneer was William Morris. His enduring mantra ‘have nothing in your home you do not believe to be beautiful or know to be useful,’ is more relevant than ever. The Arts & Crafts movement put moral responsibility back into furniture and interior design. Ernest Gimson made his Windsor chairs from ash, beech and elm sourced from local woodland. Given the fact that antique Windsor chairs are still very popular today, it is hard to get more sustainable than that.
It wasn’t just wooden furniture, either. Bamboo and rattan, both rapidly renewing plants, boomed from the Mid Century onwards. Leading designers of the age transformed them into stylish wicker furniture and homeware. Sustainable production certainly didn’t sacrifice style then, and it doesn’t now.
Antiques are not bound by style, however. They are sustainable because they are not subject to the whims of fashion. Modern furniture companies jump on emerging trends and overhaul their collections when they are no longer fashionable. Antique and vintage designs, on the other hand, have a very enduring appeal. Take the iconic Chesterfield sofa, for example. Since its conception in mid 18th Century, the mighty button back has never been considered passé.
Likewise, a 17th Century oak refectory table has survived for over 300 years and lived to tell the tale. Such a piece may have characterful grooves and a deep aged patina, but its solid construction means it will likely go on for hundreds more. Aside from anything else, these are investment pieces. An antique dining table will serve you and probably your children and grandchildren too. It won't ask for much in return other than an occasional polish or reinforcement. A small price to pay, we think.
You need only flick through this month’s interiors magazines to see that we are moving in the right direction. Ethical sourcing and a ‘period meets contemporary' aesthetic are top of the agenda for an increasing number of interior designers. This sway is not only good for the planet, but for the end result. When you hire an interior designer, you don’t want them to present you with something akin to a department store showroom. You want something layered and lived in; this is what antiques provide in spades.
For some, antiques feel too special, too majestic, for their lifestyle. But respecting antiques doesn't mean having no relationship with them. You can still be careful whilst making bold choices. We are seeing something of a ‘recovering revolution,’ whereby contemporary fabrics breathe new life into period pieces. This is a great way to adapt antiques to your taste. You might love the imposing proportions and design of a Victorian armchair, but the faded and dated covering? Not so much.
Part of the reason for the current throwaway culture is our reluctance to put a bit of work in. Less than 1 in 10 people are willing to repair an item to extend its life – a fact I’m sure would horrify our ancestors. Restoration and upcycling are not only satisfying, but they also connect you to your interiors in a personal way. If DIY is not for you, many talented experts are on hand to help. Read some tips for the amateur restorer from our in-house professional Dave.
The truth is there is a vast spectrum of antique and vintage pieces out there. Our collection offers something for every soul, from traditional Georgian furniture to cool vintage memorabilia. Not only are our pieces an antidote for flat interiors, but they are also an ethical choice. The best thing? There is no flatpack assembly involved.
Get inspired with our latest lookbook, 'The conscious interior.'
"We are storytellers and objects tell stories." During the lockdown, we caught up with Johnny Messum, founder of Messums Wiltshire. With galleries in Wiltshire, London, and Harrogate, Johnny is an unstoppable and innovative influence in the art world.
Q: How have Messums coped with the immense changes to the industry in the last year? What have you learned?
A: I have learned that you need to be responsive, open-minded, and willing to adapt. You also have to be comfortable with change - especially change that is not of your making. Otherwise, you'll end up in a dark place!
Q: What made you decide on the Tithe Barn for your Wiltshire location, and what was the biggest challenge in restoring this 13th Century building?
A: The building was completed in partnership with the Fonthill Estate, which in itself was a huge challenge for them. They had to source the oak and go through the stonework, as well as find the right volume of thatch needed. The barn is the largest thatched building in the country. Our challenge was to bring it back to life in terms of use, so we worked to create an interior architecture and to fit the building out so that it could be used as it is now for exhibitions, installations, and events.
Q: Messums is more than just a gallery, offering workshops and a restaurant too. Do you have any further plans in the near future?
A: Yes we do! Obviously, we went online in the interim period and that led to a really exciting platform for sharing information and creative solutions that we call Active Environmentalism. This has grown into a talk programme every Wednesday and an online meeting place for ideas and exploring creativity. In the meantime, we are investing in new exhibition spaces to help provide regionally focussed exhibition programming and, again, that wonderful stitchwork of community.
Instagram has provided access to so much art from historical to contemporary makers. This has been the access point for so many to engage with places and institutions they may never visit or know about.
Q: You opened a gallery in Harrogate in the summer of last year, what prompted that and why Yorkshire?
A: Yorkshire is home to a number of our artists and a source of their inspiration. It is also arguably underserved by the gallery sector, which felt like a gap in the market. Plus, the use of the high street is changing so much that it seems we may want to rethink how these works are offered.
Q: Do you think there is growing interest in all things handmade/ handcrafted? Why?
A: Yes there really is, for a myriad of reasons! Firstly, I don’t think that interest ever really went away, rather digital and tech caught the light and the imagination. However, that has just brought the importance of the hand into focus. We are storytellers and objects tell stories.
Q: Did you always know you would join the business started by your father, or did you have different plans?
A: I had wanted to sculpt and I had wanted to work in the landscape. I joined my father's business then left to set up in Wiltshire and beyond. We remain friends and work together.
Q: Messums has a big London presence, are you a city or a country man at heart?
A: Country! Although I am writing this from the heart of London and I'm reminded of all the brilliant things that go on in this currently closed city. We are all missing those.
Q: You also founded the New Fine Art Exchange. What motivated you to start this online platform?
A: I wanted to address and find a way to lower the transactional bar for objects by becoming a platform for these works. Also, reselling works is not an easy experience and our platform helps with the process when it comes to it.
If art, creativity, and the use of the hand are not taught we lose one of the most powerful means of non-verbal communication.
Q: Do you think the art world has more work to do to become more open and accessible?
A: I think we all have to keep working on both of these points. Within the art world, we have to remember that art really is for everyone. After all, we are a civilisation founded on our ability to create with our hands. Long before humans were writing, imagery was their means of communication. One of the main problems here is the disconnect in education. If art, creativity, and the use of the hand are not taught we lose one of the most powerful means of non-verbal communication. Objects tell stories, but if you were never taught the language it is hard to understand what someone is saying.
Q: What project are you proudest of? Why?
A: I'm not sure I am into pride in that way. All I see are problems, so I am probably most proud of the fact we haven't hit a huge pothole– yet!
Q: In your opinion, what was the most momentous period in art history?
A: The invention of Instagram. Instagram has provided access to so much art from historical to contemporary makers. This has been the access point for so many to engage with places and institutions they may never visit or know about.
Don’t put art in an obvious place, such as above the sofa - you will never see it. Put the work at a turning point, the wall in front of the door as you come in or the turn in the stairs. The bit by the fridge. These are the places you are more likely to look.
Q: When you bring a piece of art home, whether it’s an oil painting or a sculpture, what factors should you consider when it comes to where to hang or display the piece?
A: Scale - don’t go small. Or, if you do, choose smaller pieces and group lots of lots of them together. You can probably be 10% bigger than you think is 'appropriate’ because it will enhance the drama. Don’t put art in an obvious place such as above the sofa - you will never see it. Put the work at a turning point in your home. This could be the wall in front of the door as you come in or the turn in the stairs. Even the bit by the fridge. These are the places you are more likely to look.
Q: How do you go about choosing artists to exhibit through Messums? What are the key criteria?
A: Firstly, whether the work moves me. In my definition, this is a work that is ostensibly well-made and has a narrative that is insightful and empathetic to wider concerns. Then it's purely a question of - are they actually a person I want to spend time working with and working for? Often those two things go hand in hand.
Q: How do you unwind in your spare time?
A: It's better not to unwind, that is how you unravel! But I do love suppers and I do love running.
Q: What has been your best lockdown purchase? Why?
A: A pair of recyclable running shoes and an Ordnance Survey map, which is the best thing ever. You can plan visits to anywhere in the country in extraordinary detail and load in other people's suggestions of where to go.
Read all of our Q&As on L-Shaped.
"The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art." During the lockdown, we spoke to Countess Alexandra Tolstoy about her cottage in Oxfordshire, home-schooling, and how she reflects her Russian roots in her interiors.
Q: How are you finding home-schooling your children? Have you got any tips or tricks?
A: I can’t say I love it! My children go to French schools, but my French is only GCSE standard, so it’s a huge struggle helping my older son to read Rabelais and Moliere- not to mention binary long division! We never seem to get everything done but I often read out loud to my children. Recently it’s been King Solomon's Mines, The Arabian Nights, and the Narnia series. I hope this is giving them another layer of education that can’t be found at school. I also make sure they go outside every day. We are lucky to be in lockdown in our cottage so they can whizz around on their bikes or go up into the woods and make camps.
Q: You grew up in the Somerset countryside but spent long periods in Moscow and London. Do you feel most at home in the city or the countryside?
A: I love both equally. People often assume I prefer the countryside but I adore the city- both London and Moscow- and couldn’t live without it. I need the inspiration and creativity that I find from being with others and I’m not a solitary person!
As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting.
Q: Your cottage in Oxfordshire is the definition of Cotswolds charm. How do you go about decorating a smaller space?
A: I think, contrary to common belief, small spaces can (and for me should!) be full of layers and details. I always try and be authentic and respectful to the building I’m decorating. As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting. All the children sleep in one room- I just found extra narrow Victorian brass beds on Ebay!
Q: How is the cottage coping with the demands of serving as a family home during lockdown?
A: It’s amazing, rather like a tardis! I have an outside office that my son has made into his classroom. The younger two don't have many live lessons, so I work with them at the kitchen table a lot whilst cooking and trying to do my own work. I love the feeling of spilling from inside to outside and they run in and out all day long (bringing far too much mud in!). We brought minimal clothes so I’m constantly washing, but we don’t have a problem with storage. The children are very good about playing with their Lego in a small space in front of the fire.
It’s lovely that we’ve been able to spend so much time here, it's usually a holiday rental and we spend a maximum of two weeks here at a time. I’ve loved watching the winter months go by and having fires every day.
Q: How are your Russian roots reflected in your interiors?
A: I think they are reflected most in our London home. The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art. We have icons, of course, and lots of touches of gilt that probably reflect Russian churches. I love embroidery and have collected beautiful silk Uzbek chopans (coats) on my travels that hang in my bedroom. I suppose it’s an eclectic mix of all my life- Russian, English and Central Asian.
Q: Your style has a folkloric feel which we love, where does this stem from?
A: I suppose from my travels. I spent many months riding through remote Russian villages in Siberia and southern Russia. I was enchanted by the colourful, whimsical wooden houses with their huge stoves and intricately carved windows. They were like something straight out of the pages of Pushkin’s fairytales. But I also think my English family has influenced me. My mother is one of seven children, and they were brought up to do everything by hand- knitting, sewing, smocking, embroidery, painting etc. They all grow their own vegetables and are great cooks, with a love of the land and traditions. I experienced this from early childhood and it has definitely been a great influence.
I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: You have faced many challenges in recent years, where do you turn to for comfort and joy?
A: I am Russian Orthodox and my faith has given me a lot of strength. I think I also built resilience through travelling. I had to be so independent and overcome many obstacles alone, which has served me in good stead. From an early age, I also read and read romantic 19th Century European literature, which I believe gave me the imagination and scope to see past my own experiences. I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: The Christie's sale of the contents of your London home was a breath-taking reflection of the interiors, designed by Colefax and Fowler. What piece were you saddest to see go?
A: I was very sad to lose a wooden model of the Sergiev Posad Monastery, the oldest monastery in Russia, as this was a personal belonging. But overall I wasn’t sad at all- these are only things and it was liberating to realise I could let go and our lives have only moved onwards and upwards.
Q: Are you a minimalist or a maximalist at heart?
A: A maximalist for sure!!!!!
Q: You have a distinctive sense of style, and The Tolstoy Edit is a hive of inspiration. Do you consider yourself a trend-setter?
A: Oh no! I don’t like trends and don’t follow them myself. I think if you like something, you like it- irrespective of the era. Fortunately, I know exactly what I like and these days I don’t feel like I make huge mistakes, but that took many years to hone!
Q: Your love of horse-riding is well-known, has this been a passion since childhood?
A: I did love ponies in my childhood but my passion is more about travelling in these wild places- horses are the most wonderful way to see unspoilt corners of the world.
Q: What is your favourite room in the home? Why?
A: I think it has to be the kitchen. I adore entertaining and baking and everything seems to happen there. I’m a sociable person so the pandemic has been testing. I adore having people over for dinner and making an occasion of anything and everything!
Q: What is your ultimate comfort food dish?
A: Hmm, it probably has to be my freshly baked carrot and walnut cake!
Read all of our Q&As on L-Shaped.