Latest Arrivals
Shop Now
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 Lorford, Director
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 Hagues, General Manager
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 Watkins, Marketing Manager
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 Hadfield, Sales Manager and Accounts
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
Robert Evans, Logistics Manager
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 Body, Sales
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 Valentine, Sales
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 Icke, Logistics Coordinator
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 Williams, Sales and Stylist
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 Buonaparte, Dealer Liaison and Stock Coordinator
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
Stephanie Ashby, Photographer
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 Jones, Marketing Assistant
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 Ingall, Stock Vetter
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 Jeens, Restorer
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 Anderson, Logistics
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 Butterworth, Logistics
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 Roberts, Logistics
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
Antiques transcend trends; their very survival proves their resilience against the ebb and flow of fashion. And yet, we all know that the best trends return time and time again. Right now, the interiors world is hooked on curves - from scalloped rugs to pendant lights. We explore the majestic beauty of antique Swedish cabinets, and why they're...well, right on trend.
Much of the current dialogue around curved furniture focuses on more contemporary pieces, like kidney-shaped sofas and sculptural coffee tables. The 20th century was undoubtedly a great era of experimentation with shape, and vintage furniture displays some staggering feats of design and engineering. Yet, the Swedes were ahead of the curve (pardon the pun), by a good two centuries.
Swedish Rococo
The straight-lined Gustavian era is perhaps the most famous period of Swedish furniture, yet what came before was beautiful in its own right. The Swedish Rococo period (1750-1775) was nestled between the dramatic Baroque and refined Gustavian years. It’s instantly recognisable for its proliferation of shells, but also for its sinuous curves inspired by nature.
Rococo furniture has an indisputable air of romanticism. It is lighter and more playful than the eras that came before and after it, yet still shows exquisite attention to detail. If you’re looking to create soft and welcoming spaces in your home, look no further than these Swedish antiques. Expertly crafted by Sweden’s pioneering cabinet-makers, the furniture usually sports a painted finish that feels right at home in today’s interiors.
Antique Swedish cabinets - room by room
Sometimes, a majestic antique catches your eye but you can’t quite imagine it in your own home. They’re often far more practical than you think, though, particularly when it comes to storage pieces.
The dining room
In the dining room, it has to be a Swedish cupboard or buffet. This is an entertaining space, so you need furniture that's practical but is also guaranteed to catch the eye of your guests.
Cabinets from the Swedish Rococo period are coveted for their beautifully shaped door panels, sweeping aprons, and graceful cabriole legs. Their defining feature, though, is the pronounced arch of their bonnet tops. This curvaceous silhouette softens any room and offers welcome contrast to a long rectangular dining table.
Short on space? Choose corner cupboards
If you’ve visited any of Sweden’s grand country houses, you may have encountered a floor-to-ceiling wonder in the corner of the room. ‘Kakelugn’ was the name given to the Swedish stoves which afforded them the most efficiently heated houses in Europe by the 19th Century.
Not only were these stoves high-performing, they were stunning pieces of art in their own right. They were covered from top to toe with hand-painted ceramic tiles which complemented the wider décor of the room. These cylindrical stoves were no doubt large, but their corner residence meant they didn’t infringe too much on floor space.
Commissioning your own ‘Kakelugn’ may be a stretch, but corner furniture is a savvy way to add storage in smaller spaces. Their curved silhouette is mostly a preserve of antiques and rarely attempted by modern manufacturers, so they bestow a unique charm on contemporary spaces.
The Swedish corner cabinets in our collection typically feature two cupboards separated by an open mid-section. Their compact silhouette offers both hidden storage and the opportunity to show-off treasured items. Let no space go to waste, and use one of these timeless cupboards for storing kitchenware or board games while softening the lines of a room.
If you’re looking for a lower storage piece for your dining room, choose a Swedish buffet. Often with the same curved profile and graceful panelling as their taller counterparts, buffets also allow for displaying curios and ornaments on top.
The bedroom
Nowhere demands the soft, romantic curves of antique Swedish furniture quite like the bedroom. There’s been plenty of research into the link between our bedroom design and how easy we find it to switch off. Much of this is about creating a gentle, welcoming palette and avoiding overstimulating décor. Equally important, though, is keeping clutter at bay. This is is where storage furniture comes in.
In your bedroom, look to Swedish Rococo commodes and bedside tables to keep essentials close at hand yet out of sight. They usually feature a serpentine form, giving something as simple as drawers a sinuous rippling effect. The flowing lines don’t stop there, as chest furniture offered the opportunity for craftsmen to show off their skills with beautifully scalloped aprons and elaborate curved legs or bracket feet.
The remains of old paint that often cling to Swedish antiques, from neutrals to soft pastels, are the perfect tonic at the end of a busy day. Complete your relaxing bedroom scheme by pairing antique storage pieces with a gently curved stool and a Swedish flatweave rug. When your bedroom ensures both wellbeing and beauty, you can’t go wrong.
The office
A common misconception is that antique furniture is undoubtedly beautiful, but not practical. This underestimates the wealth of innovative design features and expert craftsmanship evident in many antiques, and storage furniture is no exception.
The home office. Somewhere many of us spend a great deal of time, yet often the first to sacrifice good looks for utilitarianism. Antiques offer a plethora of options for injecting character and charm into such a space, including unique desks and chairs. For a statement storage piece, look no further than a Swedish 18th century secretary.
On the outside, these secretaries share many of the decorative features that make Swedish cupboards so alluring; a sweeping bonnet top, elegantly carved door panels, and scalloped or curving feet. So far, so beautiful. But it’s what you find inside that makes these a truly unique addition to any interior.
In the middle of the piece, you will find a sloping section that folds down into a spacious work surface. The perfect size for holding today's laptop and a notebook, these versatile desks allow you to fold away work stress at the end of the day. Behind the desk is often a mixture of miniature drawers, cubby holes, and cupboards within cupboards for stowing stationary and private documents. Above you’ll find a generous cupboard with shelves inside and several drawers below for keeping office items organised.
For a home office that's as welcoming as it is high-performing, pair your secretary with a Swedish Mora Clock. These iconic, beautifully curved clocks will add to the sense of calm while helping you to keep an eye on the time.
Swedish antiques: all shapes and sizes
Our lookbook ‘ ‘ is here to inspire you to decorate with curved Swedish pieces. If streamlined silhouettes are more your style, we offer an extensive array of Swedish furniture here at Lorfords that spans all periods and tastes.
To learn more about the history behind the beauty, explore our articles on the Swedish Rococo and Gustavian periods.
The Windsor chair is known and loved far and wide, from its namesake town in England to the United States. This iconic chair represents all there is to love about antique furniture - from its rich history down to the simple, sturdy joinery that has allowed so many to survive.
A potted history
Windsor has not strayed far from our thoughts over the last month. The market town is on the River Thames just West of London and home to Windsor Castle, a royal residence and the final resting place of Her Majesty Queen Elizabeth II.
It’s generally accepted that the first Windsor chairs were made in the Thames Valley in the 1720s, and High Wycombe was actually the main producer. Windsor was the all-important trading ground for transferring the chairs to London, so it soon adopted the name Windsor chair.
While we usually picture a Windsor at the dining table or in front of the fire, it actually started life as an outdoor chair. The 18th Century brought immense change for the English landscape garden, marking a departure from the formal style of the 17th Century. The garden was suddenly more relaxed and leisure-orientated, a place to take tea or play a lawn game.
This prompted a need for garden furniture that was sturdy but light enough to move around, and from there came the Windsor chair. Originally, these chairs sported a coat of green paint to blend in with their outdoor setting. As the style grew popular, a distinction arose between painted chairs for outdoor use and stained versions for indoor use - with the latter more familiar to us today.
Joinery
The Windsor chair is as much defined by its construction as it is by its aesthetic. They were sometimes called ‘wedge’ chairs because of the wedge joinery that secured the legs and uprights into the seats.
Put simply, a wedge-tenon is a mortise-and-tenon joint without the glue. Instead of glue, small pieces of timber cut at an angle - the ‘wedges’ - secure the two parts together. It is a friction joint that relies on minimising any possible movement between the different parts. The survival of so many original Windsor chairs today testifies to the strength of this simple joinery.
Materials
Local workshops made use of the native woods that were abundantly available to them to make these common chairs. For instance, beech was plentiful in the hills surrounding High Wycombe, so this material usually formed some part of the chair. As steam-bending increased the popularity of curved backrests, yew and ash were chosen for their pliable nature.
Furniture makers often favoured elm to form the seat. They couldn’t rely on adhesives to join seats, so they had to use one solid piece of timber. Elm, a sturdy hardwood, fit the bill because of its firm yet malleable nature; the latter important for creating the saddle seat design.
Regional variations and evolution
The Windsor style inevitably spread far beyond the west of London. It migrated northwards, with prolific workshops in Nottingham and Yorkshire amongst other counties. Part of the charm of regional furniture is the variations that arise from local influences, with a gentle competitive spirit driving a need to stand out.
The backrest offered a canvas for creativity. Firstly, different regions and workshops had different preferences when it came to the overall shape of the backrest. As a result, you find hoop-backs, comb-backs, bow-backs, high and low backs, and everything in between.
The central back splat presented the opportunity to stand out and show off expert furniture-making techniques. Fretwork could be simple or elaborate, depending on the maker, and splats depicting a carved wheel were particularly popular throughout the Windsor's heyday.
Royal emblems
This humble chair would sometimes reflect national developments, too, as was the case with the Prince of Wales feathers.
You will occasionally come across Windsor chairs where the central splat bears these feathers - the heraldic badge of the Prince of Wales - in fretwork. While a long-standing emblem of the heir to the throne, it had particular resonance in the late 18th Century.
The Prince of Wales became Prince Regent in 1787 due to the declining health of his father, King George III. As the youth entered the national spotlight, furniture offered ordinary people the chance to recognise the monarchy in their own homes.
Look at the legs
When it comes to Windsor chair legs, two main styles align with national furniture trends at the time. 18th Century examples tend to feature stately cabriole legs, their graceful curve accompanied by equally elegant stretchers, which became popular under Queen Anne.
Moving into the 19th Century, furniture-makers favoured turned legs accompanied by turned stretchers. ‘Bodgers' were responsible for turning the timber to produce legs, stretchers and spindles for Windsor chairs. So valuable was their craft, bodgers had their own concentration of workshops in the Chiltern hills.
Legacy
While production slowed after the 19th Century, the Windsor chair has lived on in countless guises ever since.
Ercol put their distinctive stamp on the style in the Mid-20th Century, launching their own Windsor chair made with wedge-tenon joinery. Mid Century versions tend to be sleeker and more refined, yet the basic concepts of a saddle seat and decorative open back remain in almost all of them.
Modern manufacturers continue to emulate and draw upon this rich design history, demonstrating the timeless appeal of simple, well-made furniture. We’re not sure you can beat an original though…
A Windsor for every occasion
There are Windsor chairs to suit every room of the home and serve every purpose. You might choose stately examples with armrests and proud legs for a fireside chair, and simple hoop-backed chairs for dining. There are children's Windsors, captain's Windsors, and rocking Windsors.
When it comes to sets, don’t be afraid to mix and match Windsors for a more eclectic look. They will share a simple vernacular aesthetic and the strength of solid wood - the quirky variations are very much part of their charm.
Browse our collection of Windsor chairs here.
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.
---
Shop the look, visit our lookbook 'For the love of stripes'.
'If you really love something and you can afford it, buy it. You will never regret it.' - Kate Earle
We chat to Suffolk-based designer Kate Earle, of Todhunter Earle, about what makes her tick and where she gets her fabulous style inspiration from.
---
Some of my best ideas have come while driving, I drive a lot, in and out of London, site visits, school runs. I never listen to music, I listen to the radio and I think about the projects I am working on, occasionally I have a lightbulb moment, it’s the only time that I am ever on my own.
The thing I couldn’t do without is horses, they are a huge part of my life.
The place that means a lot to me is the North Norfolk coast, it is not too far away from Suffolk where we live. The beaches are the biggest and whitest in the world. Breath-taking scenery, space and calm.
The best souvenir I’ve brought home is an Italian marble-topped serving table with a painted and gilded base bought in Florence on our 10th wedding anniversary. It is in our dining room in Suffolk.
The last thing I bought and loved was the Japanese embroidery from Justin Evershed Martin, for a new apartment that I have just completed for myself in London.
The best books I’ve read in the past year are Orlando King by Isobel Colegate, Meet Me in the In-Between by Bella Pollen, my sister and I argue about Bella Pollen, I think she writes really well, she doesn’t! Just about to start Young Bloomsbury by my great friend Nino Strachey.
The podcast I’m listening to is The Airing Cupboard, real-life stories read by my friend Zoe Brown in her amazing, chocolatey Belgian accent.
I placed a Lorfords Contemporary piece in a TP Modern sofa in a very contemporary beach house on the Caspian Sea.
In my fridge, you’ll always find a bottle of Belvedere vodka and some parmesan.
The event that changed everything for me was a school careers lecture by Jacqueline Inchbald when I was 14 years old. That was it, I knew what I wanted to do and never swayed. I had set up my own business by the time I was 21.
An indulgence I would never forgo is ready salted crips, I could happily live on them.
The last piece of clothing I added to my wardrobe was a yellow straw hat by Jane Taylor, I bought it in about two minutes whilst double parked outside the shop. I could see two policemen bearing down on me and I had to move fast.
My favourite building is ooo, I have a few….the Pantheon in Rome, the Brighton Pavillion, our tiny Georgian fishing hut by the river in Herefordshire.
My favourite room in my house is my bedroom, it is huge. I have a proper dressing table (my grandmother's), sofas and chairs, a fireplace and views over the garden. It's quite colourful but tranquil and full of interesting things.
The best advice I’ve ever received is if you really love something and you can afford it, buy it. You will never regret it.
I do not compromise on attention to detail when designing, I am fanatical about design detail.
I often compromise on my clothes, I tend to wear the same thing, or a version of, every day.
My favourite object to include in a project is antique or one-off lighting and lamps, we make a big effort to source unusual and interesting lamps, when budget allows we love to commission bespoke ceramics by Kate Malone, Rupert Merton etc.
My favourite Lorfords Antiques piece is an antique green and sienna marble table that we have bought for a house in Suffolk, due to complete in the Autumn.
What I love about contemporary living is open-plan living spaces that allow the whole family to be in one room but doing their own thing. I don’t actually have one but maybe one day.
---
Click here to read more L-Shaped interviews or click here to visit the Todhunter Earle website.
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.
Having been immersed in the intriguing world of luxury rugs and carpets from a young age, it is no surprise to find Peter Page open his first eponymous studio. Peter's experience and forward-thinking have positioned him as the designers' choice for both advice and beautiful bespoke solutions. We caught up with him amongst his personally curated selection of rugs and samples as he was recovering from a very successful opening...
You recently opened your studio in April at London’s Chelsea Wharf, how did that go?
It’s been great. We had a soft opening and it’s had a lovely response. It’s been a wonderful encouragement and the clients we have spoken to have been really excited that we are back. Jo, my colleague I worked with at Tim Page Carpets, has come with me and we make a great team. We have different strengths and particular skillsets, especially within the sourcing and making process. It’s been a very exciting time.
Your inaugural collection has been designed by Turner Pocock. That’s a great collaboration, how did it come about?
By mistake really! I’ve worked with Bunny on numerous projects, she came in and we were talking about her various projects. We started talking about her home and then veered off onto other topics. So we ended up going through some initial ideas, going through samples, and identifying what they like and what we could create. They like a Moroccan-style rug, with an antique look and feel to it.
Was the aim of this collection to fill an antiques style whilst also working with contemporary living?
The key consideration for us all was having the flexibility of size. The difficulty with buying antique rugs is that you don’t know what size you can get. Often, Turner Pocock like to have a rug big enough to put the furniture on top, and often rugs come in sizes that are too small for that. So we absolutely loved the antique designs, whilst ensuring that we could create options that would fit within the designer's schemes.
Interior clients often have varied aesthetic preferences, do you offer bespoke options with different designs and/or colours?
The idea is that this collection keeps it simple. Of course, with everything we do, we are happy to chop and change. One interior designer client we have would like to change the material from jute into wool as they know their client wants something slightly softer and easier to clean. From a retail perspective, keeping it simple to the collection we have created means that clients can purchase their own Turner Pocock and Peter Page piece. It has been hand-woven and hand-crafted so the pieces are still all individually unique.
Your love for the tradition of weaving has been a life-long passion. (Peter’s father, Tim Page, launched Tim Page Carpets in 2003). Tell me a little about the art of rug making and why it has become such a passion of yours?
It happened by osmosis. As a child, I used to iron labels onto samples for my father’s shop in Sloane Square at that time. You pick up an awful lot by people talking around you. He used to have people who hand-painted the rugs in the office so it was an extraordinary place to be. I went to work in New York and ended up working in carpets, and that’s when I realised that I had picked up this knowledge and interest since childhood. I still, to this day, cannot believe how skilled and clever these people are who craft the rugs, they are following design graphs in front of them. It is a skilled craft and I am in awe of it all.
Where do your team of weavers and rug makers herald from?
We weave in India and a couple of other different areas depending on what we’re making. It depends on the project and lead times. I have found that different places can produce different end products. For example, people wash the yarn differently and clip it to create different textures. I find it all really fascinating. So much goes into each rug, trying to replicate certain colours. When yarn is washed and left in the sun to dry, it changes and brings out its lustre. If there is no sun, it is a different quality of project. This is why India is the perfect location! But if it’s a rainy period, then you have different problems! It’s fascinating how such small things can affect a project. You don’t get the same lustre to the yarn if they are dried in indoor drying rooms.
There is such a connection to the natural world, even in rug weaving. Is this what makes your rugs stand apart?
Yes, it is wonderful to see how little changes to anything – from washing to spinning, to drying, can affect a rug. It is interesting to see how all these small changes make each rug unique. Everything is a one-off piece and there is a charm to this.
---
Click here to read more L-Shaped interviews or click here to visit Peter's website.
---
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.
—
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.
In conversation with Louise Wicksteed at Sims Hilditch
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.
Louise, we have been admiring your work for so long! Where do you begin when working on a new project? And how would you describe the ‘timeless, English style’ that you are known for?
"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."
Your renovations often reveal natural, handcrafted pieces.
"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."
You work on a wide variety of renovations, from manor houses to town houses full of natural character. How do you recommend adding character to a younger property?
"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."
Family life is often at the forefront of your home renovation designs. What are your key essentials for creating a family space that also works for entertaining?
"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."
What do you focus on when designing a contemporary feel whilst retaining or adding character?
"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."
It often pays to ‘go bold’ but it can be hard to know where to start. What are your tips on creating eye-catching interiors without overwhelming the space?
"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).
Do you have any tips for bringing light into a room and at the same time, attempting to create a cosy, warm feel?
"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."
What do you find inspires you the most when you start working on a project?
"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."
Do you have any favourite antiques pieces that you have used in any recent projects?
"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."
What is the best way to add handcrafted pieces to a home?
"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."
Our furniture brand Lorfords Contemporary produces traditionally constructed and upholstered furniture in our Cotswold studio. Made in Britain with sustainability at the core, do you feel that handcrafted British furniture is the future?
"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.
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