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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 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.

20th Century Lloyd Loom Sofa

Modernist Textile Screen

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.

1960s Italian Lounge Suite

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

19th Century Red Velvet Sofa

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

French Scenic Wallpaper

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

20th Century Elbow Chair

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

What comes to mind when you think of leather? It might be a grand library filled with mysterious leather-bound books, or a welcoming pair of armchairs in a suave gentlemen’s club. It could be the supple seats of an Italian sports car, or even the luggage rack on the Orient Express. All of these settings have one thing in common – luxury.

From upholstery to footwear, leather is everywhere you look. It’s not hard to see why; this natural material combines strength with suppleness, and a rich warmth with laid-back chic. Antique and vintage pieces are the most ethical way to bring leather into our homes, and they have the alluring character that only comes with the passage of time.  

From hunter-gatherers to Milanese fashion houses

Leather's stoic popularity over millennia is remarkable. It was one of man’s earliest and most useful discoveries, with our ancestors using it to craft clothing and tents for shelter. Although its origins were primitive, by the time of the Roman Empire you only found leather in the wealthiest homes. Men lounged on leather-covered seating while women sat on bare stools; it was a status symbol, and so began its long-standing association with luxury.

Leather rose to new prominence in the Middle Ages, becoming the go-to material for dining chairs because of its low maintenance qualities. Another major change came with industrial revolution, when leather-making processes became much more streamlined.

Vegetable tanning had been the most prolific method for preserving leather since the ancient Greeks. It did the job just fine, but it didn’t create the same soft, supple feel we recognise today. In the middle of the 19th century, chrome tanning using chromium salt replaced vegetable tanning. This was a cheaper, more efficient approach, but it also created fine quality leather suitable for everything from shoes to sofas.

Why choose vintage leather?

Like so many natural materials, leather gets better with age. Although it’s durable and straightforward to care for, it takes on different qualities over time and develops a unique time-worn character. 

Firstly, it will become softer and more malleable, which is why vintage leather upholstery can’t be beaten on comfort. Much like timber, it will also take on a gorgeous patina, telling a story that simply can’t be matched by a brand new piece. You’ll see a subtle lustre in heavily used spots, and a spectrum of shades that range from light, almost yellow-brown to rich mahogany. The finer the quality of the original hide and the sharper the expertise of the producer, the better leather ages.

Leather upholstery

Leather upholstery offers a winning combination of sophistication and luxurious comfort. There really is something for everyone, too, whether you consider yourself a 'leather person' or not.

For instance, the structured nature of a deep-buttoned Chesterfield means you can dress it up or down, whether the setting is a smart drawing room or a luxurious dressing room.  The squat, squashy club chairs that originated in hazy private members clubs offer the perfect spot to relax and read a book in today’s home. Others covet the more streamlined proportions of 20th century leather chairs which - while the epitome of chic - don’t compromise on comfort.

It's not all about stately sofas or enveloping armchairs, either. Lightweight, portable campaign chairs often had seat and back panels made from leather. These versatile chairs are effective for creating an informal seating area and they lend themselves to smaller spaces. 

Omersa for Liberty's

Back in the 1930s, a leather furniture-maker for Liberty’s - 'Old Bill' - made a footstool in the shape of a pig from leftover hides. This charming prototype proved so popular that the department store continued to make the pigs up until Old Bill retired.

Luckily that didn't mark the end for them, and the leather company Omersa agreed to continue production for Liberty's. They soon expanded to other animals like elephants and rhinos, reflecting how in demand these unique stools were. We have several Omersa stools in our collection, each with the individual character that comes from a life of love in different homes.

If smaller-scale leather appeals to you, footstools are an effective way to bring its resonant warmth into your interiors.

Decorating with leather

Leather has been synonymous with various interior design styles over the decades, from New York loft apartments to midwestern ranches. As a result, we sometimes hesitate to use it in other, less obvious settings. But every interior needs a little of this versatile material, and there are endless ways to use it.

In a maximalist country home, for instance, interspersing florals and stripes with leather pieces brings contrast and depth to the space. At the other end of the spectrum, minimalist contemporary homes need its rich tones for warmth and texture. Don't feel restricted to upholstery, either. Interior designers are looking to use leather in more and more innovative ways. Covering an entire wall in leather may feel intimidating, but using it for door panels, rugs or room dividers adds a new dimension to the space.

This material is particularly effective where you want an air of sophistication, like a study or library. In these rooms, look to leather-accented cabinetry, desk chairs, and lined bureaus to create an old-world setting for modern work life. To relax like the Romans, we would choose a luxurious leather daybed, occasional tables, and board games. 

From large-scale upholstery to a simple wastepaper bin, leather remains a time-honoured design hero. Browse our lookbook for inspiration on decorating with vintage and antique leather pieces. 

Head Chef Charlie Hibbert from Thyme's Ox Barn restaurant is back bringing us more delicious recipes. This week he brings us the perfect autumnal dessert for entertaining. A guaranteed crowd-pleaser this meringue cake with poached pears and cream is the ultimate indulgence.

Growing up, Granny would always make meringue cake and crème caramel for a special Sunday lunch. Maybe it sounds extravagant to have two puddings but they were always eaten. She made this particular combination so that no bit of egg was left over. She was a stickler for not wasting anything, the egg whites are used in the meringue cake and the yolks in the crème caramel. Granny’s recipes for meringue cake and crème caramel were adapted from the original Cordon Bleu Monthly Cookery Course; my recipes are a bit different but are still essential for any special Sunday lunch.

Granny's meringue cake, poached pears & cream

Serves 4

Ingredients

4 egg whites, approximately 150g

300g caster sugar

½ tsp cider or white wine vinegar

1 level tsp cornflour

To serve

Cream, gently whipped

Poached pears, see below, cut into quarters

A handful of blanched and toasted almonds (Valencia almonds are best), chopped

Method

Preheat the oven to 100°C | 80°C fan | gas mark ¼. In a mixer, beat the egg whites in a scrupulously clean and dry bowl, until they form stiff peaks. Bit by bit, begin to slowly pour in the sugar until the mix is stiff and glossy. Then add the vinegar and the cornflour and beat it until it is incorporated (no more than 5-10 seconds). Gently spoon the mixture onto an oven-safe plate of your choice or a tray covered with a piece of baking paper and bake in the oven for an hour before taking it out of the oven and letting it cool completely. Top it with whipped cream, poached pears and almonds.

POACHED PEARS

When the pears have been eaten, don’t discard the syrup. Cook more pears in the liquid, use it as a cordial or drink with Champagne.

Serves 4

Ingredients

4 pears

1 lemon, rind peeled into strips, juice reserved

500ml of white wine

500ml water

350g caster sugar

1 vanilla pod, split, seeds scraped out

3 bay leaves

10 black peppercorns

Method

Peel the pears and add the lemon juice to prevent the pears from browning. Put all of the ingredients except for the pears into a pot. Bring to a simmer and carefully drop the pears in. Cut a round of baking paper and cover the pears so that they stay under the surface and allow them to gently soften. Don’t let the liquid boil as that will cause the pears to break apart. After about 20 minutes, test the pears with a paring knife, they should be soft to the core but holding their shape. Remove from the heat and allow to cool.

About Thyme

Thyme includes 32 bedrooms situated in the Georgian rectory, The Lodge, The Farmhouse and the cottages around the courtyard; the Ox Barn restaurant (62 seater); Baa bar; meadow spa, orchid house, pool, botanical bothy & Bertioli beauty products; balcony room & piggery boutiques selling Bertioli silk wear, tableware & bespoke homeware; cookery school; farm, kitchen gardens, orchards & water meadows; Old Walls self-catered cottage; Tithe Barn for private events

Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night.  These room rates include breakfast

Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW

www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk

 

From the sun-soaked parasols of the Amalfi coast to crumpled sweetshop bags on the English Riviera, stripes are everywhere. They always have been, in various forms, but their presence feels particularly loud right now.

Perhaps it's because we crave their unabashed joy in the midst of gloomy national and international developments, or because we’ve been busy whole-heartedly embracing summer after years of restriction. Whatever the reason, manifestations of this versatile pattern range from classic to retro.  

For the love of stripes - antiquesA 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. 

Country House Style | Antiques

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.

For the love of stripes | Antiques

Small doses

If you’re not quite ready to paint candy stripes across an entire wall, the pattern works just as well in small doses. Striped valances and headboards bring a light-hearted joyfulness to the bedroom setting without feeling overwhelming, for instance. Scatter cushions have the same effect, offering a good opportunity to blend different types of stripe in one setting. 

Even if an interior appears to have no stripes at all, a closer look often reveals their powerful presence. For instance, a simple border around an otherwise plain rug draws the rest of the room in - conversing with other geometry in the room to create a considered feel. Lampshades in bright, contrasting stripes, or with subtler top and tail trims, can add a little or a lot of this chic pattern to a space.

When it comes to this ubiquitous pattern, no home or personal style is off-limits. With autumn well on its way, look to the humble stripe to keep the joy of balmy summer days alive. 

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Shop the look, visit our lookbook 'For the love of stripes'.

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...

Lucy Cunningham - PortraitBehind 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.

Lucy Cunningham - Interior

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.

Lucy Cunningham - Interior

You have mixed contemporary and traditional here, What Lorfords pieces did you use in this characterful renovation?

We found the most wonderful Lorfords pieces for this room. I always get excited about what amazing things I’ll find when I visit to source for a new project. This is a Swedish antique rug that we found and instantly fell in love with… the colours were calming but added some depth to the room scheme - it’s the perfect finishing touch.

What are your basic rules for mixing contemporary and traditional? 

Honestly, I know it sounds like a cliché but I really don’t have any rules, actually, I try to avoid them as I think they get in the way of natural curiosity and the ability to push yourself out of your comfort zone. One thing I do often say is: ‘If it’s beautiful and it makes you happy then try it!

Your client was an American family – did they have specific wants/needs within the property that you factored into your designs?

They wanted the interiors to feel typically Cotswold-y and retain as much authenticity as possible so we went for a traditional country house palette, dressing it with a mixture of traditional and also slightly more contemporary patterns and colours inspired by a number of cultures. Having worked on the clients previous home we had a great relationship already in place and they completely trusted our ideas so we had a lot of free reign.

Rugs and fabrics feature heavily in your designs, resting against stone flooring or whitewashed exposed brick. How do you choose the textiles involved? And what are your tips for pairing textiles and patterns?

Rugs can really make a room; it’s an element that brings everything together as well as providing an added layer of warmth and homeliness, especially if you are working with harder flooring such as stone or wood. I choose rugs in the same way that I choose fabrics and wall coverings – beautiful colours and patterns that speak to the furniture and fabrics chosen for the rest of the space. Saying this, sometimes, if we have found an incredible rug it might be that we work backwards from there and build the scheme around the rug. My tip would be to treat a rug like you would fabrics and wallpapers – don’t be afraid to experiment and mix a variety of colours, patterns and textures.

Click here to read more L-Shaped interviews or click here to visit Lucy's website.

To meet the challenges posed by the pandemic, businesses around the world have had to react in agile and decisive ways. As we move into the next phase, now is the time to seek out and seize the opportunities emerging in the recovery.

Companies have had to rethink and sometimes reinvent their business models to maintain relevance and be a part of the solution. After this period of isolation, we are witnessing people recognising the basic need of emotional and physical connection; this in turn is demanding their employers develop environments in which they feel comfortable and nurtured. As a business, priorities have changed in ways we never imagined before the pandemic, and as a result, we are also seeing our industry shift to a much more relationship-led business model, surrounding ourselves with all the things which now feel very important to them.

Within our industry, internal teams, clients, and suppliers, are all looking to connect on a personal level - building relationships and championing each other. In its most basic form, people are picking up the phone, rather than sending an email, sparking conversation and the exploration of thoughts and ideas. This has led to cross-pollination; interrelated industries working together to reach the same client base. The approach has led to building cohesive living environments, full of depth and substance. An excellent example is Gucci’s new Lifestyle collection, which ranges from desk objects to games. Traditionally a designer of clothing and accessories, Gucci are known for their creativity and originality, and it’s very exciting to see such a reputable designer expand their range through collaborations and partnerships. Read more here.

In our recent endeavours around industry-led events, we have noticed a very welcome explosion of creativity. This feels like the result of the shackles coming off our mental and physical restriction of the last two years, the excitement of expression and freedom driving a wave of creativity that is most certainly blowing away the cobwebs! We see more creative risks being taken with an abundance of colour, texture, pattern and materiality coming together. This is evident in what we feel is one of the best interior design exhibitions the industry has seen in years.

The WOW! House at Chelsea Harbour Design Centre has been a fabulous melting pot of ingenious interiors. The first of its kind in the UK, this designer show home has brought together some of the largest names in the Interior Design world, and what a noise they make when unrestrained by existing spaces and preconceived ideas. We were delighted to be asked to provide seating for the GP & J Morning room, designed by Rita Konig. The resulting space was a multi-layered collaboration, with GP & J Baker’s fabrics and wallpapers tastefully adorning the space, and many carefully chosen objects complementing our TP Classic sofa, and TP Classic chairs. Coincidentally also a collaboration with our friends over at Turner Pocock, who also designed the most delicious Library at the WOW! House.

A multi-layered collaboration between Turner Pocock, GP & J Baker and Rita Konig.

 

We have always built our business around people, our staff, our clients, and our industry partners, so we applaud this recent shift in strategy. It has, most definitely, fuelled us to push forward with new, inspiring collaborations, which we are thrilled to be seeing approach fruition. We will be sharing more details in the very near future.

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We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.

Glass Act

When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is. 

Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture. 

For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self.  There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.

The history of colourful glass

The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time.  Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.

Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.

Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.

Examples of Murano glass

Murano Glass

From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass.  Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini

The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin.  Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion.  The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement. 

By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.

'Folded-handkerchief' by Venini

Glass around the world

With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95). 

Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain. 

In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.

Glass art by Whitefriars

Glass in the modern-day

Following on from its 1950s heyday,  studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.  

Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme. 

The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact. 

Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.

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.

Veg Patch Linens | Bertioli by Thyme | L-Shaped | Lorfords

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.

Veg Patch Linen | Thyme | Bertioli | L-Shaped | Lorfords

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.

Charlie Hibbert, our Thyme chef correspondent, is mad about picnics. With a fascinating French political association, the pique-nique was brought to England by escaping 'high-society' from the Revolution. In 1801, the Pic Nic society was formed in London where extravagant gatherings required each attendant to bring a dish and six bottles of wine! After dinner there was singing, dancing, gambling, and a play... somewhat less innocent and 'genteel' than the countryside connotation we now have!

Concentrating on the food, Charlie keeps to the original spirit by erring on the side of excess when it comes to catering for them, but he likes to keep things simple to reduce any potential stress from prepping.

  • Go for crowd-pleasing tucker – photographed, you’ll see grilled chicken & homemade mayo (always a winner), courgettes, fennel & burrata (recipe below with photograph by Romas Foord for The Times), potato & roasted radish salad, Victoria sponge, Eton mess and a crusty sourdough loaf with lots of salty butter.
  • Don’t prepare anything too oily or runny – it’s bound to drip or splodge.  If you’re taking olive oil (and I’d strongly recommend it), decant a little into a jam jar or small Kilner bottle.
  • Use the freshest possible seasonal produce – the flavours and aromas will definitely enhance your bucolic feast!
  • Always pack good serving utensils.
  • Keep lids or foil for leftovers.
  • Don’t forget salt, pepper, bottle openers and a bin bag.
  • Don’t forget the vegetarians & vegans!
  • Wine and water need to be served cold, so bring your freezer blocks.
  • Take a dog bowl for your dog (if you have one) – they need water too.

Charlie’s courgettes, fennel & burrata

Burrata, Courgette and fennel | Picnic recipe | Thyme | L-Shaped | Lorfords Antiques

(Image: Romas Foord) 

Charlie says "This summery dish is exactly what I want to eat on a warm day. Creamy burrata, crisp vegetables, bitter leaves and salty almonds, all good things.  If you can’t get hold of burrata, you could use a good buffalo mozzarella."

Serves 4

A good handful of blanched almonds (Valencia almonds are best), roughly chopped

2 tbsp vegetable or rapeseed oil

1 clove of garlic, peeled & grated

½ a lemon, zest (for the almonds) and juice (for the dressing)

2 courgettes, peeled with a vegetable peeler into strips

1 head of fennel, cut into thin strips with a spiralizer or knife, put the fennel in iced water until you are ready to assemble the dish (this keeps it nice and crunchy)

A good handful of bitter leaves, like rocket, nasturtium leaves or something similar

4 balls of burrata

Best extra virgin olive oil

Maldon salt flakes & pepper

Fry the almonds in a pan on a medium heat with the vegetable oil until they start to turn golden. Just before they are ready to come off the heat, add the grated garlic, a couple of grinds of black pepper and the lemon zest, and toss through the nuts. Carefully tip the almonds out of the pan onto a paper towel to drain.

If you can keep the dressing, almonds and rest apart until you get to the picnic – that’s the best way round, so nothing goes soggy.  Just remember to take a good sized bowl with you to mix and serve it in.  When you’re ready to serve, dress the courgette and fennel with plenty of lemon juice, season with salt and pepper, and gently combine with the bitter leaves. Tear the burrata open and season. Tumble over the courgette and fennel, scatter over the almonds and dress with a little olive oil.

 For more recipes, please click here.

Charlie’s lunch and dinner menus at Thyme reflect all the goodness to be found in the gardens at Thyme, so if it really is too soggy to picnic and you happen to be in the Cotswolds – bag yourself a table at the Ox Barn for a lazy lunch.

As we chat with interior designer Alice Leigh, she is fresh from completing a countryside project that perfectly matched her ethos and allowed her to enjoy every moment. A project full of handcrafted pieces is one that excites her. And a delicious mix of old and new, contemporary and antique is what stands out within Alice’s style. She has an eye for natural materials, bold shapes and local craftsmanship.

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.  

Alice Leigh Design | L-Shaped | Lorfords Antiques

(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.

Since the Platinum Jubilee Pudding Competition made the headlines recently – a trifle made with lemon Swiss roll and amaretti was crowned winner – we asked Charlie Hibbert at Thyme what would be on his list of winning desserts.

Choosing a favourite was tricky.  Dessert tuition was intense in the Hibbert household, and one that has become a perennial favourite is Granny’s meringue cake – the perfect vehicle for seasonal fruit throughout the year, served with lashings of cream.  Chocolate mousse, crème caramel, lemon cream puff and all the tarts (quince, custard, Tatin) were all serious contenders, but it was his strawberry shortcake that won the day.

He thinks that the Queen would rather enjoy eating this.  Nothing says Great British like strawberries, and we have a sneaking suspicion that Charlie may be right.

Charlie Hibbert at Thyme’s strawberry shortcake

Serves 4 (freeze any spare shortcake mix for future use)

For the shortcake

  • 200g butter
  • 125g caster sugar with a little extra to the for dusting
  • 125g plain flour
  • 200g blanched almonds
  • Zest of 1 lemon

Method

  • Grind the almonds in a food processor until reasonably fine – around 1 ½ minutes.  Don’t worry about a few chunky bits… they add to the texture.
  • Beat the butter and sugar together in an electric mixer until pale and creamy.
  • Add the almonds, lemon zest and flour into the butter and sugar and slowly mix together to a uniform consistency.
  • Using a couple of pieces of greaseproof paper underneath and over the top, roll the mixture into a round “sausage” (or two), about 4cm in diameter, wrap in the paper and allow to chill in the fridge for about an hour.

Next...

  • Preheat the oven to 180°C (normal) | 160°C (fan) | gas mark 4.
  • Once chilled, slice the roll into 1cm slices and arrange them on a baking tray lined with greaseproof paper.
  • Place the tray in the oven and allow the biscuits to cook for 8 minutes, or until they each have a lovely golden ring on the outer edge of each shortcake.  Remove from the oven and scatter with a little caster sugar, then leave them to cool.

For the lemon curd

  • 4 lemons, juiced
  • 200g caster sugar
  • 120g butter
  • 3 large eggs

Method

  • Fill a small pan a third of the way full.  Place it over a medium heat to come to a simmer.  Put all the ingredients except the egg into a heatproof bowl and place it over the pot.
  • Meanwhile, in a separate bowl, whisk the eggs together.  Once the butter has melted in the other pot, quickly whisk the eggs into the rest of the ingredients. Using a spatula, keep stirring the mix until it has become thick and coats the back of a spoon.
  • Transfer the lemon curd into a container and cover with a square of greaseproof paper to prevent it forming a skin, and allow it to cool completely.

To finish

  • 200ml of double cream, whipped to soft peaks
  • 1 punnet of strawberries, stems removed and strawberries halved
  • 1 tub of vanilla ice cream
  • (And a dusting of icing sugar and a couple of edible flowers if you fancy)

Place a small dot of cream on the plate and push a shortcake into it.  The cream will stop any slipping.  Next add a small spoonful of cream and a scoop of ice cream.  Arrange the strawberries around the ice cream, then top everything with a spoonful of lemon curd and an extra spoonful of cream.  Finish with a second shortcake to complete the sandwich, dust with a touch of icing sugar, adorn with a flower or two and serve. Et voilà, your strawberry shortcake may be served.

 

Assuming that other British favourite – the weather – is on side for the Queen’s Jubilee, the Ox Barn terrace at Thyme will be swinging into action.  Tables on the terrace are not bookable – they’re available on a first come, first served basis, but prioritised for people who’ve booked in to dine.  Open for lunch and dinner, Monday to Sunday, book the Ox Barn at www.thyme.co.uk | 01367850174 | reservations@thyme.co.uk

 

To see other delicious recipes, 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."

Sims Hilditch | Lorfords Antiques | L-Shaped | Interior Design interview

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."

Open Plan kitchen by Sims Hilditch | Lorfords Antiques | L-Shaped

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).

Sims Hilditch | L-Shaped | Lorfords Antiques | interview with interior designer

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."

Sims Hilditch | L-Shaped | Lorfords Antiques | hallway

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.