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Ahead of her collaborative project with Philip Mould gallery, we caught up with Sims Hilditch design director Louise Wicksteed, who gave us an insight into her interior design must do’s (and don’ts). We chatted about the Sims Hilditch style, their ethos that distances itself from trends and the benefits of using local craftspeople.
"Thank you! Well our aim is to create interiors which will stand the test of time using the finest materials and makers, both physically and in terms of enduring style. In all projects we begin by examining the building’s heritage and natural surroundings, considering how we might incorporate this sympathetically into our design.
Repurposing and reusing antiques and our clients’ existing furniture is a great way to nod to timeless English style. This gives pieces that are often steeped in English history a new lease of life. Additionally, paints by Farrow & Ball tend to work well in traditional and contemporary English homes alike. We love their range of timeless whites. These work well as a beautiful backdrop to more punchy shades which can be used on furniture and joinery, such as De Nimes."
"Yes, we love to feature natural materials which are locally sourced in our interiors. Reclaimed wooden and stone flooring work well in kitchens, hallways and boot rooms and sisal carpet is great for sitting and bedrooms. We also retain much of a building’s existing material where possible if it has historic value."
"The key to creating character in a home is to ensure the interior feels that it has evolved over time. Layering an interior using a variety of textures, patterns and colours is a great way to achieve this. Each element works together to make the room burst with life. Incorporating antiques into a newer home is also a key consideration, as they bring gravitas and history to the design."
"An open plan sitting, dining and kitchen area is the ideal solution for creating a social space designed for entertaining. In many traditional homes, the kitchen is often cut-off from the rest of the house, making it difficult to host guests or socialise with family while preparing a meal. Knocking through the wall between a kitchen and sitting/dining area and sectioning off each space with a kitchen island is the ideal solution. Placing stools at the island creates an informal space for guests or family members to sit before the meal is served."
"The key to creating a contemporary style in a home while retaining character is to choose a carefully balanced blend of sharp lines, metal finishes and punchy colours and pair these with a selection of antiques. This might include artwork, furniture or even family heirlooms like a grandfather clock. The challenge here can be to maintain a curated, layered look while avoiding clutter."
"Accent colours are a great way to be bold in your interior, without overwhelming it. A sofa upholstered in a bright colour, or lampshades and cushions in a yellow, red, or pink bring life to your interior in pleasing statements when threaded throughout a room with a neutral backdrop. For those tempted to be brave and opt for contrasting colours in a room, we recommend using the colour wheel for guidance. Typically, colours which sit on opposite sides of the colour wheel are contrasting but work well together (like blue and orange).
"Layered lighting allows a variety of moods to be created in one room. This tends to be made up of floor, wall and overhead lighting. We often attach all light fixtures in a sitting or entertaining room to a 5 amp dimmer switch. This can be controlled from a single point, allowing the mood of the room to be altered easily."
"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."
"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."
"Hand-painted wallpaper and or tiles is a great way to incorporate handcrafted items into your interior. We love to use wallpaper by de Gournay and tiles by Marlborough Tiles. A great way to champion handcrafted pieces, is to research local artists in your area and incorporate their art into your home. This might be a painting of the landscape of your local area, or some beautiful ornaments or crockery that speaks to you in some way. A plate wall is a lovely way to display crockery."
"Absolutely. At Sims Hilditch, we champion the highest quality in terms of the products and materials we use. We love to work with companies that share these values.
Small artisans and independent brands are often made up of smaller teams who are passionate about their brand. They are incredibly knowledgeable about what they do, making them real experts in their field. These handcrafted techniques are steeped in history, so it is important to support these artisans. These skills could die out if there is no longer a demand. What’s more, these techniques often produce the highest quality pieces which will last for generations."
For more information on Sims Hilditch interiors click here.
To read more from L-Shaped on interior design, please click here for our interiors section.
*Images courtesy of Sims Hilditch.
There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Pair of 19th Century 'Bejewelled' Candlebras
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
French 19th Century Chandelier
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
18th Century West Country Windsor Armchair
Pair of Bristol Chemist Bottles
Swedish 20th Century Pine Desk
Large Mid 20th Century Terracotta Canova Lion
Nestled in Thyme's 'village within a village,' you will find The Ox Barn restaurant. Under the direction of Head Chef Charlie Hibbert, Thyme curate amazing dishes inspired by their rural surroundings. As we enter a cold and dark winter, the team have provided the perfect recipe for you to cook at home and transport yourself to the Mediterranean...
A Greek-inspired baked orzo dish, soaked in the juices of the chicken, fennel, olive and lemon. One to truly transport you to a Mediterranean island.
Serves 2
Prep & cooking time: 35 minutes
Difficulty: easy
2 organic chicken legs, separated into thigh and drumstick
50ml white wine
½ small red onion, diced
¼ head of fennel, sliced from root to tip
5 black olives, pitted and halved
1 bay leaf
½ lemon zest and juice
100g orzo
200ml chicken stock
1 tsp salt
½ tsp cracked black pepper
A handful of chopped parsley
Preheat the oven to 180°C (normal) | 160°C (fan) | gas mark 4.
Fry the chicken pieces in an oven-proof pan over a medium heat until browned and crisp on all sides.
Remove from the pan and set to one side.
Pour in the white wine and scrub off any brown bits with a wooden spoon.
Scatter in the onion, fennel, bay, lemon and orzo in the pan and stir together.
Place the chicken back in the pan and pour over the chicken stock.
Season with salt and pepper and bake in the oven for 20 minutes, until the liquor has been absorbed by the orzo.
Put the chicken onto a plate, stir through the parsley and serve.
Andrea, who owns and leads Last Drop Wines on the King's Road in Chelsea, recommends a sustainable Pinot Noir from Cordaillat. Read her advice here.
Thyme includes 32 bedrooms situated throughout the Georgian rectory, The Lodge, The Tallet and the buildings around the courtyard and gardens. Ox Barn (seats 62) offers a wonderful dining experience, with its own twist on seasonal British food.
Thyme also offers the Baa bar, meadow spa, pool, orchid house and botanical bothy. The piggery and balcony room boutiques stock Bertioli by Thyme's range of silkwear, tableware and bespoke homeware.
If that's not enough, their 'village within a village' also contains a cookery school, floristry and drawing classes, farm, kitchen gardens, orchards and water meadows. Cottages are available for private hire and you can also book the Tithe Barn for private events.
You can view our collection of Thyme recipes and our interview with Charlie Hibbert on L-Shaped.
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These are room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
Laura Muthesius and Nora Eisermann of Design Tales are inspired by nature. The Berlin duo shares their home and gives you their five top tips to create your very own Scandinavian interior.
With homes in Skåne and Berlin, Laura and Nora love to travel! Nora studied fashion design but is now working as a (food-)stylist, and Laura studied photography and currently working as a photographer. The duo shares their passion for food, good design and interiors over on their website and on their Instagram.
"I'm more comfortable in a space that’s got colour, layers, texture, points of interest – that has an energy to it." We were delighted to chat to British textile designer Molly Mahon earlier this summer about block-printing, why our homes need pattern and colour, and working from her garden studio.
Q: Molly Mahon targets the real home, as opposed to the show home. What did you learn about the role of our homes during the pandemic?
Ooo. Well, they became absolutely central to our being, didn’t they. They could never have been more important in their moment and I think it elevated our understanding that homes are so key to us as humans. Making our homes into somewhere we really wanted to be became incremental to surviving lockdown. Many of us started to look at our homes in different ways and realise how important it was to do all of those little jobs we never got round to doing. Homes became a point of interest and I think that's a really lovely thing. When we can visit people more, I think we're going to see so many more lovely, welcoming, and functioning homes than ever before.
Q: Block-printing is the earliest known printing method, going back thousands of years... yet it’s still used by you and others today in such a contemporary way. Why do you think it has proved such a resilient medium?
It’s got to be something about the way we as humans connect to creativity and how it feeds the soul, without sounding too deep! We’ve only very recently become industrialised - that is such a modern thing. Before industrialisation, the only way to print pretty cloth or whatever was by hand with wooden blocks. It wasn’t just about making decorative items and there’s so much more to it in block-printing. It delineated certain family lines, certain areas you lived in, certain ideas of your wealth and your place. Block-printing meant so much more in society before, whereas now I suppose it is used more decoratively.
For me, the idea that my children can just have anything they want digitally printed or machine printed, without any of the story or the soul or the real depth of design feels so shallow. I think we’re all seeing it that way. During lockdown, we needed to be able to make things with our hands and we want to be part of the finished product. I think that’s more true of block-printing than anything else.
Q: Your designs feel like a joyful tonic in this often stressful world. Would you describe your personal style as maximalist or not?
Yes I suppose so. For me, it seems like a natural way to surround myself, but many people would label it maximalist. I'm more comfortable in a space that’s got colour, layers, texture, has points of interest – has an energy to it. I don’t feel very comfortable nor at ease in a very simple clean white space. I think it’s also having three children and a dog! You just want to be able to relax and not see those marks and things that happen in everyday life. I love the idea that someone could come and visit me and just feel really at home and be able to sit down in any chair and not feel on edge or uncomfortable. I think pattern and colour really helps to create that feeling.
It's also really important for people to understand that when buying our block-printed fabric they are investing in something that has been made with thought, care, passion, time and integrity. Investing in well-made pieces is a sustainable choice, compared to lots of the 'throw-away' or short-life items that are readily available today.
Q: Sustainability is rightly the watchword in interiors at the moment. What kind of role does it play at Molly Mahon?
Yeah, we’re very thoughtful about that. We ask ourselves questions like, where has our cotton that has been woven into the cloth come from? What are we printing with? We have certainly never used any kind of toxic paints. They’re still printing in India a lot with a petrol-based dye, which is brilliant – very light fast, very rub-fast. But absolutely appalling for anyone who is near it doing the printing, or for the person with the fabric in their house.
We only use water-based paints and it’s something I’m really working on. In India, we use water-based paints that have got various good credibilities. In the UK - and I’m doing a lot more printing here - we’ve managed to create our own non-toxic water-based amazing paints to print with and they have Soil Association stamps of approval. It feels like such an exciting thing.
I think it's also really important for people to understand that when buying our block-printed fabric they are investing in something that has been made with thought, care, passion, time and integrity. Investing in well-made pieces is a sustainable choice, compared to lots of the 'throw-away' or short-life items that are readily available today. We love our clients who are really interested in the process and the back story.'
For us as a company we ask, are we being thoughtful? Are we doing this the best way possible? Does this make sense? Are we checking our mileage, where this is coming from and travelling to? I hope that if we do things in the best and most thoughtful way possible, we will be as sustainable as possible. We want to sell things that have a long life as well. We want that armchair to be covered and still be there until it's tattered in shreds years and years later and I think that is sustainable in itself.
Q: Do you enjoy working from your garden studio? How do you keep home and work life separate, if at all?
No, I don’t see them as separate entities at all. What I am doing was just my hobby that I did at the kitchen table. It was part of my life to be creative and it is part of me as a human being on this planet. It is something I’ve always done, it comes very naturally and I wouldn’t ever want to make it this separate entity.
So yeah, I’ve got my studio in the garden which is where Molly Mahon all began and grew from. That’s where I do all my initial drawings, carve my blocks and do my first prints. I still print bespoke orders for Charleston and places like that. When we grew as a company we needed a separate place to store our growing products and rolls of fabric, so we have another space we can walk to through the woods. That’s where the girls who work for me are based and my husband is there all the time. That’s where we store our product and ship our dispatches from.
It’s all connected and my absolute dream would be to have it all housed in one place. If I could tick all the boxes, I would have an old farmhouse that I would be decorating in a Bloomsbury style and I’d have barns in there. We could be block-printing, we could be shipping out orders, we could have visitors come and see our fabrics. It would all happen from one place.
I’ve always seen my business as quite a rural entity and it has that homely vibe to it, so it's a shame our office and home aren't connected. However, it is still very much one thing, under one umbrella. Rollo and I are married, we have a family, and we have this business which is very much part of our children’s lives.
For me it just felt right to put this amazing excitement I was getting from block-printing into a book. I feel so proud! It’s a very simple, light book but I think it explains why I do what I do and why block-printing is so important.
Q: I was actually going to ask… has your enthusiasm for printing rubbed off on your children?
Oh... yes. Well, you'd have to ask them separately! Certainly in lockdown we all did a lot of printing together and they loved it.
Lani, my eldest daughter, will say ‘oh I could go and print on that old pair of jeans and give them a new life.’ So I love the way she thinks about it and finds her place. They’ve all got bedrooms highly decorated from top to bottom in Molly Mahon block prints! So it’s very much just part of their life and it will be really interesting to see later on whether they continue it or whether they actually want to go and live in white boxes.
Again, it’s just what mum and dad do. It’s all intertwined and they come into the office sometimes, we don't separate it out. My elder daughter walks past our office on her way to school so she comes in every day. Often we’re like ‘Oh great! We need some help getting those samples into envelopes’ and she just gets involved. They’re so young, they don’t even think about it. I often hear them saying to other people, if Granny rings for example, ‘oh mum’s printing at the moment,’ so it’s just part of their language and being.
Q: What was the motivation behind your book, House of Print?
Yeah, I had this real sort of urge to put it down on paper. Even though we’re heading in a very digital direction, I’m a paper person, I love books. I love reading other people’s experiences. It has certainly fed me; I never did GCSE or A-Level art, but I have learned so much from reading books and poring over old Indian prints. I’d much rather read a book, if I’m honest, than scroll through websites. Also, I have like 40,000 images of my trips to India that have inspired me so much. I just wanted to have this paper version of my story out there. I often feel with websites you have to pare it back quite a lot – you can’t say ‘oh but then there was this, and then there was this…’
For me it just felt right to put this amazing excitement I was getting from block-printing into a book. I feel so proud! It's a very simple, light book but I think it explains why I do what I do and why block-printing is so important. I just want people to understand the process and to answer those who ask, 'why on earth do you use all of those wooden blocks, it's such a slow process when you could just print super fast on a machine?' I wanted to share the wonder of this incredible craft and share it in an accessible way. I'm never happier than when I'm sitting amongst my books - they are my guilty pleasure - so I hope that goes for others too and they choose to add House of Print to their shelves.
We need these little nuggets of creativity to balance our lives. For people to pick up these wooden blocks, apply a bit of paint, choose a colour they love and make something – it’s so great! I just love it.
Q: 40,000 images of India! Will you ever run out of designs? Is that possible?
Never! Never. Not possible. I just have them going round in my head all the time. Now that I’m a serious commercial business, I can’t just endlessly produce designs, either, everything is a bit more considered. A fabric collection is done as a collection, you can’t just spew them out whenever you fancy. Everything is kind of organised and controlled, which is probably a good thing. I’m building my next collection in my head already. Oh my goodness, we will never run out of patterns.
Q: What are you looking forward to as restrictions ease?
Well, I’m out on the road again already. But I'm most looking forward to resurrecting my workshops. I love offering those, I LOVE the joy that people get from coming on them. I just did two at the garden museum. They were really simple, sweet and well-organised with distancing and things. It just gave me a taste of how creating as a community is so important. I also offer an online workshop through Create Academy that you can do from your home. This is much more intensive and something that you really need time to kind of dig into.
When people arrive at my workshops they always feel a little bit intrepid and a little bit nervous. So many people say, ‘oh I won't be very good at this,' but by the end they are proudly showing their work. This reminds me that what I'm doing is so correct - we need these little nuggets of creativity to balance our lives. For people to pick up these wooden blocks, apply a paint colour they love and make something is so great! I just love it. I hope they go away feeling as inspired as I do when I’ve taken the courses. Getting that schedule back and getting back on the road is the most exciting thing for me at the moment.
Visit Molly's website: mollymahon.com.
Molly's love letter to block printing, House of Print, is available for purchase in all major bookshops.
Read all of our Q&As over on L-Shaped.
Traditionalists have lamented the downfall of ‘brown’ furniture in popular taste for decades. But like all great things, antique dark wood is making a comeback – and for good reason.
Even the name is unfair, and frankly lazy. Brown furniture implies plainness and drudgery, when in fact it encompasses a brilliant spectrum of pattern and colour. Usually, brown furniture refers to solid dark woods like walnut, mahogany, rosewood and teak. It can also apply to any wooden furniture that has been stained dark at some point in its life.
‘Brown’ is a weak adjective though. These quality woods often feature a whole rainbow of browns, but also red, yellow, and black hues. A beautifully figured burr walnut table looks totally different to a mellowed oak refectory table, for example. 'Brown’ sells both short.
The wood itself aside, we commonly associate brown furniture with a certain style too. The heavy-duty furniture that adorned your grandmother's home, polished twice daily and kept out of reach of grubby hands, might spring to mind.
But centuries of cabinet-making produced reams of dark wood furniture in different forms. From slender and elegant Edwardian cabinets to bold and expressive Regency tables, brown furniture critics unfairly lump a vast range of styles into one bracket.
Somewhere around the 70s, we started to turn on this furniture. The forward-thinking Mid Century Modern approach quickly made traditional antique furniture look tired and dated. Luckily, trends are always cyclical, and the brown furniture renaissance is finally here.
The main reason why you shouldn’t dismiss brown furniture is its quality. Genuine period furniture from the Victorian, Regency and Georgian eras reflects expert cabinet-making. Manufacturers like Holland & Sons and Gillows of Lancaster set a high standard for craftsmanship in their fields.
Even simple country antique furniture demonstrates impressive skill. The charming bobbin-turning on a side table or chair stiles from the pre-industrial era reflect hours of handiwork at the wooden lathe. Such features are remarkably popular in contemporary furniture right now, so sourcing an original - probably for cheaper - is a no-brainer.
The sturdy construction speaks for itself; antique wooden furniture has served its purpose for over 100 years. If you need extra bedroom storage, an English 18th Century commode, made from solid wood with spacious drawers and working handles, is going to do the job just fine. Dining tables that have endured perhaps thousands of different family dinners in their lifetime aren’t about to let you down now.
But the best word to describe what brown furniture bestows on an interior is gravitas. A tall Georgian chest on chest, with gleaming colour and graining and decorative brass handles, demands respect. It commands attention and authority in a room, seeming to draw all the other elements towards it. This is the power of traditional antique furniture. One or two imposing brown wood pieces will mature any interior, even the shiniest new build property.
This sort of furniture can alienate people, feeling too stern or formal for their tastes. However, just because this furniture was designed for Georgian or Regency townhouses doesn't mean it won't look right anywhere else. Be imaginative with your styling and you can make antiques relevant for a 21st Century setting.
There is plenty of inspiration out there, as we increasingly see brown furniture in a diverse range of interiors. Majestic antiques are finding homes in contemporary flats, apartments and loft conversions. It all comes back to contrast, the greatest interior trick in the book.
We are not defined by one style. An antique mahogany dining table looks fantastic surrounded by abstract contemporary art, for instance. If you are limited on space, a well-chosen piece of antique dark wood furniture, like a walnut bookcase, instantly creates a mature space.
If your style is more modern, incorporate antique wood furniture sparingly and don’t fear juxtaposition. A tall mahogany cabinet in the same room as a glass and chrome coffee table adds depth and interest. Taking risks is essential for creating that friction that makes an interior successful. Equally, the Mid Century take on brown wood was all sleek lined and sculptural. A teak sideboard from this era will bring the same qualities as antique examples, just with a more contemporary feel.
For many, colour is a major consideration when it comes to choosing furniture. Those who aren’t a fan of colour in general tend to gravitate towards whitewashed interiors. Others will match their furniture colours to other interior elements like paint. Lots of us jump to paint a piece of brown furniture to make it fit into a wider scheme.
However, it is important to remember that brown IS a colour – it is not a blank canvas. Natural timber, beautifully aged and patinated, is one of the loveliest colours you can have in an interior. It also works well with a remarkable range of colours, patterns, and textures.
With light paint and minimalist furnishings, a mahogany commode in the living room will ground the scheme and add richness. Equally, brown furniture will look brilliant within a moody scheme paired with rich dark paint. Look at the dominant hues in the wood and use paint and soft furnishings to draw out those colours.
Dark wood furniture was designed to be well used and well-loved, and this should still be our approach today. Keeping it in check just requires a little TLC, as our in-house restorer Dave explains.
Our in-house restorer Dave knows all there is to know about restoring antiques and repairing any damage. He plays a crucial role in sustaining the life of our stock and making sure it can survive for future generations. He shares his dos and don'ts for materials we often encounter in the antiques world.
Dave says… ‘Caned seats and backs, as well as whole wicker pieces, gradually disintegrate over time with heavy use. If you have buttons on the back of a pair of trousers, for example, they will snag and aggravate the cane until one day – ping! The woven part will come loose. There are a few things you can do, however, to keep cane or wicker pieces in tip-top condition.’
DO: Treat the wicker to strengthen it. You can use a clear lacquer or shellac to do this, but be sure to read the specifications of your product carefully as not to affect the colour of the piece. A good quality clear shellac will put a sheen on the wicker without affecting the colour. This will help the cane to last longer and avoid fraying or breakages.
DON’T: Use a wicker piece to support heavy loads. You might think a very heavy box on a caned side chair works for a temporary storage solution, but this will gradually weaken the tautness of the cane.
DO: Use cushions. This will help to reduce the daily stress on a cane or wicker seat.
DON’T: Drag fully wicker pieces around, like a bamboo dressing table for instance. These pieces are usually only fixed with nails and pins, so a lot of dragging and heavy-handedness will weaken them. Lift the pieces up and move them instead.
You might have inherited a lovely Georgian or Victorian piece, with stunning colour and patina. How do you keep it looking that good?
DO: Use a wax diluted with a little white spirit to treat the piece. Do this a couple of times a year to preserve the finish.
DON’T: Expose it to direct sunlight or a very warm part of the home. This is how antiques fade and lose their striking depth of colour.
DO: Use a lint-free cloth to dust your antiques. This way, you won’t scratch the polish.
DON’T: Surround a great piece of brown furniture with plant pots or other water hazards. Watermarks are the devil for brown furniture and must be avoided at all costs.
Not sure why it is worth restoring an old piece of wooden furniture? Read our case, 'In defence of brown furniture' here.
In most cases, you want to consult a professional when it comes to upholstered furniture because there are considerable risks with it. However, Dave advises…
DO: Inspect the frame before you start taking anything off. Make sure the legs are intact and check for wobbles in the frame.
DON’T: Do anything in haste. In some cases, the upholstery will be keeping the whole thing together. This is where a risk assessment is very important.
Intricate veneers are often what makes a classic piece of antique furniture so beguiling. But after a long life this applied decoration can start to lift off. What can you do?
DO: Cut a small square or rectangle where the damage is and patch repair it, then match the colour after.
DON’T: Cut veneers in funny shapes! Matching it after will be a nightmare.
DO: If the lifting veneer is one piece, lift it up and glue underneath then put it back down. Run a flat knife along where it is lifting to see how extensive the problem is – there’s no point in patch repairing bit after bit, you may as well do it in one go!
DON’T: Attempt to patch repair if there are bits missing entirely or splintered. You will need to replace the whole thing.
Gilding gives anything from a commode to a mirror a majestic opulence. How do you keep it looking so good?
DO: Take care to match the exact colour of the gold leaf if you are going to touch up the gilding. Believe it or not, there are lots of shades of gold!
DON’T: Transport gilt antiques carelessly. Logistics is where most damage to gilding is done.
Dave's final piece of advice when it comes to tackling restoration:
‘If you are going to take up restoration or repair your own pieces, it is going to take a lot of patience. You need to juggle several skills. A risk assessment needs to be carried out for every piece, and you must think ahead.’
Restoring antiques and other furniture is key to an eco-friendly approach to interiors. Read our article 'Sustainable antiques for soulful homes'.
There is no denying that antiques elevate our interiors in more ways than one. They connect us to the past and create unique spaces full of character. The often forgotten but equally important point is just how sustainable antiques are.
We spend a lot of time showing off our beautiful antiques here at Lorfords and too little time sharing how good for the planet they are. This may seem like an obvious statement, as antiques are in essence sustainable. And yet, in an age of climate consciousness around food, clothes and single-use plastic, the fast furniture crisis is on the backburner.
This doesn’t mean the crisis is not there, nor that it hasn't been exposed. A study commissioned by Antiques are Green found that a new piece of furniture lasts for an average of 15 years. Meanwhile, an antique piece of furniture is resold once every 30 years. This study concludes that the environmental impact of an antique piece is six times less than that of a new piece of furniture. Stark statistics indeed.
What is fuelling this crisis? Throwaway culture has become the norm. In 2019, the North London Waste Authority found that 22 million pieces of furniture are binned in the UK each year, with much of that going straight to landfill. Super low prices and the flatpack revolution have simply made it too easy for us. We’re on a conveyor belt of buying a piece of furniture, getting bored of it or it breaks, throwing it away and then buying another to replace it.
It’s not all bad though. A younger generation, the same age group we have labelled the ‘flatpack generation’ in years past, are waking up when it comes to their interiors. This is partly because they want to live an eco-friendly life and understand that fast furniture has a big impact on their carbon footprint.
But it is also because they are seeking soulful interiors – and the same can increasingly be said for all of us. The fast furniture culture resulted from modern living demands, the rent revolution and constantly changing fashions. The result was minimalist, functional… uniform.
The theory that such interiors aid our busy lives started to show cracks in lockdown. The Marie Kondo approach felt stark when our homes acted as a permanent base and refuge. This generation is seeking interiors with personality, character and soul. They want novel furniture and decorative pieces that provide a talking point. Our interiors are a reflection of us, so looking the same as everyone else isn’t cutting it anymore.
Antiques create more sustainable interiors - that's a fact. But why, exactly?
Antiques are one of the most forgotten forms of recycling, and yet one of the most obvious. To classify as an antique proper, an object must have survived for over 100 years. This is no mean feat and often a credit to the original craftsmanship. We already mentioned the statistic that antiques are resold every 30 years on average. They were crafted to last and be passed down through generations and that trend continues today.
Before the industrial revolution, cabinet-makers did everything by hand with a limited range of tools and techniques to hand. There was no MDF, nor any laminated chipboard.
Makers had to be invested in their product; if a piece fell apart after a few weeks, they would be the talk of their community – and not in a good way. There was a personal responsibility for good craftsmanship, a sense of ownership. It can feel like eco-consciousness is a relatively new development, but this is not the case. Back in the 19th Century individuals were striving to counteract the excess and waste of the industrial revolution.
One such pioneer was William Morris. His enduring mantra ‘have nothing in your home you do not believe to be beautiful or know to be useful,’ is more relevant than ever. The Arts & Crafts movement put moral responsibility back into furniture and interior design. Ernest Gimson made his Windsor chairs from ash, beech and elm sourced from local woodland. Given the fact that antique Windsor chairs are still very popular today, it is hard to get more sustainable than that.
It wasn’t just wooden furniture, either. Bamboo and rattan, both rapidly renewing plants, boomed from the Mid Century onwards. Leading designers of the age transformed them into stylish wicker furniture and homeware. Sustainable production certainly didn’t sacrifice style then, and it doesn’t now.
Antiques are not bound by style, however. They are sustainable because they are not subject to the whims of fashion. Modern furniture companies jump on emerging trends and overhaul their collections when they are no longer fashionable. Antique and vintage designs, on the other hand, have a very enduring appeal. Take the iconic Chesterfield sofa, for example. Since its conception in mid 18th Century, the mighty button back has never been considered passé.
Likewise, a 17th Century oak refectory table has survived for over 300 years and lived to tell the tale. Such a piece may have characterful grooves and a deep aged patina, but its solid construction means it will likely go on for hundreds more. Aside from anything else, these are investment pieces. An antique dining table will serve you and probably your children and grandchildren too. It won't ask for much in return other than an occasional polish or reinforcement. A small price to pay, we think.
You need only flick through this month’s interiors magazines to see that we are moving in the right direction. Ethical sourcing and a ‘period meets contemporary' aesthetic are top of the agenda for an increasing number of interior designers. This sway is not only good for the planet, but for the end result. When you hire an interior designer, you don’t want them to present you with something akin to a department store showroom. You want something layered and lived in; this is what antiques provide in spades.
For some, antiques feel too special, too majestic, for their lifestyle. But respecting antiques doesn't mean having no relationship with them. You can still be careful whilst making bold choices. We are seeing something of a ‘recovering revolution,’ whereby contemporary fabrics breathe new life into period pieces. This is a great way to adapt antiques to your taste. You might love the imposing proportions and design of a Victorian armchair, but the faded and dated covering? Not so much.
Part of the reason for the current throwaway culture is our reluctance to put a bit of work in. Less than 1 in 10 people are willing to repair an item to extend its life – a fact I’m sure would horrify our ancestors. Restoration and upcycling are not only satisfying, but they also connect you to your interiors in a personal way. If DIY is not for you, many talented experts are on hand to help. Read some tips for the amateur restorer from our in-house professional Dave.
The truth is there is a vast spectrum of antique and vintage pieces out there. Our collection offers something for every soul, from traditional Georgian furniture to cool vintage memorabilia. Not only are our pieces an antidote for flat interiors, but they are also an ethical choice. The best thing? There is no flatpack assembly involved.
Get inspired with our latest lookbook, 'The conscious interior.'
With its tall back and enclosing wings, the wingback armchair is a distinctive classic. It has established itself in the upholstered furniture lexicon with its offer of elegance and comfort. Whilst wingback armchairs now represent a timelessly stylish piece of furniture, their origins are very practical.
Today, with our central heating and carpets, it is difficult to fathom quite how cold the old English home once was. 'Wings' were added to seating to protect the sitter from blustery draughts, as well as from stray embers and ashes that might spit out of the roaring fire.
The wingback still offers this protection, but there is clearly less need in today’s home. So why are these chairs still so prevalent in our interiors? Their stately yet enveloping form has made them a true stalwart of classic English furniture.
The first record of any sort of wingback chair was made in the 17th Century. At this time, its purpose was likely wholly utilitarian and these chairs were used for the aforementioned reasons. It was probably entirely wooden, perhaps with an added seat cushion for comfort. Indeed, the wingback armchair shares its wings, or ‘saddle cheeks,’ with the settle. Both variations were orientated around warmth and, of course, having a place to rest.
During the Queen Anne years, the wingback evolved to become the classic English armchair we know today. Whilst Queen Anne only reigned from 1702 to 1714, the ‘Queen Anne’ style persevered for much of the first half of the 18th Century. This was the age of walnut and developing upholstery skills, which both elevated the wingback into something quite beautiful. Cabinet-makers combined these wings with the elegant new cabriole leg, with its curved knee and pad foot.
Interiors underwent a great deal of change during this period. As large-scale fireplaces and bigger windows emerged, there was a natural demand for furniture with similar proportions. Cabinet furniture became large and imposing and chairs had more generous proportions. Social change was underway too, and gatherings required plenty of sociable furniture. So, the wingback became the ultimate ‘easy chair’ during the Queen Anne years, and its use extended far beyond protection.
From Queen Anne thereafter, the wingback had firmly earned its place in the English home. Georgian interpretations used walnut and mahogany frames with tall, shaped backs and wings. Wingback armchairs also found their way across the pond to France and elsewhere in Europe. Wings were a natural adornment for French bergères, particularly the curvaceous feminine examples seen under Louis XV.
The early 19th Century brought about an upholstery revolution, which swept the wingback armchair along in its tide. Prolific makers of the period, such as Howard & Sons, produced their own examples of the style popularised by Queen Anne. Comfort became a keen priority in Victorian Britain, and the wingback developed a perfect combination of comfort and aesthetic. By the time the English country house style was truly codified a century or so later, the wingback was already a classic in its own right.
The remarkable thing about these chairs is their never-ending appeal. From their primitive beginnings for warding off draughts, wings still appealed to designers of the mid to late 20th Century. Indeed, many modern furniture companies still produce the style. Over the years, wingbacks have sported everything from velvet to leather coverings – depending on current fashions.
At the heart of this enduring appreciation is the organic shapely feel wings give to a chair. Post-war designers across Europe adapted the feature to suit their sleek and functional designs. For instance, in 1957, Ottorino Aloisio designed a wonderful wingback which was manufactured in Pier Luigi Colli’s workshop. This chair appears to have almost nothing in common with a classic Queen Anne wingback; it has a simplistic silhouette with a metal frame and ergonomic feel. And yet, wings are such a distinct feature that wingback armchairs from all walks of life feel related.
These chairs are high and mighty, yet also comforting and welcoming. As a result, wingbacks have a place in all interiors. Wings give a chair an automatic sense of structure and presence. Their shape means they look brilliant from any angle, with a particularly striking side profile. Angle one or two beside the fire or incorporate them into a suite for a full English drawing room feel. Wingbacks and Chesterfield sofas share a respected legacy and complement each other wonderfully. Camelback sofas are another great match for these armchairs, due to their common s-curve form.
All armchairs feel at home in the living room, but a wingback will accentuate any corner of your home. Their cosiness is perfect for a bedroom chair, or to welcome guests in a foyer or hallway. The high back, deep seat and wings of a classic wingback make it a supportive reading chair for the library or home office.
The wingback style has truly stood the test of time. With their charming utilitarian history, these armchairs somehow feel both timeless and contemporary. They will sit proudly within a range of interior schemes and offer an opportunity to combine their classic silhouette with vibrant fabrics of your choice. Pair extravagant colours with a neutral setting, or vice versa place a simple wingback in front of floral wallpaper or brightly painted wall.
Browse our collection of wingback furniture here, and all of our armchairs here.
The history of easels and that of art itself are intertwined. Easels have an incredibly long and varied past, and today antique and vintage examples have a wonderful decorative presence.
Easels go back a remarkably long way. Ancient Egyptians would display tablets, conveying important religious messages, on bookstands of sorts which represent the first primitive easels.
Ironically, most evidence for the early use of easels comes from their appearance in art itself. However, in his seminal work, Natural History, Pliny the Elder explicitly describes their use: ‘Protogenes was not at home, but there happened to be a large panel upon the easel ready for painting, with an old woman who was left in charge.’
So, in the 1st Century AD, our forebears already understood the easel's usefulness.
Up until the Middle Ages, easels were a mere supplement to the dominant art form - wall painting. Since the pre-historic period, when nomadic cave paintings began, humans have conveyed messages through imagery.
It wasn't until the 13th Century that easel painting finally overtook mural paintings in terms of popularity. Painting onto canvas became more and more popular, and so easels were increasingly necessary for providing a gentle vertical slope at a comfortable height.
The 15th Century was pivotal for the evolution of easels. The invention of a portable easel and storable oil-based paint at around the same time caused a boom in landscape painting. Artists could suddenly pack up their art equipment and transport themselves to coast or country to paint. Indeed, plein aire painting, whereby the beholder can sense the open-air setting of a painting, was one of the most seismic developments in art history.
Easels have been indispensable to countless generations of writers and artists. But their form, whilst maintaining the very basic elements, has taken on many different guises.
From the Middle Ages up until the 17th Century, artists tended to prefer simple wooden easels for their work. This type was revived in the 20th Century and is actually very similar to ones made today, aside from mechanical advancements.
But in the 17th and 18th Centuries, wave after wave of design styles influenced the easel. From baroque to rococo, easels reflected whatever lavish décor was in style at the time. These can make for some magnificently decorative examples. By the 19th Century, they evolved again to take on a simpler neoclassical form, often with gilding.
So, what should you bear in mind when looking for an antique or vintage easel?
H-frame easels are particularly sturdy examples, whilst the 'lyre' easel with its A-frame is very elegant. Some easels might incorporate extra storage space or even have an added desk or seat. They naturally became more technical over the centuries, with winding and counterweight mechanisms. If you want to use an easel for its intended purpose, make sure it has a quality functional mechanism.
Whilst plenty of lovely antique and vintage easels don't have any sort of label, make sure to look closely for a maker's mark. The British manufacturer of art supplies, Winsor & Newton, produced many easels- particularly in the tripod style. Other notable manufacturers include two Italian companies operating in the 20th Century, Bottega Ghianda and Mabef.
When it comes to choosing an antique or vintage easel, consider what sort of condition you need. Some examples are worn and covered in splashes of old paint, whilst others might even come with an old paint palette or brushes. To feel the presence of the original artist is fascinating and gives an easel authentic charm. If regular use is more important to you than decorative quality, choose a sturdy vintage example in good condition.
As display pieces and functional objects, easels are a wonderful thing to own and have in your home. Our collection includes French and English examples of various shapes and sizes. We also stock fascinating antique sculpture stands and artist's relics.
The English country house is one of the most enduring and celebrated styles in the interior design lexicon. This scheme is hard to pin down because it doesn’t follow a fixed set of rules. Nonetheless, its powerful influence is blatant at every turn - whether you are conscious of it or not.
The country house interior is full of paradoxes. It feels quintessentially English, yet an American developed the scheme. The country house style is far from limited to England and celebrates cultures all over the world. Even the term ‘country’ house is no longer defining. In our recent interview with Turner Pocock, the interior design duo observed that this style is now as sought after for decorating London townhouses as it is for country piles.
Country house rooms are vibrant yet refined. They are curated yet lawless. Spaces look beautiful, yet they are inviting and comfortable. These wonderfully juxtaposed layers define the English country house interior.
Grand English interiors often feel as old as time, which is an integral part of their charm. It is one of this scheme's great ironies of this scheme, then, that the style was only formally realised in the early 20th Century. The new approach to interiors glorified an old rural golden age and was the culmination of interwar sentiment. The bare bones of the style date back further, of course, with Georgian interiors laying the foundations. The stage was already set, but we owe one American lady an enormous debt for bringing the country house style to the fore.
In the 1940s, an American heiress was busy forging valuable connections in Britain. Nancy Lancaster was a prolific socialite who felt such a strong affiliation with England that she renounced her American citizenship in 1948. It was in this same year that she bought Colefax & Fowler, London’s leading interior decorating studio at the time. Together with John Fowler, Nancy began to spread the country house style through English interiors.
Lancaster herself inherited several properties that she wanted to respectfully maintain but also move on to suit her own tastes. Her innate flair for interiors became obvious through her work on her homes, those of friends, and those of Colefax clients. Nancy seized old English tropes and injected fun and imagination into them. Design movement was one of her key principles. For her, it was important that a room felt lived in and had space to evolve. This timeless feel became absolutely integral to the country house look.
Nancy Lancaster was not the architect of the English country house style. In fact, there wasn't one. Rather, numerous factors contributed to the style's evolution over centuries. The heiress, however, was the major facilitator needed to bring the style to the fore. Her key contribution was making the English home comfortable. She brought American luxuries like carpeted floors and central heating to grand old mansions, without detracting from their authentic value.
Colefax & Fowler shot to new prominence under Lancaster’s direction. She and John were a design force to be reckoned with and the company’s reputation flourished. Colefax & Fowler decorated Chequers and the Audience Room at Buckingham Palace, to name a few iconic interiors.
This interior style does not abide by any fixed rules and celebrates individualism. However, a certain essence makes the scheme feel familiar and recognisable. Comfort and easy living are integral; not only should a country house interior appear lived in- it should also BE lived in. The result is inevitably slightly dishevelled which is very much part of the charm- something John Fowler called ‘pleasing decay.’ Perhaps the reason this approach to interiors remains so unerringly popular is its forgiving nature. The house should feel like a home as opposed to a showroom. Parties, children, and dogs are all welcome.
Classic deep-seated upholstery of the sort that rose to prominence in the 19th Century is front and centre of country house interiors. Antique frames from the Queen Anne, Georgian and Victorian periods still appeal today, often upgraded with fresh upholstery. More is more, and you needn't limit upholstery to living areas. A cosy armchair in the bedroom provides a classic country home feel. In general, a range of seating of all shapes and sizes is key to crafting a welcoming space.
Classic antique pieces are the bread and butter of an English country house interior. Commodes, chest furniture, large cabinets, and other such timeless pieces provide useful storage and a traditional look. Layering time periods is key, and antiques will take pride of place in any successful scheme to make it feel established. Indeed, inherited possessions were at the core of these interiors when they first emerged. Country house interiors shouldn't feel like a showhome where you have carefully planned and sourced. Acquire pieces that you love and when it comes to styling them mismatching will only add to their charm.
Bookcases often form the architecture of a country house living or drawing room. Whether it’s a majestic breakfront piece, built-in shelves, or a matching pair of low-lying cabinets, bookcases are indispensable for achieving this look. Besides providing a beautiful piece of furniture, having treasured books and collectables close at hand and on display gives the country house its lived-in look.
Certainly one of the best things about the English country house style is its room for personality and eccentricity. Nancy Lancaster herself saw this as crucial: 'One needs light and shade because if every piece is perfect the room becomes a museum and lifeless.' Indeed, the origins of country house style were in florals, chintz, and china. For some, these details now feel dated and passé. However this is an unapologetic style, and there is plenty of room for ‘Granny chic.’ We all have antiques or collectables that we love in spite of them being a bit ‘kitsch.’ Souvenirs from our travels, our grandparents’ silver, Staffordshire pottery, an old family portrait… this maximalist interior scheme embraces it all and is better for it.
Much of the success of this scheme is in the details. Whether it’s a ball and claw foot, a fabulous gilded frame with the red bole showing through, or the blue and white patterns of a ginger jar, these decorative and intriguing accents draw the eye and make a space feel exciting.
The English country house style is far from drab and dreary; it is actually often daring and eclectic. When Nancy Lancaster bought a set of rooms above Colefax & Fowler on London’s Avery Row in the 1950s, John Fowler encouraged her to paint the drawing room bright yellow. The famous ‘Yellow Room’ set the tone for grand living rooms and is far from dull. Floral fabrics, plentiful wall art, and opulent chandeliers all complement the yellow beautifully. Colour has always been at the heart of the English country house style and it is becoming even more prominent in today's interiors.
Statement antiques, upholstery, bright colours, and due prominence to books and collections. The final key ingredient in this scheme is textiles. Not only do they bring colour and pattern to rooms, but textiles also give the English country house its crucial homely feel.
Rugs, runners, and carpets are vital for rooms with wooden or stone floors. There’s an increasing urge to bring far-flung destinations into our homes at the moment and fabrics are a brilliant way to achieve this. Our collection includes Swedish flatweaves, beautiful kilims, and vast carpet rugs.
Bedrooms ought to be the most comfortable and welcoming spaces in the home. Soften a traditional four-poster bed with antique linens galore- maximalism is the only way with furnishings. Pillows, quilts, bedspreads, and throws will make a bedroom feel charming and loved. Blending plenty of materials helps to achieve the layered tapestry that typifies an English country interior.
Contemporary designers have grabbed the reigns of the English country house style and are steering it in a new direction. The essence of the style will likely stand forever, but it's sufficiently versatile to welcome new interpretations. These adaptations and variations on this scheme reflect the powerful appeal of country house interiors and the desire to make them work with modern requirements.
Those who wish to live a less cluttered life can pare this style back and go for fewer but just as impactful pieces. When styling a smaller house or apartment, colourful paint, gallery walls and sconces will bring character whilst saving space. However, don’t fear large statement pieces either because playing with scale can transform a space. When it comes to bringing colour and vibrancy, the outdoors is your untapped resource. Bringing foliage and flowers indoors has a transformative effect on an interior.
Whilst grand English houses may have provided the original canvas for this style, today it is achievable in pretty much any home. This versatility is a testament to the design ideals at the heart of the country house style. It encourages fun and colour, it mixes historical pieces with new influences, and it reflects our human nature to seek joy and comfort.
Get inspired with our lookbook, 'Life well lived.'
"The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art." During the lockdown, we spoke to Countess Alexandra Tolstoy about her cottage in Oxfordshire, home-schooling, and how she reflects her Russian roots in her interiors.
Q: How are you finding home-schooling your children? Have you got any tips or tricks?
A: I can’t say I love it! My children go to French schools, but my French is only GCSE standard, so it’s a huge struggle helping my older son to read Rabelais and Moliere- not to mention binary long division! We never seem to get everything done but I often read out loud to my children. Recently it’s been King Solomon's Mines, The Arabian Nights, and the Narnia series. I hope this is giving them another layer of education that can’t be found at school. I also make sure they go outside every day. We are lucky to be in lockdown in our cottage so they can whizz around on their bikes or go up into the woods and make camps.
Q: You grew up in the Somerset countryside but spent long periods in Moscow and London. Do you feel most at home in the city or the countryside?
A: I love both equally. People often assume I prefer the countryside but I adore the city- both London and Moscow- and couldn’t live without it. I need the inspiration and creativity that I find from being with others and I’m not a solitary person!
As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting.
Q: Your cottage in Oxfordshire is the definition of Cotswolds charm. How do you go about decorating a smaller space?
A: I think, contrary to common belief, small spaces can (and for me should!) be full of layers and details. I always try and be authentic and respectful to the building I’m decorating. As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting. All the children sleep in one room- I just found extra narrow Victorian brass beds on Ebay!
Q: How is the cottage coping with the demands of serving as a family home during lockdown?
A: It’s amazing, rather like a tardis! I have an outside office that my son has made into his classroom. The younger two don't have many live lessons, so I work with them at the kitchen table a lot whilst cooking and trying to do my own work. I love the feeling of spilling from inside to outside and they run in and out all day long (bringing far too much mud in!). We brought minimal clothes so I’m constantly washing, but we don’t have a problem with storage. The children are very good about playing with their Lego in a small space in front of the fire.
It’s lovely that we’ve been able to spend so much time here, it's usually a holiday rental and we spend a maximum of two weeks here at a time. I’ve loved watching the winter months go by and having fires every day.
Q: How are your Russian roots reflected in your interiors?
A: I think they are reflected most in our London home. The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art. We have icons, of course, and lots of touches of gilt that probably reflect Russian churches. I love embroidery and have collected beautiful silk Uzbek chopans (coats) on my travels that hang in my bedroom. I suppose it’s an eclectic mix of all my life- Russian, English and Central Asian.
Q: Your style has a folkloric feel which we love, where does this stem from?
A: I suppose from my travels. I spent many months riding through remote Russian villages in Siberia and southern Russia. I was enchanted by the colourful, whimsical wooden houses with their huge stoves and intricately carved windows. They were like something straight out of the pages of Pushkin’s fairytales. But I also think my English family has influenced me. My mother is one of seven children, and they were brought up to do everything by hand- knitting, sewing, smocking, embroidery, painting etc. They all grow their own vegetables and are great cooks, with a love of the land and traditions. I experienced this from early childhood and it has definitely been a great influence.
I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: You have faced many challenges in recent years, where do you turn to for comfort and joy?
A: I am Russian Orthodox and my faith has given me a lot of strength. I think I also built resilience through travelling. I had to be so independent and overcome many obstacles alone, which has served me in good stead. From an early age, I also read and read romantic 19th Century European literature, which I believe gave me the imagination and scope to see past my own experiences. I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: The Christie's sale of the contents of your London home was a breath-taking reflection of the interiors, designed by Colefax and Fowler. What piece were you saddest to see go?
A: I was very sad to lose a wooden model of the Sergiev Posad Monastery, the oldest monastery in Russia, as this was a personal belonging. But overall I wasn’t sad at all- these are only things and it was liberating to realise I could let go and our lives have only moved onwards and upwards.
Q: Are you a minimalist or a maximalist at heart?
A: A maximalist for sure!!!!!
Q: You have a distinctive sense of style, and The Tolstoy Edit is a hive of inspiration. Do you consider yourself a trend-setter?
A: Oh no! I don’t like trends and don’t follow them myself. I think if you like something, you like it- irrespective of the era. Fortunately, I know exactly what I like and these days I don’t feel like I make huge mistakes, but that took many years to hone!
Q: Your love of horse-riding is well-known, has this been a passion since childhood?
A: I did love ponies in my childhood but my passion is more about travelling in these wild places- horses are the most wonderful way to see unspoilt corners of the world.
Q: What is your favourite room in the home? Why?
A: I think it has to be the kitchen. I adore entertaining and baking and everything seems to happen there. I’m a sociable person so the pandemic has been testing. I adore having people over for dinner and making an occasion of anything and everything!
Q: What is your ultimate comfort food dish?
A: Hmm, it probably has to be my freshly baked carrot and walnut cake!
Read all of our Q&As on L-Shaped.