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From the early years of the twentieth century until well into the 1930s Paris was the epicentre of a design movement that aimed to redefine the decorative arts in a very modern and particularly French way. The passing of time has done nothing to diminish its allure. Chris Yeo delves deeper.
Now, as we know, the French have a long and proud history in the decorative arts – they virtually invented the idiom – but, more than any other, there’s one style that encapsulates le style Francais. You might know it as Art Deco. The French called it Moderne. Ah, Art Deco. Just mention it and images of sleek ocean liners, peopled by impossibly beautiful characters wearing Cartier jewels and sipping Manhattan cocktails spring to mind. Or maybe it’s the futuristic styling of Max Sterm’s Metropolis or even the gaudy delights of the Odeon cinema – those streamlined and chrome-plated ‘peoples’ palaces’ that brought Hollywood glamour to the depression-ravaged masses of the 1930s. Art Deco emerged as a style for the new century and an ever-changing, fast-paced world of motor cars, air travel, flappers, and syncopated jazz. It’s the style of the Chrysler building, of the Zigfeld Follies and, as it happens, Victoria Coach Station; an intoxicating mix that continues to beguile us as much as it did in the Roaring Twenties.
Has there ever been a style more luxurious, glamorous, more imitated and, perhaps, less understood? Let’s start with the name. ‘Art Deco’ was actually only first coined in the late 1960s as a sort of two-hander to Art Nouveau which had preceded it. Also, far from being a single recognisable style, there were, in fact, many different strands, depending on when and where it popped up.
Italy, Sweden and, of course, America all had their own particular ‘takes’ on it. But nowhere did the style emerge more coherently than in France. Many books will tell you that Art Deco first surfaced at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, the world expo held in Paris in 1925. Except that it didn’t. The Moderne style actually began to appear in France much earlier, around 1910 and was well into its stride by the time of the exhibition.
So, having de-bunked a couple of myths, let’s look at what is it that makes French Art Deco, sorry, Moderne, so distinctive. It’s all down to time and place. The French interpretation of the style was extremely luxurious, relying on rare and exotic materials like Macassar, ebony, lacquer, shagreen and mother-of-pearl, to give a sheen of glamour. As the centre of the world’s luxury goods market, Parisian designers were well-placed to take advantage of the readiness of these materials and could also draw on the world-leading expertise that Parisian craftsmen had in working them.
So much for place, as for time, le Style Moderne sought inspiration not from the modern industrial world, instead, it looked back in time to the world of Marie Antoinette and the French aristocracy. For a style so synonymous with the twentieth century, the French Moderne style is firmly rooted in the grand traditions of the 18th Century ancien régime – the political and social system of France before the revolution of 1789 – and its time-honoured traditions of apprenticeship and guild training.
During the 18th Century, France established itself in the forefront of the luxury trades, producing furniture, porcelain, glass, metalwork and textiles of unsurpassed refinement and elegance with Paris becoming the style capital of the western world. The ebenistes of Paris became the acknowledged masters of furniture making in Europe, supplying the homes and chateaux of the French court and aristocracy.
Some of the most beautiful and refined furniture ever made, displaying the highest level of artistic and technical ability, was created in Paris during the eighteenth century. Rather than breaking with tradition, the great designers of the 1920s saw themselves as inheritors of a grand tradition stretching back over two centuries. Tradition, however, was not the only source of inspiration. So too were the exotic, avant-garde trends in the fine arts and fashion. The vogue for exoticism developed following the arrival in Paris of the Russian impresario Sergei Diaghilev and his dance troupe, the Ballets Russes, in 1909, with its wildly atmospheric and outré productions. Léon Bakst’s design for Schéhérezade (1910), for example, featured lavish orientalist sets and costumes. The unexpected colour combinations, vivid patterns and louche furnishings – billowing curtains, low-slung divans, piles of tasselled pillows – were immediately imitated in stylish interiors by Paris artist-decorators.
Paris in the 1920s had an abundance of places where objects in the Moderne style were sold and displayed, mostly galleries, showrooms and shops on the more voguish Right Bank of the city centre. What were called Ensemblier showrooms, such as those of Emille-Jacques Ruhlmann, Süe et Mare and Martine, not only displayed individual pieces for sale but presented fully furnished interiors that suggested the range of what the ensemblier could produce on commission. At the more accessible end of the market, the four big Paris department stores established specialised decorating departments and many speciality shops, including Jean Luce, La Crémaillère and Le Grand Dépôt, which sold a wide range of glass, ceramics, linens and other utilitarian and decorative goods. It was as if Moderne had entered the DNA of the French capital.
For those in search of the Moderne style, Paris is, of course, a mere hop and skip over the channel but for a taste of the style that’s a little closer to home, Eltham Palace near Greenwich is a capsule of 1930s Parisian-inspired sophistication. Stephen and Virginia Courtauld of the eponymous textiles dynasty bought Eltham with its semi-ruined medieval Great Hall, moat and bridge, and rebuilt it as a dazzlingly sophisticated semi-rural hideaway. The saloon is a vast Moderne interior, lined with Australian black bean wood panelling, topped with a dome and finished off with a vast, circular, abstract carpet, the effect is like entering the First Class Lounge of a 1930s liner. Not that everyone felt that at the time: one editorial in The Times likened it to a cigarette factory.
The stock market crash of 1929 saw the optimism of the 1920s gradually decline. By the mid-1930s, Art Deco was being derided as a gaudy, false image of luxury. Despite its demise, however, Art Deco made a fundamental impact on subsequent design. Art Deco's widespread application and enduring influence prove that its appeal is based on more than visual allure alone.
Vive la France!
Click here to visit our lookbook 'Iconic Geometry' for our take on an Art Deco inspired interior.
Or click here to shop our full collection of Art Deco pieces.
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.
Edward Bulmer Natural Paint, creators of eco-friendly, breathable paint talk to us about colour trends and how to create timeless interiors.
Top tips from the team at Edward Bulmer
As consumers, we are inundated with headlines on trends and new colours in glossy magazines and on Instagram. At Edward Bulmer Natural Paint we are advocates of simply choosing colours you love that will stand the test of time. Most of these trends are already recycled from a period in history or modern culture and many of us have seen several different iterations of such in our lifetimes.
When planning an interior, we all want to achieve the perfect balance – a space that feels fresh and will stand the test of time. Our founder, leading interior designer and eco-worrier, Edward Bulmer, believes there is both a science and art to creating colour. Edward has created a timeless collection where every colour has its place, and all have absolute relevance and resonance whatever the style of your home.
There are some principles of colour rules that won’t ever change, whatever the trend when it comes to colour. Uniquely, the Edward Bulmer exquisite range of 102 colours and the new ‘Shade Collection’ are all made from just 12 natural pigments. This creates a patina alive with pure colour and because they all come from the same natural sources, the colours are all in tonal harmony with each other.
Rather than whitewashing your home, it's much more interesting and personal to use a variety of paint colours and shades in different spaces. The key to clever colour is creating flow within your home or scheme, all the colours just ‘work’ together whether using the ‘Shades’ and creating neutral interiors or bolder designs full of colour.
So you can feel confident choosing colours, from the punchy ‘Pompadour’ to smoky pink ‘Nicaragua’, to ‘Ethereal Blue’ and ‘Lilac Pink’. The most important factor is to choose colours you love; you may start with a fabric or a piece of furniture and there are some colours which of course enhance those elements in a room. As far as trends go, the company are seeing a definite rise in customers choosing bolder colours and pairing them with other more contrasting colours.
Emma Bulmer, head of colour consultancy at Edward Bulmer Natural Paint, recommends pairing dusky pinks with deeper hues like ‘Pompadour’ or ‘Nicaragua’ as ‘it creates a high contrast and adds some drama while remaining soft and tonally consistent’. Wall to wall, room to room – the effect of natural paint is as remarkable in ultramodern interiors as in Georgian stately home and just as obvious in the neutral shades as in the bright, strong colours.
Of course, we should not discount the Instagram effect with the spotlight on different rooms and colours. The use of colour in specific rooms trends daily and there has been a massive rise in popularity of colours like plaster pink ‘Jonquil’, ‘Trumpington’ and ‘Invisible Green’, the latter two notably at the farmhouse owned by Rita Konig.
Image credit: Guiaro Design
Edward Bulmer also advises how yellows are a great hallway and passage colour for walls but it also depends on what pigment base the yellow is made up of – ‘Halls and passages work well with ochre-based tones while a bright mineral yellow can articulate the volume of a living room to great effect. Just bear in mind that starved of light, yellows can seem a bit green to the green. There are, however, ways to make this hue look contemporary: juxtaposed with clear white, it looks fresh and confident. Deep and slightly tobacco-like shades can lend a chic, suede feel to a room, especially if you tie it in with a complementary trim.'
The tobacco yellow ‘Trumpington’ is pictured in a hallway scheme by colour consultants Charlotte Crofts and Emma Bulmer. A classic look, with warmth and mood-boosting power of sunny tones for a vibrant feel.
A timeless colour pairing which must always be seen, Pink and Green! And in fact, Edward Bulmer’s favourite combination, as many know from his own music room scheme in soft green ‘Pomona’. Greens are very popular for creating calm interiors, Edward is known for his versatile greens from soft to the stronger ‘Invisible Green’, a modern icon! It creates the perfect backdrop for an eclectic mix of fabrics and textures and goes with any colour. This bold statement colour has an extraordinary softness and warmth and is packed full of pigment.
Apple Green, styled by Lorfords Antiques
Next, the blues which run the whole gamut of shades, from Prussian Blue ‘Ethereal Blue’ to our deep jewel ‘Azurite’, are chosen by many to create a classic or contemporary scheme and are never cold.
Pinks have certainly been amongst the most popular with bestsellers including ‘Jonquil’, ‘Lilac Pink’, ‘Cuisse de Nymphe Emue’ and the new ‘Mason Pink’ seen in the image below styled by Lorfords Antiques.
Edward’s top tip, use ‘Jonquil’ downstairs and ‘Cuisse de Nymphe Emue’ upstairs. But it is all down to personal preference and the aspect and size of a room.
Pink has long been used to great effect by architects including Robert Adam. The key to a timeless interior is to ensure they are neither too sugary, blue, babyish or garish. Emma Bulmer also says of pink and blue schemes, ‘another surprising pairing with pinks, are the deeper blues; the pink tones often darker ones such as Indigo, Azurite or the steely Cerullian Blue, a pairing often seen in fabrics designs.’
If you are choosing colours, whether a neutral and tonal scheme or using deeper colours you cannot go wrong with the natural paints from Edward Bulmer Natural Paint. The unrivalled response to light and pigment-rich colours are timeless and their truly sustainable provenance makes them the right decision for the future.
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Find out about the NEW colour consultancy service, taking all the hard work out of choosing colours and creating that sought-after timeless palette: In Home and Virtual consultations are available. Your dream paint schedule is just a click away.
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Visit Edward Bulmer Natural Paint's website or follow them on Instagram.
Having been immersed in the intriguing world of luxury rugs and carpets from a young age, it is no surprise to find Peter Page open his first eponymous studio. Peter's experience and forward-thinking have positioned him as the designers' choice for both advice and beautiful bespoke solutions. We caught up with him amongst his personally curated selection of rugs and samples as he was recovering from a very successful opening...
You recently opened your studio in April at London’s Chelsea Wharf, how did that go?
It’s been great. We had a soft opening and it’s had a lovely response. It’s been a wonderful encouragement and the clients we have spoken to have been really excited that we are back. Jo, my colleague I worked with at Tim Page Carpets, has come with me and we make a great team. We have different strengths and particular skillsets, especially within the sourcing and making process. It’s been a very exciting time.
Your inaugural collection has been designed by Turner Pocock. That’s a great collaboration, how did it come about?
By mistake really! I’ve worked with Bunny on numerous projects, she came in and we were talking about her various projects. We started talking about her home and then veered off onto other topics. So we ended up going through some initial ideas, going through samples, and identifying what they like and what we could create. They like a Moroccan-style rug, with an antique look and feel to it.
Was the aim of this collection to fill an antiques style whilst also working with contemporary living?
The key consideration for us all was having the flexibility of size. The difficulty with buying antique rugs is that you don’t know what size you can get. Often, Turner Pocock like to have a rug big enough to put the furniture on top, and often rugs come in sizes that are too small for that. So we absolutely loved the antique designs, whilst ensuring that we could create options that would fit within the designer's schemes.
Interior clients often have varied aesthetic preferences, do you offer bespoke options with different designs and/or colours?
The idea is that this collection keeps it simple. Of course, with everything we do, we are happy to chop and change. One interior designer client we have would like to change the material from jute into wool as they know their client wants something slightly softer and easier to clean. From a retail perspective, keeping it simple to the collection we have created means that clients can purchase their own Turner Pocock and Peter Page piece. It has been hand-woven and hand-crafted so the pieces are still all individually unique.
Your love for the tradition of weaving has been a life-long passion. (Peter’s father, Tim Page, launched Tim Page Carpets in 2003). Tell me a little about the art of rug making and why it has become such a passion of yours?
It happened by osmosis. As a child, I used to iron labels onto samples for my father’s shop in Sloane Square at that time. You pick up an awful lot by people talking around you. He used to have people who hand-painted the rugs in the office so it was an extraordinary place to be. I went to work in New York and ended up working in carpets, and that’s when I realised that I had picked up this knowledge and interest since childhood. I still, to this day, cannot believe how skilled and clever these people are who craft the rugs, they are following design graphs in front of them. It is a skilled craft and I am in awe of it all.
Where do your team of weavers and rug makers herald from?
We weave in India and a couple of other different areas depending on what we’re making. It depends on the project and lead times. I have found that different places can produce different end products. For example, people wash the yarn differently and clip it to create different textures. I find it all really fascinating. So much goes into each rug, trying to replicate certain colours. When yarn is washed and left in the sun to dry, it changes and brings out its lustre. If there is no sun, it is a different quality of project. This is why India is the perfect location! But if it’s a rainy period, then you have different problems! It’s fascinating how such small things can affect a project. You don’t get the same lustre to the yarn if they are dried in indoor drying rooms.
There is such a connection to the natural world, even in rug weaving. Is this what makes your rugs stand apart?
Yes, it is wonderful to see how little changes to anything – from washing to spinning, to drying, can affect a rug. It is interesting to see how all these small changes make each rug unique. Everything is a one-off piece and there is a charm to this.
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Click here to read more L-Shaped interviews or click here to visit Peter's website.
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Our friends at Bertioli have launched a clothing collaboration with Greek clothing designer, Flora Sardalos. Whilst on the Greek island of Samos, Camilla Hibbert, head of brand and retail development found one of Flora Sardalos’s dresses. It was love at first sight!
Flora Sardalos x Bertioli Collection
Camilla and Caryn (mother and daughter duo) worked with Flora to create three classic Flora Sardalos styles adorned with three prints. Hand-painted by Caryn Hibbert, the designs are inspired by the orchards of Greece – the iconic olive, a pretty almond blossom and a wild iris.
Now available in the Thyme Boutique, these limited edition dresses are ideal for summer. They beautifully show off the Flora Sardalos style of billowing sleeves and voluminous fabric whilst maintaining 100% cotton. The exquisiteness of these dresses has one transported instantly to a Greek terrace, overlooking the deep blue Aegean as the sun sets over the horizon.
Camilla Hibbert, head of brand and retail development at Bertioli and Thyme says "I'm always on the lockout for interesting collaborations with designers. Then when I was on holiday on the island of Samos, I fell in love with Flora Sardalos's dresses. We persuaded mum (Caryn Hibbert) to draw native Mediterranean plants - olive, almond blossom and wild iris - and with Flora's wonderful billowy, sunny designs, we are thrilled with the resulting micro-collection she did for Bertioli."
Luckily, we don’t have long to wait until Bertioli’s homewares receive a taste of Greek nature too. Each print will be created into matching linen table cloth and napkins, bringing the essence of the Greek countryside to your own dining rooms. These will be launching in September.
Click here to view the Flora Sardalos x Bertioli collection. To read more about the Bertioli collection, please click here.
Sunday 5 June 2022, World Environment Day, is the biggest international awareness day for the environment. It is led by the United Nations Environment Programme (UNEP) and held annually since 1974. The event has grown to be the largest global platform for environmental outreach, with millions of people from across the world engaging to protect the planet.
Protecting the environment and understanding our short roles as trustees of the natural world is important to us here at Lorfords. We are on our own journey to become as eco-friendly and sustainable as possible. Antiques, by their very nature, are reusable and eco-friendly. They are pre-loved items, regularly passed from generation to generation and often made from natural materials.
We work closely with like-minded brands, with a mission to create products that are for both people and planet. And none more so than our friends at Edward Bulmer Natural Paint who create beautiful paints backed up by ecological principles.
Edward Bulmer, founder of Edward Bulmer Natural Paint, has put 30 years’ experience into creating his paint brand. He is a self-confessed ‘eco-worrier’ (yes, worrier) with a drive to create paints that drastically reduce plastic pollution, carbon emissions and poor air quality. His mission is to change the paint industry with a solution for regenerative manufacturing based on ecology. The protection of nature’s biodiversity is at the core of all their product development.
As it is World Environment Day this week, we asked Edward and his team to take over our blog and tell us all about the natural paint world. We wanted to know what we should be looking out for and how we can help make our homes as sustainable as possible. So, over to them!
Edward Bulmer Natural Paint
Eco-friendly paint?
When choosing paint, it’s becoming evident that the contents might not always be exactly what it says on the tin! Many claim to be ‘eco-friendly’ or contain low levels of VOC’s (Volatile Organic Compounds) but when you look further, there is more to it than meets the eye.
Greenwashing is a big issue in the design and paint industry and at this present time it’s so important to get the facts right. We have noticed a rise in the practice of greenwashing which is extremely misleading for consumers. Like whitewashing, it is a device used to deflect ‘heat’, in this case to give the impression that something embodies an intent to be ecologically or environmentally responsible – the term many use is ‘eco-friendly’.
Basically, paint is called eco-friendly when it is water-based, despite almost all paints containing resin binders that are forms of acrylic, vinyl or alkyd – all polymers that are derived from petro-chemicals. Also, all paint is water based, that is how paint is made! So, while the world’s governments now accept that using fossil fuels, fossil sources and petro-chemicals must be reduced to be eco-friendly and address the climate emergency, the paint and coatings industry is not keeping up.
We have always strived to give our customers as much information as possible for them to make an informed decision. We are the only paint brand on the market that uses plant-based binders. The alternative is a polymer derived binder, which is full of micro-plastics and other nasties. We use our plant-based binder to bring all our natural ingredients together and then inject this base white paint with a combination of our mineral and earth pigments.
Antiques
Using antiques in your home is the ultimate upcycling and celebrates vintage pieces that are unique and beautiful. Antiques are often made from natural materials which then change and evolve over time. Edward often thinks about antiques and paint in the same view. For example if you think about a wonderful piece of antique furniture, most people will enquire about how it should be looked after. If you have bought a lovely old house, isn’t it the same thing? Therefore, using natural and carefully created paints should be an easy decision!
To find out more, please read our interview with Edward Bulmer here.
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Meet us at our NEW Showroom: 194 Ebury Street, London, SW1W 8UP
Celebrating World Whisky Day - Saturday 21 May 2022
Celebrated globally by whisky lovers everywhere, World Whisky Day is a great excuse to shine a light on our delicious locally distilled spirits. With that in mind, our friends at Cotswold Distillery have created a cocktail recipe for you to enjoy at home.
Nestled in the heart of the beautiful Cotswolds countryside, Cotswolds Distillery has been producing outstanding natural spirits since 2014. Their head of mixology, Ollie Morris, has created The Strawberry Tree cocktail which can be enjoyed anytime, of course, but most especially on wonderful hazy summer evenings.
THE STRAWBERRY TREE
60ml Cotswolds Signature Single Malt Whisky
15ml lemon juice
15ml maple syrup
4 x strawberries
Top up with soda
Method
Hull & cut strawberries into quarters. Muddle in a shaker, add the whisky, lemon juice and maple syrup. Shake and fine strain into hi-ball.
Top up with a splash of soda, stir and serve.
For extra decoration, add slices of strawberries for the perfect finish.
To find out more about Cotswolds Distillery, please click here.
To check out Lorfords' collection of barware, please click here.
In conversation with Louise Wicksteed at Sims Hilditch
Ahead of her collaborative project with Philip Mould gallery, we caught up with Sims Hilditch design director Louise Wicksteed, who gave us an insight into her interior design must do’s (and don’ts). We chatted about the Sims Hilditch style, their ethos that distances itself from trends and the benefits of using local craftspeople.
Louise, we have been admiring your work for so long! Where do you begin when working on a new project? And how would you describe the ‘timeless, English style’ that you are known for?
"Thank you! Well our aim is to create interiors which will stand the test of time using the finest materials and makers, both physically and in terms of enduring style. In all projects we begin by examining the building’s heritage and natural surroundings, considering how we might incorporate this sympathetically into our design.
Repurposing and reusing antiques and our clients’ existing furniture is a great way to nod to timeless English style. This gives pieces that are often steeped in English history a new lease of life. Additionally, paints by Farrow & Ball tend to work well in traditional and contemporary English homes alike. We love their range of timeless whites. These work well as a beautiful backdrop to more punchy shades which can be used on furniture and joinery, such as De Nimes."
Your renovations often reveal natural, handcrafted pieces.
"Yes, we love to feature natural materials which are locally sourced in our interiors. Reclaimed wooden and stone flooring work well in kitchens, hallways and boot rooms and sisal carpet is great for sitting and bedrooms. We also retain much of a building’s existing material where possible if it has historic value."
You work on a wide variety of renovations, from manor houses to town houses full of natural character. How do you recommend adding character to a younger property?
"The key to creating character in a home is to ensure the interior feels that it has evolved over time. Layering an interior using a variety of textures, patterns and colours is a great way to achieve this. Each element works together to make the room burst with life. Incorporating antiques into a newer home is also a key consideration, as they bring gravitas and history to the design."
Family life is often at the forefront of your home renovation designs. What are your key essentials for creating a family space that also works for entertaining?
"An open plan sitting, dining and kitchen area is the ideal solution for creating a social space designed for entertaining. In many traditional homes, the kitchen is often cut-off from the rest of the house, making it difficult to host guests or socialise with family while preparing a meal. Knocking through the wall between a kitchen and sitting/dining area and sectioning off each space with a kitchen island is the ideal solution. Placing stools at the island creates an informal space for guests or family members to sit before the meal is served."
What do you focus on when designing a contemporary feel whilst retaining or adding character?
"The key to creating a contemporary style in a home while retaining character is to choose a carefully balanced blend of sharp lines, metal finishes and punchy colours and pair these with a selection of antiques. This might include artwork, furniture or even family heirlooms like a grandfather clock. The challenge here can be to maintain a curated, layered look while avoiding clutter."
It often pays to ‘go bold’ but it can be hard to know where to start. What are your tips on creating eye-catching interiors without overwhelming the space?
"Accent colours are a great way to be bold in your interior, without overwhelming it. A sofa upholstered in a bright colour, or lampshades and cushions in a yellow, red, or pink bring life to your interior in pleasing statements when threaded throughout a room with a neutral backdrop. For those tempted to be brave and opt for contrasting colours in a room, we recommend using the colour wheel for guidance. Typically, colours which sit on opposite sides of the colour wheel are contrasting but work well together (like blue and orange).
Do you have any tips for bringing light into a room and at the same time, attempting to create a cosy, warm feel?
"Layered lighting allows a variety of moods to be created in one room. This tends to be made up of floor, wall and overhead lighting. We often attach all light fixtures in a sitting or entertaining room to a 5 amp dimmer switch. This can be controlled from a single point, allowing the mood of the room to be altered easily."
What do you find inspires you the most when you start working on a project?
"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."
Do you have any favourite antiques pieces that you have used in any recent projects?
"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."
What is the best way to add handcrafted pieces to a home?
"Hand-painted wallpaper and or tiles is a great way to incorporate handcrafted items into your interior. We love to use wallpaper by de Gournay and tiles by Marlborough Tiles. A great way to champion handcrafted pieces, is to research local artists in your area and incorporate their art into your home. This might be a painting of the landscape of your local area, or some beautiful ornaments or crockery that speaks to you in some way. A plate wall is a lovely way to display crockery."
Our furniture brand Lorfords Contemporary produces traditionally constructed and upholstered furniture in our Cotswold studio. Made in Britain with sustainability at the core, do you feel that handcrafted British furniture is the future?
"Absolutely. At Sims Hilditch, we champion the highest quality in terms of the products and materials we use. We love to work with companies that share these values.
Small artisans and independent brands are often made up of smaller teams who are passionate about their brand. They are incredibly knowledgeable about what they do, making them real experts in their field. These handcrafted techniques are steeped in history, so it is important to support these artisans. These skills could die out if there is no longer a demand. What’s more, these techniques often produce the highest quality pieces which will last for generations."
For more information on Sims Hilditch interiors click here.
To read more from L-Shaped on interior design, please click here for our interiors section.
*Images courtesy of Sims Hilditch.
“Nature is our muse. It is a source of constant inspiration.”
(Image by Helen Cathcart)
It was a delight to be able to sit down with Milly and Bell, two very talented and eco-conscious women. Milly Hibbert is head of brand and retail development at Thyme* and Bertioli, while Bell Hutley is a London-based artist and designer. Known for her darkly romantic aesthetic and use of colour inspired by nature and folklore, Bell was the perfect partner for mother and daughter team, Milly and Caryn Hibbert, when designing their new tableware range. This talented team are driven by their love for the environment around them. And with that, their hope to preserve nature's fragile eco-systems for generations to come.
Bertioli is a brand inspired by nature. Caryn and Milly design simple yet beautiful products for everyday living that inspire connection with the land and nourish both people and planet. The Bertioli & Bell Hutley collaboration was born from a shared desire to tell the story of nature’s pollinators and to celebrate their magic. This collection of limited edition tableware, illustrated by Bell and Caryn, and designed by Milly, celebrates these vital partnerships between flora and fauna.
A trip down memory lane
The species that their designs have focused on are indigenous to Great Britain, as familiar to us as a farmyard scene or rolling green hills. The Tiger Moth with stingy nettles, Dragonflies and Water Lilies and Sea Buckthorn for the Brimstone Butterfly surround us here in the British countryside. We know them well; spending many youthful hours skipping after moths and butterflies whilst (mostly) avoiding the nettle patches.
Their beautiful and natural designs will create an element of nostalgia for many of you, whilst reminding us too of the here and now. Our responsibility is to protect these delicate species and the nature that surrounds us, whilst being lucky enough to enjoy the beauty in these locally designed homewares.
So Milly and Bell, tell us a little about how the Bertioli & Bell Hutley collaboration came about.
Milly – “We had admired each other’s brands for a while. I knew of her designs and Bell, likewise, knew of Thyme and Bertioli. We messaged each other and we were looking at stocking a few of Bell’s products in the shop as we felt her illustrations would go really well with our lines. But it became clear that we could do more. The creative sparks flew and we aligned quite quickly.
Bell then came down to see us here at Thyme* (in Southrop, Gloucestershire) and our processes aligned really well – from a brand and personal perspective, there is a real passion for nature so the collaboration felt really natural. The design process became one team and we flowed really well.”
The tableware designs are beautiful, can you talk me through the inspiration for the designs?
Milly – “We used what we had in the gardens and farm here to be inspired. Seeing the butterflies flutter past the window here at Thyme felt like we were on to something. We came up with a number of ideas and then settled on our final three pairs.”
Bell – “It was really nice to be able to design tableware around botanicals and species that have had a bit of a bad press. Nettles and moths - they don’t really have the best reputations! So hopefully we are giving them a new lease of life through our designs.”
Image by Helen Cathcart
The botanical habitat designs beautifully complement the species you focus on- Tiger Moth, Brimstone Butterfly and the Dragonfly. How did you come up with the idea to design these as eco systems?
Milly – “With all our products, they are about inspiring a collection with, and a love of nature. There is also a bit of creative license. They are not scientific drawings but a meeting in the middle of creativity and nature. We hope to engage people in the stories of the botanicals and species. We came up with the three pairs and started with what we could see here at Thyme. Bell did some sketches first, and then we added our sketches and it grew from there.”
Image by Helen Cathcart
Milly, Bertioli have a commitment to “1% for the planet”, please tell us a little about that?
Milly – “We wanted to give back to what has inspired us. ‘1% for the planet’ is a big global movement, there are a number of brands who have signed up to it. It is a community of likeminded businesses who give 1% of revenue to environmental causes. This figure allows us to donate significantly, whilst also allowing our business to grow, and ultimately therefore, to donate more. We can choose which organisations and charities to work with and we have worked with a number of them.
This year, our focus is on working with a project close to us - the West Oxfordshire Bird Project. We also work with Plantlife, who work across the country to educate and enable people to preserve meadows as the UK’s most bio-diverse habitat.”
Your mission - to consolidate the idea that in nurturing nature, we nurture ourselves – is one that we all feel a connection to. It’s a mission that works for both Bertioli and Bell too, which is why this collaboration works so well. So, what’s next for Bertioli, and Bell Hutley?
Milly – “We have got many things in the pipeline. I’d love to build on what Bell and I have created here together. In the meantime, we have a few launches in the pipeline – stepping into the interiors world is next. Our ambition for Bertioli is to create a whole collection of connections to nature in the home. We want to take that into all parts of the home – wallpapers and upholstery fabrics, in addition to homeware and beauty. It’s important for us to build on the relationships we’ve created with like-minded brands.”
Bell – “My aim is to continue telling stories through art. Anything beyond the canvas, whether it’s a tablecloth or lampshade, I’m always trying to create new ideas. I love interiors but I’m also writing a children’s book and creating collections around that. I want to push myself and my creativity through the storytelling. I’d love to continue working with like-minded and inspiring brands, I learn so much from it and feel incredibly lucky to be working in what I love!”
To browse or find out more about the Bertioli & Bell Hutley tableware collection, please click here.
*Bertioli is the sister brand of Thyme. Nestled in a Cotswold village, Thyme is a quintessential English country destination. A collection of restored 17th Century farm buildings, houses and cottages, Thyme is a boutique hotel, with on-site restaurant and spa.
More about the Bertioli & Bell Hutley collaboration
In recent years, the fragility of nature has been put at the forefront of conversation, with species decline and habitat loss at the heart. One of the key concerns has been around the health of pollinators and the crucial role that they play in every ecosystem.
With this collaborative collection, we bring together the distinctive illustrations by Bell and Caryn to celebrate pollinators and highlight their relationships with both common and unique plantlife. This will hopefully inspire conversation around the table and a deeper connection to nature.
“Bertioli’s mission is to consolidate the idea that in nurturing nature, we nurture ourselves.” Caryn Hibbert.
With summer fast approaching, we asked our friends at Thyme to put us in the mood for the (hopefully!) balmy months ahead. They had the perfect answer. Greek-inspired orange, almond and olive oil cake – what could be more Mediterranean?
Charlie Hibbert's Orange, olive oil and almond upside down cake
Serves 8
For the cake
4 free range eggs
300g + an extra 50g golden caster sugar
250g whole blanched almonds
120g plain flour
180ml olive oil (you can use light or extra virgin – extra virgin gives a more distinctive flavour)
For the syrup
2 oranges (we used blood oranges as this was created in winter but use good quality normal oranges any time)
100g golden caster sugar
Preheat the oven to 180°C (normal) | 160°C (fan) | gas mark 4 and line a 24cm / 9” cake tin with parchment paper.
For the cake, beat the eggs and 300g sugar until light, fluffy and doubled in volume – 10 minutes should do it. Then, grind the almonds in a food processor until fine. Grinding your own almonds gives better texture to the cake as opposed to shop-bought ground almonds. Sift the flour into the egg mixture and fold together along with the almonds with a spoon (if you use the mixer, you’ll bash out all the air). Fold through the olive oil to finish the cake batter.
Slice one of the oranges very thinly with a sharp knife and line the base of the tin in circular rings. Scatter over the other 50g of the caster sugar, then fill the tin with the batter. Bake in the oven for 1 hour. Check the cake with a skewer or tip of a paring knife; if it comes out clean the cake is ready. Allow the cake to cool in the tin before turning out.
For the syrup, combine the juice of the remaining orange with 100g of caster sugar. Bring it to a boil over a medium heat then turn off the heat. Turn the cake out carefully onto a large plate, removing the parchment, and gently pour over the syrup.
Serve with plenty of whipped cream.
The Ox Barn at Thyme is open all week for lunch and dinner.
Click here to see a Charlie Hibbert recipe for a delicious light lunch recipe.
Image courtesy of Thyme.
Handmade for centuries, Scandinavian rugs have taken on many different forms and functions over time. While Scandinavian textiles are beautifully decorative, they are also incredibly practical.
Known for their harsh weather conditions and almost everlasting winters Scandinavian countries make sure that any textiles produced not only provide the necessary heat but are also decorative. Therefore they would often be used in the form of wall hangings, floor covers and even bedspreads.
Ryas, Rollakans and Trasmattas – What is the difference?
Ryas
The first rugs produced in Scandinavia were Ryas. For many years during the early Middle Ages, Scandinavians used rugs from the Byzantine Empire, but eventually, they started to make their own. This is when Ryas were first produced. Ryas are handwoven rugs with a thick shaggy long pile. Made by tying knots of fabric to produce a piled carpet, Scandinavians used them for everything, including carpets, bed covers, rugs, wall hangings and even coats! Their popularity soon spread across Northern Europe in the Middle Ages.
Mid 20th Century Swedish Rya Rug
Rollakans
Popular among folk-artists, Rollakans are traditional flatweaves and could be found as bedspreads or on general display. These traditional flatweaves were first produced in the early 18th Century in Sweden. They often have a simple aesthetic with all over geometric patterns making them the perfect design feature for Scandinavian homes.
Swedish Flatweave Rug by Judith Johansson
Trasmattas
Made by weaving recycled cloth, Trasmattas or ‘rag rugs’ use discarded clothes, leftover scraps or clippings of fabric. Making these rugs is very environmentally friendly. Originating in Asia at the end of the 18th Century, these rugs have a short pile. Today they symbolise simple, country-style living but traditionally they primarily adorned affluent houses and were constituted a marker of status. Adding a touch of colour to many interiors today they make fantastic runners.
Swedish Handwoven Rag Rug
Scandinavian rug design
Scandinavian rugs are now not only fantastic for bringing a Scandinavian warmth to our homes but often they tell a great story too. Many of the historic rugs show the great history and culture of Scandinavia.
Ryas often featured designs that represented family trees and ties. They even produced wedding ryas which formed part of the marriage ceremony throughout the Middle Ages. Often these wedding ryas featured the initials of the bride and groom, the date of the wedding or a set of double hearts.
Rollakans can typically be categorised into twelve main shapes: the star, the rose, the octagon, the bird, the lily, the tree, the hourglass, the palmette, the human, the deer, the brook horse and the lightning. They will always have a folklore history to the pattern.
Today the most popular rugs are Trasmattas with their mesmerising patterns, colours, designs and textures. Still created in the present day, they are now created as a hobby rather than a necessity but the outcome is still as beautiful.
Lorfords’ Scandinavian Rugs
Lorfords has a large variety of Scandinavian rugs. Browse our full collection of rugs and carpets here.
During September we were delighted to be asked to contribute to several fantastic events in London. From London Design Festival to RHS Chelsea Flower Show, Lorfords Antiques were at it all!
RHS Chelsea Flower Show, Jardin Blanc
When the organisers of Jardin Blanc at RHS Chelsea Flower Show contacted us to ask if we'd be interested in contributing to this year's restaurant, of course, we couldn't say no! We were delighted to lend the show two beautiful dining tables and chairs with glorious urns accompanying them, as well as a fantastic large French iron clock face and decorative French gilt mirror.
Belgravia in Bloom with Cox London
From France to Belgravia, this 19th Century French fairground horse has been showing off its beauty in a beautiful window display created by Cox London for Belgravia in Bloom. Belgravia in Bloom celebrated its sixth year this year and returned with a series of floral installations all themed around 'Floral Fairground'. Cox London walked away with the silver award and the wonderful horse has now returned back to his current home in our Hangars in the Cotswolds.
London Design Festival with de Gournay
de Gournay's crisp rendition of the ‘Chatsworth’ Chinoiserie on White Metal gilded paper creates a glittering backdrop for an imagined bathroom at their London showroom in celebration of London Design Festival. An elegant setting composed around a majestic bath from Drummonds overflowing with gypsophila – its gleaming copper the perfect foil to the hand-gilded walls, illuminated with a pair of plaster standing column lamps from us.
The Decorative Antiques and Textiles Fair
The Decorative Fair returns after a year of postponements and cancellations and we weren't going to miss it! With many of our dealers attending this year's show, it proved to be an event not to miss with the finest treasures from all over the world.
