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With this year’s Oscars ceremony almost underway, “Antiques Roadshow” expert Chris Yeo goes beyond the silver screen to tell the story of a style straight from the Golden Age of the Hollywood.

It’s that time of year again. As the Academy get its envelopes in order and Hollywood’s publicity machine goes into warp drive, you’ll hardly need reminding that 2018’s Oscars will be taking place in a couple of days. Are you breathless with anticipation? Me neither, let’s do lunch. That’s not to say I don’t enjoy a good film, quite the contrary, it’s just that, as with so much in my life, my tastes lean firmly towards the vintage. And when it comes to movies - and movie stars - the Dream Factory just doesn’t make them like it used to. Talking of which, did you see Feud? It was indisputablythet.v. drama highlight of 2017, an intimate and intricate examination of the relationship between the undisputed movie queens of Hollywood’s Golden Age: Joan Crawford and Bette Davis. The whole eight episodes was a perfectly crafted study into the rivalry between the two stars that had simmered for decades but which finally boiled over in 1962 during the making of Whatever Happened to Baby Jane?. Amongst the stellar performances and electric dialogue, the scene stealer – cast aside - was Joan Crawford’s apartment; a symphony in royal blue and cream velvet, replete with Chinese Foo dogs and an artificial cherry tree. It was, quite simply, the very definition of Style, with a capital ‘S’. Of course, one would expect nothing less from a woman whose appetite for perfection knew no bounds and who once had on operation to have her back teeth removed – all the better to see your cheekbones, my dear

Joanie’s apartment – where we’ll return a little later – was an example of the design style known as Hollywood Regency. On the other side of the Pond it’s a term that requires little explanation. You’ll probably be familiar with the name, thanks to our friend the internet, we’ve started to encounter it in the U.K. in recent years, but just what is it? Well, let’s start with the name. As monikers go, this one couldn’t be more apt: conjuring up the glamour and spectacle of tinsel town with the refinement and sophistication associated with Georgian England’s playboy in chief, the Prince Regent. Hollywood Regency was a style born of Hollywood for Hollywood. It was created for the homes of southern California’s elite and emerged in the 1930s, just at the point when Hollywood movies started to be seen as the epitome of all that was glamourous. It was a child of the movies, the offspring of set and costume design, which trickled out of the studios, into the imaginations of designers and magazine editors, and eventually into retail shops. The people who adopted it were the film stars, studio moguls and gossip columnists, tinsel town’s equivalent of royalty and aristocracy. Hollywood insiders know it when they see it but, for those outside the Hollywood culture, it can be difficult to recognise. What are its hallmarks?

Hollywood Interiors the Golden Age

As a style, it exudes sophistication and confidence, with an undertone of swagger. Hollywood Regency samples from a smorgasbord of other styles; modernism is its base line but elements of chinoiserie, Moroccan, neoclassical, art deco provide the beat.Glamour was its soul; every detail was intended to convey a sense of luxury and refinement. It was all about finish, gilded, lacquered and mirrored surfaces sparkled and gave an air of opulence and exoticism, but this was no mere showman’s style. A sense of refinement and impeccable elegance was central to its popularity – people this wealthy and fabulous didn’t need to advertise their wealth when they could display something far more precious – their taste. Small wonder it became the signature style of celebrities at a time when their stardom depended on their personal image. Stars had to be seen to be having parties and be at parties and their homes had to be decorated in a way which matched and complemented (but never overshadowed) their megawatt personalities. Just how Hollywood Regency came to be the style du jour is a story that could only have happened in tinsel town.

In 1930 William Haines was MGM’s top male lead and one of Hollywood’s biggest stars. Handsome with dark hair and piercing baby blue eyes, he was every studio executives idea of what a leading man should look like. Hollywood was at William Haines’ feet. Five years later his film career was finished and he was told he’d ‘never work in this town again’. Haines was gay and his movie career was cut short because, unlike other gay movie stars of the time, he refused to hide his homosexuality – or his boyfriend – from the public. He steadfastly resisted Louis B. Mayer’s demands that he end his relationship and enter into a studio arranged “lavender” (sham) marriage. His film career ended in 1935 with Mayer ripping up Haine’s contract and throwing it in his face. For most people, this would have spelled The End, but Haines was not most people. With that enviable and peculiarly American talent for starting-over, he reinvented himself as a decorator. He had a feeling for antiques and talent with interiors what he lacked, however, was a client base. Step forward Miss Joan Crawford – Haines’ best buddy from his MGM days. In the fickle world of Hollywood most people would have thought Haines too hot to handle, but not Joan. Not only did she stand by her old friend, she enlisted him to give her L.A. home a facelift, and helped launch his career as Hollywood’s number one decorator. In fact, Haines would achieve far greater success as a decorator than he ever had as a film star, whose not-so-little black book of clients included Gloria Swanson, Carole Lombard and Nancy and Ronald Reagan.

Billy Haines set out to find a lighter, more stylish alternative to the dark and gloomy Tudor and Spanish styles which had been in vogue during Hollywood’s early years. He achieved it by combining neo-classical elements, rebirthed from 19th century European designs, with rich textiles, sumptuously tufted seating and bold colourways, punctuating his schemes with unusual or eccentric artefacts to lead the eye around the room. This was the blueprint for Hollywood Regency. Haines was a true Modernist and loved clean lines, along with what he called ‘negative space’. He would leave objects floating in the middle of rooms, and favoured small-scale low-slung seating, understanding that the client would look grander – larger than life, in fact - if they were not overshadowed by their furniture. Haines never lost his taste for the dramatic; as well as bold colours, his clients were treated to oversized sculptures, satin covered fainting couches and strategic dashes of Brighton Pavilion style chinoiserie, like the Foo dogs, so loved by Joan Crawford. It was Joanie who called Billie Haines and his partner Jimmy Shields “the happiest married couple in Hollywood” they were together from 1926 to 1973 when William died. Jimmie took an overdose of sleeping pills shortly after, saying he found it impossible to go it alone. Over thirty years William decorated all of Joan Crawford’s homes and, yes, she did really have a cherry tree in her sitting room

Hollywood Style 3

Dorothy Draper was another designer who had a hand in the development of Hollywood Regency; she was also the person who invented the term. Born to a wealthy family, Draper was the first to professionalise the interior design industry by establishing Dorothy Draper & Company in 1923. She revolutionised the concept of design by breaking away from historical room styles and embracing a look that was consciously Modern. Like William Haines, she was fond of the grand, theatrical statement – often referred to as “the Draper touch”. While Haines worked on a small scale, Dorothy Draper became well known for her over scaled and brightly coloured versions of classic traditional rooms which she christened “Modern Baroque”. It has been said that Dorothy Draper was to interiors what Coco Chanel was to fashion. She was confident, cultured and able to challenge traditional ideas of good taste in a playful way. Draper took traditional decorative elements and gave them a twist, playing with contrast and scale; Floral chintz, stripes, and banana leaf prints were exaggerated to add a punchy, poppy vibe to wallpaper and upholstery. Panelled doors were given a proto mod-sensibility with contrasting squares in black and white. She loved to use vibrant, eye-popping colours in never-before-seen combinations, such as aubergine and pink with a splash of chartreuse, or, one of her favourite combinations – “dull” white and “shiny” black. Both Billy Haines and Dorothy Draper understood that interiors were as much of a stage as anything that could be found inside a Hollywood studio and that chic refinement and luxurious glamour could make a great double act. Hooray for Hollywood!

Photo credits William Haines studio and Dorothy Draper

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.

Art Deco | Lorfords Antiques 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.

The Windsor chair is known and loved far and wide, from its namesake town in England to the United States. This iconic chair represents all there is to love about antique furniture - from its rich history down to the simple, sturdy joinery that has allowed so many to survive.

A potted history

Windsor has not strayed far from our thoughts over the last month. The market town is on the River Thames just West of London and home to Windsor Castle, a royal residence and the final resting place of Her Majesty Queen Elizabeth II.

It’s generally accepted that the first Windsor chairs were made in the Thames Valley in the 1720s, and High Wycombe was actually the main producer. Windsor was the all-important trading ground for transferring the chairs to London, so it soon adopted the name Windsor chair.

While we usually picture a Windsor at the dining table or in front of the fire, it actually started life as an outdoor chair. The 18th Century brought immense change for the English landscape garden, marking a departure from the formal style of the 17th Century. The garden was suddenly more relaxed and leisure-orientated, a place to take tea or play a lawn game.

This prompted a need for garden furniture that was sturdy but light enough to move around, and from there came the Windsor chair. Originally, these chairs sported a coat of green paint to blend in with their outdoor setting. As the style grew popular, a distinction arose between painted chairs for outdoor use and stained versions for indoor use - with the latter more familiar to us today.

Joinery

The Windsor chair is as much defined by its construction as it is by its aesthetic. They were sometimes called ‘wedge’ chairs because of the wedge joinery that secured the legs and uprights into the seats.

Put simply, a wedge-tenon is a mortise-and-tenon joint without the glue. Instead of glue, small pieces of timber cut at an angle - the ‘wedges’ - secure the two parts together. It is a friction joint that relies on minimising any possible movement between the different parts. The survival of so many original Windsor chairs today testifies to the strength of this simple joinery.

Materials

Local workshops made use of the native woods that were abundantly available to them to make these common chairs. For instance, beech was plentiful in the hills surrounding High Wycombe, so this material usually formed some part of the chair. As steam-bending increased the popularity of curved backrests, yew and ash were chosen for their pliable nature.

Furniture makers often favoured elm to form the seat. They couldn’t rely on adhesives to join seats, so they had to use one solid piece of timber. Elm, a sturdy hardwood, fit the bill because of its firm yet malleable nature; the latter important for creating the saddle seat design.

Regional variations and evolution

The Windsor style inevitably spread far beyond the west of London. It migrated northwards, with prolific workshops in Nottingham and Yorkshire amongst other counties. Part of the charm of regional furniture is the variations that arise from local influences, with a gentle competitive spirit driving a need to stand out.

The backrest offered a canvas for creativity. Firstly, different regions and workshops had different preferences when it came to the overall shape of the backrest. As a result, you find hoop-backs, comb-backs, bow-backs, high and low backs, and everything in between.

The central back splat presented the opportunity to stand out and show off expert furniture-making techniques. Fretwork could be simple or elaborate, depending on the maker, and splats depicting a carved wheel were particularly popular throughout the Windsor's heyday.

Royal emblems

This humble chair would sometimes reflect national developments, too, as was the case with the Prince of Wales feathers.

You will occasionally come across Windsor chairs where the central splat bears these feathers - the heraldic badge of the Prince of Wales - in fretwork. While a long-standing emblem of the heir to the throne, it had particular resonance in the late 18th Century.

The Prince of Wales became Prince Regent in 1787 due to the declining health of his father, King George III. As the youth entered the national spotlight, furniture offered ordinary people the chance to recognise the monarchy in their own homes.

Look at the legs

When it comes to Windsor chair legs, two main styles align with national furniture trends at the time. 18th Century examples tend to feature stately cabriole legs, their graceful curve accompanied by equally elegant stretchers, which became popular under Queen Anne.

Moving into the 19th Century, furniture-makers favoured turned legs accompanied by turned stretchers. ‘Bodgers' were responsible for turning the timber to produce legs, stretchers and spindles for Windsor chairs. So valuable was their craft, bodgers had their own concentration of workshops in the Chiltern hills.

Legacy

While production slowed after the 19th Century, the Windsor chair has lived on in countless guises ever since.

Ercol put their distinctive stamp on the style in the Mid-20th Century, launching their own Windsor chair made with wedge-tenon joinery. Mid Century versions tend to be sleeker and more refined, yet the basic concepts of a saddle seat and decorative open back remain in almost all of them.

Modern manufacturers continue to emulate and draw upon this rich design history, demonstrating the timeless appeal of simple, well-made furniture. We’re not sure you can beat an original though…

A Windsor for every occasion

There are Windsor chairs to suit every room of the home and serve every purpose. You might choose stately examples with armrests and proud legs for a fireside chair, and simple hoop-backed chairs for dining. There are children's Windsors, captain's Windsors, and rocking Windsors.

When it comes to sets, don’t be afraid to mix and match Windsors for a more eclectic look. They will share a simple vernacular aesthetic and the strength of solid wood - the quirky variations are very much part of their charm.

Browse our collection of Windsor chairs here.

When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.

‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.

A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.

Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.

Preparing your canvas

Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.

Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.

Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.

Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.

Tactile textures

As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.

Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.

Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.

On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.

Relics of land and sea

The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.

Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.

Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.

We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.

The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.

The Mediterranean garden

When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.

Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.

Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.

In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.

Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.

Soft touch

Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.

While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.

Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.

Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.

It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.

The art of collecting antiques is a diverse one, spanning everything from film memorabilia to 18th Century mahogany furniture. The areas that often fascinate the most are those that relate to the lives of everyday people - from their cooking and eating habits to their romantic lives. Apothecaries, with their promise to heal one’s aches and pains before the dawn of modern medicine, have left behind objects that offer a unique insight into the lives of our forebears.

What is an apothecary?

What was would be a better question, as despite their best efforts to brand themselves as pharmacies, the modern-day equivalent would shrink from the association.

The word apothecary comes from apotheca - a place where wine, spices and herbs were stored - and it first came into our language in the 13th Century. Somewhat confusingly, 'apothecary' refers both to the salesperson and to their shop. For a long time, apothecaries were lumped in with grocers, spicers, and all manner of merchants. They were simply another group trying to sell their wares.

Quack medicine

Medieval medicine was based, for the most part, on the supernatural and superstitious. Apothecaries would swear that concoctions such as ‘Oil of Scorpion’ or ‘Balsam of Life’ could cure anything from boils to baldness. Their medical advice revolved around 'humoral theory' - the idea that we have four liquid humours in the body, and when these are out of balance you get disease.

‘Oil of Earthworms’ is an infamous example, promising to fix all manner of joint issues like arthritis and rickets. As the name suggests, it involved boiling earthworms in olive oil to apply to affected areas. While the oil was helpful, the role of the earthworms is dubious at best. It is perhaps not surprising then, that apothecaries were accused of 'quack medicine.' This phrase comes from the Dutch word quacksalver, meaning someone who falsely claimed medical knowledge in order to sell their wares.

Royal recognition

The lucky break for these early chemists came in 1617. That was the year ‘The Worshipful Society of Apothecaries of London’ - tricky to squeeze onto a business card - was formally incorporated by royal charter. King James I not only recognised apothecaries but separated them from grocers and gave them a level of medical credibility. This royal approval was driven partly by King James I’s fondness for his own apothecary, and he wasn’t alone - Samuel Pepys writes of loyally following the instructions of his when struck by illness.

Apothecaries didn't stop there - in 1704 the society won a lawsuit against the Royal College of Physicians in the House of Lords. The ruling declared that apothecaries could prescribe and dispense medicines - a significant turning point for the group. The Apothecaries Act of 1815 then gave the society the right to carry out examinations and grant medical licenses in England and Wales.

While it’s easy to dismiss this early medical practice as nonsense, that would be an oversimplification. The trial and error during these centuries undoubtedly paved the way for later breakthroughs. Many of those who worked in the apothecary trade were earnest in their pursuit of cures, and closely involved with botany. For example, the apothecary society founded the Chelsea Physic Garden in 1673 for the purpose of growing medicinal plants. Some of the most awe-inspiring botanicals that decorate our walls today were by eminent apothecaries - including those of Basilius Besler.

Inside the apothecary

Window shopping

Before you even set foot inside one of these establishments, a rather unique window display might have caught your eye. The ‘chemist’s carboy’ became a must-have for apothecaries in the 18th and 19th centuries.

These voluptuous glass bottles, often with elaborate cut glass stoppers, boomed in popularity alongside advances in glass production. While they were similar to the vessels you'd see inside, carboys were purely for advertising purposes. The owner would fill them with brightly coloured liquids to mimic chemical solutions and indicate their trade.

Carboys are a popular collector's item today, and they make for majestic decorative pieces. Leave them empty or fill them with corks, and keep them in the window to really pay homage to the apothecary.

Cabinet of curiosities

Once inside the apothecary, cacophonous sound would greet you. The apothecary trade revolved around grinding, pulverising and stirring to create its potions and lotions. It’s no surprise, then, that one of the objects we commonly associate with medical history is the humble pestle and mortar. Still a stalwart of today’s country kitchen, these are as decorative as they are useful.

The apothecary himself would be stood behind a counter, likely with a set of measuring scales in front of him. Indeed, scales are so synonymous with the trade that a measuring system was named after them - ‘apothecaries’ weights and measures.’ Many of these T-shaped balancing systems survive today and they bring quirky character to a kitchen.

It’s not just the tools of the trade that appeal to collectors. Unique apothecary furniture is highly desirable for injecting personality into interiors. Apothecary cabinets seem to trap the magic of the trade in their many drawers, with the remains of old labels for all things weird and wonderful. Countertops pummelled by hard work, a deep-aged patina, and a curious history - what more could you want for a soulful interior? Use these as a decorative sideboard, or make use of the drawers in a painting or textiles studio.

Cupboards, too, were essential furniture for apothecaries. Some of these charming cabinets feature remains of old paint, while others are simple brown wood. All offer a welcome alternative to fitted kitchen or pantry cabinets.

Antique apothecary bottles

Perhaps the most enduring legacy of apothecaries is the many bottles and jars that have lived to tell the tale. Glass was used for making apothecary bottles from the 1600s onwards. These range from clear glass, to humble brown, to azure blue. Apothecaries favoured coloured glass over clear to protect the contents from sunlight. They come in different shapes and sizes which can, to the discerning eye, give hints of their former purpose. For example, apothecaries used wide-necked bottles for syrups, so the stopper wouldn't stick to the viscous liquid. These are just a few examples of how yesterday's pragmatism has become today's beauty.

Collectors pore over the remains of labels, which were often a shimmering gold with black print. The idea of ornate medical bottles seems absurd today, but it indicates the pride and showmanship that accompanied this trade. These labels revealed the contents, usually in full or abbreviated Latin. A coveted example, such as ‘Oil of Earthworm’, is a momentous find for the serious collector. Apothecary travelling chests are also popular. These portable cabinets were the first aid kit of yesteryear, containing several bottles of solutions the traveller couldn't go without. They often had fine wood exteriors and plush silk or velvet interiors.

But the wonderful thing about apothecary antiques is that the mundane is often just as desirable as the historically significant. Fill a cluster of simple, aged apothecary bottles with garden flowers to bring whimsical charm to kitchen or bathroom shelves. Alternatively, go for the ‘en masse’ approach, with reams of apothecary bottles assembled on open shelving for dramatic impact.

Where did all the apothecaries go?

Apothecaries peaked in the 1700s, but soon gave way to Victorian chemists around the turn of the century. As medicine became a more serious discipline and industrial revolution transformed production, apothecaries faded into the history books. While 'Oil of Scorpion' may not be a go-to remedy in our local pharmacy - thankfully - we can still celebrate the charming relics of this bygone era.

Shop the look and browse our collection of apothecary antiques, from grand cabinets to humble jars, here.

We talk to Hampshire-based interior designer, Lucy Cunningham, about what makes her tick and her latest interior design projects. Layers of the unexpected set Lucy’s refined English aesthetic apart... but where does she find this unexpected inspiration...

Behind the brand

The last thing I bought and loved was an antique kilim rug which I’ve put in my kitchen, its perfect shade of blue meets your eye as you walk in through the front door and always makes me smile!

The place that means a lot to me is Le Deux Tours in Morocco, I often visit with my mum. It’s heaven on earth and where I feel the most relaxed. It's out of the city centre and is set in the most beautiful gardens with peacocks roaming around… the architecture and interiors are breathtaking - from the Moroccan tiles on the floors to the fabulous ceilings and even the little bar... it's all so chic and charming… I could go on and on!

My favourite souvenir is the sweetest little Morrish table from my last trip to Morocco - circa 1890 it has the most exquisite inlay work …what a find - it has made me very happy!

The best books I’ve read in the past year are 'Where the Crawdads Sing' by Delia Owens - it's beautifully written and the imagery in the book is breathtaking… I heard this quote and it's so true of this book… “you know you have read a good book when you turn the last page and its as if you have lost a friend” - that's how I felt. Another is, 'If in Doubt Wash Your Hair' by Anya Hindmarch – it's such a brilliant book…having worked for Anya I was desperate to get my hands on it… it was so typically her - brilliantly funny but also the BEST advice - what more could we all want?

The podcast I’m listening to is The Modern House with Matt Gibberd – and also Kit Kemp - An award-winning interiors designer on her design secrets, dealing with setbacks and finding your own style

In my fridge, you’ll always find Diet Coke, it's my guilty pleasure!

Some of my best ideas have come while in the garden. We were lucky enough to have inherited the most beautiful garden from the previous owner, artist Lucy Dickens. It’s bursting with glorious colours and smells and always gives me such inspiration.

The thing I couldn’t do without out is my tape measure!!! You cannot measure things enough times!!

The event that changed everything for me was moving to Gloucestershire in 2014 which is when I worked on my first big project, a beautiful ex- national trust home just outside Burford. The clients were a dream and we’re still friends today.

An indulgence I would never forgo is getting my colour done at Josh Wood. David Iman is a total genius.

The last piece of clothing I added to my wardrobe was a pair of Malone Souliers heels and an amazing dress from ByTimo.

My favourite building is Farm Street - the church in Mayfair that we got married in. It looks so inconspicuous from the outside but inside it’s incredibly opulent and decorative, with painted ceilings, artwork and stained glass windows. Plus there is a great pub next door that used to be owned by Guy Richie.

My favourite room in my house is the sitting room, I’ve filled it with favourite finds from my travels and it’s where we spend time as a family.

The best advice I’ve ever received was from Anya Hindmarch, who told me to make sure I surrounded myself with a good team.

One artist whose work I would collect is Kate Corbett Winder. I have three pieces at the moment and just love the colours and movement in them.

About Lucy's interior design...

Trillgate Farmhouse is a beautiful example of a Cotswold house, full of charm and character. Where do you begin to work on a project of this size?

With most projects, we begin by thinking about what the property needs in order to turn it into a beautiful yet functional home. The process can often begin with some building work or tweaks to layout etc followed by developing layered schemes that add character and warmth. We love to blend the contemporary and classic, drawing from a variety of cultures and finding special pieces that bring the room to life and create interest.

Where did you draw your inspiration from?

I’ve always been incredibly curious about different cultures and draw a lot of influence from my travels. I’m passionate about mixing colour and patterns from different cultures with art, antiques and textiles from a variety of periods. Often it can be a single piece found at a flea market that sparks the inspiration for an entire scheme.

Talk us through the living rooms, you kept them light with soft shades like Farrow & Ball's Setting Plaster and Parma Gray. What was the process you used to piece together the other elements to the room?

The magnificent original fireplace and flagstone flooring provided an anchor for this room. We wanted to create a space that enhanced rather than overwhelmed these traditional country features, so worked on a soft, soothing palette, using muted colour on the walls and introducing lots of pattern and bolder colour through textiles accessories, wall coverings behind the shelving and lots of statement pieces.

Lucy Cunningham - Interior

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

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

What are your basic rules for mixing contemporary and traditional?

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

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

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

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

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

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

Written by Jon Woods, Marketing Manager at Lorfords Contemporary

Google tells us... "Instagram is considered to be the best social media platform for engagement or your ability as a brand to connect with your followers. It's visual, simple and it attracts the younger generations more than other social media platforms. The perfect marketing tool”.

This is all true. But what happens when your account is hacked? How perfect is it then?

Unfortunately, last month Lorfords Contemporary's account did get hacked. We received a seemingly innocent message asking for us to support a follower who had entered a competition. All that was required was for us to vote by clicking a button. Within seconds, we lost all access to our account.

So, what do you do in a situation like this? Research has established that an Instagram hack happens every 39 seconds. You would imagine there would be a standard procedure to deal with these problems. Don’t do that.

The first step

Obviously, our priority was to ensure that our followers and trusted partners were safe, and their privacy stayed intact. Our first port of call was to get in contact with Instagram, and their parent company Meta, to report that we had been hijacked and ask them to retrieve our account for us. Seems simple! Unfortunately, we ran into a brick wall pretty much immediately.

The main method Instagram uses to retrieve accounts is using facial recognition; rather difficult when all your pictures are of lovely furniture, so this wasn’t an option for us. We then tried to speak with someone rather than a machine but again our efforts came to nothing. After bombarding Instagram, Facebook and Meta with numerous messages, this is when it felt that the computer said “No!”. We really were getting nowhere. This was confirmed when Facebook commerce support acknowledged our situation and said we may not be able to gain access to our account again. We did however, get the account frozen. This meant no posts or messages could be sent. A small, but important, win.

The dead end

Having reached a dead end through the proper support channels, we started to investigate other options. Seemingly, the most hopeful avenue appeared to be to employ the services of an ethical hacker, they advertise themselves as the saviours of those who own jeopardised accounts. We opened into a dialogue with one of these ‘good’ hackers. However, as the conversation evolved, it all seemed a little too dubious for us, so we rejected this approach.

With no real alternative available, and with growing frustration at our lack of social media presence, we made the difficult decision to start afresh. We know it will take time to rebuild our following, but it’s the hit we have had to take. We are now in the process of getting our old account shut down. We did this because we believe we are doing what is best for our trusted customer base and the future of our business.

Anyway, as far as we are concerned this matter is now behind us and as we now start to look forward, we are thrilled to share all the new and exciting things we have coming up over the next few months.

Please do follow our renewed fully secure account @lorfords_contemporary to discover our newest offers, collaborations and business developments.

Rant over!

Jon

Marketing Manager, Lorfords Contemporary

Charlie Hibbert at Thyme has been telling us his secrets for success when it comes to barbecues. Check out these barbecue tips, they will make your summers sizzle.

If you have a choice between lumpwood and briquettes, go lumpwood every time – it gives a much more natural aroma
Woody herbs like rosemary and thyme make brilliant basting brushes and I love olive oil for basting. Don’t pour olive oil or extra marinade onto meat, fish or veg when cooking, as it will cause the flames to flare up and burn what you’re cooking
Treat your meat, fish or veg with the same respect for the barbecue as you would in your kitchen. Bring meat & fish up to room temperature well in advance. Go easy on the salt in marinades, as it draws out the juices from the meat or fish. And, if it’s convenient, keep an oven on a low temp to keep everything hot until you’re ready to serve… there’s nothing worse than people finishing their food when you’re still sweating over a hot grill!
Wait for the coals to go white and then always close the lid. It will stop your coal burning away in 10 minutes and will also smoke your food as it cooks
Blanch your sausages by putting them into a pan of cold water, bringing it to the boil and boiling for 3 minutes. Drain and then put onto the barbecue to cook. This will start the cooking process and will also seal the meat, so that the sausages don’t burst during cooking
If you want something to have a hint of barbecue, but it’s too delicate to put onto the grill directly, you can wrap it in tinfoil and put tiny pin pricks all over the foil for the barbecue taste to infuse
When cooking chicken joints on the barbecue, make a sticky marinade for the chicken or simply season with salt & pepper. An hour before putting the chicken on the barbecue, put it into a low oven (around 100°C) in its marinade so that its three quarters cooked before going onto the barbecue. This will result in juicy, tasty, tender chicken. Smaller spatchcockedpoussins do really well on the barbecue
Any root veg wrapped in tinfoil and dropped into the fire pit after the most intense part of the barbecuing has been done make a lovely late treat
Cook your steaks, bangers or burgers steadily until rich, aromatic and browned, and then turn gently just once. Use long handled tongs rather than a fork that may pierce the meat and allow valuable juices to escape

BBQ Tips | Thyme Ox Barn | L-Shaped | Lorfords

It’s all too easy to overcook on a barbecue, leading to charred, leathery or dry meat. Excessive flames turn the oil to carbon, leaving an acrid taste on the meat… so avoid. To ensure even cooking, use the 60/40 method. Cook the meat for 60% of the time on the first side, then turn and cook for the remaining 40%. As soon as the meat browns, move it further away from the heat source so that the inside can cook before the surface burns (exceptions are thin cuts). Raise the rack so that it is about 30cm above the charcoal – at this height the temperature should be perfect
Knowing the meat is how you like it is the most difficult part of barbecuing. A good thermometer will ensure that everything is cooked to perfection. Guides below:

- Beef – medium rare: 54°C
- Lamb – pink: 58°C
- Pork – juicy: 65°C
- Poultry – safe to eat: 75°C
- Bangers: 75°C

Lamb | L-Shaped | BBQ Tips | Lorfords Antiques

Once the meat is cooked to your liking, rest it. During resting, the temperatures will continue to rise as the juices in the middle move to the outside and it becomes warm, moist and tender all the way through. To rest your meat, put it on a rack so that it doesn’t lie in its own juices. Cover with tinfoil and leave in a warm place for up to 20 minutes. It’s always better to over-rest meat than under-rest it!
Salads and grilled veg are an essential part of the process… make sure you’re full prepped on that front before you start cooking because there won’t be time for that afterwards.
Serve a crowd-pleasing pudding at a barbecue, because you won’t have time or the will to start making a fussy pudding during the evening.I always do a fruit pavlova or an Eton mess
Take time over laying the table and making it look good (but leaving plenty of room for all the different dishes).Then get everyone to sit down and eat together… barbecues can be very piecemeal if you don’t inject a little organised chaos and the sharing part is what I love about a barbecue

You can try Charlie Hibbert’s food at the Ox Barn at Thyme and in the not-too-distant future, at the re-furbished Swan at Southrop (we’ll be bringing you more about that in a future edition) www.thyme.co.uk/eat or take one of Thyme’s cookery courses: www.thyme.co.uk/happenings/cookery-classes

To check out some of Charlie Hibbert's mouth-watering recipes for L-Shaped, please click here.

For over 20 years since its inaugural show, on form has captured the imaginations of visiting collectors, professional artists and local naturalists.

Asthall Manor’s owner Rosie Pearson started something incredible in 2000, which has grown into the extraordinary exhibition we see today. It is more than just an outdoor gallery. It is a series of installations that speak to us without words, connecting people to their surroundings and allowing them to experience the captivating tension between garden and stone.

Every other year, sculptures have adorned the gardens at Asthall Manor for on form since the turn of the century. In 2016, the exhibition expanded into the river meadow for the first time, cutting meandering paths through the wild grassland and giving visitors surprising long-distance views of the sculpture. It was also in the same year the ballroom and indoor spaces were furnished in collaboration with Lorfords Antiques for the first time.

Since 2006, on form has been curated by Anna Greenacre. We caught up with Anna as she prepares for the 2022 exhibition which opens on 12 June and ends on 10 July.

Anna, you have been curating on form since 2005. How do you create a new dynamic at each event?

“There are so many factors involved. Primarily, it is about creating a balance between new sculptors and previous exhibitors, and also finding new ways of showing the work within the landscape and the buildings. It is always one of my fears that we might not live up to the last exhibition, but somehow we do and I believe this year is no exception.

As a team we are always looking for fresh ideas and this year we are really excited to be showing 35 sculptors at Asthall, 6 of whom are coming from Europe.”

You have a reputation for thoughtful placement that is sensitive to the relationship between sculpture and landscape. How will you bring the landscape alive for this exhibition?

“Thank you! Creating a sense of fun and surprise for our visitors is one of my top priorities. I want to find spots which make the sculptures zing both in isolation and in relation to other exhibits and their surroundings.

The natural world of the garden both contrasts with and complements the carved stone. Sculptures bring contours, texture and intrigue whilst the garden’s plants and trees have a lovely way of softening and framing each piece. The combination will, I hope, provoke thought and conversation as well as simple aesthetic enjoyment.”

: Alyosha Moeran, The Dreamer, Honister slate, 62 x 108 x 40cm

: Peter Randall-Page, Envelope of pulsation 1-3 , Granite, sizes vary

Asthall Manor has been the permanent home of on form. The beautiful and intriguing house and gardens must feel very familiar to you now, you must know every nook and cranny?

“I really do! Once the process of creating a new exhibition begins, I start dreaming about the placements of sculpture, quite literally. We have giant maps of the garden, river meadow and churchyard, and of the interior spaces in the church, office and ballroom. These are a wonderful visual aid. And when I get stuck or overloaded with ideas I walk through the familiar but still magical landscape and imagine the sculptures in situ.

I try to be mindful of scale, stone colours, the play of light and shadow, and the relationship of the sculptures to the garden and Cotswold architecture.”

What can visitors expect from this year’s exhibition?

“350 stone sculptures to enjoy for a start! I don’t know of any other show which installs hundreds of stone sculptures for just a month. We have giant clouds, origami animals, a feast of vegetable-inspired sculptures and so much more, both figurative and abstract. We want to delight, surprise and engage our visitors and because of our “do touch” policy our visitors are encouraged to stroke, smell, and feel the ancient surface of each stone. This multi-sensory experience affects people in deep-rooted and unexpected ways which can be really quite emotional.

Alongside the exhibition itself, there will be Garden Talks as well as walks with sculptors, gardeners, the curator, and geologist Philip Powell plus painting workshops with Kieran Stiles. There’s lots going on."

: Jordi Raga, Everything is going to be ok, Portuguese marble, 170 x 300 x 260cm

: Tania Mosse, Tentacled Creature II, Hornton stone, 34 x 62 x 25cm

This year, you are creating the sense of a sculptor’s studio in the Ballroom which is an exciting addition to the exhibition. Will this be an interactive area?

“Yes, we are paying homage to the intensely physical and dusty life of the stone-carver. On my studio visits over the last 6 months, I have been collecting hammers, chisels, models, buckets, gloves, shells, seeds, postcards, and even a marvellous pair of size 12 boots to help create a sense of what it is like in a studio. There will also be the ubiquitous wood burner stove, chipped mugs and all-important tea and coffee!”

And finally, what are your top tips for choosing a sculpture for one’s own garden?

"First, ask yourself what you want the sculpture to do. Should it draw the eye down the garden, break up the space or simply be something to look out on?

Don’t assume it needs to go in the middle of your lawn or patio. Sculpture works well in flower beds, on a garden table or against a wall or hedge.

Scale is important, but small gardens don’t have to mean small sculptures. A large piece can add a sense of energy and fun to a space.

Think about light. This is especially important for wall reliefs. In the right place, the sun can act as a natural spotlight.

Enlist friends or family to help you work out the best spot. Think about views from a distance, but also about being up close. Stone is tactile, and sculpture is made to be touched; make sure it’s accessible."

on form sculpture exhibition | Asthall Manor | Lorfords Antiques

Paul Vanstone, Circular Passion, Portuguese marble, 270 x 180 x 40

Information

To visit on form, you can book tickets here. Ticket bookings are essential (unless you are a season ticket holder).

on form 22 - Asthall Manor, Asthall, Burford, OX18 4HW, 12 June to 10 July
Opening Times: 11am to 6pm Wednesday to Sunday (closed Mondays and Tuesdays)
Ticket Price: £12.50 | Season Ticket £25 | Disabled & Students £6 | Free - Under 12s, Carers, over 90

What’s On

A series of special events, from stone-carving workshops to dance, will enhance the on form experience. Please refer to the events page for updates on this programme.

https://www.onformsculpture.co.uk/whats-on-list/

An absolute must is the Potting Shed Café, in Asthall Manor’s walled garden, featuring food inspired by the vegetable garden. Adding another exciting element, there is also the Madhatter Bookshop in the swimming pool pavilion.

In conversation with Louise Wicksteed at Sims Hilditch

Ahead of her collaborative project with Philip Mould gallery, we caught up with Sims Hilditch design director Louise Wicksteed, who gave us an insight into her interior design must do’s (and don’ts). We chatted about the Sims Hilditch style, their ethos that distances itself from trends and the benefits of using local craftspeople.

Louise, we have been admiring your work for so long! Where do you begin when working on a new project? And how would you describe the ‘timeless, English style’ that you are known for?

"Thank you! Well our aim is to create interiors which will stand the test of time using the finest materials and makers, both physically and in terms of enduring style. In all projects we begin by examining the building’s heritage and natural surroundings, considering how we might incorporate this sympathetically into our design.

Repurposing and reusing antiques and our clients’ existing furniture is a great way to nod to timeless English style. This gives pieces that are often steeped in English history a new lease of life. Additionally, paints by Farrow & Ball tend to work well in traditional and contemporary English homes alike. We love their range of timeless whites. These work well as a beautiful backdrop to more punchy shades which can be used on furniture and joinery, such as De Nimes."

Your renovations often reveal natural, handcrafted pieces.

"Yes, we love to feature natural materials which are locally sourced in our interiors. Reclaimed wooden and stone flooring work well in kitchens, hallways and boot rooms and sisal carpet is great for sitting and bedrooms. We also retain much of a building’s existing material where possible if it has historic value."

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

You work on a wide variety of renovations, from manor houses to town houses full of natural character. How do you recommend adding character to a younger property?

"The key to creating character in a home is to ensure the interior feels that it has evolved over time. Layering an interior using a variety of textures, patterns and colours is a great way to achieve this. Each element works together to make the room burst with life. Incorporating antiques into a newer home is also a key consideration, as they bring gravitas and history to the design."

Family life is often at the forefront of your home renovation designs. What are your key essentials for creating a family space that also works for entertaining?

"An open plan sitting, dining and kitchen area is the ideal solution for creating a social space designed for entertaining. In many traditional homes, the kitchen is often cut-off from the rest of the house, making it difficult to host guests or socialise with family while preparing a meal. Knocking through the wall between a kitchen and sitting/dining area and sectioning off each space with a kitchen island is the ideal solution. Placing stools at the island creates an informal space for guests or family members to sit before the meal is served."

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

What do you focus on when designing a contemporary feel whilst retaining or adding character?

"The key to creating a contemporary style in a home while retaining character is to choose a carefully balanced blend of sharp lines, metal finishes and punchy colours and pair these with a selection of antiques. This might include artwork, furniture or even family heirlooms like a grandfather clock. The challenge here can be to maintain a curated, layered look while avoiding clutter."

It often pays to ‘go bold’ but it can be hard to know where to start. What are your tips on creating eye-catching interiors without overwhelming the space?

"Accent colours are a great way to be bold in your interior, without overwhelming it. A sofa upholstered in a bright colour, or lampshades and cushions in a yellow, red, or pink bring life to your interior in pleasing statements when threaded throughout a room with a neutral backdrop. For those tempted to be brave and opt for contrasting colours in a room, we recommend using the colour wheel for guidance. Typically, colours which sit on opposite sides of the colour wheel are contrasting but work well together (like blue and orange).

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

Do you have any tips for bringing light into a room and at the same time, attempting to create a cosy, warm feel?

"Layered lighting allows a variety of moods to be created in one room. This tends to be made up of floor, wall and overhead lighting. We often attach all light fixtures in a sitting or entertaining room to a 5 amp dimmer switch. This can be controlled from a single point, allowing the mood of the room to be altered easily."

What do you find inspires you the most when you start working on a project?

"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."

Do you have any favourite antiques pieces that you have used in any recent projects?

"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."

What is the best way to add handcrafted pieces to a home?

"Hand-painted wallpaper and or tiles is a great way to incorporate handcrafted items into your interior. We love to use wallpaper by de Gournay and tiles by Marlborough Tiles. A great way to champion handcrafted pieces, is to research local artists in your area and incorporate their art into your home. This might be a painting of the landscape of your local area, or some beautiful ornaments or crockery that speaks to you in some way. A plate wall is a lovely way to display crockery."

Sims Hilditch | L-Shaped | Lorfords Antiques | hallway

Our furniture brand Lorfords Contemporary produces traditionally constructed and upholstered furniture in our Cotswold studio. Made in Britain with sustainability at the core, do you feel that handcrafted British furniture is the future?

"Absolutely. At Sims Hilditch, we champion the highest quality in terms of the products and materials we use. We love to work with companies that share these values.

Small artisans and independent brands are often made up of smaller teams who are passionate about their brand. They are incredibly knowledgeable about what they do, making them real experts in their field. These handcrafted techniques are steeped in history, so it is important to support these artisans. These skills could die out if there is no longer a demand. What’s more, these techniques often produce the highest quality pieces which will last for generations."

For more information on Sims Hilditch interiors click here.

To read more from L-Shaped on interior design, please click here for our interiors section.

*Images courtesy of Sims Hilditch.

Most of us have the desire to ‘do our bit’, to have as little an impact on the earth and its natural resources as possible. Ideally, we would like to be eco-conscious without overly compromising on our own lifestyles. Sustainability in all its forms, has made its way into all our lives and here at Lorfords, we are very much here for it.

From eco-conscious design and furnishings, to hand-crafted, cosy and comforting, sustainability has been singled out as a trend for 2022. But hopefully in the not too distant future, it won’t just be a trend. Sustainability will become integrated into all the interior design decisions we make. From using pre-love antiques, through to choosing ethically and sustainably made furnishings, there is more of a focus on the materials we use that the brands we shop from.

Natural Materials

Incorporating sustainable elements to your interior is relatively easy to achieve. And for the bonus? You will get that feel-good factor too. Natural materials produce much fewer toxins during their production. That’s why you’ll be helping our planet if you decide to decorate with sustainable, natural materials. As well as the eco-friendly credentials, you’ll instantly achieve that soothing, natural feel in your home once you implement more natural colours and materials. Look for handwoven, natural rugs. Shop for recycled fabric cushion covers, not only will they be good for the environment, but they will also look wonderful in your home.

Eco-Minded Interior Designers

Eco-conscious interior design isn’t just a temporary trend, it is here to stay. Using the services of an interior designer who truly understands the benefits of sustainable design, and who carefully select their manufacturers is an important step.

“I like the challenge of introducing considered, sustainable pieces of furniture and accessories and taking the time to appreciate the maker or its lineage” says interior designer Alice Leigh.

Edward Bulmer says “For my work I have always sought to use native timber, traditional construction and the minimum of sheet material. But it is hard for cabinet makers to compete against producers who don’t do this because they can ‘outsource’ the polluting and exploitative effects of waste, poor labour conditions and manmade materials to offer us ‘cheap’ prices. We are all culpable here! Recycling, repurposing, upcycling, antique collecting, bespoke commissioning would be the stuff of a bright future for interior design.” (To read more from Edward Bulmer, click here).

Low-impact textiles and materials

A great way to create a natural, sustainable interior is to opt for items made from non-toxic, renewable and natural materials, such as bamboo, compressed earth, cork, wood, or recycled metals. Textiles such as hemp, wool, linen, and recycled cotton can make your home a beautiful and sustainable place to be.

Repurpose, recycle, upcycle

There are multiple ways to reuse or reclaim furniture for a more sustainable interior. Every interior yearns for a little transformation from time to time, remember moving around the furniture in your childhood bedroom to get that wonderful ‘brand new’ feeling? Antiques are the original recycle products, very much on trend and each adds a distinct look and feel to a room. To see our collection of new arrivals here at Lorfords, please click here.

Energy-efficient lighting

Another interior trend this year is a focus on lighting and in particular, on well-lit areas. Having bright lighting is invaluable. Having eco-friendly lighting will offer great illumination, whilst also being gentle on the environment. Go for LEDs or composite fluorescent bulbs to maximise the effects of lights. They offer great value for money and will last longer, while using very little energy. Consider making the most of natural light – skylights look lovely and will brighten up the interior of any house.

And finally...

To improve the air quality in your home, add indoor plants to your interiors. Not only are they beautiful and calming, but they have health benefits too.

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.